Kristoffer Akselbo (DK)
RATTA e La Dalle Maudite / 2025
Durational performance

RATTA e La Dalle Maudite is a performance centered on the rat-like figure RATTA, who engages the audience through intriguing sounds created with crystal glasses and sewer water. Unfolding as a weird, ritual-like soundscape, RATTA uses a unique instrument, La Dalle Maudite, to construct an acoustic realm inspired by a melody from The Dark Crystal. The instrument holds maps and codes, guiding RATTA’s arrangement of its territory and musical expression.

Kristoffer Akselbo (b. 1974) His conceptual practice is rooted in several years of investigative work with confrontational performances, as well as sculptural and installation methods. Akselbo’s works evoke ambiguous feelings of pleasure, drama, surprise, and voyeuristic discomfort. The interaction between the audience and the work is central, exploring how this confrontation can evoke an affective response. Akselbo is drawn to the morbid and regards his work as spatial, psychological ”sculptures.” Both literally and metaphorically, he seeks to give a challenging and critical voice to overlooked and vulnerable groups in society. In his installations and performances, he challenges social norms using both simple and boundary-pushing methods.

www.kristofferakselbo.com/work

Pranay Dutta (IN )
Day Zero, (2022) 7:42 min

In the video Day Zero, Dutta builds a cinematic narrative that begins with a drying riverbed. Slick, black, oil-like water ripples around monumental structures and monolithic silos. The video ends with an endlessly rippling digital mass. Water is the only suggestion of life in these dark, barren, desolate landscapes and industrial holdings.

Dutta’s (b. 1993)  practice examines the complex relationship between terrestrial species and landscapes; drawing from the tension between our exploitative, extractive processes, and the imaginations/fictions of care, mutation, survival, regeneration and ‘hope’. It departs from the spilling demands of our technological era that depend on further depleting the Earth’s natural resources and studies its vast implications on the future of our ecological systems. Through painting, video, computer-generated imagery and video sculptures, he strives to evoke a sense of crumbling. Dutta invites viewers to become explorers or witnesses of unpredictable and isolating future microcosms. 

→ Pranay Dutta

Li Yi-Fan (TW)
What Is Your Favorite Primitive (2023)
Single-channel 4K HD video, 30 minutes
Sound design: Feng Zi-Ming, Hung Tzu-Ni;
Modeling assistant: Jeci Chen.0 min

What Is Your Favorite Primitive is a self-reflective and darkly funny exploration of game-engine and animation technologies.
Presented as a parody of a tech keynote, it depicts a protagonist wrestling with social and ethical questions that arise from software tools designed for image production.
How have images changed the way we communicate? How can emoji convey emotional content beyond one’s own perceptions of a feeling?
Describing human life (and death) in intimate detail, the film speculates that video technology could construct a new politics of life
by projecting a totality yet to come.

Li Yi-Fan (b. 1989) describes his production process as staging a death match between artist and software
until a narrative work quietly unfolds from the decaying corpse of their confrontation. 

The artist laboriously develops his own software tools for video production: a personal, DIY system that nonetheless
rivals capabilities in the resource-intensive digital special effects industry. Incorporating a video game engine that allows him to
improvise in real time with detailed 3D animations, Li reflects on both the strange suspension of time and space within games,
but also on the increasingly detailed desires that arise from increasingly complex technical tools.

Li Yi-Fan is selected as the artist for the next Taiwan Pavilion collateral event at the 61st Venice Biennale, 2026

→ www.instagram.com/liyifanyifanli 

Jules Fischer (DK)
Perfect Lovers
Durational Performance
Duration: 3 h
Performers: Kai Merke and Inaja Skands

Perfect Lovers is a durational performance for 2 performers and ice cream.

Jules Fisher’s practice revolves around large-scale performances designed to create immersive, multi-sensory
experiences that engage diverse perspectives, emotions, and bodies. Their work delves into fundamental human experiences—such as love, loneliness,
and grief—approaching these themes with a distinctly ambivalent and queer lens. 

A central focus of their art is the question of community: how connections are formed, what images and narratives
are shared and recognized, and what actions are afforded to different bodies. This exploration is deeply rooted in examining and challenging
hierarchies and power structures, often subverting or reversing them within the context of their performances.

Fisher’s work is characterized by its ambivalent, collage-like nature, blending poetic and conceptual elements
to create art that is political, emotionally resonant, and boldly experimental. Collaboration plays an essential role in their process,
as seen in their extensive partnerships and collective endeavors, reflecting their commitment to shared creativity and mutual engagement.

→julesfischer.com

Ida Marie Hede (DK)
Protect the Salmon – New written play presented as Sound piece and Live Readings
Sound piece: Voices: David Dencik and Asta Kamma August
Music: Joakim Wei Bernild

Live Readings:
Readers: Ida Marie Hede and Steven Zultanski, 20 FEB
Readers: Sandra Stojiljkovic and Fredrik Gunnarson and 2 & 9 March
Readers: Asta Kamma August and Fredrik Gunnarson 16 March

Protect the Salmon is a play by Ida Marie Hede, commissioned for the exhibition iwillmedievalfutureyou2.
In a neutral scenography, two characters, a man and a woman, are talking to each other. The two are employed at a cryonics clinic,
and are surrounded by both the dormant bodies of the past and the abstract possibility of future life. As time- and space travelers,
they take turns telling each other anecdotes and memories, and recounting intimate situations from their lives, trying to understand our current, past, and future societies.

