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Avhandling/Av_handling (Dissertation/Through_action)1

Malin Arnell

 
 
 
 
 

This is an INVITATION. May 27th, 2016 00:01am – May 29th, 2016 11:59pm. KTH R1 Experimental Performance Space, and throughout Stockholm city. Here you will find a SCHEDULE. Have a look at the accompanying MAP and IMAGE. You can find the TEAM and the ACKNOWLEDGEMENTS below. Please feel free to make CONTACT.

 

1    The English word dissertation translated to Swedish makes “avhandling.” When you break the word into its composite parts (“av” and “handling”), “av” can be translated to by, of, for, from, or with. I chose to translate it to “through,” because I have pursued my research through the actions of my practice (of action). “Handling” can be translated to action, document, or deed. I chose “action” to emphasize the continually shifting unfoldings of this research, and to echo Hannah Arendt, who maintained that actions have no end.

 

Open to public entanglements

Friday May 27 | 11:00 am–11:00 pm
Saturday May 28 | 9:00 am–12:00 am
Sunday May 29 | 6:00 am–9:00 pm

Space is limited. Reservations will be granted on a first come, first served basis.

Dress warm. We will be 25 meters below ground.

Avhandling / Av_handling (Dissertation / Through_action) has been carried out and supervised within the graduate program of choreography at Stockholm University of the Arts in collaboration with Malmö Faculty of Fine and Performing Arts, Lund University.

As part of the choreographic process, Sugar Rush Productions | Maria Åkesson together with Tsomak Oga, Sooz Romero, and Debora Vega will video document Avhandling / Av_handling (Dissertation / Through_action). If you do not want to appear in the footage used as the final documentation please CONTACT.

 

 
 
 
 
 

INVITATION

This is an INVITATION

 

“I am a little scared: scared of surrendering completely because the next instant is the unknown. The next instant, do I make it? Or does it make itself? We make it together with our breath.”

—Clarice Lispector, Água Viva, (1973/2012, 3)

 

“Nothingness is not absence, but the infinite plenitude of openness. [...] The possibilities for justice-to-come reside in every morsel of finitude.”

—Karen Barad, What is the Measure of Nothingness? Infinity, Virtuality, Justice (2012, 16–17)

 

You are invited to become part.

You are invited to partial responsibility.

You are invited to an un-hierarchized commitment.

You are invited to recognize collective aspects of knowledge production as political forces.

You are invited to be an active radius of touch.

You are invited to escape binary logics.

You are invited to cut things together-apart.

You are invited to take responsibility for the force of becoming.

You are invited to rethink causality as intra-activity.

You are invited to re-conceptualize boundaries and properties.

You are invited to think of affect as matter.

You are invited to demand active co-presence.

You are invited to share suffering collectively.

You are invited to recognize how societal power relations materialize in and through bodies.

You are invited to raise awareness of daily violence.

You are invited to demand social justice.

You are invited to mobilize trust as much as insecurity, support as much as dependence.

You are invited to acknowledge simultaneous singularity and multiplicity.

You are invited to activate something that has already happened, and which by these actions continues to happen.

You are invited to keep the future open to that which has yet to emerge.

You are invited to a masturbatory cooperation and erotic togetherness.

You are invited to act transversally.

You are invited to trust impermanence.

You are invited to an unending dynamism.

I have been invited.

You are invited.

 

Avhandling / Av_handling (Dissertation /Through_action)is a live dissertation in choreography. It is a dissertation that proposes and explores a specific format, a dissertation that will be written through space-time-language-matter with and for human and more-than-human bodies, and other discursive-material becomings. It spans 72 hours, situating itself within and proceeding from a decommissioned nuclear reactor hall 25 meters below ground.

Avhandling / Av_handling (Dissertation / Through_action)emphasizes the ever-present negotiations of vulnerability, intimacy, force, and power with/in choreography and performance. It engages a posthumanist and “agential-realist” (Barad, 2007) reworking of the notion of performativity, in which all bodies (not only human bodies) come to matter through the world’s performativity—its iterative intra-activity. In this framework,  knowledge is made as a direct material engagement, a cutting “together-apart” (Barad, 2007)—a process by which cuts enact violence but also open up and rework agential conditions of possibility.

Avhandling / Av_handling (Dissertation / Through_action)recognizes the force of ethico-onto-epistemological entanglements (of matter, history, politics, social relations, theory, and practice) through intra-action. It asks what happens to the notion of research objectivity when the researcher (“I”) and the researched (“object”) occupy the same location (“my body”)? What happens when this understanding of location shifts, to become a location without a locus?
 

If we are being-of-the-world, how can we ever avoid participation? In an ongoing continuum of entanglement, the moment of connection is unavoidable. It demands that we are attentive to our mutual co-constitutiveness, and that we take responsibility for what gets excluded as well as what comes to matter. During Avhandling / Av_handling (Dissertation / Through_action), diffractive choreographic methods and techniques will be applied and experienced in a process of queering causality, agency, and relationality, and dislocating authority, while (my/the/our) human and more-than-human body/bodies pursue(s) embodied affinities, and a state of becoming-with.

Avhandling / Av_handling (Dissertation / Through_action)positions itself against the proliferation of capitalist logistics in academic and artistic contexts (the neoliberal transformation of universities, the implementation of an administrative superstructure, proliferation of technologies of efficiency, fragmentation and competition, commercialization of artistic activity, etc.). It asks how this socio-economic trajectory intra-actively infiltrates the live practices of making knowledge, and how such cuts (or transformations) might be made differently?

You are invited to join Avhandling / Av_handling (Dissertation / Through_action)in a process of articulating/manifesting forces of knowledge entanglement through live acts of documentation.

 
 
 
 
 

IMAGE

 
 
 
 
 

SCHEDULE

SCHEDULE

 

Avhandling / Av_handling (Dissertation / Through_action) will bearticulated / manifested over the course of 72 hours. The opponents and the examining committee are invited to become part for 42 hours; so is the audience—as agentially intra-acting components.

 

Unless otherwise noted, everything will take place in or around KTH R1 Experimental Performance Space, Drottning Kristinas väg 51, Stockholm. See MAP

 
 

Friday May 27

11:00am

Doors open

11:30am–12:00pm

Preface and Introduction  >

Preface and introduction of Avhandling / Av_handling (Dissertation / Through_action)

12:00–1:00pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

1:00pm–2:00pm

BREAK

2:00pm–3:30pm

Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm, a collaboration among others (again) / Kapitel, Kaput, Kapital, Kapitulera, Capitulum: huvudpunkt av en text och en del av armen – ett samarbete bland annat (igen)

Malin Arnell, Fia Backström and Imri Sandström  >

Malin Arnell, Fia Backström, and Imri Sandström re-engage (and re-activate) the process, methods, practice, and materials that were part of their joint exhibition Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm (2014) at Index—The Swedish Contemporary Art Foundation, Stockholm. The artists’ shared desire to understand what is most elemental—and therefore often taken for granted—and the political dynamics that determine the possibilities for participation, formed the starting point for the collaboration. In an attempt to avoid distinguishing between the negotiation, production, and presentation of the work, the gallery was open to the public while the work was in progress.

