Thursday, November 25, 2010

Let Us Remember Licking




Performance, 45 minutes, 2010.
Performance work made as contribution to the seminar Performance Art and Institutionalization held in conjugation with the exhibition History of Disappearance,  curated by Martha Wilson, Århus Kunstbygning, Denmark

Let Us Remember Licking was 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 a series of autoerotic and intimate acts my movements were videotaped and illuminated by the audience.

Photo: Marta Bagicalupo/Cecilie Lærke Asaa

Sunday, October 31, 2010

What Makes The Earth Move Under Our Feet?



   
What Makes The Earth Move Under Our Feet? 
Residency and solo exhibition, 2010

Performance within installation; dimensions variable; wood, fabric, ladder, rope, sound, film projector, light, photography, video
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.

Video documentation by Kingimars

Wednesday, October 13, 2010

What Makes The Earth Move Under Our Feet?





Digital C-Prints, 75 x 100 cm, 2010

Monday, September 6, 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.”


Wednesday, August 25, 2010

To Dance An Archive



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

Sunday, August 15, 2010

To Dance A Prison





Video 13:00 min with sound, and photographies, 2010

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.

Thursday, May 20, 2010

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.


Sunday, April 11, 2010

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