As artist, I was asked to display a work that had been conceived during my PhD candidacy and to put this on dispaly in a museum showcase in the Baroque Hall of The Swedish History Museum. A somewhat absurd request as my PhD was centered around performative work, sound, and listening, i.e. the construction of situations that escapes language, inscription, archiving, and representation. The absurdity of the invitation caused me to accept.
The exhibition MoAR is a staging of artistic research and an attempt to encompass the field from a historical perspective. The staging is a part of Bogdan Szyber’s PhD candidacy project “Fauxthentication” where curator Erik Berg was tasked to make an exhibition in an attempt to falsify Szyber’s theory that artistic research is a “deliberate fabrication”. The exhibition features 15 artists/artistic researchers and their works, all exclusively from their respective PhD candidacies
In my exhibit, there is nothing to see. Instead I chose to make the very wood and glass of the museum showcase to vibrate with sound. The sounds where excerpts from "work conceived during the PhD candidacy" but not presented as a work of art, rather they were ghosts or reminders of events that had taken place elsewhere, outside of the university, museums and archives.
You carefully write down the date, the place – then it escapes you
If the intervention managed to resist or enter into conversation with either Szyber's or Berg's strict stagings is up to the visitor to judge.
Artists: Jeoung-Ah Kim, tina carlsson, Nils Claesson, Andreas Gedin, Maja Gunn, Kim Hedås, Janna Holmstedt, Sandra Koplja, Mara Lee, Mårten Medbo, Andreas Nobel, Birgitta Nordström, Åsa Unander-Scharin, Linda Worbin, John-Paul Zaccarini.
Read more at MoAR website