Hannah Dawn Henderson

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Disciplines: Installatiekunstenaar, Performancekunstenaar, Videokunstenaar

Omschrijving werk

Hannah Henderson:"My practice is both a mediation and a meditation on the entropy of semiotics – the disorder that arises when one negotiates systems of signification. I examine the space that lies between the 'stim' (repetitive gestures, stereotypy) and the 'stem' (the voice, but equally the structure); through this reflection, I bring into question notions of identity, repetition, (auto)biography, subjectivity, and the authority we attribute to the verbal and the image. Characteristic of my work is its quality of being between performance documentation and story-telling. Intrigued by narrative language, my films are often underpinned by a literary quality, utilised as a means of neatly navigating rhizomatic associations – recollections that oscillate between self (the singular) and culture (the generic). Intellect implodes into sentimentality and profanity is dressed as profundity, as I locate theoretic and poetic lexicon within the parameters of mundane conversation and capricious observations."

Werk

Meditations on...
Titel Meditations on...
Jaartal 2014
Omschrijving An idiosyncratic survey of the various interpretations and semiotic associations surrounding the repeatitive gesture of stacking stones, oscillating between the myth of Sisyphus, basic physics, and Yoko Ono.
Techniek Video
Formaat
Kom dichter bij Mei
Titel Kom dichter bij Mei
Jaartal 2015
Omschrijving The phrase 'Kom dichter bij Mei' is homophonous with the Dutch translation of 'Come closer to me'; however, this phrase may also be interpreted as 'Come, poet, by me', or alternatively 'Come closer towards May'. This title reflects the playful nature of the performance, which consists of four people attempting to translate the iconic poem Mei by Herman Gortor. Devouring Gorter's words with a bottle of wine, each line of the poem (which consists of over 4000 lines) is transported from one person to another through whispering. Essentially, this parody/pastiche of a classical literary society meeting is, in fact, a game of Telephone (also known as Chinese Whispers). Not only does the red wine further contribute to the likelihood of mistranslation, the linguistic limitations of half of the players -- who do not comprehend Dutch -- further stimulates the question of what it means to appropriate cultural property through reinterpretation.
Techniek Performance and installation
Formaat
Between an echo and a hiccup
Titel Between an echo and a hiccup
Jaartal 2015
Omschrijving Two mouths enter into dialogue, yet what actually oscillates between them is not so much a conversation but a monologue. The voice that can only talk as (an) Echo is afflicted by linguistic hiccups, which the 'performing voice' (it performs both a false accent as well as a text) attempts to ammend these. He is, essentially, trying to mend his echo. As he corrects (the) Echo, he appears to bear a kind of authority, yet this is undermined by his downward gaze, which must return repeatedly to the text that commands his recital. Meanwhile, the subtitles, which seek to actively mediate what is being uttered, seems to pose as a kind of autonomous voice -- perhaps the only one that carries a true authority (despite its silence) out of the three voices within the video.
Techniek Video
Formaat
To liberate, in the absence of Meaning
Titel To liberate, in the absence of Meaning
Jaartal 2015
Omschrijving An antique Van Dale word-list from which the word 'Beteekenis' (Meaning, with a now outdated spelling) has been removed, creating a gap through which the word 'Bevrijden' (To Liberate) can be seen.
Techniek Modified book
Formaat
Unfortunately I dont have enough words
Titel Unfortunately I dont have enough words
Jaartal 2014
Omschrijving Language is dependent on a mutual understanding: the agreement that certain signifiers denote particular concepts. When there is a fracture in this understanding, language falls apart. Spoken in a distinctly foreign accent and occasionally punctuated by English words that presumably do not exist with the Dutch vocabulary of the speaker, Helaas heb ik niet genoeg woorden (Unfortunately I don't have enough words) features a narrative that relays such a communicational breakdown. Everything is translated into English subtitles except for a single phrase. It is left up to the viewer to decide whether this breakdown is the result of an inability to translate the words, or a more poignant failure to comprehend the concept that is signified by the words spoken.
Techniek Video
Formaat
Foreword/Afterword
Titel Foreword/Afterword
Jaartal 2015
Omschrijving An appropriated book-page, torn out of a forgotten book.
Techniek Appropriated book page
Formaat
As a vessel is known by its sound
Titel As a vessel is known by its sound
Jaartal 2014
Omschrijving Making a subversive reference to the antics of the Classical orator Demosthenes, As vessel is known by its sound examines the themes of the voice, the body, confessional language and their relationship to social authority. Emphasis is paid to the notion of speechlessness, both in a literal sense and in an expanded context, seeking to provoke the question of how does speechlessness differ from silence. The audience is presented with two monologues: one that is articulately enunciated, as if it were the internal voice of the speaker, and another that is mumbled over the contours of the stones that are placed within the speaker’s mouth. The articulate monologue recollects instances when words have been swallowed rather than spoken, much to the regret and frustration of the speaker.
Techniek Video
Formaat
A Portrait of the Artist
Titel A Portrait of the Artist
Jaartal 2014
Omschrijving Nouvelle vogue meets MS Powerpoint meets Whitney Houston. Positioned ambiguously between parody and authenticity, between the sincere and the sarcastic, A Portrait of the Artist confronts the archetype of 'the artist'. The film examines mundanity's ability to forever infiltrate the 'artistic' sphere, and vice versa. Discourse becomes disco in this surreal, highly-stylised reality, in which one's social shortcomings are discussed with Foucault and eating a pizza looks like a scene out of a German expressionist film. Beneath this absurd surface there lies questions concerned with academic-artistic tensions, exhibitionism, and the position of the female figure in both artistic and academic history. The film is, essentially, a multi-faceted portrait composed of a compilation of film clips that are in themselves individual portraits; some clips are distinctly staged, some posed to echo pre-existing artworks by female artists (Cahun being a notable influence) and others are candid. A self-portrait of the artist, a portrait of the artist as an artist, a portrait of 'the artist'.
Techniek Video
Formaat
The Story of Why I Learnt to Cycle
Titel The Story of Why I Learnt to Cycle
Jaartal 2013
Omschrijving A story that details a dialogue that was never spoken. Navigating and recollecting the tropes of one's existence, whilst moving in the wrong direction.
Techniek Video
Formaat
At least I documented it...
Titel At least I documented it...
Jaartal 2013
Omschrijving There is perhaps little so boring as a daily repetitive task, such as the humdrum of office work. Re-contextualising the the dull office task of photocopying to that of a project space, "At least I documented it..." is comprised of both disjointed and sequential scenes that are played on a loop. The film plays the trope of documenting one's artwork, the film itself being a parody documentation of the act of documentation.
Techniek Video
Formaat

