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Jag befinner mig på ett militärt övningsområde i närheten av där mina föräldrar bor. Mina anteckningar innan jag börjar: Woman cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Man cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Kameran är fäst i ett stativ som är fastsatt på cykelns pakethållare. Jag drar ner byxorna och börjar cykla. Väl igång slår mig följande: Tänk om militärerna ertappar mig med en kamera och byxorna nere på den här vägen där tillträde och fotografi är förbjudet? Är det här verkligen en fungernade simulering över en kvinna som cyklar genom ett religiöst område? Jag borde göra det bärandes peruk i området i norra London där kvinnor faktiskt inte är tillåtna att cykla.
For the liberation of men: It’s ok 1:
Vi är i min atelje, innan vi börjar har jag gjort några anteckningar: blue ornamented tights. Important to see his genitals, fragile trust. Jag ber honom gå fram och tillbaka framför kameran tre gånger. Det är viktigt att hans ansikte är ur bild. Jag vill att du tänker dig att du är en vas, instruerar jag honom. Han nickar. Jag betalar honom 500 kronor för två timmars arbete.
Jag filmar de tre äldsta kvinnorna i min släkt, de föddes i början av förra seklet. Jag ber dem klä sig i en silverklänning jag tagit med mig. När de har klänningen på sig frågar jag dem vad som hänt sedan deras män dog när de var i 50 årsåldern. Sedan frågar jag stereotypa saker som: vad de drömde om då de var unga. Jag frågade dem varför de tror att gud alltid beskrivs som en man. Jag vågade inte fråga om de haft sex de senaste 30 åren.
I slutet av våren hittade jag ännu en sorts hantverksmönster, denna gång från Barcelona. Det är en perfekt modell över en orgasm. Fyra remsor sammanflätade till en spiral som skulle kunna fortsätta I det oändliga. Jag gjorde om den i större skala. Den är uppenbar: alla kommer att förstå. Hon* besöker min atelje hon tittar på skulpturen och viskar: Sex is the refugee of the mindless. And the more mindless the woman, the more deeply embedded in the male ‘culture’, in short, the nicer she is, the more sexual she is. The nicest women in our society are raving sex maniacs. But being just awfully, awfully nice, they don’t, of course, descend to fucking -that’s uncouth- rather they make love, commune by means of their bodies and establish sensual rapport: the literary ones are attuned to the throb of Eros and attain a clutch upon the universe, the religious have spiritual communion with the divine sensualism: the mystic merge with the erotic principle and blend with the cosmos, and the acid heads contact their erotic cells.2
Jag gjorde en performanceskulptur som jag kallade Art. Den är gjord i rep och knuten så att bäcken och huvud är sammanbundna och bäraren kan bara titta på sin egen navel. Hon* talar om för mig efteråt: Looking inside yourself for salvation, contemplating your navel, is not, as the Drop Out people would have you to believe, the answer. Happiness lies outside yourself, is achieved through interacting with others. Self-forgetfulness should be one’s goal, not self-absorbation. The male, capable of only the latter, makes a virtue of irremediable fault and sets up self-absorption, not only as good but as a Philosophical Good, and thus gets credit for being deep.2 I Peckham, Södra London, ett dygnetruntöppet väntrum för taxiresenärer: en spelmaskin, tre omaka stolar, ett callcenter med ett rostigt galler framför kontorets fönster. Bryan ägaren, låter mig filma mig själv när jag klipper av repen till Art, går upp till spelmaskinen och börjar spela på den.
1 Herman Broch Evil in the value/system of art Geist and Zeitgeist the spiritual in an unspritual age.
2,* Valerie Solanas SCUM manifesto, 1983 Matriarchy study group.
performance Uppsala stadsteater: 3/12 & 6/12 20.00:
Medverkande:
Jennifer Rainsford (KKH), Anna Carlson (Uppsala stadsteater)
WORLD SUFFERING STATISTICS FOR SENSORY SYSTEMS (ws4)
Jag kommer att demonstrera ett nytt sätt att förstå världens lidande på Annas kropp. Metoden översätter statistiska data till elektriska impulser och applicerar dem på den mänskliga kroppen som svarar med kramper. Den möjliggör en annan förståelse för skillnaden mellan lidande i olika delar av världen.
