Louise Jacobs
Lament over lost sites (Tears won’t be the judge of me), 2021
En stedspesifikk lytteperformance i bevegelse med 10 sanger og 10 sites i nærområdet av NBF som taes opp med lyd.
Oppmøte: Helgesensgate bussholdeplass
Varighet: ca. 70 min
28. august kl. 18.00
18. september kl. 14.00
Finissage / live performance på trappen til Norsk Billedhoggerforening 17. okt. Kl: TBA
Reiseplan og spilleliste i kronologisk rekkefølge
Bussholdeplass mellom Carl Berner og Munch-museet/ Helgesensgate: COLIN STETSON - SPINDRIFT 06:27
Munchmuseet strømboks foran inngangen:
CHET BAKER - I GET ALONG WITHOUT YOU VERY WELL 03:00
Fotballbane(Tøyen):
ROBERTA FLACK- BALLAD OF SAD YOUNG MEN 07:00
Gamle Tøyenbadet:
PHILLIP GLASS - AGUAS DE AMAZONIA 07:25
Klippe i Ola Narr parken:
DAVID BYRNE - SOFT SEDUCTION 03:01
Parkeringsplass Ola Narr: MICA LEVI - LOVE 05:09
Carl Berner(rundkjøring):
KAREN DALTON - ARE YOU LEAVING FOR THE COUNTRY? 03:15
Carl Berner T-BANE:
SCOTT WALKER- ON YOUR OWN AGAIN 01:45
Jesu Kirke skilt:
MARY HOPKIN - AVE VERUM-CORPUS 03:13
Huset til NBF/trapp:
THIS MORTAL COIL - TIL I GAIN CONTROL AGAIN 04:43
(NO)
Louise Jacobs arbeider med handlingsbaserte iscenesettelser og tekst i det offentlige rom. I hennes virke er kroppen et speil på intime og gjenkjennelige transformasjoner. Performance er for henne en mulighet til å arbeide stedsspesifikt i møte med et publikum, hvor selve sårbarheten som oppstår gjennom stemme, bevegelse og props står i sentrum. Hun søker etter sammenhenger mellom personlige og sosiale opplevelser. Jacobs’ praksis styres av en tilbakeskuende affekt og et språk mot det tapte; ofte situasjoner og mennesker knyttet til hennes eget liv.
Lament over lost sites (Tears won’t be the judge of me) er et performativt uteromsprosjekt til Skulpturtriennalen 2021. Performancen handler om forholdet mellom tap og forandring, i tråd med triennalens tematikk om det «evigvarende» med henvisning til Norsk Billedhoggerforening’s nærmiljø, i et geografisk område som mister signaturbygg og går igjennom et identitetsskifte. En overveldende trafikkert rute, stemmer, musikk, pust, støy og tårer vil danne et reisende lydlandskap. Publikum har muligheten til å følge denne reisen fysisk eller lytte til den live som lydinstallasjon.
Louise Jacobs (f. 1987, Oslo) bor og arbeider i Oslo. Hun er utdannet med MFA fra Kunstakademiet i Oslo 2019, og BFA fra Rietveld akademiet i Amsterdam og Staedelschule i Frankfurt. I årene etter endt utdannelse har Jacobs hovedsakelig jobbet med performance og tekst. Som hovedrolleinnehaver i sine egne arbeider og liv, blir små øyeblikk og minner, spesielt de som oppstår ubevisst, dramatisert og de-kontekualisert i performancebaserte prosjekter.
(EN)
Louise Jacobs works with text and action-based stagings in public space. In her artistic practice, the body is a mirror of intimate and recognisable transformations. Performance art gives her an opportunity to work site-specifically in encounters with a public. The vulnerability that emerges through the voice, movement and props is central to these situations. She seeks connections between personal and social experiences, and lets her practice be steered by a retrospective affect and a language about that which is lost – oftentimes situations and people with a connection to her own life.
Lament over lost sites (Tears won’t be the judge of me) is a performative outdoor project made especially for the Sculpture Triennial 2021. It deals with the relationship between loss and change, thus also with the triennial’s theme of ‘the perpetual or everlasting’, with reference to the neighbourhood around the Norwegian Sculptors’ Society – a geographical area that is losing signature buildings and undergoing a change of identity. A heavily trafficked road, voices, music, breathing, clamour and crying will coalesce into a travelling soundscape. The public have the opportunity to follow this journey physically, or to listen to it live as a sound installation.
Louise Jacobs (b. 1987, Oslo) lives and works in Oslo. She earned an MA from the Academy of Fine Art, Oslo (2019) and a BA from Gerrit Rietveld Academie in Amsterdam and Staedelschule in Frankfurt. Since completing her education, Jacobs has worked mainly with performance and text. As the main protagonist in her own works and life, small moments and memories, especially those that arise unconsciously, are dramatized and decontextualised in performance-based projects.
Fra siste stopp under performance 28.08 på trappen bak huset til NBF:
THIS MORTAL COIL - TIL I GAIN CONTROL AGAIN
My love, my dear, my treasure, my wonderful creature, my David, my Byron, my perfect companion, my pickpocket seminal thief, what is it left to say to you other than that your face makes me vacuumed, lonesome and weak. It treats me insane, it facilitate the uttermost paradox - how love always treats the strength it feeds on. Bearing in mind what we owe the stairs we first met; small leverages, petite steps we enjoy while it lasts, here, around the edges, the bodies around our steadfast heads. I known you forever. I known your smile since the day decided it was day and never night. It brought us back to the end. Through the ages of reflexes and moments of stooping, we find the particles that constitute our shape. Sometimes I think about how beautiful your eyes are and how I still carry the hope that we were made for terracotta, bronze, marble and plaster, and be semented into sculptures as a whole; monuments dedicated to lost faces, lost dreams, drowned at sea and found by archeologists in the nearest future, where someone will remember my neck or a knee. Where someone will find your foot or elbow at the bottom covered with seaweed and algae. Where the sea laid a comforter around us and the salt was left to preserve whatever there was to preserve. On the shores, remember? Not far from these steps, we rendez- vouz and become lovers again, and I sit alone and stare into the void, only to retain the sacrilegious, the appetite for more and a fragile palm, telling the lifeline of someone else.