Slow collision is a work that uses multiple means to look upon connections between touch, movement and language, as well as their relation to labor. The starting point, was to study the gestures used with the touch screen inter-phase and to in the treatment of these, as a choreographic non-verbal language, describe a motion that lies closer to digital code than to linguistics.By reflecting the gestures multiple function and abstract potential, the body is displayed as the extension of a technical operation, wherein the device has been withdrawn. The video piece consists of an imagery collected through own video recordings, as well as research material. It specifically investigates the screen-recording as a method of presentation, creating a set of windows where different kinds of work-performances alternates with examples of tactile interaction.

S L O W C O L L I S I O N

Insta l la t ion, HD v ideo, 18 min. loop, sound, memoryfoam pi l lows, knee-cap, rubber bal l , shed snakesk in. The pro ject a lso inc ludes the essay, I have been to ld to breathe in squares , cons is t ing of 5 le t ters .

2016.

The dance notation “Laban” occurs as symbols in both video and on a printed fabric, which is part of a curtain-like piece, floating through the space. These symbols, together with other objects, such as a memory foam pillow and a knee-pad, aims to act as choreographic interventions in regards of the viewers movement, but are also elements suggestive of rest, enduance and the rendered body. The sound accompanying the installation consist of three voices, reading parts from an essay that was written along with the project, these excerpts deal with notions of intimacy as well as giving sensual descriptions of the device.

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In this work, the digital image is used to reflect upon notions of represent-

ation, disembodiment and the museum in relation to accessibility. The

images used in the project have been collected by entering Moma and

Tate through the Google Maps street view tool and focuses on objects

that have been censored, or rooms and spaces which appear empty and

inactive. Screen-captures have been edited into a video sequence, which

is shown together with sound and printed matter, to look on aspects of

digital conditions in relation to concepts of presence, visibility and the

image as a political tool. Thus raising questions on how Google’s seem-

ingly democratic, yet highly selective and limited access, operates within

a growing digitalization of both experience and institution. Through an

audio-guide format, one hears the voice of a British female, describing

the bodily condition of the visitor as well as manifestations made through

ones act of looking. Reflecting on how photography here is applied as a

method for defining and positioning a body within a virtual space, but also

on how that, in its far from seamless state, creates a highly detached and

formless viewer.

SOMETHING LIKE YOUR HEAD, STUCK, IN SOMETHING LIKE A WALL

Video insta l la t ion 13’ ’00 loop, HD v ideo wi th sound, cover ing fe l t and pr in ted mat ter . 2015

An afterimage is a visual image or sense impression that persists and acts after the

stimulus that caused it has ceased to operate. It appears as an inverted version

of the input material and functions as a trace or ghost of the original. It is in this

sense a negative, yet it is a re-acting of some kind and carries a potential to mutate

and transform in the stage of transfer. Because the afterimage is something that

happens on the retina of our eyes, it is inescapable and thus persist, even after we

have turned away, clinging on to a short existence until another set of images slowly

washes it out.

Now try to look at an object only by observing the hands that are dealing with it.

Rather than watching the contours of the thing itself, detect its shape by capturing

the tracing movement of the fingers. Look at the distance of the knuckles to deter-

mine which grip is required. When lifted off a table, see the weight relationship by

the angle of the underarm and wrist, allow for the object itself to fade.

How much of the object is defined purely in these movements, what is part of a

gestural language system, where association is at center and what is to be

considered mere physical observations such as an appreciation of density,

form and texture.

What information can be withdrawn and read without knowing the object itself?

William Molyneux, has posed a question on the recovery of sight that has been

referenced in John Lockes An Essay Concerning The Human Understanding, in

summary the question he asked was, “If a man born blind, can feel the differences

between shapes such as spheres and cubes, could he similarly distinguish those

objects by sight alone, if given the ability to see?” When you touch, you inspire a

sense of connectedness and as you hold an object, one could argue that the object

holds you back. Feeling, relating and knowing are all figures of touch, but how is this

reversibility formed and altered in the relationship between the body and the digital

device? We adjust to an operation of abstract code, but we also communicate via

the direct language of point and click. The index is at the core of a technical use

and at the same time, it seems to be the very thing the device prevents, or at least,

reformulates.

You see a hand. Working with a device. You see a device coding and translating a

body, as well as a body, being directed by the code and language of the device.

Between the two there are smudges, traces which exists momentarily until another

stain enters onto that, layers upon layers, infinitely rubbing. From the assembling

of a line to a multi-layered touch, upon skin which is cold and stiff. I wonder if

touch-screens ever dream of electric goose bumps, as you gently make a drawing

on their back.

THE MOVEMENT ALPHABET

® - THE VERBS

© 2006 Ann Hutchinson Guest

BENDING TONGUE, LICKING LANGUAGE. Par t I ; Out o f the care less.

Sound, 2:46 min loop, reading f rom Clar ice L ispector ’s The pass ion according to G.H. , 1964.Framed c-pr in t , h imalayan sa l t -s tone, rope, wood. 2016.

W O R K S M A R I E L L A O T T O S S O N B . 1 9 9 0 , ( S W E D E N )

THE MOVEMENT ALPHABET

® - THE VERBS

© 2006 Ann Hutchinson Guest

You are not here.

You are here.

Here does not exclude your four senses apart from vision.

Here would make you throw shadows on the ground.

Here is any current and to you, acknowledged situation.

Here is the pulsating light of the blue bead.

You can’t feel your pulse.

Since what I was seeing predated humanity.

No there was no salt in those eyes. I was sure that the roach’s eyes were saltless.

For salt I had always been ready, salt was the transcendence that I used to experience a

taste, and to flee what I was calling “nothing”. For salt I was ready, for salt I had built my

entire self. But what my mouth wouldn’t know how to understand- was the saltless. What all

of me didn’t know-was the neutral. And the neutral was the life that I used to call the nothing.

The neutral was the hell.

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b. 1990 Sweden

Education

Lunds universityThe Structure and Function of Language 7,5 p Language in the Visual Modality - Gestures and Signs 7,5 p ( 2016 - 2017 )

Judith Hopf- Staedelschule, Frankfurt, Erasmus exchange semester 2015 / 2016 Bergen Academy of Art and Design, BA Fine Arts 2013 - 2016

Exhibitions/ Residencies

Slow collision // Abstract Diagnosis Duo exhibition with Aya Maria Urhammer at Bloc Projects, Sheffield 2016Mono No Aware, graduation show, Bergen 2016Group show Galleri Bokboden KHIB, Bergen 2016Group show No Walls Friday Exit Gallery, Vienna 2015Residency and group show at KICA, Krasnodar Institute of Contemporary Art, Russia 2015Group show Elektrozavod Gallery, Moscow, Russia 2015 3 week Residency at Café Tissardmine, Morocco 2014Solo exhibition Galleriet, Malmö 2013 Group show Galleri Legal, Malmö 2013