Nin Brudermann tells stories. In fact, she tells very good stories.
She begins her artistic investigations by adopting absurd realities and unexpected personal encounters into her practice. These bizarre, but accurate events, (such as 1000 weather balloons launched, at the same time, from 1000 different spots all over the globe, or bats colonizing abandoned U.S. Naval Ammunition Support
Detachment bunkers on the Caribbean island of Vieques) allow Brudermann to compose fantastic tales that blur the line between fact and fiction. Brudermann fills these often overlooked, in-between
moments with her own imaginative interpretation of the occurrence.
Like a detective, she inserts herself into a community of meteorologists or mingles with a group of bat scientists. She enters these systems and plays along their rules, while tracing the delicate balance between scientific routine and obsessive behavior.
However, Brudermann juxtaposes this methodical specificity with poetic points of abstraction. Through her interventions, for example, the release of her own balloon (the 1001st) Brudermann transforms the scientistsʼ systematic approach into dreamlike scenarios
of freedom. In these instances, she appears to suspend time, especially when we set her work against the regulated and linear time of the rest of the world.
Brudermann parallels different levels of reality. In her earlier
video pieces, she dramatizes documentary footage by superimposing
a detached soundtrack that alters the way we perceive the moving images. Now, she takes a more active role in her works. Here, she deliberately challenges our assumptions about authenticity
and authority. Brudermann questions the truth-value of what we see, of what is presented to us. Thus, she complicates the situation by including her own overlapping narratives with real events. The result is nothing less than magical. Brudermannʼs incorporations of her own perspective functions as reminders of the possibility to expand and push every system to its limits. These disruptions in the storyline, in fact, guarantee her workʼs open-endedness. Nin Brudermannʼs work is a testament to the power of a little daydream
ʼs ability to alter the way we see reality.
Simone Subal, New York 2005