In Studio 2 of the Künstlerhaus, Evanthia Tsantila is projecting her highly subjective adaptation of a classic of film history. She has transposed Ingmar Bergman’s “The Silence“ (1962) into her own video version – composed as a series of excerpts – and into a group of large-format drawings that lend a new autonomy to the artistic-cinematic image. The brush and ink drawings can only be truly grasped after more exact observation and from a certain distance, and they thus follow up one of the artist’s fundamental interests – an analysis of the relationship between the art object and its reception.
Having started out as a painter, early on in her artistic career Tsantila had already begun to concern herself with the different media outside the field of fine art and to transform pictorial objects from one medium into another. Most recently, her Biennial installation also questioned the recipient’s expectations of a conventional, self-contained exhibition space by confronting him with an entirely immaterial light installation.
