Unfinished Business

Mattias Rylander; Hedvig Jalhed

doi:10.22501/vis

Unfinished Business

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Hur kan mikrosociala ritualer med anknytning till en specifik plats användas som interaktionsmallar för konstnärliga syften? Och hur kan vi förvränga sådana ritualer konstnärligt för att skapa minnesvärda händelser? Som konstnärer betraktar vi förvrängning som en process, genom vilken saker och situationer blir mer distinkta och får en tydligare prägel, samtidigt som information och uttolkning förblandas och berikas. Genom exempel framsprungna ur operaproduktionen Chronos minnesbank (2019–2022), som sattes upp i tomma butikslokaler med interagerande besökare, har vi erinrat oss och lyft frågor om ritualitet med förvrängda proportioner. På grund av covid-19-pandemin avbröts produktionen för att senare återupptas, vilket påverkade arbetet. Den här expositionen tar upp aspekter som berör både vår konstnärliga praktik rent generellt, och specifikt den aktuella operans tendens att omfatta förvrängda ritualer. Notater, bilder, ljud/video är ordnade i form av en introduktion, samt ytterligare tre tematiska delar för att ge en tydlig överblick av vår arbetsprocess.

Originalspråk	Engelska
Tidskrift	VIS - Nordic Journal for Artistic Research
Nummer	9
DOI	https://doi.org/10.22501/vis
Status	Publicerad - 2023-mars-14

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title = "Unfinished Business",

abstract = "How can microsocial rituals connected to a specific site be used as interaction templates for artistic purposes? And how can we distort such rituals artistically in order to make them memorable events? As artists, we regard distortion as the process that gives character and distinction to things and situations, as well as something that confuses and enriches information and interpretation. Through examples emerging from the operatic production Chronos{\textquoteright} Bank of Memories (2019–2022), set in empty shop stores with interacting visitors, we have recalled and fleshed out issues of rituality with distorted proportions. Due to the covid-19 pandemic, its production was interrupted and later on revived, which affected the work. This exposition covers aspects of both our artistic practice in general and this particular opera{\textquoteright}s tendency to encompass distorted rituals. Commentary texts, images, and audio/video clips are arranged into an introduction and then three thematic strands in order to offer a reasoned overview of our work process.",

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Unfinished Business

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