SVEA SCHNEIDER

This movement and camera experimentaion has multiple layers of meaning. I am interested in exploring dance/movement in public space. Invading,inhabiting and interacting with any given environment. Retrieving choreographic/movement impulses from any given architecture, structure, human beings, art work etc. I am also interested in exploring what sort of movement is deemed normative within a public space. Walking, standing, sitting, are all movements, mundane movements, that have become socially normative. What happens when you move different than this in a public space. How does the space react (can it?) How do people react to it that share that same place...? Our type of movement depends heavily on the environment. It is normal to lay down in a bed, but in the middle of a museum gallery, a different context,  it becomes …. ?

One of the other motivations was to create a juxtaposition of creating art within an art institution. A museum, a gallery etc that has dedicated its walls, its architectural structure to showcase and present art. Would it be open to house the creation of art, in a very informal way, right there and then? What impulses and inspirations can we get from any given art work, may it be a sculpture, painting, video installation. The artists of these artworks became my collaborators, in a way my dance partners...layers and layers of art….The other interest was to explore the relationship between the camera, the performer and the artwork. The camera was as much part of the performance as the I. A silent and still performer but the context would have entirely changed if the camera hadn't been there. The camera gave me confidence and safety... It was Ok to move in a strange way, because the camera was there, who became my comforting partner. I had several different mental, emotional and visceral responses. At times I was very comfortable and in my zone, enjoying moving differently within the known context, and at other times I felt a bit insecure going onto the uncomfortable side.