{"id":107,"date":"2026-01-07T22:58:55","date_gmt":"2026-01-07T19:58:55","guid":{"rendered":"https:\/\/uniteankara.com\/2026\/01\/07\/vdeokunstarkivet-sanatilari-le-rportajlar-part-i\/"},"modified":"2026-07-26T14:53:39","modified_gmt":"2026-07-26T11:53:39","slug":"vdeokunstarkivet-sanatilari-le-rportajlar-part-i","status":"publish","type":"post","link":"https:\/\/uniteankara.com\/en\/vdeokunstarkivet-sanatilari-le-rportajlar-part-i\/","title":{"rendered":"Videokunstarkivet Sanat\u00e7\u0131lar\u0131 ile R\u00f6portajlar \u2014 Part I"},"content":{"rendered":"
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Norve\u00e7 Video Sanat Ar\u015fivi (Videokunstarkivet), 1960’lardan bu yana Norve\u00e7’te \u00fcretilen video sanat\u0131n\u0131 kapsaml\u0131 bir \u015fekilde belgeleyen ve koruyan \u00f6nemli bir referans kayna\u011f\u0131 olarak bilinen bir ar\u015fiv. Norve\u00e7 El\u00e7ili\u011fi i\u015fbirli\u011fi ile UNITE Ankara\u2019da Eyl\u00fcl ay\u0131nda ba\u015flayan Videokunst G\u00f6sterimleri Projesi ise bu ar\u015fivde bulunan video eserlerden olu\u015fan bir se\u00e7kinin izleyicilerle payla\u015fmas\u0131 temelinde olu\u015fturuldu. <\/strong><\/p>\n

Proje ba\u011flam\u0131nda 25 sanat\u00e7\u0131ya ait video eserler Eyl\u00fcl-Ocak aylar\u0131 aras\u0131nda sergilendi. Ayn\u0131 zamanda projeye paralel olarak d\u00f6rt konu\u015fmadan olu\u015fan bir konu\u015fma serisi ger\u00e7ekle\u015fti.<\/strong><\/p>\n

Kas\u0131m ay\u0131nda yap\u0131lan konu\u015fmalarda Dr. \u00c7a\u011f\u0131l \u00d6merba\u015f  Ece Yirmibe\u015f, \u00c7a\u011flar Kaya, Dr. I\u015fk\u0131n \u00d6zbulduk K\u0131l\u0131\u00e7 yer ald\u0131. Konu\u015fmalarda, teknoloji ve video sanat\u0131 ili\u015fkisi, video sanat\u0131nda sesin kullan\u0131m\u0131, toplumsal cinsiyet, video sanat\u0131n\u0131n n\u00f6roestetik alan\u0131 gibi konular ele al\u0131nd\u0131.<\/strong><\/p>\n

Sizler i\u00e7in haz\u0131rlad\u0131\u011f\u0131m\u0131z Videokunst se\u00e7kisinde yer alan sanat\u00e7\u0131larla yap\u0131lan r\u00f6portajlarda ise, her sanat\u00e7\u0131ya \u00fc\u00e7 soru y\u00f6nelterek sanatsal pratiklerini, Videokunstarkivet\u2019in kariyerlerine etkisini ve video sanat\u0131n\u0131n izleyiciyle kurdu\u011fu ba\u011f ile ilgili d\u00fc\u015f\u00fcnd\u00fcklerini sorduk.<\/strong><\/p>\n<\/div>\n

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Sanatsal prati\u011finizi k\u0131saca nas\u0131l tan\u0131mlars\u0131n\u0131z? \u00c7al\u0131\u015fmalar\u0131n\u0131zda genellikle hangi temalar veya kavramlar \u00f6n plana \u00e7\u0131k\u0131yor?<\/strong><\/p>\n

