Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Levitation is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

En Caul is designed for Scene 2 at Rosendal Teater. Two square structures measuring 600*600*10 cm are installed along the same axis; one on the floor, the other 400 cm above. Both frameworks are covered by an elastic, semi-transparent membrane. Beneath the floor-membrane is a single body. Above the top membrane are lights. The audience is seated on stage-elements surrounding the floor-structure, allowing them to observe the interaction between body and membrane from above. Concept, idea and scenography: Malin Bülow
Choreography: Malin Bülow and Marie Rechsteiner
Sound: Pernille Meidell
Light: Phillip Isaksen
Outer Eye: Ingri Fiksdal Critique in Scenekunst.no: https://scenekunst.no/artikler/tilfeldighetenes-spillerom

Detail images from En Caul designed for Scene 2 at Rosendal Teater. Two square structures measuring 600*600*10 cm are installed along the same axis; one on the floor, the other 400 cm above. Both frameworks are covered by an elastic, semi-transparent membrane. Beneath the floor-membrane is a single body. Above the top membrane are lights. The audience is seated on stage-elements surrounding the floor-structure, allowing them to observe the interaction between body and membrane from above. Critique in Scenekunst.no: https://scenekunst.no/artikler/tilfeldighetenes-spillerom Concept, idea and scenography: Malin Bülow
Choreography: Malin Bülow and Marie Rechsteiner

Sound: Pernille Meidell
Light: Phillip Isaksen
Outer Eye: Ingri Fiksdal

Detail images from En Caul designed for Scene 2 at Rosendal Teater. Two square structures measuring 600*600*10 cm are installed along the same axis; one on the floor, the other 400 cm above. Both frameworks are covered by an elastic, semi-transparent membrane. Beneath the floor-membrane is a single body. Above the top membrane are lights. The audience is seated on stage-elements surrounding the floor-structure, allowing them to observe the interaction between body and membrane from above. Critique in Scenekunst.no: https://scenekunst.no/artikler/tilfeldighetenes-spillerom Concept, idea and scenography: Malin Bülow
Choreography: Malin Bülow and Marie Rechsteiner
 
Sound: Pernille Meidell
Light: Phillip Isaksen
Outer Eye: Ingri Fiksdal

En Caul is designed for Scene 2 at Rosendal Teater. Two square structures measuring 600*600*10 cm are installed along the same axis; one on the floor, the other 400 cm above. Both frameworks are covered by an elastic, semi-transparent membrane. Beneath the floor-membrane is a single body. Above the top membrane are lights. The audience is seated on stage-elements surrounding the floor-structure, allowing them to observe the interaction between body and membrane from above. Critique in Scenekunst.no: https://scenekunst.no/artikler/tilfeldighetenes-spillerom Concept, idea and scenography: Malin Bülow
Choreography: Malin Bülow and Marie Rechsteiner
 
Sound: Pernille Meidell
Light: Phillip Isaksen
Outer Eye: Ingri Fiksdal

En Caul is designed for Scene 2 at Rosendal Teater. Two square structures measuring 600*600*10 cm are installed along the same axis; one on the floor, the other 400 cm above. Both frameworks are covered by an elastic, semi-transparent membrane. Beneath the floor-membrane is a single body. Above the top membrane are lights. The audience is seated on stage-elements surrounding the floor-structure, allowing them to observe the interaction between body and membrane from above. Link critique: https://scenekunst.no/artikler/tilfeldighetenes-spillerom

En Caul, vertical is an elongated rectangular shape, installed along one of the birch lanes in the park, de Oude Warande in Tilburg. Along the midline of the rectangular structure runs a wall (not seen from the outside) that blocks the light from flowing through the inside. The midwall, this way, allows for invisibility behind the thin, elastic, semi-transparent membrane, which is mounted around all four sides of the structure. The midwall also works as support for the bodies. From each side the bodies lean onto the membrane, sculpting ephemeral organic forms in the elsewise rigid rectangular shape.

En Caul is an elongated rectangular shape, installed along one of the birch lanes in the park, de Oude Warande in Tilburg. Along the midline of the rectangular structure runs a wall (not seen from the outside) that blocks the light from flowing through the inside. The midwall, this way, allows for invisibility behind the thin, elastic, semi-transparent membrane, which is mounted around all four sides of the structure. The midwall also works as support for the bodies. From each side the bodies lean onto the membrane, sculpting ephemeral organic forms in the elsewise rigid rectangular shape.

