Annesofie Norn is interested in the North as a place of rapid change and how this change is understood through scientific instruments, bodily sensation and human imagination.
The generation of satellite images and ground-based recordings allows humans to perceive time spans in the landscape, which would otherwise remain hidden. While this perspective provides an insight, it also generates a disembodied view from everywhere and nowhere, across time and place. Due to our ability to see from a microscopic scale of generic data and subatomic particles into the macrocosmic scale of sea ice movement and alternating stratosphere, nature changes scale. Consequently, the one-eyed and immobile spectator of the linear perspective must give space to another type of spectator. In a way, the classic middle ground of human scale that proclaims an ordered harmony is lost, and with that the stable horizon and central perspective as a reliable paradigm of orientation and visualization. Embodied through our insufficient view and endlessly enhanced through an all-encompassing vision, we are left on a flickering ground between presence and disappearance, engulfed in mobility.
The project Longing Fast Forward, in collaboration with Ole Kristen and Daniel Plewe, is a long-term sonic and visual examination of the speed of change and experience of time in northern Greenland. Intense climatic and political change manifest in everyday life, as well as increasing human activity, reverberate in the vast landscapes surrounding the small settlement, Kullorsuaq, situated on the edge of the inland ice. Longing Fast Forward documents one cycle of a year by interlinking continuous recordings of three local hunters, data of an artistic research station as well as local climate data. The exhibition space summarizes the data and questions different forms of knowing and gaining knowledge about the environment. During the eleven-hour installation, the pace of human life, of landscape and of weather is brought into a mutual mode of observation, suggesting a junction between the velocity of human activity as opposed to an alternating climate and ultimately a self-reinforcing acceleration of change.
The project Another Windless Day In Space – Looking Down At Drifting Landscapes further approaches the crossroad between human and instrument, body and landscape, spectator and representation in Arctic Alaska. During Norn’s visit at Toolik Field station and Fairbanks University in 2014, she interviewed climate scientists and observed working methods in the field involving instruments. Furthermore, she developed different photographic methods to develop insights from the questions: How did and does perspectives of seeing/viewing the landscape provide information about how we relate to our surroundings? How does the support of technology and apparatus influence how we position ourselves in relation to our environment and in relation to the planet Earth?