Anders Elsrud Hultgreen<\/strong>: Sanat\u0131mda a\u011f\u0131rl\u0131kl\u0131 olarak do\u011fal manzaralar, hava durumu ve mitolojik hikayelerle \u00e7al\u0131\u015f\u0131yorum. Fenomenler, ate\u015fli r\u00fcyalar ve hal\u00fcsinasyonlar beni b\u00fcy\u00fclemektedir. \u00c7al\u0131\u015fmalar\u0131mda \u00e7evremizdeki d\u00fcnyay\u0131 \u00e7arp\u0131t\u0131p d\u00f6n\u00fc\u015ft\u00fcrerek yeni ve fantastik ger\u00e7eklikler yarat\u0131yorum. Projelerim her zaman ger\u00e7ek, fiziksel d\u00fcnyadan al\u0131nan video g\u00f6r\u00fcnt\u00fcleri veya foto\u011fraflara dayanmaktad\u0131r. S\u0131k s\u0131k tan\u0131d\u0131k \u015feyleri garip \u015fekillerde yeniden hayal ediyorum: mantar gibi g\u00f6r\u00fcnen insanlar, cad\u0131 olarak tan\u0131mlanan kirli su veya yaramaz bir goblin trol \u015fekline b\u00fcr\u00fcnen at\u0131lm\u0131\u015f t\u0131bbi at\u0131klar.<\/p>\n<\/div>\n

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Dernede mellom mose og vissent lauv, saa raa og kold – Anders Elsrud Hultgreen<\/figcaption><\/figure>\n
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Carsten Aniksdal:<\/strong> Ben esas olarak kamera tabanl\u0131 tekniklerle \u2014 foto\u011fraf ve film \u2014 ve uzamsal ses enstalasyonlar\u0131yla \u00e7al\u0131\u015f\u0131yorum. \u00c7al\u0131\u015fmalar\u0131mda, mimari ortamlar ve insan varl\u0131\u011f\u0131n\u0131n genellikle merkezde oldu\u011fu, kal\u0131c\u0131 ve yans\u0131t\u0131c\u0131 bir dil kullan\u0131yorum. Zaman\u0131 do\u011frusal olmayan, sonsuz bir boyut olarak ara\u015ft\u0131r\u0131yor, g\u00f6r\u00fcnt\u00fc ve sesin r\u00fcyalara, sembolik ve hayali olan\u0131 i\u015faret eden mekanlar olu\u015fturdu\u011fu eserler yarat\u0131yorum. <\/p>\n

Charlotte Thiis-Evensen:<\/strong> Video, foto\u011fraf, enstalasyon ve belgesellerde ifade edildi\u011fi \u00fczere, \u00e7al\u0131\u015fmalar\u0131mda odak noktas\u0131 her zaman insand\u0131r. Kendi hayat\u0131mdan al\u0131nan ki\u015fisel hikayeler ya da ba\u015fkalar\u0131 taraf\u0131ndan anlat\u0131lan hikayeler olsun, hikayeler \u00e7e\u015fitli bireylerin portrelerinde ortaya \u00e7\u0131kar – bireyin ko\u015fullar\u0131 ya da birey ve toplum aras\u0131ndaki ili\u015fki hakk\u0131nda hikayeler.<\/p>\n

Christine Istad:<\/strong> Kamera, ger\u00e7ek hayatta \u00e7arp\u0131c\u0131 bir \u015fey ke\u015ffetmemden kaynaklanan ilgin\u00e7 motifler ve hikayeler bulmak i\u00e7in kulland\u0131\u011f\u0131m bir ara\u00e7t\u0131r. G\u00fcnl\u00fck hayattaki s\u0131radan bir an bile resimsel bir yan\u0131 olabilir. Film gibi bir ortam\u0131n resimsel unsurlar\u0131 \u0131\u015f\u0131k, uzay, derinlik, yap\u0131 ve renkler olabilir, ama ayn\u0131 zamanda soyutlama ve basitle\u015ftirme de olabilir. \u0130klim ve \u00e7evre sorunlar\u0131na olan ilgimin artmas\u0131yla do\u011fa da sanat\u0131mda daha merkezi bir yer edinmi\u015ftir.<\/p>\n

Elisabeth Mathisen:<\/strong> \u00c7al\u0131\u015fmalar\u0131m do\u011fa ve ki\u015fileraras\u0131 duygularla ilgilidir. Her zaman \u00e7al\u0131\u015ft\u0131\u011f\u0131m ortam\u0131 ke\u015ffetmekle ilgilenmi\u015fimdir. Mother Tongue adl\u0131 videoda, kamera \u00f6n\u00fcnde a\u011f\u0131z hareketleri ve soyut seslerle performans\u0131 ke\u015ffetmeye \u00e7al\u0131\u015ft\u0131m. A\u011f\u0131z hem itici hem de \u00e7ekicidir. Do\u011fa ve fiziksel unsurlar \u00e7al\u0131\u015fmalar\u0131m\u0131n ortak temas\u0131d\u0131r.<\/p>\n

