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  • 1. Brännström, Andreas
    et al.
    Ericsson, Mattias
    Lundqvist, Camilla
    Norberg, Micael
    Umeå universitet, Humanistiska fakulteten, Institutionen Konsthögskolan.
    Willemark, Alva
    Österholm, Johan
    Kite Aerial Photography - Hué2014Bok (Övrig (populärvetenskap, debatt, mm))
    Abstract [en]

    The Kite Aerial Photography - Hué project started with the intention from Mattias Ericsson and me Micael Norberg to work artistically on a jointly project with students from di erent art schools and from di erent cultures. We had an idea of building bridges both artistically and culturally. We traveled to Hué in Vietnam in order to explore new ways to collaborate and  nd new artistic meth- ods. We wanted to use kites and send our cameras up in the air to make aerial pictures. We tried to  nd a way to control events and by that also control our artistic outcome and understanding. But in the The Kite Aerial Photography project we had no control. The weather controlled our kites. The place and the language controlled what we knew and understood. What was left was to look into ourself and negate a compromise. The leftovers became documentations of an experience.And now I am looking back at those events, wondering what really happened. I am using words, trying to create an image of my memories and of my experience - hot air, smells and noise. Experi- ences I can’t communicate fully in words. You as a viewer will never feel them and I will only remember them. We will also remember di erently. Every participant have their own image ofwhat happened during those days in Hué. The feeling of being di erent, not understanding and being an outsider made us all meet ourselves in di erent ways. We believed that language would build bridges of understanding, and maybe it did. But here we are now. A long time has passed since we returned from Hué. What we have left are images and memories. I remember smells and emotions and in this state between memory and fact a tension is created. A juxtaposition of con ict- ing feelings. I look at the photographs now with a new understanding. We tried to move out of our comfort-zone looking for the unseen, the enigma, where memory and re ection becomes a liminal state. I now realize that knowledge is not fact or truth, but a state that we can call ”not knowing”. A state which for me is the very basic for understanding, and by that becoming the very essence of art.

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