Agnes Btffn – CODE, installation
In the main hall of the power station Flørli in the Lysefjord, Norway
about the installation:
CODE is an installation to be set up in public spaces. It is composed of profiles of about 150 persons cut out in plywood. The cut out and it’s negative have been painted black and white. They are placed standing in the rom.
CODE was developed throw several stages. These are:
– 2003, the installation “Bånsåm”was set up for a first time in the railwaystation hall of Stavanger.
– 2005, I was invited at Dalane festival of culture to work with the installation. I developed the concept on the site and together with 4 different groups of persons living in the Dalane region and it’s main municipalities Bjerkreim, Lund, Sokndal and Eigesund.
– 2009, a small unit of the installation was sent and shown in Denmark in the north/west of Godtland in the international/regional contemporary art project organized by ET4U.
Sylvain Berland writes the following about the installation:
““… Bånsåm, includes a stronger ethical aspect, despite the modelling qualities of its structural shape. Bånsåm is an interactive installation that focuses on communication, exchanges and disputes regarding social issues such as immigration, tolerance, integration etc. Set up in public spaces, such as the hall of the railway station in Stavanger in 2003, the installation presents an intimate inner space shaped by sculpted elements placed in a circle.
These plywood elements are the silhouettes of specific people, children and adults, whom Agnès Btffn has encountered. Each element shows two profiles facing each other. In this way they seem to make visible and materialise that which is normally invisible and immaterial: the space in-between two people communicating and sharing ideas. The negative space created by the silhouettes form outlines, concrete prints of existing individuals; and the spaces between silhouettes become the shapes of the encounters. The Bånsåm installation shows the dynamic between the plywood in-betweens and the immateriality of the real encounters between the people who originally participated in the discussions in the heart of Bånsåm.”
I choose today to give the work a new focus, and give the installation a new name CODE, refering to the barcode.