Sabina Jacobsson:<\/strong> Sanatsal prati\u011fim, k\u00fc\u00e7\u00fck jestlerin, anlar\u0131n ve kar\u015f\u0131la\u015fmalar\u0131n genellikle daha b\u00fcy\u00fck yans\u0131malar\u0131n temeli haline geldi\u011fi g\u00fcndelik ya\u015fam durumlar\u0131n\u0131n ke\u015ffine dayanmaktad\u0131r. Fikir ve teknik aras\u0131nda s\u00fcrekli yeni ba\u011flant\u0131lar ar\u0131yorum, b\u00f6ylece spontan ve \u00f6ng\u00f6r\u00fclemez olan\u0131n kavramsal ve yap\u0131land\u0131r\u0131lm\u0131\u015f olanla etkile\u015fime girmesine olanak tan\u0131yorum. Bu etkile\u015fim, deneyselli\u011fin merkezde oldu\u011fu bir alan yarat\u0131yor \u2014 sadece film y\u00f6netmenli\u011finde de\u011fil, \u00e7izim, heykel ve enstalasyon gibi analog y\u00f6ntemlerde de. Bunu \u00e7\u0131k\u0131\u015f noktas\u0131 olarak alarak, sezgisel ve ele\u015ftirel d\u00fc\u015f\u00fcnceyi dengeleyen, hem e\u011flenceli hem de d\u00fc\u015f\u00fcnceli eserler yarat\u0131yorum. Bir video sanat\u00e7\u0131s\u0131 olarak, izleyiciyi \u00e7ekmek i\u00e7in her biri benzersiz olanaklar sunan farkl\u0131 alanlar aras\u0131nda (galeri, tiyatro sahnesi ve sinema perdesi) ak\u0131c\u0131 bir \u015fekilde hareket ediyorum. Tematik olarak, eserlerim genellikle k\u00fclt\u00fcrel ba\u011flant\u0131lar\u0131 ve sosyal yap\u0131lar\u0131 ele al\u0131yor. Dayan\u0131\u015fma, kimlik ve aidiyet konular\u0131n\u0131 ele alan anlat\u0131lara ilgi duyarken, ayn\u0131 zamanda ortak ger\u00e7ekli\u011fimizi \u015fekillendiren siyasi meselelerle de ilgileniyorum. Farkl\u0131 disiplinler aras\u0131nda i\u015fbirli\u011fi yaparak, eserlerimin farkl\u0131 ba\u011flamlarda var olmas\u0131n\u0131 ve nerede ve nas\u0131l deneyimlendi\u011fine ba\u011fl\u0131 olarak anlamlar\u0131n\u0131n de\u011fi\u015fmesini sa\u011flayan \u00e7ok y\u00f6nl\u00fc bir ifade bi\u00e7imi geli\u015ftirdim.<\/p>\n

Videokunstarkivet ar\u015fivi gibi bir koleksiyonda yer almak sizin i\u00e7in ne anlama geliyor? Bu ar\u015fiv, kariyerinize veya sanata bak\u0131\u015f a\u00e7\u0131n\u0131za nas\u0131l katk\u0131da bulundu?<\/strong><\/p>\n

Anders Elsrud Hultgreen:<\/strong> Videokunstarkivet ar\u015fivinin bir par\u00e7as\u0131 oldu\u011fum i\u00e7in ger\u00e7ekten minnettar\u0131m. Bu platform olmasayd\u0131, \u00e7al\u0131\u015fmalar\u0131m\u0131n Unite Ankara ve izleyicileri taraf\u0131ndan ke\u015ffedilmesi \u00e7ok daha zor olurdu.<\/p>\n

Carsten Aniksdal:<\/strong> \u00c7al\u0131\u015fmalar\u0131m\u0131 payla\u015fmak ve geni\u015f koleksiyonunda di\u011fer sanat\u00e7\u0131lar\u0131 ke\u015ffetmek benim i\u00e7in harika bir f\u0131rsat. Ar\u015fiv, bir yuva, bir platform ve sizin gibi k\u00fcrat\u00f6rlerle ba\u011flant\u0131 kurma imkan\u0131 sa\u011flad\u0131\u011f\u0131 i\u00e7in video sanat\u0131n\u0131 geli\u015ftirmeye devam etmem i\u00e7in bana ilham veriyor. <\/p>\n<\/div>\n

