SVE
Portfolio med relaterade konstverk, samt prototyper och mock-ups till KROPPSHISTORIST MUSEUM
EN
”My body history has become a temple of false beliefs, cut loose from all that is truly holy. It is wild and anarchistic towards my own curation. A beast, but not the beast I need.
To experience the body fully, to respectfully embrace the history of all it is and has been, you have to sift through dusty belief systems, and fight off old gods.
You have to be your own prayermaker. You have to turn like a great wheel.
The document a fetish. The norm and the ideal, the gods to which I bear offerings of my true self. Piece by piece, I turn into a falsehood of angel dust, or a wicked witch, with demon eyes and chipped claws and crooked wolf’s teeth. The harsh shaming and the ironic soft encouragement turn into mantras. I cook slow in the stew of hatred. I turn, I turn, but only towards the funny house mirror, and the cross upon which my autonomy hangs.
I must seek my cycles. My bones. I must turn, I must turn like a great wheel.”
Body History Museum is an immersive, auto fictitious conceptual exhibition project about body history, body image, and how we can take back our power – created from the perspective of a marginalized, disabled body. The exhibition I am creating around this concept is multidisciplinary, consisting of installations, video works with dance and movement, as well as text and photography based works.
Body History Museum is a phenomenological approach to the multiple, ever-changing, dynamic body images we have and the relation they have to the lived body, the body-for-others and the body as seen by others.
In my art, and in dance especially, I have to get over what it looks like. Long before my body is looked at, I have to put it to action. I need to be in it, experience it, move it. And know why I am doing it. It is not for it to be looked at. Body-based spirituality and body-centered mysticism. Body not as temple but as prayer. As movement. As agency.
My dance works are part emotional, inutitive, expressive dance, part a minimalistic repetition-based choreography, combining different styles of dance within visual art. Examining both the emotional-spiritual body and the physicality of body within ritual space.
Over the past couple of years my work has been supported by TAIKE, Svenska Kulturfonden, Svensk-Österbottniska samfundet, Konstsamfundet, Svenska Litteratursällskapet, Svenska Österbottens Kulturfond and Nygréns stiftelse.
My regular portfolio: https://www.soulmamaarts.com/portfolio/ as well as some exhibition examples: https://www.soulmamaarts.com/utstallningar-exhibitions-events/
VIDEO WORK TEASERS, TIMELAPSES
The dance videos I am creating are part ritualistic repetition, and intuitive improv. The video works are based upon fragmentation, repetition, meditation and initiation.
Here is a WORK IN PROGRESS teaser for one of the video works being released in 2025. PERI-GNOSIS, deals with the frustration and trauma from not getting diagnosed correctly, facing misbelief or incompetence, and being shackled by the body images and diagnoses put down in health care journals.
Choreography, dance and editing by myself. Music by Styr0x. Color correction by Christoffer Maid. Technical support by Mikael Liikanen. The final work will be approximately double the length.
Made with support from TAIKE, Svenska Kulturfonden, Konstsamfundet. 2024. Will be released in 2025.
WHAT DO YOU WAKE UP TO? (working title) is another video work that will be released in 2025. This is a process version of the work, the music is placeholder and it awaits original score, and further editing. This work deals with the fat, sexual body – touching on lust, shame, social norms and fetishizing the erotic fat body. It shows the loss of self-knowing and agency as the outsider perspective takes over – a phenomenon know to many with bodies outside of the norm. As soon as the marginalized body is gazed upon it becomes the body images and judgements placed upon it.
Concept, choreography, cinematography by Alexandra Marina
Performed by Alexandra Marina, Aeon Lux and Eli Kaunisvesi
Postproduction by Christoffer Maid – Post Box Digital
Score will be made by Charlotta Kerbs
Made with support from TAIKE, Svenska Kulturfonden, Konstsamfundet. 2024. Will be released in 2025.
55 REVOLUTIONS
This is a visual trailer of the yet unedited and unscored videowork 55 REVOLUTIONS – on the theme of losing my mother when she was 55 and how that has shortened my own perceived length of life.
Concept, choreography and editing by Alexandra Marina
Cinematography by Mikael Liikanen
Music score will be made by Mathias Timgren, Azra Arnautovic and William Stocks, produced by Alexandra Marina
Made with support from TAIKE, Svenska Kulturfonden, Konstsamfundet. 2024. Will be released in 2025.
LIFE SUPPORT? INSTALLATION 2023
Installation, repurposed overhead projectors, illumination, photo art (2023)
Here exhibited at Tempus, Jakobstad, 2023.
CREATION HYMNS, ongoing series, 2024
”𝘔𝘺𝘵𝘩𝘴, 𝘦𝘢𝘤𝘩 𝘵𝘪𝘮𝘦, 𝘢𝘳𝘦 𝘢 𝘴𝘶𝘱𝘦𝘳𝘪𝘮𝘱𝘰𝘴𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘴𝘦𝘷𝘦𝘳𝘦𝘥 𝘰𝘶𝘵𝘭𝘪𝘯𝘦𝘴.”
