| Recidency center | |
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| Time of residency | September 2024 |
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| Contact info | ch.jonsson13@gmail.com |
| Definition of artistic practice? | Visual artist Christina Jonsson is researching within the connecting potential of art, inspired by eco-feminist and eco-activist principles. As an active observer she creates narratives and visuals, sharing embodied situations and moods, encounters or made-up dramas, using pictures, words, texts, voice, sounds or actions, drawings and other representational objects within installations, online sharings or performative presentations. |
| Title of the investigation at the residency | ARTISTIC STRATEGIES TO CONNECT, CONTAIN, SHARE AND EXPAND |
| Description of investigations and findings | During my one week residency on Bornholm, with and at BIRCA I visited and discovered places and sites of the island until then unknown to me. I looked for trouble, the trouble within, underneath, around, in the surroundings. I made pictures with the help of my cell-phone camera, I made online storytelling as a sharing of the dramas within, the dramas to come, the dramas to be exposed, permitting distant online connections to follow the action and enjoy the settings. I brought with me agents that I had found to be activating my performative research on the other three islands, being; 1) The Selfie Tourist Gaze, 2) The representation of Pigs (and women) both within Patriarchy and neo-liberal Capitalism, 3) The Queer Gaze, -staging and employing performatively overtly queered objects as rainbow colored water-bottle and sunglasses, 4) The Animal Gaze, -staging a toy fish (collected and bought in the museum shop of the castle at Saarema). 5) The Animal Friendship Gaze. |
| What are you most curious about or invested in in your own practice? | As a performative art-researcher I look at myself as a mobile (-or embodied) DramaCake Studio, which means that I observe, attract, find or make up DramaCake Research. The DramaCake Studio is an artistic way (-or place to be?) to operate and engage critically with whatever, and look for the Drama within, and for who or what. These days I look for improvised friendships between things, thoughts and different species, making space for eco-poetic-queerness with visceral and political connections. |
| What questions did you bring to investigate and what questions are you leaving with? | Initial questions were about how to activate my own island through my new tourist-gaze and queering-the landscape-practice. How to engage with the farming, the farmers, the land, the hidden and abusive pig-production-industry, the special natural and geological tourist sights, knowing that the beautiful, beloved sea all around this island is dead, completely dead as a dead fish. Empty and dead. How to stage and depict this heteronormative, protestant, patriarch and capitalist wellfare landscape? |
| Transformative, creative moments at the residency | The agents that I had found to be activating my performative research on the other three islands, grew through this little plastic baby-piggy, a key-toy at BIRCA, having been the temporary friend of many, probably most residents. And through the charm of this title noisy toy for dogs, another dimension appeared, and deepened through playfullness, as I continued to enact inter-species friendships enacting with the island, the landscape and and the others with queering intentions. |
| Keywords for the work done at the residency | Activism, Climate crisis, Ecologies, Islander identity, Pigs |
| Research locations | BIRCA grounds |
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| Photos documenting the research |
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| Videos of work in progess or reflections | |
| Webside links |
Christina Jonsson
