In Ann Lislegaard’s work, experiences of simulated spheres are created by means of interdisciplinary hybrids and connections — between architecture and cinema, between fictional narratives, and between human beings, machines, and animals. In this context, which draws on the historical residues of culture and technology while building on feminist gender theories, the boundaries between the real and the imagined are blurred. Concrete and simulated worlds interpenetrate and are reorganized within one another, a world within a world within a world. Lislegaard’s simulations and animated works create a centrifugal effect by means of sound, light, and image — for, as Maurice Merleau- Ponty states, “To conceive space, it is in the first place necessary that we should have been thrust into it by our body.” Science fiction writers, and in particular Samuel R. Delany, J.G.Ballard,

Read More: Ann Lislegaard’s Paraspace opens at the Tel Aviv Museum of Art