Som en del i den Nya biennalen för konst & arkitektur visas Johanna Billings videoverk I’m gonna live anyhow until i die , 2012, i Sverige för första gången. I Utställningen i Botkyrka konsthall visas även Tor Lindstrands installation Mot en institution / Toward an Institution.
Vernissage: lördag 13 september, kl. 12-15 i Botkyrka konsthall (introduktion kl. 13). Buss till Fittja kl. 14.30. Program i Fittja kl. 15-19 (introduktion vid kökscontainern “Fittjaköket” kl. 15).
Johanna Billing’s videos weave together music, movement and rhythm and place subtle emphasis on the individual within representations of changing societies. In her work Billing in part directs the participants, and in part puts in place a series of improvisations around the notion of performance and the possibility it holds to explore issues of the public and the private. The participants in Johanna’s videos all play themselves but take part in staged situations that oscillate between documentary and fiction, as a multi-layered interpretation of a place.
I’m gonna live anyhow until I die, 2012, is a video work, set in Rome, that has it’s origins in a project to mark the 150th anniversary of the Unification of Italy, co-commissioned by the MAC, Belfast and Fondazione Sandretto Re Rebaudengo, Turin during 2010-2012.
The protagonists of I’m gonna live anyhow until I die are five children who seem to perform time travel as their inquisitiveness takes them on a journey around the streets of Rome, seemingly doing what they like, having abandoned their parents at the restaurant, “Al Biondo Tevere” i. After running through the park of the Roman Aqueduct, a courtyard in the 1930s working class district of Testaccio, and Ostia’s Seadrome, the children finally arrive in an empty school in the centre of Rome, where time seems to have stood still. The old classroom has been turned into storage, here they begin to play around with the obsolete pedagogical tools and technological instruments that they find, as if they are trying to understand what to do with them or what they could be used for. Little by little, each child begins to compose black blots on sheets of drawing paper folded in half, creating blots that resemble those of the Rorschach test.
Harnessing her research methods, Billing used her exploratory approach to identify place and event in Rome, Lazio that she used as source material, and the work came to draw inspiration from a mix of traditions such as Italian Neorealism, documentary filmmaking, improvisation and pedagogical as well as psycho analytical workshop techniques. Visiting Rome during the demonstrations against University reforms in autumn 2010, Billing focuses the work on the future of the younger generation and the populist political will which has been undermining the education system. The work is at the same time haunted by the daily life and death of Pier Paolo Pasolini who expressed a series of thoughts about Italy, anticipating the social and cultural changes that would sweep the country at the end of the 1970s, and parts of the scenes in the video are situated in his locality. The project is in some ways also a loving tribute to pedagogical heroes such as Bruno Munari and his tactile workshops for kids, as well as championing the early tradition of Italian filmmakers, who in their often biographical films about the 40s and 50s, focused on the freedom of children exploring their city as a way to reflect upon historical and the societal changes.
The accompanying musical soundtrack, featuring a Romany violin, upright bass and whistling, include improvised interpretations of the songs Cariocinesi and Mechanics, (originally written by the Italian progressive experimentalist Franco Battiato), and here arranged by Billing, serve as a homage to Battiato and his classic concept album Foetus from 1972. And during this 16 minute imaginary musical journey that moves freely in between genres, time and place, the use of the indefinite loop – which has come to characterize the openness of the structure in Billing’s practice – always brings both protagonists and viewers into the present and “real” again. The final result, is as with many of Billing’s films, a product of an editing process, created with meticulous care, that puts equal focus on the visual material as on the sound recordings and gives special attention to details of physical movements and gestures and the activities taking place not only around the centre of the action.
Featuring: Palma Biadene, Eufrasia De Mattia, Andrea Folchi, Rocco Ciardo
Leonardo Faiella, Elena Lera & Gabriele Folchi, Pietro Faiella & Liliana Massari, Francesca Valentiini, Roberta Sprizzi & Alessandro, Chimera Poppi, Cecilia Canziani and Davide Ferri
Director of photography: Manne Lindwall
Second Camera operator: Tiziano Casanova
Sound recordist: Enrico Lenarduzzi
Still Photographer and assistant: Lauren Brincat
Editing: Johanna Billing
Musical soundtrack recordings: Interpretations based on ”Cariocinesi” and ”Mechanics” (originally written and performed by Franco Battiato, from the album ”Fetus”, 1972, Bla Bla records Italy) Arranged by Johanna Billing along with musicians Andreas Söderström (whistling, guitar, percussion, synthesizer, pump organ), Patric Thorman (upright bass, electric bass, piano, vibraphone, percussion), Jonna Sandell (violin) , Karl-Jonas Winqvist (glockenspiel, fender rhodes, cembalo, cymbals) and Christian Gabel (drums). Recorded and mixed by Christian Gabel at Cobra Studio.
Sound mix: Joachim Ekermann, Helter Skelter
Color grading: Swiss, Stockholm
Blu Ray production: Filmtech, Stockholm
Project coordination: Cecilia Canziani and Stefano Collicelli Cagol
Produced by Fondazione Sandretto Re Rebaudengo and The Mac, Belfast, with support from Iaspis, the Swedish Arts Grants Committee’s international programme.
Special thanks to: Ristorante ”Il Biondo Tevere”, Roma, Scuola Carlo Urbani, Roma, Fondazione Giuliani, Roma, Adrienne Drake, Chimera Poppi, Davide Ferri, Cecilia Canziani, Lauren Brincat, Daniella Gallo, Roberto Panzironi, Angelo Forestan, Swiss, Stockholm, Filmtech, stockholm
13 sept. – 12 okt. 2014
Botkyrka konsthall, Tumba
Mats Andersson (Sverige), Ayhan Aydin (Sverige), Johanna Billing (Sverige), DK-CM (Storbritannien), Döne Delibas (Sverige), Derek Gripper (Sydafrika), Mako Ishizuka (Japan/Sverige), Junior Residence (Sverige), Aron Kullander-Östling (Sverige), Kultivator (Sverige), Thomas Liljenberg (Sverige), Tor Lindstrand (Sverige), Elena Mazzi (Italien), Militza Monteverde (Sverige), Lorenzo Nassimbeni (Sydafrika), OPENrestaurant (USA), Michael Orchard (Sydafrika), Jelena Rundqvist (Sverige), Bo Samuelsson (Sverige), Pia Sandström (Sverige), James Webb (Sydafrika), Jakob Wiklander (Sverige), Karl-Jonas Winqvist (Sverige), Steuart Wright (Sydafrika), Tarek Zaki (Egypten), m.fl.
Katrin Behdjou Arshi
Miriam Andersson Blecher
KTH – Arkitekturskolan
MED STÖD FRÅN:
Gertrude & Ivar Philipsons Stiftelse
Foto: Tor Lindstrand