Cluster 1

POUR

2022

Frida Vikström (they/them)

A video poem, a dripping, running web on the word pour.

Frida Vikström's artistic body of work has grown from speculations on slippery encounters between living entities and their surroundings, which unfolds through text, sculpture and installation. Their practice is an ecological fiction on love, identity and eccentric togetherness.

Sytten

2022

Olivia Florentin Rosendal (she/they) & Anton True Klüver (he/him)

About Olivia Florentin Rosendal

Working with visual, digital, and textual art. Exploring otherworldly spaces and the queerness of technology. Maybe digital 3D space can create resistance against “natural space”, slowly morph into it? Also drawn to textures and surfaces: I like wetness, transparency, plasticity.

About Anton True Klüver

Composer and songwriter. Working with various musical aesthetics, electronic as well as acoustic. I am fascinated by bark, glass, slime, amber thistles, the unreal, the almost real. The synthetic and the organic. Building structures from the sounds they make. Likes tactility, fragility, and walls of sound.

“Sytten” is their first collaboration.

The work imitates queer clubculture and the 'impossible' or even 'monstrous' visibility that is often imposed on and/or undertaken by queer people.

Media: 3D animation and sound design. Duration: 02:10

Medusa

2022

Andrea Ostenfeldt (she/her)

About The Work

“Medusa the best known Gorgon of three, daughter of Phorcys, killed by Perseus; from her blod Pegasus appeared. (The monster with the viper snake hair) (The Medusahead) (The serpent haired mother).“ - Ovids Metamorfoser 3. Edition 1. Edition, Register p. 590

Medusa (/mɪˈdjuːzə, -sə/; Ancient Greek: Μέδουσα "guardian, protectress")

- https://en.wikipedia.org/wiki/Medusa Last visited the 18th of December 2022

A whisper that brings joy. A portal into something known. A rage against. In ancient myths the raging serpents or sea monsters can be perceived as creatures symbolizing matriarchal societies being taken over by patriarchal orders. The serpent symbolism has many ways. Tiamat, Medusa. The cyclic serpent biding its own tail. The Kundalini snake that lies coiled up at the tip of the tailbone until it is ready to travel up along the spine, waiting for the seven energy points to open and bloom. A balance

Copper is a transitionmetal with incredible electric and thermic conductivity. The alchemistic sign for copper is ♀ The Venus Sign or The Venus Mirror A glowing conductor of Its most feminine character.

Artist statement

A wanderer

To move about without a definite destination or purpose.

To go by an indirect route or at no set pace

To proceed in an irregular course; meander

To behave in a manner that does not conform to morality or norms

To turn the attention from one subject to another with little clarity or coherence of thought

To be directed without an object or in various directions

“Wayfarer, only your footprints
are the path, and nothing more;
wayfarer, there is no path,
you make the path as you walk.
As you walk you make the path,
and as you turn to glance behind
you see the trail that you never
shall return to tread again.
Wayfarer, there is no path,
only wake trails on the sea.”

- Machado, Antonio - Translated from "Proverbios y cantares" in Campos de Castilla, 1912)

Bed of Peonies

2022

Rae Teitelbaum (they/them)

About the work
This video piece works to break through binary understanding of history as good/evil and embrace the spectral web of complexities that is our human history, encouraging the audience to "sew new seeds" for experimental ways of being with ourselves, others, the earth, and new ways of seeing and knowing the world and its history. In using terms like growing gardens and making kin, my intention was to encourage the generation of new social and ecological norms that move beyond our current ways of knowing and being. This piece was an experiment in bringing my poetry to life using DIY techniques and melding footage from performative moments and experiences doing fieldwork with other queer people in queer eco-communities along with open-access footage and footage I’ve collected over the years. Additionally, the focus on and use of flowers in this video is also grounded in my interest in the queerness of flowers and their multiplicities (see “FUCKING PANSIES: Queer Poetics, Plant Reproduction, Plant Poetics, Queer Reproduction” by Caspar Heineann).

Rae (Raechel) Teitelbaum (they/them) is a visual artist born in Syracuse, New York, working primarily with video, film, performance, installation, poetry, and textiles. In their practice, they utilise queer worlding as method to imagine and create ‘new’ earth ecologies or alternate, futuristic versions of earth that aim to break down binary, hierarchical, and individualistic ways of seeing and being in the world and instead focus on queering imaginaries of gender, sexuality, ecology, care, love, and connection. They studied both in Spain and the United States for their undergraduate degree, graduating from Purchase College with a bachelor’s degree in ‘Media, Society, and the Arts’, an interdisciplinary program that combined fine arts, anthropology, and media studies in 2017. Rae attended Metàfora Studio Arts Programs in Barcelona, where they completed an advanced arts diploma in 2019. Following this, Raechel completed a Masters of Arts in Digital Media: Image Making, at Goldsmiths, University of London, where they focused on 3D video animation, virtual reality, processing, and coding. Rae has exhibited at a variety of galleries in Barcelona, including Homesession, Bien Cuadrado, and Àngels Barcelona Espai 2 and has shown their work internationally. Raechel is currently attending Goldsmiths, University of London, where they are enrolled in an MPhil/PhD in Visual Anthropology, developing a project surrounding how queer communities engage in practices of queer worlding and develop communities and experimental and sustainable ways of living in rural areas in Spain and Portugal.

You text me, to tell me that you need an emergency financial planner, because you're so strapped for cash.
I decline, because that's beneath me.
I'm much more down to earth. And funny, and in charge.
And trustworthy.
I text to tell you that I don't want to get all up in your pants. Because I don't want to sleep with you because you offered to pay me, and that's how this thing is going to be.
We're friends with benefits.
We're friends.
Because you give me value.
But only value that I want to give, as it were.
So unless you have $300 I want, it's not going to happen.
I get into a car accident.
I'm completely at fault, but the other driver doesn't pay the damage.
It's my fault.
My insurance company is very disinterested in me.
My family won't help me at all.
I'm living in a dead beat's basement, and all of the subs I knew have deserted me.
I get a tattoo.
I don't know how I got the funds for this, but I did.
It's a fairy tale on my ass, about fairies and sunshine.
I don't love the fairy tale, but the tattoo means something to me.
My friends don't like it at all.
I got it, and I'm not ashamed.
I don't know why they think it's a bad idea.
It's my ass.
I'm not asking anyone to make a judgement about it.

Mudworld 1

2022

Anna Kirstine Lykkeberg (she/her)

Click to see the work.

The drawing is a portrait of a world which is less disrupted by humans. Where elements are floating and changing shape as they please. Inspired by cartoons and fantasy's way of world-building, it questions whether we can imagine other possible worlds with different ecosystems.

“When I start drawing I like not having any expectations of what the outcome will be so that the idea comes to me as I scribble. Like something is revealing itself to me. It gives me a freedom of spontaneity and it excites me to find out where it is going. As I get deeper into the process I love nurturing small details of the motive.”