Amnion

Peeled consists of two performance installations; site-specifically made for Blylageret at the old Fort in Oslo. The first performance installation occupies the narrow and lengthy entrance of this section of the fort. As you enter you directly meet an elastic textile void attached around wooden beams which anchors to cavities in the old stone wall. At the end of the void a body leans with the elasticity of the semi-translucent membrane, stretching it to its tensile threshold. In the adjacent room the second performance installation is constructed around a low structure, fully covering the floor, except from a thin corridor of 50 cm on each side, leaving room for the audience. The floor structure is clad with an elastic semi-transparent membrane. The body is placed inunder the membrane interacting from below.

Peeled consists of two performance installations; site-specifically made for Blylageret at the old Fort in Oslo. The first performance installation occupies the narrow and lengthy entrance of this section of the fort. As you enter you directly meet an elastic textile void attached around wooden beams which anchors to cavities in the old stone wall. At the end of the void a body leans with the elasticity of the semi-transluscent membrane, stretching it to its tensile threshold. In the adjacent room the second performance installation is constructed around a low structure, fully covering the floor, except from a thin corridor of 50 cm on each side, leaving room for the audience. The floor structure is clad with an elastic semi-transparent membrane. The body is placed inunder the membrane interacting from below.

Strained Resilience (double membrane) is made for the main exhibition space at Piero Atchugarry Gallery / Pablo Atchugarry Foundation in Miami. Extending between two opposing walls, it conjures a static tension, a soft geometry that creates a room within the room. The performers interact with the giant translucent membrane from its interstitial space, inducing a gradual yet perpetual transformation of shapes.

Strained Resilience (double membrane) is made for the main exhibition space at Piero Atchugarry Gallery / Pablo Atchugarry Foundation in Miami. Anchored between two opposing wall spaces it creates a soft geometry and static tension. The performers interact with the giant translucent membrane from its interstitial space, producing a slow, but continuous shape-shift.

Static Tensions are site specific textile constructions that stretches through all three exhibition rooms at galleri BO in Oslo. Transparent, white lycra is used to convert the spaces into a serie of voids. Stainless steel pipes and connector clamps in Structure # 1 and construction wood in Structure # 2 form the squared structures to which the textile membranes adhere. Sharp led-lights emphasize the inner structures. At several occasions during the exhibition period a dancer interacts with the textile forms, pressing her limbs, extremities and body toward the membrane. The bodily forms become an integrated part of the textile membranes, dissolving the boarders between inside and outside.

tatic Tensions are site specific textile constructions that stretches through all three exhibition rooms at galleri BO in Oslo. Transparent, white lycra is used to convert the spaces into a serie of voids. Stainless steel pipes and connector clamps in Structure # 1 and construction wood in Structure # 2 form the squared structures to which the textile membranes adhere. Sharp led-lights emphasize the inner structures. At several occasions during the exhibition period a dancer interacts with the textile forms, pressing her limbs, extremities and body toward the membrane. The bodily forms become an integrated part of the textile membranes, dissolving the boarders between inside and outside.

Static Tensions are site specific textile constructions that stretches through all three exhibition rooms at galleri BO in Oslo. Transparent, white lycra is used to convert the spaces into a serie of voids. Stainless steel pipes and connector clamps in Structure # 1 and construction wood in Structure # 2 form the squared structures to which the textile membranes adhere. Sharp led-lights emphasize the inner structures. At several occasions during the exhibition period a dancer interacts with the textile forms, pressing her limbs, extremities and body toward the membrane. The bodily forms become an integrated part of the textile membranes, dissolving the boarders between inside and outside.

Squared Elasticity, Construction # 2 is a textile performance installation created specifically for Kunstbanken. Two frames dressed with elastic lycra, completely cover the hall´s only openings, confining the audience for the duration of the performance. The audience enter the space through one of the grey tubes, each equipped with a small, yet stretchable opening, designed to accommodate one person at a time. Once the audience is inside, the dancers connect themselves to the tubes sealing off any means of exit. As the tubes expand during stretch, they assume a monumental presence, somehow transforming the soft material into an illusion of hardness. Gradually, the dancers explore positions that probe the tension and elasticity of the material, evoking an ambivalent interplay between rigidity and flexibility."

