ࡱ> tvsc fjbjb&& $DDMQXT@$$$$d,(,R-5<@Xh8h Q*$($q<d $$Woman Writing a Letter (1637-2010) I The Kiss and Waste Project is an extensive project, which was initiated in 2007 and continued until 2010. It has become a flexible audio/video installation consisting of twelve site-specific recordings from towns in the Ukraine, Bulgaria, Turkey, Norway, Sweden, Denmark and Great Britain. Stenseths leitmotif for these recordings has been to invite women to write letters to her as if she were their mother, sister, girlfriend or close relative. In most cases, the letters are read aloud by the letter-writer herself or performed by a local actor. In this way, the letters are presented in a recitative or performative way, with no particular priority between the two. In other words, Stenseth has taken great liberties as regards genre. This may be due to many factors, but there is no doubt that she wanted to dispense with a purely documentary idiom, preferring to seek out the grey areas between fiction and documentation. This is reinforced by wide variations in the content of the letters. Some give the impression of being first-hand experiences revolving around themes such as identity and migration, while others appear rather as fictional stories. Stenseth describes the content of the letters and her own processing of them as follows: The diverse content of the videos vary from the personal to the political and the main leitmotifs are identity and migration. Reflections and questions about personal struggle, political transition and changes in contemporary Europe. Through the process of working with local women and by using a combination of interpretation and representation, fictional and documentary material I try to encounter and reflect upon different aspects of subjective, social and public states of being. The inner and outer space, so to say. In order to be able to move between this outer and inner space, Stenseth has used several techniques and borrows from various genres. This may explain why the two producers, The Troms Art Association and Black/North SEAS describe the genre as video portraits and video essays respectively, whereas the artist herself describes it as audiovisual essays. This difference in genre terms is also interesting as regards how the projects leitmotif the letter influences the visual and audio recording and editing process. II Using the letter as a form in her project allows Anne Lise Stenseth to apparently come into close contact with people she does not know, even if the recordings were made during a short span of time, most of them taking only one day. But even if the letter evokes a kind of intimacy, it also means that its text dictates terms for the video. The words become for better or worse a premise for what we see; they become the object of a kind of ekfrase in reverse. The term ekfrase is derived from the Greek ek, meaning out and phrasein, speech and in classical rhetoric denotes text that in one way or another describes a work of art or architecture. The ekfrase also had a more general meaning: it could also describe any object or person. The point is that the ekfrase always contains an element of interpretation by dint of the words that are chosen. As we shall see, The Kiss and Waste Project is an example of a kind of ekfrase in reverse, where the artists treatment of sound and images stems from the text. W. J. T. Mitchell describes the picture as a ventriloquists dummy into which we project our own voice. In The Kiss and Waste Project, a voice-over is already embodied in the images as a soundtrack, though it is not our own voice, but somebody elses. Having examined the letters from the different countries, it is like having a swarm of voices inside, relentlessly mumbling. The pictures, however, fade quite quickly and only a few remain in my memory, like the large banner showing the face of a female politician in Istanbul, which waves and enfolds gently in the wind, or the mangy camels stumbling around in a zoo in Odessa. Even though Stenseth has evidently chosen to focus on the thoughts of certain individuals, their visual contours rapidly become unclear. Rather than manifesting themselves as individuals, they turn into a set of experiences linked to the relationship between people, place and identity. As a genre, the letter is not unlike the essay. They both have a free form, but differ from one another in that the letter is addressed to a particular reader, while the essay is usually written for a number of unknown recipients. Anne Lise Stenseths project has more in common with the latter genre, as we shall see. The term essay derives from the French word for attempt (essayer = to try). Many regard the book Les Essais (1580) by the French writer Michel de Montaigne as the origin of this genre. In contrast to an article, the essay does not need to throw light on the theme or question being discussed from many different aspects, but can instead present a subjective opinion freely and without restraint. In the essay collection On the Norwegian way of writing. Examples and counter examples of recent Norwegian rhetoric, 1975-80, Georg Johannsen makes a distinction between the informal and the formal essay. Montaignes are regarded as informal, Francis Bacons as formal. It is the former that is of interest to us: The informal essay is a personal expression of opinion, which is closely related to marginalia, notes, diary entries, confessions and self portraits and comprises chapters or extracts of the essayists documentary story about himself. From the time of Montaignes Essais, the informal essay has had the working hypothesis that every individual person is affected by the circumstances governing all mankind. The informal essay expresses opinions, attitudes, prejudices and private traits; it lays less emphasis on the theme than on the person who portrays himself indirectly via his own reactions to the theme in question. When Stenseth invites the letter-writers to send a letter to her as