Exhibitions

Selected Exhibitions and Public Commissions


SF2021: A Fantasy Odyssey
SeMA – Buk-Seoul Museum of Art, Korea
23 March – 30 May 2021

Group Exhibition

SF2021: A Fantasy Odyssey introduces contemporary art practices seeking the possibility of new thinking against the backdrop of the expansive spectrum of science fiction narratives. 

In this moment of time, we are at a point where the futures depicted in the historically important science fiction novels are becoming a reality one after another. In fact, how accurately these ‘ancient futures’ have predicted the present reality is not of much importance. Whatever has been anticipated, we are actually living in the world they imagined – from climate change and artificial intelligence to self-driving vehicles. With this in mind, the exhibition explores the chaotic world and virtual reality in the era of the pandemic through a newly-created worldview based on the artistic presentation of science fictional imagination, to connect the future brought about in the present.

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Fertile Ghosts
Kunstfort, Vijfhuizen, The Netherlands
27 September – 27 December 2020

Solo Exhibition

In the Genieloods arsenal boundaries between species become fluid and new hybrids are born. The voices of exctinct bird species are brought into the future, dark clouds of pollen inhabit a blossoming underworld, and a contact zone for interspecies communication is opened. Can a fertile world be re-established?

Kunstfort is proud to present the new solo exhibition by Ann Lislegaard (b.1962 – lives and works in Copenhagen). Lislegaard is internationally known for her visionary videos, animations, and sound-light installations that engage storytelling—specifically science fiction—to explore the malleability of human perception.

The subversive potential of science fiction enables everyday scenarios to be framed by unusual rules. Rather than deconstructing categories of language or meaning, these categories are multiplied, transformed, and transfixed. In Lislegaard’s work, experiences of simulated spheres are created by means of interdisciplinary hybrids and connections – between architecture and cinema, between fictional narratives, and between human beings, machines, and animals.



Habitat et sted dedikeret til tidsrejser og ukendte begivenheder
Opening September 2021
Skovsnogen – Deep Forest Art Land, Denmark

Public commission

Et dronebillede over Deep Forest Art Land afslører en kunstigt opstået lysning i den tætte granskov. Den store mørke cirkel, der anes i skovbunden, ligner en landingsplads eller måske en platform til observation og undersøgelse af universet. Den mørke flade forekommer næsten dystopisk i sin indtagelse af lysningen og som kontrast til de omgivende 15 meter høje træer. Værkets minimale og stringente udtryk er samtidig et massivt greb i skoven. 

Kunstner Ann Lislegaards værk Habitat – et sted dedikeret til tidsrejser og ukendte begivenheder består af en stor cirkelrund platform, der er støbt i asfalt og måler 18 meter i diameter. Det arkitektoniske felt i skoven har en skala og størrelse, der inviterer de besøgende til at gå, sidde eller ligge på det. Asfalten er skåret helt skarpt ved kanten, som indikerer en tydeligt markeret anden zone end skovbunden. Her kan man lytte og observere de ”signaler”, der kommer fra den omgivende skov, dyrene, planterne, himmelhvælvet, stjernerne og planeterne.

Bevægelsessensorer registrerer, når gæster nærmer sig kontaktzonen og aktiverer 8 magenta lyspunkter samt lyde fra uddøde fugle, der som et digitalt dnaspor vidner om både skoven, dyrene og menneskenes fortid og mulige fremtider. Lyden af fortidens fuglekald sender signaler til skovens fugle, der svarer tilbage og som et åndesyn frembringer idéen om de uddøde arter. Deres tabte sprog genaktiveres i en symbiotisk opera af skovens fuglestemmer og fortidens spøgelseskald. Denne nye biotop af lyde og lys, en portal til kommunikation mellem skovens væsener, kan måske tiltrække nye arter og skabe et nyt uforudset biologisk miljø – et ukendt habitat. 