 

Vi tillgängliggör ett pågående arbete.

We make available an ongoing work.

Our interaction is part of the work.

Vår interaktion är en del av verket.

Det är intressant att inte skilja de olika tiderna åt

It’s interesting to not separate these times

(då vi är i rummet eller inte).

(when we’re in the room or not).

Någon kommer in och får ta del av vad som äger rum.

Someone enters and may take part in what is taking place.

Kapitel: en period av tid som är väldigt olik perioden av tid innan.

Chapter: a period of time that is very different from the period of time before it.

Att det är öppet och arbete pågar, galleriet öppet.

That it is open and the work is in progress, the gallery is open.

– Vad betyder att saker är o/åtkomliga (för vem / vad),

– What does it mean that things are in / accessible (for whom / what),

 

Synliggöra de porösa kontaktytor som det singulära använder.

Make visible the porous contact surfaces that the singular uses.

 

Hur “lika villkor” kan användas som en flexibel arbetsmetod.

How “equal terms” can be used as a flexible practice.

Hur använder sig språket av sammanhangen.

How does language use the contexts.

 

Materialiseringar /materializations: overheadapparater/overhead projector, transparent film/transparent film, A4 papper/A4 paper, bokstäver/letters, språkljud/language sounds, dagsljus/daylight, glasskivor/sheets of glass, speglar/mirrors, videoprojektor(er)/video projector + (rökmaskin)/(smokemachine), svett/sweat, vågbrus/sound of waves, andetag/breath, tidsrytmer/rythms of time

 

Vad gör en Stor Bokstav?

What does a Character do?

Vad gör ett Kapital?

What does a Capital do?

 

och att ingenting sker utan det andra,

and that nothing takes place without the other,

3:30pm–4:00pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

4:00pm–5:00pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

5:00pm–5:30pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

05:30pm–06:30pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf,Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with / in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

6:30pm–7:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

7:30pm–8:45pm

After, Rehearsal After #4  >

In the lecture-performance After, Rehearsal After (2013), Malin Arnell presents her ongoing dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane’s and Arnell’s historical intra-action, the ongoing dialogue explores performance art documentation and historical narratives. Film documentation of Pane’s 1975 action Discours mou et mat at de Appel Art Centre in Amsterdam will be screened alongside video documentation of Arnell’s 2011 reenactment, Reflect Soft Matte Discourse, performed at Kamarad in Stockholm. Included in After, Rehearsal After is a letter written by Clara López Menéndez recounting her experience in the reenactment as “the naked body” listed in Pane’s performance instructions. This text was included in previous iterations of the action, Rehearsal after Reflect Soft Matte Discourse #1 (2011) and #2 (2012), developed together with Clara López Menéndez and Imri Sandström. After, Rehearsal After interrogated the operations of archives, asking: “How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?” “Whose bodies remain present, and which bodies are lost?” The framework of the work—its repetition with variations, its artistic and queer feminist methodologies—enabled an exploration of history, documentation, and bodily epistemology, as an attempt to take responsibility for what is not known by doing, through action, through performance.

 

Included in the performance is a text written by Malin Arnell and three video pieces:

 

Gina Pane, Discours mou et mat (1975), video, 22:32 min. (DVD, 4:3, sound, b/w). Unknown cinematographer and editor. All rights reserved, © LIMA (Discours mou et mat will be screened without sound).

 

Malin Arnell, Reflect Soft Matte Discourse (2011), video, 22:43 min. (DVD, 16:9, sound, color). Performed by Malin Arnell and Clara López Menéndez at Kamarad in Stockholm on May 24th, 2011. Duration, 58 minutes. Cinematographer: Ulrika Gomm, Editor: Malin Arnell.

 

Malin Arnell, Letter from Clara López Menéndez (2013), video, 8:03 min. (DVD, 16:9, sound, b/w). Text written and read aloud by Clara López Menéndez. Editor: Malin Arnell.

 

After, Rehearsal After #1 (2013) was first performed as a praxis session at the conference PSi19: Now Then: Performance and Temporality!, Stanford University, Stanford, CA.

8:45pm–9:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

9:30pm–10:30pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

10:30pm–11:00pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

Saturday May 28

9:00am–10:00am

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:
During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

10:00am–11:00am

Travel from Tekniska Högskolan to Central Station

11:00am–1:00pm

NYPÅSTIGNA / NEW PASSENGERS

YES! Association/Föreningen JA!

Meeting place: “Ringen” (“The Ring”), Stockholm Central Station central hall. See MAP  >

YES! Association/Föreningen JA! hereby invites you to join us on a rhombic trip with Stockholm Public Transport. We will travel collectively and engage in looking, moving, reading aloud, and conversing.

 

NYPÅSTIGNA/NEW PASSENGERS will take about 1 hour and 40 minutes. We will travel from T-Centralen with metro to Liljeholmen, further with tram to Solna Station, and finally we will take the commuter rail back to Stockholm Central Station. Malin Arnell and Åsa Elzén from YES! Association/Föreningen JA! will travel along with you.

 

Humans and other animals are welcome

Bring a bottle of water!

Wear clothes for activity.

No preparation is needed. A score will be handed out when we meet.

There are elevators in all the stations.

Be on time.

 

Let us know before May 27 if you need an SL-ticket for the trip. Email info@foreningenja.org (subject: SL-ticket)

 

YES! Association/Föreningen JA!’s first version of this scripted public transport choreography, Zyklische Gesellschaftsreise, took place on the Berlin S-Bahn in 2013 as ACT 5 within WIR SPIELEN (WE PLAY) at nGbK, neue Gesellschaft für bildende Kunst, Berlin.

 

YES! Association / Föreningen JA! (2005–ongoing) is an art collective, an institution, an art worker, a group of people that works to promote a more heterogeneous and more equal art sphere through engaging in strategies related to rights discourse and inclusion, radical difference and utopia. They often employ fictitious situations as exercises of possible realities. 

1:00pm–1:30pm

Travel from Central Station to Tekniska Högskolan

1:30pm–2:30pm

BREAK

2:30pm–5:30pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

5:30pm–6:00pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

6:00pm–7:00pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

7:00pm–9:00pm

Time to talk

It might be time to talk. Allocated time for some questions to be formulated and maybe asked.