LINK To The Published text at Art Hub Copenhagen  : →Ida-Marie-Hede-Protect-the-Salmon.pdf

Ida Marie Hede (b. 1980) is a Danish writer, playwright, critic and teacher. She has written eight books and numerous plays. Her practice involves many artistic collaborations and publications: for example, with Cisser Mæhl, Niels Erling, Ursula Nistrup, Marie Kølbæk Iversen, Amalie Smith, Recoil Performance Group and CORPUS dance ensemble. She has also worked as an art critic for the Danish newspaper Information and the magazine Frieze. Hede is a recipient of the Danish Arts Council’s three-year work grant. Her books have been translated into German, English and Swedish, and in 2021 her latest novel Suget eller Vasker du vores fuckfingre med dine tårer (The urge or Do you wash our fuck fingers with your tears?) was nominated for the Montana Prize and the Politiken Literature Prize.

→idamariehede
→arthubcopenhagen

Leif Holmstrand (SE) 
Apotheosis None – ongoing immersive performance / installation /sound
Duration: 3 Hours 

Poetry Reading
Duration: 2 sets of 30 min x 2 Evenings 

A figure shrouded in jute and hemp encases objects left behind by the dead in the same materials, attaching these memorial items to broken strollers, raising them, singing for them, and guiding the journey out of life. At the same time, the work appears to want to hold on, preserve, nurture, pacify—but it is all a chimera. The magical ritual takes a different direction and encompasses many more elements. 

Leif Holmstrand  (b. 1972) is an author, artist, and musician. With their art, Leif combines traditional handicrafts with a fascination for horror films and burlesque pop culture. Holmstrand crochets and knits objects, coverings, and garments that are impossible to wear. They wrap and encase objects and bodies in cords, yarn, and ropes. Their works are often characterized by an abnormal and confined corporeality with a dark relationship to sexuality and the surrounding world.  

In their creations—often referencing their own family history, mental illness, trans identity, drag, and gay culture—Holmstrand uses large-scale sculptures and performances to give visual form to chaos.  

They work within the frameworks of queer traditions but explore other overlapping fields, perhaps art historical or, in the broadest sense, religious. Assemblage recurs as a method and form, as the combining of seemingly disparate materials and elements easily enables explorations and spiritual renegotiations.

Leif Holmstrand will also perform two poetry readings on two separate evenings, (th of March and 13 th of March as part of iwillmedievalfutureyou 2. 

https://www.leifholmstrand.se/

Kim Heecheon (KR)
Sleigh Ride Chill, 2015
Video / Single channel video, 17 min.

The video Sleigh Ride Chill, continuing from the artist’s 2015 trilogy, represents the contemporary city of Seoul,
its inhabitants, and the investigation of their world. Three different stories crisscross and chase one another while the camera navigates downtown Seoul.
These intertwined stories reveal an aspect of contemporary Korean society. The video also suggests familiar digital technologies such as VR or Face Swap
and interface applications as a useful instrument for understanding Korea.

Kim Heecheon analyzes contemporary life through a blend of personal experiences and the defining
trends of the modern era. Utilizing digital media, he critically examines and reconfigures the boundaries between the virtual and
physical worlds, offering nuanced perspectives on the complexities of reality.

Kim Heecheon (b.1989) is trained as an architect, but has during the last few years worked on
several film projects, in which he mashes up found and filmed footage with semi animated elements.

Keunmin Lee (KR)
Crimson Head, Connected Body, Connected Skin, Organic Plate.
Oil Paintings, 2024

At Lilith Performance Studio Keunmin Lee presents the seven new large-scale paintings titled Crimson Head,
Connected Body, Connected Skin and Organic Plate.

Keunmin Lee is a South Korean painter, who’s work drift between abstraction and figuration,
between human and non-human, containing forms resembling magnified human body parts and abstracted fragments of flesh, skin,
muscle tissue, intestines, and veins. 

In Lee’s painting it seems like the inside is coming out, and vice versa,
in a vibrant cathartic process. The meticulous brushwork holds everything together yet rips it
apart and makes the illusion of body parts collapse.
The canvases hold a sublime beauty and at the same time a vulgar brutality. 

Lee’s (b. 1982) paintings can be seen as
the French dramatist, playwright, actor, and theoretician Antonin Artaud’s (1896-1948) wet dream. Like Artaud,
Lee suffered from severe mental disorder, depression, and hallucinations in his youth, but while Artaud translates his emotions
Into manifestos like his Theatre of Cruelty Lee creates hishallucinatory visions into visceral painterly compositions. 

