"Just as information is no longer opposed to image, but is the very matter of its construction, so too information no longer appears incompatible with the story (as it was for Walter Benjamin), but incorporates it as an element […] into its constructive logic. The translation of “the archive back into individual life stories” (Alexander Kluge), which this makes possible, has become the means for certain artists to use memory, against the grain of its dominant sentimental use as a repression of the history it claims to represent, as an element of construction of historical experience. For temporality involved here is not that of the simple addition, or layering, of cinematic montage on the new partial ontology. Rather, it is a more complex temporality constructed out of the relations between the narrativity of the story and the interruptive, spatially distributed character of the still or unmoving image, the states of which registered the common now of the time of viewing. This is central to the establishment of the historical contemporaneity of such works: their bringing together of different times (different social times and different historical times) within the disjunctive ‘living’ unity of the present. Within the relational whole of the articulated ensemble of elements, each element functions as a separate subject of speech, creating a pluri-vocal ensemble in which it is the exchange between the thing-like and subject-like aspects of the image that establishes its specific temporality."

Peter Osborne, The distributed image, Text zur Kunst, September 2015, 25. Jahrgang, Heft 99

Walter Benjamin, The storyteller: observations on the works of Nicolai Leskov, Selected Writings 1935-38

Alexander Kluge, Edgar Reitz, Wilfried Reinke, Word and Film (1965)

Lisa Wilkens uses drawing as an epistemic operation to process information from photographic reproductions, printed matter and books. Wilkens works with brush and Chinese ink, developing small-scale images aesthetically oscillating between mechanical and manual reproductions, demanding attention and time in both their production and reception. Wilkens draws on paper sourced from family connections in the former German Democratic Republic. As the paper is not acid free and therefore susceptible to change of colour and slow decay caused by exposure to sunlight (UV light) the works propose relevant questions about the value of process vs. product, technique and technology, time spent and time gained. Wilkens research is currently directed towards work and labour and the valuation/devaluation of manual labour. She is interested in connections between industrial and artistic labour as well as post-work and sharing economies.


PAPERCUTS – SOFAM Soundsketches for Art on Paper at BOZAR in Brussels, 6.–9.9.2018.
A proposal by Marie Cantos, artistic director, in collaboration with Alix Gastineau, sound artist, realized with the support of SOFAM.

Lisa Wilkens in conversation with Koenraad Dedobbeleer.

alt : http://lisawilkens.com/files/papercuts-lisa--koenraad.mp3


Manual for (the) Work – Thibaut Verhoeven 2018

Die Übersetzung von Technik in Handwerk – Radek Krolczyk 2017

The Shadow of an Unseen Power – Eleanor Clayton 2015

The Halflife of Messages – Reece Jones, 2015