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Blok P Deconstructed – Carsten Aniksdal<\/figcaption><\/figure>\n
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Charlotte Thiis-Evensen:<\/strong> Video ar\u015fivi, bana s\u0131ra d\u0131\u015f\u0131 ve g\u00fczel ortamlarda sergi a\u00e7ma f\u0131rsat\u0131 veren bir platform. Hareketli g\u00f6r\u00fcnt\u00fclerle \u00e7al\u0131\u015fan bizler i\u00e7in \u00f6nemli bir yer.<\/p>\n

Christine Istad:<\/strong> Norve\u00e7’te profesyonel sanat\u00e7\u0131lar taraf\u0131ndan yap\u0131lm\u0131\u015f sanat videolar\u0131n\u0131n bulundu\u011fu bir ar\u015fivin varl\u0131\u011f\u0131 \u00e7ok \u00f6nemlidir. B\u00f6yle bir ar\u015five dahil olmak, sanat camias\u0131nda tan\u0131nmak ve onaylanmak anlam\u0131na gelir, eserin k\u00fclt\u00fcrel ve sanatsal de\u011ferini vurgular. Eserin g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn\u00fc art\u0131r\u0131r ve daha geni\u015f bir kitlenin sanat eseriyle etkile\u015fime girmesini sa\u011flar. Bu, bir video sunumuna ilk kez davet edildi\u011fimdir.<\/p>\n

Elisabeth Mathisen:<\/strong> Video Sanat Ar\u015fivi, video sanat\u0131n\u0131 gelecek nesiller i\u00e7in korudu\u011fu i\u00e7in \u00f6nemlidir. Norve\u00e7’te video \u00fczerine ara\u015ft\u0131rma yapmak isteyen sanat tarih\u00e7ileri i\u00e7in bir video sanat k\u00fct\u00fcphanesi i\u015flevi g\u00f6r\u00fcr.<\/p>\n

Sabina Jacobsson:<\/strong> Benim i\u00e7in Videokunstarkivet, hareketli g\u00f6r\u00fcnt\u00fclerle \u00e7al\u0131\u015fan sanat\u00e7\u0131lar i\u00e7in paha bi\u00e7ilmez bir platformdur. Buras\u0131 sadece Norve\u00e7 video sanat\u0131n\u0131n tarihini belgeleyen en kapsaml\u0131 ar\u015fiv olmakla kalmaz, ayn\u0131 zamanda bu tarihin zenginli\u011finin korunabilece\u011fi ve gelecek nesillere aktar\u0131labilece\u011fi \u00e7ok \u00f6nemli bir mekand\u0131r. 1960’lar\u0131n \u00f6nc\u00fc \u00e7al\u0131\u015fmalar\u0131ndan g\u00fcn\u00fcm\u00fcze kadar Norve\u00e7li video sanat\u00e7\u0131lar\u0131 uluslararas\u0131 alana \u00f6nemli katk\u0131larda bulunmu\u015flard\u0131r ve bu miras\u0131n profesyonel ve s\u00fcrd\u00fcr\u00fclebilir bir \u015fekilde korunmas\u0131 b\u00fcy\u00fck \u00f6nem ta\u015f\u0131maktad\u0131r. Ayn\u0131 zamanda ar\u015fiv, diyalog ve de\u011fi\u015fim i\u00e7in canl\u0131 bir platform i\u015flevi g\u00f6rmektedir. Sanat\u00e7\u0131lar olarak bize kap\u0131lar a\u00e7arak, d\u00fcnya \u00e7ap\u0131nda k\u00fcrat\u00f6rler, ara\u015ft\u0131rmac\u0131lar ve kurumlarla ba\u011flant\u0131lar kurmam\u0131z\u0131 sa\u011flamaktad\u0131r. Bu, UNITE ile olan bu i\u015fbirli\u011fi gibi yeni i\u015fbirlikleri ve uluslararas\u0131 g\u00f6sterimler i\u00e7in f\u0131rsatlar yaratm\u0131\u015ft\u0131r. \u015eahsen benim i\u00e7in Videokunstarkivet’in bir par\u00e7as\u0131 olmak hem bir onur hem de bir mutluluktur \u2014 sadece tarihsel kay\u0131tlara katk\u0131da bulunan biri olarak de\u011fil, ayn\u0131 zamanda \u00e7a\u011fda\u015f uygulamalar\u0131n aktif bir vitrini olarak rol\u00fcnden faydalanan biri olarak da.<\/p>\n<\/div>\n

