It could be surprising to consider the artworks of Nanna Hänninen (Rovaniemi, 1973) as ‘landscapes’ due to their minimalist and abstract appearance. Photographs which, in the artist’s own words, ‘are basically drawings of my body movements where subject and the scenery melt into a single image’. Thus the human presence becomes explicit and transforms the scenery decisively, making it abstract although easier to deal with. The light and long exposures configure a language with a syntax that speaks of the individual, immersed into the outside world, and of the control or the lack of control on it.
‘The New Landscapes are taken from famous metropolises or buildings, factories,
cemeteries, airports, towers – mostly strategically important places involving a mixture
of lights in the scenery and a long exposure so that they become almost like short
movies.’
Nanna creates music scores punctuated by her heartbeat, her movements and her laugh, all life experiences in a real world that amplifies their sounds like a percussion box. The frontiers among the individual and the universal are blurred by an artifact, the photographic camera, that plays the role of a prosthesis unifying the subject and the object, the self and the other. All in all, Nanna dares challenging the paradigm of photography and its canonical representation of reality.
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