Omschrijving werk

Hannah Henderson:"My practice is both a mediation and a meditation on the entropy of semiotics – the disorder that arises when one negotiates systems of signification. I examine the space that lies between the 'stim' (repetitive gestures, stereotypy) and the 'stem' (the voice, but equally the structure); through this reflection, I bring into question notions of identity, repetition, (auto)biography, subjectivity, and the authority we attribute to the verbal and the image. Characteristic of my work is its quality of being between performance documentation and story-telling. Intrigued by narrative language, my films are often underpinned by a literary quality, utilised as a means of neatly navigating rhizomatic associations – recollections that oscillate between self (the singular) and culture (the generic). Intellect implodes into sentimentality and profanity is dressed as profundity, as I locate theoretic and poetic lexicon within the parameters of mundane conversation and capricious observations."

Persoonsgegevens

Voorletters HD
Kunstenaarsnaam/alias
Samenwerkingsverband
Website www.hannahdawnhenderson.com

Opleidingsgegevens

Erkende vakopleiding

Academie / instituut & plaats studierichting / specialisatie periode van / tot diploma
Den Haag, Koninklijke Academie van Beeldende Kunsten Artistic Research 2012-2014 J

Andere opleiding

Instituut / docent & plaats (studie)richting periode van / tot
Salford, University of Salford Graphic Design 2009-2012

Overige gegevens

Lid van Beroeps / Kunstenaarsvereniging
Deelnemer van Kunstenaarsinitiatief

Curriculum vitae

Tentoonstellingen

jaartal naam tentoonstellingsruimte korte omschrijving solo / duo / groep
2015 Ter Observatie, Gemak, (NL) Group shows alongside Marianna La Rosa Maruyama, Ronald Schelfhout and ligteringen/derooij GROEP
2014 Un Sentiment de Comme Si, Gemak (NL) Presentation by graduating students of Master Artistic Research (KABK) GROEP
2014 Exchange Made Live, Walden Affairs (NL) Performance event featuring students of the KABK and RCA GROEP
2014 But, actually, what I meant was..., 1646 (NL Solo event featuring new and previous video works SOLO
2014 510 SHOWS, NO REVOLUTION, W139 (NL) Collaborative project with Ronald Huynen, Sara Garcia and Caetano Carvalho GROEP
2013 It's About Time, Quartair (NL) Presentation curated by Kosta Tonev and supported by Time/Bank, an e-flux initative. GROEP
2013 Wunderkind, 2022NQ (UK) Presentation of illustration and graphic work by artists from Manchester GROEP
2012 Impromptu Collections, Kunstvlaai (NL) Collaborative project with Kees van Leeuwen, Sara Garcia, Aline Weyel and Ehsan Behmanesh GROEP
2011 Sketch-O-Matic, Cornerhouse (UK) An illustration-meets-performance event GROEP
2010 Moves '10, Bluecoat Gallery (UK) Presentation of collaborative video work with Stephen Dewsnap as part of Move Festival GROEP

Projecten

jaartal instelling titel & typering project
2015 Political Arts Initiative/Gemak (NL) ORACLE Performative manifestation

Internationale uitwisseling

jaartal instelling
2011 AKV St Joost, Breda | Erasmus Study Programme

Aankopen / werken in collecties

jaartal naam collectie plaats / land omschrijving aankoop
2011 Bespoke illustration (Private collection) Manchester, UK Commissioned by Raw Design as part of the exhibition 'Raw 5'
2011 Various print editions of illustrations (Private collections) Manchester, UK Via various exhibition sales

Publicaties

jaartal titel publicatie uitgever / samensteller, plaats typering
2015 Videofocus Stigmart 10, France (Online) Artist Interview
2014 Un Sentiment de Comme Si MAR/KABK, Den Haag Essay
2013 MARchive MAR/KABK, Den Haag Essay
2011 BANG BANG Le Gun/Arrtco, Beijing Artist feature

Prijzen en stipendia

jaartal instantie, plaats omschrijving
2014 Artistic Research Master Prize, KABK, Den Haag Nominated
2012 Undergraduate Disseratation Award, Association of Art Historians, UK Nominated
2011 Best in the North Student Illustration, D&AD and AOI, UK Gold Award

Artistieke nevenactiviteiten

nevenactiviteit van tot
Videographer & Photographer at Gemak (NL) 2015 2015
Freelance performer, performed in the works of (amongst others) Ruth Beale, Katarina Zdjelar, Dora Garcia, and Lilo Nein 2014 Nu
Freelance Graphic Designer, specialising in promotional material for art-orientated events 2011 Nu