9:00pm–10.00pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

10:00pm–10:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

10:30pm–12:00am

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

Sunday May 29

6:00am–8:00am

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an non-specific referential diffractive entanglement of praxis, formats, texts, methods, techniques, materials, and situations.

8:00am–9:00am

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Clara López Menéndez, Jorun Kugelberg, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

9:00am–9:30am

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

9:30am–11:00pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

11:00pm–12:00pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

12:00pm–1:00pm

BREAK

1:00pm–2:00pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

2:00pm–2:30pm

Unfolding encounters, open score  >

Following an open score, COLLABORATIONS, ACTIONS, and WORKS (2010–2016), which are components of this doctoral project, will be cut together-apart. This includes an entanglement of different praxes, formats, texts, methods, techniques, materials, and situations.

2:30pm–3:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

3:30pm–4:30pm

I am not quite sure. This is an arduous terrain (again)

Malin Arnell in collaboration with Claude Blüna, Åsa Elzén, Mario Fjell, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Clara López Menéndez, and Andrea Svensson.

 

Tenth hour—all lives come together.  >

The three-day durational action I am not quite sure. This is an arduous terrain (2013) came about from an invitation by curator Piper Marshall to engage broadly with/in a discussion of how contemporary art mobilizes a specific consciousness of objects as they separate and bind to the self.

 

Reprising the structure of the initial 2013 action, Malin Arnell invited nine lives to each spend an hour in silence with her in KTH R1. On Sunday, all lives come together for the first time to share another hour—the tenth hour.

 

Excerpt from letter to invited participants:

 

During these hours I want us to relate to each other in this specific spatiotemporality via short instructions. (You will bring two instructions and I will bring two). I’m interested in occupying the space-time as objects, as volume and weight.* Using each other as transitional objects, providing each other with comfort in this specific situation (of vulnerability).

 

*“objects”: here it is about slowed-down connectedness as being-of-the world. As an exercise, we can try not to focus on the perceived individuality of (our) mind-body-materialities. I think of this as a method of connectedness—in which we have to take positions in the world, and in which the world takes a position in us.

 

Before the tenth hour I will organize a score from the instructions we have been working with separately in the previous hours. Each of us will work from this new score during the final hour, relating to each other through the experiences from the earlier hours. All of us have the option to choose not to act, react, or move (even if that’s not really possible) for shorter or longer times during this hour.

 

I am not quite sure. This is an arduous terrain (2013) was part of the exhibition Descartes’ Daughter at Swiss Institute, New York. With Vanessa Anspaugh, Jess Arndt, Malin Arnell, Fia Backström, Paula Garcia, Robyn Hillman-Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller and Jen Rosenblit.

4:30pm–5:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

5:30pm–7:30pm

Setting the Scene (again)

Malin Arnell in collaboration with Linda Arnell, Claude Blüna, Katarina Bonnevier, Åsa Elzén, Sophie Erlandsson, Mario Fjell, Ulrika Gomm, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Indra Linderoth, Clara López Menéndez, Tilda Lovell, KOEFF/Johanna Rosenqvist (Sound), Frida Sandström, Wibke Straube, and Andrea Svensson.  >

The two hour action Setting the Scene (2014) came about from an invitation by curators Rebecca Brooks, Daria Faïn, and Shelley Senter to engage broadly with questions of somatics, while they were asking the question “How are we mattering?”

 

As a response to this invitation, and stemming from a desire for a collective intimacy, I invited fourteen friends and colleagues to come together as a working team, to improvise and help each other with different tasks using a variety of materials (six pieces of 20’ x 50’ clear plastic sheeting; nine pieces of 4’ x 8’ foam insulation; eight large transparent balloons; fifty blue chairs; audience). We engaged in a ritual of uncertainty and trust in which we were both doing and not doing, watching and being watched, touching materials and each other, being touched and moved by objects and each other. Our breathing and the air between us became part of the soundscape made by KOEFF, together with the reading of fragments of texts by Karen Barad.

 

Setting the Scene (2014) was performed during the Movement Research Festival Fall 2014: M A T T E R I N G at Danspace Project in New York City. With Malin Arnell, Vanessa Anspaugh, Fia Backström, A.K. Burns (Camera), Anna Craycroft, Nicole Eisenman, devynn emory, Rachel Higgins, Alhena Katsof, KOEFF (Sound), Katherine Hubbard, Zoe Leonard, Clara López Menéndez, Lydia Adler Okrent, and Guadalupe Rosales. It was later re-activated together with Vanessa Anspaugh and Magdalena Górska during Final seminar (2015) DOCH, School of Dance and Circus, Stockholm.

7:30pm–8:30pm

Connect and commit, document  >

Connect and commit, document allocates time to write down or in other ways share different accounts of various encounters and experiences that emerge within these time-space-language-matterings. You are invited to share, or not share, these accounts after the weekend in some way, and if you desire they can be included in the doctoral project web archive.

8:30pm–9:00pm

Epilogue  >

An epilogue will be shared.

 
 
 
 
 

COLLABORATIONS, ACTIONS, WORKS

COLLABORATIONS, ACTIONS, WORKS (2010–2016)

 

These praxes, formats, texts, methods, techniques, materials, and situations are components of this doctoral project and will be cut together-apart this weekend. Every cut matters.

 

Breathing-with – A praxis session (2015), Bodies of Evidence, An artistic-theoretical conference on bodies, borders, and movement, DOCH, School of Dance and Circus, Stockholm.
 

Final Seminar (2015), Studio 16/Scenen, DOCH, School of Dance and Circus, Stockholm.

Hey you, your pussy stinks (2015), text piece for Public Pattern Poem, invited by Fia Backström, part of the exhibition Fia Backström at The Artist's Institute, New York. Curated by Jenny Jaskey.

YES! Association/Föreningen JA!, (art)work(sport)work(sex)work (2015), commissioned project for The Power Plant, Toronto. Curated by Julia Paoli.

Beyond this Point (2015), a drive-in action in the framework of FD13 residency for the arts, St. Paul /Minneapolis, MN. Curated by Sandra Teitge.
 

You have already arrived (2015), action during Emily Roysdon’s event UNCOUNTED (Performance 4), within the exhibition If Only a Wave, Participant Inc, New York.
 

Setting the Scene (2014), action, Movement Research Festival, Fall 2014: M A T T E R I N G, Danspace Project, St. Mark’s Church, New York. Curated by Rebecca Brooks and Daria Faïn in conversation with Shelley Senter.
 

