(Leaving) NEST

(Leaving) NEST, 2011
Samtalekøkkenet#8
at Carlberg, Copenhagen, DK

Photos: Frederikke Hansen

Watch video documentation here

DOUBLE ROOM with Jenny Grönvall

DOUBLE ROOM
Jenny Grönvall and Line S. Karlström
Gallery Kakelhallen, Mariehamn, Åland
Nov 20-26 2011

Produced with support by the Swedish Arts Grants Committee and Nordic Culture Point.

The Collectors (Honey)

2011
Sitespecific installation, painted beehive, honey bees, honey and table.
DEM, curated by Heidi Hove & Jens Axel Beck /Koh-I-Noor, Alt_Cph, The Factory of Art and Design, Copenhagen, DK

Line Skywalker Karlströms contribution to the exhibition DEM consists of placing a fully functioning beehive next to The Factory of Art and Design at the Sundholm area. With installing a beehive next to the art building the artist intend to direct the audiences attention towards different, yet already present, layers of the Sundholm community – pointing out that it also is a diversive eco-system and a place where production of honey takes place. The performative dimension in the work is represented by the artists use of honey bees as trespassers, moving freely in the area, regardless of borders between us and them. The bees movements are twofolded: they're both dispersing a certain culture and collecting material from the same.

A warm thanks to Bybi for all their support and help.

Photo: Frederikke Hansen/Line Skywalker Karlström

Let Us Remember Licking

Performance, 30 minutes, 2010.
Performance art and Institutionalization, History of Disappearance, Århus Kunstbygning, DK

A series of movements intended to bodily record and comment on the museums’ architecture, and on the specific exhibition on display (avantgarde performance works from the Archives of Franklin Furnace, NYC). Played out as an act of auto eroticism my movements were videotaped and illuminated by the audience, hence exposing them to their own desire. In that way creating a volatile space that oscillates between public and private.





Photo: Marta Bagicalupo

What Makes The Earth Move Under Our Feet?

Video by Kristjàn Ingimarson. Documentation of the performance What Makes The Earth Move Under Our Feet?, Big Wheel Gallery, Vordingborg, DK 2010

What Makes The Earth Move Under Our Feet?

What Makes The Earth Move Under Our Feet?, 2010
Installation, mixed media objects, works in fabric, photography, video and performance
Sizes variable, performance; duration 9 hours
Big Wheel Studio, Vordingborg, Denmark

A solo exhibition that investigate the body in relation to space using choreography – in the sense of ways of ”doing and making” that deviate normal ways of ”doing and making”. The spacious installation functions as scenography for an endurance performance. The room is thought of as a huge piano, where the keys - various materials, movable video projections, light, sound sources and curtains, gets activated by the artists’ thinking with the body. To act in a space is to alter that space.

What Makes The Earth Move Under Our Feet?

Digital C-Prints, 75 x 100 cm, 2010

I Am The Only One Here, Who Is Not Insane

Performativ speach based on Valerie Solanas SCUM Manifesto held on nine different locations in public space,
9 x 1 hour,
in Taler Til Folket, Copenhagen, DK
2010

About, English:

Departing from radical feminist philosopher and sex worker Valerie Solana’s SCUM Manifesto, Line S. Karlström has written a speech of sorts.
The speech was performatively read out loud on nine very various, public locations in Copenhagen, including in front of the Danish Parliament
and next The Little Mermaid in order to investigate if it is also the case that life in this - the Danish anno 2010 - society is” an utter bore and no
aspect of society being at all relevant to women”.


Om, dansk:

Line Skywalker Karlström har taget den amerikanske radikalfeministiske filosof og sexarbejder Valerie Solanas’ SCUM manifest fra 1967 op til fornyet overvejelse og skrevet det om til en politisk tale af en slags. Talen holdes på forskellige travle pladser i det københavnske byrum, for et på forhånd ikke-defineret publikum, med henblik på at undersøge om det også forholder sig sådan, at livet i det danske samfund anno 2010 “er røvkedeligt, og at ingen aspekter af det i bund og grund har nogen relevans for kvinder”.

