As a part of the Trondheim Meta.Morf biennale, the Here To Go symposium strives to formulate art’s relationship to esotericism. That this has traditionally been an “underground” phenomenon is not surprising. Alternative frames of mind and thought processes have seldom been welcomed in the greater scheme of commodified art “worlds” and markets. If that is changing on any substantial levels or not we have yet to see. But it’s clear to see that during the past five years, there has indeed been an influx and increased attention in terms of esoteric themes in contemporary art.
The first Here To Go symposium took place in 2012 and just recently version 2 was manifested. It was, for me as co-curator, a joyous event. Not only because everything went well and everyone was happy about it but because it had become elevated to a higher level of resonance and quality. This very much thanks to main curator Martin Palmer and Espen Gangvik from Trondheim’s TEKS organization.
A soft beginning took place on Thursday the 29h of May, with “rhythmagician” Z’EV performing Yantra Tantra. This is basically a percussive piece/experience performed in a totally dark room. The audience lies on floor mats and is exposed not only to visual abstinence but also to almost automatic aural and vibratory compensations. When the visual dimension is lost, your entire being becomes nervous at first (my own Yantra Tantra Mantra was “Hmm, did I turn off my cell phone properly?”). But after that initial deprivation is settled, you are suddenly and pleasantly immersed in pure vibration. Not only those that set your ears in motion but also in general. Z’EV’s seductive drum sounds take you immediately to a zone of total apprehension. Of what, I don’t know. But if you really allow yourself to relax, things will happen.
Friday the 30th was the evening of the Here To Go performances. Z’EV began by performing together with lovely dancer Alkistis Dimech. Her own brand of Butoh was startling, esthetically surprising and at times frightening. I’m no connaisseur of Butoh, nor of dance in general, but I found the experience very beautiful.
Vicki Bennett/People Like Us performed Consequences – One thing leads to another, which is a funny and psychedelic piece of assemblage in sound and image. Vicki’s use of archival footage is always playful and staggering, and the same applies to the musical scores, in which “mash-ups” and mixes lead you astray in terms of expectations. It’s a fine art to so smoothly mix together disparate sources and make it work. Vicki always succeeds.
Z’EV then took the stage again for a more massive missive of sonorous assault. A huge drum, some smaller gongs, and a metal contraption were both lovingly and harshly treated by this remarkable artist. Beats and syncopations, vibrations and silences played together in a symphony of primitive yet refined sounds. In Z’EV’s case there is never any kind of simplicity involved. Although the sources are few (perhaps only one?), the wealth of sounds and vibrations he conjures up is astounding.
Then it was time for me and Thomas Tibert to secure the perimeters for a Cotton Ferox Uebernahme. This wasn’t any “normal” kind of CF concert (if there is such a thing), but a collaboration with UK performance and visual artist Angela Edwards. Angela’s performance work is always extreme in many ways, and this one was no exception to the rule. As an invocation of Pomba Gira and the related themes of sex and death, Angela’s self-effacing and pain-inflicting activities surely stunned many in the audience. Including myself, although I was sharing the stage with her.
Our musical endeavors were very much improvised and I felt that some things worked out well and some didn’t. But that was the feeling during the actual hour we worked together. I’ve listened to the recording since then, and it’s certainly one of the darker concerts we’ve ever played. It was chaotic and violent and in that way worked really well together with Angela’s sombre yet brutal performance.
Cotton Ferox photographed by Z’EV
Saturday the 31st of May meant symposium time proper. Martin Palmer began by introducing Here To Go and the ideas behind the concept. He stressed that the goal is not to try and manifest or define what’s not there, i.e. some kind of homogeneity in terms of attitudes over the decades, but rather to catch expressions as they pass by and see patterns and signs. Patterns and signs are there for sure, but are often too individualistic in themselves for any kind of “movement” to take hold. I think that’s a good thing.
I began the day with a lecture on Paul Bowles and “expat magic” and felt it was well received. I’m a huge admirer of Bowles’ output and attitude, and it felt good to be able to sum up my impressions so far. One key to Bowles, according to me, is the sentiment of getting away. Not as mere escapism, but to contrast your own background and personality with something completely different. This in order to unleash new forms of creative processes that would be hampered within the confines of “home” or the already well-known.
Vicki Bennett then followed by talking about her work and methods, techniques and attitudes. And Z’EV continued by focusing on vibrational aspects of his work. No one could be more initiated in this field than Z’EV, so his talk was very interesting to listen to.
Alkistis Dimech, one half of the wonderful publishing company Scarlet Imprint, talked about Butoh and witchcraft, and the other half, Peter Grey, then continued with his thoughts on “apocalyptic witchcraft”.
Angela Edwards talked about her work as a painter and sculptor, but mainly focused on the performance art, its underlying themes and backgrounds.
Jesper Aagaard Petersen, a Danish academic working in Trondheim and an authority on contemporary Satanism, delivered a very interesting talk about the Danish “Anholt affair” and its function and effects on the contemporary Scandinavian psyche. Jesper’s enthusiasm promoted and encouraged a very Discordian sense of both humor and intelligence.
The day then ended with a panel and Q & A situation, which brought out stances and distances vis-à-vis environmentalism, magical terminology, the Internet, the apocalypse, and what one can do about it all as an esoteric or “magical” practitioner. No definite answers or suggestions were given!
One intense evening and one information-packed symposium left audience and participants alike exhausted but elated. Festivities ensued and I think everyone involved could agree on that Here To Go 2014 was a great success in many ways. Extra special thanks are due to Martin Palmer and Espen Gangvik for making this amazing event possible.
I was also very happy to sign a contract with Scarlet Imprint for my book Reasonances while in Trondheim. To be included in their great line of authors and beautiful editions made me very excited (and I still am!). News on this project will be posted at this blog as things progress.
The catalog for the symposium with texts by all the participants will be available from TRAPART on June 10th.