Crimson Head, Oil on Canvas 
Dimensions: 291x218cm
Connected Body, Oil on Canvas
Dimensions: 227x182cm
Connected Skin, Oil on Canvas
Dimensions: 227x182cm
Organic Plate, in a series of 4, Oil on Canvas
Dimensions: 113 x162 cm 

→ painter_keunmin
→ peresprojects.com/keunmin-lee/

Mire Lee (KR) 
Endless House: Four Heads, Two of Which Open (2021–2025)
Medium: Burlap, silicone resin, and concrete (dimensions TBD, including the table). 
Horizontal Forms (2024)
Medium: Hemp mesh, reinforcement bars, metal, and pigmented methylcellulose (dimensions TBD)

Mire Lee’s Endless House: Four Heads, Two of Which Open  reimagines Frederick Kiesler’s visionary Endless House concept through her material-driven practice. Using burlap, silicone resin, and concrete, Lee creates intimate, head-like forms—some of which open—blurring the boundaries between architecture, the body, and emotion. 

Kiesler’s Endless House, one of the most influential unbuilt architectural concepts of the 20th century, was developed in the 1940s and 1950s as an organic, non-linear space reflecting the fluidity of human life. Kiesler envisioned the home as an extension of the body and mind—a dynamic, almost living organism—and Lee’s interpretation reimagines these ideas through her own visceral, tactile language.  

Horizontal Forms is part of Lee’s ongoing series of four sculptures exploring themes of languid stillness. The works, often positioned on the ground, evoke exhaustion, rest, or lifelessness. At LPS, one of the sculptures will transition between positions during the exhibition, moving from hanging horizontally to lying on the ground. 

Mire Lee (b. Korea, 1988) is known for her kinetic sculptural installations that blur the boundaries between organism and machine. Her visceral works, made from materials such as silicone hoses, steel, and discarded car oil, evoke decaying, unwieldy bodies that drip, emit noises, and exude an unsettling presence. Exploring themes of pornography, scatology, BDSM, and communication, Lee delves into entities that cannot—or refuse to—speak, challenging ideals of cleanliness, selfhood, and functionality.  

Her installations embrace decay and collapse over progress, occupying a liminal space between destruction and renewal. In this cybernetic era of ecological breakdown, Lee’s works confront the grotesque beauty of imperfection, emphasizing the entanglement of the organic and the mechanical.  

Lee is currently presenting The Turbine Hall Commission at Tate Modern, London. For iwillmedievalfutureyou2, she will unveil two new works: Endless House: Four Heads, Two of Which Open and Horizontal Forms.

http://www.mirelee.com/en

Laura Lima – action with a human body 
THE LANDSCAPE PULLER (M=F/ W=F), 1998/1999/2000/2013/2025
Duration: 3 h
Performers: Andreas Paulsson, Martin Jutéus, Jonatan Palmér, Johan Rastenberger, Jacob Skarehag, Kim Hr. Holm

The Landscape Puller (M=F/W=F) features a naked man wearing shoulder straps, pulling against a network
of black belts stretching over 300 meters. The belts extend from the studio space to the outdoors, attaching to trees and elements
in the surrounding landscape.  

The performance focuses on the physical strain of the performer as he struggles to move forward,
highlighting the tension between effort and limitation. The belts both restrain and guide his actions, turning the act of pulling
into a symbolic gesture of trying to bring the surrounding landscape into the studio. This highlights the relationship between
individual labor and larger systemic forces.

Lima uses defenseless human form underscores the unequal dynamics between the individual and the
symbolic figures of social, economic, and political control. The performer becomes an archetype of vulnerability, mirroring
the tension and power imbalances inherent in contemporary life. 

Laura Lima (b. 1971) is known for her work with human and animal bodies in performance art,
using them as materials within precise, repetitive actions. Her series Man=flesh/Woman=flesh (Homem=carne/Mulher=carne) examines everyday
behavior and social dynamics, often blurring the line between reality and the surreal.Through her performances, she investigates
how bodies interact with objects, spaces, and systems, challenging perceptions of the ordinary.

→Laura Lima
→Laura Lima at LPS 2014

Molly Lowe (US)
Formed – Short film 2014, 7.53 min
Cycle – Short film, 26.37 min
Formed – Performance
Duration: 3 minutes in intervals
Performer: Olivia Klang

In Iwillmedievalfutureyou2, two short films by Molly Lowe, Cycle and Formed (2014), will be featured. A specific scene from Formed has been extracted and transformed into a sculptural element within the exhibition. This sculpture will periodically come to life through a three-minute performance, presented at regular intervals.

Molly Lowe (b. 1983) is a New York-based interdisciplinary artist whose work explores uncanny relationships between emotional interiors, material culture, nature, and animism. Her imagery draws power from below, emerging from the uncomfortable feelings and limitations tied to the experience of living in a human body today. With a playful and direct approach to sculpture, video, film, performance, and sound, Lowe morphs materials into meaning, transforms the body into costume, and creates cathartic public spectacles that challenge personal boundaries and question our hyper-voyeuristic culture. Through her idiosyncratic aesthetic, she captures the immediacy of the present while provoking reflection on the emotional and physical landscapes of contemporary life.

