08.01. - 21.02.16.

Keep Frozen Part Three
@ KUNSTKRAFTWERK

Solo exhibition by Hulda Rós Guðnadóttir
 
48 hour performance
Mixed-media and 3-channel-video installation

January 8, 9 /06:00 - 19:00
48 Hour Performance

Dock workers and film crew.
House open from 6:00 - 19:00 on Friday
and 6:00 am until late Saturday.

[ English ]
[ Deutsch ]

       

          

 

 
 
  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  'Extended I Exercise'. Photo: Andrea Aðalsteinsdóttir

'Extended I Exercise'. Photo: Andrea Aðalsteinsdóttir

 Performance view. Photo: dotgain

Performance view. Photo: dotgain

 

 Photo: Andrea Adalsteinsdottir

Photo: Andrea Adalsteinsdottir

 Photo: Lisa Matthys

Photo: Lisa Matthys

 Photo: Lisa Matthys

Photo: Lisa Matthys

 Three screen video still from  'Labour Move'

Three screen video still from  'Labour Move'

 Three screen video still from 'Labour Move'

Three screen video still from 'Labour Move'

 Three screen video still from 'Labour Move'

Three screen video still from 'Labour Move'

⬇⬇

 
 Photo: Lisa Matthys

Photo: Lisa Matthys

 

22.01. - 24.01.16.

SEA BODY INFRASTRUCTURE IMAGE - AN ARTISTIC RESEARCH SYMPOSIUM
@ KUNSTKRAFTWERK

in collaboration with DISTRICT as part of The Many-Headed Hydra

Curated by Suza Husse and Hulda Rós Guðnadóttir

 

Gathering practitioners from artistic, curatorial and theoretical fields, a group of artworks and audience members, the three-day program of various figurations, included performances, conversations, a site visit, roundtables, video screenings and physical exercise, linking current practices and discourses of arts-based research with thematic and topographic contexts of the Keep Frozen research project.

In a meeting with the Leipzig based editorial group of the magazine outside the box, the symposium took a departure point in intersectional feminist perspectives on the politics of labor and forms of knowledge production in relation to social hierarchies and biopolitics.

Drawing from critical theory and examples of artistic practice, Jonatan Habib-Engqvists contribution addressed ‘work’ as a potential form of fabricated agency and regarded its physical symptoms to demystify the concept of ‘immaterial labor’.

With EIE-The Class (Dafna Maimon) queer approaches to the body and its performance in the production of images, identities, definitions of self and other were invited to gain understanding of contemporary body intimacies with technological, economic and corporeal infrastructures.

A territory of passage undergoing social and ecological transformations, the North Atlantic Ocean was discussed as a shifting geopolitical entity with members of the transdisciplinary research project Occupational Hazard. Its material and mythological meaning as infrastructure and resource resonates in the streams of technology and capital, the diasporic histories, the desires and discourses that cross its waters.

Embodiments of the queer, eco-sexual, inter-species, spiritual and scientific that inhabit a different shoreline in Between the Waves (Tejal Shah) stimulated imaginaries of fluid forms of existence between archaic and futuristic realms.

Based on these topical fields and their crossings, the roundtables with Hulda Rós Guðnadóttir, Emma Haugh, Anne Hofmann, Suza Husse, Sören Kjörup, Dafna Maimon and Nine Eglantine Yamamoto-Masson provided a framework to reflect arts-based research in terms of methodologies and narratives, economies and environments, power structures and affects.

The group of artworks participating in these translational set-ups were invited to be interlocutors in their own right: They introduced scenes of transition in the scope of the symposium, such as the moments of the fish unfreezing from its immobilized and packaged state in the transactions and journeys of Labor Move. Together with these examples of artistic research, the participants in the Hydra Reading Troupe Workshop #01 SPEAKING AS FISHES (Emma Haugh & Suza Husse) which concluded the symposium, animated the fish as a presence of (neo)colonial currency traversing oceans, bodies and forms of knowledge as well as a fluid site for reimagining interdependencies and interspecies relationships.

alda.jpg
 
 
  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

⬇       

 Performance view. Photo: Lisa Matthys

Performance view. Photo: Lisa Matthys

 Installation view. Photo: dotgain

Installation view. Photo: dotgain

  ⬇

22.01. - 24.01.16.

