Curatorial statement 2018
Accelerator is in the process of coming into being. The former physics laboratories have been emptied and the exhibition spaces will be built during the forthcoming year. “To come into being” is the overall theme of the film programme, but also the preparation for creation – for example models or musical scores.
Accelerator’s art project in 2018 consists of a film programme with a series of video works. It will be shown in Södra huset at Stockholm University on a large screen in the space outside the university library.
Date: 24-27 April. The opening of the film programme is at 13.00, April 24. The films will be shown during university opening hours during a four-day period.
Location: entrance to Stockholm University Library, Universitetsvägen 14 D, Frescati.
Participating artists are: Sofia Hultén, AUJIK (Stefan Larsson), Gunilla Klingberg, Liv Strand, Kihlberg & Henry, Katarina Löfström, Debora Elgeholm, Viking Eggeling
About the artists and films in the programme:
In Sofia Hultén’s “Fuck it up and start again (one guitar smashed and mended 7 times)”, 2001, the artist herself repeatedly smashes a guitar, repairing it each time. The gesture is reminiscent of the rock myth where male rock stars smash their instruments. Here, the instrument is repaired, becoming easier to destroy each time it has been smashed, but increasingly difficult to repair. In the end, what has been constructed is an object that resembles what it once was, but now has become something new: a sculpture.
Sofia Hultén, who grew up in Birmingham and trained as an artist in Sheffield, works in a conceptual tradition. She is based in Berlin and works with sculptural gestures captured in objects, videos and pictures of everyday objects in subtly humorous courses of events.
AUJIK (Stefan Larsson), “Spatial bodies”, 2016, depicts the urban landscape of Osaka as a living organism where the buildings move to the music of Daisuke Tanabe. The footage was shot using drones, and the artist, who lives in Japan, has brought to life a number of existing buildings, including the Hitachi building (Tsūtenkaku), Abeno Harukas (Japan’s tallest skyscraper) and the building in which he lives.
Stefan Larsson has worked as AUJIK for over ten years and is primarily interested in topics related to artificial intelligence.
Gunilla Klingberg, “Spar Loop”, 2000-2001, is a kaleidoscopic amination of various low-price store chain logos reminiscent of mandalas, spiritual symbols that represent the universe. The commercial symbols turn into repetitive movements that may remind us of everyday rhythms and rituals. Commercialism and spirituality appear to blend together.
Gunilla Klingberg’s artistry has roots in both the advertising world and the art world, and revolves around the consumer culture of our time.
Liv Strand, “Pipeline”, 2007, is a journey to places invisible to the human eye, as well as an experience of sound the human ear cannot normally hear. The film documents a camera’s journey through a ten-kilometre long pneumatic tube system. The film switches between scenes in which we are moving forward at breakneck speed to pauses in the journey where our eyes get to rest on various types of abstract forms. The journey goes both forward and backward in this hidden world that becomes visible thanks to Liv Strand’s curiosity and experimentalism.
Liv Strand works with sculptures, performance, sound art, installations, moving images and writing.
In Kihlberg & Henry’s film “Analytical Chronology of Three Dimensions”, 2011, the artists experiment with developing a cinematic grammar based on linguistic expressions of time and space. Spoken sentences turn into camera movements. Conjugations of various verbs are linked to different types of spaces in an abstract game: a geometry book is linked to one verb and its tenses, a building to another, a model of the same building to a third verb, and so on.
Karin Kihlberg & Reuben Henry have collaborated since 2004. From their base in London, they work with film, performance, interdisciplinary research projects and publications.
Katarina Löfström’s “Score”, 2004, is an animated score of black dots pouring down a white screen, changing in size and creating rhythms in a pumping musical flow. The work is based on a photograph of the farthest reaches of the known universe, taken by the Hubble Space Telescope. The film is a type of moving score to thoughts on the outer limits of human knowledge.
Katarina Löfström has mostly worked with visual abstractions in moving images since the early 2000s, but has also created a number of physical installations and artworks, often related to people’s perception of light.
Debora Elgeholm’s “The Archives”, 2007, depicts a search in an analogue library archive where the references ultimately lead back to the starting point. In one part of the film, the archive, the wooden piece of furniture moves on its own and creates a subtle soundtrack to the film. The film describes, in a way that is seemingly documentary but at the same time dreamlike and surreal, a now old-fashioned archive – a source of knowledge. As observers, we get to see a world in which the search for knowledge is linked to tactile experiences of materials such as paper and wood. We can sense a card index where the text was written using a type-writer, a now rare tool.