I’m invited here this morning… (2014), lecture-performance, Creative Time Summit: Stockholm, Kulturhuset, Stockholm. Curated by Edi Muka, Public Art Agency Sweden.
 

Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm, a collaboration among others / Kapitel, Kaput, Kapital, Kapitulera, Capitulum: huvudpunkt av en text och en del av armen – ett samarbete bland annat (2014), exhibition including two densification events, joint project by Malin Arnell, Imri Sandström and Fia Backström, Index – The Swedish Contemporary Art Foundation, Stockholm. Curated by Nathalie Åhbeck.
 

A Response to the Absence of Pain (2014), action, SUNDAY RUN_UP, Design Hall, Stockholm. Organized by ccap and Cristina Caprioli, Philip Berlin, and Ulrika Berg.

In This Almost / Nesse quase (2014), 6-hour action and installation in collaboration with MPA, Eat the sun / Como o sol, PerformaPaço/Combinações at Paço das Artes Performance Event, São Paulo. Curated by Corrine Fitzpatrick and Paula Garcia.

Audience or one of the crowd (2014), durational action, Failing to Levitate, EFA Project Space, New York. Curated by Kerry Downey and Natasha Marie Llorens.

Mo(WE)ments of labor (2014), installation, durational action, workshop, We owe each other everything, CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY. Curated by Andrew Kachel.

67,3% performative research seminar (2014), 3-day seminar, Weld, Stockholm.

After, Rehearsal After #2 (2014), lecture-performance, Cheat Out Towards the Audience: Risk x Reward, Museum of Arts and Design, New York. Curated by Kelly Gilpatrick and Jake Yuzna .

Slow dancing with two fans (2014), action within the group show Looking Back: The Eighth White Columns Annual – Selected by Pati Hertling, White Columns, New York. Curated by Pati Hertling.
 

I am not quite sure. This is an arduous terrain (2013), action within the group show Descartes’ Daughter, Swiss Institute, New York. Curated by Piper Marshall.

YES! Association/Föreningen JA!, Zyklische Gesellschaftsreise (2013), action, nGbK, neue Gesellschaft für bildende Kunst, Berlin. Curated by nGbK working group WIR SPIELEN (WE PLAY).

Sometimes, Sometimes, Sometimes (2013) text/sound installation in collaboration with Johanna Rosenqvist/KOEFF, festival:display, Weld, Stockholm. Curated by Koreografiska Konstitutet.
 

After, Rehearsal After #1 (2013), lecture-performance, PSi19: Now Then: Performance and Temporality!, Stanford University, Stanford, CA.

It’s quarter to 8pm (2013), action and installation for the Movement Research Festival, Spring 2013: Alternate/Shelter, Brooklyn. Curated by Vanessa Anspaugh, Hilary Clark, Mina Nishimura, and Antonio Ramos.

Walking to the mic, the other falling off her chair #2 (2013), action with MPA, Dancing with the Art World, Hammer Museum, Los Angeles. Curated by Brennan Gerard and Ryan Kelly.

Possession Principle, Flames of Protection (2012), action, Enduring Sometimes Warring, INCA Institute, Detroit, MI. Curated by Ulrika Gomm and Clara López Menéndez.
 

The Oncoming Corner (2012–2015), series of monthly gatherings that took place in Malin Arnell’s loft in Brooklyn. A space for sharing our makings, for communizing, for socialising, and for us to think together about what these terms can mean and how we can make use of their potentials.

Something is Missing (2012), action, The Famous Fem(inists), Renseriet, Stockholm. Curated by Johan Norling and Hanna Wildow.

YES! Association/Föreningen JA!, SMOKING AREA (2012), Floor painting, reading/speech/performance, a month-long stay for Annika Ruth Persson, Anti-Establishment, CCS Bard/Hessel Museum of Art, Annandale-on-Hudson, NY. Curated by Johanna Burton.

30% research seminar (2012), Weld, Stockholm.

YES! Association/Föreningen JA!, I am talking about something happening right here, right now (2012), a talk around questions of authorship, signature, creativity and labor, within the project BODY OF WORK by Lucie Fontaine, IASPIS, Stockholm.

Falling off (2012), action, Unconstituted Praxis book launch by Mattin, Pannrummet/The Boiler Room, Konsthall C, Stockholm.

Rehearsal after Reflect Soft Matte Discourse #2 (2012), action together with Clara López Menéndez and Imri Sandström, EPISODE 2: A Special Form of Darkness, Tramway, Glasgow, UK. Curated by Arika/Barry Esson and Bryony Mcintyre.

Action/Collective reading: I want a president… (2010–ongoing), Plaza de Chueca, Madrid (2012). Organized by Clara López Menéndez.

Rehearsal after Reflect Soft Matte Discourse #1 (2011), action together with Clara López Menéndez and Imri Sandström, FEMINISTS IN SPACE – International Feminist Performance Art Festival, Warehouse9, Copenhagen. Curated by Kajsa Dahlberg, Molly Haslund, and Gritt Uldall-Jessen.

Walking to the mic, the other falling off her seat (2011), action together with MPA, IN THE ACT, Performing BodiesMatters of Presence and Present Matter, Silvershed, New York. Curated by Hanna Wildow and Imri Sandström.

I find myself at the moment in a white void, waiting for the next moment #2 (2011), action, Funeral Charade of Poses: Ein Abend Mit Freundinnen und Basso, HAU1, Berlin. Curated by Yusuf Etiman / BASSO.

Essaying Performative Constructions (2011), installation and action together with Clara López Menéndez and exhibition including Sporing Lips of Transposed Desire (2011), video in collaboration with Pablo Zuleta Zahr, September Gallery, Berlin.

Untitled (Just Because Everything Is Different Does Not Mean Anything Has Changed) (2011), project/workshop/performance, Disclosure – exhibition as discourse as disco, Istanbul. Curated by Lisa Rosendahl/IASPIS.

Action/Collective reading: I want a president… (2010–ongoing), wall text and a collective reading at the Freedom Square in Tallinn, Untold Stories (2011), at Kunstihoone – Tallinn Art Hall, Tallinn, EE. Curated by Anders Härm, Rebeka Põldsam and Airi Triisberg.

Reflect Soft Matte Discourse (2011), action, LIKA – a performance evening, KAMARADE, Stockholm. Organized by Malin Arnell, Amelie Edlund, Anna Kleberg, and Ulrika Sparre.

Coming to an end / Opening up for a new circle (2011), a collective transformation of  Malmö Free University for Women, MFK, Insisting to be part of this moment/movement (convinced of our greatness), Konsthall C, Stockholm. Invited by Malmö Free University for Women, MFK/Johanna Gustavsson and Lisa Nyberg.

