The Encounter of Bodies (2017)

In this show we, the curators of Woodpecker Projects are, through a selection of artworks, testing ideas of power relations and hierarchical positions using perspectives on body and language found in the exhibited artworks. The Encounter of Bodies is a show but very importantly it exists alongside a published fictive script by Stine Marie Jacobsen to be found in the exhibition space. The script is written in reference to the movie One Flew Over the Cuckoo’s Nest, where a main character pretends to be mentally ill and lets himself be admitted to a mental hospital to avoid a prison sentence and community service. Upon arriving at the mental hospital, the character finds the ward run by a strict nurse, who instead of helping the patients in their recovery actually suppresses their mental health.

 

 

Similarly, in the book, the curated artworks are in group therapy sessions led by the curators of Woodpecker Projects. We follow their discussions and self-explanations in a “behind the scene” movie set, in an art museum-cum-mental institution. Here the artworks come alive within the exhibition at Ystad Konstmuseum. The artworks think they have been summoned to the museum to discuss and decide on the exhibitions format, but what the artworks don’t know is that they have been placed in psychological care and are now being investigated by the strict curators for their “sensitivities” and eccentricities. By providing the artworks with a voice, the catalogue text uncovers the ‘inner’ principles in play in each artwork.

 

 

As you read this now you will find revealed our interest in power relations not only between the artworks but within our own position as well. Oftentimes we see artworks curbed to fit into curators’ manifests – precisely like patients in a ward run by a strict nurse who ignores details and sensitivities. Art is more than that. In fact, society is crazy and art is the voice of sanity. In the end the artworks of the show are labelled by the curators with diagnostic findings and recommendations. All photos below are by Jeppe Sørensen and all text below is by Stine Marie Jacobsen.

 

Participants

Maiken Bent (DK)

Ester Martin Bergsmark (SE)

Lea Guldditte Hestelund (DK)

Preben Holst (NO)

Stine Marie Jacobsen (DK)

Åsa Jungnelius (SE)

Hanna Sjöstrand (SE)

Samaneh Reyhani (IR)

Viktor Rosdahl (SE)

Info

The show opened on Sep 23, 2017 where we also released our catalogue made in collaboration with artist Stine Marie Jacobsen, designer Joakim Olsson and photographer Jeppe Sørensen.

 

Ystad Konstmuseum
S:t Knuts Torg
271 80 Ystad, Sweden

 

Tue- Fri: 12.00-17.00   Sat-Sun: 12.00-16.00

ystad.se/kultur/ystads-konstmuseum

 

Supported by Region Skåne, Ystad Konstmuseum and Sveriges Konstföreningar

 

 

 

Original title and production year: Körper 2.0 (2014–15).

Installation by artist Lea Guldditte Hestelund, DK.

Materials: Thassos and Carrara marble, rubber tile oor, mirror and photography ‘Self-portrait as Discobolus’.

Dimensions: Variable.

 

PRIMARY SYMPTOMS

In 2014, the human body Lea Guldditte Hestelund and Körper started training in a very tough tness program with a personal trainer, who was asked to transform (and carve) its human body as an object to a modern female version of Myron’s Antique marble sculpture The Discobolus.

 

PRESENTING SYMPTOMS

After half a year hard training the human body was ready and became part of the minimalist installation Körper which bears clear references to the tness room with kettlebell and weights made in marble and a b/w photo of the human body itself posing as the famous statue.

 

DIAGNOSTIC FINDINGS

The work initiates a discussion about body ideals in relation to power structures historically and how these ideals still exist in our contemporary times. However Körper seems to be a bit delusional, because it thinks that it can only become an object by training in a tness program and also it believes it’s mother is the ancient Greek kettle bell.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

To become a fully conceptual work Körper should monitor or narrate its mental changes on the same level as its physical changes in order to stay sane and well balanced between these subject-object shifts.

 

 

Original title and production year: Hoist #4,9,6 (2013).

A sculpture and an installation by artist Maiken Bent, DK.

Materials: Chain, rope, sticks, nylon, leather, thread, rubber, rings, s-hooks. Dimensions: Variable.

 

PRIMARY SYMPTOMS

Formalistically, Swing Hoist communicates only through its colors, shapes, constructions and lines. A listener therefore has to switch his or her mindset in order to fully understand what Swing Hoist is saying. It installs itself site speci cally and wants to express an absence of the human body. The sculptures further express a fear of doors, which might signal a former traumatic or negative experience with passageways.