.................................................................................................
TO OWN THE RIGHT OF DESCRIBING THE WORLD
The easiest way to survive in a system is to follow it. To enjoy with it and to play with it. In that way you don’t have think of how to survive. And things are less complicated. How to make a difference when you actually don’t have to?
´The clarity of desire is kitch. It has nothing to do with self/interest. With the good insofar as it is understood as something that is obviously good for me. To know exactly what one wants to do. 1`
I am on a military practicing field close to where my parents live. My notes before this action: Woman cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Man cycling through very religious area, lower part of body naked. The camera is fastened on the tripod on the back of my bike. I pull down my trousers and start cycling. While on the bike these thoughts pass through my mind: What if the militaries catch me with a camera and my pants down on this non-access-military road where photography is strictly forbidden? Is this a good simulation of a woman cycling through very religious area? I should be doing this wearing a wig in that part of Arsenal where women actually aren’t allowed to use bikes. They might be aroused, or arouse someone.
I visited the homes of three eldest women in my family. They are all born in the beginning of the last century. We are all related. I asked them to wear a silver dress. When the dress is on, I ask them what has happened since their husbands died when they were in their 50’s. I ask them stereotypical things like what they dreamt of when they were young. I ask them why they think god is always described as a man. I didn’t dare to ask them if they have had sex in 30 years.
In the end of spring I found another kind of handcrafted pattern, this time from Barcelona. I think it is the perfect model of an orgasm. Four things intertwined in a spiral girland that could go on forever. I made it in a larger scale. People have to understand: it is obvious. She* visits my studio, looks at the sculpture and whispers: Sex is the refugee of the mindless. And the more mindless the woman, the more deeply embedded in the male ‘culture’, in short, the nicer she is, the more sexual she is. The nicest women in our society are raving sex maniacs. But being just awfully, awfully nice, they don’t, of course, descend to fucking -that’s uncouth- rather they make love, commune by means of their bodies and establish sensual rapport: the literary ones are attuned to the throb of Eros and attain a clutch upon the universe, the religious have spiritual communion with the divine sensualism: the mystic merge with the erotic principle and blend with the cosmos, and the acid heads contact their erotic cells.2
For the liberation of men: It’s ok 1:
We are in my studio, before we start I have made some notes: blue ornamented tights. Important to see his genitals, fragile trust. Three times I want him to walk back and forth in front of the camera. It is important that his face is out of frame. I want you to think you are a vase I tell him. He nods. I pay him 500kr for two hours of work.
I made performance sculptures that I call Art. They are made out of rope and knotted so that: when you put them on, your head and crouch are connected so tight so that you have to look at your navel and you can’t move from that position. She* tells me afterwards: Looking inside yourself for salvation, contemplating your navel, is not, as the Drop Out people would have you to believe, the answer. Happiness lies outside yourself, is achieved through interacting with others. Self-forgetfulness should be one’s goal, not self-absorbation. The male, capable of only the latter, makes a virtue of irremediable fault and sets up self-absorption, not only as good but as a Philosophical Good, and thus gets credit for being deep.2 In Peckham, South London, in the small waiting room for taxis that is open 24-7. One gaming machine, three odd chairs, a callcenter with a rusty grid in front of broken window. Bryan, the owner allows me to film myself while I cut off the ropes of Art, walk up to the machine and starts playing it.
1 Herman Broch Evil in the value/system of art Geist and Zeitgeist the spiritual in an unspritual age.
2 ,*Valerie Solanas SCUM manifesto, 1983 Matriarchy study group.
