The themes of fragility, uncertainty, sadness, the interest in the act of travelling and in the condition of the traveller, the focus on female protagonists, these are just a few hints we can grasp from the brief description of the artist showed here, that can also easily be found inside Annika Ström film production.
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Here in Stockholm the choir would have been introduced by “fifty loud skateboards with lanterns on wheels and on hoods”, the same conductor would have parachuted down, and when the skateboards would have moved a short distance away, finally silent, the choir would have sung the phrases projected on house facades around. The performance would have been closed by the skateboarders, with their lights lighted up one more time.
Sound recording and a vinyl record would have been produced after the show.
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“I planned to get at least 50 Dads. They would drive in to the square outside the medieval hall. One car for each dad. They would stop and remain in their car. They would all simultaneously pull down their car windows and play the same song; The very romantic Pietro Mascagni, as used as the sound track in Raging Bull by Scorsese.
When the song was finished, they were to slowly pull away, head to the motorway in a line towards Southampton, where I also had commission as part of the same project.
We were to hire helicopters to film the motorway, like a “News Copter” where the Lonely Dads would parade with their cars, missing their children.”
Reflecting upon roles and structures inside the families and in the society, here Annika Ström investigate in particular relationships, self-doubts and failures, designing the staging of a dramatic scene where cars would have invaded the historical setting.
The artist also wanted to install enormous disco balls inside the hall, but this project too remained unrealised.
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