…and now that my contribution to Satan’s Delirium is up and running with the rest, it’s time for me to land in the studio again. Had scheduled this October mainly for printmaking, but sadly, the graphic department at the Royal Institute of Art suffered from a devastating fire some weeks ago. No person hurt, but dire material damages – above all, a number of students lost all of their works – and since then, the building isn’t safe and nobody is allowed into the workshops except for carpenters and construction workers.
Graphic department at the Royal Institute of Art, september 21st, 2016.
Photo: Tidningarnas Telegrambyrå (TT)
So, serious shit did happen at the RIA. But I was lucky not to have too much stored in those workshops. I can just stay home and take up painting where I left it in September… a very suitable option, in fact.
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accessing the Nameless Storeys
So, last year I joined the crew of 100+ artists who set the scene for Satan’s Democracy; a piece of immersive theatre – equally playful & dead serious – based on Bulgakov’s novel Master and Margarita and inspired by Punchdrunk’s Sleep No More in New York… Three floors of a former office building transmuting in a creative flow of consumeristic debris, human-sized dolls, graffiti galore, UV-light installations and fresh asphalt (not to mention a minor forest of birch-trees)… The construction of my own contribution, the Passage Room, can be seen here. Once, it was a brightly-lit space where office workers gathered around the photocopier; distorted angles, thick felt walls, semi-transparent shadowscreens and black sand covering the floor turned it into a tiny maze where people actually get lost at times…
The whole project was conceived, produced, curated and directed by some truly audacious people: Jimmy Meurling, Py Huss-Wallin and Andreas Blom. They couldn’t know it would end up a success, but it did – every single performance got sold-out. Furthermore, the demolishment of the building (scheduled for the summer of 2016) got postponed… so why not keep on playing?
“Woland” tag outside window
Woland Presents: Part Two: Satan’s Delirium… The grand opening was couple of weeks ago, now playing until Dec 31st (some few spare tickets still available)… The public, provided with masks and flashlights, find their way through a darkness mimicking the satanic delirium of a Prosecutor run amok, haunted by Woland (embodied by Otto Milde and Angela Wand). As for the Passage Room; since four out of five spotlights were removed, it’s really dark… so I have adapted it a bit, mainly by adding more mirror shards.
from the Passage Room, updated October 2016
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from the studio, March – August 2016 (photo HHW.)
So, writing and commissions aside, there’s always the studio. And during the past week, I’ve returned to this canvas (started out in March). It’s strongly related to the graphic work, but I don’t know yet where it’ll take me; only thing I know is that by now it’s calling for another one. And I need to give it time. Attention.
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160728, graphite pencil on paper, 28 x 21 cms
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160705; graphite pencil on paper, 28 x 21 cms
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…and I’m free. Birds are still singing, sun is warm. Clouds passing. Future’s come. And, here’s the text (in Swedish, with English abstract):
Thinking Practises; the Artwork Reconstituted as Essay
160627; graphite pencil on paper, 28 x 21 cms
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Finally, I have delivered my essay – at the Centre for Practical Knowledge at Södertörn University, Stockholm – whohoo! (Examination due next week.)
The parallel process of compiling an artist book of concepts – a dictionary, of sorts – remains unfinished. From the lithographic workshop to the screenprint department, I take it one small step forward. To be continued in September, hopefully…
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