Fragile Skin (w. Anna E. Weiser)


In rush hour at the main metro station (T-Centralen) in Stockholm, 5 dancers carried eggs and thin leaves of porcelain on large plates. A different choreography emerged on the platform and in the trains, between dancers and passangers. It performed an awareness of relations between the hard materials – concrete, stone, iron – the stressful rhythm of people walking and waiting, and the brittle body of eggs and human beings. (Monica Sand)

Idea and performer: Anna E Weiser
Dancers: Hanna Bylund, Maria Värendh, Lotta Lundgren, Åsa Rudehill
Ceramics: Henny Linn Kjellberg
Film: Monica Sand

Den 25 november 2010 medverkade jag med en mängd sköra porslinsflarn till ett undersökande konstprojekt av Anna E Weiser, masterstudent vid Kungliga Musikhögskolans program Komposition-Intermedia. Fragile Skin var en del av projektet Mind the Gap, ett T-bane experiment iscensatt av konstnären och forskaren Monica Sand.

Om tunn hud/skal/yta i tät miljö

Annas utgångspunkt är vår sensibilitet sett ur ett rums- och resonansperspektiv och fokus är det i rummet vi inte hör men känner.

Vid 17-tiden är det rusningstrafik i Stockholms T-bana. Tempot är högt, det är trångt och ljudnivån nästan smärtsam. Om någon kommer bärandes på ett stort flak ägg, tunna porslinsflarn eller en skör avgjutning av någons bröstkorg. Kan vi aktas eller akta då? Hur nära eller långt bort ligger vår förmåga att ställa om från snabbt till långsamt, hårt till mjukt, pågående till stillastående? Är vi sensibla?

5 personer bar sköra ting och lika många personer observerade/dokumenterade. De klev på T-banan från Centralen klockan 17.00 torsdagen den 25 nov mot Fruängen/Norsborg, klev sedan av vid Slussen, i ett sicksack-mönster , på igen, av vid Hornstull, på igen, av vid Liljeholmen, på igen och tillbaka.

Som att sy med skör tråd fram och tillbaka genom tät väv.

De som medverkar specifikt i detta projekt är bl.a. dansarna Hanna Bylund, Maria Värendh och Åsa Rudehill. Avgjutning, Malin Sjöstrand.

Jag vill säga tack till Anna E. Weiser som bjöd in mig till projektet och till Anna och Anna och Hedvig som assisterade mig med porslinsflarnstillverkningen.


December 1, 2010
* ARCHIVE: 2010 - Fragile Skin (w. Anna E. Weiser) | | Comment

Re-collection

Re-collection

September 16-19 I presented Re-collection, a ceramic land art piece / performance at Hirtshals strand during CreaBiz Ceramic Conference 2010, an International Ceramics Symposium in Vendsyssel, Denmark. For more information about the symposium, please visit: www.creabiz.dk

Theme and Background: When I was younger I used to be a fanatic stone collector. I especially remember a stay in the Cape North area in Norway where I used to roam the beaches in search for stones. These stones were very special: dark red, olive green, striped and extraordinarily round and smooth. The area is, geologically, very old and I imagined how the stones had been there for millions of years, shaped by water, rocked by waves.

The act of collecting holds equal parts curiosity and satisfaction. The searching in it self is in the case of stones almost a meditative act, reinforced by the calmness of the surrounding nature. Keeping the found objects is a way to bring back both memories from that specific moment and the sense of fullness connected to it.

There is one question that I find connects the collector in me with my ceramic work. “What do we leave behind?”  For a maker of things it is a steady companion: why am I making these objects and for whom? I like the idea of my work leaving small, hardly noticeable traces and I’m interested in using clay in a non-traditional context, such as nature.

Description of the work: I made a large number of stone shaped, smooth porcelain objects. These “stones” were then spread along a fairly long stretch of the Hirtshals beach. Some were put in the water, other’s further up on land. Quite a few of them will probably get picked by collectors like me, but a number will mix with other stones and the beach sand. Maybe they will be found in a year, maybe in a thousand, maybe never.

This is a subtle piece, not visible at a first glance. The making of the porcelain stones and the spreading of them is, in a sense, the reverse of collecting. The process was documented but after that the pieces were left to them selves. When I returned a few days after the installation most of them had been taken by the sea or picked by people passing by.

Thank you: Maret Kjellberg for assisting in the making of 1500 porcelain stones, CreaBiz conference in Hjørring, Vensdsyssel, DK for inviting me to do the project and to Josh Copus, John Britt and Sharif Bey for assisting at the site and helping with documentation.


December 1, 2010
* ARCHIVE: 2010 - Re-collection | | Comment