→Molly Lowe at Lilith Performance Studio, 2018
→www.molly-lowe.com

Éva Mag (SE/RO)
Verksamhetsanalysen – Man vaxar en kropp (Operation Analysis– One Waxes a Body) 
Performers: Selma Kjellsson & Erik Wall
Duration: 3 hours

A large casting mold is prominently displayed in the room as two performers methodically melt and pour wax
into its frame. Over time, they carefully extract a human-sized wax figure from the mold, place it gently on the floor, and then melt it down
again in an endless, cyclical ritual.

Verksamhetsanalysen – Man vaxar en kropp  (Operation Analysis – One Waxes a Body) is an excerpted action from the large-scale performance Verksamhetsanalysen (Operation Analysis),
presented at Lilith Performance Studio in 2023.

Éva Mag’s recent artistic practice centers on recycling—both physical and conceptual structures.
In Verksamhetsanalysen at Lilith Performance Studio, she reimagined an eclectic
mix of sculptural pieces and objects from her Stockholm studio, transforming remnants of past works and thought processes through a live,
collaborative art-making process. Four performers joined her in a dynamic choreography, driving this exploration into unexpected creative directions.  

Mag’s  (b 1979) work often examines the body—human and sculptural—through themes of form, balance, and transformation.
She draws on the history of sculpture, blending amorphous, organic shapes with geometric modernist precision.
Her practice also includes documenting raw sculptural materials and exploring the social dimensions of art through workshops,
choreography, and performance.  

Working across sculpture, photography, textiles, performance, and film, Mag uses materials like clay
and fabric to create works that evolve through movement, embodying the tension between structure and fluidity.  

→Éva Mag at LPS in 2023
→https://www.evamag.se/

Dafna Maimon (FI)
Leaky Teeth – short film, 2021, 31.08 min
Once a Wiggly World – sculpture 
Papier Mache, Plaster Paint, Velve, Sea Sponges, wood 160 x 160 x 70

Leaky Teeth is a multidisciplinary project encompassing a short film, a series of drawings, and sculptural elements.
The project investigates the retrieval of bodily intelligence as a means to reconcile humanity’s fractured relationship with nature.

For iwillmedievalfutureyou2, the short film Leaky Teeth is presented alongside a sculptural work, Once a Wiggly World. This piece,
extracted from the film’s set, reimagines fragments of the story in physical space.

The film follows June, a fictional character whose wisdom tooth harbors a group of prehistoric humans.
Inspired by Paleolithic cave art and its fluid relationship with the natural world, the story rethinks physical pain, setting it within
June’s decaying tooth—visualized as a papier-mâché cave—and contrasting it with her deteriorating modernist home,
the Maison Louis Carré by Alvar Aalto. June’s leaking tooth and home reflect a porous, interconnected world where bodies,
time, and spaces overlap and reshape one another.

The sculptural element Once a Wiggly World, were extracted
from the set of the short film; the protagonist’s decaying tooth cavity doubling as a home for a group of cave people.
The decaying tooth-cave-set was sawed into a grid, and the removed squares dispersed in space without a continuum to one another.

The title of the sculptural elements refer to a quote by philosopher Alan Watts in which he illustrated the world as a “wiggly” line;
on top of the line he drew a net, which “… ‘cut’ the big wiggle into little wiggles.”  In this way, he argued, man has sought to impose order on chaos.
But the net, he cautions, is only an illusory image.

Dafna Maimon’s (b.1982) work mutates between performance, video, drawing and immersive installation. Through fictional and
semi-autobiographical narratives she surveys the ways in which humans handle recollections, stereotypes, abjection and traumatic experiences.
In particular, her work deconstructs patriarchal structures and plays with them through exaggeration, subversion and re-contextualization.
The study of diverse forms of community and belongingness is another characteristic of her practice; as is the realization of long-term c
ollaborative processes. Her humorous and often absurd work taps deep into the human narrative and its vessel; the human body. 

Ultimately, her practice is a search for new perspectives of embodied knowledge and tools that allow for self-reflection,
digestion and catharsis.

https://dafnamaimon.com/leaky-teeth-exhibition/
https://dafnamaimon.com/leaky-teeth/
A short video about the exhibition ”Leaky Teeth” at Institut Finlandais, by Archie Chetakouski

Hyeji Nam (KO)
TOUCHED,  Performance
Duration: 30 minutes

This performance is a combination of Hyeji Nam’s original dance performance “TOUCHED-techno flesh”, with her sound piece”pleasing harmony” where she uses AI generated sounds as the core material. In this integrative performance titled “TOUCHED 2-pleasing harmony,” Hyeji Nam orchestrates a mixture of flesh-inspired poetic gestures, sound experimentation, and the performative use of artificial intelligence in music. Anchored in the rhythmic foundation of 4-to-the-floor beats, the piece explores the rich intersection of music technology and the innate mechanisms of the human body. 

This performance uniquely combines pleasing harmonies and dissonances generated by AI, triggered by the tactile interaction of Nam’s flesh and her vocalizations. These sonic elements, encompassing both unidentified voices and Nam’s own, are intricately woven together, underscoring the artist’s role as a live conductor. Using her body and movement, she navigates through space, her energy guiding to produce sounds that harmonize, diverge, and reconvene in unexpected ways. 

