The Royal Institute of Art
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Jag är Fucking Phoenix
No full textKvarnen står i ett hus som brinner.Den lila gudinnan är också där, hon blir till aska. Allt var i det där huset och när jag skriver allt så menar jag det. Egentligen är essän det enda som klarade sig. Den låg i ett mail. Vad gör en häxa utan sin dolk, sitt ljus? Hon ger sig inte, hon blir starkare, hon får blodad tand.Jag måste använda häxkrafterna nu, mina naglar är längre än någonsin.Jag hinner inte samla längre, jag minns vad jag la i kvarnen så jag kan inte göra annat än mala nu. Simon säger att jag är Fucking Phoenix! Jag fick börja om på min masterutställning efter branden i grafikhuset på Skeppsholmen där jag hade min ateljé. Jag tänkte mycket på förvandling, att vara en fågel Fenix, att göra sig starkare med hjälp av saker en älskar. Det blev temat för utställningen och essän
Mapping Images - When words don't work
No full textMapping images – when words don’t work. My master essay is a walking contradiction. It is an explanation of how a non-wordly thought process emerged – but explained in words. Words have never been my strong suit and in my essay I try to illustrate how I use images instead of words, mapping instead of structure, to escape the dictatorship of the written explanation. Where words have a certain linear structure from A to B my thought process is instead a juxtaposed jumble of heterogeneous elements that together create different associations in a rhizomatic and non-structured way. When I begin a project it is always the images that guide my idea instead of the idea guiding my images. In this way I let myself be seduced by the non-explainable atmosphere of the images. Instead of explanations I collect the images in big maps that have no clear beginning, middle or end. I let the images speak to each other, compliment or contrast one another. For me this is a way of keeping my work open as long as possible. As I work with video and narrative structure in the final product, the juxtaposing of images is a way of postponing and contrasting the more closed process of editing on a linear timeline. I have a strong belief in the power of images. The old cliché ‘a picture says more than a thousand words’ still works for me, specifically because they don’t have to explain themselves or be ‘literal’ (in the literal sense of the word). They allow me to dwell in atmospheres, non-logic connections and open questions. Together, the mapping of images doesn’t create one clear design for my work, but a heterogeneous multiplicity of potential works to come. Sooner or later I have to take control of the process and be the dictator of the images. But my experience have taught me, that the more I allow the images to speak for themselves in all their ambivalence, the more I can infuse my final work with the same ambivalence and open-endedness. My works are not answers, but questions. And the collection of images that guide my work process let me keep asking the questions that words cannot formulate. The essay grabbles with these themes of words, images and process. As an illustration of my process, the essay is accompanied by a visual map, where I have tried to explain the associations that the images create for the theme of my work. I haven’t escaped the dictatorship of words yet, but maybe given the images their proper place within my work process.A 4 channel video installation. Size on screens: 136 x 76 cm. Duration on video: 17 min. In a defenceless condition we enter a room. And they in us. All of the rooms. Sure, there are differences. Though it is not important here, not anymore anyway. It is not important, when you will not remember why you walked into the room to begin with. What got you to enter, and why do you stay. Moments that extends infinitely in time, expands and pushes away the oxygen in the room, like the last to experience before death is this strange, anaerobe environment. Two people are sitting in a room that changes looks six times. They are waiting, but no one knows what they are waiting for. While waiting they start to confess to each other, but never directly. In stead they try to explain and apologize their action without ever mentioning what the actions were.
Walking toward the meeting of Saint Olav : A shared aesthetic project in th North of Scandinavia and the central plateau of the Iberian Peninsula
No full textOn June 3rd 2015, I started in Sundsvall a pilgrimage known as S:t Olavsleden that crosses through the most agnostic countries on the world, Sweden and Norway. I got Research funding by Royal Insitute of Art in Stockholm to carry out the project; there was an open call to people participate in it. I proposed the Nordic pilgrim path as an explorational framework in which I focused on how the walking on a sacred route can influence in the individual process. A multinational group of artists, writers, philosophers and archaeologists was selected by me. We arrived to Trondheim on June 2nd after covering almost 600 kms. For completion of the investigation, I decided to walk on Camino de San Olav, a 3 years-old path in my homeland -Spain- from October 23rd to 25th.During the process a series of unexpected things happened. As an artist, I think these events are important because they raise questions about the utility of walking as an artistic practice and my role as activator of aesthetic relational encounters. What happens when the participants are taken out of their comfort zone and their relations generated by the walking engagement? How do they envisage an inner journey? Could they understand my proposal as a symbolic performance and what new perspectives are conveyed? How are the old sacred routes are adapted to the new times?Reviewing the past bring us to the present. In my project, I explored the significant cultural, social and environmental parallels between two paths run across the most uninhabited areas in Europe: the North of Scandinavian Peninsula and the North of Iberian Peninsula. Both of them