Framtidskropp#1, Nos, Tallkrogen, 2019.05.10-2019.05.12

Framtidskropp is a study of the body’s conditions when placed in relation to technology, evolution, and in relation to itself.
Body, in this case, is not just the human body but all that is bodily relatable. Within the framework of the project
Framtidskropp, artists meet in their desire for a possible reshaping and dissolution of the human body, examining the codes and rules that determine its representation and following the path of the body’s traces.

In Framtidskropp#1 four artists participated, each one of them with their own way of referring to the body’s being and displacements:

Tell me about the life your body has lived; this request is the starting point for Marte Edvarda Tidslevold’s (b. 1985 Misvær) performance Tell me more. The work will be based on in-depth conversations and from them, Tidslevold will create abstract, tactile portraits in the form of individually body-sized costume. To look back on its own body’s experience and history becomes a way to create a future representation of it.

How one chose to represent oneself, constitutes the raw material in Jonas Westlund’s (b. 1982, Sandviken) work The City of Thousand Hands. From a large archive of downloaded mirror selfies,Westlund has created an animation by exposing the hands out of the images. The hand that instinctively grabs the telephone in a habitual manner; when the photographer’s focus lies on other body parts or the face, the hand appears interesting in the context. What remains is the

hand’s distorted gestures.

The hand’s gestures are also present in Kristoffer Palmgren’s (b. 1986, Jät) work Superman. The artist has made castings of his hand when doing the iconic superhero pose, which then has been colonized by microorganisms from various locations. All major living organisms have their own ecosystem of microbes and by cultivating them, the unique fauna of each individual can be made visible. With this work, Palmgren wants to demonstrate the fascinating organisms and ecosystems that are in the midst of us and the fact that the human body is more of a large microbial habitation than a separate individual.

The subtle trace of the body’s gestures is present in Sofi Lardner Häggströms (b. 1972, Stockholm)The Eerie Series. An ongoing series of oil paintings, without origin and in different sizes, which have emerged from a need to carry through a well known action; just as if the gesture of painting has attached itself into the muscle memory and results in the hand’s choice for the moment.