Hyeji Nam (b. 1993) is a Vienna-based Korean musician and artist whose work combines digital and physical elements to explore themes of body, mind, and technology. She is crafting a delicately pretty world through luminescent piano notes, fragmented future-pop spirituals, and reflections on the human flesh left beside the screens. Focusing on multimedia projects, she integrates media and movement to examine the relationship between the mind and digitalized bodies.

To date, Hyeji Nam has released two EPs and an album through the Viennese independent record label, Tender Matter. Her work has been showcased globally, with performances and exhibitions spanning from Australia to Iceland, establishing her as a dynamic presence in both the music and art worlds.
https://hyejinam.org/

Image Credits: 
Photo by Gabjoo Ahn
Performance as part of CLUB LIAISON an exhibition space of Liesl Raff, performance program curated by Carolina Nöbauer.

Natasha Tontey  (ID) 
Garden Amidst the Flame 
(27 minutes, HD film, 2022) 

Garden Amidst the Flame continues Tontey’s ongoing research into the ancient knowledge, technologies and cosmology of the Minahasa, an Indigenous nation in the North Sulawesi province of Indonesia. In this most recent work, the artist emphasises core Minahasa cultural beliefs in the all-encompassing equilibrium between the human and non-human. Drawing on her experience of karai, a ceremony that grants Minahasan warriors an armour of invincibility, the artist seeks to establish a queering approach towards gender, youth and ecology.

Natasha Tontey (b. 1989)  is a Minahasan artist based in between Jakarta and Yogyakarta, Indonesia. Her artistic practice predominantly explores the fictional accounts of the history and myths surrounding ‘manufactured fear.’ In her practice, she observes any possibilities of other futures that are projected not from the perspective of major and established institutions, but a subtle and personal struggle of the outcasted entities and beings. 

Read more: https://tontey.org/ 

Rolf Nowotny (DK) 
D33pL0r3 (MOUND) – Ongoing interactive installation
COMP NUMB LIMB –  (leaked documentation), video, 4.21m

For iwillmedievalfuturyou2 Rolf Nowotny will present two works; an ongoing interactive installation displayed during the whole exhibition period  –
D33pL0r3  and a video COMP NUMB LIMB (leaked documentation) during selected dates.  

D33pL0r3 consists of an arrangement of two white Klippan IKEA sofas placed around a table and a group of figures. Next to the sofas is a
pallet holding 500 kg of clay. The audience is invited to sit on the sofas and build a joint sculpture on the table.
Throughout the exhibition period, the sculpture will grow and develop into various unpredictable forms, like a kind of wild mountain.  

The Klippan sofa, a classic IKEA design, symbolizes the transition from youth to adulthood—affordable,
modern, yet not entirely comfortable, reflecting the challenges of this phase. It serves as a co-actor in the process of self-definition,
which is not solely an individual journey but a collective one—hence the shared activity Rolf invites the audience to partake in.  

COMP NUMB LIMB (leaked documentation), 4.21 min 
The video is a leaked documentation of the exhibition COMP NUMB LIMB at Huset for Kunst & Design, Holstebro, Denmark, 2023.
The camera enters to reveal a grotesque chamber play. The corridor transitions from dreamy to nightmarish,
leading into different rooms, accompanied by Kitty Horrorshow’s haunting text, The Palmist. 

Kitty Horrorshow, with whom Rolf Nowotny has worked in the past, created the text specifically for the exhibition. 
It reads: “He moves like a mirror, and he laughs without a mouth. I don’t know why he’s laughing,
and I think if I knew I wouldn’t like it, but the sound makes me happy … I don’t know if I can make my arms bend like his, and it’s
getting harder and harder to get out of bed each day.”

Kitty Horrorshow is the pseudonym of an independent video game developer known for creating surreal
and atmospheric 3D horror games.

Text: Kitty Horrorshow. 
Motion graphics: Søren Katborg
@hfkd_exhibitionspace 2023. 
Kindly supported by Statenskunstfond 

Rolf Nowotny’s (b. 1978) work negotiates the materiality of the world and the language anchored to it by attempting to bridge the gap between concrete and psychic landscapes. Drawing inspiration from sources as diverse as evolution, material memory, architecture, the Victorian grotesque and the general uncanny, Nowotny explores the possibility that abstract thought reaches formulation through concrete, spatial experience.

→christianandersen.net/Artists/Rolf-Nowotny
→https://www.instagram.com/gmork_nowotny/

Aniara Omann (DK)
De Fem Søstre (The Five Sisters) 
A series of five wall-mounted sculptures

De Fem Søstre (The Five Sisters) is a series of five wall-mounted sculptures made from materials like porcelain, silicone, resin, and carved wood. The works depict abstract faces, presented on steel mounts reminiscent of archaeological displays in historical museums. The title references folk tales featuring sisters, each embodying aspects of the human psyche.

Blending mythical creatures with a ”fembot” aesthetic, the faces explore the archetype ’Anima’ as seen in myths, fiction, and Jungian psychology. In contemporary culture, such archetypes appear in popular media and politics, existing as hyper-objects in collective consciousness.

