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Almost Nothing
by Ana Hušman

2016, single-channel video (HD) and 16mm, 15’48’’, color, stereo, 16:9, English language version | 
Courtesy: the artist and Bonobostudio

We are said to be living in a time of flow, although more often than not, we come across obstacles and states of stagnation. Ana Hušman’s work entitled Almost Nothing (2016) is based on contrasts between motion and immobility, statics and dynamics, sound and silence. (1) The leading role is performed by the wind with the various directions it takes, its sudden gusts and periods of serenity. This intangible phenomenon that seemingly comes from nowhere and belongs to no one was recorded on the island of Korčula. It captures different reflections of the wind in the environment, from the fluttering of leaves and the swaying of branches to the wavering of shadows in a tourist apartment. […]

The swollen fibre of the (in)visible and the (un)heard behind the contradictory title Almost Nothing consists of two dominant parts. Both the scenes of the apartments and the island flora are devoid of humans. Still, human impact on the landscape is strongly felt. The themes of human influence on the transformation of natural environment, of boundaries between the cultivated and the wild, the natural and the artificial are revealed in an indirect way. […] Almost Nothing urges us unobtrusively but consistently to question the cultural and historical components of landscape, its economic-political normativity and ensuing esthetics. The assumptions about landscape appear to be conditioned by social and industrial relationships closely related to the politics of spatial management and distribution, where devastation of the shore and islands (mass “apartmanization”) is just one of the latest social phenomena.

(1) Almost Nothing is made in two versions, as a film and as a multi-channel installation. The piece is initiated in 2013, in the framework of a multi-annual project Almost Nothing – Ferrari Dalmatia, dedicated to the French composer Luc Ferrari, who in 1968, during his visit to Vela Luka, produced his best-known work Presque rien No. 1 – Lever du jour au bord de la mer [Almost Nothing No. 1 – Dawn on a Seashore].

Extract taken from: Ksenija Orelj, Landscape for all seasons (2016), essay


Script and directing: Ana Hušman
Director of photography: Ivan Slipčević
Editor: Iva Kraljević
Sound recording: Ana Hušman
Sound design: Tomislav Domes
Voice over: Gordana Kovačić, Christian Bushill
Producer: Ana Hušman
Production: Pangolin

Ana Hušman studied multi-media practice and art education, graduating in 2002 from the Academy of Fine Arts Zagreb where she now works as a lecturer in the Department for Animated Film and New Media. She exhibits regularly in solo and group exhibitions. Her films have been screened at many international film festivals and received a number of awards.