 

PRESENTING SYMPTOMS

The fabricated material objects are from construction markets, textile and housing stores – and along with soft handmade pieces of patchwork and silk painted pieces, the artwork seeks to enter into a bodily and sensual universe of both control and ecstasy. The choice of materials and constructions refer to theearly 20th avant-garde movements, where the concept of the ready made began.

 

DIAGNOSTIC FINDINGS

The artwork displays an insistence to play on the function of objects, and seems to refuse an own subject self.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

The artworks should not try to place themselves back into housing stores or construction markets, but instead seek to collaborate with someone to develop an abstract user’s guideline of its own object-hood. Perhaps through such a dialogue a healthy relationship to subject self can be developed and nurtured for the future. In extreme cases of fear of doors, metamodernist* pills can help balance the artworks’ over- identi cation with the 20th avant-garde*.

 

 

Original title and production year: Swing #3 (2016).

A sculpture and an installation by artist Maiken Bent, DK.
Materials: Stand, rug, silk paint, String #2 (2016), leather, thread, buckles, carabiners, chains.

Dimensions: 210x180x150 cm.

 

PRIMARY SYMPTOMS

Formalistically, Swing Hoist communicates only through its colors, shapes, constructions and lines. A listener therefore has to switch his or her mindset in order to fully understand what Swing Hoist is saying. It installs itself site speci cally and wants to express an absence of the human body. The sculptures further express a fear of doors, which might signal a former traumatic or negative experience with passageways.

 

PRESENTING SYMPTOMS

The fabricated material objects are from construction markets, textile and housing stores – and along with soft handmade pieces of patchwork and silk painted pieces, the artwork seeks to enter into a bodily and sensual universe of both control and ecstasy. The choice of materials and constructions refer to theearly 20th avant-garde movements, where the concept of the ready made began.

 

DIAGNOSTIC FINDINGS

The artwork displays an insistence to play on the function of objects, and seems to refuse an own subject self.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

The artworks should not try to place themselves back into housing stores or construction markets, but instead seek to collaborate with someone to develop an abstract user’s guideline of its own object-hood. Perhaps through sucha dialogue a healthy relationship to subject self can be developed and nurtured for the future. In extreme cases of fear of doors, metamodernist* pills can help balance the artworks’ over-identication with the 20th avant-garde*.

 

 

Original title and production year: Things That Never Happened (2002–03).

Three photographs by artist Preben Holst, NO.

Materials: C-print.
Dimensions: 66x66 cm.

 

PRIMARY SYMPTOMS

Things That Never Happened mainly explores the transition between childhood and the adult world. Children and young people are placedin unidenti able forest landscapes that can be experienced by some viewers as safe and known, but for others as dark and scary.

 

PRESENTING SYMPTOMS

The artwork takes on youth as a general human theme and gives the viewer a glimpse into a hidden reality – a world that is not theirs, but that of an adolescent, where the creation of self and group identity is a central and sensitive existence of being.

 

DIAGNOSTIC FINDINGSBecause of viewers’ own previous experiences and associations, misunderstanding canvery easily appear when Things That Never Happened speaks.

 

LIFESTYLE / DIETARY RECOMMENDATIONSIt is recommended that Things That Never Happened confronts the viewer in order to prevent any misunderstandings to happen in the future. Confronting means in this case, to make them aware of their own pre-opposed judgments, which might relate more to them than Things That Never Happened itself.

 

 

Original title and production year: German for Artist (2015).

Book and three Dibond prints by Stine Marie Jacobsen, DK (here 1 of 3 in the show).

Materials: Grammar pocket soft cover book 174 pages and three Dibond prints. Dimensions: 59,4x84,1 cm (dibonds).

 

PRIMARY SYMPTOMS

German For Artists is a hybrid pocket grammar book and always makes humorous re ections and comments on the more philosophical aspects of the German language in relation to contemporary art.

 

PRESENTING SYMPTOMS

German For Artists is socially delusional and imagines it can make famous artists and curators for example bend rooms by just having them walk through it. The artwork has on several occasions exclaimed that it believes the German language has the same power relation as between a master and a slave – one must bend to the other in conjugation.

 

DIAGNOSTIC FINDINGS

German For Artists only comments and points at others, but avoids placing itself intothe hierarchy.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

It risks annihilating its own subject agenda and becoming depressed if it does not expand its life beyond that of a book. It is highly recommended that it start a training program to support a future clearer distinction between what is real and what is not.

 

 

Original title and production year: The Gateway (2011).

Two sculptures by artist Åsa Jungnelius, SE.

Materials: A silicone-mounted photograph on plexiglass, plexiglass pillar and black glass triangle on top.

Dimensions: Photograph 110x55 cm. Pillar 230 cm high. Triangle 30x110 cm.

