Defining Lilith Performance Studio, the project created by Elin Lundgren and Petter Pettersson almost 20 years ago in a former industrial area of Malmö, Sweden is not a simple task. The complexity arises from its defiance of conventional classification, seamlessly intertwining theatre, visual and performance art. Rather than favouring one discipline over another, Lilith Performance Studio harmoniously integrates them to curate unique and captivating aesthetic experiences.
With a background in theatre, Lundgren and Pettersson, originating from the visual arts realm (known as The Lilith Artist Duo), breathe life into a punk-inspired concept of art conceived as innovative and unrestricted energy. This concept, envisioned as a pure manifestation of creative force transcending gender boundaries, aims to delve into uncertainty and reveal fresh avenues of aesthetic expression. Beyond staging performances, they extend opportunities for other artists to explore novel modes of artistic expression in their space, which evolves according to the creative needs of each project and artist. Some notable examples include the large-scale immersive performances and installations by Tori Wrånes (Garden of Lefthand, 2022) and Molly Lowe (Game on, 2018).
Among their recent projects, Durational Space, an annual event, stands out. Launched a year ago, it presents two diverse unprecedented performance installations, sometimes immersive, with similar thematic explorations. These repeat in a three-hour loop, treating space and time as fundamental aesthetic elements.
Artists Tova Mozard and Linnea Hansander participated in this year’s edition, Durational Space #3 (March 7 – March 23, 2024). Abduction, by Mozard, who is known primarily for her photography and video artwork, unfolded in one of the specially created rooms within Lilith Performance Studio. As visitors proceeded along a dimly lit corridor leading to the performance, they were enveloped by the reflective voice of a woman and an intense earthy scent. Inside the room, these sensations transform into tangible components of Mozard’s work: a mound of soil and the image of a woman lying on a bed projected onto a large screen. At the centre, on this mound of earth, Mozard writhes, rolls, covers herself, and contorts, seemingly grappling with anguish, only to momentarily find relief. The connection between the artist’s movements and the projected video, part of her upcoming Graceland production, becomes immediately apparent. In this video, Mozard lies on a bed, appearing engaged in therapy, embarking on a journey within herself, searching for her roots. A series of questions and metaphorical images punctuate the protagonist’s dialogue. The forest towards which Mozard seems to be venturing emerges as a pivotal moment, hinting at the commencement of an inner quest, possibly aimed at self-discovery. This evokes parallels with Dante Alighieri’s dark forest, serving as a prelude to a voyage in pursuit of meaning, redemption and a deeper comprehension of her own existence.
Hades Dream Karaoke by Hansander offers an equally evocative portrayal of a journey into the unknown. The sensation of descent is implicitly felt as one approaches the performance installation. Descending the wooden stairs on the opposite side of Lilith Performance Studio, one passes through a curtain before entering an unusual club adorned with velvets of various colours, a common feature in Hansander’s installations. Despite the playful atmosphere, there is an aura of solemnity. Behind the counter, the artist, a bartender with an enigmatic expression and a white puppet seems to engage in a dialogue that is simple in form yet complex in content. Drawing on the myths of Orpheus and Eurydice, Hypnos, and Icarus, the three characters evoke the inexplicability of death and the difficulty of accepting one’s own mortality and that of others.
The performances diverge notably in their structure and tempo. Hades Dream Karaoke, for instance, encourages active participation, allowing audience members to join in singing beloved classics like Dream a Little Dream of You by Doris Day or Without You by Maria Carey. Additionally, upon entry, attendees are greeted by a stoic waitress, adding to the immersive ambience. Moreover, even passive observers become engaged through clever tactics, such as the strategic placement of mirrors behind the bar counter. These mirrors reflect their images and seamlessly incorporate them into the existential inquiries posed within the performance dialogues.
Mozard’s performance, on the other hand, has an autobiographical structure, and her spectators are not participants but witnesses to a ritual of rebirth. Mozard’s actions become a visual expression of the emotions the author experiences in her existential reflections. Despite these differences, both performances share a dreamlike dimension, amplified by the cyclical repetition of the three-hour duration. Just like in a dream, in Abduction and Hades Dream Karaoke, symbolic images combine to convey indecipherable messages at a conscious level but intuitively clear. Both create a border space between fiction and reality where subconscious images are set free, opening new horizons of meaning.
Indeed, Durational Space #3 highlights the primacy of intuition over intellect. It acknowledges that dreams can serve as a conduit for experiencing time rather than quantifying it. In other words, Abduction and Hades Dream Karaoke facilitate the experience of pure duration, echoing Henri Bergson’s observation of it being a qualitative journey achievable when liberating oneself from society’s accelerated pace and regimented time. Within these ethereal realms of expression, these performances established their own temporal and spatial framework, allowing the spectator to transcend the boundaries of conventional consumption, embracing the profound mystery of the human experience.
