12/28/09

Hap and Malou Bergman



The starting point for our work in Stockholm was to explore our black box performance, from the House of Dance Oslo 4-8 November, by moving it to a new terrotory. To try to relocate or even dislocate our work into the white gallary space of Hammarby Art Port on 11, 12 and 14 of November in Stockholm.


This text was written using the self-interview technique from everybodys toolbox (http://www.everybodystoolbox.net/) . It was first written in English, then automatically translated using Google Translation into Norwegian, which was translated into French, which was translated into Swedish and then back into English again.


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Hi, how are you?


What would you do?


Well, I must write a report about our latest projects, Art Porter at Hammarby in Stockholm.


OK, what's the problem?


Well, I thought about how to write a report. And who do I write? And it got me thinking about a performance by Meg Stuart. When we were here the whole "We stress team black box" (Mia, Jassem, Rani and Ingeborg Riksteatern we practice in Stockholm earlier in October) we went to see House Meg Stuart and damaged goods dance. We got free tickets to Anja Müller as we know from the sweet and tender and Alexander Jenkins, who we met in Mexico.


OK, it was a lot of name dropping ....


OK, yes, it was important that they are our friends because the results challenged my perspective on performance. I saw Anja right before, and it is a very strong dancer and she had a big role in the show. Aleks and I had only briefly met in Mexico and it was great that surprised me in how he plays on stage. It was good that they gave me tickets, they are expensive ...


But why are you telling Meg Stuart?


Yes, it was not intended to be a part of history. I think I have come to think of her because she has actually seen our first public sharing of Porto, in August last year before our first performance which took place at the Gothenburg Opera. So now that we had just finished our performance in the black box to the House of Dance in Oslo, I came to think of his performance in another House of Dance in Stockholm. And when it took place last year at a place called 555 in Porto, who actually looks at Gallery Art Porter Hammarby. She is really constructive feedback and was able to improve and challenge ourselves, together. She really supported.


What I am saying is, how it was strange that at the dinner afterwards at a very nice, but not so glamorous kitchen in the House of Dance in Stockholm. Artistic director was not there so I assume that the task of creating a voice for sportsmen and women have fallen for each actor. She tried to raise a toast to the performance, but it was so strange because it means Meg Stuart and damaged goods, services, instead she made a public review and concluded that it was a good result, because the public had been good, and laughs. Very unpleasant to hear.

I thought to exert Hammarby Art Porter, I can not evaluate our results, but the parameters around us, the public by example.


OK, what do you say to the audience?


They were great. I was really glad to meet with the public and hear their answers. The first evening we had a group of architects and they were eager to speak for and to share reflections on our results. They passed our treatment of space in his work with architecture and comment on the use of the black son of the white cube, as if we were to paint in black ink on white paper. Together, we have tried to resolve any confusion or concern.


Was it different from how you talk to others?


Yes and no. Discussions and conversations with the public was an integral part of our work processes, in Damascus, Porto, Gothenburg, and so on. But the contrast to be in this room right now, compared with the week before when we were in a black box, was really strong. After some initial struggling with how to treat the space of traditional theater, black box with their repressive structure, we have found a way to work in the room and do something we felt really proud. So just when we had conquered a place, we are thrown into a different situation. What was difficult for us in the theater room with the traditional view of the finished products are presented on stage was not present, instead of the second edition appeared in the white cube, others have distanced themselves, others technical, production support of others to be back in a white cube space, other structures, other borders, power relations, tensions on the second floor, etc.


A people who I know have commented on the formation of the audience thought it was a lot of people that if they do not recognize. One woman was so happy to see that she knew few people in the audience, who said, almost never happened in stockholm dance scene, "she says.


So you say you had a good audience?


I did not formulate this way. I think we managed to get the audience in our work in a way that suggests a new perspective. I thought they were open to our work. We continue our practice. Our results and published lecture realized that part of the program, which meant a shift from a focus on process-oriented work again. I think it's also partly because of its location, space Hammarby Porter Contemporary Art, a gallery run by artists, they show sensitivity to other performers and the audience they attract. And of course, Modern Dance Theater, they have really supported us and what we would do and what we felt the need to do. Not many theaters will book a show that has not seen, or actually before the show even exists, and not much structure to make room for exploration. In a way we've changed totally my idea of what to do.


What do you do, do not go with what you have said?


Anyway, we did exactly what we have to schedule it had happened differently.

We were interested in the track after a while. When we come to a new location, we ask and what traces we leave tracks that we carry with us, and how can we share? We have mainly worked on this by collecting documents, images, videos, such as collecting an archive. This time we wanted to work on the track over time, during the three days we were performing at Hammarby Art Porter.


Yes, I remember that I read in the program, each week make a new work every night, it would be different.


Hammarby Art Porter or HAP is led by a group or artists, so we wanted to challenge our work with them, which we did. We do not anticipate that there would be a significant change, with a delay in the process.


Our primary contact and partner with PAH were Malou Bergman and with it, we have continued to explore some of our materials that we call "the details of violence," it means, cables, microphones, touch, sound and body The material we have mainly dealt with statues in the room and the tension in them and the relations between the two.

In collaboration with Malou and her work with the camera, you can explore different perspectives by going to "Setup", and among the statues, zoom in on details. But it's time for video work, it has a different pace as we had expected.


So what did you do?


We worked together every day, and sometimes Malou also worked at night and during the last evening when the show into a party regarding the performance, projected trace of our co-operation on the walls, the work our work. We have sown the seeds of the work that will really take shape after our departure.


When do you think it will be ready?


It's super frustrating to see yet, and do not know where or when it is finished. But both consistent with the work, we require infiltration of the art of other peoples, chameleons and supply of equipment in the hands of other artists. Interesting to see how we carry out this work with us. Perhaps a plant? We talked about the increase in Tromsø!

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