Back in the old Watertower of Gnesta… Collaboration with artists Julia Adzuki and Patrick Dallard (SymbioLab) has been brewing for some time now. Karin Lindström Kolterud – who added the element of ancient sound technique kulning to Resonance Jam #2 – has joined the team. Since last year, a group of people have gathered recurrently in the Watertower to try out its unique acoustic qualities – and during this long hot summer, a number of artist residencies have taken place.
Tomorrow, we’ll launch ANTENN 2018, a two days’ Sound Art Festival. And what an amazing line-up of artists: Linnea Rundgren and Tomas Björkdal with live multichannel sound and image projections, Girilal Baars doing Mongolian overtone singing, jazz/classical duo Johanna Dahl (cello) and Ebba Westerberg (percussion)… not to mention the men’s choir of nearby village Björnlunda – and quite a few more!
Full program here: ANTENN 2018, program
And my part? A contribution to the upcoming performance of Julia and Karin; they will be playing with voice, body, space, and another one-of-a-kind instrument – a wrecked old marine buoy, prepared by Patrick. Julia and I did the lighting… and the setting sun joined us for an hour, turning the watertower into a giant Camera Obscura. What an honour; playing duet with our home star.
No. No more construction, perfection, restriction.
I stretch out upon the wall, waving my arms, breaking the thin circle. Suddenly, someone is there watching.
Two days ago, a feedback session ending with a secret waffle party in the smithy… Today, things are jazzing me around: down goes the rag, up come the prints and the plates. It’s fun, but also frustrating; I cannot yet see what’s really going on.
Yes. And next, I add the copper plates used for intaglio print. And a rag I’ve been using to soak up surplus paint in my home studio. The painting is quite big, and so is the rag.
This time, I needn’t draw the grid because I know it anyway. I concentrate on the circle (or close-to-circle, to be exact). One laborative space isn’t enough, I need three; but, in duplicating the circle, I realize the wall isn’t really big enough. Fine, I’ll make the circles overlap then. One for the metals, one for the prints. And the third one for a text, as a beginning.
Today is the second day of the Light Symposium, and the day of the spring equinox. And – remarkably – a partial solar eclipse is happening as well, at 11.00 am here in Stockholm. Grey clouds veil the celestial bodies, just enough so that everybody could follow the event with the naked eye. People crowd in the streets as the light dims. A passing shade, the sun disc turned into a crescent slowly rocking from left to right, a distant ship in the immense seas above us… then, it’s over.
A little later, I leave the symposium for the studio; leave lectures for artefacts.
The Lighting Department at the Royal Institute of Technology is hosting an international Light Symposium in Stockholm. In the morning, I attend together with a group of students and teachers from the Royal Institute of Art… and in the afternoon, I hurry back to school for another two weeks in the painting studio. Bringing back the metal plates, adding the litho and intaglio prints I’ve made in the meantime, nailing the plummet to the wall once more.