SEA BODY INFRASTRUCTURE IMAGE - AN ARTISTIC RESEARCH SYMPOSIUM
@ KUNSTKRAFTWERK

in collaboration with DISTRICT as part of The Many-Headed Hydra

Curated by Suza Husse and Hulda Rós Guðnadóttir
January 22/

16:30-18:00 Figuration I: Feminist Perspectives on Work and Knowledge A meeting with outside the box – Magazin für feministische Gesellschaftskritik @ MONALiesA Feministische Bibiothek.
18:00 Figuration II: Keep Frozen Part Three, chapter two
Opening of a mixed-media 3 channel video installation by Hulda Rós Guðnadóttir

January 23/

10:00-11:00 Figuration III: Introductions to SEA BODY INFRASTRUCTURE IMAGE with Candace Goodrich (Artistic Director Kunstkraftwerk), Dr. Laura Hirvi (Director, Finnland Institut), Hulda Rós Guðnadóttir, Aldis Snorradóttir (curator of the Keep Frozen Symposium Reykjavik), Suza Husse and Human Comma Being (sculpture, Dafna Maimon, 2015)
11.00 – 12.00 Figuration IV: Extended I Exercise – The Class
Performance by Dafna Maimon (2015), presented by Michael Norton
12.30 – 13.15 Figuration V: Performing Work
A quasi-conversation on labor, performance, dematerialization and incorporation with Jonatan Habib Engqvist and contributions by Nina Möntmann
14:30 – 15:15 Figuration VI: Occupational Hazard - on notions of ‘ecology’, ‘active citizenship’ and ‘the future’ in relation to shifting geopolitical conditions and emerging new waters of the Arctic
15.30 – 19.30 Figuration VII: Sea Body Infrastructure Image: Artistic Research towards a grammar of streams and countercurrents
Two Roundtables stimulated by Between The Waves (Video, Tejal Shah, 2012), Hulda Rós Guðnadóttir, Emma Haugh, Anne Hofmann, Sören Kjörup and Dafna Maimon; moderated by Suza Husse and Nine Eglantine Yamamoto-Masson.

January 24/

11.00-16.00 Figuration VIII: Hydra Reading Troupe Workshop #01 SPEAKING AS FISHES: A collaged reading of The Many-Headed Hydra through the body sorcery of Quota Queen
Workshop by Emma Haugh and Suza Husse

   ⬇

 Performance view. Photo: Lisa Matthys

Performance view. Photo: Lisa Matthys

KEEP FROZEN PART THREE (EN)

Keep Frozen is an art-practice-as research project by Icelandic contemporary visual artist Hulda Rós Gudnadóttir exploring harbor aesthetics, the conditions of manual dock labor and the artist’s practice as research. The exhibition at Kunstkraftwerk (KKW) was the third in the Keep Frozen exhibition series, presenting the artist’s project in Germany for the first time.

Keep Frozen part three opened with a 48 hour performance by a team of dock workers. At KKW they worked the same hours with the same breaks as they do at the harbor in Reykjavik where they typically are required, within a tight 48 hour period, to unload up to 25.000 boxes of frozen fish from freezer factory trawlers (each weighing 25 kg) whilst working in a -35° C freezer cargo hold. The boxes are much heavier than those allowed inside the EU and they are paid according to how fast they work. Security rules are waived as they keep spinning. In an endless cycle of repetitive movements they re-stack boxes continuously as fast as possible from one pile to the next in a ritualistic dance within the 500m2 post-industrial exhibition space. It is an inhumanly difficult task that is carried out with a precise level of skill and experience that few outside the dock are able to achieve.

