Art’s Birthday 2020@Watertower

art, recent work, time-out

Conceived in 1963 by Fluxus artist Robert Filliou, Art’s Birthday is celebrated around the world on January 17th. This year, Ljudtornet decided to join in – adding Gnesta to the motley sequence of live-streamed and broadcasted performances and happenings taking place from Tokyo to Vancouver via a number of places; Tblisi, Helsinki, Kaunas, Chotěboř, Freiburg, Gent, Villefranche-sur-Mer, London, Swansea, Brooklyn, Edmonton…

arts birthday @ watertower

As darkness fell, the old watertower of Gnesta once more resonated with sound and light; a follow-up on sound/art festival ANTENN 2019. This time, acute sorrow was also present as bushfires raged in Australia; we decided the event be done in benefit for bushfire relief (scroll down for links).

The Art’s Birthday programme included stunning vocal performances and viola played by Anka Draugelates, as well as voice improvisations together with Karin Lindström Kolterud; Julia Adzuki presented a preview from Styx Lament – a project recently realized in the Tasmanian rainforest of Styx Valley, documented by Tomas Björkdal. Patrick Dallard of SymbioLab and I framed the performances with a light and sound installation… Even with the tower unheated, a gracious audience warmed up the space with attentive listening – and finally followed Anka Draugelates in a joyful, improvised chorus circle.

Full-time live documentation:
Art’s Birthday Bushfire Relief Concert (1): Patrick Dallard DJ’ing with dripping water & steam…
Art’s Birthday Bushfire Relief Concert (2): Anka Draugelates playing and singing in response to Watertower; Anka Draugelates and Karin Lindström Kolterud performing Swedish folk song Limu limu lima (0:04:33); Julia Adzuki presenting the Styx Lament project (0:15:00); Anka and Karin voice improvisation (1:00:00); Anka Draugelates solo (1:05:43); joyful closing circle song (1:15:09)

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Art’s Birthday Festive Water Buffet / Helena Hildur W.

For donations to bushfire relief funds:
WIRES Wildlife Rescue
Fire Relief Fund for First Nations Communities

Joaquin Romero, Robert Filliou 1972
Robert Filliou in 1972 (photo: Joaquin Romero)

 

 

 

 

 

 

LightJam at Långsjö teater

art, beauty, recent work

170103-09

Finally, we did it!

Playing with light and shadow has been a theme in my work since many years now… and while I was doing the Passage Room at Satan’s Democracy, long-time friend and colleague Lena Strand came up with the idea to bring our knowledge and spirits together in a jam session on light… Wow!

We both knew we just had to do it… only, it took a while until it actually happened. But finally, on the 3rd of January 2017, we met in Lokstallet, Gnesta – a 19th century railway roundhouse, now hosting a local theatre. I brought my 2 x 1,5 metres connectable wooden frames, together with some twelve meters of thin silk fabric. Lena brought an overhead projector, two diapositive slide projectors, a roll of stage lighting filters… and two of her former students, Maria and Daniella. What a surprise! They, in turn, had rope, glassware, paper, torchlights… and so, our LightJam could begin.

Through four days, we explored light in various modes, from the first winter morning sunrays penetrating the room horizontally, casting coloured shades to slowly wander over the walls, to patterns of transparent glass objects projected on screens, and our own shadows double-exposed in a maze of framed silk. Here’s the story in photos:

Day 1 and 2.
Lena and I are the first ones to show up. Lena prepares a paper with some lighting filters, and the pale winter sun graciously plays the role of the spotlight, shining in through the glassed entrance windows. Lena catches the coloured dots on a silk banner, I try to grasp them with my hands… When the sun passes around the corner, Maria arrives. For the first day, there’s only the three of us. The next day, Daniella is also with us. Daniella, Maria and I all meet here for the first time – actually, Lena is the only one to have met with all of us beforehand. So, it’s a process of getting to know each others, as well as the space and the materials. We interweave the handling of physical objects with sharing earlier experiences of process work and improvisation, and our proposals for now. Everything is very casual, and equally serious. We go out for lunch, then set up the dia projector and arrange a couple of transparent screens to play with shadows.

Day 3.
Clear sky again. In addition to yesterday’s colour dots projected into the theatre space, I want to try a two-direction setup; I cover some of the glass panes with lighting filters. When dusk falls, I will be able to use the theatre’s spotlights to project outwards, where untouched snow provides a large white screen. Glass items on the overhead projector produce stunning patterns. Dark, thinly woven fabric covers the long walls to improve acoustics; they also serve to doubling up and distorting the projections, amazing! Lena uses ropes to visualize a process of divergence and convergence… This is actually what we’re continuously practicing here; defining our starting points, then trying out ideas individually or in flexible constellations, then gathering for sharing and reflecting – and for long lunches! Then redefining, and starting over – converging, diverging, converging… Like breathing.
We start talking about how to present our work – tomorrow, we have announced an Open House event for a couple of hours. After a full day’s work, I’m vivified and content. For tomorrow, I’m packing some tools, a silk painting, and a set of diapositives from the 1970’s for the projector…

Day 4.
During the first hour, I’m alone in the room. The morning sun treats me an exuberant light show… Lena enters to see the finale.
The idea of diverging and converging becomes the organizing concept for our presentation; visitors will be led between the wall and the acoustic curtain to the very back of the room, guided by a light trail; a narrow corridor, but not claustrophobic thanks to the transparency of the fabric. From the end of the tunnel, they will find different paths back to the entrance/exit door, while experiencing and experimenting with the different set-ups: the overhead projector, where objects could be altered, exchanged and moved around to change the projected patterns; a semi-transparent film screen (a large piece of cheap paper, really), showing a video compilation from days 2 and 3; the labyrinth of coloured silk screens for shadowplay, leading up to the red and blue silk painting; the two dia projectors, whimsically showing superimposed pictures of traditional Canarian crafts and paintings by Cézanne and Picasso, mixed with lighting filter monochromes… free to play with. Daniella couldn’t be with us this last day, but we implemented her concept of hanging ropes in the shape of a tree trunk, to cast shadows. Torchlights proved very useful here!
We were happy to have a number of visitors – some of them skilled professionals in colour design and light techniques, others just curious in the most delightful way…

And the day after… Light Jam finished; taking things down, packing, withdrawing. The light will stay, increasing by minutes every day… for a while.