I find myself at the moment in a white void, waiting for the next moment #1 (2011), IN THE ACT gives: LIKE YOU SAID – Borrowed words and stolen scenes, Högkvarteret, Stockholm. Curated by Hanna Wildow and Imri Sandström.

YES! Association / Föreningen JA!, – Sublime, said the association (2010), exhibition, and We Will Open a New Front – lecture by Lee H. Jones (2010–ongoing), intervention, One-day seminar on feminist strategies and methods, The Moderna Exhibition 2010, Moderna Museet, Stockholm. Curated by Fredrik Liew, Gertrud Sandqvist, and Lisa Rosendahl

Action/Collective reading: I want a president... (2010–ongoing), Sergels Torg, Stockholm (2010). Organized by Malin Arnell, Kajsa Dahlberg, Johanna Gustavsson and Fia-Stina Sandlund

 
 

Work installed at KTH R1 Experimental Performance Space

YES! Association/Föreningen JA!’s poster We Will Open a New Front – lecture by Lee H. Jones (2010). Design by Studio SM.

Video Sporing Lips of Transposed Desire (2011), 3:38 min loop (DVD, 16:9, sound, color), in collaboration with Pablo Zuleta Zahr.

Sound installation Sometimes, Sometimes, Sometimes (2013), in collaboration with KOEFF/Johanna Rosenqvist.

 
 
 
 
 

TEAM

TEAM for Avhandling / Av_handling (Dissertation / Through_action)

 

Phd Candidate

Malin Arnell

Co-producer / Assistant

Mario Fjell

Lighting designer and technical director

Angela Ariza

Assistants

Linda Arnell, Magdalena Górska, and Clara López Menéndez

Sound

KOEFF / Johanna Rosenqvist

Co-workers / performers

Linda Arnell, Fia Backström, Claude Blüna, Katarina Bonnevier, Åsa Elzén, Sophie Erlandsson, Mario Fjell, Ulrika Gomm, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Indra Linderoth, Clara López Menéndez, Tilda Lovell, KOEFF / Johanna Rosenqvist, Frida Sandström, Imri Sandström, Wibke Straube, Andrea Svensson and YES! Association / Föreningen JA!

Hosts, night guards and kitchen crew

Claude Blüna, Sophie Erlandsson, Eliisa Erävalo, Ulrika Gomm, Geraldine Lombano, Kalo Lööf, Josefine Lööf, Susana Santa-Marta, Ida Sidenvall, and Andrea Svensson

Documentation

Sugar Rush Productions | Maria Åkesson with Sooz Romero, Tsomak Oga, and Debora Vega

Writing assistance and proofreading

Andrew Kachel

Graphic design / website creator

Studio Pandan | Ann Richter & Pia Christmann

Programming

Mario Helbing

Illustration NYPÅSTIGNA/NEW PASSENGERS

Josefin Herolf

Catering 

Kafé Whakapapa | Susanne Mobacker

Production support from Stockholm University of the Arts

Johan Andersson, Kay Artle, Johanna Boynton, Camilla Damkjaer, Elisabet Möller, Helena Nordström, and Jenny Tyllström 

Opponents/dialogue partners 

Teresa María Díaz Nerio and Camila Marambio  

Examination committee  

Cecilia Lagerström, Nina Lykke, Nanako Nakajima, and substitute Tova Gerge

Representative from Malmö Faculty of Fine and Performing Arts, Lund University

Ylva Gislén

Supervisors   

Hanna Hallgren and Anna Koch 

 
 
 
 
 
 

MAP

MAP

 

KTH R1 Experimental Performance Space, Drottning Kristinas väg 51, Stockholm.

The entrance is behind the building near the parking lot. Wheelchair accessible from the elevator at the main entrance.

Google maps

 
 
 

For participation in NYPÅSTIGNA / NEW PASSENGERS by YES! Association / Föreningen JA! on Saturday May 28 11:00am–01:00pm the meeting place is “Ringen” (“The Ring”), Stockholm Central Station central hall.

Google maps

 
 
 
 
 
 

ACKNOWLEDGEMENT

ACKNOWLEDGEMENTS

 

Both the doctoral project as a whole and Avhandling / Av_handling (Dissertation / Through_action) wants to recognize collective aspects of knowledge production as political forces, where we can take responsibility to the entanglements of which we are a part. The project is also in dept to the work of many feminist, queer, antiracist and post humanist scholars, artists, and activists not listed here.

 

I would like to thank

 

My supervisors Hanna Hallgren and Anna Koch for advice and encouragement.

The School of Dance and Circus, Stockholm University of the Arts, Faculty of Fine and Performing Arts, Lund University, and Konstnärliga forskarskolan for supporting the realization of this doctoral project. (Konstnärliga forskarskolan was a national research school in the field of arts (2010-2015) funded by the Swedish Research Council.)

The opponents / dialogue partners for Avhandling / Av_handling (Dissertation / Through_action), Teresa María Díaz Nerio and Camila Marambio.

The examination committee, Cecilia Lagerström, Nina Lykke, Nanako Nakajima, and substitute Tova Gerge.

Åsa Elzén for the work with YES! Association / Föreningen JA!. For our travels to New York, upstate New York, Toronto, Kristiansand, and Bergen. For our common time in Stockholm and Berlin. For time spent in different public transportation systems. For laughing, getting angry, and sometimes being sad together. For writing, thinking, and reading together. For our walks, and most of all for not ever giving up.

Clara López Menéndez for our lively entanglements. For support and assistance during many parts of this research. For trust and care. For developing works and performing together. For traveling to Copenhagen, Glasgow, Istanbul, Madrid, and Paris. For shared time in Berlin, Stockholm, São Paulo, New York and Los Angeles. For building and constructing things together, for finding and fixing bikes, for sharing the ocean and joining me on hikes, and for sometimes telling me ”don’t be so fucking “Ingmar Bergman.”

 

Andrew Kachel and Alhena Katsof, for your support, and for editorial and writing assistance during different phases of this research.

Mario Maria Fjell for dedication and assistance around the planning and making of Avhandling / Av_handling (Dissertation / Through_action), 2016.

Angela Ariza for technical and lights work during Avhandling / Av_handling (Dissertation / Through_action), 2016.

Maria Åkesson | Sugar Rush Productions, Tsomak Oga, Sooz Romero, and Debora Vega, for documenting Avhandling / Av_handling (Dissertation / Through_action), 2016.

Linda Arnell, Fia Backström, Claude Blüna, Åsa Elzén, Sophie Erlandsson, Mario Maria Fjell, Ulrika Gomm, Magdalena Górska, Annica Karlsson Rixon, Leffe Kronlöf, Jorun Kugelberg, Indra Linderoth, Clara López Menéndez, Tilda Lovell, KOEFF / Johanna Rosenqvist, Frida Sandström, Imri Sandström, Wibke Straube, Andrea Svensson, for being part of Avhandling / Av_handling (Dissertation / Through_action), 2016.

