Kim Svensson

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Hanging on the hinge, the Jonbar hinge
2018

Work in progress
Narrative-performance. (10-15 minutes).

Taking the phrase "Jonbar Hinge" as a point of departure, a phrase that describes the rather abrupt moment of when a choice are to be made between objects that lead to different future outcomes, an interruption and rupture of time. The performance utilizes a spoken-word format touching on the subjects of speculation, ambivalence, resistance and desire that draws loosely on several fiction works such as the books The Legion of Time (1938) by Jack Williamsson (1952), A Sound of Thunder (1952) by Ray Bradbury and the films The Thing (1982) and Matrix (1999). I bring my own "objects" which are my own voice and a metronome which instead of creating separation (as in a Jonbar hinge) seeks the commonalities in narration, creating a strict syntax, and distabilizes the idea of a central thread due to the disparate fictive materials which also deals with the idea of an imagined self and the “real self”, and the navigation between those two entities. The performance are gently occupying the shared space of narrator and audience; pointing, suggesting, sharing, swirling as commodities of thought.





Actors of the same yard
2017

Installation.
Table (MDF-plate painted green, iron-pipes) with texts printed on papers. Text and image materials: Jeremy Bentham’s correspondence letters, reenacted manuscript, images of the park photographed of the film Blow-up (1966), image of drawing of Panopticon, image from work in studio, selected part from ”dictionary for library and information science”.


In the 18th century Jeremy Bentham created his construction Panopticon which with its specific architecture erases the borders between being seen and not seen, in this project there's a focus on the prison construction as an invisible artifact, since Benthams project never got realized. During my search of possible sites of where Bentham tried to realize his plans there’s an area in south-eastern London (the particular area was back then named Hanging Woods and was mostly consisting of forests) that have been of interest to Bentham. The area today are mostly suburbs of London and parks, but one particular spot was a park named Maryon Park; situated well of where Bentham wanted to realize his prison. At a later point during this projects process there’s an discovery that Maryon park is the same park as where the murder-scenes in the film Blow-up (directed by Michael Antonioni, 1966) was recorded.
In these particular scenes of where the park has a role, we see the main character (a fashion-photographer) sneaking around with his camera taking images of a man and a woman interacting with each other. When he gets home, he processes his film and notices that there is a person hiding in the bushes with a gun pointed on the couple, suspicious as he gets, he returns to the park and indeed finds the man murdered. He also realizes he is the one with the evidences of the crime. In the end of the film, he travels back a few days later to see the corpse again but it was no longer there. We are also starring a mimed tennis play, where two persons are hitting an imaginary ball between each other.

Two contingent subjects in time are meeting through the shared space of the table where they are sorted out as evidence-materials for an investigation, evoked by their shared space of origin; a park in southeastern London.
A reading of the Panopticon can suggest an ”embodiment” of the gaze; it can both be unavoidably permanent and unavoidably imaginary, something that was intended through the architecture.
In the film (Blow-up), the main character is using the camera as evidence and the recording camera itself is at points using films ultimate potential; in likeness with the eye and as an extension of it, creating movement to what is not necessarily visible*.
Held in the threshold(s) between image and event, this coincidence turns to an associative investigation where interpretations of the methods and functions within the materials are used as metaphors for the creation of the work itself, of how the associative puzzle is added; where the materials meet. A panning story that deliberates this specific sites context and that reformulates its toward fictional tendencies are created.

*As mentioned, we are in the end on the film following mimics playing an imaginary  tennis-play without a ball. We who see the film, are lead by the cameras movements as it follows ”the ball” track across the tennis court.


The encounter of the work is free to pick up, meander through the texts and search for the markers in them on the table.








Wishing well
2017

Diptych. Two framed photographs, each 30x40 cm.

Each day I walk the exact same route to and home from my studio. One early Thursday morning walking this route I walked past a puddle, I made a quick glimpse at it and noticed a coin laying on the bottom of it. I continued walking approximately 20 meters but stopped and turned back, decided to take a photograph of it.
The same day but on the afternoon on my way home, I walked the same route and past the puddle. I then noticed that the puddle had shrinked and that the coin was gone; a temporary wish of the longing ones. Each photograph are conjoined with the time they were taken (09.32, 16.21).






Work to be shown in the context of a museum
2017

Framed C-print with text.
40x50 cm.

The print consists of an brightened and faded image of the exterior of the crystal palace when it held the great exhibition in London 1851. The photograph are conjoined with information to the visitors of the Pan American exposition in 1901 "Please remember that when you enter the gates you are part of the show".
The crystal palace was notably unique in it´s time due to that large parts of the construction was made in glass. Here conjoined with the text, the print enlightens the act of observing and being observed at the same time, a translucent act, in this case through an historical take on exhibition.







The shepherd and his companions went out on a starry night
2016

Three framed digital C-prints and three frames with tipped in photographs and texts.

Illustrations of stars and star constellations in books dating back to the 16th century are photographed and used as specimens.
With the same observing eye as the scientist had in the making of the illustration books, the camera and it´s lens points at the same stars selected from the specimens. The photographs are after combined with fictional texts sharing a suggested observation of what is happening in the documented pages photographed from this richly illustrated book of stars and their mythological creatures.
The photographs of the pages in the book are placed on a shelf, while the framed images of the stars and the texts are hanged slightly higher on the wall, putting the observers gaze in same action as the scientist and when this work was made.





The Great White Silence
2016

Slide projection and overhead projection.

Photographed images on black and white film and later contact-copied onto positive black and white slide film. Projected through a carousel slide projector.

The Great White Silence is a slideshow that takes it´s departure from images, paintings and fiction depicting the north and the south poles. The images were found in several archives and are dated back to various expeditions between the late 19th century to the 1950's.
The starting point comes from fiction that specifically has described these places, due to the distance of these places they have often been rendered in mythical ways.
The title of the work is taken from a documentary film from 1924, with the same title. The film was mainly directed by the photographer Herbert Ponting and shot during the Terra Nova expedition 1910-1913. The film was also restored and released by the British film institute in 2011, this time with a musical soundtrack.
The slide-projection are accompanied by short notes projected through an overhead projector. The notes are both taken from texts found among the images and reflections on the images when they were found in the archives.
The images have a total lack of human presence, the only signaling of a possible presence in the landscapes is the traces of movement; movements of curiosity (traces, artifacts) but also of the remote presence of the photographer. Each image are taken from a distance, revealing the hands holding the archival materials, revealing the environment they were found in, gesturing the distance of the subject itself.











Kim Svensson, 2018