The performance was filmed partly by the same team that has been making a documentary about the dock workers in their 'natural' dock environment for the last few years. This time the film crew focused on abstracting the movements and aesthetic traits of the labour. Their movements, gestures and sounds were recorded in high quality formats that could be projected again into the same space as a massive 3-channel synchronised video installation on 7 meters high portrait format screens. Together with the left-overs of the performance, scattered straps and 160 worn out boxes distributed on pallets throughout the space, the videos formed a mixed-media installation that reminded the audience of the absence of the workers.

The third part of the Keep Frozen series was a conceptually complex art-piece working on many layers. Apart from the ongoing questions about labour and harbour aesthetics in this addition to the series workers as subjects were being re-contextualised and restaged in the artistic space that ironically used to be a space for workers. The performance and the installation not only poses questions about the space where it takes place and the meaning of showing labour but also wider artistic questions.

What is (re)presentation?
What is (re)staging?
What is re-en(act)ment?
What is (re)production?
- in relation to reality/space/cinema?

The performance was developed with the help of Hinrik Thor Svavarsson, an ex-dock worker turned professional dramaturg with the creative input of dock-workers Jens Pétur Kjærnested, Davíð Svavarsson, Valur Ísak Antonsson and Sigurður Gáki Árnason. The film concept was developed in collaboration with DOP Dennis Helm, editor Kinga Kielczynska and sound designer André Zacher. 

 Photo: dotgain

Photo: dotgain

 

⬇⬇

KEEP FROZEN PART THREE (DE)

Keep Frozen ist ein Projekt der isländischen Künstlerin Hulda Rós Gudnadóttir im Bereich der künstlerischen Praxis-als-Recherche, welches Hafenästhetiken, die Arbeitsbedingungen von physischer Hafenarbeit sowie die Praxis der Künstlerin als Recherche erforscht. Die Ausstellung im Kunstkraftwerk (KKW) ist die dritte in der Keep Frozen Ausstellungsreihe, das Projekt der Künstlerin wird erstmalig in Deutschland präsentiert.

Keep Frozen part three eröffnet mit einer 48-stündigen Performance von einer Gruppe von Hafenarbeitern und einem Filmteam. Beim KKW werden die Hafenarbeiter dieselben Arbeitszeiten einschließlich der Pausen einhalten, zu denen sie am Reykjavíker Hafen arbeiten. Üblich ist, daß sie dort im engen Zeitrahmen von 48 Stunden bis zu 25.000 Kisten gefrorenen Fisch à 25 Kilo aus den Frosttrawlern entladen, dabei arbeiten sie in einem Kühlfrachtraum bei -35°C. Die Kisten sind viel schwerer als EU-Richtlinien erlauben, und wie im Hafen, werden sie auch hier entsprechend ihres Arbeitstempos bezahlt. Sicherheitsmaßnahmen sind außer Kraft gesetzt, während die Arbeiter sich fortlaufend drehen. In einem endlosen Kreislauf wiederholter Bewegungen stapeln sie Kisten so schnell sie können von einem Stoß zum nächsten, in einem ritualistischen Tanz in der 500m² großen postindustriellen Ausstellungshalle. Es ist eine unmenschlich schwierige Aufgabe, die sich zunehmend dramatisiert, und mit einem hohen Niveau von Präzision und Erfahrung ausgeführt wird, die nur wenige außerhalb des Hafens erreichen könnten.

Die Performance wird zum Teil vom selben Filmteam aufgenommen, der seit einigen Jahren an einem Dokumentarfilm über die Hafenarbeiter in ihrem „natürlichen“ Arbeitsumfeld arbeitet. Die Arbeiter, Hauptfiguren des Dokumentarfilms, werden nun aus ihrem Ursprungskontext entrissen und neu inszeniert, an einem Austellungsort, das ironischerweise ein Arbeitsort für Arbeiter war. Die Performance wirft nicht nur Fragen über ihren Handlungsort auf, sondern auch breiter gefächerte künstlerische Fragestellungen. Was ist (Re)Präsentation? Was ist (Neu)Inszenierung? Was ist Re-en(act)ment? Was ist Re(Produktion)? Wie steht es um das Verhätlnis von diesen Themen zu Realität/Raum/Kino? Das Filmteam rückt die Abstrahierung der Bewegungsabläufe und Ästhetiken der Hafenarbeit in den Fokus: indem die Arbeiter und ihre Bewegungen dekontextualisiert werden, werden ihre Bewegungen, Gesten und Geräusche für uns klar sichtbar und hörbar. In einem unglaublich kurzen Zeitraum – zwei Wochen – verwandelt das Filmteam die Aufnahmen in einen Experimentalfilm, der als Videoinstallation und „work in process“
am 22. Januar 2016 im KKW eröffnet.

