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Through different projects and artistic research, I work within the third space (a space in between) as a meeting point where I, the audience, and the artwork, through dialogue and interaction, develop new knowledge about specific parts of human interaction.
This project, in the spirit of Silovas (2021) presidential address, seeks “new ways of thinking about humanity’s relationship to nature, ourselves and our collective existence” (Lövbrand et al. 2020, 1; see also Scranton 2015; Hamilton 2017). To engage actively in ecological issues demands both an adequate knowledge base and a willingness to participate in complexed structural systems. The fundamental crisis of modernity; of the educational system (Latour 2018) and our ecosystem, according to Silova, departs from our inability “to see beyond the horizon of Western Enlightenment” (2021, p. 602). This project wishes to establish new alliances, across disciplines and professional boundaries. To involve artists, scientists and organizations, together with inhabitants of defined areas, in creating communities of caretakers of their local deposits of water – salt and fresh. Of this great nature phenomenon. Through a relationship, which is not characterized by “man over nature” human exceptionalism, but through one that is created as a true connection between “wayfarers” (Gould, McLachlan, McDonald, 2021) and the nature.
in cooperation with Paul Smith
I stand all alone
there is only me
immersed in you
you are all
everything
nothing
always
never
Failing
Through the technique of interweaving of different and diverging stories, videoart, soundscapes, song, and expressions I wish to share the experience of a life lived. My artistic approach for the last seven years has been divided to three thematic parts, that all concern human vulnerability.
the human failing
A place is democratic, hierarchical, full of history, at the same time contemporary. A place is space, thoughts, development, and presence. A place is language, formulas, constructions, structures, and communication. A place is feelings, sensuality, content, and form. A place is mine and ours. A community. The site-specific installation Ruins will always be about a place as complex as described above, consisting of stories, mine and borrowed – fragments of what has happened here. I hope that interweaving of different and diverging fragments, through forming our own personal performance dramaturgy and hence experience, will create an understanding of the others and their experience as well. In that lies a possibility for shared Story, a collective Story, crossing borders, heritage, History and personal experience. All Ruins need attention, hence The Custodian watches over the layers of a place minding everybody to “please not step on the ruins. we do not know where they exactly are, so just step carefully around”.
The artist failing
Nobody comes to my performances. Nobody is engaged in what I am doing. There are too many artists. I am not worthwhile. I am a disappointment, incapable, inadequate, incompetent, inferior. This is a self-protective stratagem of indefinite procrastination (according to PsychologyToday.com). I wish to reframe my failure. Normalize it. Master it. Instead of trying to launch my carrier as a performance artist, I will rather create meeting points with not my audience. I will become The Hostess, and will borrow audiences, from established institutions, other artists, even from commercial venues. My short happenings will hence be an example of commensalism, where I as an artist will be in a relation in which I will benefit from the other without either harming or benefiting the latter. Respectfully, newer disturbing the work that already is there, only interacting with not my audience.
the woman failing
A performance, contemporary in its expression, raw and unfinished, though carefully rehearsed, presenting a scaffolding of connotations about what the experience of being a woman means. In form I have been challenging myself and work with my voice, songs performed live, inspired by the actor’s song format, and soundscapes. Something that contribute to the fragile expression of the thematic content. The performance does not focus on any feministic aspects, but rather strives to build as large a scaffolding of connotations as possible within the context. As documentation of the performance, I also have created a videoart piece with same title.
In Absence of Ruins
kunst i spire
in cooperation with Lars Frers
Absence and Ruins are both concepts and metaphors that we want to recreate, reshape, think further with a starting point for a new mindsett. Through that we hope to reconnect with the World Herritage at Notodden.