Medverkande:
Jennifer Rainsford (KKH), Anna Carlson (Uppsala stadsteater)
WORLD SUFFERING STATISTICS FOR SENSORY SYSTEMS (ws4)
Jag kommer att demonstrera ett nytt sätt att förstå världens lidande på Annas kropp. Metoden översätter statistiska data till elektriska impulser och applicerar dem på den mänskliga kroppen som svarar med kramper. Den möjliggör en annan förståelse för skillnaden mellan lidande i olika delar av världen.
.................................................................................................
TO OWN THE RIGHT OF DESCRIBING THE WORLD
The easiest way to survive in a system is to follow it. To enjoy with it and to play with it. In that way you don’t have think of how to survive. And things are less complicated. How to make a difference when you actually don’t have to?
´The clarity of desire is kitch. It has nothing to do with self/interest. With the good insofar as it is understood as something that is obviously good for me. To know exactly what one wants to do. 1`
I am on a military practicing field close to where my parents live. My notes before this action: Woman cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Man cycling through very religious area, lower part of body naked. The camera is fastened on the tripod on the back of my bike. I pull down my trousers and start cycling. While on the bike these thoughts pass through my mind: What if the militaries catch me with a camera and my pants down on this non-access-military road where photography is strictly forbidden? Is this a good simulation of a woman cycling through very religious area? I should be doing this wearing a wig in that part of Arsenal where women actually aren’t allowed to use bikes. They might be aroused, or arouse someone.
I visited the homes of three eldest women in my family. They are all born in the beginning of the last century. We are all related. I asked them to wear a silver dress. When the dress is on, I ask them what has happened since their husbands died when they were in their 50’s. I ask them stereotypical things like what they dreamt of when they were young. I ask them why they think god is always described as a man. I didn’t dare to ask them if they have had sex in 30 years.
In the end of spring I found another kind of handcrafted pattern, this time from Barcelona. I think it is the perfect model of an orgasm. Four things intertwined in a spiral girland that could go on forever. I made it in a larger scale. People have to understand: it is obvious. She* visits my studio, looks at the sculpture and whispers: Sex is the refugee of the mindless. And the more mindless the woman, the more deeply embedded in the male ‘culture’, in short, the nicer she is, the more sexual she is. The nicest women in our society are raving sex maniacs. But being just awfully, awfully nice, they don’t, of course, descend to fucking -that’s uncouth- rather they make love, commune by means of their bodies and establish sensual rapport: the literary ones are attuned to the throb of Eros and attain a clutch upon the universe, the religious have spiritual communion with the divine sensualism: the mystic merge with the erotic principle and blend with the cosmos, and the acid heads contact their erotic cells.2
For the liberation of men: It’s ok 1:
We are in my studio, before we start I have made some notes: blue ornamented tights. Important to see his genitals, fragile trust. Three times I want him to walk back and forth in front of the camera. It is important that his face is out of frame. I want you to think you are a vase I tell him. He nods. I pay him 500kr for two hours of work.
I made performance sculptures that I call Art. They are made out of rope and knotted so that: when you put them on, your head and crouch are connected so tight so that you have to look at your navel and you can’t move from that position. She* tells me afterwards: Looking inside yourself for salvation, contemplating your navel, is not, as the Drop Out people would have you to believe, the answer. Happiness lies outside yourself, is achieved through interacting with others. Self-forgetfulness should be one’s goal, not self-absorbation. The male, capable of only the latter, makes a virtue of irremediable fault and sets up self-absorption, not only as good but as a Philosophical Good, and thus gets credit for being deep.2 In Peckham, South London, in the small waiting room for taxis that is open 24-7. One gaming machine, three odd chairs, a callcenter with a rusty grid in front of broken window. Bryan, the owner allows me to film myself while I cut off the ropes of Art, walk up to the machine and starts playing it.