Unmuted
Mañana Bold, Frankfurt, Germany
September 2020

Group Exhibition
with Julia Hainz, Hanne Lippard, Ann Lislegaard, Nina Schuiki, Adrian Williams


Not Without My Ghosts: The Artist As Medium
Hayward Gallery Touring exhibition 
Drawing Room, London, 10 September – 1 November 2020
Millenium Gallery, Museums Sheffield, 19 November – 7 March 2021
Glynn Vivian Art Gallery, Swansea, 20 March – 13 June 2021
Levinsky Gallery, Plymouth, 16 July – 3 October 2021
Grundy Art Gallery, Blackpool, 15 October – 11 December 2021

Group Exhibition
with William Blake, Cameron, Bonnie Camplin, Ann Churchill, Ithell Colquhoun, Louise Despont, Casimiro Domingo, Madame Fondrillon, Chiara Fumai, Madge Gill, Susan Hiller, Barbara Honywood, Georgiana Houghton, Anna Mary Howitt, Victor Hugo, Augustin Lesage, Pia Lindman, Ann Lislegaard, André Masson, Grace Pailthorpe, František Jaroslav Pecka, Olivia Plender, Sigmar Polke, Lea Porsager, Austin Osman Spare, Yves Tanguy, and Suzanne Treister with The Museum of Black Hole Spacetime Collective.

Not Without My Ghosts explores the changing terms of artistic engagement with mediumship.

The exhibition takes in works based on spirit experiences performed in a state of trance, practices of automatism, surrealist experiments, ritualised forms of occultism, and communications with higher powers and other realities. 

Taking as its starting point the visionary works of William Blake and the largely forgotten Victorian spiritualist artists Georgiana Houghton, Anna Mary Howitt and Barbara Honywood, the exhibition processes through the 20th century.

It concludes with works from artists including Susan Hiller, Bonnie Camplin, Suzanne Treister, Pia Linderman and Louise Despont to demonstrate how contemporary artists are using the power of the unseen and the ghostly to explore the radical ambiguities of the modern world.

As these creative practices challenged traditional forms of art, religion and politics, and were often associated with female artists, the exhibition also considers spirit art and the mediumistic in relation to the history of feminism over the last two centuries.


In the Spotlight of the Night – Cities never Sleep
KAI10, Düsseldorf
25 October 2019 – 9 February 2020
Curated by Julia Höner

Group Exhibition


Though the night descends upon all places, it is particularly in urban space that the full array of its meanings is released. The focus of the exhibition In the Spotlight of the Night – Cities never Sleep consequently lies on the nightlife of the city. Together with the participating artists, we gain insight into urban spaces shaped by the night, where fundamental humanist principles tend to become porous, where the proximity of humans to aspects of the creature-like, the artificial, the hybrid and the shady come to the fore. Clearly defined social, moral or aesthetic differences as seen in the cold light of the day will lose their rigid contours under the cover of a nocturnal semi-darkness. The city at night comes across as a realm of transformation and excess, an ideal breeding ground for the development and acting out of alternative life scripts, for modes of thinking directed against the stream of standard political or societal values and rules. 

The exhibition focusses on a social dimension of night manifesting in the form of a precarious atmosphere and ambivalent mood underlying the artificial nocturnal world. In a time that is increasingly perceived as politically instable – in which also technological transformations or the loss of entire ecosystems are experienced as a threat – the night likewise serves as a real or imaginary place of refuge, where existential insecurities can be suppressed, for a while at least.

The show also highlights the vital role that artificial light plays in the unfolding of such a nocturnal counterworld. Dioramas from the 18th and 19th century underscore the fascination of the masses in the face of artificial light and, at the same time, interact with the artistic works of the present.


Myths of the Near Future
FOTONOVIEMBRE Biennale, TEA, Tenerife
8 November 2018 – 15 March 2019
Curated by Mette Kjærgaard Præst

Group Exhibition
with Ana Mendieta, Ann Lislegaard, Claude Cahun, Dibujo Colectivos (Óscar Domínguez, André Breton, Victor Brauner, Jacques Herold, Remedios Varo, Jacqueline Lamba, Wifredo Lam), Drago Díaz, Jorge Oramas, José Luis Perez Navarro, Juan José Gil, Oreet Ashery, Óscar Domínguez, Patricia Domínguez, Pia Arke, René Magritte, Sebastián de Larraechea and Victoria Jolly (Arte Abisal), Robert Mapplethorpe


This exhibition aims to open up a conversation about otherness, fluidity, and the possibilities of transformation. It brings together artists who share an impulse to question assumptions of truths, and who propose alternative modes of action.

Today we are arguably living in a time of political and ecological crisis. We are realising that the constant drive towards capitalist progress has had immense and destructive consequences for the environment, and at the same time, the global political divide is manifesting in a rise in anxiety related mental health conditions and the loss of human rights that generations before us fought hard to gain.