𝘛𝘩𝘦 𝘊𝘦𝘭𝘦𝘴𝘵𝘪𝘢𝘭 𝘏𝘶𝘯𝘵𝘦𝘳 – Roberto Calasso
These pictures are part of 𝘊𝘳𝘦𝘢𝘵𝘪𝘰𝘯 𝘩𝘺𝘮𝘯𝘴 𝘐 – 𝘓𝘰𝘰𝘬𝘪𝘯𝘨 𝘧𝘰𝘳 𝘮𝘺 𝘮𝘰𝘵𝘩𝘦𝘳’𝘴 𝘣𝘰𝘯𝘦𝘴
In this experiment I am working with repetition as prayer to bring my mother’s face out in my own.
”𝘛𝘩𝘦 𝘮𝘰𝘵𝘩𝘦𝘳’𝘴 𝘣𝘳𝘦𝘢𝘵𝘩 𝘧𝘦𝘭𝘭 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘥𝘦𝘱𝘵𝘩𝘴 𝘰𝘧 𝘩𝘦𝘳 𝘣𝘰𝘥𝘺 𝘸𝘩𝘦𝘳𝘦 𝘪𝘵 𝘨𝘢𝘵𝘩𝘦𝘳𝘦𝘥 𝘶𝘱 𝘩𝘦𝘳 𝘴𝘰𝘶𝘭 𝘢𝘯𝘥 𝘳𝘶𝘴𝘩𝘦𝘥 𝘰𝘶𝘵 𝘧𝘳𝘰𝘮 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘩𝘦𝘳 𝘭𝘪𝘱𝘴, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘮𝘰𝘵𝘩𝘦𝘳 𝘸𝘢𝘴 𝘥𝘦𝘢𝘥.”
𝘞𝘰𝘮𝘦𝘯 𝘸𝘩𝘰 𝘙𝘶𝘯 𝘞𝘪𝘵𝘩 𝘵𝘩𝘦 𝘞𝘰𝘭𝘷𝘦𝘴 – Clarissa Pinkola Estés
I. Looking for my mother’s bones
II. When the Mother Myth is a release of bones
“Forgive these bones I’ve been hiding…”
“…and the bones I’m about to leave.”
Ethel Cain, Family Tree
Our individual mythology rests upon our bones. The entire body of story hangs upon our bones.
My mother wrote “La Loba searches and searches for my lost bones”, feeling the wild woman inside her slowly getting rebuilt. Her story ready to be retold.
The mythology of my mother I will never know fully. I will never completely gather and count all her bones. If I could, I could breathe life back into her. But I cannot. La Loba did it for her once, it cannot be done again.
There were years of my mother hiding bones. That is part of her mythology. As it is mine.
I’ve been searching for my lost bones, La Loba guiding. Searching more than not after the same revelation that my mother found as she rearranged her bones. Rewrote her story. Recreated her mythology. Took the breath of life anew.
I am researching the lines on my face. The look in my eyes. The roundness of my stomach. And my fingers. I am looking for my mother. I want her to show in my mythology. I want her to take physical form in the body of my story. In the story of my body. I am moving in space to catch a glimpse of my mother. A study in grief. A study in the gathering of bones.
I am looking to bring my mother’s face out in my own. To see the “Río Abajo Río”, the river beneath the river.
WAITLESS BODY, photo series, 2024
”The moist magic of story.”
𝘞𝘰𝘮𝘦𝘯 𝘸𝘩𝘰 𝘙𝘶𝘯 𝘞𝘪𝘵𝘩 𝘵𝘩𝘦 𝘞𝘰𝘭𝘷𝘦𝘴 – Clarissa Pinkola Estés
Through this work I am experimenting with the formless, and deformed, body under water. It is work done in several stages; first I created my self-portraits, then printed them on transparent foil, photographed them under water with effects made by mirrors, air and light. Technical support by Mikael Liikanen. Here the inspiration from retro sci-fi is very prominent.
The work here is inspired by the sight of my mother’s dead body, as well as the weightlessness (and waitlessness) of feeling my mother’s body being reborn in my own.
RITUAL DANCE, ongoing series, 2023-2024
Ritual dance is an ongoing series of photographs of the moving body. I use ritualistic repetition and long exposure time to create a body less prone to being seen as static and stereotype. Instead I am looking for the archetypal goddess which can move between worlds.
OTHER WORKS, PREVIOUS ITERATIONS, MOCKUPS
In this gallery there are other works (photograms, documents, poems, installations) as well as some photos from previous iterations of BODY HISTORY MUSEUM (these iterations without the new media works, and without the aesthethic of science and retro sci-fi).
