InBetween was exhibited at Kulturhuset, Copenhagen and the North Jutland Museum of Art in 1993. INBETWEEN consists of a green stripe of colour along a stairway and two objects hung at the top and bottom of the stairs respectively.
The objects consist of a photograph mounted in a glass bubble and an apparently old frame. The glass bubble produces a concave mirror effect (for seeing round corners) or it may remind you of the glass bubbles with snow in them that you bring home from a holiday.
The photograph at the bottom of the stairs is taken through the rear window of a car with a view of a line of caravans. The photograph at the top taken through the windscreen of a car shows an unending road filled with cars driving in the opposite direction.
The objects constitute their own world both in the little glass bubble and in the inner world of the caravan. Just as the stairway where they are hung is characterized by being a place where you move from one platform to another, so the objects bear associations with movement and attempts at permanence.
The frame, pictures and the souvenir are an attempt at recollecting vanished experiences, the caravan is the placeless home and the car is the symbol of modern man’s mobility. The motifs make up a multiplicity of references in perpetual movement and can thus be seen as a picture of art.
The philosopher Martin Heidegger regards art as a home where people can settle in and find shelter. In Lisa Rosenmeier’s INBETWEEN the green stripe links the two platforms making the intervening space a place, while the motifs of the objects represent a space in space – and an inbetween past and future.
INBETWEEN uses the stairway as a passage between two levels and transforms it from transition into place a platform in itself.
With the objects hung by the stairway INBETWEEN is an installation that both relates to the role of art as a reflectional interspace of platforms in our everyday lives, allowing this inbetween to involve the viewer and the place the exhibition as part of the work.
The sofa picture is a “surplus” we hang on the wall to please the eye – seen from the sofa / together with the picture.
The sofa is the sphere of the private: “security”, “rest”, and “coziness”. A sofa voter does not vote, but takes things as they come. Sofa and home are closely associated – feeling at home is about a sense of belonging in the world.
The place: The place is Gallery . The physical and psychic space of the gallery form part of the work. The installation has primarily something to say about the sphere of the gallery. The gallery, which traditionally sells art in smallish format (sofa pictures), art as objects for collection – by private persons.
The collector: To collect art is actually to collect the feelings/experiences of other people? = A sofa picture is a piece of materialised life!
A text wall centered in the space circles in fragments (quotations) around the points of everyday life and the pain and the passion in life.
As if what she was
silent about was not
what mattered most
As if she was only a wretched sieve
daily life ran through (Pia Juhl)