In response to this crisis, notions of solidarity, otherness, and fluidity become increasingly vital as tools to challenge oppressive conditions. Through states of entanglement rigid hierarchies can soften, and fixed boundaries between self and other open up, creating fluid channels of communication and new possibilities of transformation.

Myths of the Near Future – Entanglement is a journey in search of new ways to communicate with, become part of, and entangle ourselves with our surroundings.


Some Animals Never Sleep
CFHILL, Stockholm, Sweden
15 March – 9 April 2019

Solo Exhibition


Ann Lislegaard’s works are hybrids incorporating elements of traditional fable, depictions of animals, cyborgs, and fantasy culture. Her mysterious, digital moving tableaux have bedazzled the international art scene. She has been shown at Moderna Museet and the Gwangju biennale, and has also represented Denmark at the Venice biennale. CFHILL is the first gallery in Sweden to present her work Oracles, Owls… Some Animals Never Sleep (2012–19).


Orakel, en animation
2018-2016
University College Copenhagen, Campus Carlsberg, Copenhagen

Public Commission

The site-specific work Orakel, en animation 2018 (Oracle, an Animation 2018) at University College Copenhagen was created by artist Ann Lislegaard. The neon owl, which has a wingspan of more than eight metres, is installed on an atrium wall at Campus Carlsberg, eleven metres above the floor. In a cyclical sequence, the owl spreads its wings, takes off and flies, the sequential motions animated by a network of neon tubes. The piece was realized with a grant from the New Carlsberg Foundation.

Ann Lislegaard has many years’ experience with a variety of media and is known especially for incorporating new technology into her artistic work. She draws inspiration from the science fiction genre as an alternative approach to narratives and to the social and psychological structures that we rely on to make sense of the world. Lislegaard is interested in the owl as a sort of oracle, a harbinger.

‘At an early stage in the process I decided that the work should not be a still image of an owl. It had to perform and be in motion, like an animation. During recent decades more than three million birds have disappeared in Denmark alone. The neon owl may be seen as a meeting place that also reminds us that we can change the way we live. The owl takes off, rises and dreams of flying – also in the future,’ says Ann Lislegaard. [Read full text here]

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Adapt to Survive: Notes from the Future
Hayward Gallery, Southbank Centre, London
18 April – 11 June 2018

Group Exhibition
with Andreas Angelidakis, Julian Charrière, Youmna Chlala, Rainer Ganahl, Marguerite Humeau, Ann Lislegaard and Bedwyr Williams


Engaging with the idea that adaptation is necessary for survival, the artists present films, sculpture and text-based works that explore ideas of change and hybrid forms of architecture, biology, technology, and language. 

Taking its title from the phrase adopted recently by the business sector, Adapt to Survive explores the idea that Darwin’s theory of evolution can serve as a metaphor for a future-facing strategy for survival and growth. In recent years, the phrase ‘adapt to survive’ has been adopted by the entrepreneurial start-ups and professional ‘change-makers’, suggesting a fast-paced form of agency that is antithetical to Darwin’s concept of natural selection. 

In recent decades, futurology has become established as an area of research combining game theory, statistics, and speculation. Responding to these cultural shifts, the artists in Adapt to Survive make educated guesses about our society’s evolution and progression, but equally convey uncertainty and skepticism about our accelerating patterns of growth and consumption. 


Hybrids and Bastards
Shanaynay, Paris
18 March – 16 April 2017

Solo Exhibition


Artificial. Artificial?

Hybrids and Bastards is a survey of sorts, one that doesn’t neccesarily show each work to its best advantage. Instead, they seem to be working in collusion. The exhibition exploits the two-room architecture of Shanaynay and articulates various excitements of anti-hierarchical conditions. 


Uncertain Reflections
OR Gallery, Vancouver
4 February – 8 April 2017

Ann Lislegaard, Neil Wedman


In addition, no one today remembered why the war had come about or who, if anyone, had won. The dust which had contaminated most of the planet’s surface had originated in no country and no one, even the wartime enemy, had planned on it. First, strangely, the owls had died. At the time it had seemed almost funny, the fat, fluffy white birds lying here and there, in yards and on streets; coming out no earlier than twilight as they had while alive the owls escaped notice. Medieval plagues had manifested themselves in a similar way, in the form of many dead rats. This plague, however, had descended from above. 
– Philip K. Dick, Do Androids Dream of Electric Sheep?