if I were your mother, sister, girlfriend or a close relative, she paves the way for an atmosphere of sincerity, but at the same time she generates an ambiguity as to who the recipient is: Stenseth becomes a person with potentially several different roles. Who the sender is also becomes ambiguous, since the artist sometimes lets another person read or perform the text of the letter. In this way, the relationship between reality, fiction and interpretation becomes unresolved. Another interesting factor is the use of the close-up. Hugo Mnsterberg was amongst the first who pointed out that the close-up is an effect that comprises the fundamental difference between film and theatre. The close-up makes it possible to isolate details from the picture as a whole, claims Mnsterberg in Photoplay. A Psychological Study from 1916: As every friend of the film knows, the close-up is a scheme by which a particular part of the picture, perhaps only the face of the hero or his hand or only a ring on his finger, is greatly enlarged and replaces for an instant the whole stage. In Mnsterbergs view, the close-up represents a general way of controlling attention. His understanding of this technique strongly contrasts with the opinion of Bela Blaz and Gilles Deleuze, who regard the close-up as identical to close images of the face and therefore the prime image category for identity, subject and affectation in films. The Kiss and Waste Project is dominated by a "Mnsterberg-like" use of the close-up, for in this work, the technique is used to isolate body parts (frequently hands), pieces of clothes, locks of hair or objects in the immediate surroundings. This steers the spectator's gaze away from the people's faces and onto objects or segments. In this way, Stenseth creates players that function more like a mouthpiece than as main actors, forming an exciting visual logic. In other letters, the close-ups of the face are more dominating, thereby reinforcing the subject's identity. This is the case in Well, I am a Refugee. No Doubt! from Gothenberg/Tallin. This letter tells the story of Viive Wellemets, who had to flee from Tallin when she was a little girl and ended up in Gothenburg together with her mother and a sister. She describes their flight, her upbringing, how she learned a new language and other things linked to the experience of having to relate to two countries or places at the same time. In this letter, which is one of the longest, the idiom is closer to that of the classical documentary, which is often typified by "talking heads" and revolves around the narrative. The story is riveting and interesting. We are also given a clear picture of the letter-writer because we follow her closely throughout the visual presentation and because it is obvious that the text, voice and face all stem from the same person. This is perhaps the film that moves farthest away from the core of the essay, following a more traditional narrative structure where the images are given a more illustrative function. Most of the letters, however, are more true to the essay form, like "The Letter from Odessa", which displays throughout a kind of tension in the performance and in the relationship between fiction and reality.  In addition, the words and images complement, yet are independent, of each other. Maria Navrotskaya, who reads out the letter, is evidently sceptical to the relatively fantastic "confession" revealed in the letter and she "plays out" the letter in opposition to herself and to Anne Lise Stenseth behind the camera in a fascinating and unsettling way. To me, the essay form is visually and intellectually interesting because it reflects Stenseth's interpretation of the letters and their senders to a greater degree, and because it presents a more honest and freer point of departure as regards the status of the images and sound (it is almost impossible to create a portrait of somebody in the sense of presenting a true picture of who they are in such a short span of time). As with the informal essay, many of Stenseth's portrayals therefore lay "less weight on the theme than on the person who indirectly portrays herself via her reactions to the theme in question." The Kiss and Waste Project can be perceived as Stenseth's own, inner chorus - her interpretations of text, subject, identity and nationality. Her inner chorus is in opposition to the external, geographical area she intends covering: here we have two continents chafing against each other. And as they do so, we see the artist's struggle to find pregnant images projecting the visual normality one is at the mercy of as a stranger. For it is naturally easier to achieve an affinity to sound and images when the place you are visiting is linked to your mother tongue and childhood, as is apparent in Reminiscences of a Journey to Lithuania (1971-72), where Jonas Mekas presents a portrait of his home country Lithuania and town Semenikiai, after living for many years in the USA. Stenseth lacks such an intimate knowledge of the places she visits in the countries around the Black Sea and as a visitor, she constantly has to resist the visual stereotypes that present themselves. The fact that they sneak their way into the project every so often is not surprising, given the time frame. At the same time, these stereotypes emphasise the project's strength, because they so efficiently point to who is filming and who is looking, and to the fact that conceptions always have a place of origin. In the letter Now, Right Now, Yet Still, we meet Tlay Uguz. Her parents come from Turkey, while Tlay lives in Helsinki with her husband. They are expecting their first baby, a daughter, and Tlay describes how she misses her grandparents and family in Turkey. She is the only one of the women in The Kiss and Waste Project who wears a hijab, and there is something about the visual portrayal that renders the stereotypes obtrusive. For where is she being filmed? Well, while she is shopping in a grocery store, standing