Aesthetically, the series merges futurism, surrealism, and mythology, with materials evoking science fiction, ancient artifacts, and witchcraft. Porcelain, known for its fragility and cultural ties to doll faces, contrasts with the futuristic ”fembot” ideal—mechanical, youthful femininity from science fiction.

Through sculpture, text, and performance, Aniara Omann (b. 1987)  works with a variety of techniques and materials, including recast recycled plastic, traditional basket weaving using recycled paper, and materials commonly used in film productions such as silicone and resin. She draws inspiration from the ability of sci-fi, fantasy, and folktales to imagine and depict utopias or dystopias, new bodies, and alternative perspectives. 

Her work often takes the form of creatures emerging from alternative realities and societies, existing simultaneously as isolated identities and extensions of their environments. 

→ aniara omann

Agnieszka Polska (PL)
Future Days (2013)
video, sound, 20min

The amusing and melancholic video Future Days combines elements of animation with images shot on the Swedish island of Gotland.
Agnieszka Polska created a fictitious ‘afterworld for artists’ where artists from different generations meet after death. 

They include key figures from the twentieth-century art world and a number of forgotten Polish artists and theoreticians.
The actors wear masks in the likeness of their characters. Their dialogues are based on quotes by the artists they play.
In their discussions they comment on artworks and in an ironic way expose the limitations of human knowledge. 

Future Days, which pictured a heaven for artists. The work featured masked actors
representing iconic figures such as Bas Jan Ader,  Lee Lozano, Charlotte Posenenske, Wlodzimierz Borowski, and Jerzy Ludwiński.

In her artistic practice Agnieszka Polska (1985) shows how actions from the past and present
affect each other. Her videos and animation films often refer to forgotten or important twentieth-century artists. By featuring the artists’ words and works in her films,
they inevitably appear different from what was originally intended. Polska first has to appropriate these individuals’ identity before she can pay tribute to them.

→ agnieszkapolska.net

Anna-Karin Rasmusson (SE)
Omlopp (Circulation) – Anna-Karin Rasmusson 
Performer: Helena Ricci and Hanna Knutsson
Durational 3 h

Anna-Karin Rasmusson has created a distorted, fictionalized everyday environment at LPS, where a character
is caught in a relentless cycle of trying to stop, repair, counteract, and ultimately contribute to the ongoing decay caused by a leak.  

In Anna-Karin Rasmusson’s video installations and performances, everyday life is deeply present—not the everyday l
ife we observe, but the one we feel and endure. Starting from a painterly and expressive image construction, Rasmusson explores complex emotions
such as inadequacy, disorientation, and empathy.  

Omlopp is a continuation and extract from her performance Forsens början (The Rapid’s Beginning),
staged at LPS in 2023. In this piece, the character obsessively worked to prevent and repair the ever-escalating decay of a constructed kitchen.
As the performance progressed, the kitchen steadily deteriorated, reflecting themes of fragility and futility.

In a layer upon layer technique Anna-Karin Rasmusson (b.1983) creates video, performance and installations,
where her masked character is often found stuck in everyday actions that are repeated time and time again in a recognizable distorted
environment as if taken from a painting or a collage. 

→www.anna-karinrasmusson.com
→Anna-Karin Rasmusson at LPS 2023

Riar Rizaldi (ID)  
Kasiterit (2020), 
film (colour, 18′)  18:22 min

Kasiterit is a video installation filmed on Bangka Island, Indonesia,
a key global exporter supplying one-third of the world’s tin. Tin, with its low melting point and high conductivity, is essential for electronics,
digital screens, and emerging technologies like artificial intelligence and renewable energy. Narrated by Natasha—a solar-powered A.I. voice
-the film explores tin’s journey from Bangka’s mines to its role in global technology, eventually returning to the earth as e-waste.
Through a feminized voice, often seen in AI-powered assistants, Natasha reflects on the origins of tin, weaving together themes of labor,
capital, geopolitics, automation, and tropical anthropology. There is a little piece of Bangka Island in everyone’s pocket, connecting
its landscapes to the technology shaping our future.

Riar Rizaldi (b.1990) works predominantly with the medium of moving images and sound, both in the black-box
of cinema settings as well spatial presentation as installation. His artistic practice focuses mostly on the relationship between technology,
labour, and nature, worldviews, genre cinema, and the possibility of theoretical fiction.

rizaldiriar.com

Elias Rønnenfelt  – Live Music/ Text performance

Elias Rønnenfelt is a highly regarded Danish musician and poet who has made a significant impact on the international art scene. Best known as the lead singer and lyricist for the acclaimed post-punk band, Iceage, Rønnenfelt has established himself as a powerful creative force, known for his introspective lyrics, emotive vocal delivery, and compelling live performances.

In 2024, he made his debut as a solo artist with the album Heavy Glory, which the media has described as the Danish release of the year in 2024.

With his raw charisma and intense vocals, Elias ( b. 1992)  has established himself as one of the most unique voices on the modern music scene. His music ranges from dark and energetic rock to atmospheric and emotional sound art, always deeply reflective of human emotions and the complexities of society.

