Mårten Spångberg & Krõõt Juurak
The Force The Movie The Vague – double speak circular field (2011)
In the autumn 1984 a criminal incident took place in Göteborg. Not only was the crime unusually violent it was also an event that made visible submerged communities, currents and fields of vision in the urban texture.
The Force the Movie the Vague revisits this moment as a departure point for a series of interventions that on the one hand speculate around the possibility of talking to aliens and on the other takes an interest in the production of visibility in relation to ethics. The interventions can be seen as theatre pieces but are set up as low budget film-shoots, thus referring to live studio-audience TVshows. It implies a play with formats in respect of production and documentation, levels of fiction and narrative twist, aesthetic consistency and contingent materials.
The myoptic subjectivity talks to aliens, of whatever kind, in respect of probability, spatial-temporal coordination and identity. With both an implicit and explicit aim of inscribing the alien into an already established field of knowledge, hence incorporating the alien into the state apparatus. In an ethic based on difference the nomadic subject, alien or war-machine must either be neutralized i.e. become human or extinct (either through a sort of exorcism or the alien suddenly becoming reasonable and returning home). Such politics further correlates to modes of production bundled together as capitalism, and the production of visibility a matter of affordance and investment. Talking to aliens becomes an issue of distance and direction, a mere issue of measurement (openness). Instead of attempting to »understand« (length) a non-mypotic subject, instead engage through a circular field, as an encompassing embrace of speculation. The circular field opens its arms from zero towards all contingent (width) movements, it opens to the absolute and alien field of zero (incompatibility) into a circular field (O). Talking to aliens detaches itself from identity and location and embraces the alien as alien (in-human), or as a subtractive power that withdraws and maintains itself as weird. Due an ethics based on particularity forms of visibility loses capacity, both state apparatus and war-machine made obsolete and substituted with traumatic texture (the open).
This is not only a way of talking to aliens but constitute an entire mode of thinking, creating and producing visibility. This double speak of subtraction constitute the seed of apocalypse, it engages in irreversible schemata, it is a schematics of speculation beyond imagination.
Biography Born i Sweden 1968, lives and works in Sweden. Mårten Spångberg is firmly grounded in performance and choreography but with a body of works that almost obsessively contest notions of discipline, practice and production both concerning expression, methodology and political relations. Together with the architect Tor Lindstrand he initiated International Festival overlapping temporary architecture with social choreography. In 2010, in collaboration with Krõõt Jurrak, he presented his first solo exhibition in Sweden Everything Under Heaven Is Total Chaos at Göteborgs Konsthall. The Force The Movie The Vague is an open and ongoing project shared with Krõõt Jurrak.
Photo: Hendrik Zeitler