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Christian Houge`Irwin w/ beacon`, 2021 -`In;Human Nature` painting glacier nasa moon2021
2021
About the Item
Edition of 3.
3 separate pieces make up this installation.
150 cm. x 150 cm. Pigment print mounted on aluminium. Framed in solid oak with museum glass.
, `The need for images that can change us. `
– An account of Christian Houges images.
“For example, one could say. A people is a “group of rational beings, bound together in agreement about what they love.” The kind of “people” they are, would be determined from what they “have loved.” If we then have a group of rational beings (animals excluded) who are “bound together in an agreement about what they have loved”, then it makes sense to call them a “people”, no matter what they may have loved. And for better or worse, what it is that they have found in common, through better or worse they are considered as a people”
– Augustin, De civitate Dei – The City of God.
..............In this context, another series by Christian Houge becomes interesting, because it not only sheds light on the national romanticism and the kind of historical movement it is part of, but also because it provides us with a critical look at how we imagine landscapes, and we are reflected in them, in the historical and social sense. In; In;Human Nature, Houge transforms Svartisen - an ideally typical Norwegian landscape - into a topographical wireframe landscape showing shapes and volumes, but also heights, widths and all conceivable dimensions. In this way, he relates more to the landscape presentation that the surveyor's or cartographers' ambitions sought, which, of course, were to turn the landscape into quantifiable forms. Which in turn can be translated into something that can be divided, mastered, colonized and - in the end - refined into resources and raw materials. This grid is placed as a topographical landscape, namely on the Moon, more specifically NASA's images from the lunar landing in 1969.
This double exposure leads us to the essence of what the human urge for conquest springs from: On the one hand, we will conquer new places, peoples, and natural areas to use them as raw materials for the production of goods, on the other hand, the landscape is used as a mirror of the human urge to to surpass oneself as sovereign in the broader sense. When the American flag was planted on the Moon, it was marked as a conquered territory and thus it could also serve as a mirror for humanity - in this case: the excellence of the Americans. When the contours of Svartisen form the background for the first steps on the moon, two imaginary communities are as a result connected and root the human colonial thought in the form of desire for control which has led us into the disability we and the Nature around us have ended up in. It is as the national romantics and its avatars show us, that Nature itself is not that which is important, but how we can transform it into either a surface we can reflect our uniqueness on or a mass that can be transformed into something we can generate money from.
Houge once again radicalises how we think about our relationship towards ourselves and towards the world around us, but this time it is not only the destruction of Nature or the planet itself that he addresses, but also the background for this development: the aforementioned idealization of the landscape as the scene and its attachment to an imagined community. The radicalization lies in how the nation-building's idealization of landscape is reduced to its basic forms. That man's urge to transform everything in his own reflection or transform everything foreign into something familiar, covers, after all, the vulnerability that both the individual human being, animals and nature itself are most deeply defined by. As long as we do not understand this, we will as a consequence overtake everything and everyone, including our own fragility in the whole, immersed in our own reflection, even if we find nothing there but blindness and fantasies about our own invincibility. For we are no better as people, as Humanity, than those we hold dear and cherish, as Augustine says, for if we think only of money or conquest we will be poor in spirit and lose touch with what we care about. Or to put it another way: if we only care about our own reflection, we will never see the one who reflects - yourself - because the reflection replaces the original. But conversely, even such common objects of love as the care Houge shows the glacier I started this text by describing the potential to create community and directions for community that take into account both who we are, what we love and what is worth gravitating towards.
Sooner or later, this fantasy will burst, that is if it has not already done so, and so it may be too late - the damage has already been done. Not so much on ourselves, perhaps, but on the world we have navigated in. That is why it is so important to create images that make it possible to penetrate this rather silly mirror image that prevents us from viewing reality outside and inside ourselves and how essential it is to show care. This is where Houge's images have their roots in what we love most: life itself. Both our own and the world we live in. If we manage to recognize how far from ourselves and life the colonial fantasies have taken us, we may be able to save the remains.
-Kjetil Røed
‘In;Human Nature’
2016
In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth.
Rare NASA photographs of early moon landings from the 60`s and 70`s, survey photographs and explorations of Mans new constitutive horizons have been collected and photographed.
The title, `In;Human Nature` reflects both Man`s urge to explore, as well as the fact that this part of nature is very much outside of our comprehension, reminding us that we venture into a domain where mankind is perhaps fundamentally unwelcome.
