– When we started working on this piece was the point of community, group membership, and longing for something else, hence the title of “Island in the Sun”, says Petter Pettersson, who together with Elin Lundgren is Lilith Performance Studios artistic director.
in what looks like a giant hangar, headed the visitors into having first been put on hoods that makes everyone gets expressionless doll heads. Once inside, you are met by some 30 similar figures, though these appear as a deep-knit collective. Quiet walks in the tightly packed group through the room. Sometimes they stop to burst into loud laughter attacks that ends as abruptly as they start. How visitors will react and how the work will be developed do not want the artists to control.
– We want to leave a lot open to the viewer and also for ourselves, when we beginning to understand too much we try, the feeling, looking on.
at the far end of the room is the paradise, a heap of sand which adorned with electric lights and a large stuffed bear. Here are collected the group. Occasionally, someone breaks out of the collective. A walk aimlessly around with a wheezing harmonica, another begins suddenly rampant run around the island until he is completely exhausted. The whole work is in progress for three hours, with individual events that happen and give different impressions.
– This iteration instance can appeal to a lot of emotions. Someone might think it is terrible, another that it becomes comical, or even get a little spiteful – almost like to see him suffer, says Elin Lundgren.
You often play (in your oeuvre) on the balance between attractive and repulsive, why?
– There are often so we look at the present. That one attracted, but also perhaps instigated by repulsive things. One can also instigated by something you think is dangerous, but at the same time to think it’s horrible. It is ambiguous, multifaceted emotions that go against each other. But that’s how humans are built, says Elin Lundgren.
David Richter
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