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Hole in Two – Sabina Jacobsson<\/figcaption><\/figure>\n
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Video sanat\u0131 izleyiciyle nas\u0131l bir ba\u011f kurar? Ankara – T\u00fcrkiye’deki izleyicilerin eserinizden ne t\u00fcr duygular veya d\u00fc\u015f\u00fcnceler edinmesini umuyorsunuz?<\/strong><\/p>\n

Anders Elsrud Hultgreen:<\/strong> Ankara, T\u00fcrkiye’deki izleyicilerin filmlerim arac\u0131l\u0131\u011f\u0131yla do\u011fa ve manzaralara yeni bak\u0131\u015f a\u00e7\u0131lar\u0131 ke\u015ffetmelerini umuyorum. Ayr\u0131ca baz\u0131lar\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131m\u0131 daha fazla ke\u015ffetmeye ve sanatsal prati\u011fimle daha derinlemesine ilgilenmeye ilham almas\u0131n\u0131 umuyorum. Her \u015feyden \u00f6nce, filmlerimin izleyicilere ilham kayna\u011f\u0131 olmas\u0131n\u0131 ve yeni bak\u0131\u015f a\u00e7\u0131lar\u0131 a\u00e7mas\u0131n\u0131 diliyorum.<\/p>\n

Carsten Aniksdal:<\/strong> Video sanat\u0131 anl\u0131k ve g\u00fcn\u00fcm\u00fczle g\u00fc\u00e7l\u00fc bir ba\u011f kuruyor \u2014 neredeyse rahats\u0131z edici derecede \u2014 \u00e7\u00fcnk\u00fc g\u00fcn\u00fcm\u00fcz\u00fcn izleyicisi s\u00fcrekli ekranlara maruz kalmaya al\u0131\u015f\u0131k. Ayn\u0131 zamanda zorlay\u0131c\u0131 da olabilir, \u00e7\u00fcnk\u00fc video sanat\u0131 daha yeni ve az bilindi\u011fi zamanlardan farkl\u0131 \u015fekilde dikkat \u00e7ekmek i\u00e7in rekabet etmek gerekiyor. Ancak Ankara’da d\u00fczenledi\u011finiz gibi g\u00f6sterimlerle, izleyiciler farkl\u0131 bir zihniyetle, yans\u0131tmaya ve video sanat\u0131n\u0131 sadece \u201ci\u00e7erik\u201d kavram\u0131n\u0131n \u00f6tesinde deneyimlemeye daha a\u00e7\u0131k bir zihniyetle gelebilirler. <\/p>\n

Charlotte Thiis-Evensen:<\/strong> Falling Trees, her ya\u015ftan kad\u0131n olarak kendin olabilme \u00f6zg\u00fcrl\u00fc\u011f\u00fc \u00fczerine feminist bir eser. Ayn\u0131 zamanda mizahi bir eser. Umar\u0131m bu eser, Ankara’daki kad\u0131nlara kendi bedenleri ve d\u00fcnyadaki varl\u0131klar\u0131yla gurur duymalar\u0131 i\u00e7in ilham ve motivasyon kayna\u011f\u0131 olur.<\/p>\n<\/div>\n

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Rokkering2 – Charlotte thiis-evensen<\/figcaption><\/figure>\n
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Christine Istad:<\/strong> Video sanat\u0131, hareketli g\u00f6r\u00fcnt\u00fcler, ses ve zaman\u0131n ge\u00e7i\u015fini bir araya getirerek izleyicileri s\u00fcr\u00fckleyici bir deneyime davet eder. Hem duygusal hem de entelekt\u00fcel d\u00fczeyde yank\u0131 uyand\u0131rarak izleyiciyi d\u00fc\u015f\u00fcnmeye, empati kurmaya ve hatta y\u00f6n\u00fcn\u00fc kaybetmeye davet eder, b\u00f6ylece izleyici pasif bir g\u00f6zlemci olmaktan \u00e7\u0131k\u0131p aktif bir kat\u0131l\u0131mc\u0131 haline gelir. G\u00fcne\u015fin yolculu\u011funu takip ederek, karanl\u0131k, kar veya s\u0131n\u0131rl\u0131 g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131n al\u0131\u015f\u0131lmad\u0131k oldu\u011fu, belirli yerleri hi\u00e7 deneyimlemeyenlerle d\u00fcnyan\u0131n bir kesitini payla\u015fabiliriz. T\u00fcm bunlar\u0131n alt\u0131nda, g\u00fcne\u015fin ya\u015fam ve hayatta kalmak i\u00e7in en temel g\u00fc\u00e7lerden biri oldu\u011fu ger\u00e7e\u011fi yatmaktad\u0131r.<\/p>\n<\/div>\n

