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BCAB (Bogcaféen Almindelig Brand) i samarbejde med Astrid Noacks Atelier.

OBS! Samtalen foregår i BCAB, Baldergade 70, 2200 København kl. 17-19.

Bogen “Holes Dug, Rocks Thrown – Line Skywalker Karlström’s Works Through the Prism of Queer and Feminist Art Practices” er den første omfattende præsentation af billedkunstneren Line Skywalker Karlströms praksis. I overensstemmelse med Skywalker Karlströms opfattelse af at kunst i bedste fald består af kaotisk og associativ vidensproduktion, som formes i en samarbejdende og igangværende samtale, er deres bog blevet en bastardmonografi, hvor en kunstnerisk praksis beskrives gennem dens relationer og flok.

BCAB og ANA har inviteret Line at diskutere deres bog med denne flok som prisme. Hvordan er f.eks. forholdet mellem kunstens relationer og de abstrakte relationer som samfundets arbejdsdeling skaber? Vokser flokken gennem eller udenom det formelle kunstbegrebs rum og identifikationer?

I mere end 20 år har Line Skywalker Karlströms beskæftiget sig med “queer verdensskabelse” gennem brug af kropsliggørelse og blød materialitet. Med udgangspunkt i “at tænke med kroppen” og erfaringer af ekskludering/inkludering, appellerer den til steder, rum og kunsthistorien med poetiske, flygtige bevægelser som sigter mod på samme tid at repræsentere og destabilisere, skjule sig og nægte. Med afsæt i queermetode, forholder Line sig til emner og materialer på en associativ og promiskuøs måde og bruger sparsomlighedens begrænsninger som motor i sin æstetik.

4pm: Embracing (1992), 40’

5pm: Katatsumori (1994), 40’

6pm: Sky,Wind,Fire,Water,Earth (2000), 50’

7pm: See Heaven (1995), 10’ + Sun on the Horizon (1996), 45’

(NB: Sake, tea and soup will be served)

Terrassen is a nomadic cinema in Copenhagen that investigates the social life of film. All screenings are free and everyone is welcome.

My early works were shot mostly in 16mm and on Super 8. The great thing about Super 8 is that it captures details so well. It can be very subtle in how it communicates them to the public. Digital video has it own benefits, but screening Super 8 films had to be done in a private room, with a projector. This was the only way to share my work with the audience, and it felt private and intimate, like a diary. It was an ideal format.

– Naomi Kawase

LOST TITLE – a cycle of testimonies of waste.

A LOST TITLE. manifestation has previously been shown in Astrid Noack’s Atelier with a choir, who sang compositions of testimonies from meetings with waste professionals, and others who picks up inside and outside.

A host of notes, in dochmiac, the crying rhythm.

(…)

The research that I couldn’t really figure out how to do

Overwhelmed, that which has happened.

…Stood still for a long time (stiffened?), I thought that what I had learned – or tried to recreate, had become waste

that I had been so stupid that I had wasted..

…then I copied “the whole thing” (Grinning Face With Sweat emoji) unsorted, into a book

a kind of eternal life, regained

(…)

A desire for compost

This time I’ll walk with A, the composer:

To do together. Exist in A.

A sings to me as I walk, while I put my head into the book and look for something I can use

A knocks.

A sings for the book, which we put our heads into and look for something we can use

Everything is inside the book

I will also call A.

Still no images of trash.

The face which is exactly the same as hers

10 pairs of new shoes and shame.

Have I used A?

A has used me too!

When you say I haven’t done my research, haven’t sorted through it, I can just say (quote from the book)

that I have done it with my whole body, have felt it, tried to excrete it, with my whole body.

Etc.

See http://www.moribund.dk/tabt-titel-lost-title/ for earlier manifestations of LOST TITLE.

Supported by The Danish Arts Foundation.

In the exhibition, Mie Lund is occupied with the often overlooked and undervalued acts of care which continuously take place in the attempt to preserve the vulnerable building of Astrid Noack’s Atelier. Based on conservation methodologies and performative acts, the exhibition will resemble an updated surveyor’s report that uncovers the ‘abject’ material resources that lie hidden in the space – and which resonate intimate relationships and mental states. Products such as CO2, patina, dirt particles, plastic waste, etc. are not normally considered assets that can be valued. On the other hand, they are often regarded as insignificant (surplus) products that simply relate to decay, maintenance, conservation and care work. The exhibition title Om sorg* reflects the interaction between our experienced, physical and material reality and our mental states with an eye to the body’s resources and (wound) healing process.

During 4 weeks, Mie Lund has collected materials from recent years’ work at Rådmandsgade 34, Astrid Noack’s former studio building. The following events are results of this process.

Thursday, 1 December from 4pm-8pm.: Opening of Om sorg

Saturday, 3 December from 11am – 1pm: Demonstration of flint knapping by archaeologist Sofus Stenak. Conversation between Sofus Stenak and Mie Lund about man’s oldest craft and the traces of the individual on the materials.

Sunday, 11 December at 4pm – 6pm: Finissage of Om sorg and dedication of “Gentrification Monument 1” in the backyard by the association Astrid Noack’s Atelier. A bronze cast commemorative plaque with inscription is unveiled and erected. Klejner by Jesper Aabille and gløgg will be served.

Open: Fridays and Saturdays from 1pm-5pm or by appointment (email: mielun@gmail.com)

The exhibition is supported by the Danish Arts Foundation and the Council for Visual Arts, Copenhagen Municipality.

*Om sorg translates to English; about grief, but it is also a paraphrase of the noun omsorg that translates from Danish to English by the word and action of care. 

BIO: Mie Lund is preoccupied with material theory – the teaching and perception of materials, and how it contributes to a physically experienced reality and mental health. Concepts such as conservation, valuing, sustainable (consumption), archiving, historiography and uncovering power structures are central to Lund’s processual and methodical approach to the production of art works, where she often focuses on how the interaction between an individual and collective action is affected by the spatial opportunities and circumstances we are presented with. Educated as both visual artist (DFK/FAA, 2010) and monumental conservator Ba.Sci. (KADK, 2016) Lund’s practice in recent years has been centered around Astrid Noack’s Atelier, also as a board member since 2019. Often site-specific and installation-oriented, Lund works both conceptually and intuitively in several media and traditions – with both performativity and classic sculpture.