The Or Gallery is pleased to present a new exhibition featuring the work of Ann Lislegaard (Copenhagen/New York) and Neil Wedman (Vancouver). Uncertain Reflections features Lislegaard’s video installation Oracles, Owls… Some Animals Never Sleep (2012-2014) and Wedman’s House of Mirrors #1, #2, and #3.

Lislegaard and Wedman’s respective works in this exhibition employ empty mirrors and doubling – subjects that have long been associated with fascination and foreboding, from monstrous doppelgängers to portals that depict hidden aspects of our character, or some future – often calamitous – event. Mirrors also hold the power to obfuscate, distort and confuse.

Oracles in antiquity were intentionally vague and obtuse so as to avoid precise predictions that were less likely to come true. As Lislegaard has remarked: “Oracles are entities that serve as portals to hidden worlds, connecting to what is buried beneath the surface of things.” As such, they were consulted for guidance regarding important matters and events. Lislegaard’s oracle owls pronounce aphorisms and excerpts from the I-Ching as they are interrupted by digitised noise and dialogue taken from Blade Runner, Ridley Scott’s 1982 film adaptation of Philip K. Dick’s 1968 novel Do Androids Dream of Electric Sheep? Their message is garbled, fragmented and confounding. 

While mirrors are purported to reflect reality, when assembled in a maze their ability to distort the space they occupy is compounded. The house of mirrors (or “mirror maze”) is a puzzle that has roots in late 19th century Europe, first patented by Gustav and Louis Castan of Berlin. Over the course of the 1890s through the 20th century, halls of mirrors became a mainstay of world fairs and traveling carnivals. The ubiquity of such attractions and their ability to confound human senses make them popular signifiers of physical endangerment and especially mental distress.

Uncertain Reflections marks the sixth of a series of exhibitions and projects curated and produced by Mark Lanctôt and Jonathan Middleton under the title The Troubled Pastoral.


Spinning and Weaving
Overgaden Institute of Contemporary Art, Copenhagen
12 November 2016 – 8 January 2017

Solo Exhibition


Lislegaard’s work is often based on science fiction, which she uses as an alternative approach to language, gender roles, identity, and the social and psychological structures through which we understand the world. For Lislegaard, science fiction provides a laboratory where ideas can be tested and new alternate scenarios can be created.

Her exhibition at Overgaden is comprised entirely of new works. A central piece is the 3D animation Spinning and Weaving Ada where a spider spins a psychedelic web of the letters ADA LOVELACE. Ada Augusta Lovelace was a mathematician who in the first part of the 18th century wrote the algorithms that came to form the basis of the world’s first software and computer. She is today seen as not only a pioneer in computer technology, but also as a forerunner of the development of the internet. The animation is an homage to Ada Lovelace and the feminist qualities that are associated with spinning and weaving: forming patterns and shapes with threads, connecting, creating nets and networks.

The point of departure for the sound and light installation, Shadows of Tomorrow, is the science fiction film Contact in which a female scientist after years of searching and listening captures sounds from outer space. These sequences of sounds and codes are perceived as a language from an unknown entity wishing to make contact. Using this science fiction film, Lislegaard has created a vocabulary of manipulated sound passages that are re-recorded with a human beatboxer into a new and abstract language. The soundtrack is played out in the installation in several sequences together with multiple lights: an algorithm prompts the coloured lights to switch on and off. Performed through the beatboxer’s body and with resonance in the installation, Lislegaard’s Shadows of Tomorrow proposes hidden messages and future events. With the use of an alternative vocabulary and sounds channelled through the body, the beatboxer voices the unknown.


Pollen Messages
Viborg Kunsthal
August 26 – November 27, 2016

Solo Exhibition


Shadow Ya Ya
Kyoto Art Center
October 27 – December 25, 2015

Solo Exhibition

Kyoto Art Center is pleased to announce a solo exhibition by Ann Lislegaard. Ann Lislegaard’s 3D animation video installations were on view, to much acclaim at PARASOPHIA: Kyoto International Festival of Contemporary Culture 2015.

In Ann Lislegaard’s work, experiences of simulated spheres are created by means of interdisciplinary hybrids and connections – between architecture and cinema, between fictional narratives, and between human beings, machines, and animals. In this context, which draws on the historical residues of culture and technology while building on feminist gender theories, the boundaries between the real and the imagined are blurred. Concrete and simulated worlds interpenetrate and are reorganized within one another, a world within a world within a world. Lislegaard’s simulations and animated works create a centrifugal effect by means of sound, light, and image.

