2013

spoken versions 1, 2 + 3 was created for the exhibition The Embassy Reconstructed at the Nordic Embassies in Berlin as part of Transmediale 2013 BWPWAP

This sound work poses questions related to the notion of “internationalism”. It relates to reoccurring periods dedicated to study mechanisms that are involved in nation-building, also involving making sculptures during the course of the process.

How does the formalized structure of communication between nations and head of states via embassies contain ideas of internationalism? How does it relate to a globalized world where the flow of things, money, ideas and ideals aims to be unbound? At the same time as the restrictions for persons to move are tighten. How are people included on a diplomatic level, who are the “we” and who are the “them”? The piece spoken versions 1, 2 + 3 composes a collage out of a series of interviews with employees at the Nordic Embassies, printed as a CD that was handed out during the exhibition.

2012

A performance in collaboration with Marcus Doverud
twice twice is a 1,5 hour long composition that premiered at Weld in Stockholm, May 2012

The staged work twice twice filter some of further discussions and practical attempts.
The language of the performance was spoken words or other means as improvised sound/music, choreographed bodily encounter and babble as voices without a specific language, trying to describe and articulate absent objects etc. Running through twice twice is a tone of how the piece operates by insisting on the making in situ, attempting a strictly composed auto poetic production. We worked with what we call ‘concept-objects’, an exercise in verbally exhausting ones knowledge on a topic or a word by telling it.

Video Clip from twice twice

2012 – 2014

A workshop format in collaboration with Andrea Creutz and Elizabeth Ward.

Workshops:
– 2012 at Konsthall C, in the project space. Hökarängen suburb of Stockholm.
– 2013 at Flutgraben e.V in Berlin. In collaboration with programming group Inverse Institution.
– 2014 at Iaspis, Stockholm.

The project Capitalism as we live it departs from the assumption that everyone in a community participates and is implicated in capitalist structures; therefore having access to knowledge about this on many different levels. We want to deepen this knowledge through the exchange and analysis of our collective and individual experiences. The project takes on a workshop format in order to create forums for joint discussions and to reflect on how the structure of capitalism affects our everyday life.

We invite participants to engage in shared thinking that includes theoretical knowledge as well as actual situations which challenge habits and the predominant system. Before the workshop begins participants are asked to write a one day diary or journal entry with the idea of recording the chosen day through the lens of capitalism. These journals then serve as a microscope to investigate the implications of capitalism in daily life. The workshop also engages the body as one important sensory channel for experiences and reactions. The objective of these series of meetings is to find ways to raise awareness on the course of events in the socio-economic system, to askew existence, and expand our space for action.

Capitalism as we live it is a collaboration between artist Andrea Creutz (SE), artist Liv Strand (SE) and choreographer Elizabeth Ward (U.S) which was initiated autumn 2011 in Athens. It looks for formats to reflect on what capitalistic structures and conditions bring into everyday life.

The project is supported by Swedish Arts Grants Committee.

2010

Performance work in collaboration with Marcus Doverud, and Ana-Maria Hadji Culea & Amelie Rydqvist

> Staged art performance at Moderna Museet in Stockholm, November 2011.
> Shared at Inter Arts Center, 2014, Malmö, in artistic conference Tacit or Loud, that presented a series of installations and performances bringing choreography, theatre, music and fine arts together
> Shared as practice at Royal Institute of Art, a workshop in October 2010, and at Pontus Hulténs showroom, at Moderna Museet in Stockholm, December 2010.

The project Through Composition as Explanation departed from reading the text ‘Composition as Explanation’ by Gertrude Stein first published in 1926 and since then the work has had several outcomes as performances, workshops and seminars. Throughout the process we have been paying close attention to how knowledge and experience can be accumulated and shared in a group, and further more how this shared understanding can be translated to different media.

The reading practice departs from Stein’s text, combining the reading aloud of that particular text together with other texts and films to better understand, update and discuss some issues that Stein’s text bring about e.g. What is the contemporary?, the interfold of time; past, present and future, the problem of the whole and the part and the whole (unity) of a thing that is itself a part of something etc.

The staged art performance Through Composition as Explanation is a visual and spatial presentation featuring some of the concepts thoroughly discussed in the mentioned reading practice. The knowledge and understanding accumulated was (in)forming a combination of objects, the space in question, human bodies and duration that both comprise, and simultaneously, became subject to composition. The Moderna Museet in Stockholm were a suitable institution for the initial presentation, because of how they own and take care of many classical art pieces. That served greatly as an analogy, bringing an artwork by Picasso on stage, to the ways meaning and value are negotiated over time, discussed in some of its complexity in Stein’s text.