Die Performance wird in Zusammenarbeit mit Hinrik Thor Svavarsson entwickelt, selbst ein ehemaliger Hafenarbeiter, der nun als professioneller Dramaturg tätig ist.

 
  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

 

outside the box – Magazin für feministische Gesellschaftskritik

Figuration I: Feminist Perspectives on Work and Knowledge

A meeting with outside the box - Magazin für feministische Gesellschaftskritik @ MONALiesA Feministische Bibiothek, Haus der Demokratie, Bernhard-Göring-Straße 152, 04277 Leipzig

At the feminist library MONALiesA, founded in Leipzig in 1990, we joined the publishers of outside the box - feminist magazine for social critique - in one of their Fridays work meetings. To discuss current politics of labor and knowledge, the gathering evolved along the fourth issue of outside the box, which was published in 2013: ARBEIT (work/ labor) and emerged from the “awake desire to criticize what makes us tired” and collects different voices of intersectional emancipatory critique on the topic of labor and female subjectivity, for example in the context of (post-)socialism, of migrant labor and of social imagination beyond labor.

map1.png

 
  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

 
  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

 

                   ⬇         

 

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

 

 
 

⬇⬇

Extended I Exercise – The Class (performance, Maimon, 2015)

Figuration IV: Extended I Exercise – The Class - Performance by Dafna Maimon (2015), presented by Michael Norton

Extended I Exercise – The Class activates reflection on image production, subjectivity, corporeal extensions and technology intimacies in the digital age. The hybrid performance project is concerned with identity constructions that challenge definitions of the self, the other and the body while creating a space of imaginary experience for our living or technological doppelgangers and missing limbs. The audience can join or observe the latest development of the project in which the movement technique “Extended I Exercise” will be introduced.

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

⬇⬇

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

 

           ⬇

 Photo: Hulda Rós Guðnadóttir

Photo: Hulda Rós Guðnadóttir

      ⬇

Jonatan Habib Engqvist

Figuration V: Performing Work

A quasi-conversation on labor, performance, dematerialization and incorporation with Jonatan Habib Engqvist and contributions by Nina Möntmann.

 Photo: Hulda Rós Gudnadóttir

Photo: Hulda Rós Gudnadóttir

 

 
  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

 
 
 

Occupational Hazard project

Figuration VI: Occupational Hazard - on notions of ‘ecology’, ‘active citizenship’ and ‘the future’ in relation to shifting geopolitical conditions and emerging new waters of the Arctic

The OH-project, a transdisciplinary research project including artists, scholars and scientists, investigates the ways unresolved narratives of the present and the concepts of ‘ecology’, ‘active citizenship’ and ‘the future’ unfold in the shifting geopolitical conditions and emerging new waters of the Arctic. The project is located at a former Nato-base on Reykjanes, Iceland. It draws on and is motivated by the site‘s transformation from a private fenced off system to a public civilian site. The site is currently being developed as Ásbrú Enterprise park – a community of innovation in technology, energy and creative industries. “Artifacts” of the Cold War, remain on the property, reminders of the past and current challenges albeit in a different context, with international co-operation, protection and exploitation. The North Atlantic, once again faces complications and new opportunities for its resources and emerging shipping routes as the ice cap melts and the ‘Warm War’ unfolds. New North Atlantic identities, narratives and politics are being developed with heightened interactions. The site, a link between the past and the future, provides a “laboratory” for a translocal dialogue, critical strategies, and technology focused on social and ecological transformation in the North by civil actions, future imagery and alternative narratives. This transitional space currently undergoing a “clean up” process provides a platform to generate future visions and raise larger questions that address our troubled grounds of being in the Anthropocene. The OH-project addresses our need to redefine facts and values as we try to understand what we are becoming.

