Public Commission III; Bob Marley, Conchita Wurst and Wang Di (March – April 2018)

I’ve learnt a lot from this commission; about the existence of acoustic absorbers, for instance.

One of the many professions involved in the renovation (I lost count of numbers long ago) is the acoustic consultant, who provides advice concerning the interior soundscape. Those guidelines come with a drawback, though: the recommended pre-fab acoustic panels would cover most of the coloured back walls, which were designed to give each classroom its character… Hmm. The commissioner, the site manager, the architect, the school representative and I discuss the matter, but decide to leave the issue unsolved for now.

Unlike the other classrooms, the music room is furnished with a site-built wooden panel, designed to diffuse soundwaves rather than absorb them. It’s made from lathes of different thickness, arranged in a sequence of four: one broad, one thin, two mid-sized; repeat x 14. The visual pattern of the diffuser corresponds to some kind of keyboard, or notation of rhythm perhaps. Of course, the surface had to be painted too – it wasn’t part of my commission, really, but I couldn’t keep my hands away…

I decided to use the lilac of the back wall (just a shade lighter) for the bottom and the sides of the lathes. Then the outer surfaces could sport a colour sequence… Hey, couldn’t it be associated to tones somehow? Yes – Chinese music traditionally uses a pentatonical scale, where the notes correspond to white, yellow, violet, red and black. Now that’s a pretty unconventional palette; I’ll give it a try. Furthermore, the colour sequence of five, overlapping the form pattern of four, will produce a pleasant cross-rhythm.

Then there was the carpenter, who suggested I paint the whole thing in red, green and yellow instead, as a tribute to reggae music – well, I could at least sneak such a triplet in somewhere. And isn’t there some other combination of colours connected to a certain kind of music..? I ask around, but get no positive answer. Come to think of Conchita Wurst, stunningly beautiful drag queen and inspiring artist… Conchita may or may not be transgender, but she reminds me about a flag that deserves to be better known: the pink, white and blue one.

Salute to Conchita! Salute to Bob Marley and his legacy! And, thinking of legacy – Cecilia Lindqvist, my teacher in Chinese, studied music in Beijing in the early 1960’s. Her teacher then was the renowned qin player Wang Di. Salute also to Wang Di!

Public Commission II; Mapping the School Road (March 2018)

art, recent work

What does “home” mean to you?
What does “school” mean to you?

Those were the questions I posed to the schoolkids in grade 2 and grade 5… Their answers? “Home” means family, granma and granpa, an annoying little sister, an easy feeling; a house, spaghetti, chips and snacks; love, memories, a native language; a shopping mall, or a beach – a wide range of emotions, persons, places, cognitions and things. And “school” could be anything between a prison and a safe place, associated with knowledge, effort, fun, weariness and sometimes injustice – and, above all, a place to be with friends.

All the answers, written down on post it-notes, were carefully collected. Next time I visited, I presented them arranged in a pattern where “school” was the common centre, while the “home” notes formed a periphery – a proto-map, missing the in-between part; the school road. Which lead us to my next question: could you draw a map showing your way between home and school?

Bernard J S Cahill: Butterfly Map (conceived in 1909)

Buckminster Fuller: Dymaxion Map (first published in 1943)

Inspired by Bernard Cahill’s “Butterfly Map” and Buckminster Fuller’s “Dymaxion Map”, I offered triangular pieces of drawing paper for the task. What I got in return was a stunning variety of expressions, mirroring individual temperaments and experiences – admirable visualisations and food for thought…

The next step will be the rendering of those school road maps into visual elements to form an aggregated whole, which can be mounted permanently on the walls. In the meantime, enjoy Jasper Johns’version of the Dymaxion map from 1967:

Photo still from Jasper Johns: Take an Object,
a film by Hans Namuth and Judith Wechsler (1990)

Public Commission I: Dyeing, 2nd Batch

art, recent work

15 square metres were far from enough. As sun and wind drives away the last of winter, I’m dyeing a second batch – another 10 x 1,5 metres – of blue silk. This is my part of a collaboration with Anna Wahl Gran, who masters the technique of nuno felting… The dyed silk will be laid out with fine wool and felted into a compound by Anna and her co-workers; the intense blue will blend with the naturally brown and blackish shades of sheep fleece. While ironing metre after metre of fabric – in order to stabilize the dye – I admire the first test samples from Anna, thinking of those stunning photos of deep space… (Actually, pure blue isn’t really my colour.)

