Guard House

HyperCycleJazz / Video (6:24 minutes) / 2024
Concept/Editing/Music: Katrin Hahner; Camera: Antje Taiga Jandrig, Patrik Ontkovic; Voice Recording “Trauerschiff”: José Luis Anderson; Drums: Earl Harvin; Typography: Owen Hindley

2. ( ... ) / Cherry tree trunk, milled, 2025
Tree trunk from the garden of the artist’s parents’ house, on which she climbed, sat, dreamed and ate cherries as a child. The ellipse serves as a symbol for the continuation into the unknown.

3. With/With / Screenprint on parchment paper, 2024
The poem describes the breath as an invisible link between everything and everyone

FOREVER DANCE

In a mourning ritual for her deceased aunt, artist Katrin Hahner hums the words of the 1958 dance hit “Schicke Schuh” by Conny Froboess: “Schicke schicke Schuh, tanzen immerzu, tanzen ohne Pause” (Pretty, pretty shoes, dancing on and on, dancing without end). During her lifetime, her aunt and uncle danced to the spinning 7-inch – now she has entered the “forever dance” and Hahner changes the words to “dancing you home.”

Katrin Hahner’s film “HyperCycleJazz”, which is shown in a video installation in the LISBETH guard house, is a filmic manifestation of ritual, which serves to navigate the threshold of being in the face of non-being or no longer being. By naming things, she calls them in, drawing a web of living beings and landscapes, thoughts and emotions, leaving space for wonder to flow.

The film ́s title calls upon Manfred Eigens theory of the “hypercycle,” a concept of self-sustaining cycles of interconnected processes, each one catalyzing the next. This positive feedback loop, which could be likened to the love that persists after a person is passed on, raises the question of the generative qualities of repetitive cycles. Relating this phenomenon to jazz improvisation suggests a way of understanding emergent behaviors and non-linear dynamics, as well as ancestral continuity and kinship.