LOUNGEN är en nystartad mötesplats och ett utställningsrum i SKF/Konstnärshuset för unga konststuderande.
Welcome to take part in this three-day program and exhibition at Loungen.
Participating artists (Loungen)
Alejandro Montero Bravo
Lisa Trogen Devgun
Olivia Pettersson Fleur
12th of september OPENING 17.00-22.00
18.00 Vida Lavén
19.00 Erik Thörnqvist
Beer 30 sek
Drink 40 sek
EXHIBITION OPENING HOURS
Ons 12/9: 17-22
Tors 13/9: 12-22 (bar and filmscreening 18-22)
Fre 14/9: 12-23 (bar and performance 18-23)
Lör 15/9: 12-16
Sön 16/9: Closed
13/9 FILM/VIDEO SCREENING + BAR 18-22 (STORA GALLERIET)
DET MANLIGA GENIET – en detaljerad studie av en vanlig lördag i kulturmannens liv
13 min 51 sec
STYRELSEN, även kallad STYRELSEN för Stor Konst, presenterar en fallstudie över en kulturmans strapatser en vanlig lördag i det vintriga Stockholm. Som en av de sista av sitt slag är han ovanlig men ändå så välkänd. De förödande konsekvenser hans art gjort sig skyldiga till i konstvärlden är snart ett minne blott och vi blir kvar med den ständigt gäckande frågan: Vad blir det manliga geniets slutgiltiga öde?
Filmen presenterades senast som en komponent i STYRELSENS senaste utställning ”Det Manliga Geniet – En studie av en utdöende art” på KonstBunkern i Örebro.
Here, there (Mobility project, part 1)
7 min 50 sec
“Here, There” is something between a documentary, an artistic realization and a document. Artists from Australia, Israel, Gaza, Lebanon, Suriname, Norway, Brazil, etc … present themselves using their usual language of communication, after choosing the framing of their own person. The artistic practices of each of them vary from painting, music, poetry and play-writing. Between their words, the main narration evokes another person whose fuzzy silhouette will only appear in the second part of the video, which presents the particular case of an artist couple from a country under authoritarian rule. The freedom they experienced in France was nothing but fortunate, since their closely observed actions sparked a series of controls from the police over their families and friends in their home country, and from fear to be put in jail, they asked political asylum. They insisted on participating in my project but only under the condition of not showing their faces. The possibility of associating the image with words was then revealed as an indicator of privilege.
Fall I, Fall II
2 min 26 sec
Lisa Grip’s contribution to Loungen is an animation, in which two girls perform repetitive gymnastic exercises, following the same pattern with great concentration. The children walk or crawl and then turn around, cross their arms across their chests and let themselves fall backwards off-frame.
As if she were performing a contemplative dissection of sorts, Grip has dismembered the original footage by printing every frame in a separate sheet of paper and then whitening out the surroundings to later compose the frames back together into a loop animation in which the moving bodies stand out. The analogue procedure is an essential feature in Grip’s work; beyond the final result, the significance of the artistic process becomes apparent. By breaking down the recorded movements to its minimum units and operating on them, the artist encounters a meditative-like state where the attention devoted to every fraction of the children’s movement becomes an act of care, of closeness, as if she was walking with them, supporting their efforts.
Sara Ekholm Eriksson
Hälsningar från Dovrefjell
12 min 59 sec
This work was made in relation to the exhibition Signe still alive.. in Gothenburg citylibary. Signe Hvistendahl was a Swedish/Norweigan artist that lived 1881-1943. She spent her summer in Dovrefjell in Norway, where she painted the landscape and her surroundings. I visit Dovrefjell and made video about my trip where I mix in a videocollage her paintings with photos from Dovrefjell.
Afrang Nordlöf Malekian
The Memory’s State of Exception / وضعیت استثنایی حافظه
14 min 56 sec
On the 29th of October 2011, I embarked on a flight from Stockholm to Tehran with Iran Air. At that time, Iranian aircrafts were forbidden to refuel in most EU countries as a consequence of the sanctions imposed by the EU and the US against Iran’s uranium program. Therefore the aircraft had to make a stopover outside of the EU to refuel. As of now, it is impossible for me to retrieve the information about the location of the said stopover airport, despite my attempts in contacting different airports, Iran Air and researching statistics of places where Iran Air stopped for refuelling on that flight route in 2011. It is as if the landing never occurred. The Memory’s State of Exception.
This film is an attempt to answer these denials of access to information. I have constructed a composition with different images and sounds. And I use fiction as a strategy to reach reality – to reach this initially non reachable information. This film aims to use fiction as resistance. Since the sanctions themselves are used as tools for setting frameworks for transactions, I have wanted to investigate inclusion and exclusion. When is a narrative given and composed? How much does the language of an image or a said word shift depending on our possibility and impossibility of reading or understanding a language? Could maybe this film be found in translation and let the narrative dissolve and take us to unfamiliar places?