Firkanta Elastisitet – Skulptur i spenn, construction # 3, consists of three frames mounted on the gallery wall. Each frame is dressed in an elastic membrane that creates elongated rhombic pyramids as the bodies stretches the membrane. Very slowly the bodies seek positions that investigates the tension and elasticity of the materiality, using it as a medium for movement, something that initiates an ambivalent sense of rigidity and elasticity.

This vertical version of Elastic Bonding was made site specifically for the Project Space at Lademoen Kunstnerverksteder in Trondheim. It was shown as part of Multiplié dance festival, an annual festival of contemporary dance in Norway. The project was a collaboration between Babel visningsrom and DansiT. Three frames corresponding to the size of the windows were mounted in the ceiling. Textile structures made of neoprene and stretch lamé were attached to the frameworks creating vertical cones to which three bodies were connected on the ground. Silicone tubing filled with water and titanium dioxide literally connects the bodies on the ground with the frameworks in the ceiling. The tubes and the liquid moves as the bodies change their positions. Gravity, elasticity and deep breathing are used as initiators of movement.

This version of Elastic Bonding uses the three openings of Babel visningsrom as a starting point and reference for creating three voids that is converted into elongations from the opposing walls. The elongations are stretched toward the main exhibition space by the connected bodies at the other end. Three frames are fastened in the three openings from the main exhibitions space at Babel visningsrom. Stretch lamé is fastened and stretched inward toward a framework attached at the opposing walls of the adjoining rooms. This creates three voids that cut the entrance to the other rooms. From the inner frames elongations made of transparent stretch mesh are strained toward the main exhibition space by the bodies connected at the other end. The bodies lean on the elasticity and use it as a medium for movement. The three bodies are all connected through a network of silicone tubing filled with water, air and titanium dioxide. The tubing runs through the body suit and its opening in the belly and at the transition between body and elongation. One of the bodies breathes into the tube system which causes a movement of water and air inside the tubes.

AER is a commissioned work for Bodø Biennale 2022. It is a vertical stretch reaching about 30 m up in the sky. The membrane is attached around a spreader, lifted, and held by a mobile crane. On the bottom, a body cocooned inside the giant membrane is anchoring the structure. The wind, being the main choreographic element, sets the membrane in movements. Installed outside of Stormen and Beddingen in Bodø.

AER is a commissioned work for Bodø Biennale 2022. It is a vertical stretch reaching about 30 m up in the sky. The membrane is attached around a spreader, lifted, and held by a mobile crane. On the bottom, a body cocooned inside the giant membrane is anchoring the structure. The wind, being the main choreographic element, sets the membrane in movements. Installed outside of Stormen and Beddingen in Bodø.

AER is a vertical stretch reaching about 30 m up in the sky. The membrane is attached around a spreader beam, lifted, and held by a mobile crane placed on ground level reaching the highest level at Plassen Kulturhus in Molde. At the bottom of the textile structure, a body cocooned inside the membrane is anchoring the structure. The wind is the main choreographic element.

Mare is a performance installation situated on Moloen in Bodø with the sea, sky and mountains as backdrop. Three bodies move inunder the elastic, semitransparent membrane which makes up a rectangular “lid” fully covering a diesel cistern. While the bodies move the membrane seemingly resembles the surface of the sea.

Mare is a performance installation situated on Moloen in Bodø with the sea, sky and mountains as backdrop. Three bodies move inunder the elastic, semitransparent membrane which makes up a rectangular “lid” fully covering a diesel cistern. While the bodies move the membrane seemingly resembles the surface of the sea.

Mare is a performance installation situated on Moloen in Bodø with the sea, sky and mountains as backdrop. Three bodies move inunder the elastic, semitransparent membrane which makes up a rectangular “lid” fully covering a diesel cistern. While the bodies move the membrane seemingly resembles the surface of the sea

Mare is a performance installation situated on Moloen in Bodø with the sea, sky and mountains as backdrop. Three bodies move inunder the elastic, semitransparent membrane which makes up a rectangular “lid” fully covering a diesel cistern. While the bodies move the membrane seemingly resembles the surface of the sea.

