Leaving the House

art, recent work, time-out

Satan’s Death – last part of Satan’s Trilogy – was brought to an end by New Year’s Eve 2017. Then we, the artists, quickly transformed ourselves into LVL4 art association (named after our primary studio/hangout space on the 4th level), and managed to stay in-House for yet another year.

LVL4index

LEVEL 4 exhibition (November 2018)
No more theatre production – but on November 1st, doors were opened to the public once again. For a full month, visitors could experience installations, sculpture, paintings, sound art and performances – such as The Magic Garden (Anja Dahlgren/#cversatilesthlm), Polluted Ocean (Elise Mattisson Chue), Seastar’s Sea (Eka Acosta), The Ritual (Robin Victor Dahlqvist), Fear Less (Em Fexeus), 700 portraits (Camilla Hammarin), Våga! (Thea Blanca)… to mention just a tiny fraction.

And more; the Hackshack project, lead by Alice Bulukin and Ivan Alexander Höök, invited everyone to build and experiment with electronic devices. The remarkable Archive for Temporary Art (Lisa Fält, Victor Gussing Chihuailaf, Carolina Alvear Bello and Klara Nordqvist) curated five short-term exhibitions within the exhibition. Makaroni photo studio offered instant portraits. Younger artists like Albin Limnell shared space with professionals such as Frida Farm and Izabella Englund

…and then there was the abundance of graffiti/street art; DEMENZ&MYS, DIRTY, OMEH, Klotterklungan and others curated by Juntan… plus LEEV, Ziggy, KLTR and more…

181210 01b

Juntan/Ziggy

As for the Passage Room, it just… stayed. Honoured with a sound installation – Livmoder (Uterus) – by Nathanael Saposnikoff, the compost lead a quiet life, tending its fertile darkness.


FINISSAGE-EXORCISM (December 1st-2nd, 2018)

Come December, the exhibition ended with a nonpareil art party finissage – staging thirty hours of live music, DJ’ing, spontaneous jamming, sporting all kinds of heavenly/demonic outfits and dancing through the night… By noon next day, a bleak, reluctant December sun watched DJ Lucinda Illernäs perform the outro in Woland’s chamber. And so, the immense, thirty-hour-long, imaginative-beyond-borders and completely impossible FINISSAGE-EXORCISM closed this chapter – opening all minds to the next level.

181213 01b
E+X+O+R+C+I+S+M

Leave-Taking (December 3rd-23rd, 2018)
After which every material part of the artworks had to be disassembled, stripped and removed; it took us three more winter weeks, and filled 17 containers… From time to time, I rambled the corridors collecting marks, traces and moments.

This slideshow requires JavaScript.

Halfways, a portion of those loose bits and pieces came to serve as backdrop in The Last Party trailer for Gothenburg Film Festival 2019 (starring, once more, Angela Wand).

***

This Too Shall Pass

181212 05b

The Passage Room was emptied, too: all wooden, textile, acrylic and metal parts dismantled; the stones and soil and reeds and ashes returned to earth; the lights shut down.

This slideshow requires JavaScript.

***

A true friend you have been, House. A magus and a teacher, too. Now time is up.

TOODLE-OO!

181202 01b

ps. All filmed material from Satan’s Trilogy now free to watch here:
ALLA SATANS FILMER

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…

©Malou Bergman 2

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.

©Malou Bergman 3

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.

Malou_Bergman

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

Passage Room@Satan’s Death (construction)

recent work, time-out

Hope.

The first part of Satan’s trilogy staged a tale of repression and resistance, while the second part captured a moment of deliriant triumph and loss. In this third and last part, ultimate disaster has already taken place. In such a predicament – what could bring hope? That was the theme presented to the artists involved, as the Satan’s Death project was launched. My spontaneous response was: compost. Because…

171025 02b

Because compost turns waste into resource. Compost is biding with the power inherent in soil and darkness. Compost is… hope for new life, beyond death and destruction. Definitely, there had to be a compost in the house.

And I wasn’t the only one to think that way; artist colleague Cais-Marie Björnlod had the same feeling. Cais-Marie put her trust in worm composting, while I decided to try the bokashi fermenting method (much encouraged by facebook discussion group Bokashifrämjandet and Kajsa Sjaunja). In the house, somebody had managed to salvage a number of large plexiglass panes from a former construction site, which brought about the idea of a huge crystal-shaped container. For large-scale bokashi experience, I consulted art and agriculture initiative Under Tallarna, and started collecting household waste from various places.

My darling companion Sören Engzell provided crucial technical aid, and the work proceeded quickly. Pallkompaniet kindly provided pallets for the foundation, as well as the device for attaching metal straps to keep the hexagonal construction together – against the pressure of approximately 4 cubic metres of organic material… Meanwhile, Cais-Marie set out to make a number of smaller compost containers to hang on corridor walls. We went to visit Stockholm Biokol to collect biochar in pouring rain… As September turned October and daylight waned with each day passing, the 3500 square metres of Satan’s scenography were spray-painted white; the Passage Room was one of the few places that escaped whitewashing.

When the ‘compost crystal’ was finally fit, I started to fill it up with fermented bokashi, sand, soil and straw. Outside, trees began throwing their worn-out leaves to the ground and rowan berries glowed on naked branches. Some of that also found their way into the compost, along with moldering fruit and fungus mycelium…

On November 4th, the opening night of Satan’s Death took place.