Rebecca Horn, Oyster piano, ca 1995 Photo: Albin Dahlström/Moderna Museet
Programme
Take part of a rich selection
19 MAY – ART, CONSERVATION, BODY, CLIMATE
A conservator examines, nurtures and preserves objects, such as art in museums. To be a conservator is to, like few others, have access to and physically handle unique objects. In the work, the conservator must be aware of the materials from which the objects are made, their construction and condition right now. But a conservator must also have an awareness of himself in relation to things and be very aware of the surrounding environment.
Caroline Owman will talk about the conservator’s relational work and how art, the body and the climate are intertwined. In this she will also engage you as a visitor.
Caroline Owman holds a PhD in Museology. In the autumn of 2021, she defended her dissertation “The more humane museum. The conservator’s conservation practice as an escape line in the museum of modernity”. Owman is also a trained curator and has also worked as an exhibition producer, exhibition designer and curator.
26 and 27 February – Accretions part I
The artist duo of Gideonsson/Londré has contributed a new work of art that is based on the role of the conservator. Gideonsson/Londré traces, transforms, and illuminates the often unseen preservation work that goes on behind the scenes at a museum. The work has both static and performative components, and it activates the exhibition over time. In addition to drawings, which are composed of information obtained from the conservators’ physical sensations, the work includes a three-part performance during which Gideonsson/Londré sequentially explore the conservators’ practice as a collective body.
In this first part of the performance Accretions, Gideonsson/Londré investigates how their bodies can act as containers for a future storage of the works included in the exhibition Conditioned Movement.
21 and 22 May – Accretions part II
In the performance the artist duo will, with the help of various methods of memorization, incorporate the conservation work carried out by the museum’s conservators. The performance Accretions Part II is acontinuation and development of the first part and a further in-depth study of how a material can be incorporated as a physical artifact.
28 and 29 January – Accretions part II
In the third and final performance, the accumulation of the remaining works shown in the exhibition Conditioned Movement continues. Gideonsson/Londré have, in close collaboration with the museum’s conservators, followed how their bodies were affected during the preparatory handling of the art. How these experiences are sheltered in the body as a conservation method and open up to other forms of storage and transmissions, where conservation becomes something constantly ongoing. An investigation of how a body can act as a container for the future storage of a collection.
The artist duo Gideonsson/Londré work to find a common body to produce knowledge and experience through, which goes beyond the individual intention. The works are expressed in performances, sculptures and installations where alternative perceptions of time and behavioral patterns in new compositions of bodies and languages are explored.
Gideonsson/Londré lives and works in Kallrör, Sweden, and took an MFA from the Royal Academy of Fine Arts in 2014. They also run Konstfrämjandet Jämtland together with Christina Langert and Ola Fransson.
20, 21 and 22 January – “Barnformen”
Four dancers, aged approximately 11, present a choreography from 2007, “Formen sa: gör”, by Malin Elgán. The result is the performance “Barnformen”, where movements have changed place from the adult dancers in the previous work to children in this new one.
Just like their adult predecessors, the children alternate between various shapes, bodies and gestures taken from nature documentaries, feature films and something in the style of folk dance. “Barnformen” is thus an extension of previous ideas about the redistribution of movements, our freedom of movement, change of contexts and the uncovering of movement’s meanings. At the same time, the situation can be equated to one when children try on adults’ shoes, unconcerned about what fits and doesn’t fit, they place themselves in relation to the world.
With support from Kulturrådet. Thanks to Danscentrum Syd and Dansstationen
Malin Elgán is a choreographer and artist, based in Stockholm and internationally active. Elgán takes an interest in art beyond the genre-specific and operates through an expanded choreographic practice – through various expressions, formats and media. She does not let dance be limited to certain movements and places. Rather she takes dance out of its usual contexts to enable new meanings. Her work has been performed on stages such as MDT, Dansens Hus and Kulturhuset in Stockholm. Her work has also been shown in artistic contexts, in places such as at Moderna Museet, Nationalmuseum and Bonniers Konsthall in Stockholm as well as at Göteborgskonsthall, Nasjonalmuseet and Kunstnernes Hus in Oslo, Poppositions in Brussels, Ausland in Berlin and at the Museum of Contemporary Art in Zagreb. Most recently the work “Läst till hälften” was performed in collaboration with MDT, in the Picasso Park, Moderna Museet Stockholm in June 2022.
