Please follow this link to view the prototype: Laundro-chat 2137
An audio performance by Anna Kinbom, Choterina Freer and Rut Karin Zettergren, with acknowledgement to Woman on the Edge of Time by Marge Piercy and (1976) and Zeros and Ones by Sadie Plant (1997).
Image: Performance at Tallinn Feminist Forum (TALFF), Tallinn, Estonia, 2019.
Image: Performance scripts in English and Estonian for Tallinn Feminist Forum (TALFF).
Image: Photo of script with paintings by Rut Karin Zettergren.
Image: Photo of script with paintings by Rut Karin Zettergren.
Image: Photo of script with paintings by Rut Karin Zettergren.
Image: Photo of script with paintings by Rut Karin Zettergren.
Image: Photo of script with paintings by Rut Karin Zettergren.
Image: Performance at Tallinn Feminist Forum (TALFF), Tallinn, Estonia, 2019.
Image: Audience at WH!PH! Side Affects, Minsk, Belarus 2019.Nina, Connie and K
An audio performance by Anna Kinbom, Choterina Freer and Rut Karin Zettergren, with acknowledgement to Woman on the Edge of Time by Marge Piercy and (1976) and Zeros and Ones by Sadie Plant (1997)
Year: 2019
Material : Audio performance
Performed: Futureless Festival in Stockholm (2022); Tallinn Feminist Forum (TALFF), Tallinn, Estonia (2019); and WH!PH! Side Affects, Minsk, Belarus (2019).
In Nina, K and Connie we imagined possible utopian futures through a short piece of speculative fiction on collectivity. This fiction was in response to a comment from Marge Piercy in her text “Woman on the Edge of Time Forty years on” (2016). In this she writes about how in the second-wave women’s movement many utopias were created and now they aren’t. Piercy says “[in the 1970s] Feminist utopias were created out of a hunger for what we didn’t have, at a time when change felt not only possible but probable. Utopias came from the desire to imagine a better society when we dared to do so. When our political energy goes into defending rights, and projects we won and created are now under attack, there is far less energy for imagining fully drawn future societies we might wish to live in.” The aim of this work is to focus on historical and contemporary ideas of collectivity to imagine new feminist futures.
The performance-text is invoked from Woman on the Edge of Time (1976) by Marge Piercy and Zeros and Ones (1997) by Sadie Plant, alongside positive aspects of our own experiences living and working in collectives. Our performance draws on the hopefulness of these historical and current texts, and pauses to imagine feminist utopian ideas of collectivity.
With thanks to:
Georgie Jordan
Tallinn Feminist Forum (TALFF)
WORK HARD! PLAY HARD! (WH!PH!) Festival
IASPIS international cultural exchange
Nordic Cultural Point
Video (2017)
11 minutes
Exhibited: The future was at her fingertips: Digital Ambivalence, Cyborging, and Technofeminism (with 0s+1s Collective), Södertälje Konsthall, Sweden, 2018.
The Legacy Complex (with 0s+1s Collective), La Fábrica de Arte Cubano (FAC), Havana, Cuba, 2017.
The Legacy Complex (with 0s+1s Collective), Gotland Art Museum, Visby, Sweden, 2017.
Mozarts Ghost: Internet Art, Feminism and Resistance (with 0s+1s Collective), Gothenburg Art Museum, Sweden, 2018-19.
Project: The Legacy Complex.
Slideshow of stills from video:
Unbreathed Air, Installation view, Gotland Art Museum, 2017.
Taking an abandoned military bunker as a point of departure, I examine the domestic home as a space that is simultaneously personal and political, manifesting the extremes of material inequality. In this work, I chart the vision of Cold War design in a mock-up house filled with actors from a 1950s Ideal Home show and views this against the violent reality of contemporary capitalism. I've contrasted the ‘iceberg’ super-mansions with the damp and over-crowded inner-city flats, questioning the power of architecture and space to influence the individual’s ability to breathe, both literally and metaphorically. Within these dual remits, the bunker is considered as a territory that varies both temporally and spatially, a subterranean place that seems to offer both refuge and isolation.
Unbreathed Air was made as part of a project called The Legacy Complex. During the research and production project I worked with 0s+1s Collective to undertake artistic research and create works. Parts of this video were made using the shared footage, that we filmed as a collective and stored in an accessible server for use in several of the videos we made.
With thanks to:
La Fábrica de Arte Cubano (FAC)
Gotland Art Museum
Kulturbryggan
IASPIS
The Nordic Art Association (NKF)
Baltic Art Center (BAC)
The Bergman Estates Fårö
Film på Gotland
HD video (2016)
12 minutes
Exhibited: The future was at her fingertips: Digital Ambivalence, Cyborging, and Technofeminism (with 0s+1s Collective), Södertälje Konsthall, Sweden, 2018.
Mozarts Ghost: Internet Art, Feminism and Resistance (with 0s+1s Collective), Gothenburg Art Museum, Sweden, 2018.
Video Show, Transmission Gallery, Glasgow, U.K., 2017.
London Feminist Film Festival, Rio Cinema, London, U.K., 2016.
Slideshow of stills from video:
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Impatient Voices, installation view, Mozart's Ghost, Gothenburg Art Museum, Sweden, 2018.
Impatient Voices critically considers the commercialisation of both the collective impulse (as seen in social media) and of biomedical technology (health tracker apps) through using their forms and imagery with archival documentation of women’s health collectives from the 70s. The work is made up of 2D and 3D animation, digital compositing, hand drawn images, infographics, and reconstructions of photographs of 70s healthcare collectives. The audio is composed of archival footage from It's All Right to be a Woman Theatre (a 70s feminist theatre collective from New York) and healthcare activists from the same era, alongside more contemporary found sound.
2013/2022
HD video, installation and net project
Video duration: Two minutes, 58 seconds (looped).
Exhibited: Red Mansion Art Prize, Lethaby Gallery, London, U.K., 2013.
This video and net-based work is grounded in the real and digital production of objects. Made during a residency in Beijing, two types of real work are represented: Work in the factory, and the attention-based work of the consumer.
The central character in this video is based upon the Mask Bear© a character with a large commercial franchise in China.
In the street battle between the linguistic and imagistic the visual has been ruling for years. And as our consciousness is shaped through the images of consumerism how can we make sense of our surroundings, take control of our behaviour and retain the right to our own attention?
To view the net project click here
With thanks to:
The Red Mansion Foundation.
Choterina Freer