 

PRIMARY SYMPTOMS

Koh-I-Noor Gateway uses materials as tools and is inspired by designed objects, which often carry a gender policy agenda.

 

PRESENTING SYMPTOMS

The artwork has in a private session told the WOODPECKER curators that it would like to change the order of material and language and not live within normative human orders. The artwork wishes to be nature and to act unforeseeable and be more chaotic. In a session, it stated that “nature is the compost, a circular system to where we all belong and that includes everything”.

 

DIAGNOSTIC FINDINGS

Findings of internal paradox. Koh-I-Noor Gateway is interested in the relationship between body and object, and the room itacts within, but at the same time, the artwork constantly says that it is not interested in the art museum or art space and would like to abandon it for the sake of nature.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

In order to monitor and help Koh-I-Noor Gateway a special nature program needs to be developed within the art museum. This would help the artwork to not be rejected from this community in the future.

 

 

Original title and production year: Koh-I-Noor (2001). Materials: Cut crystal and fake diamond tape.

Two sculptures by artist Åsa Jungnelius, SE.

Dimensions: Diamond 19x15 cm. Podium 102x30x30 cm.

 

PRIMARY SYMPTOMS

Koh-I-Noor Gateway uses materials as tools and is inspired by designed objects, which often carry a gender policy agenda.

 

PRESENTING SYMPTOMS

The artwork has in a private session told the WOODPECKER curators that it would like to change the order of material and language and not live within normative human orders. The artwork wishes to be nature and to act unforeseeable and be more chaotic. In a session, it stated that “nature is the compost, a circular system to where we all belong and that includes everything”.

 

DIAGNOSTIC FINDINGS

Findings of internal paradox. Koh-I-Noor Gateway is interested in the relationship between body and object, and the room itacts within, but at the same time, the artwork constantly says that it is not interested in the art museum or art space and would like to abandon it for the sake of nature.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

In order to monitor and help Koh-I-Noor Gateway a special nature program needs to be developed within the art museum. This would help the artwork to not be rejected from this community in the future.

 

 

Original title and production year: The perfect relation between the hole and the pole (2012).

Sculpture by artist Åsa Jungnelius, SE.

Materials: Stainless steel chain and brass pole.
Dimensions: 10x10x130 cm.

 

PRIMARY SYMPTOMS

The perfect relation between the hole and the pole uses materials as tools and is inspired by designed objects, which often carry a gender policy agenda.

 

PRESENTING SYMPTOMS

The artwork has in a private session told the WOODPECKER curators that it would like to change the order of material and language and not live within normative human orders. The artwork wishes to be nature and to act unforeseeable and be more chaotic. In a session, it stated that “nature is the compost, a circular system to where we all belong and that includes everything”.

 

DIAGNOSTIC FINDINGS

Findings of internal paradox. The perfect relation between the hole and the pole is interested in the relationship between body and object, and the room it acts within, but at the same time, the artwork constantly says that it is not interested in the art museum or art space and would like to abandon it for the sake of nature.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

In order to monitor and help The perfect relation between the hole and the pole a special nature program needs to be developed within the art museum. This would help the artwork to not be rejected from this community in the future.

 

 

Original title and production year: Bruises (2013). Materials: Oil on MDF.

Two paintings from a series of twelve by artist Hanna Sjöstrand, SE.

Dimensions: 122x169 cm.

 

PRIMARY SYMPTOMS

Bruises investigates the body as a starting point and as a tool for the measurement of violence and power. The work process behind its aesthetic appearance is very important in order to understand how the artwork is to be decoded.

 

PRESENTING SYMPTOMS

Bruises has allowed friends and colleagues to beat its makers arms and legs. The bruises on the artists’ body are caused by these collegial impacts. Bruises as a series of paintings, is a result of a modeling of these actions.

 

DIAGNOSTIC FINDINGS

Bruises expresses an interest in violenceand inner search for truth and understanding of what fundamentally conditions a human body. However, the Bruises on Bruises clearly indicate that they are not self harmed, neither is the artwork alone. A third person, a human nominator, the artist, is the actual victim and Bruises is suffering from third person pain, which could signify a need to set and de ne borders of its own self.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

In order not to over-identify with its maker, WOODPECKER highly recommends that the artwork clearly learn to de ne its own limits and sociability in human interrelations.

 

Original title and production year: Reaction To Injustice No2 (2015). Materials: Granite, wood and plastic.

Two sculptures by Samaneh Reyhani, IR.

Dimensions: Both sculptures have the same dimensions: 50x90x150 cm.

 

PRIMARY SYMPTOMS

Reaction To Injustice carries stories of inequality towards women in religion and tradition and wants to talk to us about gendered body inequality.

