“Magnifik blodtörst tränger in i märgen / Magnificent blood thirst penetrates the
“Är gränsen nådd? Sensationslystnaden mättad? I mörkret skymtar de lemlästade kropparnas konturer. Efteråt känns det som att vakna ur en mardröm som gått bärsärk, lika makabert som magnifikt iscensatt. Det hindrar inte upplevelsen från att tränga allt längre in i märgen.”
“Is the limit reached? Sensational pleasure saturated? In the darkness glimpse of the mutilated bodies’ contours. Afterwards, it feels like waking up from a nightmare that went berserk, as macabre as magnificently staged. It does not prevent the experience from penetrating deeper into the marrow.”
Carolina Söderholm writes in Sydsvenskan
Read the full review here if you follow Sydsvenskan or below in English
Also a great Review in Kristianstadsbladet written by Anders E Larsson
You can google translate this one:)
“Kanske är det så att ”Game On” fångar nutidens villkor mitt i prick: en uppmärksamhetsekonomi med ett ständigt ökande larm, som när rökmaskinerna slutat spruta visar sitt sorgliga innehåll: en tomhet som bara väntar på att fyllas av nästa till intet förpliktigande debattrond.”
Hos Molly Lowe och Lilith är resan till den slutsatsen lika blodig som maffigt underhållande.
Anders E Larsson // Kristianstadsbladet
Magnificent blood thirst penetrates the marrow
Lilith Performance Studio, Malmö, will be played until 20/10.
Then shown as exhibition 27 / 10-18 / 11.
What team do you belong to? It’s red or blue, we or them. Already when you get the team shirt over your head, you lose a little of your identity and free will. The music pumps and vendors haunt, castanet or vuvuzela? Soon the stands are filled to the last place, and the temperature rises. The bright blue cheerleader grins triumphantly and shamelessly gesticulating with four arms. Meanwhile, the red fires up our team, like a shaman and effective animal trainer.
The Game can start!
American Molly Lowe’s performance plunges the crowd into the game.
Soon blood will flow and cheer will rise.
“Game on” is Lilith Performance Studios’ fiftieth project, and probably the largest and most complex. Imagine a table football game of the kind where the team is spinning around on bars. But here the players are naked men, women and children sculpted in natural scale. Mute, waiting to be put in motion. And it’s the audience that will steer. The tougher match, the greater the risk of the players being injured.
The first round starts and I nervously stuff myself with my popcorn.
Splash! The ball is stained red. For a moment, everything stops, the disaster is a fact.
The next time that happens, the opposite team’s cheerleader will triumph. On the big screen, slow motion clips are mixed with psychedelic victory dances.
“Game on” is like stepping into the Star Wars galaxy’s most flipped sports arena, where the football dramaturgy meets antique gladiator games. Everyone who bawls on the sidelines knows that even the most innocent game can awaken the most primitive feelings.
Although Molly Lowe revels in spectacular grip, it does not stop at the surface of the illusion.
In a second she penetrates the thin pellicle of civilization. What is revealed is the group’s togetherness and pressure, rivalry and bloodthirsty. In between, I found myself impatiently waiting for more action.
But are there options? Nobody wants to sabotage by refusing to play her/his role.
In a way, the layout is simple. Those who have entered the game, the game they take.
Nevertheless, an element of uncertainty goes through the space. Who has really the responsibility: the one who set up the game, the cheerleaders, the chosen ones who steer the players or all of us who sit and watch and listen? Of course, the symbolism is there, both existential and political. Power stands against impotence, growing opposites against locked positions. And every battle requires their victims?
Active in New York, with a background in painting and sculpture, Lowe unites the raw, fragile and brutal. During the weekend’s artist talks at the Malmö Konsthall, it became clear how she continually creates situations where the illusion of control fails. In her video work and installations there exist a sliding, entrapping physicality that desires, entangles and struggling in a claustrophobic intimacy.
It is no coincidence that Louise Bourgeois was mentioned in the context. Like the grotesque actor games highest priest, Paul McCarthy, Lowe moves in the slip between form and formlessness, the enticing and repulsive. Freud’s unheimliche concept is just the first name when she makes the familiar creepy unknown.
“Is the limit reached? Sensational pleasure saturated? In the darkness glimpse of the mutilated bodies’ contours. Afterwards, it feels like waking up from a nightmare that went berserk, as macabre as magnificently staged. It does not prevent the experience from penetrating deeper into the marrow. “