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

www.ohproject.org/

             ⬇

Figuration VII: Sea Body Infrastructure Image: Artistic Research towards a grammar of streams and countercurrents

Two Roundtables stimulated by Between the Waves (Video, Tejal Shah2012), Hulda Rós Guðnadóttir, Emma Haugh, Anne Hofmann, Sören Kjörup and Dafna Maimon; moderated by Suza Husse and Nine Eglantine Yamamoto-Masson

Fistfuls of Water: The first roundtable discussed the inherent resistance of artistic research to being fully captured by any fixed definition. Stimulated by contributions by Emma Haugh, Sören Kjörup and Nine Eglantine Yamamoto-Masson the importance of unlearning for critical knowledge production was addressed, and the necessity of artistic research to at times position itself outside of traditional scholarship, and to question institutional conventions of “legitimising” certain forms of knowledge.

             ⬇

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

 

   ⬇

Nine Eglantine Yamamoto-Masson

  ⬇

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

Emma Haugh

 

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

Søren Kjørup

 

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

Between The Waves (video, Tejal Shah, 2012)

 Video still: courtesy of the artist

Video still: courtesy of the artist

 Video still: courtesy of the artist

Video still: courtesy of the artist

 Video still: courstesy of the artist

Video still: courstesy of the artist

Between the Waves is an excerpt from the 5 channel video installation by Tejal Shah from 2012 served as a bridge from the first to the second roundtable. In Between the Waves Shah creates sensual, poetic, heterotopic landscapes within which she places subjects that inhabit personal/political metaphors – embodiments of the queer, eco-sexual, inter-special, technological, spiritual and scientific. Their activities feel archaic and futuristic at the same time, primitive but filled with urgency and agency. Multiple historic and mythological references are layered, woven and problematized.

      ⬇

We sweat and cry salt water, so we know that the ocean is really in our blood. (Teresia Teaiwa): The second roundtable was an invitation for exchange on how to swim the streams of discourses, imaginaries, histories, desires, technologies and economies and how to sound the waters that traverse and suffuse our bodies. Based on the impulses by Hulda Rós Guðnadóttir, Anne Hofmann and Dafna Maimon the discussion will examine methodologies of arts-based research as well as practical and epistemological challenges.

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

    ⬇

Anne Hofmann

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

                ⬇

Hulda Rós Guðnadóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

  Photo: Andrea Aðalsteinsdóttir

Photo: Andrea Aðalsteinsdóttir

 

Dafna Maimon

  Photo: Andrea Aðalsteinsdóttir / Hulda R  ós Gu  ðnadóttir

Photo: Andrea Aðalsteinsdóttir / Hulda Rós Guðnadóttir

 

               ⬇

 

The Many-Headed Hydra

January 24 /

Figuration VIII: Hydra Reading Troupe Workshop #01 SPEAKING AS FISHES: A collaged reading of The Many Headed Hydra through the body sorcery of Quota Queen

Workshop by Emma Haugh and Suza Husse

  Quota Queen, performance by Bryndís Björnsdóttir, 2015

Quota Queen, performance by Bryndís Björnsdóttir, 2015

As a preliminary surfacing of Emma Haugh and Suza Husse’s The Many-Headed Hydra performance and publication project, the workshop was a collaged reading of Bryndís Björnsdóttir’s art work Quota Queen (2015) and texts from The Many-Headed Hydra. Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic (2000) by Peter Linebaugh and Marcus Rediker. Along with other fragments of text, image, film and pop music, from these works approaches were developed to animate the voice of the fish as an ambiguous presence countering the (neo-)colonial currency traversing oceans, bodies and forms of knowledge.