Above: two test samples of nuno textile with fine wool and dyed silk, by feltmaker Anna Wahl Gran; and the M81 Galaxy Group, seen through the Integrated Flux Nebula (photo by D. Lopez and A Rosenberg/ IAC).

Below: fixation of colour in silk fabric.

Equinox

art, recent work

In this moment, Earth is once more passing that point in space and time where day and night are equal all over the planet; the equinox. Inside the darkness of the Passage Room, the compost silently lives on. Outdoors, intense sunlight is reflected by the remaining snow, soothed by no foliage. I now begin working on a commission; a primary school is being renovated, and I have been appointed to do the artistic design.

Today’s preparations include laying out wool and dyeing silk. A cold breeze makes the silk flutter wildly on the clothesline. The wool is warm, dark and silvery. I experiment with nuno felting, a technique where thin fabric is attached to the piece of felt. More to follow…

Passage Room@Satan’s Death (performance)

art, recent work

As a visitor at Satan’s Death, you would be clad in a loose white shirt, welcomed by the infernal Woland and presented to a narrative frame where you are now entering the afterworld. Further equipped with a white mask, torchlight and earphones, you are requested to move under silence and sent into a whitewashed shadowland to explore your bygone memories and choices…

photo credit: Malou Bergman

A voice in your headphones will give suggestions and reflections as to who you are or what to do, accompanied by a slowly evolving piece of music. Turning around a corner, you may suddenly realize that the music transmitted is actually played live; although the four musicians are located in separate rooms – far apart from each other – the cello, violin, wind instruments and grand piano are connected over radio.

photo credit: Malou Bergman

During your two hour stay, you will experience installations, sculptures, images and live performances by nobody-knows-exactly-how-many artists (and occasionally encounter Woland) – until finally summoned to the bar, where you are invited to be re-born to the outside world.

photo credit: Malou Bergman

As participating artists, we were challenged to interact with the audience in different ways; by defining tasks and choices in how to interpret our artworks, but also by being present ourselves. I chose the latter, and decided to revive the almost-forgotten pagan celebration of a midwinter wedlock. Impersonating Lussi, the bride of Darkness (in the 19th century christened Saint Lucia), I began exploring the language of performance.

Meanwhile, the compost lived a warm and mushy life of its own. Fungus ligaments spread in delicate patterns and rottening potatoes sprouted white shoots. A centipede quietly patroled the top edge of the container, as I offered apples, satsumas and odorous soil to visitors, and the occasional fruitbat was taken care of by two little spiders – white and merciless as Death.

photo credits: Mia Malcyone

Satan’s Death

art, recent work, time-out

It’s over.

After three years and three productions, with ~1500 co-creators and 15000 visitors; after countless hours spent and emotions shared; after valuable artistic experiences, and priceless, unique friends made; finally, the very last performance from Satan’s trilogy happened yesterday on December 31st, 2017.

“Art is dangerous, because it connects us human beings in the impossible. Instead of waiting: make! Instead of muteness: speak! Believe in the possibility of change. So, let’s!”

To all of you skillful, dedicated and loveable persons – artists, directors, volunteers, family members and visitors – with whom I’ve shared this adventure, I send a wholehearted THANK YOU!

…and: till next!

Satans dödsannons

ResonanceJam@Watertower II

art, beauty, recent work

170923 02b

Gnesta Watertower, Saturday morning, September 23rd; all photos HHW.

Are we all set? Yes! Ok, let’s turn on the lights and open to the public… Here’s Resonance Jam #2. Welcome!

Shades of blue, orange and yellow blending into each other. Bells clanging – sometimes loud, sometimes barely audible. Shadows playing on the walls; reaching all the way up to the ceiling, then quickly diminishing as visitors move around. Reflections from the handmirrors wandering like moons over soft horizons.

In the afternoon, Julia’s friend Karin shows up. She climbs the stairs quietly and vanishes without anybody noticing. Then her voice comes back to us, expanding to fill the whole tower as she sings us a ‘kulning’ – an ancient herding call, intense and rich in half- and quarter-tones. Originally sung in mountains and forests, the kulning was often echoed over large distances and accompanied by the bells of home-coming cattle. Here, somebody occasionally touches the floating bells, and the octagonal space provides a very characteristic echo… As Karin ceases to sing, a mellow, saturated silence arises. It grows and stays; a moment of rapture, carried out of time. Slowly, we return to ourselves, hoping for more. Nothing happens for a while. Then, when all our expectations have finally dissolved into thin air, Karin takes up a blue and haunting note to give us another improvised session.

Here you can hear Karin Lindström Kolterud performing her ‘kulning’ at Resonance Jam #2:
Kularkraft

The very last guests to arrive – as the tower is already emptying – is a small family, two young brothers and their parents. Peaceful joy reverberates within.