alone, while she looks out of the window in the apartment block where they live, or sitting on stones by the sea stroking her pregnant belly. Two scenes contrast with this impression of a passive and lonely second generation immigrant woman: one is the sequence when she reads from her own letter and suddenly changes language from Turkish to Danish and the other is a scene where she is writing on a PC. These sequences show that she masters both languages and technology; she is far from lost. These scenes are also unusual due to their aesthetics: the light in them is beautiful, almost painterly, and has the effect of making her skin, jewellery and hijab sparkle. Perhaps it is this that makes me think of the Dutch painter Johannes Vermeer. III Vermeer painted almost exclusively women, many of them while they were working: pouring milk from a churn, sewing, playing on instruments or busy reading or writing letters. The letter was the communication technology of that age; it brought the world into the private rooms of the middle class. In his famous A Girl Reading a Letter by an Open Window (Brieflezend Meisje bij het Venster) from around 1637, Vermeer has positioned a young, female figure so that we see her in profile. Her face and body is turned towards a window. She holds the letter in her hands, and it is as if Vermeer is pointing out the almost direct connection between the letter and the open window (the world outside) by means of the light that enters through it. However, there is another painting that seems to be even more relevant in this context: Woman in Blue Reading a Letter (Brieflezende vrouw in het blauw) dated 1662-1665. Here too, a female figure is sitting in front of a window and painted in profile, with a letter in her hands, like the woman in the picture mentioned above. But the background is different: it is dominated by an extremely detailed and incredibly well painted, topographical map. Large, decorative maps of this kind can be seen in innumerable, Dutch paintings of interiors from the 17th century. They were popular due to their ability to liven up monotonous, whitewashed walls and because they were an expression of a new era, when the Netherlands dominated traffic along the global trade routes; these charts were the very symbol of national superiority, not least in the field of commerce. The forces of trade and technology are still instrumental in moving people, objects and commodities about, and one aspect of the project easily overlooked is the particular objects that Stenseth lays emphasis on portraying in each location. Some, like harbours and boats, reoccur, while others only appear once, such as the banner with the woman's face blowing in the wind, the sound of a brass band, crystal chandeliers, animals in a zoo and a hijab. Globalisation is, as Vermeer's Woman in Blue Reading a Letter reveals, no new phenomenon, but the pace of trade has drastically increased. This means that objects cross innumerable borders and change hands at a furious rate and this necessarily affects the relationship between them and geographical places. Are there any commodities that still embody national identity; is there something we can still look at and immediately connect it with "home"? Or, to put it another way, what would it involve to think of objects and commodity categories in terms of geographic areas which objects, for instance, would provide us with a good picture of Bulgaria? IV The opportunities that present themselves to Stenseth for composing the individual voices in her "archive" are fascinating and lend the project a potential mobility. But what are the consequences for The Kiss and Waste Project when these individual voices all come from women? To answer this, it may be useful to follow a thread back in time. During the 1970s, a great many artists turned their attention to the body and bodily experiences, for example Carving: A Traditional Sculpture, in which Eleanor Antin puts herself through a self-imposed weight loss, which she documents with 148 black/white photographs mounted in a grid-like pattern. Or Valie Export's Touch and Tap Cinema where she stands on the street with a box around her torso, inviting male passers-by to put their hands through the curtains hung across the front and feel her bare breasts. Or Shoot, in which Chris Burden has a friend shoot him in the arm, or Linda Montano, who exposes herself in a public space, dressed up like a chicken in The Chicken Show. And one last example: Sentimental Action, in which Gina Pane digs into her arm with her nails until she bleeds. These performances provoked a debate about art and life and questioned the meaning of gender both in life and in art. They also focused on the personal sphere and placed it within a political framework, as Laura Cottingham describes in Seeing Through the Seventies: Art, like the personal, was accepted by seventies' feminist practitioners to be political; that is, to exist within historical space that had been produced and was therefore potentially transformable through human action. When The Kiss and Waste Project throws light on women's world of experience, this may be interpreted as a further development of the cultural process of the 1970s, when the purpose of art was to correct traditional visual presentations of women and their experiences. Nevertheless, two pertinent questions are why Stenseth has chosen only female subjects for her project, and whether this could contribute to upholding the notion that male and female experiences are qualitatively different. Having said that, there are experiences that are fundamentally gender-segregated. Vermeer's pictures of women with their letters within the four walls of their homes point to a reality where women were confined to the house to a large extent and where the text of a letter was the technology that made it possible for them to communicate with the outside world. When Stenseth combines the letter with an essay-like use of video, this hints at the