Linda Arnell, Sophie Erlandsson, Ulrika Gomm, Magdalena Górska, Geraldine Lombano, Clara López Menéndez, Kalo Lööf, Josefine Lööf, Susana Santa-Marta, and Andrea Svensson, for working as assistants, kitchen crew, hosts, and night guards during Avhandling / Av_handling (Dissertation / Through_action), 2016.

Ann Richter and Pia Christmann | Studio Pandan for designing and creating the website for this doctoral project together with programer Mario Helbing.

Josefin Herolf for the illustration in the NYPÅSTIGNA / NEW PASSENGERS (2016) folder.

Opponent / dialogue partners Annette Arlander (Final Seminar, 2015), Katherine Brewer Ball (67,3% performative research seminar, 2014), and Wencke Fugelli Mühleisen (30% seminar, 2012) for engaging in my research.

Tavia Nyong’o for sponsoring my stay as a visiting researcher at the Department of Performance Studies, Tisch School of the Arts, New York University (2012–2015).

My PhD colleagues at Stockholm University of the Arts: Nils Claesson, Marius Dybwad Brandrud, Mia Engberg, Marie Fahlin, Jonas Forsell, Niklas Hald, Mette Ingvartsen, Anne Juren, Kirsi Nevanti, Axel Nowitz, Kerstin Perski, Anna Petterson, Jonathan Priest, Carina Reich, Paz Rojo, Stacey Sacks, and Bogdan Szyber.

My colleagues at Konstnärliga forskarskolan: Petra Bauer, Petra Fransson, Ylva Gislén, Simon Goldin, Janna Holmstedt, Emma Kihl, Elke Marhöfer, Olivia Plender, and Jacob Senneby, and Lisa Tan.

My colleagues at DOCH, School of Dance and Circus: Anna Efraimsson, Frédéric Gies, Sandra Noeth, and Chrysa Parkinson.

My colleagues at Stockholm University of the Arts: Johan Andersson, Kay Artle, Cecilia Roos, Lena Hammergren, Elisabet Möller, and Helena Nordström, and extra thanks to Camilla Damkjaer.

The Sweden-America Foundation, Nordic Culture Point, Mobility Support, IASPIS, Swedish Arts Grants Committee for support.

Anna Koch and Fredrik Wåhlstedt of Weld and Leif Handberg of KTH R1 Experimental Performance Space, for trusting and supporting the process of this doctoral project.

Sugar Rush Productions | Maria Åkesson, Linda Arnell, A.K. Burns, Hasan Cay, Kim Einarsson, devynn emory, Ulrika Gomm, Nina Hoffmann, Chris Kendall, Magnus Lindgren, Clara López Menéndez, Ida Lövestam, Lia Lowenthal, Mary Manning, Sissela Nordling Blanco, Marit Östberg, Sooz Romero, Debora Vega, Hanna Wildow, Alex Woodward, and Pablo Zuleta Zahr for being there and documenting the works and actions.

Frida Sandström (Program Final Seminar, 2015), Sara Kaaman (Reader 67,3% performative research seminar, 2013), STUDIO SM (Poster We Will Open a New Front – lecture by Lee H. Jones, 2010), and Louise Bååth | Kingisland Design (www.foreningenja.org) for the design of printed material and websites.

Everyone who presented and shared their works and processes during The Oncoming Corner (2012–ongoing): Fia Backström, Antonia Baehr, Bambitchell (Sharlene Bamboat and Alexis Mitchell), Margot Bassett, Laurie Berg, Katherine Brewer Ball, Liv Bugge, Mathias Danbolt, Twiggy Pucci Garçon, Liliana Dirks-Goodman, devynn emory, Lillian Gerson, Andrea Geyer, Ulrika Gomm, Emma Hedditch, Robyn Hillman-Harrigan, Rachel Higgins, Mai Hofstad Gunnes, Katherine Hubbard, Sara Jordenö, Clara López Menéndez, Carlos Motta, Annika Ruth Persson, Jen Rosenblit, Imri Sandström, Karin Schneider, Sille Storihle, and Liv Strand.

Fia Backström (Public Pattern Poem, 2015), Tony Torn (Torn Page Pop Up, 2015), Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller (Here We LTTR: 2002–2008, 2015), A.K. Burns and Katherine Hubbard (Poetry Parade for Hortense Fiquet at the MET, 2015), Sandra Teitge / FD13 residency for the art (Beyond this Point, 2015), Emily Roysdon (UNCOUNTED (Performance 4), 2015), Amanda Parmer / PARMER (A Sea Change Into Lands Rich and Stange, 2015), Rebecca Brooks, Daria Faïn, and Shelley Senter (Movement Research Festival Fall 2014: M A T T E R I N G), Edi Muka (Creative Time Summit: Stockholm, 2014), Ccap/Cristina Caprioli, Philip Berlin, and Ulrika Berg (SUNDAY RUN_UP, 2014), Nathalie Åhbeck (Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm, a collaboration among others / Kapitel, Kaput, Kapital, Kapitulera, Capitulum: huvudpunkt av en text och en del av armen - ett samarbete bland annat, 2014), Corrine Fitzpatrick and Paula Garcia (PerformaPaço / Combinações, 2014), Kerry Downey and Natasha Marie Llorens (Failing to Levitate, 2014), Andrew Kachel (We owe each other everything, 2014), Pati Hertling (Looking Back: The Eighth White Columns Annual, 2014), Piper Marshall (Descartes’ Daughter, 2013), Julieta Aranda, Fia Backström, and R. Lyon (The End(s) of the Library continues with p???§§???, 2013); Vanessa Anspaugh, Hilary Clark, Mina Nishimura, and Antonio Ramos (Movement Research Festival Spring  2013: Alternate / Shelter, 2013), Rebecca Chentinell and Marie Fahlin/Koreografiska Konstitutet (festival:display, 2013), Ulrika Gomm and Clara López Menéndez (Enduring Sometimes Warring, 2012), A.K. Burns and Katherine Hubbard (Poetry parade for a permanent collection at the MoMA, 2012), Ulrike Müller (Herstory Inventory. 105 Feminist Drawings by 100 Artists, 2012), Mattin (Unconstituted Praxis book launch by Mattin at Pannrummet, 2012), Johan Norling and Hanna Wildow (The Famous Fem(inists), 2012), Imri Sandström and Hanna Wildow (In the Act, 2011-2012), Lisa Rosendahl/IASPIS (Disclosure – exhibition as discourse as disco, 12th Istanbul Biennial parallel event, 2011), Mattin (Noise & Capitalism / Exhibition as Concert, 2010), SEPTEMBER Gallery (Essaying Performative Constructions, 2011), and Yusuf Etiman / BASSO (Funeral Charade of Poses: Ein Abend Mit Freundinnen und Basso, 2011), for curating, inviting, and organizing.

