Seances with materials

Nástupište 1-12 Topoľčany, (SK)
With Andreas Hald Oxenvad, asp, beeswax, birch, birch bark, birch sap, chain, clay, copper, Daniel Slåttnes, dough, electrical circuits, electric fields, lime tree, Malin Bülow, metal wire, paraffin wax, peristaltic pumps, rabbit skin, Sara Rönnbäck and silicone tubing.

Séances with Materials is a landscape of performative sculptures where we want to activate the sculptural silence through seances into breathing, pumping and leaking bodies, a sound wave of repetitive mantras.

In dialogues with the materials and each other we enter séances that are stretched into durational performances which repeats itself without a clear start or end. The practice of coming back to the materials and doing an action over and over again creates cycles, rhythms, changes perceptions, dissolves materiality and creates new relationships.

The exhibition at Nastupiste 1-12 is a continuation and new development of an exhibition serie that earlier has been shown at Hotel Pro Forma in Copenhagen (DK) and at Podium in Oslo (NO).

From the performance Seances with Materials by Malin Bülow, Andreas Hald Oxenvad, Sara Rönnbäck and Daniel Slåttnes at Nástupište 1-12 in Topoľčany, Slovakia 2017

Seances with materials

Atelier Hotel Pro Forma, Copenhagen (DK) and Podium, Oslo (NO)

Seances with Materials is a project in where the visual artists Malin Bülow, Sara Rönnbäck, Daniel Slåttnes, choreographer Solveig Styve Holte and sound artist Andreas Hald Oxenvad have come together in a collaboration, to play with the thought that materials have an active impact on our art production. We choose to view our surroundings so to allow the materials to have a will of their own, by that we give the materials the possibility to express themselves together with us.

In our research we have been intrigued by anthropologist François Laplantine’s choreographic model as a way to understand the materials as agents that possibly transform us as much as we transform them.

“Kairos is the instant in which I am no longer with others in a relationship of mere coexistence but where I begin to be disrupted and transformed by them. Whereas in a topographical approach we take, we seize, we appropriate an object, in a choreographic approach, and more precisely in the time of kairos, there is no longer an object that can be regarded as a radical outside”

In our process we have worked within the repetitive form of cycles - the practice of coming back to the materials and doing an action over and over again. Through this our perception of the materials dissolves, rhythms appears and new relationships are created. The practice of cycles have been brought into the exhibition space as a way of presenting a performance which repeats itself without a start or end.

Video documentation from the exhibition at Atelier Hotel Pro Forma in Copenhagen (DK) (filmed by Dalin Waldo)







Portrait with by and of a relation


Sculpture # 1: This is my collaboration partner. It is a dough (water, flour, yeast, oil) made in February 2015. It is living (or dying) inside a box in my studio, reminding me of its existence with its smell. I have tried to treat it as a friend. Together we have traveled to different cities in con- nection to exhibitions.

120 x 30 x 30 cm

A biologist confirmed my suspicions, that the smell of the rotting yeast dough in my studio might as well smell like a rotting human, in the end it is not as much what as how it is rotting that determines the smell. And biologically, there isn’t that much of a difference between me and a yeast dough anyway. It is a scary notion, some call it liberating, that to the universe I am as important as a bread dough.

Portrait of a dough

101 x 121 cm

In the beginning of October 2015, I assisted the dough in making this drawing. I dipped a paper in growing medium and placed pieces of the dough on the paper. Since then the mold have grown out over the paper, telling a story of the dough’s experience of the world.


Portraits of a Relation


Since September 2015 I have made a portrait of the dough. My decision to make a portrait of the dough was made so that we would spend time together. The portrait changed from day to day, and I started wondering if the changes in the drawing was due to changes in the dough or due to changes in the relationship between me and the dough.

Installation images from the exhibition at Podium in Oslo (NO) for mor information about the other artists go to,, and