 

PRESENTING SYMPTOMS

The artwork likes to work with time-consuming techniques that create space, which allows both the emotional and the intellectual to arise from its own surface.

 

DIAGNOSTIC FINDINGS

Two of the sculptures are like sisters in oppositional balance, if one is in pain, the other one is also. The third sculpture Stitch is the mother of the two.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

The artworks ought to undergo a role shift from student to teacher. Meaning that if Reaction To Injustice would treat others, it would heal itself. It is recommended that a better understanding of Stitch is undertaken, in order to fully understand and perhaps foresee the future of Reaction To Injustice.

 

 

Original title and production year: Stitch (2013).

One sculpture by Samaneh Reyhani, IR.

Materials: Wood, stainless surgery needle and thread.

Dimensions: 16x26x12 cm.

 

PRIMARY SYMPTOMS

Stitch carries stories of inequality towards women in religion and tradition and wants to talk to us about gendered body inequality.

 

PRESENTING SYMPTOMS

The artwork likes to work with time-consuming techniques that create space, which allows both the emotional and the intellectual to arise from its own surface.

 

DIAGNOSTIC FINDINGS

Two of the sculptures are like sisters in oppositional balance, if one is in pain, the other one is also. The third sculpture Stitch is the mother of the two.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

The artworks ought to undergo a role shift from student to teacher. Meaning that if Stitch would treat others, it would heal itself. It is recommended that a better understanding of Stitch is undertaken, in order to fully understand and perhaps foresee the future of Stitch.

 

 

Original title and production year: Caravans out of Empire (2015).

A painting by artist Viktor Rosdahl, SE.

Materials: Oil on canvas.
Dimensions: 232 x 196 cm.

 

PRIMARY SYMPTOMS

Caravans Out of Empire is a collage painting, which collects references and images thatare brought together in the form of scenesto shape and try to understand our world and highlight issues around labor, power and politics. Caravans Out of Empire is a mountain scenery of the Hindu Kush in Afghanistan and is a mental model of how the place has been left and abandoned.

 

PRESENTING SYMPTOMS

For centuries, Hindu Kush was a graveyard for invading alien armies. Afghanistan is where Alexander the Great’s army could not advance further. The British Empire and the soldiers of the Raj never conquered the place, and during the 19th century an entire British army was killed to the last man, except for one who was left to tell the story.

 

DIAGNOSTIC FINDINGS

A paradoxical urge towards strong labor politics guides this artwork, yet it seems to have lostits faith in revolution and the art museum. The artwork has expressed a fear of becoming obsolete and not needed in an increasingly event based art world.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

In order to have a stronger mental status in the future, the artwork needs support from the art museum in its ctive versus real agency. Also some additional anger management would be advisable in order to keep a healthy balanced life.

 

 

Original title and production year: Pojktanten (2012).

A lm by artist and lmmaker Ester Martin Bergsmark, SE.

Materials: Video DV, color/B&W.
Dimensions: 75 min.

X-tra: An Upfront Films Prod. Starring Ester Martin Bergsmark, Juli Apponen and more. English title: ‘She Male Snails’. The Swedish title Pojktanten comes from a crafted trans identity and roughly translates as “she male” or “lady boy.”

 

PRIMARY SYMPTOMS

Pojktanten expressed in one of the group sessions in the art museum that they want to be part of humankind in a freer way than what the heterogeneous norms in society offer now. Pojktanten wants to explore the interaction between how a person constructs theirown identity and how others project upon their identity.

 

PRESENTING SYMPTOMS

The lm is about the mechanics of love, the gaze, and power, and expresses a dislike of binaries in favor of merging forms and termsin constructing personalities and beings. Pojktanten is a personal documentary that objecti es a main character so the lmmaker, or we as an audience, can project our desires onto. Through indie Nordic nostalgia and stylized fantasy scenarios, the lm visualizes how no bodies can ever fully grasp an “I” in a resolute way. “I” is forever an encounter.

 

DIAGNOSTIC FINDINGS

Pojktanten speaks about memories of violence and cruelties they experienced while growing up and how it is to live in a culture frantic for resolution, de nition and control of gender and personhood. The lm delicately highlights and touches upon our hidden sides, which are in a constant pendulum between “wanting to be” and “expecting to be”.

 

LIFESTYLE / DIETARY RECOMMENDATIONS

It is recommended that Pojktanten keeps highlighting and problematizing hetero norms, expressions of gender, identity, and its effect on society. It is also highly recommended that while Pojktanten is being exhibited, that the verbalization of ‘becoming snail’ and how a snail can shift its gender, is furthered.