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Traveling Sun – IstadPacini ArtLab 2012 \u2013 2016<\/figcaption><\/figure>\n
\n

Elisabeth Mathisen:<\/strong> Videonun izleyiciyle bir ba\u011f kurmas\u0131n\u0131 umuyorum. Videonun izleyicide merak ve \u015fa\u015fk\u0131nl\u0131k uyand\u0131racak bir alan a\u00e7mas\u0131n\u0131 diliyorum. A\u011fz\u0131n sessiz monologu ile izleyici aras\u0131nda \u015fa\u015f\u0131rt\u0131c\u0131 bir kar\u015f\u0131la\u015fma.<\/p>\n

Sabina Jacobsson:<\/strong> Video sanat\u0131, anlat\u0131, estetik ve duygusal rezonans gibi \u00e7oklu katmanlar arac\u0131l\u0131\u011f\u0131yla izleyiciyle bir ba\u011f kurar. Daha statik sanat formlar\u0131n\u0131n aksine, video zaman i\u00e7inde geli\u015fir ve g\u00f6r\u00fcnt\u00fc, ses ve ritmin bedeni ve zihni bir araya getiren duyusal bir deneyim yaratmas\u0131na olanak tan\u0131r. Video enstalasyonlar\u0131nda eser genellikle izleyiciyi sarar, t\u00fcm alan\u0131 hareketli g\u00f6r\u00fcnt\u00fcler ve ses manzaralar\u0131yla doldurur ve izleme eylemini fiziksel ve s\u00fcr\u00fckleyici bir deneyime d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Benim i\u00e7in bu ba\u011flant\u0131 sadece hikaye anlatmakla ilgili de\u011fil, ayn\u0131 zamanda tan\u0131ma, merak ve hatta rahats\u0131zl\u0131k gibi duygular\u0131 uyand\u0131rmakla da ilgilidir. Bu duygular, izleme deneyiminden \u00e7ok sonra da kal\u0131r ve d\u00fc\u015f\u00fcnmeye a\u00e7ar. Eserlerimi Ankara’daki izleyicilere sunarken, ya\u015fam, sanat ve k\u00fclt\u00fcr \u00fczerine hem \u00f6zel hem de evrensel olan \u0130skandinav bak\u0131\u015f a\u00e7\u0131lar\u0131na bir bak\u0131\u015f sunmay\u0131 umuyorum. Dile\u011fim, izleyicilerin \u0130skandinav atmosferini ve ya\u015fam tarz\u0131n\u0131 hissetmeleri, ama ayn\u0131 zamanda kendi deneyimleriyle de ortak noktalar bulmalar\u0131 ve co\u011frafi ve k\u00fclt\u00fcrel s\u0131n\u0131rlar\u0131n \u00f6tesinde bir diyalog olu\u015fturmalar\u0131d\u0131r.<\/p>\n

ENGLISH BELOW<\/strong><\/p>\n

How would you briefly describe your artistic practice? What themes or concepts typically come to the forefront in your work?<\/strong><\/p>\n

Anders Elsrud Hultgreen<\/strong>: In my art, I work primarily with natural landscapes, weather, and mythological storytelling.\u2028I am fascinated by phenomena, fever dreams, and hallucinatory states. Through my practice, I twist and transform the world around us, creating new and fantastical realities. My projects are always rooted in video footage or photographs drawn from the real, physical world. I often reimagine the familiar in strange ways\u2014humans appearing as mushrooms, polluted water consumed described as a witch, or discarded medical waste taking shape as a mischievous goblin troll.<\/p>\n

Carsten Aniksdal<\/strong>: I work primarily with camera-based techniques \u2014 photography and film \u2014 as well as spatial sound installations. My practice engages a lingering, reflective language, where architectural environments and human presence are often central. I explore time as a non-linear, infinite dimension, creating works where image and sound form spaces that point toward dreams, the symbolic, and the imaginary. <\/p>\n

Charlotte Thiis-Evensen<\/strong>: Man is always in focus in my work, expressed in video, photography, installations and documentaries. It is in the portraits of various individuals that the stories emerge, whether it concerns personal stories taken from my own life or stories told by others – stories about the individual’s conditions or the relationship between individual and society.<\/p>\n

