Seances with materials
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.