Many thanks to the Water Tower Society for inviting us, for facilitating, documenting and for cinnamon buns; to Karin for the kulning; and to each and everyone who joined us for ResonanceJam #2!

ResonanceJam@Watertower I

art, beauty, recent work

Gnesta Watertower; photo Bengt Björkbom

So, here’s the old Watertower of Gnesta. Built in 1913, today no longer in use – but occasionally open for events, and carefully maintained by a local society of dedicated people… who gracefully invited Julia Adzuki and me to play along a bit more. We happily accepted – of course – and brought our materials to this amazing space for ResonanceJam #2.

At ground level, the ceiling is barely visible; lost in shadows some twelve or fourteen metres above one’s head. The empty water tank is still higher up, and so is the topmost, hidden space… A wooden staircase is spiralling upwards along the octagonal wall. As the space so strongly accentuates verticality, we decided to address it by constructing mobiles to let the bells and silk float… A tribute also to the idea of water. And light projected upwards, maybe?

Bells, feathers, wire, silk, rope, metal tubes, masking tape, spotlights, light filters, mirrors… And what about little handheld mirrors, Julia suggests – to echo the torchlights that were handed out to visitors in the Resonance Jam #1? Yes, but where to find them..?

Drilling and fastening. Attaching wires and doubling them for safety. Adjusting and fixing weights. Climbing the staircase, tying ropes, hoisting and lowering. Stitching fabric and ironing. During these days of preparation, a saying from the ancient Chinese Book of Changes – the I Ching – comes to my mind more than once; at the very moment when all elements in a process are in accordance with dao, “everything acts to further”. This seems to be the case here – despite any clumsiness or confusion, we stumble into functionality and beauty time and over again.

ResonanceJam@Långsjö teater III (public)

art, beauty, recent work

Saturday morning. Soon the public will arrive… Sun is already sneaking in. Checklist: sweep floor, turn on lighting, place torchlights by the entrance. Breathe. Open doors!

One minute later, first visitor peeps in; frowns, turns around, tells friend outside: I’m not going in here! and leaves quickly. Hmmm. Is this what it’s going to be like? Are we too obscure? Will the texts – with their subjects of time, death and space – be perceived as smugly esoteric and/or provocative? Will this whole thing just turn people off?

Next guest enters, and is provided with a torchlight. He spends quite some time moving around, observing, playing the bells, reading texts… then generously shares his thoughts with me and Julia before leaving. Now, that was comforting!

Hours later, we are convinced that the system is functional; Julia and I actually feel like we are the audience, as we benefit from the visitors’ performances and feedback! The space resonates with sound, light and materiality, with body movements, interactions and close attention, emotions and serious thoughts… Saturday afternoon, Julia finally lits the overhead projector – and of course, here is the place to acknowledge Lena Strand and my other Light Jam colleagues!

Our yellow portal is now working both ways. One lady even seems to have vanished into another dimension, leaving only her shoes behind.

Sunday morning, I sweep the floor once more, and open doors for the second and last day. Many of our Sunday visitors are very young, and the space adapts to even more versatile conditions.

By 5.30 pm on Sunday, door closes behind our last guest and we begin to dismantle the whole system of resonating bodies before cleaning up.

A deep-felt Thank You to Långsjö teater for providing the space; to each one of our guests for shared joy and valuable feedback; to Esmilda for professional input and Patrick for all kinds of support; to Lena Oja for the grand feast; and of course, to Julia Adzuki with whom collaborating is as rewarding as it is easy…

We draw to a close, in order to make a new opening.

Resonance Jam@Långsjö teater II (prepping)

art, recent work

Morning sun sheds its light through coloured glass panes; the lense of the overhead projector captures it and projects backwards.

Hooks are attached, bells and silk pieces placed, and the sound of the bell clappers is softened by rubber lining. Very consciously, we try to avoid every set-up that suggests a centre or certain symmetry axes – instead, we wish to encourage diffusion and interferences, a recurrent loss of balance which keeps you going…

Next, we begin to play with lighting, and the light pillars get a footing of salt.

Eight of my meditation texts* are written in silver on round-cut indigo cardboards and posted on the walls behind the dark blue acoustic curtains, visible only by torchlight; Julia’s texts appear on tarot-like cards along with a calabash stethoscope.

It’s getting late. Things are coming together, but still the silk needs some ironing before we open to the public tomorrow…

(all photos: HHW.)

*selected from the “uncategorized” category at this site.