share a comparable emphasis on ideas of traditional assets that are rooted in the relationship between human habitation and the natural environment. There are human endeavors to maintain their identity and do not fall into oblivion. For this reason, the authorities are making a special effort to make it popular again following the successful model of Camino de Santiago. This fact arises a new secular method of approaching pilgrimage: how the tourist industry adapts itself to the new times using ancestral routes for the consumer wants to live an inner and spiritual journey. The sacred manifestations are becoming a package tours. The offer is not only the spiritual dimension of the way, it is also the aesthetic experience of walking.I am not a believer. While interested in the liminal process of spiritual passages, I have discovered that non-religious persons may experience the mystical in nature owing to the experience of beyond of the sensible world, the Sublime of the landscape. This metaphysical stage can cause an inner transformation due of a new feeling post-encounter. It is important for the development of the creative process because cool things happens: new way to work, the coming of fresh ideas, renewed courage to continue working, more knowledge of oneself... In this aspect, walking practice operates as allegorist embodiment of personal turning point: the stage of in-between before and after.The tourist seeks a picture, a memory. The pilgrim seeks the redemption. The artist seeks answers.Departing from the traditions of the artists of the second half of 20th century that used walking as one of the forms to intervene in nature, I proved the path as a place for discussion, celebration, communal eating, resting, shared knowledge, laughs and pains.... But a differential factor from the walking artists, my aim is not developing physical artworks. The process is the artwork. Art is a framework for engaging moments to effect real change. Art as start-up device to arouse the contemplation of a reality that remains unnoticed.As a researcher, I found a modus operandis to finally conflate my Catholic background, the interest in ritual gestures, the walking practice, my personal experiences based on nature, the creation of relational meeting places and my personal family history. Art as a way to explore and to be witness of our time. There is a relationship between S:t Olavsleden and Camino de San Olav but that link is neither forged in the religious meaning nor in the mythic figure of a Christian saint. There is relationship because I have connected to them both. As an artist, I am a catalyst for reaching an symbolic exchange framework from where new experiences emerge to influence in the artistic practice of the people involved in the project. My interest focuses more on the process than the object of art. I do make art with people and for the people. I bring people out of their thicket of daily routines and I offer them an experimental ground as a springboard to develop new works created by each artist in response to their engagement of conflation the physical action with a renewed understanding of connection to their surrounding world.This creation of a wandering community is my agreement of the art as way of life. Art production can not get away with disavowing the spiritual or the congregational dimensions of the term. In the metaphorical sense, Art is to walk new ways each time; on completion of this artwork, new questions spring up: Which paths will I walk? How will I experience them? What new project will I share who?S:t Olavslede
Essä betyder försök
No full textGestaltande kompletteringar i två delar. Ljudinspelning 1. Palmtrees Galore 18 min 13 sek. Konversation Mellan Marcus Harrling och Ray York i bil på väg från Joshua Tree till Palm Springs för att gå på biograf. Ljudinspelning 2. "Cinema has failed us" 5 min 51 sek. Utdrag ur föreläsning av Thom Andersen inspelad på Calarts utanför Los Angeles
Tankar kring ett filmprojekt
No full textTankar kring mitt nuvarande och mina två tidigare animerade filmprojekt. Referenser, inspiration, tillvägagångssätt etc.Manus till den animerade kortfilmen Min Börda
Avkomma. Avkastning. Avsmak. Att gå av.
No full textEn masteressä i form av ett egentillverkat fanzine. Ett collage av bilder från mitt konstnärliga arbete och text. Där text och bild samverkande reflekterar över vad jag faktiskt gör. Den gestaltande delen var en rumsinstallation med 4st videor, målat golv, målat papper och målade objekt. Det rörde bland annat ämnen som abjekt, moderskap, "kvinnoyrken", vardagsliv, och kropp.Anna-karins loop från examensutställningen finns tillgänglig i Kungl Konsthögskolans bibliotek.</p
SIX MINUTES OF FRESHNESS
No full texthttps://vimeo.com/142533096</p Every time I am on an elevator or an airplane there is always someone right behind me, or beside me, that is coughing or sneezing. That is implied in the film with the use of, among other sounds, a sneeze, that speaks about the uncontrollable. So there are definitely contradictions with these railings, as they are an idea of a support structure that in practice doesn’t really work. And this recurs in the video work where you’re trying to clean a piece of acrylic glass which, in itself, is an impossible task. As soon as you try to clean it you get marks on it. It’s an unprotected surface as soon as you pull off the plastic film and even if you leave it on when the pane is scratched marks build up under it.SIX MINUTES OF FRESHNES
See through
No full textTexten är historier om hur arbeten kommit till samt en text om hur jag upplever tid. Introt handlar om att "slappna av", något jag gång på gång brottas med att känna. Två ord som jag tillsammans tycker speglar en bild av dagens samhälle. Där man ska vara så mycket och samtidigt verka avslappnad. Pyttsan. Utställningen är en samling objekt som jag gjort under det senaste året. Jag har varit intresserad av tyg, dels som material men också hur det använts som både nedvärderande och upphöjande i förhållande till makt.