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Fiveheaded Boyschoir - Official
BY
Lars Siltberg

Five heads share the same body and consequently form a group and an individual at the same time. His presence is given by the low key action of the charachter(s) and the performative outlet is much like a combat group, using efficient practice for costumary aims and a controlled pattern of movement.

In the longer sequence Official the task is to sing, or rather to practice scales and stamina. This ritual is their daily training routine, performed in order to finetune the creature as being a musical instrument. In the shorter sequence Private the creature is set in a semi-prone position on the ground, studying the faces of himself/theirselves. Are we I? Or are I we?

Keywords Body, Music
Aspect ratio 1,33:1 (4:3)
Prod. format Generic SD-video
Duration 00:05:01
Language No dialogue
Color Color
Year 2002
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About the artist

Lars Siltberg

Lars Siltberg was born 1968 in Stockholm where he lives and works. Siltberg works foremost with video. Recent commissions and exhibitions include: Extras, permanent photography- and videoinstallation at the University Collage of Film, Radio, Television and Theatre in Stockholm, Miro Foundation, Barcelona, Beauty of failure/failure of beauty by Harald Szeemann, Koldo Mitxelena Kulturene, San Sebastian, Effort by Juan Antonio Álvarez Reyes, 49:th Venice Biennale, Plateau of Humankind by Harald Szeemann and Milliken Gallery, Stockholm.

Siltberg’s works consists of researches within the broad field of human existence where an interest in psychological driving forces like willpower and cognitive needs is merged with physical challenges and bodily reconstructions. This is indicative of Lars Siltbergs analytic approach, his way of choosing a subject and studying it within the parameters of a strictly defined set of circumstances.

His method has been called artificial empiricism. The subject can be seen as the phenomenology of experience – the way in which we engage with the world through our senses. In Siltbergs work such an equilibrium can exist for just a fleeting moment. Whatever synthesis the artists aims for, his artificiall constructs cannot retain it. This gives his work the character of an infinite struggle. In the end this might be the best way of approaching it: as an attempt to investigate a set of empricial ”What if?” – questions imagined by the artist. After all, empiricism can be the method of advanced scientific (and in this case artistic) research – as well as the most basic form of human interaction with the world.

/Frans Josef Pettersson 2004

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