A connoisseur of everyday ephemera, with an eye for the kind of telling detail that others often overlook, the Danish-born, Glasgow-based artist Anne Bjerge Hansen has been adding to her stockpile of short video cameos since 1996. A compendium of fleeting impressions and random micro-events, her ongoing series of video interludes spotlights incidental actions from the margins of day-to-day existence that hover at the periphery of vision yet subtly insinuate themselves into our consciousness.
Hansen’s already substantial collection was boosted, in 2002, by three parallel commissioning opportunities, in conjunction with venues in Nottingham, the New Forest and Southend-on-Sea, in which a number of her signature small-scale studies were completed in and around each locality. Picture-postcard haikus from these disparate corners of England, these captivating intermezzi, like Bjerge Hansen’s Interludes series as a whole, celebrate the minutiae of experience, and its unexpected poetry.
Read the newly commissioned essay Interludes: 20 Years Later, in which writer and scholar Mimi Howard considers Bjerge Hansen’s Interludes against the ceaseless flow of video images in the present and the slower televisual rhythms of the past.