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My work may be described as bordering between sculpture and installation, intuitive and conceptual, it could in a way be seen as a broken circle, as one, but i will work hard to make the two entities, the two seemingly half circle shaped entities, to be separate, to be two. 

I will assert they are one work but also not, I will assert their indepencence, they are two. The bridge, the connection, will (or will not) happen in the thought, not by sight. There will be no side-by-side, object dialog in near space, rather association through memory and through distance. Like an object or some kind of occurence is planted early on in a movie and then reoccurs later on with the purpuse to further the understanding of course of events. 

We tend to read two half circles near each other as a whole circle. Robert Morris made two half circles with only a thin lit gap underlining their distinct form, but at the same time dissolving them as a broken circle.

It is the idea of of a correct body that makes a body corrupt. The broken circle is in a way the whole of two corrupt bodies. 

The Kite Aerial Photography - Hué project started with the intention from Mattias Ericsson and me Micael Norberg to work artistically on a jointly project with students from di erent art schools and from di erent cultures. We had an idea of building bridges both artistically and culturally. We traveled to Hué in Vietnam in order to explore new ways to collaborate and  nd new artistic meth- ods. We wanted to use kites and send our cameras up in the air to make aerial pictures. We tried to  nd a way to control events and by that also control our artistic outcome and understanding. But in the The Kite Aerial Photography project we had no control. The weather controlled our kites. The place and the language controlled what we knew and understood. What was left was to look into ourself and negate a compromise. The leftovers became documentations of an experience.And now I am looking back at those events, wondering what really happened. I am using words, trying to create an image of my memories and of my experience - hot air, smells and noise. Experi- ences I can’t communicate fully in words. You as a viewer will never feel them and I will only remember them. We will also remember di erently. Every participant have their own image ofwhat happened during those days in Hué. The feeling of being di erent, not understanding and being an outsider made us all meet ourselves in di erent ways. We believed that language would build bridges of understanding, and maybe it did. But here we are now. A long time has passed since we returned from Hué. What we have left are images and memories. I remember smells and emotions and in this state between memory and fact a tension is created. A juxtaposition of con ict- ing feelings. I look at the photographs now with a new understanding. We tried to move out of our comfort-zone looking for the unseen, the enigma, where memory and re ection becomes a liminal state. I now realize that knowledge is not fact or truth, but a state that we can call ”not knowing”. A state which for me is the very basic for understanding, and by that becoming the very essence of art.

I am interested in the role of the past in the present. In "The Rhythmic Rise and Fall of Currents", I explore the multifaceted nature of the Renaissance. This was an era when ideas from antiquity were revived in humanism and a new view of nature. However, it was also a period of centralised power and warfare with imperialist aspirations that involved the instrumentalisation of people and the exploitation of nature through mining and logging. I want to offer a critique of the sacrifices on the altar of progress as well as a tribute to the flowers of the human mind.

I have cast this 70 kilo bronze sculpture with inspiration drawn from a putto, a typical Renaissance motif, from the wreck of the Swedish warship Riksäpplet that sank in 1676 in the waters of the Stockholm Archipelago. The bronze piece is displayed on a pallet made of wood from the same underwater wreck as the original putto. I was able to buy the wood from a retired carpenter, who in turn had bought it from a so-called pilot, a guide and often an administrator of a coastal area, Oscar Fagerlind, who had used his position as pilot in the Stockholm Archipelago to procure vast amounts of wood from shipwrecks.

Craftsmanship and knowledge of materials are fundamental to my artistic practice. I combine this with an idea-based approach and with theory of history. In essence, I strive to connect opposites to achieve a synthesis through my art.