1 Herman Broch Evil in the value/system of art Geist and Zeitgeist the spiritual in an unspritual age.
2 ,*Valerie Solanas SCUM manifesto, 1983 Matriarchy study group.
.........................................
(sv. version)
Jag befinner mig på ett militärt övningsområde i närheten av där mina föräldrar bor. Mina anteckningar innan jag börjar: Woman cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Man cycling through very religious area, lower part of body naked. Focus on where skin touches seat. Kameran är fäst i ett stativ som är fastsatt på cykelns pakethållare. Jag drar ner byxorna och börjar cykla. Väl igång slår mig följande: Tänk om militärerna ertappar mig med en kamera och byxorna nere på den här vägen där tillträde och fotografi är förbjudet? Är det här verkligen en fungernade simulering över en kvinna som cyklar genom ett religiöst område? Jag borde göra det bärandes peruk i området i norra London där kvinnor faktiskt inte är tillåtna att cykla.
For the liberation of men: It’s ok 1:
Vi är i min atelje, innan vi börjar har jag gjort några anteckningar: blue ornamented tights. Important to see his genitals, fragile trust. Jag ber honom gå fram och tillbaka framför kameran tre gånger. Det är viktigt att hans ansikte är ur bild. Jag vill att du tänker dig att du är en vas, instruerar jag honom. Han nickar. Jag betalar honom 500 kronor för två timmars arbete.
Jag filmar de tre äldsta kvinnorna i min släkt, de föddes i början av förra seklet. Jag ber dem klä sig i en silverklänning jag tagit med mig. När de har klänningen på sig frågar jag dem vad som hänt sedan deras män dog när de var i 50 årsåldern. Sedan frågar jag stereotypa saker som: vad de drömde om då de var unga. Jag frågade dem varför de tror att gud alltid beskrivs som en man. Jag vågade inte fråga om de haft sex de senaste 30 åren.
I slutet av våren hittade jag ännu en sorts hantverksmönster, denna gång från Barcelona. Det är en perfekt modell över en orgasm. Fyra remsor sammanflätade till en spiral som skulle kunna fortsätta I det oändliga. Jag gjorde om den i större skala. Den är uppenbar: alla kommer att förstå. Hon* besöker min atelje hon tittar på skulpturen och viskar: Sex is the refugee of the mindless. And the more mindless the woman, the more deeply embedded in the male ‘culture’, in short, the nicer she is, the more sexual she is. The nicest women in our society are raving sex maniacs. But being just awfully, awfully nice, they don’t, of course, descend to fucking -that’s uncouth- rather they make love, commune by means of their bodies and establish sensual rapport: the literary ones are attuned to the throb of Eros and attain a clutch upon the universe, the religious have spiritual communion with the divine sensualism: the mystic merge with the erotic principle and blend with the cosmos, and the acid heads contact their erotic cells.2
Jag gjorde en performanceskulptur som jag kallade Art. Den är gjord i rep och knuten så att bäcken och huvud är sammanbundna och bäraren kan bara titta på sin egen navel. Hon* talar om för mig efteråt: Looking inside yourself for salvation, contemplating your navel, is not, as the Drop Out people would have you to believe, the answer. Happiness lies outside yourself, is achieved through interacting with others. Self-forgetfulness should be one’s goal, not self-absorbation. The male, capable of only the latter, makes a virtue of irremediable fault and sets up self-absorption, not only as good but as a Philosophical Good, and thus gets credit for being deep.2 I Peckham, Södra London, ett dygnetruntöppet väntrum för taxiresenärer: en spelmaskin, tre omaka stolar, ett callcenter med ett rostigt galler framför kontorets fönster. Bryan ägaren, låter mig filma mig själv när jag klipper av repen till Art, går upp till spelmaskinen och börjar spela på den.
1 Herman Broch Evil in the value/system of art Geist and Zeitgeist the spiritual in an unspritual age.
2,* Valerie Solanas SCUM manifesto, 1983 Matriarchy study group.