Feminism in art of artists born on or after 1970
LINE SKYWALKER KARLSTROM
Let Us Remember Licking, 2010
Performance, 30 minutes
History of Disappearance, Performance art and Institutionalization,
Arhus Kunstbygning, Denmark
A series of movements intended to bodily record and comment on the museums'
architecture and physically intervene with the specific works on display
in the exhibition (avantgarde performance works from the Archives of Franklin Furnace, NYC).
Played out as an act of auto eroticism Line S. Karlstrom's movements were
videotaped and illuminated by the audience, hence exposing them to their own desire.
In that way creating a volatile space that oscillates between public and private.
photo:Martha Bacigalupo
I Am the Only One Here Who Is Not Insane, 2010
Performance in public space
Duration 9 x 60 minutes
Taler Til Folket, Copenhagen, Denmark
Inspired by the radical feminist philosopher and sex worker Valerie Solana's SCUM Manifesto, Line S. Karlstrom has written a speech of sorts. The speech was performatively read out loud in nine prominent public locations in Copenhagen, including in front of the Danish Parliament, outside the National Gallery and next to The Little Mermaid in order to investigate if it is also the case that life in the Danish anno 2010 - society is "an utter bore with no aspect of the society being at all relevant to women".
photo: Frederikke Hansen photo: Jenny Gronvall
What Makes the Earth Move Under Our Feet?, 2010
Installation, mixed media objects, works in fabric,
photography, video and performance
Sizes variable. Performance; duration 9 hours
Big Wheel Studio, Vordingborg, Denmark
A solo exhibition and endurance performance that investigates notions
of space and the body in relation to the use of choreography.
Groups of objects and various mix media installations functions
as scenography for a nine hour semi-improvised performance.
The room is thought of as a huge piano, where the keys -
various materials, movable video projections, light, sound sources
and curtains are activated by the artists' movements within them.
By using a methodical approach to "think with the body" the artist
thus transforms the space. To act in a space is to alter that space.
Line Skywalker Karlstrom (b. 1971) is a Swedish interdisciplinary artist who
uses performance, objects, installation, video and social action as tools to
investigate structures in society pertaining to communality, power, institution,
space and body. Her work is based on live experience and the notion of art
and performance as "ways of doing and creating" that divert normal ways of
doing. Regardless of media, her work is always performative. It departs from
the presence of the body in space: the way that you act in a space will alter
that space. Her practice, that also includes curating, publishing, organizing,
teaching and farming, deals with the politics of displacement, definition and
naming using the subjective, intimate, regressive, ephemeral, unarticulated and
failed as alternative knowledge-producing agents. Line Skywalker Karlstrom was
a collective member of 2'nd wave feminist performance group High Heel Sisters
(2002-2007) and cofounded the artist activist group The YES! Association in 2005,
which she left in 2010. In Exorcism of a Feminist Collaboration I and II she
transformed the devastating structures she had experienced in her
collaboration with the YES! Association. Thus she made visible the
presence of power, even where the efforts to eliminate power are largest.
Line S. Karlstrom was educated at The Royal Art Academy, Department of Wall
and Space with Prof Yvette Brackmann and Julie Ault/Martha Rosler, Copenhagen
and received a MFA from Trondheim Academy of Fine Art, Norway in 2006. She
received a two year work grant from The Swedish Art Council 2010-2012
and her work has been shown at Kiasma, Helsinki, Moderna Museet, Stockholm,
Tate, London and Montehermoso, Spain. She lives in Askeby, Denmark and in Berlin.
more info: lineskykarlstrom.blogspot.com/
