“We must not be blinded by the spectacular effect and also technical performance but always try to find the deep sense in the work.”
German born but currently New York based artist Annina Roescheisen produces oniric and poetic art piece / installation. We had a little talk with her about her work, about video that is like painting movements and the importance of travelling for an artist.
Hi Annina, the last time we met you were working on a video installation for the Venice Biennale. What was it like ?
You can find a magnificent atmosphere in Venice and sense a feeling of going back in time. The Biennale of Venice is one of the most important art fairs that make a direct link between classic art such as architecture, historic cultural heritage and private collections and on the other site contemporary art. A large number of countries are represented with their own art pavilion. That’s why we find a large diversity of artists and installations: the universality of the creation at his highest level.
What importance do you place on video art?
The advancement of technology has expanded the boundaries of video art. For me, video is like painting in movement, you have the writting first part and after that comes the aesthetic side and realization. It’s a way to give life to my works; to include them into a visual and realistic environment: beyond the imagination.
Why did you decide to move to Nyc? How important it is for an artist to travel?
In the US people are more curious and more open to young artist, new forms of creativity and cultural expression. More personally, it was so important to travel for me, end a life loop and find new inspiration and new study themes.
You are describing yourself like a multimedia artist; working with photo , video, sculpture and installation. What is your opinion about the digital art; the new technology for art purposes?
Obviously new technology opens a large panel of possibilities with a strong capacity to innovate on an immersive and interactive aspect. Sometimes this kind of creations are really impressive, technically and visually but there is a lack of authentic emotion. The main difficulty is to create only with machines and not with feelings. We must not be blinded by the spectacular effect and also technical performance but always try to find the deep sense in the work.
Can you explain the genesis of this installation, that is one of my favorite: Between Heaven & Earth. Does spirituality play a role in your work and also in our pictures series LA PIETA?
I try to imagine art without the religious constraint, with naivety and see the beauty of the religious art without any filter and raw. When I worked on the “icon” it has a symbolic and visual aspect but I nevertheless try to keep a neutral position.
interview and photography by Max Passadore
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