Christian Houge – Mythical technology

 

There is an almost intrusive silence in Christian Houges images. The formats of the photographs, their compositional calm and sublime nature, suggests an absence which at first seems threatening. Nevertheless, these images contain a strong presence.

 

In his book “Camera Lucida”, the French philosopher Roland Barthes, clearly marks the difference between the two interpretations of looking at photographs. In the first – studium – we search for information and knowledge, while we in the second – punktum – are affected on a more personal level. Christian Houge sees his project as fictionbased documentary. These are both suitable characterizations for a series of photographs which balance between reality and mythology.

 

All the “Arctic Technology” photographs are taken on the island of Svalbard. This secluded island is one of the most untouched areas in the world and contains the cleanest atmosphere man can find. It’s physical circumstances and northerly position, makes this a Mecca for scientists, who have installed extensive technical constructions for climate research and space observations. These structures make extensive interference in an otherwise deserted and abandoned landscape. In Houges photographs we are presented with the visual consequences these assignments puts on the landscape. For these are foreign elements – technical installations placed for the sole purpose of research. They represent natures contrast; installations we immediately think of as visual noise. At the same time they can be regarded as strong metaphors for culture; mans search for knowledge and the result of human presence.

 

The conflict between nature and technology has been a subject in figurative art for a long time. Houges photographs is such part of a tradition of motif where the relation to photo artists like Bernd and Hilla Becher are clear. Since the 50`s, they have photographed industrial buildings as forms, isolated from their surroundings. These are water towers, cement silos, factory facades etc. As with the technical installations on Svalbard, these constructions are rarely looked upon from an architectural point of view. Foremost they are constructions placed in nature for a purpose; not for a public. As with the Bechers, Houge removes the distinction between esthetics and technique, by applying a visual and conceptual dimension to these constructions.

 

But Houge extends Bechers project, bringing back the idea of the traditional landscape painting by using the wide landscape format. The history of the landscape paintings mirrors mans fluctuating relationship to nature. In romanticism, the motive became central because of it’s ability to indicate the contrast between nature and culture, the endless and the final. Through his photographic techniques, Houge challenges these same subjects. The use of extreme shutter speed, makes it difficult to certify when these images are taken. It is therefore difficult to establish a clear conception of depth, distance and scale in the photographs. The images are therefore unassailable. At the same time the images are concrete, and they clearly underline the strong contrast between the primal landscape and technology, man and mans creations; our extrovert search for knowledge, and our introvert search for insight. With this, the images encourage both an outer peace, and an inner anxiety.

 

While the Bechers isolates the subject, Houges installations are presented as sculptures in landscape, as land-art. This is clearly in a work like Antenna Forest. Here we see rows of antennas; impulse-receivers which can represent the hearing of modern life. The antennas establish it’s own landscape. It’s difficult to say whether they represent a contrast to – or join in a symbiosis with – the surrounding landscape. According to the German philosopher Theodor Adorno, modernity is bound to return to the mythical. When culture and the rational give up the fight against nature and impulses, it will dissolve, and lose itself in it. Culture will become nature. If we consider Houges photographs from this perspective, it can seem like this recurrent turn has already taken place.

 

From Roland Barthes interpretation models, Houges photographs can be seen as fiction based and documentary in depicting the technical constructions and their locations. At the same time there is something poetic and suggestive in this mythical nature portrayal. Combined, these perspectives create a realistic romanticism. Christian Houges landscape images represents something unknown – which we know.

 

Mari Aarre