På den ene side opdaterer kunstneren manifestet til en nutidig feminisme, der både har queer kritik af den utvetydige tokønnethed, der ligger til grund for heteroseksualiteten som politisk regime, og verdensmajoritetens (den såkaldte Tredje verden) feministiske kritik af vestlige feministers ukritiske og ubæredygtige bestemmetrang med i bagagen – til forskel fra Solanas. På den anden side er det helt i amerikanerens ånd når kunstneren sætter sin egen omskrivning på prøve i det offentlige rum og rækker hånden ud til andre “civiliserede, ansvarsbevidste og eventyrlystne kvinder (biologisk eller selvvalgt)”, der er – eller kunne blive – sig bevidst, at det eneste rigtige at gøre, er “at omstyrte regeringen, undergrave det økonomiske system, inføre total automatisering og tilintetgøre det mandlige køn.”

To Dance An Archive/At Danse Et Arkiv

Video stills
Video 23:00 min, no sound, 2010, camera: Thomas Gunnar Bagge

To Dance A Prison /At Danse Et Fængsel

Video 13:00 min with sound, and photographies, 2010
Camera and photo: Frederikke Hansen

The object of the choreographic piece To Dance A Prison is to transform emancipation, restriction and dominance into bodily positions. On the rural building site for a new state prison the artist conducts a series of impromptu and gawky dance movements, intended to physically interpret the concept of a prison as a building designed to restrict freedom. Done without permission from the current landowners she squats the farmers land, and transforms it into a place for intimacy and emotional rituals.

Body of Evidence

Performative photography
Self-portrait referring to the artists' performance Marked. 1983 (Cock Line), 2007
Sveg, Sweden 2010
Photo: Frederikke Hansen

Queer Bucharest Biennale

Queer Bucharest Biennale
22 May 2010
Bulevardul Unirii, Bucharest


Line S Karlström's contribution consisted of ten statements from The Queer Nation Manifesto (1990) that were engraved onto the mirror glasses:

An army of lovers cannot lose.
The freedom to be public.
You as an alive and functioning queer are revolutionary.
Every time we fuck, we win.
If you're queer, shout it!
Where are you Sisters?
I hate straights.
I have friends. Some of them are straight.
Stop waiting for a better more lesbian future.
Let yourself be angry.

There was a cold stone in my chest (Part of Exorcism of a Feminist Collaboration, part 2)

Performative photography, photography and object; burning pen on birch tree,

Digital C-Prints, 70 x 50 cm, 2010

These photographies, plus more, were commisioned by the Swedish queer art magazine FUL and published in FUL #1-2/2010.

Exorcism of a Feminist Collaboration scrutinizes and processes the artists' experiences of being kicked out from the feminist artist/activist group that she co-founded in 2005 - The YES! Association, in 2008-10.

The work Exorcism of a Feminist Collaboration departs from the artists' personal need for rituals in order to process the violent experiences of power in this unsolved conflict, and a need to find a way to speak even though she had been silenced. Partly the works departs from an urge to displace this conflict from a personal to a structural level and to question why, when we encounter personal conflicts in feminist groups, we don't apply the tools internally, that we implement externally.

As Audre Lordes' beautiful and well-known statement declares will the master's tools never dismantle the master's house.

Ich Tier! (Du Mensch), Perla Mode and Dienstgäude, Zürich

My video performances Queens Deers and The Fall are currently exhibited in the group show Ich Tier! (Du Mensch) – Abrupt Interspecies Encounters.

Watch excerpt of The Fall here

Susanne Merz: Danish performance and activist group Solvognen as the Army of Animals/ from Line S. Karlström's research archive

Feminist Totem

Birch tree, sea shells, insects, feather, stones, metal wire, fabric
210 x 10 x 10 cm
2009

on exhibit in WORKS ON MANY LEVELS, a collaborative installation by and with works of Sands Murray-Wassink, Peter Brandt, Brad James and Line Skywalker Karlstroem
in Forschungsbericht

Curated by Severin Dünser vs. Christian Kobald
Co-Co, Vienna, Austria, December 12 2009 - February 23 2010

Exorcism of a Feminist Collaboration

Birch tree, metal chain, stones
Dimensions variable
2009

on exhibit in WORKS ON MANY LEVELS, a collaborative installation by and with works of Sands Murray-Wassink, Peter Brandt, Brad James and Line Skywalker Karlstroem

in Forschungsbericht
Curated by Severin Dünser vs. Christian Kobald
Co-Co, Vienna, Austria, December 12 2009 - February 23 2010