Christine Istad<\/strong>: The camera is my tool for finding interesting motifs and stories, that often spring from a discovery of something striking in real life. An everyday moment can have something picturesque about it. Painterly elements of film as a medium can be light, space, depth, structure and colours, but also abstraction and simplification. Nature has also gained a more central place in my artistry through my increasing involvement in the climate and environmental cause.<\/p>\n

Elisabeth Mathisen:<\/strong> My work is about nature and interpersonal emotions. I have always been interested in exploring the medium I work with. In the video Mother Tongue I worked on exploring the performative in front of the camera, with the grimaces of the mouth and abstract sound. The mouth is both repulsive and attractive. Nature and the physical are a common thread in my work.<\/p>\n

Sabina Jacobsson: <\/strong>My artistic practice is rooted in the exploration of everyday life situations, where small gestures, moments, and encounters often become the foundation for larger reflections. I am constantly searching for new connections between idea and technique, allowing the spontaneous and unpredictable to interact with the conceptual and structured. This interplay creates a space where experimentation becomes central\u2014not only in film direction but also through analog methods such as drawing, sculpture, and installation. With this as a point of departure, I create works that are at once playful and thoughtful, balancing intuition with critical reflection. As a video artist, I move fluidly between different arenas\u2014the gallery, the theater stage, and the cinema screen\u2014each offering unique possibilities for engaging the viewer. Thematically, my work often addresses cultural connections and social structures. I am drawn to narratives that explore solidarity, identity, and belonging, while also engaging with political issues that shape our shared reality. Through collaborations across disciplines, I have been able to develop a multifaceted expression that allows my works to exist in different contexts, shifting meaning depending on where and how they are experienced.<\/p>\n

What does it mean for you to be featured in a collection like the Videokunstarkivet archive? How has this archive contributed to your career or your perspective on art?<\/strong><\/p>\n

Anders Elsrud Hultgreen<\/strong>: I am truly grateful to be part of the Videokunstarkivet archive. Without this platform, it would have been much more difficult for my work to be discovered by Unite Ankara and its audience.<\/p>\n

Carsten Aniksdal<\/strong>: It is a great opportunity for me to share my work and to discover other artists within its vast collection. The archive also inspires me to keep developing video art, as it provides a home, a platform, and a way to connect with curators such as yourself. <\/p>\n

Charlotte thiis-evensen<\/strong>: The video archive is a platform that has given me many opportunities to exhibit in unusual and beautiful contexts. It is an important place for those of us who work with moving images.<\/p>\n

Christine Istad<\/strong>: It is very important that it exists an archive with art videoes made by professional artists in Norway. Being included in such an archive signifies recognition and validation within the art community, highlighting the work’s cultural and artistic value. It offers increased visibility, allowing a broader audience to engage with the art work. This is the first time I have been invited to a video presentation.<\/p>\n

Elisabeth Mathisen<\/strong>: The Video Art Archive is important because it preserves video art for the future. It functions as a library of video art for art historians who want to do research on video in Norway.<\/p>\n

Sabina Jacobsson: <\/strong>For me, the Videokunstarkivet represents an invaluable platform for artists working with moving images. It is not only the most comprehensive archive documenting the history of Norwegian video art, but also a crucial space where the richness of this history can be preserved and made accessible for future generations. From the pioneering works of the 1960s until today, Norwegian video artists have contributed significantly to the international field, and it is of great importance that this legacy is safeguarded in a professional and sustainable way. At the same time, the archive functions as a living platform for dialogue and exchange. It opens doors for us as artists, enabling connections with curators, researchers, and institutions worldwide. This has created opportunities for new collaborations and international screenings, such as this one with UNITE. For me personally, it is both an honor and a joy to be part of the Videokunstarkivet\u2014not only as a contributor to the historical record, but also as someone who benefits from its role as an active showcase for contemporary practice.<\/p>\n

How does video art forge a connection with the viewer? What feelings or thoughts do you hope the audience in Ankara – T\u00fcrkiye will take away from your work?<\/strong><\/p>\n

Anders Elsrud Hultgreen<\/strong>: I hope the audience in Ankara, T\u00fcrkiye, will discover new perspectives on nature and landscapes through my films. I also hope that some will be inspired to explore my work further and engage more deeply with my artistic practice. Above all, I wish my films can spark inspiration and open new ways of seeing for the audience.<\/p>\n