Many of the works in `In;Human Nature` holds a suffocating silence juxtaposed with humanity`s own urge for exploration and conquering of the unknown.
The Moon has always been subject to much symbolism in culture and served as a gateway to the Universe in our explorations.
After photographing and categorizing massive glacial landscapes in his native Norway, the artist integrated 3-dimensional geometric topographical landscapes into unknown horizons in the lunar landscape.These are hand drawn with acrylic and pigment making each print unique.
Mans own cellular `composite` is geometrical and thus links us more, universally, to the unknown than what we may think.
The NASA images, at the time made, were documentation of the biggest achievement made by Humankind in modern times, and there is an irony in making new landscapes of our own disappearing nature onto the moonlandscapes. Here lies a commentary of Humankind`s ego that is hard not to take notice to. This creates unique images with symbolism and relevance to one another, including Humankind.
In the artists fascination by the limits of our perception and science’s inevitable failure in the uncertainty of quantum processes, he uses the charge between the known and uncertain to explore the deep-seated human need to create order and find meaning in a bigger picture.
As the Holocene epoch turns to the Anthropocene in the mid-20th century humans fundamentally lose their all too human superstructure. It is this loss of environment that Houge ironizes in his new work.
Like all of his work, the relation and conflict between Nature and culture is explored.
In the book by Carl Jung (1875-1961), `Man and his Symbols`, the psychiatrist reminds us of how our exploration of the unknown Antarctic
in 1911, provided an apt image of the liberation, the breaking out of containment, that characterizes transcendence.
This is still true in contemporary times with space exploration of new stars, planets and galaxies.
The images in `In;Human Nature` symbolize the 20th-century embodiments of the urge toward liberation and release that is called transcendence.The word transcendence comes from the Latin prefix trans-, meaning “beyond,” and the word scandare, meaning “to climb”.
-Lars Elton
- Creator:Christian Houge (1972, Norwegian)
- Creation Year:2021
- Dimensions:Height: 59.06 in (150 cm)Width: 177.17 in (450 cm)Depth: 5.91 in (15 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Oslo, NO
- Reference Number:1stDibs: LU160028661002
Christian Houge
Based in Oslo, Norway, I have been making photographs for over twenty years, and new insights continue to open. By obsessively exploring the relation, and conflict, between Nature and culture, I understand Mans` condition and Mans` ego, consumer society, the last remnants of pure Nature and identity. These are all recurring elements in my work. I often like to juxtapose the visually aesthetic with an underlying uneasiness. All of this usually emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. This also gives the work a lot of room for interpretation, and this is where the beautiful dialog starts between the work and the viewer, but also amongst the viewers themselves.
In my work, I wish to ask new questions to the increasing challenges we face environmentally and see how it all relates.Art is often made to invite us to see ourselves from new angles, understanding our surroundings and each other.
I find `humanizing` nature is a good way of conveying my work to invite the audience to see themselves in a bigger picture. Looking at our actions and place in the environment, which we are so dependent upon, is a recurring theme in my exploration. My work ranges from panoramic analog cameras to state of the art digital cameras to large format for specific projects.
All the work is made with pigment on cotton paper producing the best quality. I have exhibited extensively in galleries and museums in my native country Norway and the US, England, France, and China.
`Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes.
In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London).
I have sold work from the series `Arctic Technology`at Sothebys` in London as well as Cornette det Syr in Paris. My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`. China tour on environmental issues with Three Shadows Photography Art Centre in Beijing 2009.
Publications include `Altered Landscape` (Nevada Museum of Art) including purchased work for their collection at Center for Art and Environment. My extensive research and photographic work on melting glaciers and the consequences of climate change, `Death of a Mountain`, exhibited April-June 2021 at Buer Gallery, Oslo.
This series has also been nominated for the Leica Oscar Barnack Award and received the annual arts grant from the Norwegian Government.
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“For example, one could say. A people is a “group of rational beings, bound together in agreement about what they love.” The kind of “people” they are, would be determined from what they “have loved.” If we then have a group of rational beings (animals excluded) who are “bound together in an agreement about what they have loved”, then it makes sense to call them a “people”, no matter what they may have loved. And for better or worse, what it is that they have found in common, through better or worse they are considered as a people”
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