Annebarbe Kau |
Klaus Schrenk: "A vision of time prolonged". |
in: Annebarbe Kau Video Installation Zeichnung/Drawing. |
Herausgeber Akademie Schloss Solitude Stuttgart 1993, p. 7-12. |
Translation by: Steve Cox |
Observations
of substantive processes constitute the artistic point of departure of
the video works and installations of Annebarbe Kau. Image and sound
through usually operating at different levels are regarded as complementary
factors within an indivisible unity. Via the opposing but mutually reinforcing
elements of this unity the viewer is gradually introduced to the tapes
as they unfold and inspired to interpret through association the images
and compositions. In
recent years the artist has increasingly developed and refined the interplay
of image and sound, the interpenetration of space and time, the formal
structure expressed in movement and rhythm. Alongside her video works
she has created sound installtions, which represent a further step in
reflections of perception-oriented phenomena. In
her video works Annebarbe Kau dispenses with the use of rapid, eye-catching
sequences of cuts and images. Her tapes feature camera-generated images
which, through intensive post - production, are transported into a changed
visuall reality. Particulary important, here, is the suggestive proximity
of picture, language and sound located within a changing time continuum. In
"Undine , for example, language, music, and sound are used
to constuct three different levels of action which are initially visualized
alongside of another without any apparent connection. Annebarbe Kau draws
on a text sequence from Undine geht by Ingeborg Bachmann,
which is recounted as an off voice, spoken by the artist herself. Later
we see how a jet of water pours from a tab into a plug-hole of an old
stone wash basin. Language and arbitrarily produced sound are augmented
by her own saxophone playing. Out of the initial juxtaposition of discrete
elements a pattern emerges as music, language and water noise are connected
by sequences of cuts and superimpositions until they become so interwoven
that the seperate starting pionts of the strands of action move into the
backround. The
different use of picture and sound in the three - minute tape entiteld
"Garten im Raum appears as a conscious element of design. Again
the artist employs different visual levels, which are accompanied by a
text spoken in Japanese. Pictures and language allow an unmeasurable space
to emerge; it is formed by the onomatopoeia of a language that is alien
to us and by the associative visual sequences, which appear in connection
with this. In
Caina, a rustic location in Umbria and the sonata for cello
solo by Bernd Alois Zimmermann appaer section - wise as opposing elements
at the centre of the artists serch for subjective proximity. Through
the delicate linking of visual and musical elements the observer enters
into a mood of in which what was initially alien is filtered by the observers
own feelings and comes to appear familiar. At the end, in the final sequence,
picture and sound are made to correspond as everything slows down, and
the cello music, played so dramatically, echoes through the tranquil closing
scene. The
subjective and emotional character expressed in the choice of music, the
corresponding approximation in the language of the images and the construcion
of affinities between imagined attitudes also lead to a complex formal
design in Duo (1989). We see hands holding the sticks which
bring about the drum-roll , while the active figure , the women musician,
remains out of view in this fragmented shot. The rhythm of the music is
accompanied by the horizonal displacement of images, which in various
fades, reducing right down to narrow slits helps to create a misteriously
condensed image. The movement and superimposition of image and surface,
in a consistent colour scheme of light yellow and shades of black, take
place in a close relationship with the sound and rhythm of the drum. A
virtuoso sequence of movements then unfolds and leads, at the end of the
tape, to the point where both areas momentarily come together in unison. This
structure is developed further in m (1990). The acoustic sequences
such as trickling sand, the snare drum, voice exercises, stirring
of coffee and laughing remain sounds of intrinsic value because
they do not stand in a onedimensional relationship to a picture. Rather,
the relation between picture and sound sequence is open, like two lines
running roughly parallel but coming together, touching and separating
again. The artists emotional interest in composing with picture
and sound flares up as she deals with way in which they relate to each
other. Other
aspects of Annebarbe Kaus work are apparent in the latest tape,
entitled namen (1992). In addition to the ralation between
image and sound already described, the artist directs her attention above
all to movement and light. Seen on a static camera the first sequence
shows the scattering of sand with the dust being blown away in the darkened
mild light of an interior. The
shot, which is repeated several times, is interrupted by pictures of a
camera which revolves, showing an interior in black and white. This is
contrasted with slow shots of tree trunks and the ground under a forest
with circling particles of light coming through the foliage. |