In Forest Intervals / Responding to the Forest’s Call

Can you sense the Forest Calling? Let this programme take you through overlapping intervals of past and present futures, as a chronicle of travel between a capital city, an exhibition, and a specific piece of forest – a public artwork. Through an assemblage of movements, soundtracks, histories, temporalities and relationships with other life forms, we emerge as participants and collaborators.

10 september 2020, 8.45–19.00

In Forest Intervals / Responding to the Forest’s Call is a full-day public programme engaging ecological and relational entanglements within Malin Arnell and Åsa Elzéns work Forest Calling – A Never-ending Contaminated Collaboration or Dancing is a Form of Forest Knowledge.

Through the project, the forest – located on the historical grounds of Fogelstad estate – is lifted out of its predetermined context and becomes a kind of resistance to the Western teleological concept of time. The forest lives on in a different temporality, where a time axis from the Fogelstad group is allowed to continue instead of being broken through clearcutting. By allowing the forest to remain, the anthropocentrically predetermined, profit-driven cyclical temporality that the forest is part of today, is instead broken.

Contributors: The Association Forest Calling: Malin Arnell and Åsa Elzén (SWE); Maria Thereza Alves (BRA); Katarina Bonnevier (SWE); Åsa Elzén (SWE); Becoming-Sensor: Natasha Myers, Ayelen Liberona and Allison Cameron (CAN); Merete Røstad (NOR); Pella Thiel (SWE)

Contributions take the form of audio lectures, soundscapes, live performance, text, and mutual activations.

The physical program includes a visit to the exhibition Notes on a Fallow – The Fogelstad group and earth by Åsa Elzén, curated by Joanna Nordin, at Sörmlands museum.

This public programme is produced by Annika Enqvist and Andria Nyberg Forshage for Public Art Agency Sweden in collaboration with Malin Arnell, Åsa Elzén and Joanna Nordin/Sörmlands Museum – part of Region Sörmland.

Programme 10 september

08.45 Registration at Public Art Agency Sweden, Hälsingegatan 45, 113 31 Stockholm

09.00 Interval 1
On the bus from Stockholm, Public Art Agency Sweden, to Sörmlands museum, Nyköping
Annika Enqvist and Andria Nyberg Forshage, Introduction
Pella Thiel, Rights of the Forest – rules for a wild relationship
Natasha Myers, Ayelen Liberona and Allison Cameron, Becoming Sensor: Seeding Plant-People Conspiracies for a Planthroposcene

11.00 Coffee at Sörmlands museum

11.30 Interval 2
Through Åsa Elzén’s exhibition Notes on a Fallow – The Fogelstad group and earth at Sörmlands museum
Åsa Elzén and Joanna Nordin give an introduction to the exhibition

12.30 Lunch at Sörmlands museum

13.20 Interval 3
Taking place in the exhibition on Transcript of a Fallow / Avskrift av en Träda (2019) by Åsa Elzén
Katarina Bonnevier, NIGHT TIME TREE CULT  (NATTLIG TRÄDKULT)

14.00 Interval 4
On the bus from Sörmlands museum, Nyköping to the forest, Fogelstad, Julita
Merete Røstad, Dancing Forests and other stories
Malin Arnell and Åsa Elzén, Presentation of Forest Calling – A Never-ending Contaminated Collaboration or Dancing is a Form of Forest Knowledge

15.30 Interval 5
In the forest, Fogelstad, Julita
Malin Arnell and Åsa Elzén, Activation through Forest Calling – A Never-ending Contaminated Collaboration or Dancing is a Form of Forest Knowledge
16.30 Coffee in the forest

17.00 Interval 6
On the bus from the forest, Fogelstad, Julita to Stockholm,  Public Art Agency Sweden
Maria Thereza Alves, The Atlantic Forest: Rings of Strangulation are cultivated, the Earth Ruptures and the Hills Collapse

19.00 Arrival in Stockholm,  Public Art Agency Sweden

The work Forest Calling – A Never-ending Contaminated Collaboration or Dancing is a Form of Forest Knowledge is one of twelve awarded projects within the Public Art Agency Sweden’s nation-wide open call Lokala konstprojekt, in which locally engaged art projects, initiated by artists or art organisations, were invited to apply for collaboration on mutual knowledge development (2018–2020).

