Video: 31 min.
Verket Wonder-What-Time-It-Is (2017-2019) er basert på The Devil in the Belfry (1839), en novelle av Edgar Allan Poe. En samvittighetsfull forteller, en vitenskapsmann, beskriver hvordan et samfunn som blir styrt av standardisert tid, og organisert gjennom ekskludering av at det som ikke lar seg kontrollere, blir forstyrret når en utenforstående saboterer maktens sentrum.

En historie om ordensforstyrrelse, fortalt av en historiker.

Video: 29 min.
No Man’s Land (2018-2019) tar utgangspunkt i Virginia Woolfs historie The Lady in the Looking Glass: A Reflection fra 1929, der fortelleren gransker det ’sanne jeg’et’ til en ugift kvinne i huset han besøker. Kvinnen, som ikke ønsker å bli gjennomskuet, er i stand til å opprettholde sin fasade, helt til hun – tilsynelatende – blir avslørt for ham i sin egen refleksjon, i et speil som henger i korridoren.

En historie om kravet til åpenhet (bli synlig), fortalt av en observatør.

Video: 29 min. 
I fortellingen Stranger, Bear Word to the Spartans We… (1950) av Heinrich Böll, gjenfortalt i A Well-Known Stranger (2019), befinner en tysk og livstruende skadd soldat seg i sin gamle skole, brukt som et provisorisk militærsykehus. Gjennom hallusinasjoner blir han konfrontert med kulturen han er oppdratt i. Ute av stand til å gjenkjenne sin egen relasjon til fremstillingen, tyr han til generaliseringer. Først når han ser fysiske bevis på sitt historiske jeg, blir han tvunget til å anerkjenne sin egen forankring, samtidig som det går opp for han at kroppen hans brytes ned.

En historie om hvor vanskelig det kan være å gjenkjenne seg selv i ens egen kulturelle situasjon, fortalt av et offer (eller gjerningsmann?).

Wonder-What-Time-It-Is, 2017-2019
Video: 31 min.
In Wonder-What-Time-It-Is (2017-2019), based on Edgar Allan Poe’s The Devil in the
Belfry (1839), a conscientious narrator, a man of science, reports how a society whose
spatial order is ruled by standardised time and organised through the exclusion of
that what eludes control, is disrupted when an outsider, understanding of the regime,
sabotages the centre of power.
A story about the disruption of order, told by a historian.

No Man’s Land, 2018-2019
Video: 29 min.
No Man’s Land (2018-2019) starts from Virginia Woolf’s 1929 story The Lady in the
Looking Glass: A Reflection, in which the narrator aggressively probes into the ‘true
nature’ of the unmarried mistress of the house he is visiting. The woman, who does
not want to be known, is able to remain opaque to the culturally specific gaze of her
visitor until she is – seemingly – revealed to him in the reflection of a mirror that hangs
in the corridor.

A story about the demand for transparency (being known), told by an observer.

A Well-Known Stranger, 2019
Video: 29 min.
In the short story Bear Word to the Spartans We… (1950) by Heinrich Böll,
retold in A Well-Known Stranger (2019), a hallucinating and mortally wounded German
soldier finds himself in his old school, now used as a makeshift military hospital.
Confronted with a spatial exposition of the cultural narrative on which his education
was based. Not able to acknowledge his relation to the narrative, he finds an escape
in generalisations. Only when he encounters material evidence of his historical self he
is forced to recognize his embedment, while at the same time the destruction of his
body becomes clear to him.

A story about the difficulty of recognizing oneself in one’s cultural condition, told by a
victim (or perpetrator?).

The artistic practice of Falke Pisano (b. 1978, Netherlands) scrutinizes the ways in which systems of thought are structured, formalized, and ultimately naturalized. Her series of works stem from long-term research cycles that delve deep into specific subject matters and undermine conventional frameworks of knowledge by triggering a continuous exchange between language, ideas, materials, and forms. Her current research addresses the development of modern science and its process of institutionalization. The notions of progress, rationality and universality embedded in the official discourse are destabilized as the artist negotiates different modes of thinking and opens up the possibility for diversity, pluralism, and heterogeneity in the realm of empirical sciences.

Pisanos work has been exhibited and performed at venues including Stedelijk Museum, Amsterdam; Praxes Center for Contemporary Art, Berlin; The Showroom, London; De Vleeshal, Middelburg; Grazer Kunstverein, Graz; the Berlin Biennale; BAK, basis voor actuele Kunst, Utrecht; De Appel Arts Centre, Amsterdam; the Venice Biennale; Museo Reina Sofia, Madrid; the Biennale of Sydney; Manifesta 7; and the Istanbul Biennial. She has participated in residencies at NTU CCA, Singapore; M4gastatelier, Amsterdam; the American Academy in Rome; Capacete, Rio de Janeiro; and the Henry Moore Institute, Leeds. In 2013 she was awarded the Prix de Rome.