Verdensteatret Artist Note Sep 19, 2016
photo courtesy Verdensteatret
Program Note from the artists of Verdensteatret:
…the great span between the work’s deafening noise and fragile, unsteady space seems to mirror the many extremes of human existence. It evokes a quote from Andrej Tarkovsky’s science fiction movie Stalker: “Weakness is something fantastic, strength is nothing.” (review in Klassekampen)
"You go as far as the shoes of reason will carry...then you jump..."
Bridge Over Mud marks our final move into a fully audiovisual practice – a distinctive form that changes character and direction all the time. One can experience the work as a kinetic installation, an inter-media orchestra or as abstract object-theatre. This creates a challenging complexity where opposing forces collide with "impossible paradoxes" on one side, and surprisingly harmonious encounters on the other.
Working with this piece has been like crossing a bridge that is being built and collapsing at the same time. A risky tightrope walk over a treacherous landscape where we stumble into small details and then fall head over heels into the infinite horizon below.
We look for the abyss everywhere, in every little detail, and at the same time we desire that everything melt down into one organic whole, a composition. A work where one sees the music and listens to the images and recognizes connections as rhythm or musicality that creates meaning.
A nomadic impulse is deeply embedded in all of our activities; we have often built our pieces from fragments both gathered and memorized from numerous places.
We created Tsalal (2001-2002) from a trip to Odessa and Istanbul, Concert for Greenland (2003) engaged the harsh and majestic landscapes of Greenland, and Louder (2007) was created after a journey to Vietnam and the Mekong-river. Among the ambiguous material that surfaces in Bridge Over Mud are remnants from our stay in India, where we presented our last work And All the Question Marks Started to Sing (2011) in the ruins of the former Reserve Bank in downtown Kolkata. But, this is still only one reference that appears in the work, and in combination with many other layers, is barely recognizable as such. Small flashes of high attention that we may not have been conscious of in the moment surface many years later as if we were some sort of "intuitive flight recorders".