KW Institute for Contemporary Art, Auguststraße 69, D-10117 Berlin

  • SUSPENSION OF DISBELIEF, Installation View
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF, Installation View
    Date(s) : 2015
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF, Installation View
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF, Installation View
    Date(s) : 2015
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF, Installation View
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF, Installation View
    Date(s) : 2015
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF, Installation View
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF, Installation View
    Date(s) : 2015
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF
    Date(s) : 2015
    Material : Videostill
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF
    Date(s) : 2015
    Material : Videostill
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF
    Date(s) : 2015
    Material : Videostill
    Website : http://www.kw-berlin.de/
  • SUSPENSION OF DISBELIEF, Installation View
    Artist : Elín Hansdóttir
    Title : SUSPENSION OF DISBELIEF, Installation View
    Date(s) : 2015
    Website : http://www.kw-berlin.de/


Elín Hansdóttir

KW Institute for Contemporary Art, Berlin

‘From the Press Release’

Icelandic artist Elín Hansdóttir’s site-specific piece ‘‘SUSPENSION OF DISBELIEF takes KW Institute for Contemporary Art’s architectur - a former margarine factory - as a point of departure for a new spatial and filmic installation.

The exhibition is comprised of two complementary spaces. The first floor is transformed into an environment, which is simultaneously the setting for an experimental film. Shot before the exhibition opening, the film is presented on the second floor.

Hansdóttir thus explores how each medium conditions perception. While in the installation she focuses on the space and its architecture by using objects and various surfaces, in the film she superimposes various temporal layers onto the same room with the aid of early cinematic illusion techniques. In this way, ‘SUSPENSION OF DISBELIEF’ interweaves present and past, two-and three-dimensionality, and movement, and involves its audience directly in the process of its making.

The term “suspension of disbelief” dates back to the nineteenth century philosopher and poet Samuel Taylor Coleridge (1772 –1834). It refers to the conscious willingness to engage with – to “believe in” – an artistic fiction, so as to derive greater pleasure from it. Hansdóttir is particularly interested in the illusion techniques used in early cinema such as glass painting, in which – in contrast to the deceptively realistic special effects of today’s movies – the discrepancy between reality and the fictional image is conspicuous, and nonetheless “believed”. ‘SUSPENSION OF DISBELIEF’ is the first work by Elín Hansdóttir in which the filmic experiment plays a key role. For its realisation she worked in close collaboration with choreographer Margrét Bjarnadóttir, filmmaker and cameraman Frerk Lintz, and composer Úlfur Hansson.

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