Thank you all for coming last weekend to our third Performance dinner Kalo Kalo!

What a blast and a spinning experience!

Enjoy a very well written review in Sydsvenskan of Liliths  Kalo Kalo by star Odun Orimolade and a great interview in kunsten.nu.

Not everyday the reviewer gets mummified and likes it! https://www.sydsvenskan.se/2017-11-27/thomas-millroth-jag-blev-frivilligt-mumie

“Thomas Millroth: I became a voluntary mummy
Odun Orimolade creates various games with herself as cheating playmaker. Thomas Millroth gets into the play – and allow himself to be turned into mummy.”
“I became a volunteer mummy. The venue of the games moved from the room into my own body and mind when I was wrapped with tight fabric strips.
Could not move, saw nothing, the balance unstable, rocking. I felt hands lay me down on the floor, feet bounced around me, my body lifted to the wobbly upright
Normally a horror experience, now I was emptied, zeroed and surprised. “

“The meaning of the seemingly meaningless is an artistic challenge, which Orimolade fixed with a superb sense of timing,
and by using humor to override all the rules we are used to.

When finally the lights went out, it felt solemn, for this was an unusual evening with absurd moments and thoughtful surprises.With an irresistible slow performance Orimolade sucked me into another world.”

 

Thomas Millroth – Sydsvenskan

https://kunsten.nu/journal/vaertskabets-politik/

“The politics of the hostess” Interview 25 nov 2017 by Matthias Hvass Borello / kunsten.nu

“It always depends on hierarchies and a special goal that you’ve as a host by gather people. And that’s what I’m trying to make clear. None of us, nor I or the audience, are in total control. It is about the policy of the situation and a combination where I try to get an engagement released” the artist explains.

“That’s what I love by art. This feeling of: Okay, now we are in this situation along with all that it implies, “Elin Lundgren summons, who has been running Lilith Performance Studio with her partner Petter Petterson since 2007.
“I see this work as a very basic study of what a dinner is, why we are together and what to expect when it happens.
It’s all unpredictable because everyone gets so involved in the piece. In this connection, the work is also very much about the prejudices that may be in relation to African culture. “

“This is a situation where I try to fool you to let go of things that you normally don’t want to do. Normally, I would make myself vulnerable by investing myself in a hope to get something specific from you, but in this statement it is more orchestrated, but I still need guest response and commitment and they will be both homage and lose large. It will be constantly flowing because we always try to fit in – confirm our position to survive. You do not own anything in this circumstance, because it will always change, “Odun Orimolade expands.

“And when you accept an invitation, you agree to fit yourself to some extent under the intention and power of others,” points out Elin Lundgren and supplemented by Petter Petterson:
“Right now we do not know if people will be happy or angry when they go. It may be quite emotional. “


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