The art series A Sexual Series is based on posthumanist theory and asexual experience. Shapes of performative alter egos materialized from a queer cyborg position of technologically enhanced crip experiences (the strong symbolical constructing process of straightening scoliosis surgery). From the position of a glitch reflecting a postindividualist future, the AI sexbot is a metaphoric, elevated cyborg drag version of the artist to embody asexuality and queer Otherness. Based on multitudes of contradictions to encourage self-reflection, the series explores the complexities of ob/scene and on/scene performances; the position of a sex positive asexual as well as questions of belonging as a naturally artificial rebel. This essay touches upon rituals as well as performative methods of disidentification as a tool to reimagine shame, to ghost the own body and to stop being a pleaser.

“The Animation Manual” started off with the idea of trying to tie together our own art practice with a workshop in animation.

We travelled to Hué in Vietnam to work together with students and teachers at Hué College of Fine Arts. By placing our self in a different cultural context and collecting material that could become a base of a manual we wanted to explore the process and document the experiences we encountered in this meeting.

This work collects the observations, reflections and research in form of a “logbook” collected during the creation of thefinal artistic project and the fulfilment of master studies at the Academy of Fine Arts in Umeå.The final art project for the exhibition at the Bildmuseet in Umeå is a video-sound installation, in which thedocumentary film Lupus in Fabula is structured and projected on three screens. The documentary was shot in Granö (avillage in Västerbottens län, Sweden), between December 2020 and April 2021. The difficulties, compromises andpossibilities of movement through the landscape are documented in the film, revealing the concept of intimate Freedom;the context is captured in the routine and rituals’ frame of a mushers women team.

This thesis deals with my master’s degree project "Suspense" with the Swedish title “Oviss väntan". The project resulted in a video installation consisting of animated loops displayed on screens with headphones and a sound-shower at Bildmuseet in Umeå, Sweden in May 2021.

My essay begins with a presentation of myself and my background as an animator. I describe my artistic practice, how I work and what I have been influenced by. This is followed by a presentation of the project itself, where I discuss important parts of the project, such as themes and atmosphere, materials, form and visualization. This essay will be completed before the exhibition at Bildmuseet. Therefore, the images in the essay will focus more on the process than on the finished work.

"Suspense" is based on the idea that all fictional characters exist in real life. The characters live together in a fictional house where they are waiting to be used. The film portrays this house, where the characters are housed in the different rooms, with a variation in materials and animation techniques. The film conveys a mood of waiting but also of longing. I believe that these themes have been enhanced by the current pandemic. A suspense we do not know when it will end - if it even ends. Another of my themes is loneliness. This loneliness that can exist in an apartment even though only walls and floors separates us from others. The characters in the film will move in loops. Through these loops, along with music, sounds and voices, the film moves forward. The rhythm and its feeling will create a form, with a non-narrative structure. A moving painting.

Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations?

This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet).

The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.

In this essay I have playfully ventured to rediscover what I might know about art,what has been formed and blended all this time inside my mind, by the sources,influences, readings, references I have come across. Partially to answer to myselfwhere is my trajectory, where is it headed, and in that tracing hopefully, I willprovide a short reading here about what I think is art, and how I approach it.So, one can start from a simple question, at which one does not care to concludewith an answer: "why do we mark/trace a surface? Or for that matter, sculpt, think,animate etc." What is the inclination behind it? And more importantly, why do wecling to a specific preference?”

My work consists of two parts: of the one which is here, and of everything whichI have not written. And precisely this second part is the important one.”-Wittgenstein

In search of, the current and urgent, accompanied with our guiltless but potentially not agencies, we fight for the intelligence of reality. A zeitgeist that we try to ghostbust, that we hope to understand. A pandemonium circulated around the event, the now, the branches of time that flicker the possibilities and variations of expressions, that we as trajectories might solidify into a reality.

 "So, one can start from a simple question, at which one does not care to conclude  with an answer: "why do we mark/trace a surface? Or for that matter, sculpt, think,  animate etc." What is the inclination behind it? And more importantly, why do we  cling to a specific preference?"

