Linda Tedsdotter
28 Feb - 28 Mar 2009
LINDA TEDSDOTTER
"Distortion "
Exhibition February 28th - March 28th 2009
Openning Friday, February 27th, 2009, 7pm
Distortion presents one of the leading concerns in the work from Linda Tedsdotter, a space transformed in a calculated direction so the visitor gets immediately enveloped in it. In doing so, Tedsdotter achieves a direct connection to our appreciation senses by the way her narrativity works, acting directly to our unconscious capacity of interaction with the environment.
The visitors can hear 100 people speaking in 30 different languages through 600 small headphones hanging from the ceiling. The voices report us political issues that the speakers felt personally strongly about. This proposal creates a heavy atmosphere of sound in which all voices melt together turning into a loud noise similar to a bird chatter. Above the inner ceiling are not only the headphones hanging but also light is coming out, so the visitor feels like under a star filled sky. The black walls enhance this growing feeling. Linda Tedsdotter ships us softly to a non-determined place, which seems closely in touch to the nature in its form, though simple technological tools construct it.
Linda Tedsdotter is making use of light and sound in her artistic creations, as we can see in Invaliden1' show. Like previously in Missing Steps (2004) with Distortion Tedsdotter investigates further the topic of eliminating an element by multiplying, exceeding it − now excluding the messages by hearing them all, like previously in Missing Steps (2004) . Distortion −as Tedsdotter herself suggests− “is talking about the freedom of speech and the problems connected to this issue. You have the right to say what you want − but who is listening?” The headphones are hanging too high up for us to put them on, so can we really hear the others?
Tedsdotter's artworks can be site-specific or related in some other way to the situation and the context they form part of. Using small−scale visual means her sculptural installations entice the viewer to participate in a way that is perceptibly controlled. Her interventions in the environment have their origins in the artist's close relationship to the northern countryside, and they approach to the viewers senses and attention. There is frequently an element of surprise in her work and also an element of deliberate manipulation or illusion that intends to intensify the presence and self-awareness of the viewer. It's ultimately through the body that the visitors get the concept of the artwork Tedsdotter is transferring us.
Linda Tesdotter is a visual artist based in Sweden. Her works have been showed since 1998 in several museums of modern art, festivals and galleries, as the Kaohsiung International Arts Festival in Taiwan (China, 2003), the Museum of Contemporary Art in Zagreb (Croatia, 2004) and the Moderna Museet in Stockholm (Sweden, 2006).
Text: Cristina Navarro.
"Distortion "
Exhibition February 28th - March 28th 2009
Openning Friday, February 27th, 2009, 7pm
Distortion presents one of the leading concerns in the work from Linda Tedsdotter, a space transformed in a calculated direction so the visitor gets immediately enveloped in it. In doing so, Tedsdotter achieves a direct connection to our appreciation senses by the way her narrativity works, acting directly to our unconscious capacity of interaction with the environment.
The visitors can hear 100 people speaking in 30 different languages through 600 small headphones hanging from the ceiling. The voices report us political issues that the speakers felt personally strongly about. This proposal creates a heavy atmosphere of sound in which all voices melt together turning into a loud noise similar to a bird chatter. Above the inner ceiling are not only the headphones hanging but also light is coming out, so the visitor feels like under a star filled sky. The black walls enhance this growing feeling. Linda Tedsdotter ships us softly to a non-determined place, which seems closely in touch to the nature in its form, though simple technological tools construct it.
Linda Tedsdotter is making use of light and sound in her artistic creations, as we can see in Invaliden1' show. Like previously in Missing Steps (2004) with Distortion Tedsdotter investigates further the topic of eliminating an element by multiplying, exceeding it − now excluding the messages by hearing them all, like previously in Missing Steps (2004) . Distortion −as Tedsdotter herself suggests− “is talking about the freedom of speech and the problems connected to this issue. You have the right to say what you want − but who is listening?” The headphones are hanging too high up for us to put them on, so can we really hear the others?
Tedsdotter's artworks can be site-specific or related in some other way to the situation and the context they form part of. Using small−scale visual means her sculptural installations entice the viewer to participate in a way that is perceptibly controlled. Her interventions in the environment have their origins in the artist's close relationship to the northern countryside, and they approach to the viewers senses and attention. There is frequently an element of surprise in her work and also an element of deliberate manipulation or illusion that intends to intensify the presence and self-awareness of the viewer. It's ultimately through the body that the visitors get the concept of the artwork Tedsdotter is transferring us.
Linda Tesdotter is a visual artist based in Sweden. Her works have been showed since 1998 in several museums of modern art, festivals and galleries, as the Kaohsiung International Arts Festival in Taiwan (China, 2003), the Museum of Contemporary Art in Zagreb (Croatia, 2004) and the Moderna Museet in Stockholm (Sweden, 2006).
Text: Cristina Navarro.