Science fiction writers, and in particular Samuel R. Delany, J.G. Ballard, and Ursula K. Le Guin, may be viewed as a sort of generator or catalyst for creating simulated worlds, extreme states that seem to herald the disintegration of the very texture of civilization, or dystopian representations of a nature that exists beyond “place.” The exploration of these simulated worlds provokes a sense of estrangement, as well as a new reading of our own present.

For this exhibition, she will present her animations Time Machine (2011) and Crystal World (after J.G. Ballard) (2006) both of which are exhibited for the first time in Japan.


Paraspace
Tel Aviv Museum of Art, Tel Aviv, Israel
10 June 2015 – 16 January 2016

Solo Exhibition

In Ann Lislegaard’s work, experiences of simulated spheres are created by means of interdisciplinary hybrids and connections — between architecture and cinema, between fictional narratives, and between human beings, machines, and animals. In this context, which draws on the historical residues of culture and technology while building on feminist gender theories, the boundaries between the real and the imagined are blurred. Concrete and simulated worlds interpenetrate and are reorganized within one another, a world within a world within a world. 

Lislegaard’s simulations and animated works create a centrifugal effect by means of sound, light, and image — for, as Maurice Merleau- Ponty states, “To conceive space, it is in the first place necessary that we should have been thrust into it by our body.” 

Science fiction writers, and in particular Samuel R. Delany, J.G.Ballard, and Ursula K. Le Guin, may be viewed as a sort of generator or catalyst for creating simulated worlds, and different identities as well as dystopian representations of a world that exists beyond “place.” The exploration of these simulated worlds provokes a sense of estrangement, as well as a new reading of our own present. In conversation, Lislegaard pursues twisting and multilayered trajectories, which unfold in the space between dreams and descriptions of reality. She talks about the avant-garde American filmmaker Maya Deren (1917–1961) — a dancer, choreographer, and photographer who created poetic, spiraling psychodramas that exceed familiar hierarchies of narrative and editing; the Italian-Brazilian revolutionary architect Lina Bo Bardi (1914–1922); the Cuban-Mexican interior designer Clara Porset (1895–1981); as well as women artists such as Kay Sage (1898–1963) or Eva Hesse (1936–1970), who studied (among other things) crystals and organic structures as a means for defining non-linear time. Lislegaard’s world is rooted in techno-sexual and gender evolutions, unfolding in the space between body and bio-technology, in the spirit of the “Cyborg Manifesto” published in 1985 by the scholar and critical thinker Donna Haraway — a feminist reading of technology in a world that blurs the boundaries between living creatures and machines. New technologies, Haraway argues, provide a theoretical and practical advantage in the context of gendered power relations, since the politics of the cyborg present technological symbiosis as a dynamic exploration, rather than merely as a male fantasy about “natural control” and the submission of nature, technology, and “the others.”


Parasophia
Kyoto International Festival of Contemporary Culture
7 March – 10 May 2015
Curated by Shinji Kohmoto

Group Exhibition
with Lisa Anne Auerbach, Nairy Baghramian, Cai Guoqiang, Stan Douglas, Harun Farocki, Simon Fujiwara, Dominique Gonzalez-Foerster, Hong-kai Wang, Hedwig Houben, William Kentridge, Ragnar Kjartansson, Louise Lawler, Ann Lislegaard, Ahmed Mater, Aernout Mik, Yasumasa Morimura, Susan Philipsz, Florian Pumhösl, Pipilotti Rist, Arin Rungjang, Aki Sasamoto, Allan Sekula, Tadasu Takamine, Koki Tanaka, Ana Torfs, Rosemarie Trockel, Jean-Luc Vilmouth, Danh Vo, Xu Tan, Miwa Yanagi


Speaking in Tongues
Galerie Paul Andriesse
30 November 2012 – 27 January 2013

Solo Exhibition

Speaking in Tongues is a continuation of Ann Lislegaard’s exploration of science fiction as a genre and frame for critical reflection on notions of language, gender-roles, socio-political structures and the future. For Ann Lislegaard the genre of science fiction is used as a laboratory where transformative scenarios and unstable ideas can be staged and tested […]


