Kajsa Dahlberg is a visual artist currently living in Oslo. Her work is informed by queer life practices – its theories, and affinities. Dahlberg works with a range of mediums, but for the past few years I’ve been engaged with thinking about the apparatus of film as not exclusively the product of human decisions, but also, in part, the product of the activity of agents other than ourselves. Dahlberg received her MFA at The Art Academy in Malmö 1998-2003 and was a studio fellow at the Whitney Program in New York 2007-08. She is currently undertaking a PhD at the Royal Institute of Art in Stockholm. Dahlberg’s work has been shown in solo exhibitions at the Neuer Berliner Kunstverein, the Museum of Contemporary Art in Roskilde, Parra & Romero in Madrid, and Lunds Konsthall. Her work has been shown at museums and biennials including; Moderna Museet Stockholm, Malmö Art Museum, 8 Bienal do Mercosul, Manifesta 8, and GIBCA 2019.
Kiri Ra! Consists of the musicians and composers, Lau Nau (FI), Linda Fredriksson, Saxophone, (FI) and Matti Bye, a Swedish-Norwegian pianist and composer.
Lundahl & Seitl’s immersive solo projects reinterpret the medium of the exhibition as interpersonal processes via choreography, matter and time. Presented around the world, notably at Royal Academy of Art in 2014, Gropius-Bau in 2016, and Kunstmuseum Bonn in 2017. Group Exhibitions include the 8th Momentum Biennale of Nordic Contemporary Art 2015 (NO), ‘An Imagined Museum’ Centre Pompidou Metz 2016-2017 (FR), the 3rd Kochi Muziris Biennale 2016-2017 (IN), and a recent commission: Echoes of Alternative Histories at Staatsteater Kassel, which coincided with Documenta Fifteen. In the fall of 2022, the duo was visiting artists at the ACT Programme at MIT. The duo Lundahl & Seitl have developed a method and an art form comprising staging, choreographed movement, instructions, and immersive technologies, juxtaposed with material objects and the human ability to organize perception into a world. Notions of freedom, autonomy, and what is real, imagined, and perceived are negotiated in an investigation of virtual reality, not as a form of technology but as an ability or sensibility to a relationship with surroundings, with an increased insight into how technology makes ‘us’ and lays the ground for ‘our’ human umwelt – how it connects and disconnects us from each other and other life forms and processes. Their research is tacit, neuro-diverse, and heuristic. It relies on intuition in an iterative process of allowing concepts, theories and stories to meet the resistance of the physical world via sensory experience, direct observations and listening – often in collaborations with others, such as philosophers, anthropologists, writers, game-engine programmers, neurologists, politicians, curators, as well as the public. Projects are often perennial and develop into series that sometimes fork out into entirely new works. The practice encompasses curation, gallery exhibitions, site-sensitive solo projects, and collective performances in public spaces.
Maria Magnusson is a Gothenburg based artist/experimental filmmaker whose work explores the relation between sound and the moving picture in experimental videos and short film. Magnusson completed a master's degree in photography (1999) and a bachelor's degree in art studies at the University of Gothenburg. She works with found footage, 16 mm and super 8, and combines analogue and digital filmic methods, examine subjects like memory, dreams, the unconscious, identity. The process is important in the creation of the artworks and she is interested in the physical and tactile aspects of the medium. In several works, she has worked site-specifically, with the landscape and with Process Cinema; i.e. filmed without a script and worked spontaneously to create a film experience. Many aspects and components affect the celluloid when hand processing, such as time and light, the temperature of the liquid and hand movement. This connects to Carl Jung's theory of synchronicity. In the making of a film, there is energy around its creation that can be accessed, where the mental processes connect to the physical processes. Working with the place, the site-specific and the landscape as a method is something she returns to and connects to her upbringing on the farm in Norra Björke. Maria’s experimental films have screened at festivals, galleries and micro-cinemas including International Short Film Festival Oberhausen, LA FilmForum, Echo Park Film Center,The Alchemy Film Festival, Antimatter Film Festival, the Images Festival, Experiment in Cinema Festival, Montreal underground Film Festival, Acid-Free Los Angeles Art Book Market at Blum & Poe Gallery, Group Show - Echo Park Film Center Extravaganza .
Tris Vonna-Michell stages installations and performs narrative structures, using spoken word, sound compositions, film and photography. He has exhibited extensively and was nominated for the Tate Turner Prize (2014) and Guggenheim Hugo Boss Prize (2012) and won the Art Basel Baloise Prize (2008). His practice started by pursuing the limits of an image, in which soon after he integrated spoken word, which was performed live to an audience. Performance enabled other forms and meanings to evolve in his work and allowed for its own continual reinvention. He has been performing to a live audience (ranging from theatre, art institutions, museums, galleries) since 2005. Most recently, the live actions have slowly been transformed into continuous integrated soundtracks that gradually evolved into films. Moving away from live performance and the subsequent disappearance of the acting/speaking body has been quite a significant turn in his work. Over the past few years he has been heavily involved in developing and producing new short films and specific film installations. Recently he has exhibited extensively in an art exhibition context as well as in numerous international film festivals and screening programmes.