We have now come to the second of a total of three recidency programs on the subject “Times of Change”. While the first program, “Two Epochs’ Bearings in the Unknown,” cast a universal glance at our era, Times of Change 2 and 3 are to take a look at selected, central aspects of our time.

This year we will focus not as much on the creation of a work, than on the working process and the immersion. Below you can read into the thoughts our four selected artists have made in advance about their projects.

Times of Change 2 is supported by Den Opelske Familiefond

 

Times of Change – A Generation gap

The world of today is a world that is about to resound as the contours of a new and unclear future emerge. The transition is characterized by shock waves, and time and again tremors strike in different parts of society. Our times are marked by political instability, threats to democracy both from within and without, ecological and social collapses and a digital revolution that is taking place at a breathtaking pace.

Our times have been compared by many to the youth uprising of the 60s and 70s. Centres of power are overthrown and the balance is shifted. We are experiencing a breakthrough around the climate issue, where an entire generation of young people has taken to the streets and for the first time has had enough impact to influence parliamentary elections, as was most recently seen in Denmark and Germany. Also in the issues of gender, identity and racism, new agendas are set, addressing discrimination and systemic abuse with an unprecedented consequence. The controlling patriarchal order is under rapid liquidation.

The impact of these new agendas is largely due to social media, that within just a decade have become a global power. Social media are largely seen as tools of the younger generation, but they are owned by Tech Giants, who are increasingly accumulating intelligence and power, without taking public responsibility. This causes both ethical and moral dilemmas. On the one hand, new opportunities open up for the fight for freedom in a world community. On the other hand, these fights for freedom are taking place on the very global platform that is challenging the rule of law and democracy.

At the same time, larger and larger gaps are opening up between individualism and community. Often, age is seen as a criterion for the legitimacy of politicians in power, or gender and ethnicity as criteria for participating equally in public debates. Can our democracies accommodate this breakthrough? Can our freedom ideals? How do we integrate the upheavals into the complex consensus of democracy?

The political landscape is changing, and art and culture are as relevant as ever. Contemporary art breaks norms and cannot be classified within a fixed framework. Literature, dance and music are intertwined with visual art creating new forms of expression and formats. Art offers more possibilities for expression than ever before. But how can art position itself in all these upheavals? What critical roles should it play?

 

Participants

Hollufgård has invited 4 contemporary artists to work together or individually on the theme “A Generation Gap”.

We have placed emphasis on selecting visual artists who work interdisciplinary and use, for example, sound, language, music or theater in their work. Participants are free to work individually or join together in one or more groups. It is also the participants’ own choice whether the outcome of the program should be work/-s or a documentation in the form of sketches and texts.

Marija Griniuk (LT/DK/FIN),
artist-researcher, PhD Candidate at The University of Lapland, Finland
mgriniuk@ulapland.fi

The non-human liveness: The radical interconnectedness and creativity

We are living in the times of the data-driven selfs and data-defined artistic personas; in the age where the action of border-crossing becomes the normatives within an artistic work and artist’s life. We might cross the physical borders or the borders of our normatives. Each case of border-crossing awakens our awareness. The question of how the artwork is done becomes as sharp as ever before. In the digital era the theme of liveness within performance art is crucial. Can liveness be created by collaboration between humans and AI?

I embrace multiculturalism and pluriversal thinking by envisioning the possible futures of collaboration between humans and non-humans and the ways how such collaborations can impact artistic production and artistic research within the institutions and beyond. The breaking time in my work is interpreted, in the following ways:

Within my performance practice I aim to change the current normatives and enhance the radical interconnections between humans and non-humans (in particular technology and AI). Collaborative aspects within the performance production involve AI and human interaction, which creates the creativity loop, resulting in performance artwork. The generation (and as well the current research) gap is in the question how such artistic production can be done to understand the new ways of defining the role and responsibilities of the performance artist: the artist needs to refine their skills as an interactor with technology, particularly AI; the artist needs to decide if AI should be credited in the artwork, and how; the artist needs to find the new normatives within the authorship where humans and non-humans are involved.

“The non-human liveness: The radical interconnectedness and creativity” will be developed as a self-containing performance. Self-containing performance is a performance, which, after it’s production, can be performed without an artist involved. The performance can be performed by the group of two or more individuals. The narrative, including locations, actions, time and space will be created by collaborative means, involving AI and a human performer, by utilizing OpenAI’s GPT-3. The soundtrack and design of the scenography (which will take the format of an isntallation) will be created as well by collaboration between a human and AI.

The theme of performance will reflect on the breaking time and generation gap along with the pluriversal future scenarios of how performance art, art education, art production and consumption can be impacted by the increasing collaborations between humans and non-humans.

