Sellable entities/Livable currencies
In my last artistic statement I put an emphasis on the fact that I searched for the presence, which could be shown through my voice or my own physicality. I would draw my philosophy in contact with Heidegger's expression of 'Being in the world'. Knowing thyself is a way to position yourself towards the world. How do the experienced subject, the humanbeing, see or direct embodiment, relation to the world, or merely postion to existence itself?
External factors claim to be justified through government, nation, institution, organization, or a society. These structures have their own position, their own agenda to fulfill, and it is concerned with ordering masses. Focault had a term called biopower, and this definition embodies a technology of power that is there to order the masses, thus, a highly political strategy to manage a big amount of people. Our institutions order our behaviors and we adjust accordingly. (modern state, capitalism)
Somehow these institutional bodies is alive through the claim that they produce a just and fair treatment for and of the population it's governing. But every power structure is in its very essence, may that one be of institutional one, or may that be of the informal social one, there for us, the people, to believe that what is created is somehow the way it should be, a self-fulfilling 'truth'. A claim of mine is that truth is only an imposed notion, nobody can own an individual truth, so creating one is where freedom steps in and this is perhaps my ultimate currency when creating art.
Another claim is that being in the moment makes everything else into something redundant, and thus the moment can be defined as the closest thing to being 'free'. Critically, I see that taking refuge into a moment could also be perceived as a shelter, which isolates and protects from further engagement. I have no clear opinions so far in my artistic practice how I will further engage my believe systems.
Reflecting upon how this would manifest itself in the future is difficult to sincerely produce. I thought it would make sense to describe my recent projects through different phenomenological perspectives, namely, Spatial awareness, Awareness of own experience and linguistic activity.
Homage to the chapel- Here I orientated by thoughts, by the concept of spatial awareness. I wanted to see how the human body reacts when placed in a space with strong character. I created a improvisational sound piece which explored the sound dynamic of the chapel of the kabk, with my own voice transitioning from angelic choir in church to the sound of the disrupted human being dealing with earth.
Northern lights: This performance was a self-reflective piece of wanting to convey a natural phenomenon, but in the end explaining the nervousness of not being able to convey it. So this performance became very much about self-awareness of own experience, being able to perceive intention vs end result.
You're wasting my time: A physical clock is hanging on the wall and having a sound element consisting of a voice, which says; 'You're wasting my time'. This clock is reflecting upon the notion of wasting time, and turning the perception back to the one who judges time. In short, how linguistic activity shapes our perception.
I am very interested in intentionally. That our meaning of the content is given in thoughts which manifest themselves through ideas that takes different shapes and forms. As mentioned, I find phenomenology an interesting and complex way of perceiving what is called temporal awareness. So within the stream of consciousness, spatial awareness (Chapel Piece), attention, awareness of one's own experience (Northern lights), the self in different roles, embodied action, purpose or intention in action, awareness of other persons, linguistic activity (You're wasting my time), social interaction and everyday activity in our surrounding world.
So in it's essence, these projects are rooted in how the individual engages with different concepts from the mental to the physical aspects of experiencing.