Work Type: Performance

I stood in front of the audience, wearing Nike Cortez shoes, and read a text that began with a description of the marabou stork, continued with Hernán Cortés’ violent conquest of the Aztec empire and chocolate exports to the Spanish upper class, on to the launch of the “Cortez” shoe in the colour “Sail-Cacao-Wow-White”, to my grandfather’s poor upbringing in Småland, and on. For each paragraph I finished reading, I repeated a word from the paragraph. After the next paragraph, a new word was added to the previous one, and the line of words became longer and longer. When I finished reading, the choir, hidden in the audience, began to sing the repeated words in an improvisation, leaving fewer and fewer words. The last word sung was ‘WORD’.

A performative reading and walk through alternative temporalities and spaces. The performance work originates in the site-specific text work There was now which is part of the exhibition A Posthumous Journey Into the Future at Uppsala Art Museum. My Lindh brings the visitors along on a horizontal and vertical tour through the spaces in the Art Museum, in a position between fiction and everyday life, the dreamlike and the objective, on a journey where the self and that which was now will be explored.

A site- and time-specific performance reading that included sentences written on the walls and ground adjacent to the site where I was reading. Performed during the Slakthus studios’ Open House.

Through a number of text messages, the audience was instructed to make everyday movements related to their cell phones, like turning up the volume of the phone, lifting the phone to the ear, or walking around, while holding the phone. The messages were successively spread to the audience through an instruction to forward all the messages to everyone in the gallery that they had the number to. The participants became quiet and concentrated on their cell phones. Scattered signals were heard when the text messages were received. After a while, the audience moved, on instruction, towards the scene located in the inner room of the gallery, where the light was turned off. When everyone was seated in the grandstand they were instructed to repeatedly turn off and on the light of their cell phones. Finally an audio file was distributed. Successively the room was filled with the suggestive sound of a foghorn. Public Movement was performed at Stage Walla in the framework of the exhibition Manifest Traces by Victoria Brännström and Lea Ahmed Jussilainen.

The performance was carried out at the Jukkasjärvi Icehotel. The performance started with me standing in the cinema of the Icehotel in front of a screen and aiming a camera at the snow-covered ground. From the camera one could see a long cable leading to the source of the back-projection. On the screen the audience could see what they assumed was a live broadcast of what I was filming (the ground). After a while, I left the room, slowly walking through the Icehotel and outside, still filming the ground. Outside I put the camera on a tripod and filmed the moonlit landscape. Soon one could see me coming running from the left. When I reached the center of the picture, I suddenly disappeared – as if cut away. Those who followed the cable found that it had been cut off.