In this film I use images from Albert Lamorisse's film باد صبا (Lover’s Wind) that was commissioned by the Shah and filmed in 1970. The initial material did not fulfil the Shah’s desired image of Iran. He meant that it lacked the industrialised and modernised Iran, such as the newly opened Hilton Hotel in Tehran and the Karaj Dam, a dam partly functioning as a power
plant supplying Tehran with electricity. The dam was also illustrated on paper money in Rial used before the revolution in 1979. The helicopter, that the film team used for filming the Karaj Dam, got stuck in the wires around the dam and crashed with the whole film team onboard, that all perished. The material was therefore edited by Lamorisse’s wife Claude Jeanne Duparc. In Albert Lamorisse film باد صبا (Lover’s Wind) the story is told by different mythological winds. In, The Memory’s State of Exception, I have written something I would call a conversation between the wind and I. Words and images from the wind’s point of view and my point of view, where I add a weave upon the images given from the wind. This weave being the interference created by the digital camera capturing images from باد صبا (Lover’s Wind) displayed on an analog TV. Other materials that I also display in this film are images from places such as R1, the first nuclear reactor in Sweden, and material in connection to Iran Air. These gestures symbolize me trying to respond to the tales of the wind or as comments on the film itself. An attempt in dissolving this place, whichever place that it might be.
Karon Nilzén Jonsson
17 min 18 sec
The video is in four chapters and is about falling in love and falling out on the other side. Passing through an unknown state of mind, an abyss.
Morning, noon, and night
9 min 14 sec
“Morning, noon, and night” connects three parts of a day that occurs annually in a quiet suburb of Boston, Massachusetts (USA). It observes a Revolutionary War re-enactment not by recording the spectacle itself but instead through its spectators and peripheral participants, turning a slow eye on its surrounding activities, gestures, and sounds. The overwhelming sound of shouting and gunfire disrupts what otherwise appears to be a comfortable afternoon in the suburbs. Spectators happily watch violence performed, as if attending a sporting event.
Maja Melsted and Michael Cedlind
I den ombonade värld
19 min 30 sec (planned ca 28 min)
The film is a collaboration between Michael Cedlind, master student in Fine Arts at Konstfack, and Maja Melsted, artist with a bachelor from Umeå Academy of Fine Arts and currently master student in theatre and performance studies at Stockholm University. This collaboration resulted in a drama about a couple spending time at a secluded recidency to emerge themselves in their projects. Soon, anxiety of production begins to haunt them at the same time as the extreme heat wave and risk of fire poses an outside threat.
Marta Badenska Hammarberg
Och det ska vara vid en pool (And it should be at a pool)
7 min 40 sec
Cast: Valdemar Sjödin / Ellen Theander
Found footage: Whip it, Take this waltz, Kids, Det kommer aldrig vara över – Håkan Hellström, G – som i gemenskap, I skuggan av värmen
In film the stereotypical pool-scene has almost become an (unconscious) allegory for romance and spontaneity. The presented work consists of found footage pool scenes of different movies juxtaposed with a short film, documenting a real life version.
While one screen excludes every and any obstacle the protagonists might have faced, the other shows everything from closed doors, over the struggle while climbing over the fence to the uncomfortably clammy clothes sticking to the skin after the dive.
This emphasizes the discrepancy from a typical smoothed out depiction, used as a vehicle to transport particular attributes within a story line of a movie, to real life circumstances of a situation. Furthermore it touches on the phenomenon how, if these attributes are successfully transported, viewers in turn often unconsciously strive to shape their lives based on film idyll.
2 min 3 sec
An excursion across a plain field, to face an unfaceable.
Worlds and Surfaces
14 min 30 sec
A mind losing track of reality, a camera with it’s own consciousness, a landscape falling apart /building up, microphones out of reach.
Mark-Making: The territory of voice
08 min 11 sec
Relation between human body and technologies.
14/9 PERFORMANCES + BAR 18-23 (STORA GALLERIET)
Klara Utke Acs
Neanderthal dear John letter
dancing – Klara Utke Acs
ghosting – Sufie Elmgreen
stone – Tove Dreimann
tones – Tæsque
Loungen proudly presents – supported by SKF (Svenska Konstnärernas förening) and SAK UNG an exhibition aiming to show works from young artists.
Loungen consists and is arranged by Lydia Belevich, Anna Engver and Olivia Pettersson Fleur, student and former students at Konstfack and The Royal Institute Of Arts
Svenska Konstnärernas Förening är huvudägare till Konstnärshuset – en unik och öppen plats för konst och kultur, samtid, tradition och framtid mitt i Stockholms City.
SAK UNG är ett projekt från Sveriges Allmänna Konstförening för att engagera och aktivera unga mellan ca. 16-25 år i samtidskonsten. Här träffar du andra unga konstintresserade och får tillsammans uppleva konst och skapa konstaktiviteter. Det är gratis att gå med och du blir medlem här: https://bit.ly/2GJqy1R
Don´t forget to attend this event before 17 the 12th to be on the list for the opening/party.