Performance: 8-10 March, 2012
Duration: 3 Hours
Participants: Helena Pataki, Emma Tsirk, Victoria Roos, Filippa Linse,
Emma-Cecilia Ajanki, Josefin Snygg, Kristina Bergel, Ellen Malmberg,
Katarina Ernborg, Kyllike Engström, Hanna Nygren, Märta Helander,
Kirsti Øibakken Pedersen, Selma Kjellsson, Sofia Pontén, Lo Pettersson- Lundgren,
Linda Grantah, Elin Lundgren and Petter Pettersson.
Without chronological steering the viewer is released free in a labyrinth of system of eight rooms and paths. Twenty participants wearing animal masks are moving in the system’s given framework and staging course of events that could be taken from a bloody dream or a violent and absurd fable.
Fake laughter, the sound of breaking crockery, piano playing is heard as a non-rhythmic pattern from inside the house. The audience enters one by one into an anteroom. A woman in an owl mask ties a red thread around each person’s wrist. They step further in to a waiting room / Head House. Mute women in animal masks and identical wounds around their neck move closely towards them, and stare in to their faces. The wounded women move around the room as troubled animals, an owl, a fox, a lynx and a wolf. New women enter from another room of the house and change place with some of the women inside the headhouse, which leave out to the aisles and take a precise position in an exact place, and play dead. In a salon two women hold each other tight in an endless dance, accompanied by a lynx boy playing a repetitive tune on a piano. Next door, in a narrow room, a raccoon girl sits on a shelf. She has stacks of gold edged plates beside her. Now and then she drops a plate down on the floor. A gun girl appears from nowhere all around the house, she aims her guns as a duel or a threat at people. In an inner room a fox and a wolf sew together a dead deer, lying on a big table, with a red thread. In the corner a fox lady watches them while she sips on a Bloody Mary, the smell of death permeates the room. A fake laughter is heard from the room next door, two society ladies in badger masks play an absurd laughter game surrounded by taxidermy animals; same menagerie as the masks.
A monotonous voice is heard as a repetitive ongoing mantra over the whole installation. The voice never stops, he repeats again and again words of directions; – forward, forward, straight, behind, left, right, down, on, on, stop, still, forward. Head House is a term from the transport – and railway sector and is used to define the part of the railway station, which not includes the railroad tracks and platforms, but the part that consists of baggage facilities, toilets and waiting rooms. In subway context, Head house is the underground entrance above ground level with stairs and elevator. Lundgren and Pettersson have been inspired by the meaning of the word and interpreted head house in the form of a non-place. A place that points to another direction, another activity. A place that suggests a movement. A place with entries and exits, nooks and meanderings. In extension a place for free thought.
Elin Lundgren (b. 1973 in Stockholm, Sweden) and Petter Pettersson (b. 1972 in Kristinehamn, Sweden) have worked in different forms of visual- and performing arts since 1999. In works that touches upon alienation, violence and failures Elin and Petter accumulate their pieces like living pictures. An absurd raw humor encounters a bare documentary narration. Their intention is obviously political but without pointing out a certain direction. Their common interest lies in the warped and unfulfilled. Both throw light upon universal questions about loss and sorrow in their respective artistry.