→ Elias Rønnenfelt

Ásta Fanney Sigurðardóttir (IS)
ENIGMA – Live performance
Duration: 30 min
Performers: Ásta Fanney Sigurðardóttir
Tenor recorder players: Selma Franssson, Vanja Smith 

ENIGMA occupies the liminal space between temporal dimensions,
where reading and writing merge with evolving forms of knowledge transmission. Drawing on medieval manuscripts, modern slogans, riddles and
speculative futures, the performance explores the use of text in general as a dynamic flux, an open space that shifts and changes.

Through slow acts of disassembly and reconstruction, Asta uses music and gestures to balance acts that reflect
on the tension between repair and decay. The work moves between the ethereal and material, where mending objects mirrors the reconstruction of
meaning and offers a reflection on the potential for both individual care and collective repair in navigating an uncertain future.

Ásta Fanney’s work is defined by a profound sense of fluidity, transformation, and impermanence. Unbound by a single medium,
she explores the shifting nature of time-based forms, seamlessly moving between poetry, visual art, and performance. Widely regarded as one of Iceland’s most
innovative poetry performers, she has presented her work internationally, inhabiting the spaces where different media and genres intersect.
Her performances challenge the boundaries of audience interaction and the dynamics of communication, with language playing a central role—both
in its expressive power and its limitations—posing the question: what remains when words fall away?

Ásta Fanney Sigurðardóttir (b. 1987) is a poet, visual artist and musician based in Reykjavík. She was a founding member of the art gallery
Kunstchlager which operated in Reykjavík between 2012–2015, she will also represent Iceland’s Pavilion at the 61st Venice Biennale in 2026.

→astafanney_art/

Magnus Wallin (SE)
BLOODY MARY (1994)
Dimensions: Site-specific
Material: Five liters of carbonated blood

SCHEDULE iwillmedievalfutureyou2
All days 13 February- 16 March.
Outside

Bloody Mary (1994, 2025 )

In iwillmedievalfutureyou2, Magnus Wallin recreates his work Bloody Mary from 1994 in a new context. On 20 occasions, throughout the duration of iwillmedievalfutureyou2, five liters of carbonated blood will be spilled, forming a large pool of blood in the courtyard outside Lilith Performance Studio.  

The action was first performed in 1994 under the direction of City Gallery in Gothenburg. At the time, the gallery aimed to challenge existing systems of presentation for contemporary art by emphasizing art as action. Within this framework, Wallin executed Bloody Mary, which also consisted of five liters of carbonated blood—the average amount of blood in a human body.  

Wallin sought immediacy in the audience’s encounter with the piece. By pouring the blood into a narrow outdoor concrete staircase, he prevented viewers from distancing themselves from the work. Bloody Mary is about literally reflecting yourself in the blood—in a moment of identified pain, in a real context.  

In Magnus Wallin’s (b. 1965) artistic practice, he takes as his starting point the relationship to ideas of a painless utopian state, akin to a vision of paradise with its aesthetic consequences—the defective, actual pain. He compares this with society’s rational perspective in constructing the concept of norms, where the consequence becomes the destruction of anything perceived as foreign.

→www.magnuswallin.com

Peter Wächtler (DE)
Untitled, 2013,  HD film, 08:27 min.

Untitled (2013) is a stop motion animation of loose sculptures made of black electricity wire which the artist bends to form little figures. Here the written narrative and the abrupt, rudimentary action create a violent encounter between the wire creatures. 

Peter Wächtler’s (b. 1978) multidisciplinary artistic practice encompasses sculpture, drawing, animation, video, sound, and writing. His work investigates genres and common narrative forms, often employing familiar, handcrafted materials rendered with earnestness. Despite this sincerity, Wächtler embraces the inherent limitations of communication in his works, leading to moments of comedic absurdity and nonsensical charm.

Characterized by a fusion of melancholy, irony, and humor, his art delves into themes of narrative and genre, using soliloquy and storytelling to evoke a sense of radical ambiguity. Wächtler’s characters, often seemingly drawn from other eras or realms, serve as reflective vessels for contemporary human emotions and experiences. Through this interplay of the familiar and the fantastical, his work captures the complexity of communication and the absurdity of the human condition.

→ Peter Wächtler

Chuah Chong Yan (MY)
Chaos in the C✷smic, 2024
The Celestial Dynamics of Opposing Mythical Forces.
Single-channel animated video with stereo-sound
4K 3840x2160p [15:31 loop]

With a foundation in architecture, Chuah’s artistic practice explores the interplay between the spaces
we inhabit and the fantastical worlds he envisions. His multidisciplinary approach spans digital art, drawing, painting, sculpture,
and installation—mediums that interact in theatrical mise-en-scène, creating layered narratives that challenge perceptions of reality,
space, and experience.  

Chuah’s work often reflects a desire for escape, serving as extensions of real life or allegories of his
emotional states rather than entirely new realities. Ethereal characters, surreal landscapes, and enigmatic elements emerge from his playful,
exploratory approach to art-making, as he embraces the role of the artist as an explorer uncovering the unknown.  

Sino-Malaysian artist, architect, and designer Chong Yan Chuah 蔡崇彦 (b. 1992, Selangor, Malaysia) navigates
the intersections of digital art, game design, and installation. Based between London and Kuala Lumpur, his work bridges physical environments
and fictional worlds, skillfully merging dimensions and cryptic iconography to construct imaginative, otherworldly experiences. 

