I wanted to achieve a lack of weight- and size relations and let the video describe a gigantic, as well as a microscopic, universe. A place that had no horizon but of currents that through the eye of the beholder could expand out in the space. Every scene is carefully arranged. The image is manipulated; it is doubled, reflected and twisted in order to be placed in a space in between reality and fiction. To edit a video can be compared with composing a piece of music. How the scenes are put together determines rhythm and intensity. In The sea of tranquility the silence is more effective than sounds and instead there is a clear visual pulse. The video is displayed in loops and lacks beginning and end. The beholder can begin or quit the video whenever. 

Scenes from Holograms of Ecolonia is created as an ordered purchase by KORO to be permanently displayed at the university NTNU when they issued a greater new- and reconstruction. I was asked to put together scenes from my Ecolonia-archive and create a context in which the main emphasize was on reflections of biological processes and different approaches to technology, also through craftsmanship and art. I was assigned to work with a video projection against a wall of raw concrete. I chose scenes that can function intimately with presence and distance to the room of entry which rises and surround the projection wall of the university.

Molds of Ecolonia #1-14
Plaster Bas-relief
42x28x1,3 cm

Light touch of Ecolonia
Video installation
Projection on wall in corridor
10 min in loop
No sound
Photo: Per Mannberg, Region Stockholm 2019

Holograms of Ecolonia #31-34
Photography on walls and ceilings

When one speaks of dance and movement it is possible to differ between the controlled and the free movement. What separates them are the degree of awareness and depth. Simply put the controlled movement is choreographed whereas the free movement has a lower degree of awareness but a greater depth. Many movements in our everyday life is performed through habitual patterns that we have in our bodies and is thereby governed by rules. But to run or to walk may also be free movements, as long as you find a way into the movement that enables you to perform it freely. An interesting discovery that science has provided is that we are more capable of reading emotional states of mind after we have performed a free movement than we are after we have performed a controlled movement. In other words, after we have performed a free movement we are more likely to connect with our emotional adjustment. The video installation The Mind is a Muscle is inspired by the studies made by the scientist Åsa Unander-Scharin of how our emotions are affected by seeing a robot dance on a screen. The experiment shows that we are just as affected by watching someone else performing movements as we are when we are in a physical activity ourselves. In the artwork The Mind is a Muscle I have used the free movement.
The title The Mind is a Muscle is borrowed from a multi-divided performance made by Yvonne Rainer in 1968, where the dance of seven dancers is combined with film and text.

In order: 1. Video installation in entrance and café room. 2. Video installation in entrance and café room. 3. Photography on wall in corridor.
Photo: Siv Hilde Meen, Filmfabrikken

An artwork for us who once have left home to live elsewhere or us who have been forced to flee. With presence and painful homesickness Fanny Kivimäki gives a performance on life, dreams and remorse.