CICA Museum, M Gallery
March 6- 10, 2024
2024.03.06 – 10
It could be freedom, The moon or Maybe we have to explore new
In the ethereal expanse of empty space, crystals gracefully traverse, colliding, dissolving, and merging in a delicate dance. They manifest as open forms, reminiscent of transparent, tattered plastic shopping bags or the discarded shells of former selves.
Within this artistic narrative lies a poignant reflection on the plight of the dispossessed—those who, burdened by the complexities of everyday life, find themselves adrift in a sea of deprivation. Cloaked in rags and surrounded by meager belongings, they become detached from the communal foundations that once provided solace. The open air becomes their sole companion, a stark solitude amid the pressing need for sanctuary.
In the face of increasing impoverishment and the relentless onslaught of illness, places of leisure transformed into essential sanctuaries. Here, individuals slip into feverish exhaustion, seeking respite from the relentless challenges that accompany homelessness.
Navigating the realms between digital and analog media—photography, riso printing, and film—the artistic endeavor emerges as a visceral yearning for tactile materiality. Tracing paper, organza, and the luminescent glow of a film screen intertwine, forming a tangible bridge between the imagined and the corporeal.
The work, an amalgamation of fictional, staged imagery and material studies, unfolds as a tapestry of relics. From a documentary perspective, it captures a pivotal juncture—an excerpt from an ongoing, unfinished narrative. It is a self-imposed mission: to delineate a universe of women, their stories woven intricately into the fabric of existence.
This artistic exploration transcends mere representation; it becomes a visceral exploration of the human experience, where the ephemeral and the enduring converge. The crystals, symbolic of transience, mirror the transient nature of life itself—a poignant reflection of the multifaceted journey of those who slip through the fault lines of society.
Annett Stenzel is a dynamic music film artist based in Nuremberg, renowned for her compelling exploration of the intersection between film and painting. Her academic journey led her through prestigious institutions across Europe, where she honed her skills in both disciplines.
At the core of Stenzel’s captivating music films is a profound exploration of women’s relationships and their multifaceted roles in society. Her narratives deftly navigate the realms of structural visible and invisible violence, juxtaposed with themes of empowerment. Through her unique lens, Stenzel’s film art becomes a poignant expression of performative, musical, and cinematic elements that converge to create a rich spatial experience.
Firmly rooted in both documentary and fiction genres, her experimental films traverse international boundaries, having been showcased in exhibitions across Bosnia-Herzegovina, Denmark, France, Germany, Korea, Poland, the USA, and various film festivals in Italy, Spain, Portugal, and Canada.
In recognition of her outstanding contributions, 2021 and 2022 saw Annett Stenzel receiving the prestigious Best Documentary for her film Ladyjerks about the Danish female Band collective.