In this essay I attempt a brief brush through from a number of familiar questions about art. And attempt to provide my own understanding, of art, creativity, society, and the ever newer intentions of the human expressive trajectories, that provide variations of possibilities and potentialities.

vi följde en linje utan riktningelna dani

tusch, ljud (16 min, 30 sek), performance

rörelse förkroppsligad, lagrad, ett varv till, ett lager till. en till ring, ett nytt hål. en bäck som hittat nya vägar att rinna en brusten damm, frisläppt flod

ett lager till. lagad, lagrad, lagen

This year's degree show, Live is Life from the Umeå Academy of Fine Arts at Umeå University presents works by Désirée Burenstrand Schyman, Olga Gniadzik, Oscar Häggström, Susan Karavelli, Therése Lundin, Ellen Macke Alström, Christoffer Mahlknecht, Abdullah Mohammed, Gabriella Novak and Anastasia Savinova, all of whom are graduating from the Master's Programme in Fine Arts. Curator and their principal supervisor is artist and professor Annika Eriksson, Umeå Academy of Fine Arts.

The degree show at Bildmuseet is the culmination of five years of study in fine art and a time of intensive work, research, and discussion. During the master's programme, students will have developed their artistic practice and explored the history and contemporary social relevance of art and its current themes and status. As a visitor, the exhibition offers you insights into the discourse on contemporary art and studies of its techniques and materials.

“Jag hade önskan om att detta arbete skulle handla om lycka och att jag skulle kunna förstå lycka, framgång och vad de begreppen betyder. Jag utgick från perspektivet om min egen lycka (som om jag visste vad lycka var) men upptäckte snabbt att jag fick börja med att utgå från ingenting. Mina förutfattade meningar och dualistiska tankesätt fick mig att inse att jag måste börja om från början. Det blev ett antal ord satta i en följd med en förhoppning om att de skapar någon slags berättelse. Inte en berättelse om makt, strukturer, sex eller politik utan en betraktelse av olika tillstånd som tillsammans bildar en minnesbild. Det är noteringar kring händelser. Det handlar kanske mest om att gå.”

Boiling down a conversation that has been ongoing for years to a few pages of text is a complicated thing to do. Boiling down experiences gathered over the span of half a lifetime is even more so. In the beginning of this project, mingling two different people’s notions of existence into one body of text seemed to provide nothing but confusion and frustration. But there turned out to be some points of connection, bright lights that started to indicate a path. It was loosely defined, sometimes lost from sight, but nonetheless a common ground. What started to emerge was a shared notion of being. A being among beings. Being aware of the creeping sensation of becoming aware through a bodily experience. Being there-ness, a sensation brought upon the flesh through needles and patterns. It could have been anything, of course. The prick of the needle is just the beginning, the thin sliver of sunlight indicating that a door has been opened. Walking through that door is a different thing altogether…

This workshop examines how we, as teachers of artistic practice, incite study1. In a time when the promise of education to prepare students for the future becomes harder to fulfil, we will focus on how we establish practices of study, in and beyond education2. How do we show students places where to start?”

In education we ask students to act; to make decisions, explore subjects of interest and create art. How do we help them to work through the resistance that comes from acting in a world that is unstable and unpredictable? Teaching being-with-uncertainty3 is characterised by an openness to knowing the world through epistemological gaps. This means recognizing that we will not be able to act with certainty in this world, while still managing to not become paralysed by this insight. Furthermore, as teachers and students, we must learn not simply to act, but to act with intent, despite the lack of guarantees for a desired outcome.

The aim of the workshop is to practice a shift from goal oriented teaching, to focus on places where to start. Based in a generous sharing of skills and experience, we will experiment with how we enter the classroom, introduce subjects and methods, and spark the will to study (in students as well as in ourselves), validating specific art bound pedagogies as we go. The workshop is based on Lisa Nyberg’s experience of teaching courses on “To Study” with first year students at academies of visual and performing arts, as well as her PhD project Pedagogies of the Unknown – studying for a future, without guarantees (2022).

This presentation will reflect on how to include performative elements when presenting artistic research: How do we mirror the content of the research in how it is communicated? How do we communicate the experience of art?