Filip Vest (DK)
BFA + MFA, Malmö Art Academy 2016-2021
www.filipvest.dk

Resort (of) (work title)

“Resort (of)” is a new installation and performance about isolation, loneliness, desire, technology and architecture, which I will develop at Hollufgård during the course “Breaking time – A generation gap” ̈

In the project, I will examine the crisis and waiting times we are in right now. Although society is “running” again in some parts of the world, we are still trapped in a limbo of capitalism, loneliness and apathy. We try to “kill time” while waiting for a date, a new job, or for the pandemic, capitalism, or our existence to end. A resort is both a place we take on vacations, but also the place we turn to when there are no other options.

“Resort (of)” is a mix of monologue, choreography and music. We follow three people who alternate between waiting anxiously, waiting excitedly and being engulfed by music and devices. They walk past each other, touch each other’s clothes, but can not see each other. They talk to themselves or communicate through different devices – to no one and to everyone – in messages that are later transmitted to the audience. Over the course of the play, the various nervous tics of waiting turn into choreography.

In terms of scenography, I would like to work with a kind of deconstructed hotel lobby, where a large carpet rises from the floor in wave formations and reveals various objects hidden under the carpet. The shapes of the carpet make it a mixture between floor and furniture, but also a kind of bridges or tongues. On the sound side, it could be interesting to work with different real sounds from the hotel universe, such as a fan in the ceiling, a noisy refrigerator or the sound of feet dragging across a carpet that becomes part of the music.

The project is also intended to be an installation that you can visit and explore between performances. For example, an answering machine could be left by one of the performers, a video on a mobile could hide under one of the elevated carpets and various objects would provide clues that one can piece together into a narrative: curly love letters, receipts and the hairpin you can never find.

During my stay at Hollufgård I will write the script, develop scenography and costumes and rehearse with three performers. The idea is still very loosely outlined so that I can best develop it from conversations with the other artists during the course. At the end of the course, the performance will be shared with the audience in an open work sharing and feedback session.

Pernille Kofoed (DK)
Interdisciplinary- artist, education: Kunst og Teknologi, Aalborg Universitet (2008-2011), Contemporaty Media Practice, University of Westminster (2010-2011) and Digital Design, Aarhus Universitet (2011-2014).
http://www.pernillekofoed.dk

 

In my residency at Hollufgård, I want to work with the gloomy sides of the mind and life. It is a condition of life for everyone, even if it is actually hidden away. With my works, I want to create a positive dialogue and break down the anxiety that has been in previous generations.
There has been a slow shift in our society. Where previous generations hid the negative and gloomy sides of life, we are now gradually beginning to treat it with openness and dialogue.

It is this shift I want to work with and articulate. I have worked on the topic in the past and still found it more relevant than ever. Especially with our large consumption of social media, where there is a great tendency to show only the positive sides of life and if you have a hard time mentally, you are a victim or a loser who just needs to get control of his life.

During my residency, I would really like to develop the way I work with the topic, from having a starting point in my own experiences to also include research. Research where I talk to people of all ages about the ups and downs of life and how they have experienced talking about emotions and the darkness of life. In addition to the research, I also want to make at least one work where I use technology, interactivity and sound as elements, as it is the media of our time and is therefore extremely relevant to use.

The use of technology, sensors and digital processes is not a random choice, but a central part of my works. At the same time, they become a comment on how everything should be monitored and monitored in society. And that data is used everywhere, so why not in art too?

One concept I am considering making during my residency is ‘choir of emotions’ – an interactive sound installation where you as the audience can interact with the sound of emotions through both sound and light. The interaction will be in the same style as my work ‘Oscillations’ – that is, through capacitive sensors, where even by being 50 cm from the work you will be able to interact with it. The material has not yet been decided.

Luciana Manca (It)
Singer, sound artist, video-maker and scholar of traditional oral music; attending  a PHD in ethnomusicology at Roma Tor Vergata University.
Facebook: Scigghiate, Libert’aria
lucianamanca01@gmail.com

Diaspora and trance: a “sonic citizenship” 

This work is an attempt to capture a piece of knowledge about the connection between the inner sonic world and the surrounding landscape. 

The main topics are diaspora and trance as centrifugal but interconnected directions. “Inhabiting” far from one’s own land and “being inhabited” by someone or something else as ways to “find oneself” deeply. The external and often forced condition of diaspora, as well as the inner state that can arise from trance belong to people of all ages; therefore, I would like to investigate the meaning of trance in the contemporary rituals (religious or not), by looking for traces of diasporic communities of yesterday and today. 

At first I’ll do a field research with migrant communities and every people interested in the project, trough unstructured interviews and oral histories; in the second part of the work I’m going to propose two workshops open to the community: the first one, about music and voices, will focus on free vocal improvisation and traditional songs suggested by the partecipants; the second workshop will focus on the basics of making good video shots, and then walks in emotionally significant places for the attendants. 

The final goal will be the realization of a “sung documentary”, a format I’ve created, a video installation which combines music and oral history, a sort of interplay beetwen storytelling, songs and videos, produced by the two working groups. For the coordination of the final work, through notes and sketches of the “artist’s diary”, will be realized “experiential scores” that will flow, together with the photographic material, in the catalog.