A hundred women with a hundred different faces with traces of domestic abuse, get off the bus. In a coherent and silent choreography they spread out in Gustav Adolfs torg, a central square in Malmö, on a Saturday afternoon in October. Standing still among weekend-strolling people, their faces show traces of slaps, burn-marks and strangleholds. No one speaks, only the bruises and flesh wounds on their faces, throats and hands tell a story. Each woman her own. The constant movement in the square suddenly comes to a standstill when those around notice the women. After a while, the passers-by start to indiscreetly comment and photograph the wounds.
Elin Lundgren has chosen a public action as the artistic means for her performance. She creates a “tableau vivant”, a living picture, which like a dream or a nightmare brusquely claims our time and attention. The title Back in Baby’s Arms is taken from the Patsy Cline song of 1963. Lundgren puts to a test the potential of art to exercise resistance and open up a dialogue. She also seeks the possibilities of art to reach spaces within the individual that are not defined in rational terms.
In works that relate to alienation, violence and failures, Elin Lundgren (born in 1973 in Stockholm, Sweden, lives and works in Malmö) constructs her pieces like living pictures. An absurd and raw humour meets a naked documentary narrative. Lundgren’s intention is evidently political without ever opting for the agreed-upon and safe road.