Annika Lundgren (Performing Therapy, 2016), Liv Bugge and Jesper Alvaer (Extended Stipendiatforum, 2016), Sandra Noeth, Anna Efraimsson, Peter Mills, Frédéric Gies, and Ingela Stefaniak (Bodies of Evidence, 2016), Cal Harben, Elin Mar Øyen Vister, and Maja Moesgaard (Queer Ecologies conversation seminar, 2015), Katherine Cooper, Laura Elena Fortes, Sarah Giovanniello, and Aaron Madison (PRAXIS, 2013 and 2015), Clara López Menéndez (Is It Really working? A Physical Symposium / Crash Course, 2014); Simone Douglas (Art & Politics, The International Gender Design Network: Gender Design and Art Conference, 2013), Branislav Jakovljevic,  conference staff and committee (PSi19: Now Then: Performance and Temporality!, 2013), Brennan Gerard and Ryan Kelly (Dancing with the Art World, 2013) for curating, inviting, and organizing.

Vanessa Anspaugh and Magdalena Górska for activating Setting the Scene (2014) during Final Seminar (2015), and for time spent together.

Ursula Nill and Runa Norheim for performing and helping out during Final seminar (2015).

Indra Linderoth and Ida Sidenvall for inviting me to support your work and to be in dialogue with you throughout your Master’s projects (2015).

Sandra Teitge (FD13 residency for the arts, 2015) and Elin Mar Øyen Vister (Røst Air, 2015) for inviting me to be part of your residency programs and for supporting my practice.

Ginger Brooks Takahashi, Kajsa Dahlberg, Cal Harben, Maja Moesgaard, Camilla Nicolaisen, Mirko Nikolić, Jaya Ramchandani, Jason Rosenberg, Tejal Shah, Marika Troili, and Elin Mar Øyen Vister, for sharing daily routines and dedicating time to conversation during Røst Air in Residency (2015).

Vanessa Anspaugh, Fia Backström, A.K. Burns, Anna Craycroft, Nicole Eisenman, devynn emory, Rachel Higgins, Alhena Katsof, KOEFF / Johanna Rosenqvist, Katherine Hubbard, Zoe Leonard, Clara López Menéndez, Lydia Adler Okrent, and Guadalupe Rosales for being part of Setting the Scene (2014).

Karen Barad for cutting things together-apart.

Vanessa Anspaugh, Amelia Bande, Gregg Bordowitz, Kajsa Dahlberg, Andrew Kachel, Alhena Katsof, and Clara López Menéndez, for being part of A score fo r queer labor (2014).

Maurício Ianês, MPA, Luisa Nobrega, and Lynsey Peisinger, for presenting and sharing your work during PerformaPaço / Combinações, Paço das Artes Performance Event (2014).

MPA for our joint work with two titles In This Almost / Nesse quase – Eat the sun / Como o sol (2014), and the performance Walking to the mic, the other falling off her seat, #1 (2011) and #2 (2013), and for making it together through demonstrations, arrests, and deserts.

Vanessa Anspaugh, Jess Arndt, Fia Backström, Paula Garcia, Robyn Hillman Harrigan, Katherine Hubbard, Clara López Menéndez, Ulrike Müller, and Jen Rosenblit, for being part of I am not quite sure. This is an arduous terrain (2013).

KOEFF / Johanna Rosenqvist for bringing the noise and the craft to Setting the Scene (2014), Sometimes Sometimes Sometimes (2013), and Untitled (Just Because Everything Is Different Does Not Mean Anything Has Changed) (2011), and for your performance during 67,3% performative research seminar (2013).

Fia Backström and Imri Sandström for working together on Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm, a collaboration among others / Kapitel, Kaput, Kapital, Kapitulera, Capitulum: huvudpunkt av en text och en del av armen – ett samarbete bland annat (2014).

Marius Dybwad Brandrud, Lisa Hjertén, Janna Holmstedt, Mattin, Anna Pettersson, Emily Roysdon, Bella Rune, Axel Wieder, and Carl Åkerlund, for reading within Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm, a collaboration among others / Kapitel, Kaput, Kapital, Kapitulera, Capitulum: huvudpunkt av en text och en del av armen – ett samarbete bland annat (2014).

Vanessa Anspaugh and Amber Bemak for inviting me to be part of, develop, and perform together with Lydia Adler Okrent and Sophia Cleary in Relay Project (2014).

Magdalena Górska and Wibke Straube (Tema Genus, Linköping), Rebecka Thor (Jan van Eyck Academie, Maastricht), and Thomas Elovsson (University College of Arts, Crafts and Design, Stockholm) for inviting me to lecture.

Petra Frank (DOCH, School of Dance and Circus, Stockholm), Tina Carlsson (Konstfack, University College of Arts, Crafts and Design, Stockholm), Fia Backström (The Visual Arts Program, Columbia University, New York), 2015 Fine Art MFA students, Valand Academy (University of Gothenburg), Cecilia Lagerström (Academy of Music & Drama, University of Gothenburg), Frédéric Gies (DOCH, School of Dance and Circus, Stockholm), Patrik Söderstam (Konstfack, University College of Arts, Crafts and Design, Stockholm), and Marie-Andrée Robitaille (DOCH, School of Dance and Circus, Stockholm) for inviting me to teach, develop courses and engage with students’ work and processes.

Jess Arndt, Katie Brewer Ball, A.K. Burns, devynn emory, Katerine Hubbard, Fia Backström, Kajsa Dahlberg, Corrine Fitzpatrick, Paula Garcia, Fred Gies, Robyn Hillman-Harrigan, Alhena Katsof, Anna Koch, Zoe Leonard, Klara Lidén, Clara López Menéndez, Tilda Lovell, Lydia Adler Okrent, Jennifer Rosenblit, and Imri Sandström, for sharing one movement with me for 6:40 minutes, a Pecha Kucha presentation (2014).

The circus students in the BA class of 2014 (DOCH, School of Dance and Circus, Stockholm), for working together during the spring of 2012: Karoline Aamås, Tom Brand, Emil Dahl, Anton Graaf, Onni Hämäläinen, Einar Kling-Odencrants, Mira Leonard, Andreas Lindström, Karin Melin, Esmeralda Nikolajeff, Tony Pezzo, Santiago Ruiz Albalate, Sara Runsten, Ben Smith, and John Simon Wiborn, and the ones who performed with me in Falling off (2012) at Unconstituted Praxis book launch by Mattin at Pannrummet / The Boiler Room, Konsthall C, Stockholm.

