I have worked with performance, both as a creator, pedagog and artist in others’ works.
performance becoming with the world *
When I myself produced and taught performance, I had been looking for another concept that better describes my ideas about an alternative to theatre. I think I have found it… Påhitt
“Mysterious Gift from the Sky” 2015 Produced together with Hans Peter Tommila.
Live improvised noise music by CAM.
Film: De Nye Vokse (Jonas Bræmer-Jensen and Simon Anker-Larsen).
When I myself produced and taught performance, I have been looking for another concept that better describes my ideas about an alternative to theatre. I think I have found it in the notion of
It seems that this concept better captures what I’m trying to do in my own work.
To me Påhitt is a completely open concept that nobody can own…
We all can
… recognize ourselves in the sentence “We’ll find something to do.” It is not possible to describe exactly what it means or should contain.However, it is possible, in retrospect and in relation to its context, to seek references amongst more established concepts.This is primarily done outside of the established theatre tradition that we see most on our stages. This means that in ‘Påhitt‘ we find traces of happening, performance, immersive theatre, post-dramatic theatre and other contemporary performing arts forms.
Set Design –o- (human) Design
Immersive Spaces -o- Costumes
My understanding of scenography is linked to the relationship between
body – space – action
Scenography and costiumes for “Drömspelet” with Keve Hjelm – 1992
In my master thesis “A Scenographer’s reflections on his knowledge and motivations” from Södertörn University College, I develop my take on knowledge creation in the field of scenography. By trying to answer the question “What is scenography?“, I come to a conclusion that…
”Scenographer uses knowledge and skills from theoretical – scientific knowledge – Episteme, although it does not have a prominent role in the work.Another form is practical – productive knowledge – Techne. It has a predominant role when associated with the visible aesthetic result, which is the final proof of scenography. In my manifesto, however, I argue that the third form, practical wisdom – Fronesis, is the one that controls the two other in work with scenography. It is closely interwoven with a purpose and objectives of a performance and touches also ethics and morals.This last form leads set-design work by deciding when my efforts are to be taken, to what extent and through which means the work is carried out. Fronesis is knowledge that adds rhytm to my process.I have taken from Bengt Gustavsson and his division into three different forms of knowledge. His point of departure is Aristotle and what he writes in ‘The Nicomachean Ethics’.”
The whole essay is available for download >> here
A process manifests in time and space.
This is what I create spatially,
but also bodily
as a set designer,
regardless of context.
As a scenographer and costume designer, I have worked in different contexts, both through external assignments and my own projects. I have mainly worked with performing arts and exhibitions. I have a degree in Theatre Scenography from the Dramatic Institute in Stockholm and finished courses in Exhibition Design at Linköping University.
With own experiences as actor, among others from the Institutet for Scenkonst and Laban dance, I see myself as a scenographer with deep understanding of audience as well as those who occupy the stage.
My scenography is not architectural, rather “body close” and explores relationship between stage and audience.
Exhibition design for museum Kulturen in Lund “Märk väl” – 2009
” så fungerar världen för förklararna som fått allt förklarat för sig “
In my work, I move between sketch, model and full-scale labs in a free way and have no problems mixing different scales. I often choose to work with simple materials and site-specific universes.
Pedagogy Art My pedagogical work takes character of open flow and processes with a strong connection to the whole, such as performing arts or other spatial cultural production.
These processes are inherently unpredictable and difficult to fully overview. It assumes more a form of constant discovery and exploration. This can feel confusing and “unfinished”.
Then it is important to dare to risk a failure, meant as “It was not as we had imagined.” In failure lies the opportunity to find new knowledge, but also to strengthen the already existing knowledge.
This we achieve together by being curious and daring to “meet”. In my work, I use techniques and methods that are inspired by play, Reggio Emilia pedagogy, devising, view points, drama and design theory.
I have a diploma in Theatre Pedagogy, Drama Theatre, Applied Theatre and plenty of practical knowledge, as well as one year’s studies in Higher Education.
In all of these courses I have focused my writing on creative processes and processes of “uncertainty”. The title of my Master thesis in Theatre Pedagogy is
You can also see my cv.
Fine Arts and Photos
to answer the initial question:
what is art?
…art could (but might not) be simply doing art,
whatever that is, as long as it can`t be identified.