Elastic Bonding is a monumental site-specific performative installation for the 15th edition of Lyon Contemporary Art Biennale Where Water Comes Together with Other Water. The biennale was held in the deserted halls of the former Fagor factory in the Gerland district from September 18, 2019 - January 5, 2020. Five tentacular bodies were affixed to vertical textile formations that emanated from the ceiling windows on a 12 m height aiming to blend into the building’s architecture and conjure a landscape commensurate with the scale of the site. Rectangular frames, (4*2 m) was fastened directly onto the window-frames, fully covering them, so that the transparent, elastic lycra created a cone-like structure, funneling the light downward, toward the body on the ground. In cooperation with 20 students from the Conservatoire National Supérieur Musique et Danse de Lyon, the installation was activated regularly through the full length of the exhibition period.

Elastic Bonding is a monumental site-specific performative installation for the 15th edition of Lyon Contemporary Art Biennale Where Water Comes Together with Other Water. The biennale was held in the deserted halls of the former Fagor factory in the Gerland district from September 18, 2019 - January 5, 2020. Five tentacular bodies were affixed to vertical textile formations that emanated from the ceiling windows on a 12 m height aiming to blend into the building’s architecture and conjure a landscape commensurate with the scale of the site. Rectangular frames, (4*2 m) was fastened directly onto the window-frames, fully covering them, so that the transparent, elastic lycra created a cone-like structure, funneling the light downward, toward the body on the ground. In cooperation with 20 students from the Conservatoire National Supérieur Musique et Danse de Lyon, the installation was activated regularly through the full length of the exhibition period.

Firkanta elastisitet - Skulptur i spenn, Construction # 1 is a site-specific textile construction involving five dancers that are connected to squared openings in a former military building in Ski, outside of Oslo. Slowly the dancers seek positions that investigates the tension and elasticity created over the extended tube. The materiality of the tube is used as a medium for movement. This creates an ambivalent sense of rigidity and elasticity. The bodies are locked within their own framework, they literally are fixed to and become one with their squared anchoring. At the same time their positions possess stretch effects and they are plastic in relation to each other. The pattern of movement is so slow that the work is best described as an elastic sculpture.

Fluid Tensions is a site-specific performance installation made for the opera roof in Oslo. Two textile membranes attached around stainless steel pipes form two irregular polygons related to the lines of the Opera roof. The textile membranes are stretched and held in place by stainless-steel wires connected to heavy squared structures in the same size as the marble slabs of the opera roof. Two bodies interact with the membranes from in under, leaving ephemeral imprints while pressing their limbs, extremities and bodies toward the membrane. The bodies seemingly float as the wind sets the membranes in motion and the human forms become an integrated part of the textile membrane as it heaves and breathes, dissolving the boarders between inside and outside.

Fluid Tensions is a site-specific performance installation made for the opera roof in Oslo. Two textile membranes attached around stainless steel pipes form two irregular polygons related to the lines of the Opera roof. The textile membranes are stretched and held in place by stainless-steel wires connected to heavy squared structures in the same size as the marble slabs of the opera roof. Two bodies interact with the membranes from in under, leaving ephemeral imprints while pressing their limbs, extremities and bodies toward the membrane. The bodies seemingly float as the wind sets the membranes in motion and the human forms become an integrated part of the textile membrane as it heaves and breathes, dissolving the boarders between inside and outside.

Fluid Tensions is a site-specific performance installation made for the opera roof in Oslo. Two textile membranes attached around stainless steel pipes form two irregular polygons related to the lines of the Opera roof. The textile membranes are stretched and held in place by stainless-steel wires connected to heavy squared structures in the same size as the marble slabs of the opera roof. Two bodies interact with the membranes from in under, leaving ephemeral imprints while pressing their limbs, extremities and bodies toward the membrane. The bodies seemingly float as the wind sets the membranes in motion and the human forms become an integrated part of the textile membrane as it heaves and breathes, dissolving the boarders between inside and outside.

