Mirjam Kroker
With an academic background in fine arts/culture- and social anthropology, my art-making emerges in a transitional space between art, anthropology and everyday reality with tentacles in and out of different disciplines. The fusion between art making, living, thinking and being etc. is unconditionally inextricable. It implies for me basically to things – art as conceptual idea and art as manifestations of gestures into the living. In doing so the material condition and visual instance are as important as the idea that each work/constellation conveys for the possibility of its (personal and impersonal) consequences. It leads to the agency of the work itself where conceptual ideas may lead to personal moves and vice versa.
Attentive the process of acquiring, producing, co-producing, adapting, inhabiting, transferring, integrating, reflecting and disseminating different forms of knowing. I approach art-making as situated practice, work at various sites, and sometimes approach research collaboratively and seek to work beyond disciplines. Interested in embodied criticality I question what can be grasped, the possible agency of a “work” and the context in which it is placed. Currently, I work with the support through receiving a grant from Kunstfonds.
Island Rehearsals
Installation
2022
Don’t leave the island before “jumping over your own shadow” (at least once) or find someone to jump over each other’s shadows with.
Seeing the impossibility for myself for ‘rehearsing’ this summer on the island and to circumvent this fact, I instead propose it to anybody who will be there habitually or exceptionally. Here the idiomatic expression jumping over your shadow becomes the poetic entrance point. ISLAND REHEARSALS can be taken as an invitation to rehearse and play with making odd postures as distinguished as necessary trying to jump over your own shadow while merging into a part of the transitory landscape – get there often and stay as long as you can! To examine the liminal space of jumping over your own shadow and challenging its supposed difficulty. How unusual must the body posture actually be for us to succeed in literary terms? Or using the surrounding branches, jetsam or debris, for building an “apparel” that allows you to jump over the shadow of your expanded body of self? If that doesn’t work either look around to find someone on the island with whom rehearsing to jump over each other’s shadows.
Departing from the idea of exhibition making as a specific form of publicly sharing, private or personal ideas and attitudes in the presence of others, as a temporal entrance point for personal and collaborative moves that take shape in a rehearsal made again always for the first time. The Focus is shifted towards the artistic practice as a doing that is inherently under construction to host possible transmissions of ideas and attitudes, that inaugurate a particular time and space to relate to a specific context – here that of the island Örö- via the activity of a possible rehearsal as a way of making work and creating conditions. Sustaining the longing in its incompleteness to be carried on by other existences as a common good contributes to the opacity of an unfinished idea taking place.