Hannes Andersson is an artist, filmmaker and researcher, born in Gothenburg (Sweden) and currently based in the Netherlands where he is undertaking a MFA in Media, Art, Design and Technology at the Frank Mohr Institute, Minerva Art Academy. Hannes is co-founder of the art collective Chinos International CC, director and co-founder of the independent film group Andersson Rodriguez Films. His artistic work focuses on the relationships between humanity, technology culture and narrative.
The book is made with the purpose of documenting my work and making implicit my thinking as well as artistic process. It is version 0.2 of a book that might never be finished, as it –much like the process that it documents – will be subject to constant revision. It also serves as a conceptualizing framework for what I refer to as Po[e]litics, and for the artistic research project ‘Po[e]litics from the Anthropocene’. Po[e]litics can be thought of as a Portable Philosophy Format, a .ppf with variable compression. Po[e]litics sometimes takes the form of annotated poetry (illustrated for example in ‘Oedipus Reaches Maturity’ (below)), but it is not solely a concept relating to the written word, but rather an aesthetic container for mixed media hyper-narratives, which can be read in any order as well as on various levels of depth. It is an attempt at constructing a language capable of addressing the complexities of contemporaneity: A trans-medial language appropriate of the anthropocene; A language for the networked human.
The book is available for download/reading here I make it available like this because I believe strongly in the sharing of information, it is however a work intended to be experienced as a printed book (and it does in fact work much better in that format), so if you would like one drop me an email and I can send you one for the price of the printing cost.
Cabo San Roque is a collective of several performers who makes music with self custom experimental musical instruments, such as a converted machine and a cello made out of a suitcase. Anadigital video system by Hannes Andersson, Jan Klug, Hendrik Hantschel & Sander Trispel. @ Eurosonic Noorderslag in Minerva Art Academy. (video from kunstspot.nl)
Passibility is defined by Lyotard (1992) as a state of subjective sensation: “It is a capacity or awareness, a receptivity for experience that does not pre-calculate that experience, but receives it as a donation” (Van de Vall, 2008). I like this term as it encapsulates well the quality of art perceived, something quite difficult to theorise. Why do we appreciate the art that we do? For example, I was the other day introduced by a fellow student to Mike Stubbs’ work “Granular Synthesis”: a multichannel video piece that displays a woman’s face looping through minute incomplete movements, presented in four screens.