In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.
What would it mean to my artistic practice if there was a built-in limitation for me to use more resources than my share? What would a world look like, where future generations could access and confront the present with its overdraw of resources? Through different forms of “worldbuilding” like the film industry’s “storyworlds” and the “worldings” of material feminist theory these questions will be investigated.
collected stories, scientific viewpoints and impressions merged together into a improbable tale abut the past present and future of a site. The mountain is a key element in a network of storytelling and natural phenomena.
Project investigating the History and future of the geotope and island Gotland. Animating shifts of categorizations such as between the living and the dead, between animal, plant, mineral and between art museum and museum of natural History.
In this exposition, I confront my feelings about having been transnationally adopted. I do not consider adoption a ‘win-win situation’, and I encourage people to think critically about the practice as well as the glorification of it. The colorblindness with which I was encountered as a PoC growing up with white parents was an existential complication for me. I was plagued by feelings I could not understand at the time and grew isolated. I want to visually express the feeling of being estranged and alienated from one’s own body and the fear of drowning in one’s own skin. I have often felt compelled to unzip my skin suit and leave it next to my trousers in a heap on the floor. In this project, I grow my own skin in a vat – or more specifically, I grow a kombucha culture in tea and sugar. During the fermentation process, the kombucha culture creates a cellulose material that resembles human flesh. The process is a slow one, and developing the material demands a great deal of love and nutrition. In return, I get a self-produced material that enables me to work independently.
A collaboration between Anna Björklund, associate professor/docent, Dept. of Sustainable Development, Environmental Science and Engineering (SEED), KTH and Lina Persson, Researcher, Department of film and media, Stockholm Uniarts.
We aim to monitor and evaluate the life cycle climate impact of practices in film and media, in research and education at Stockholm Uniarts on two levels, on an individual researcher’s level and on an organisational level with student’s teams.
As a first step, we will monitor and evaluate the impact of these artistic processes and as a second step we will develop new tools and documents that can support students in shifting their productions towards films with smaller climate footprint. The tools will enable the students to carry out performative productions, using their creativity to stay within set sustainability limitations, finding new ways to make films and to let, the story, the experience, of that process accompany them in the coming productions.
The joint conclusions of the collaboration will be interwoven with Persson’s research project Climate-Just Worldings where the performativity of fictional story-worlds and how they can interact with an organization’s reality is explored.
become part of the climate-just narrative developed within Persson’s project. We also aim to develop an app tool to make the documentation process more intuitive. The documentation of this process will also be continuously available to the public online.
This exposition is a world. A world characterised by a radical climate justice,
due to the intrusion from the future, at the culmination of the Warm War II
The practical implementation of the theories, of professor in physics Ronald Mallet, opened up a temporal access point in the present from a deep future point in time.
The intrusion set off something analogous to a new natural law. Redefining the basic conditions of life everywhere.
The temporal access point appeared after a long time experimentation with bending time and space with laser. This temporal technology was nothing like the timetravel sceince fiction we were used to. When this technology was activated, a timetunnel started growing & continue to grow for as long as connected to a power source. In the present noone knows for how long that is.
The final activation was the result af a decision by the Global Colony and its agreement that this was the last resort to changing the destructive course earth was set towards with its colonisation of the future and constant overdraw of resourses.
With this technology the powerrelationship between present and future would shift. Allowing futures to implement its research in earlier ponts in time, by sending back subatomic particles that could be transfered to digital code.
The recieved code came with instructions, and when it was released it spread through all processes on earth, from technology, to biology, to chemistry and meteorology connecting everything in a social global organism. The purpose with the new organism was to distribute life resources in a way that keep the colony (earth) alive. Balancing the withdraws between different agents in the ecosystem