Tapping of the Fox Sisters
11 December 2010 – 27 February 2011
Marabouparken, Stockholm

Solo Exhibition

Ann Lislegaard har sedan tidigt 1990-tal byggt upp ett internationellt konstnärskap kring film-, ljud- och ljusinstallationer vars sinnesutvidgande egenskaper hör till hennes speciella kännetecken. I utställningen Haunted. Tapping of the Fox Sisters.visar vi ett urval av konstnärens science-fictioninspirerade verk som känns extra angelägna i en tid då vår politiska kultur präglas av rädsla och tillbakablickande. Utställningens titel associerar bl a till hur vi hemsöks av gamla föreställningar och till de amerikanska systrarna Fox, som med sin spiritistiska telegraf var en av grundarna till den moderna Spiritismen.

Få breda kulturyttringar har som science-fiction fått människor att begrunda komplexa frågeställningar som beroendeförhållandet mellan dåtid, nutid och framtid, vår sexualitet och vår rädsla för det som är främmande. Ann Lislegaard använder sig av science-fictiongenrens strategi att dra in betraktaren i en alternativ verklighet som är både familjär och samtidigt helt främmande. Hon intresserar sig för det författaren J.G. Ballard kallat det ’psykologiska rummet’ – ett rum mellan människans perception och kognition där våra förhållningssätt formas och omförhandlas. Inom science-fiction låter man ofta dessa mentala landskap skapa förutsättningar för en fiktiv värld som bildar kontrast till våra invanda föreställningar. I utställningens olika verk refererar konstnären till betydelsebärande teman och bilder i ikoniska science-fiction romaner och filmer som Crystal World av J.G. Ballard, Left Hand of Darkness av Ursula K. Le Guin, 2001: A Space Odysseyav Stanley Kubrick och Närkontakt av 3:e graden av Steven Spielberg.

Verket Crystal World (After J.G. Ballard) från 2006 är en projicerad 3D animation där vi rör oss genom ett konstruerat universum av arkitektoniska strukturer och en djungel som långsamt kristalliseras. Titeln på verket är hämtat från J.G. Ballards roman Crystal World från 1966 där en geologisk kristalliseringsprocess utgör ett centralt tema. Förödande vacker sprider sig kristallisering som en glittrande istid av juveler där dess attraktionskraft paradoxalt nog tycks ligga i den fysiska och mentala frysningen av människor, byggnader och natur. I ljudverket Science Fiction_3112 (after 2001: A Space Odyssey by Stanley Kubrick) iscensätter Ann Lislegaard en radikal manipulering av tiden och rummet genom att speeda upp, sträcka ut och komprimera denna klassiska sci-fi films ljudspår från 141 till 8 min. Olika tidsplan blir parallella verkligheter i Naked Future – ett nytt performance- och ljudverk producerat för utställningen på Marabouparken, där operasångerskan Henriikka Gröndahl improvisationssjunger ett utdrag ur Joanna Russ feministiska science-fictionroman, The Female Man från 1975.

Med ljud, ljus och rörlig bild sugs vi i utställningen in i ett komprimerat, Lislegaardskt universum i ständig transformation, där våra förhållningssätt till rummet, tiden, sexualiteten och det okända omprövas.


What if
11 September – 27 December 2009
MOCAD — Museum of Contemporary Art Detroit

Solo Exhibition

The exhibition provides a comprehensive look at artist Ann Lislegaard’s (b. 1962) extended investigation of the science fiction genre. The show comprises six major installations along with other works that explore notions of time, space, and place. In her work the artist employs sound and light architecturally to reflect on and investigate how we perceive and move through the physical and the psychological environments that we inhabit.

Lislegaard’s trilogy of video works, accompanied by sound installations and several site-specific sculptural works, unite elements of recent art history with themes rooted in science fiction literature. Lislegaard reinterprets these varied sources to create experiences within imagined places that lie firmly outside of logic and the habitual.


Ann Lislegaard, Thomas Bayrle and Ultra-red
28 May – 2 August 2009
Raven Row, London

Solo Exhibition

[…] Ann Lislegaard’s recent work describes a universe that hovers like Thomas Bayrle’s between utopia and dystopia, and refracts political reality through the imaginary. Her animation and sound works at Raven Row draw on classic science fiction, such as Ursula K. Le Guin’s The Left Hand of Darkness to construct states both psychological and external.