My Very Personal Night
-by Valentin Hennig

„The human being is this night, this empty nothing, that contains everything in its simplicity—an unending wealth of many representations, images, of which none belongs to him—or which are not present. (...) here shoots a bloody head—there another white ghastly apparition, suddenly here before it, and just so disappears. One catches sight of this night when one looks human beings in the eye—into a night that becomes awful“

-Slavoj Zizek after Hegel from „The Ticklish Subject. The Absent Centre of Political Ontology.“

My work starts with the will to connect images. The body of my work forms itself in the sense of an „Écriture Automatique" - a common script or screenplay does not exist. To put it in a linguistic term I see myself as a translator. These inner images hit hard on objects and circumstances of reality. It is my desire to fuse both sides of this border into one being, which is often an utopical quest. Though it is important not to forget the interdependence of both realms. In first place I get defined by my surrounding. Bruce Nauman claimed that it is an act of art if you are able to do a piece with the stuff under your bed. In this sense I try to detect the potentiality of objects which I encounter. The old way of Animation, Stop-Motion, enables me to breathe life into these objects. May it be Voodoo or the Poltergeist – my fascination on the Occult and (Para-) Psychological connects with my technical workflow. I am inspired by inventions that took place in the turn-of-the-century: the magical machines of Charley Bowers, the wild associations of Hans Richter or the hallucinatory afternoons of Maya Deren. Being a melting-pot of different arts, film summons the spirits of the past. Moreover I try to create painterly images. I want to be able to print out a film frame, put it on the wall and see it as a convincing image. An image that stands for its own.
What bounds a film inside can be extended to the outside. Another body-part of the moving image can be the room in which it appears. A best case scenario is a room who doesnt mummify but responds like a living being to the work. The spectator enters a retinal room and puts a step into the blackness of the film – and slowly slips into my very personal night.
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For further information
Galerie Burster