→chongyanchuah.com

He Zike (CH)
Random Access (2023)  14:21 min

After the city’s central data center crashes and reboots, the server keeper encounters the cloud system in a fragmented digital world.
Together, they transform into a passenger and a retired taxi driver, navigating the city, losing their way, and searching for themselves.
Along the journey, they recall an ancient ocean that once covered the continent, a shell fossil tracking lost memories, and a pulsar star guiding
them through the universe. As they reach a stone beach soon to sink beneath a dam, they uncover shared, forgotten memories, realizing they were never strangers.

The film explores “random access,” both as a computing term and a metaphor for how we process memory in a world deeply
intertwined with digital technology. Set in Guiyang, China’s so-called data capital, it draws from real locations like Asia’s first iCloud center and
the FAST telescope, showcasing how big data has reshaped the city and its people over the last decade.

This is a story of change, loss, and rediscovery, spanning time and space—from the past to the future,
from underground to the cosmos—while reflecting on the transformations shaping today’s digital cities.
Commissioned by VH AWARD of Hyundai Motor Group

HE Zike (b.1990) works with mediums including video, writing, performance, prints, and computer programs.
By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time,
mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach

www.hezike.cn

Louise Lawler (US)
Alizarin (Terrorist are made not born) Postcard, 2024
Installed in any direction
Also include in Setting the Tone of an Exhibition  – The Anatomy of Exhibition Openings at Malmö Konstmuseum
6 December 2024 – 4 May 2025

Lawler’s work Alizarin (Terrorists are made, not born) at Lilith Performance Studio is a take-away postcard. Alizarin (Terrorists are made, not born) reflects her interest in how art reaches viewers beyond the museum and gallery system, and at the same time the title suggests how society has a strong influence on the individual.

Louise Lawler (b. 1947)  works with photographs, texts, installations, and ephemera such as announcements, invitation cards, posters, and matchbooks. Lawler’s practice raises questions about the production, circulation, representation, and presentation of art. Louise Lawler focuses on how art moves from artist to institution to viewer, which allows us to slow down and question not only what we see, but also who ultimately profits from our attention. Lawler emerged in the 1970s as part of the Pictures Generation, and since then Lawler has explored the institutional framing of art through her photographs of artworks in settings such as museums, auction houses, art fairs, private collections, and storage facilities. By concentrating on these privileged spaces, Lawler exposes the power dynamics in the display, marketing, acquisition, and valuation of art. In short power relations of the art world. For example, she often photographs works created by white men, highlighting the institutional exclusion of women and non-white artists.

Lawler’s work Alizarin (Terrorists are made, not born) at Lilith Performance Studio is a take-away postcard. Alizarin (Terrorists are made, not born) reflects her interest in how art reaches viewers beyond the museum and gallery system, and at the same time the title suggests how society has a strong influence on the individual.

Gerhard Nordström (SE, 1925–2019)
A serie of Drawings – Untitled ( 1960)

A series of drawings commissioned for a 1960s Swedish military manual,
which documents bullet and grenade wounds, will be included in iwillmedievalfutureyou2.

Gerhard Nordström is best known for his overt opposition to pollution and abuses of power,
messages that he conveys in depictions of social injustice and the consequences of consumer culture. 

From the early 1960s onwards, Nordström has consistently used oils, etchings and sculpture
to create his political artworks. Despite these so-called ‘classic’ methods, his works have a distinctively contemporary quality,
offering razor-sharp political critique and dark social commentary. 

In an era of rapid cultural shifts, information maelstroms and mass-media oversaturation,
these artworks constantly remind us of the repercussions of greed, violence and power. The sheer absence in some of these works,
their raw flesh and empty landscapes, reveal the outcomes of unchecked pollution, injustice and power obstruction,
embodying a compelling testimony to the consequences of man’s presence in the world.

Felix Shumba (SW)
Fold Fields (FFS), 2025 (SW)
Charcoal on paper, 20 x 20 cm

Felix Shumba has made a new series of drawings for Lilith Performance Studio and iwillmedievalfuureyou2. 

They are reflecting on the violence of the chemical war in Rhodesia (now Zimbabwe) and the cost of freedom from colonialism.
His charcoal drawings allude to the chemical weapons released by the Rhodesian government’s scientific units into water sources, food systems and terrestrial ecosystems.

The drawings are part of Shumba’s Fold Fields Space (FFS), a body of work deploying dystopian imagery and scars
of postcolonialism, which brings the viewer closer to the scarry understanding contemporary predicaments in Zimbabwe.

Felix Shumba (b. 1989) is a multidisciplinary artist whose practice encompasses drawing, painting, video, text, sound,
and installations. Shumba is preoccupied with spaces (real or imagined) haunted by death, trauma, tension, power structures, bleak violence,
psychic terror, ecological damage and the use of the military as an apparatus of racial capitalist structural control. 

shumbafelix

Image: Felix Shumba: Nocturnal Body, 2022
© Foto: Haupt & Binder, Universes in Universe