The work Through Composition as Explanation is conducted in collaboration with Marcus Doverud (performer, musician with a degree in aesthetics), Ana-Maria Hadji-Culea (curator, writer), and Amelie Rydqvist (architect, artist). The work is supported by KU fundings from Kungl. Konsthögskolan in Stockholm, and by project support from the City of Stockholm, and Kulturbryggan.

Video Clip from Through Composition as Explanation

2010

Three sculpture / installation work

– Exhibited at ‘Eternal Tour‘, 2010 in Jerusalem and Ramallah
– at 0047, Oslo, 2011
– Kunsthal Nikolaj, Copenhagen, 2013
– Haus am Waldsee, Berlin in 2013
– and as part of exhibition The Anatomy of Confinement, Verkstad, Norrköping, 2015

Quicksand frontier under-standing is a piece, departing from a trip to Armenia in the summer of 2009. It take on an interest in contextual structures of nationalism as well as change as a material flow.

The installation Quicksand frontier under-standing, focuses nationalism as mechanisms forming a state and the stories and shapes from which ‘belonging’ is constructed. The art work holds condensed knowledge transformed into an abstracted landscape of form. ‘Re-shape’ is used as a strategy to reflect definitions: to make them re-thinkable. The publication The Armenian Project was written out of the journey.

The installation Quicksand frontier under-standing consists of three parts. An illuminated LED-line that draws out a flexible area on the floor. The drawing changes via sensors in relation to the visitors in the space; the LED-line moves (by motors) towards and ‘fronts’ a visitor. Another piece pulls a perforated piece of paper up and down sprawling steel wires —like stiff grass— and makes a squeaking sound. It is a sculptural response to a quote by Osip Mandelstam, in the book ‘Journey to Armenia’: The tall steppe grasses on the lee hump of the island of Sevan were so strong, juicy, and self-confident that one felt like coiffing them with an iron comb. The third piece is two moving white perforated planes, perforated in a somewhat regular manner, by hand. The holes superimpose on each other, moving, comparing. The sculpture is a reference to the concept and practice of census.

Video Clip of LED-line floor piece

Video Clip of Census and sculpture made after quote from O. Mandelstam

2009

School of Manipulation! a pedagogical and counter-pedagogical event held at Galleri Signal, Malmö in the context of ‘the month of manipulation’ by Malmö Fria Kvinnouniversitet.

School of Manipulation! was created in collaboration with Malin Myrén, writer and film director. The aim was to give information on manipulation as a positive power of influence. Manipulation used as a persuasive tool. We wanted the participators to feel this power both mentally and physically influencing them with our behaviours and with hard data. The participators also took on task they were given in a very brave way.

2007

Video work, screened at:
– Oberhausen Short Film Festival, Germany
– Loop in Barcelona, Spain
– Cinemateket, Stockholm
– Kino Arsenal in Berlin in a program by Anna Linder, Filmform
– Gallery TPW, Toronto
– KINOBOX Svolvær, part of LIAF of program, during autumn 2024

Pipeline has been exhibited in Halifax, Canada, 2007 and 2024: Elektronmusikstudion – Konst, teknik & politik, by curator Mats Lindström at Scenkonstmuseet in Stockholm

Pipeline, a video piece that brings the viewer on an uncharted journey through a pneumatic pipeline system. This pneumatic pipeline system runs by more than ten kilometers through the Karolinska University Hospital in Stockholm. My basic interest was to be able to see the unseen, the speed and way of the transports in such an ancient technical system. To view the idea of moving.

A capsule was modified to transport the video camera in order to capture the movement and sound of the capsule, as it navigates through the system. The sound recorded in the video is the sound of movement, sonically inhaling and exhaling in a sequence of frozen pauses and explosive movements. Pipeline is a field recording by a video camera that hover through a closed infrastructure. Pipeline is a remix of the video material from commissioned work Krafters påverkan / Energy effect.

Thanks to Micke Höglund that modified the capsule and found the right camera. Hanter Ingenjörsteknik for great help blowing the capsule through the pipes. The AKTÅ-group at Stockholms Läns Landstings kulturförvaltning for the invitation.

Video Clip of Pipeline

2004

A sound piece with an installation in two rooms exhibited at Verkligheten in Umeå and at Fylkingen in Stockholm.

In-side-out is a sound piece with an installation that both audibly and visually deals with ball games –and bodies and shapes in movement. The sound is composed from field recordings at few different sport centers in Stockholm.

Listen to part if the sound track for In-side-out

2001

A second system for lighting up the lamps in a lamp store

Light installation made by animating a lamp store at S:t Eriksplan in Stockholm.

When the store is closed the room in the lamp store is transformed from a commercial space into a room for fantasy and the unexpected. The lights pulse rhythmically, the light wanders through the space as a light composition with simultaneous slow and fast intensity in different parts of the two rooms.
The light is controlled by a 15 minutes computer programmed loop.

In Swedish the work is titled Blinka lilla lampa där –i din affär