Debora Elgeholm mainly works with moving images, where she uses various types of storytelling – from video essays and documentary narration to animations or staged situations with actors.
Viking Eggeling’s ”Diagonalsymfonin”, 1924, is an experiment in depicting musical rhythm using animated abstract forms. The film was made with the assistance of Erna Niemeyer (later Ré Soupault) with a simple animation technique using shapes cut out from tin foil. This version was restored by Gösta Werner in 1994 with support from the Swedish Film Institute.
Viking Eggeling was a Swedish visual artist who lived most of his relatively short life abroad. He moved in Dadaist circles in Zurich in the mid-1910s and later lived in Berlin, where he created “Diagonalsymfonin”. The film was first shown to a small crowd of people in 1924, then with the French title “Symphonie diagonale”. When the film had its official premiere on 3 May 1925, Viking Eggeling was seriously ill and died shortly thereafter. “Diagonalsymfonin” is Viking Eggeling’s only completed film.
List of films:
Sofia Hultén, “Fuck it up and start again ”, 2001, 7:00 min
AUJIK (Stefan Larsson), “Spatial bodies”, 2016, 4:50 min
Gunilla Klingberg, “Spar Loop”, 2000-2001, 11:30 min
Liv Strand, “Pipeline”, 2007, 5:05 min
Kihlberg & Henry “Analytical Chronology of Three Dimensions”, 2011, 3:24 min
Katarina Löfström, “Score”, 2004, 4:06 min
Debora Elgeholm “The Archives”, 2007, 3:20 min
Viking Eggeling, “Diagonalsymfonin”, 1924, 8:32 min
The film programme was put together by Richard Julin, Artistic Director at Accelerator
Sofia Hultén’s “Fuck it up and start again” is shown with the kind permission of the artist.
The other films are shown with the permission of Filmform, a foundation dedicated to the promotion, distribution and preservation of Swedish experimental film and video art.
Special thanks to Anna-Karin Larsson, Executive Director at Filmform.
Sofia Hultén: born in Stockholm in 1972. Lives and works in Berlin, Germany.
Stefan Larsson (AUJIK): born in Söderhamn in 1973. Lives and works in Ōtsu, Japan.
Gunilla Klingberg: born in Stockholm in 1966. Lives and works in Stockholm.
Liv Strand: born in Stockholm in 1971. Lives and works in Stockholm and Berlin.
Karin Kihlberg: born in Varberg in 1978; Reuben Henry: born in Trent in 1979. They live and work in London.
Katarina Löfström: born in Falun in 1970. Lives and works in Stockholm.
Debora Elgeholm: born in Siljansnäs in 1976. Lives and works in Stockholm.
Viking Eggeling: born in Lund in 1880. Died in Berlin 1925.
Prior to opening its physical exhibition space in 2019, Accelerator will establish its operations through art projects during its build-up phase. The idea behind this strategy is to ensure that Accelerator, by the time it opens, is known among the target groups for the new location. These are students at SU, all those who work and conduct research at SU, as well as members of the general public who are interested in art and culture, primarily in Stockholm. In addition, the projects before the opening will provide an opportunity to gain experiences within SU that will enable Accelerator to function within the organisation.
The first art project shown within Accelerator was Tony Oursler’s outdoor performance “The Influence Machine” on 22 October 2016.
Read more about Autumn 2016
In autumn 2017, a second art event took place featuring artist duo Christer Lundahl and Martina Seitl. They were invited to adapt two of their artworks to the location: “An Elegy to the Medium of Film” was shown in the Manne Siegbahn Laboratory under construction, and “Unknown Cloud on its way to Stockholm University” was shown outdoors. The exhibition in Accelerator’s future facilities also included a selection of portraits of vice-chancellors from Stockholm University in order to highlight the university’s history as a radical alternative to the traditional universities.
Read more about Autumn 2017
Photos: Sofia Hultén, AUJIK (Stefan Larsson), Gunilla Klingberg, Liv Strand, Kihlberg & Henry, Katarina Löfström, Debora Elgeholm, Viking Eggeling