historical span between two technologies something that is clearly revealed in "A Letter Home." Snejana Ilieva Rasheva stands in front of an open window in almost the same pose as Vermeer's Woman in Blue, while she slowly reads out the letter written by Sefana Serafina: Dear Mother, Its been so long since I wrote to you that now that I need to / I stumble for words / I search for language, the one you spoke to me first mama, the tongue that, once upon a time, was the only way I could speak my mind and my heart / the one that is now withering, fading, so elusive as if its a relic from a different epoch. From a different epoch, like you, in this age of instant messages and digitized feelings / you dont even have a computer and if you did, someone would have to teach you how to make sense of it. So I work through a frustration: I sit down with a pen and order my hands, so addicted to typing / to recall the craft of drawing letters, like so long ago when I first sat in a classroom, bewildered / before a blank sheet of paper and my hand struggled to practice the A  / This piece of paper and the pen that scribbles the letters down the even lines are a last reminder / we once lived without silver lap tops, we once talked facing each other, touching; we once conversed in living rooms, not in chat rooms / V The Kiss and Waste Project embraces many unknown variables, which necessarily means that Stenseth has had to face having a lack of control during large parts of the process a feature I really like. The Kiss and Waste Project is therefore a respectable essai - an attempt at addressing, with the help of various techniques, how difficult it is to be "at home". Marit Paasche Translated by Deborah Ann Arnfinsen  I have seen nine of these letters, but not The Letter, The Donkey and The Woman from Skegness, The Workshop from Troms or Efrosina, version 1.  http://www.annelisestenseth.com/video.html  I dont know you, but write a letter to me as if I were your mother, sister, girlfriend or a close relation. This request has been the point of departure for Anne Lise Stenseths nine video portraits of women from countries around the Black Sea and North Sea, countries where the SEAS festival has been held, writes The Troms Art Association. The article can be accessed at:  HYPERLINK "http://underskog.no/kalender/55142_the-kiss-and-waste-project-anne-lise-stenseth/forestilling/79251" http://underskog.no/kalender/55142_the-kiss-and-waste-project-anne-lise-stenseth/forestilling/79251 Black/North SEAS, however, have published the following on their website: [] video essays portraying the sorrow and hope of the Black Sea towns, in dialogue with social and political contexts. The stories are told through the letters written to the artist by women from the Black Sea region, as if she were their mother, girlfriend or relative. By using different forms of storytelling video, photography, sound and text Anne Lise Stenseth crafts poetic images of luxury and decay, heavy industry and pollution, poverty and desire, extravagance and excess. See:  HYPERLINK "http://www.seas.se/productions/stenseth/index.php" http://www.seas.se/productions/stenseth/index.php  For a more thorough explanation, see chapter 3 in The Subjects of Ekphrasis, pp 60-86 in Ruth Webb, Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice, Ashgate, Surrey 2009.  W. J. T. Mitchell: A picture is less like a statement or speech act, then, than like a speaker capable of an infinite number of utterances. An image is not a text to be read but a ventriloquists dummy into which we project our own voice. What do Pictures Want: The Lives and Loves of Images, University of Chicago Press, Chicago 2005.  Georg Johannsen: Om den norske skrivemten. Eksempler og moteksempler til belysning av nyere norsk retorikk, 1975-80 (On the Norwegian way of writing. Examples and counter examples of recent Norwegian rhetoric, 1975-80), Gyldendal Norsk Forlag, Oslo 1981, pp 27-28.  Hugo Mnsterberg, The Photoplay. A Psychological Study, D. Appleton and Company, New York 1916, pp 62.  According to Jan Holmbergs Frttade bilder. Filmens nrbilder i historisk och teoretisk belysning Aura forlag, Stockholm 2000, the close-up was already widely used at the beginning of the classical era of the Hollywood film (ca. 1909). At that time, the use of the close-up ignored the prevailing requirement to make the human body the natural scale for reproduction and offered instead an overwhelming focus on the face; the face became a fragment whose physiognomy was synonymous with the human psyche, as Bela Blaz's describes in his exposition of the close-up in Theory of Film: Character and Growth of a New Art, Dennis Dobson Ltd. London 1931. Gilles Deleuze's attitude to the close-up agrees for the most part with Balaz's, but he goes further: he claims that there exists no close-up of the face; on film, the face is a close-up in itself, both are one and the same thing and both are affectation, i.e. images of affectation. For a more thorough study, see Gilles Deleuze's two-volume work on film, Movement-Image and Time-Image, Athlone Press, London 1991, 1992.  For a thorough review of the video essay as a genre, see Stuff It: The Video Essay in the Digital Age, ed. Ursula Biemann, Springer, 2003  The painting can be seen in the Staatliche Kunstsammlungen, Gemldegalerie in Dresden. Another of Anne Lise Stenseth's letters also evokes clear allusions to Vermeer: "A Letter Home", in which Snejana Ilieva Rasheva reads out the letter from Stefana Serafina while she stands in front of a window.  The painting can be found in the Rijksmuseum, Amsterdam. See also A Lady Writing (Schrijvend meisje), ca. 1665-1666 at The National Gallery of Art, Washington D.C.  Arjun Appadarai, The Social Life of Things: Commodities in Cultural Perspective, Cambridge University Press, New York 1986.  See the article Valie Export by Charles LaBelle, first published in Frieze, Issue 60, June-August 2001.  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