The public programme is produced by Annika Enqvist and Andria Nyberg Forshage for Public Art Agency Sweden in collaboration with Malin Arnell, Åsa Elzén and Joanna Nordin/Sörmlands Museum – part of Region Sörmland.

Bios

Malin Arnell
Malin Arnell, PhD in Choreography, works as an interdisciplinary artist, researcher and educator within a participatory, performative, ecologically and socially engaged art field. With the help of spatial and architectural interventions, choreographic structures and pedagogical models, Arnell processes materialities of objects, languages, time and bodies. In Forest Calling – A Never-ending Contaminated Collaboration or Dance is a Form of Forest Knowledge, Arnell and artist Åsa Elzén explore artistic legal interventions to secure agency and survival of the forest in an infinite future. With In Each Other’s Company Arnell and artist Mar Fjell map out opportunities and needs in order to establish sustainable and long-term artistic involvement for collective healing, learning and support for queer and trans bodies, making timespacematerialities for trauma through a collective doing, is given.

Åsa Elzén
Åsa Elzén is an artist who lives and works in Näshulta, Sörmland. She studied at NCAD, Dublin; The Royal Institute of Art, Stockholm and Whitney Independent Study Program, NYC. Elzén’s practice is transdisciplinary and often manifests through installation, text, textile, video, performance and participatory situations. She engages currently in the notion of the ”fallow” in relation to temporality, environmental destruction and queer feminist- and more-than-human historiography. Lately her focus has been on the legacy of the ecology- and resilience practices of the Fogelstad group (1925–54). Currently her solo show Notes on a Fallow –The Fogelstad group and earth is presented at Sörmlands museum, Nyköping. Right now she is collaborating with Malin Arnell on a public art commission, Forest Calling – A Never-ending Contaminated Collaboration or Dancing is a Form of Forest Knowledge supported by Public Art Agency Sweden. She worked within YES! Association / Föreningen JA! 2008 –18. Her work has been shown at a.o. Part of the Labyrinth, GIBCA 10th edition; Eskilstuna Konstmuseum; Tensta konsthall, Stockholm; Moderna Museet, Stockholm; Iaspis, Stockholm; The Power Plant, Toronto; uqbar, Berlin; HKW, Berlin; KV Leipzig; Artspace, New Haven CT; Pratt Manhattan Gallery, NYC; Brooklyn Museum, NYC; CCBard Hessel Museum of Art, NY; Gwangju Biennale, Gwangju and Bie biennal 2016 + 2018. www.asaelzen.com

Maria Thereza Alves (Brazil, 1961)
Alves has participated in the following major international exhibits: Sydney Biennale (2020), Toronto Biennale (2019), Manifesta 12 in Palermo and 7 in Trento, 32nd and 29th São Paulo Biennale, 8th Berlin Biennale, 6th Moscow Biennale, Sharjah Bienale (2017), dOCUMENTA (13), Taipei Biennale (2012), 3rd Guangzhou Triennale, 10th Lyon Biennale, Prague Biennale (2008), Berlin Film Festival (2008) and the 2nd Havana Biennale. There was a solo exhibit at MUAC in Mexico City (2014) and a survey exhibit at CAAC in Sevilla (2015) of her work.
Alves was co-founder of the Partido Verde of São Paulo, Brazil in 1987 and in 1981 she was representative to the USA for the Partido dos Trabalhadores (Workers’s Party) of Brazil. In 1979 while a member of the International Indian Treaty Council, based in New York, she made an official presentation on the human rights abuses of the indigenous population of Brazil at the U.N. Human Rights Conference in Geneva. In 2012, José Manuel Barroso, the president of the European Union, asked Alves to be part of his special committee to formulate a New Narrative for Europe.
Alves was awarded the Vera List Prize for Art and Politics (2016-2018) and had an accompanying solo exhibit, Seeds of Change: New York – A Botany of Colonization at Parsons -The New School for Design in New York. Her book, Recipes for Survival has recently been published by University of Texas Press. www.mariatherezaalves.org