The exhibition Hydrosphere, curated by Elena Ortiz at the Laboratory for Aesthetics and Ecology in Copenhagen (DK), works in extension of the newly published translation of Astrida Neimanis’ Hydrofeminism: Or, On Becoming a Body of Water, which presents a watery understanding of our bodily connectedness. The exhibition explores what it means to be (in) a body of water, in both a corporeal and planetary sense. As bodies of water, we are always immersed in hydrospheric circulations, where our most intimate bodily fluids become planetary archives. Water connects us across bodies, species and landscapes, but also across scales. The exhibition presents site-specific and performative works that propose new hydrospheric choreographies. Breathing with the ocean stages a symbiopoetic encounter between two bodies of water. Bodies and ecosystems meet in this ecotone for a mutual breathing. How are we mutually implicated by our shared waterways? How are the boundaries of our bodies extended due to their permeable membranes? How can we re-choreograph the space between us? The installation is placed on the beach at Snekkersten in Helsingør. The vinyl and silicone tube system anchored to the stainless steel construction has two open ends, one reaches the water level in the sea, the other the oral cavity of the human body. A subtle movement of water inside the tube system occurs as the flow of air from the body meets the push of air caused by incoming waves. The installation is activated at three occasions during the exhibition period. A performer dressed in white neoprene gets connected via a tube running to her mouth along one of the seams in her suit. Very slow movements.

The exhibition Hydrosphere, curated by Elena Ortiz at the Laboratory for Aesthetics and Ecology in Copenhagen (DK), works in extension of the newly published translation of Astrida Neimanis’ Hydrofeminism: Or, On Becoming a Body of Water, which presents a watery understanding of our bodily connectedness. The exhibition explores what it means to be (in) a body of water, in both a corporeal and planetary sense. As bodies of water, we are always immersed in hydrospheric circulations, where our most intimate bodily fluids become planetary archives. Water connects us across bodies, species and landscapes, but also across scales. The exhibition presents site-specific and performative works that propose new hydrospheric choreographies. Breathing with the ocean stages a symbiopoetic encounter between two bodies of water. Bodies and ecosystems meet in this ecotone for a mutual breathing. How are we mutually implicated by our shared waterways? How are the boundaries of our bodies extended due to their permeable membranes? How can we re-choreograph the space between us? The installation is placed on the beach at Snekkersten in Helsingør. The vinyl and silicone tube system anchored to the stainless steel construction has two open ends, one reaches the water level in the sea, the other the oral cavity of the human body. A subtle movement of water inside the tube system occurs as the flow of air from the body meets the push of air caused by incoming waves. The installation is activated at three occasions during the exhibition period. A performer dressed in white neoprene gets connected via a tube running to her mouth along one of the seams in her suit. Very slow movements.

The exhibition Hydrosphere, curated by Elena Ortiz at the Laboratory for Aesthetics and Ecology in Copenhagen (DK), works in extension of the newly published translation of Astrida Neimanis’ Hydrofeminism: Or, On Becoming a Body of Water, which presents a watery understanding of our bodily connectedness. The exhibition explores what it means to be (in) a body of water, in both a corporeal and planetary sense. As bodies of water, we are always immersed in hydrospheric circulations, where our most intimate bodily fluids become planetary archives. Water connects us across bodies, species and landscapes, but also across scales. The exhibition presents site-specific and performative works that propose new hydrospheric choreographies. Breathing with the ocean stages a symbiopoetic encounter between two bodies of water. Bodies and ecosystems meet in this ecotone for a mutual breathing. How are we mutually implicated by our shared waterways? How are the boundaries of our bodies extended due to their permeable membranes? How can we re-choreograph the space between us? The installation is placed on the beach at Snekkersten in Helsingør. The vinyl and silicone tube system anchored to the stainless steel construction has two open ends, one reaches the water level in the sea, the other the oral cavity of the human body. A subtle movement of water inside the tube system occurs as the flow of air from the body meets the push of air caused by incoming waves. The installation is activated at three occasions during the exhibition period. A performer dressed in white neoprene gets connected via a tube running to her mouth along one of the seams in her suit. Very slow movements.

