Kunst udført til dette sted

What we Know

Tamar Guimarães
Kasper Akhøj
Kunst i tv'et

Dyk ned i en fortælling om anholdelser, spioner, plastikoperationer og hemmeligheder i Kasper Akhøjs og Tamar Guimarães' værk What we Know.

Hvad sker der, når videokunst bliver vist i tv’et? Når kunstnere laver videoværker til tv’et og andre digitale medier? Og hvad sker der, når det brede publikum møder kunsten i hjemmet, eller når de er på farten; når kunsten kommer til dem og ikke omvendt? 

Det undersøger projektet tvKUNST gennem 20 videoværker skabt af 20 samfundsengagerede kunstnere. Ved at klikke på linket 'Video og lyd' på denne side kan du se Kasper Akhøjs og Tamar Guimarães' bidrag – værket What we Know.



Akhøj og Guimarães har været på opdagelse i aviser, tabloidblade, websites, militærets hemmelige politiarkiv, telefonopkald og emails og skabt en mangefacetteret spændingshistorie. Dyk ned i en fortælling om anholdelser, studenterforeninger, spioner, plastikoperationer, løgne og hemmeligheder. 




Læs med, når kunstnerne Kasper Akhøj og Tamar Guimarães tager dig med bag om værket og udfolder deres tanker om videoværket og dets relation til deres andre værker.


What are your thoughts behind this work?

We were thinking about journalism and history writing. We are taking newspaper accounts at face value, as if they were facts. Yet they are not facts – they hover in the interpretative, semi-fictional interstices of journalism and history writing and we are only amplifying their ambiguities, insinuations and discrepancies.


How can the work be compared to your other work?

In earlier works we have experimented with narrative forms such as the essay film form, staged conversations, image series and written accounts. What we Know is an experiment in narrative and a way of renewing our narrative strategies.


What materials and / or techniques have you used?

The text is made of fragments sampled from the following sources: national newspapers (1968); morning and evening tabloids (1968); online sources; from phone calls and email communication with one of the persons involved (2012-2013); from the military dictatorship secret police archives (open to consultation since 2002); and from a Men’s magazine relaying the events (2012). The fragments were then organised according to topic and the topics arranged alphabetically. At the end of this alphabetical listing we removed the topic description but left the topic entries in the same order. 

We are taking newspaper accounts at face value, as if they were facts. Yet they are not facts – they hover in the interpretative, semi-fictional interstices of journalism and we are only amplifying their ambiguities, insinuations and discrepancies. 

We were invested in the wording and the way the story is told. The form is related to concrete poetry to a certain degree, yet timing has a lot to do with it. 

The images are part of the iconographic archive of the state of São Paulo, whose collection contains photographs donated to the archive when a São Paulo tabloid newspaper closed down in 1971. They are fragments of two series – one which portrays a student demonstration and police repression following a church mass for a student who had died during conflicts with the police at the university campus. This event was followed by further protests and by a period when the main university of São Paulo was occupied by students. According to accounts, this is when the police infiltrated spies in the campus – one of which is the spy who is being released on the second series of photos. But the relationship between images and text is fictional.

At the moment the title is What we Know – but we had proposed a longer title, which DR couldn't handle due to its length, so we have asked them to include the longer title, as a sort of subtitle, on a prominent position somewhere (as part of the online layout/information). This 'subtitle' is:

In July 1968 ‘H’ was detained for several days by São Paulo university students, and accused of espionage in several student sectors. The news reported that her code name was Golden Apple. About the Apple we know in fact very little. The only thing we can say with some certainty is that the military manoeuvred the wave of female emancipation and sexual revolution to their own interests.

Title: What we Know
Department: Kunst udført til dette sted
Object Number: SKFA-KKF110.2012-0028_14
Type: Video
Material: Video
Date: 2013


Not available for loan
Can be visited
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