Katarina Bonnevier (Stockholm & Sankt Anna, 1970), PhD, is an artist, architect and researcher. In her practice of building and set design, art installations, performances, workshops, lecturing and writing she explores relations of architecture, aesthetics and power, especially from gender perspectives, informed by theatricality, queerness and the more-than-human. She received her Master in Architecture (1997) and her Doctoral degree (2007) with the dissertation Behind Straight Curtains: Towards a Queer Feminist Theory of Architecture (Stockholm: Axl Books, 2007) from the Royal Institute of Technology (KTH), Stockholm. She holds a M. Arch from Iowa State University, 2001, and has extensive experience as educator (KTH, Konstfack etc.). During 2018-19 she was commissioned by Riksteatern as playwright for Väckarklocka – jubileumsföreställningen (appr. The Wake-up call), concerning the life and texts of Elin Wägner. She is a founding member of the collaborative practice MYCKET (www.mycket.org). Currently engaged in creating Kepsen – a public space for dance and music, Råslätt, Jönköping (Public Art Agency Sweden, Vätterhem, Jönköping municipality & Boverket). www.mycket.org

Allison Cameron is a professional composer and improvising musician whose work has been celebrated in Musicworks Magazine, The Wire (UK), I Care if You Listen, Exclaim! and a variety of other publications. Her improvising trio c_RL (pronounced curl) was a featured performer at the international conference After Experimental Music in Ithaca, NY. In 2018 she won the KM Hunter Award in music, and, her improvised and composed work was featured in a two-day mini-festival by Toronto’s Arraymusic. In 2019 she was nominated for the Acker Awards Toronto. Upcoming work includes a new piano solo for Philip Thomas in Cambridge; new works for TRACE, a Dutch-Canadian collaboration; c_RL will perform at the festival Göteberg Art Sounds in Sweden; and, a forthcoming CD on Simon Reynell’s critically acclaimed label: Another Timbre.

Ayelen Liberona began with a career in dance that has evolved toward radical explorations of movement and the moving image as powerful tools of transformation and social justice. Her work has been presented across four continents in theatres, galleries and forests (to name a few) telling stories of ancestry, ritual and our relationship to nature. She has collaborated with artists such as Harry Mavromichalis, Gabrielle Roth, Noemie Lafrance and companies such as Cirque Du Soleil and The Future of Storytelling. Together with her life partner Joseph Johnson-Cami they have directed over a dozen experimental and documentary films that have garnered awards worldwide. Staging plant-people conspiracies alongside anthropologist Natasha Myers has been the fountainhead of Becoming Sensor, a research-creation project that cultivates new modes of embodiment, attention and imagination and new ways of telling stories of lands and bodies. www.ayelenliberona.com

Natasha Myers is an associate professor in the Department of Anthropology at York University, director of the Plant Studies Collaboratory, convener of the Politics of Evidence Working Group, and co-founder of Toronto’s Technoscience Salon. Her current ethnographic projects speculate on the contours of the Planthroposcene, with investigations spanning the arts and sciences of vegetal sensing and sentience, the politics of gardens, and the enduring colonial violence of restoration ecology. Since 2015 she has been working with dancer and filmmaker Ayelen Liberona on Becoming Sensor, a research creation project to invent protocols for an ungrid-able ecology of the happenings ongoing in the ancient oak savannah lands around Toronto. More recently they have been building on this work to support Toronto’s Indigenous Land Stewardship Circle as they take leadership in stewarding their traditional territories). http://becomingsensor.com; http://natashamyers.org)

Merete Røstad is a visual artist, educator, and researcher whose projects are rooted in the examination of public life, collective memory, remembrance, and archives. Røstad completed her doctorate in artistic research with her investigation The Participatory Monument – Remembrance and Forgetting as Art Practice in Public Sphere (2018). Røstad lives and works in Berlin and Oslo and is an Associate Professor in the Art and Public Space master program at the Faculty of Art and Craft at the Oslo National Academy of the Arts in Norway. https://orcid.org/0000-0003-3971-0723