The Dance of Death/Dödsdansen [Excerpt] by Lisa Nordström & Anders Weberg

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• published: 14 Jun 2012
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Dödsdansen (The Dance of Death) 1900 The classical drama by August Strindberg interpreted live by the artists Lisa Nordstöm and Anders Weberg in a 45 minute surreal and dreamy audiovisual trip into the main characters Edgar and Alice. booking enquires: anders@weberg.se or info@lisanordstrom.se Lisa Nordström Musician, artist and composer Lisa Nordström is based in Göteborg, Sweden. Besides her work as a solo artist, she is part of the celebrated electronica duo Midaircondo and various other constellations. Lisa is an acclaimed musician within the contemporary avant-garde scene and works extendedly in Sweden and internationally. Lisa’s music is truly unique, taking a love of fragmented stories and layers of sounds and images in between light and dark. Extending the range of acoustic sounds through technical and technological means, Lisa mixes electronic sounds with her voice and instruments such as bass flute, zither and sounding objects. Besides frequent tours around the world and recording/releasing music, Lisa composes for dance, theatre, exhibitions, TV and film. Albums in selection: Lisa Nordström: "7 States of Passion" (Kning Disk 2008). Midaircondo: "Shopping for images" (Type 2005), "Curtain Call" (Twin Seed Recordings 2008), "Reports on the Horizon" (Twin Seed Recordings 2011). www.lisanordstrom.se Anders Weberg Anders is an artist working in video, sound, new media and installations and he is primarily concerned with identity. The human body lies at the root of projects that formally and conceptually chart identity and its construction as a preamble to broaching matters of violence, genders, memory, loss or ideology in which personal experiences co-exists with references to popular culture, the media and consumerism. Specializing in digital technologies, he aims to mix genres and ways of expression to explore the potential of audio visual media. He coined the term Peer-to-peer art or (p2p art) in 2006. Art made for - and only available on - the peer to peer networks. The original artwork is first shared by the artist until one other user has downloaded it. After that the artwork will be available for as long as other users share it. The original file and all the material used to create it are deleted by the artist. ”There’s no original”. Six films with a duration between 45 minutes and 9 hours have been uploaded on the file sharing networks in one copy and their original have been deleted. P2P Art - The aesthetics of ephemerality. Also the founder and curator of the Stian [con]temporary art gallery and AIVA, Angelholm International Video Art Festival 2012. Currently based in the small village Kölleröd in the south of Sweden and has exhibited at numerous art/film festivals, galleries, and museums internationally, including: Oscar Niemeyer Museum, Curitiba, Brazil, 2012, Museum of Modern Art 2011, Buenos Aires, Argentina. File Brazil 2007-2008-2011- 2012, São Paulo, Brazil; FutureEverything 2010, Manchester, UK; National Museum of Contemporary Art 2010, Athens, Greece; Beijing Contemporary Art Centre 2010, Beijing, China; Cape 09 Art Biennale, 2009, Cape Town, South Africa; Biennale of Sydney 2008, Sydney, Australia; National Museum, Szczecin, Poland; [10th] Japan Media Arts Festival, Tokyo, Japan; 13th Barcelona International Festival of Advanced Music and Multimedia Art, SONAR, Barcelona, Spain; Scope New York, US; Museum of Contemporary Art (MAC), Santa Fe, Argentina; Pocket Films , Centre Pompidou, Paris; Videoformes, Clermont – Ferrand, France and EMAF, European Media Art Festival, Osnabrück, Germany. http://www.weberg.se Dödsdansen (The Dance of Death) 1900 Ett drama av August Strindberg I en audiovisuell tolkning uppspelad live av konstnärerna Lisa Nordstöm och Anders Weberg. Makarna Edgar och Alice ska fira silverbröllop, men deras äktenskap är bottenfruset och de plågar varandra oupphörligen. En dag dyker Alices kusin Kurt upp, och han blir vittne till makarnas illistiga spel och eviga maktkamp. Detta klassiska drama är utgångspunkt för en cirka 45 minuter långt verk som till stora delar improviseras fram live till en drömlik surrealistisk resa in ii karaktärerna Edgar och Alices inre. Lisa Nordström, ljud Lisa Nordström är musiker och kompositör med bas i Göteborg. Vid sidan av sitt arbete under eget namn så utgör ena delen av den hyllade elektronikaduon Midaircondo samt gör musik i andra konstellationer. Lisa är en erkänd profil på den avantgardistiska musikscenen i Sverige och internationellt. Lisa Nordströms musik är en mix av elektroniska och akustiska instrument i en audiovisuell kontext. Med kärlek för fragmenterade berättelser och lager av ljud ger hon liv till en egen värld med hjälp av elektroniska instrument, inspelade ljudvärldar, sång, basflöjt och cittra. Vid sidan av frekventa turnéer över hela världen och skivproduktion, så skapar Lisa musik för dans, teater, utställningar, TV och film. Skivor i

