- About the residency
Stina is not only aspired to attain the poetic, but she also wants to figure out how to render this
vocally to a public. Stina is not only fascinated by the poetic as an explicit effort to render of the
sublime, she is also interested in accessing it through its backside, through its hypothetical
purposelessness and by confronting poetical aspects that evoke the “real” (even if in turn the last
evoke the fictional). In this residency Stina would like to valorize the medium over the message. She
will try to write from the voice as a manifestation of an estranged body – a “landscape of sensations”
liberated from narration?
Hello reader, at this moment I’m not speaking, I’m writing, but I do hear an internal voice articulating
not only what is being written, but also the reflection, doubt, pause, the fantasy of how your day might
have been? We are only a few words into getting to know each other and I wonder if you already can
hear an internal voice while reading? This summer I read Agota Kristof’s book – The notebook and I
heard voices I have never heard before. Like the sound of a girl moaning of pleasure and joy while
being raped and murdered. Or the existence of the main character’s twin brother who in the end
appears to be made up. Blurring the idea of what is real and fictional this inner voice accompanies the
main character to cope with his violent surroundings in a time of war. I’m interested in how creativity
and fantasy and play is with us, even in the moments of despair and can function as a coping
mechanism for survival.
One time I wrote an essay with the Titel- Incest is like many incorrect things – a very poetical
circumstance. It was a homage to my own chaotic background, where the reality of being unsafe in
my home made me a brilliant navigator in the unstable, unpredictable and absurd.
To move the body, to dance is a place where thoughts could be expressed without words. At the
beginning I rarely spoke. Then one day there was a howl close to a scream but more out of anger
rather than pain. It vibrated from my guts, up the spine, flushing my face red, a tremble of adrenaline
spreading like goose bumps, it was a surprise for my limbs. Since that day I wondered how I can trace
my body through the sensation of vocalizing?
I would like to continue to emerge myself in a deep process of research, experiments with the
extensions and limitations of the body and what a ‘sounding body’ could be.
And would like to look at my voice-body practice as a hyperphysical tool to embrace the vastness of
text. I have a need to generate text and words. Can I from there create: rough dances, potentially
dangerous songs,virtuosic thought and poetry?
I’m not only eager to attain the poetic, but I also want to figure out how to render this vocally to a
public. I’m interested in accessing it though its backside in search of a destabilizing, energetic hybrid.
Where events and situations emerge, but it is also from there, that I construct and deconstruct
persona and fragmented embodiments, that stranger and subvert, exorcize and mock ideas inscribed
into the feminine. Embracing the grotesque and the vulnerable.