Big Bag at Moderna Museet, Stockholm
with Nico Arauner and Barbara Klawitter
August 30, 2016
A piece dug from quarries, shale pits, junk shops. The soil shook off, a rusted pant, a plain geode, a planar dress replanted like a bulb. Mining the secondhands, sieving Humana. We approach these garments as objects necessarily found, used, carrying histories. Ripe as natural materia, such pieces are already in a state of telling decomposition.
In the styling and reconstruction of the clothing, precision matters less to us than the grammar of erosion. Sun beaten into a wrinkled face, bleached. The torn-out security tag taking with it a pebble of cloth. We take “worse-for-the-wear” as a method, decay providing a type of control different than that of sewing, surging.
Rather than a brand or unified entity, we are a group of three artists who find joy in creating together. We play. A logo, it’s gloss or mask, wouldn’t represent us appropriately. Neither would a portrait of any of us as individuals. Treading the threshold between self and other, the source of these garments demands that they be performed. As we take fashion as a zone of intimacy, it follows that the performance must be sensory, inclusive, and engaging towards its audience. The proscenium, gallery wall, or catwalk has been swapped for a mudpit; distinctions between art and fashion, audience and performer, group and individual are tangled in loam and limb.
Text by Nat Marcus
Photos by Isak Berglund Mattsson-Mårn
Big Bag at Moderna Museet, Stockholm
with N. Arauner
and B. Klawitter
August 30, 2016
In the styling and reconstruction of the clothing, precision matters less to us than the grammar of erosion. Sun beaten into a wrinkled face, bleached. The torn-out security tag taking with it a pebble of cloth. We take “worse-for-the-wear” as a method, decay providing a type of control different than that of sewing, surging.