London Memory multi+city_Trailer

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• published: 18 Jun 2013
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London Memory multi+city is a 25 minutes optical illusion experimental film relating the Bergsonian idea of memory with that of duality in a contrapunctum of movement, colour, text and sound. Memory thus appears as a mirror of the mind being the reminiscence of time and space reflected. The holistic transcendental synthesis of a pure past over ten years lived in London by Margarida Sardinha renders itself in a stream of consciousness through the works of those Londoners who influenced her, such as Howard Hodgkin, Virginia Woolf, John Latham, Anish Kapoor, Sri Aurobindo, William Blake, as a geometric-sonic abstract continuum. London personifies the ideal description of a long lived, loved or imagined city used by Bergson to convey the impossibility of the analysis or creation of concepts through recursive points of view – reductionism – for it will always fail to give the true feeling of walking in the street of the city itself and the zeitgeist of its collective unconscious at a given time; the city being such a fluid phenomenological cluster can only be perceived by intuition’s capability of grasping the absolute. A concept much sought by religions and several thinkers alike such as Italo Calvino through the words of Marco Polo in Invisible Cities: “Journeys to relive your past?” – Kublai Khan was asking, which could also be formulated as: “Journeys to recover your future?” and Marco’s answer was: “Elsewhere is a negative mirror. The traveller recognises the little that is his, discovering the much he has not had and will never have.” The city thus becomes the archetype of Nemesis where the foreigner traveller constantly faces duality whose structural process embodies dogma, organisation, simulation, derivation, fragmentation, pluralisation, deconstruction, assimilation… suggesting the ratio of multiplicity being to duality as duality is to illusion, further doubled within ubiquity being to illusion inasmuch as symmetry is to the mirror - the concept of duality as being a twofold impression (Maya) of the same substance and opposites as ideological correlates. Hence, dichotomy emerges as a fractal symmetrical and illusionary phenomenon through which human consciousness commences to understand oneness besides its derivative ever evolving multiplicity. Thus, by converging into the union of mind effected opposites such as original & copy, time & space, male & female, cause & effect, light & dark, heart & mind, harmony & chaos, spirit & matter, random & determinate, motion & inertia etc. the whole surfaces as far greater than the sum of its two parts and polarity as a simple differentiation within which we are able to define and categorise its pluralism. Consequently in the film this gestaltic reenactment of coincidentia oppositorum is implicitly analogous to the holism of Bergson’s duration through a myriad of overlapping afterimages that create an illusionary sequence merging single immutable geometric solids and random impressions. The optical illusion performed by the angular velocity of a static symbol renders the multiplicity of a codimension as interlaced mirror-images of the same icon, which are then integrated with yet another background illusion of concave and convex duplications - two internally consistent worlds that when juxtaposed make a completely inconsistent composite world. Dynamic symmetry and poetical-sonic repetition act as a metaphorical bridge to this union and thus the inversion of polarities becomes possible symbolising a sacred marriage between the several dual manifolds. This hieros gamos, remembrance of a sacred love, is the foundation and the culmination of duality, akin to the words of Tagore: “In love all the contradiction of existence merge themselves and are lost. Only in love are unity and duality not a variance. Love must be one and two at the same time. Only love is motion and rest in one. Our heart ever changes its place till it fin.” Concluding further and beyond the inevitable logico-mathematical paradoxes implied in self-referential meta-dualism, Shakespeare discloses this oxymoron of schism in Phoenix and Turtle as being equally within love that the illusion of doubleness can be overcome: “So they loved as love in twain, Had the essence but in one, Two distincts, division none: Number there in love was slain. Hearts remote, yet not asunder; Distance and no space was seen ‘Twixt this turtle and his queen; But in them it were a wonder. So between them love did shine, That the Turtle saw his right Flaming in the Phoenix’ sight; Either was the other’s mine. Property was thus appalled That the self was not the same; Single natures, double name, Neither two nor one was called. Reason in itself confounded Saw division grow together; To themselves yet either neither, Simple were so well compounded, That I cried, ‘How true a twain Seemeth this concordant one: Love hath reason, Reason none, If what parts can so remain."