About Charly Nijensohn
by Rodrigo Alonso
Charly Nijensohn’s videos engage the viewer through their provocative intensity. Even while they are not based on a tangible narrative, and do not suggest one single meaning, their powerful images and handling of sound create a hypnotic impact that makes it impossible to remain indifferent.
The point of departure always tends to be the same: a performative act of a certain duration where an individual is situated in a majestic but menacing natural environment. The relationship between the human figure and the surrounding space establishes a conflict that is both real and existential at the same time.  The environment is presented as being hostile, deceptively stable at times and momentarily even lethal, but the main character persists in his endeavor to overcome adversity. We never know why or to what ends this endeavor is undertaken, but we sense a force of necessity, which leads us to identify with him, to feel and resist along with him.
By way of notable efforts toward expressive synthesis, Nijensohn assembles a powerful audiovisual composition that presents the unremitting tension between mankind and nature. Along his semantic horizon line resonance can be found with the concept of the sublime, that complex and contradictory mix of admiration and terror that shakes up and paralyzes the soul. However, as is to be expected, here we are not dealing with a post-modern version of Lyotard or Jameson that translates the annihilating experience of urban contemporary life, but rather a formulation that lies closer to the romantic original fundamental to Kant’s aesthetic. Kant often draws upon examples of nature’s destructive potential to characterize the concept, and from it he derives the type of emotional intensity that manifests itself in the experience of the sublime.
i @