Carsten Aniksdal<\/strong>: Video art is immediate and connects strongly to our time \u2014 almost disturbingly so \u2014 as today\u2019s public is accustomed to constant exposure to screens. At the same time, it can be challenging, since one must compete for attention in ways that differ from when video art was newer and less familiar. But with screenings like the one you are organising in Ankara, the audience may enter with a different mindset, one more open to reflection and to experiencing video art beyond the idea of mere \u201ccontent.\u201d <\/p>\n

Charlotte thiis-evensen<\/strong>: Falling Trees is a feminist work about freedom to be who you are as a woman of all ages. At the same time, it is a humorous work. I hope the work can inspire and motivate women in Ankara to be proud of their own bodies and presence in the world.<\/p>\n

Christine Istad<\/strong>: Video art engages viewers by weaving together moving images, sound, and the passage of time to create an immersive experience. It resonates on both emotional and intellectual levels, inviting reflection, empathy, or even disorientation, so that the viewer becomes an active participant rather than a passive observer. By following the journey of the traveling sun, we can share glimpses of the world with those who may never experience certain places\u2014where darkness, snow, or limited sunlight are unfamiliar. Underneath it all lies the reminder that the sun is among the most essential forces for life and survival.<\/p>\n

Elisabeth Mathisen<\/strong>: I hope that there will be a connection between the video and the audience. That the video will open a space in the viewer where wonder and curiosity will arise. A surprising encounter between the silent monologue of the mouth and the audience.<\/p>\n

Sabina Jacobsson: <\/strong>Video art forges a connection with the viewer through multiple layers\u2014narrative, aesthetics, and emotional resonance. Unlike more static art forms, video unfolds in time, allowing images, sound, and rhythm to create a sensory experience that engages both body and mind. In the case of video installations, the work can often envelop the audience, filling the entire space with moving images and soundscapes, turning the act of viewing into a physical and immersive encounter. For me, this connection is not only about storytelling, but also about evoking recognition, curiosity, or even discomfort\u2014emotions that linger and open up for reflection long after the viewing experience. In presenting my work to an audience in Ankara, I hope to offer glimpses into Nordic perspectives on life, art, and culture\u2014perspectives that are both specific and universal. My wish is that the audience will sense something of the Nordic atmosphere and lifestyle, but also find points of resonance with their own experiences, creating a dialogue across geographical and cultural boundaries.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Norve\u00e7 Video Sanat Ar\u015fivi (Videokunstarkivet), 1960’lardan bu yana Norve\u00e7’te \u00fcretilen video sanat\u0131n\u0131 kapsaml\u0131 bir \u015fekilde belgeleyen ve koruyan \u00f6nemli bir referans kayna\u011f\u0131 olarak bilinen bir ar\u015fiv. Norve\u00e7 El\u00e7ili\u011fi i\u015fbirli\u011fi ile UNITE Ankara\u2019da Eyl\u00fcl ay\u0131nda ba\u015flayan Videokunst G\u00f6sterimleri Projesi ise bu ar\u015fivde bulunan video eserlerden olu\u015fan bir se\u00e7kinin izleyicilerle payla\u015fmas\u0131 temelinde olu\u015fturuldu. Proje ba\u011flam\u0131nda 25 sanat\u00e7\u0131ya […]<\/p>\n","protected":false},"author":283014129,"featured_media":204,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"Norve\u00e7 Video Sanat Ar\u015fivi (Videokunstarkivet), 1960'lardan bu yana Norve\u00e7'te \u00fcretilen video sanat\u0131n\u0131 kapsaml\u0131 bir \u015fekilde belgeleyen ve koruyan \u00f6nemli bir\u2026","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"{title}\n\n{excerpt}\n\n{url}","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false,"jetpack_post_was_ever_published":false},"categories":[1382,1377],"tags":[],"class_list":["post-107","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roportaj","category-sinema-video"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/phlqwB-1J","jetpack_featured_media_url":"https:\/\/i0.wp.com\/uniteankara.com\/wp-content\/uploads\/2026\/07\/Screenshot2026-01-05024133.webp?fit=1749%2C822&ssl=1","_links":{"self":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/107","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/users\/283014129"}],"replies":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/comments?post=107"}],"version-history":[{"count":2,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/107\/revisions"}],"predecessor-version":[{"id":858,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/107\/revisions\/858"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/media\/204"}],"wp:attachment":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/media?parent=107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/categories?post=107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/tags?post=107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}