WORKS
“Sex, Love and Videotapes” is a research project and an audiovisual production in the making, that seeks to investigate how expressions of love and sexuality were translated and regulated in a Soviet context and how the public discourse of sexuality shifted in the Post-Soviet context of the 1990s. Furthermore we seek how these discourses construct an ideological and cultural divide between East and West. “Sex, Love and Videotapes” will be produced as a series of experimental documentaries to be released in 2025 and 2026.
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In DISORDER-ORDER-DISORDER-ORDER six people perform a bodily, choreographic enactment of the language that Swedish police officers use in their reports. The work, made in collaboration with the choreographer Sebastian Lingserius, is based on examinations of thousands of police reports, all of them from the Norrmalm police district in Stockholm, describing people being taken into custody. The first manifestation of the choreography, which is an ongoing practice, is a performance and a four channel video installation.
In preparation for the launch of a second public service television channel in Sweden in 1969, the staff at the children’s department were given the task to collect questions from the young audience. Equipped with tape recorders, they collected around 1000 questions. The questions were then used as a reference for many years both in productions and programming. To recreate these questions, a series of “question workshops” were arranged in Kalmar, Moscow, and Umeå during 2021, seeking that which children don’t get any answers about.
"Television Without Frontiers" is a film production that centers around a 1982 project titled “Eurikon”, originally an attempt to establish a transnational public service network. The film brings together a number of TV and media personalities from across Europe and beyond, all of them engaged in multilingual conversations. In an exhilarating atmosphere that shifts between the past and the present, full of unexpected twists and turns, they seek how Eurikon might be addressed to find out what happened to the vision of post-national community.
"Circus of Truth" was the result of a multifaceted experiment, an evening of performances, music, dance, political speeches, and a bar serving shots of truth. It was both a celebration of a collaborative experience and a sharp reminder of the political realities that shape the horizons of contemporary life. Facts, alternative facts, manipulation, propaganda – or more generally the politics of information – are all elements of the circus, in the midst of which all collective effort must find and defend its own truth. The performance was staged at Bozar, Brussles, in 2018.
Produced in collaboration with the circus group Kompani Giraff, the performance "1985 – Monument to a revolution" came out of a search for a meaningful way to stage and investigate a political shift that primarily unfolded in a bureaucratic and administrational setting. In this case, the Swedish central bank and the drastic shift of financial policies of the 1980s. The enactment was staged in and around a villa on Värmdö in the Stockholm archipelago, a property that was acquired by the bank in 1968. The villa was a gift to the bank employees to celebrate the bank's 300th anniversary.
"Stage Directions" explores written instruction as an architectural tool. A manual describes how a waiting room is built and taken down; time is the principal unit of measurement. The manual describes the construction and demolition of the structure at a certain location, within a set period of time and economic framework. There are no other directions or constraints. The waiting room is constructed by builders whose interpretation of the manual is at the centre of the project.
Performed at a roadside restaurant by Suðurlandsvegur on Iceland. A man has sat down to have a cup of coffee and some pancakes. He used to be part of a group, but after completing a report, the first and only one, the group was dissolved. He stayed in the office and found other, simpler, things to do. After all, he had to make a living. Every other night he enters the subterranean world of waste management, hauling the leftovers of life above through winding corridors, to the great garbage compactor. As he is about to finish the work one night he discovers a passage leading even further down below the surface. A journey in the underworlds of earth begins.
“Thank You Very Much, I Don’t Dance” was a performance in and of the exhibition “The Spiral and the Square: Exercises in Translatability” at Bonniers Konsthall, Stockholm, in 2011. Like so many other stories, this one begins with an invitation. The curators Daniela Castro and Jochen Volz were planning an exhibition on the theme translatability. The insoluble relationship between a spiral and a square in the novel “Avalovara” by Osman Lins was basis for the work. Late one evening, a woman named Cecília arrives at the exhibition. She is alone. Leaving alleged attributes behind, exhibition, text, and actor soon become something else — voice and motion, a body that acts.