(Performing at Destiny’s Atelier, Oslo).

Hanging on the hinge, the Jonbar hinge
2018

Reading. (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, A Sound of Thunder (1952) by Ray Bradbury and the film Matrix (1999). I bring my own "objects" which are my own voice and a metronome which seeks the commonalities in narration, creating a strict syntax as well as a conflict between voice and rhythm. The piece distabilizes the idea of a linear narrative due to the entangled stories, setting up/suggesting scenes of various sorts using possibilites and deadlocks deriving from the fragmented timescale in science fiction.








Wishing well
2017

Diptych. Two framed photographs, each 40x30 cm.

Each day I walk the same route to and home from my studio. A 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 on the afternoon walking my way home, I walked past the puddle again. I then noticed that the puddle had shrinked and that the coin was gone. Each photograph are conjoined with the time they were taken (09.32, 16.21).








Untitled
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 the 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. The print enlightens the act of observing and being observed at the same time, an translucent act.









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 17th 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