Mjuk polygon, elastisk polyeder – ett rörelseexperiment mellan konkav och konvex” is a physical body in the gallery space, encased inside a textile membrane that is attached to a rectangular frame on the wall via an elastic tube. The choreography of the dancer inside the membrane is languid and repetitive, causing the piece to appear more as an animated elastic sculpture or a performative still life. The elastic material is slick white and thus acts like an extension of the gallery space and when enfolding the body, an extension to our most natural boundary – skin.

to come

to come

Framed Elasticity consists of three frames mounted on a free-standing wall. The frames are dressed in elastic membranes that create elongated rhombic pyramids as the bodies stretch the membranes. Very slowly they seek positions that investigates the tension and elasticity of the materiality, something that initiate an ambivalent sense of rigidity and elasticity. The bodies are literally locked within their own framework, they are anchored to a squared framework. At the same time the elasticity of the materiality is used as a medium for movement

Kroppsligt (in) fusionsförfarande is a fluid system of water encapsulated within two intricate tube systems. The first water systems penetrates an open wall structure made of ash, divided into four segments. The segments are connected with webbing and slide release buckles. Stainless steel applications hold the tube system in place. There are two open ends to the system that runs to the mouth of two bodies, forming a bodily activated enclosed system. The water levels move rhythmically and slowly, up and down. The second water system penetrates a solid paraffin wax block from nine angles. An impeller pump moves the water from a plexi-glass cylinder, through the wax block and back to the cyl

Kroppsligt (in) fusionsförfarande is a fluid system of water encapsulated within two intricate tube systems. The first water systems penetrates an open wall structure made of ash, divided into four segments. The segments are connected with webbing and slide release buckles. Stainless steel applications hold the tube system in place. There are two open ends to the system that runs to the mouth of two bodies, forming a bodily activated enclosed system. The water levels move rhythmically and slowly, up and down. The second water system penetrates a solid paraffin wax block from nine angles. An impeller pump moves the water from a plexi-glass cylinder, through the wax block and back to the cyl

Kroppsligt (in) fusionsförfarande is a fluid system of water encapsulated within two intricate tube systems. The first water systems penetrates an open wall structure made of ash, divided into four segments. The segments are connected with webbing and slide release buckles. Stainless steel applications hold the tube system in place. There are two open ends to the system that runs to the mouth of two bodies, forming a bodily activated enclosed system. The water levels move rhythmically and slowly, up and down. The second water system penetrates a solid paraffin wax block from nine angles. An impeller pump moves the water from a plexi-glass cylinder, through the wax block and back to the cyl

Levitation # 1 (grey membrane) is a serie of six photographs made for the exhibition Strained Resilience at Piero Atchugarry Gallery / Pablo Atchugarry Foundation; Suspended Weight, Stretched Heave, Contracted Arc, Flexed Arc, and Balanced Strain, all based on the performance installation Levitation which is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Elastic still lives was shown at the pop-up exhibition Before the Beginning and After the End, curated by Ala Glasner and Catharina Bond, in a former cabinet factory in the centre of Vienna. Elastic Still Lives seeks to visualize elasticity in between two, caressing the ceaseless endeavor of interpersonal balance. Two bodies are connected over an extended tube. By molding them I attempt to come closer the idea of body as sculpture. What forms do us create? and Who am I in relation to you? Mutual reliance emerges as the bodies lean on the weight of the other, in constant search for equilibrium

Elastic still lives was shown at the pop-up exhibition Before the Beginning and After the End, curated by Ala Glasner and Catharina Bond, in a former cabinet factory in the centre of Vienna. Elastic Still Lives seeks to visualize elasticity in between two, caressing the ceaseless endeavor of interpersonal balance. Two bodies are connected over an extended tube. By molding them I attempt to come closer the idea of body as sculpture. What forms do us create? and Who am I in relation to you? Mutual reliance emerges as the bodies lean on the weight of the other, in constant search for equilibrium

Vertebra is a series of three photographs made for the exhibition at Piero Atchugarry Gallery / Pablo Atchugarry Foundation; Cervical, Thoracic and Lumbar. The body presses themself against an elastic membrane, color old-uni-saumon-teint.

Levitation # 1 (white membrane) is a serie of seven photographs made for the exhibition Strained Resilience at Piero Atchugarry Gallery / Pablo Atchugarry Foundation, all based on the performance installation Levitation which is a vertical installation of a body suspended in an elastic, semi-translucent membrane. The weight of the body stretches the membrane to its tensile threshold as they floats inside the cocoon-like space. Converging the brink of rupture, the membrane reaches a stage of immaculate transparency, seemingly dissolving and melting into the skin of the performer.

Purple connections for Collective Oslo and Moniker...