F.F.A.L. #1, #2, #3, Kunsthalle Nürnberg F.F.A.L. #1, #2, #3 F.F.A.L. #3, detail F.F.A.L. #2, detail F.F.A.L. #1, detail F.F.A.L. #1, #2, #3, installation view

The installation relates the lives of three fictitious visual artists described in three well-known novels: Elvire Goulot, a French painter active in the 1920s, Elaine Risley, a Canadian born in 1937, and Ueno Otoko, who gained acclaim as a painter in mid-20th century Kyoto. Ter Heijne gives figments of literary imagination (Guillaume Apollinaire, La Femme assise, Margaret Atwood, Cat’s Eye, Yasunari Kawabata, Utsukushisa To Kanashimi To) a real presence; each artist is dressed in a contemporary style and recites a fragment from the original literature. In placing the three figures together, Ter Heijne creates a tonal composition where certain themes appear over and over again.

Sources
La Femme Assise, Guillaume Apollinaire, Paris, 1920
Cat’s Eye, Margaret Atwood, Toronto, 1988
Utsukushisa To Kanashimi To, Yasunari Kawabata, Tokyo, 1961

This installation has been shown
Any Day Now, Lentos Museum, Linz, 2011
Any Day Now, Kunsthalle Nürnberg, 2010
Shanghai Biennial, Museum of Modern Art, Shanghai, 2006
Forgetting, Hospitalhof, Stuttgart, 2005
Temporary Import, Artforum, Berlin, 2005
Qo akti?, Galerie Martina Detterer, Frankfurt am Main, 2003
Number One, Galerie Arndt & Partner, Berlin, 2002

text, which is spoken by the dummies

F.F.A.L. #1 (Elvire Goulot)
J’essaie de me consoler â dessiner des…
qui je enluminais ensuite et qui me servaient de…
Je peigne aussi des bouquets éclatants où paraissaient des…
noires.

F.F.A.L. #2 (Elaine Risley)
I have given up on oil paintings too.
I draw with coloured pencils.
Nobody teaches this anymore, so I hunt throught the library, searching for instructions.
is difficult and messy, painstaking and, at first, heartbreaking.
I ruin panel after panel before I can work out how to…
for a smooth working surface.
Or I forget about my bottles of…
which go bad an stink up the cellar with a smell like…
Later, I think, I will have a large studio, with…
though what will paint in it is far from clear.
I become fascinated with the effects of…
What I’m thinking about is a picture I painted, years ago now.
A lot of my paintings then began in my confusion with words.

F.F.A.L. #3 (Ueno Otoko)
I’ll go ahead with my painting:
It’s a picture of a…
If I don’t paint it right away, I may never be able to…
It’s already on the verge of turning into something…
losing all the love and…
In recent years I have seen photographs of…
but these I found quite repulsive.
Therefore I have no idea of the face and form of the…
only a vision in my heart…
And how am I to paint the…
How shall I treat the background, the minor motifs?
I looked again through my albums of…
but these delicate fantasies were too alien to stimulate my own imagination.
Once more the…
came before my eyes: portraits based on the legend of…
But I begin to wonder if my attraction to the portraits…
might not have the element of self-love…
Maybe I have hidden desire for a self-portrait.
Might not these sacred visions be nothing else than a vision of a saintly me?”

Quellen
La Femme Assise, Guillaume Apollinaire, 1920
Cat’s Eye, Margaret Atwood, 1988
Utsukushisa To Kanashimi To, Yasunari Kawabata, 1961