Johanna Gustavsson, Line S. Karlström, Anna Linder, and Fia-Stina Sandlund, for founding and working together with YES! Association / Föreningen JA! (2005–ongoing).

Emy Fem, Jeuno JE Kim, Annika Ruth Persson, Litia Perta, Sooz Romero, and Hong-An Truong, for your collaboration with YES! Association / Föreningen JA! (2005–ongoing).

Vivi Nielsen, Kate Pendry and Lea Robinson, for giving everything to Lee H. Jones (2010-ongoing).

Julia Paoli ((art)work(sport)work(sex)work, 2015), Maya Økland (FORRÅDT / BETRAYED, 2013), Karin Hindsbo and Else-Brit Kroneberg (The Beginning Is Always Today. Feminist Art in Scandinavia 1990s to today, 2013), Freja Bäckman, Merja Hannikainen, Annika Högner, Vappu Jalonen, Bogg Johanna Karlsson, and Clara López Menéndez (WIR SPIELEN (WE PLAY), 2013), Lucie Fontaine (Body of Work, 2012), Johanna Burton, (Anti-Establishment, 2012), Fredrik Liew, Gertrud Sandqvist, and Lisa Rosendahl (MODERNA EXHIBITION, 2010) for curating, organizing, and inviting YES! Association / Föreningen JA!.

Nese Ceren Tosun for sharing Istanbul, translating, and participating in Untitled (Just Because Everything Is Different Does Not Mean Anything Has Changed), 2011, together with Gizem Aksu, Deniz Nihan Akta, Daniela K. Campo, Yigit Daldikler, Alime Aslı Demir, Dilan Ceylan Emektar, Mariana Fernandes, Clara López Menéndez, Mirjam Rüb, Nese Ceren Tosun, Kübra Varol, Johana Wagner, Gokce Yigitel, Pınar Özer, and Nurgül Öztürk.

Mattin, Martin Bryngelsson, Henrik Andersson for inviting me to make and play with Answers (2011)

Johanna Gustavsson and Lisa Nyberg / Malmö Free University for Women, MFK, for inviting me to make the grand transformation within Insisting to be part of this moment / movement (convinced of our greatness), 2011.

Kajsa Dahlberg, Johanna Gustavsson, and Fia-Stina Sandlund for the work within Action / Collective reading: I want a president… (2010–ongoing).

Zoe Leonard for writing the text I want a president… (1992).

Freja Bäckman, Alia Farid, Saisha Grayson, Laura Guy, Clara López Menéndez, Ditte Lyngkær Pedersen, and Airi Triisberg, for engaging in Action / Collective reading: I want a president… (2010–ongoing) and bringing it out onto the streets.

Kelly Gilpatrick and Jake Yuzna (Cheat Out to the Audience: Risk x Reward, 2013), Bettina Knaup and Beatrice Ellen Stammer (re.act.feminism #2 – a performing archive, 2011–2013), Dean Daderko (Parallel Practices: Joan Jonas & Gina Pane, 2013), Neda Sanai and Pauline Doutreluingne (Arcane of Patterns. Inceptive of Rhythm, and Order and Summon, 2012), Arika / Barry Esson and Bryony Mcintyre (EPISODE 2: A Special Form of Darkness, 2011), Kajsa Dahlberg, Molly Haslund, and Gritt Uldall-Jessen (FEMINISTS IN SPACE – International Feminist Performance Art Festival, 2010), and Anna Kleberg, Ulrika Sparre, and Amelie Edlund (LIKA – a performance evening, 2010), for curating, inviting, and organizing public sharings of the ongoing dialogue I have had with artist Gina Pane.

Iréne Berggren, Ulrika Gomm, Clara López Menéndez, Mattin, Imri Sandström and Liv Strand, for writing letters after Reflect Soft Matte Discourse (2011).

Clara López Menéndez and Imri Sandström, for developing Rehearsal after Reflect Soft Matte Discourse #1 (2011) and #2 (2012) and performing together in these actions.

Stefanie Seibold and Teresa María Díaz Nerio, for sharing their work and writings on Gina Pane’s action Discours mou et mat (1975) during 67,3% performative research seminar (2014).

Jess Arndt, Magdalena Górska, Wencke Fugelli Mühleisen, Zoe Leonard, Heather Love, and Clara López Menéndez, for reading my texts and giving me feedback.

John Beeson, Rebecca Chentinell, Corrine Fitzpatrick, Melanie Gilligan, Efva Lilja, Andrea Merkx, Litia Perta, Frida Sandström, and Lisa Torell, for writing about processes and works that have been part of this doctoral project in different forums.

Sinziana Ravini and Fredrik Svensk for publishing I am not quite sure. This is an arduous terrain (2013) in Paletten Art Magazine No. 1 (2014) #295, and A.K. Burns, Sophie Mörner, and Clark Solack for publishing part of Zyklishe Gesellschaftsreise (2013, YES! Association / Föreningen JA!) in Randy No. 4, 2013.

Pauline Boudry, Samara Davis, Carina Gunnars, Maja Hammaren, Annica Karlsson Rixon, Anna Kindgren, Klara Lidén, Anna Linder, Renate Lorenz, and Marit Östberg for supportive conversations and shared time.

Magnus Lindgren for a long friendship, and for constructing and building things together.

All my friends’ dogs that have taken me out on longer or shorter walks during these years.

Marina Ancona, Dave Allen and Josefin Herolf, Fia Backström, Rachel Berks and A.L. Steiner, Katarina Bonnevier and Marie Carlsson, Johanna Breiding and Shoghig Halajian, Liv Bugge and Kajsa Dahlberg, Leila Brännström and Kim Einarsson, A.K. Burns and Katherine Hubbard, Cay Castagnetto and MPA, Karin Drejer, Birgitta Ericson, Corrine Fitzpatrick, Nicholas Harteau, Emma Hedditch, Zoe Leonard, Anna Linder and Hanna Högström, Pontus Lindvall, Clara López Menéndez, Karl Lydén and Rebecka Thor, Jeanine Oleson, Elizabeth Orr, Tyler Matthew Oyer, Hanna Wildow, and Tathy Yazigi for sharing your homes and letting me stay sometimes with you and sometimes without you.


Many thanks also to:


Division for jumping up into my arms in the fall of 2012 and trusting me to take care of you.

Linda Arnell, Hans Arnell, and Annie Liedgren for endless support and love.