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In Preparation for a Psychodrama
BY
Annika Eriksson

In Preparation for a Psychodrama was a work developed from spending time in the north of Sweden, visiting a series of cities that had seen a significant depopulation following the move of major industries. After multiple site visits, research and consideration, I decided to develop a project in Grängesberg, a former mining town. Following a series of site visits and research around the city and region, its history and transformation, I started work with a local amateur theatre ensemble. Through a combination of improvisation and scripted performance, the actors carried out exercises exploring and tapping into registers of frustration. The chosen setting for these exercises was the former Folkets Park, a building which had served as an important meeting point but which had become empty following the exodus of the majority of the city’s population. Placed in a setting shaped by older ideals, they are waiting for a future that is yet to begin. Feverish activities in the struggle to clean up and reconfigure the props from a preceding civilization are interpolated with their fumbling attempts to find new contexts and ways of relating to one another.

Keywords Drama, Performance
Aspect ratio 1,78:1 (16:9)
Prod. format Generic HD-video
Duration 00:14:19
Language Swedish
Color Color
Sound Stereo
Year 2015
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About the artist

Annika Eriksson

Annika Eriksson is originally from Malmö and lives in Berlin since 2002. At the center of her artistic practice is an interest in social interaction: how do we live together, what kind of societies do we create, and what happens in the margins or in the transition from one social order to another? In her work, the social has always involved a key emphasis on the slippages between the one ME into others – with a return to questions of interaction and exchange, circular forms of communication, self-abnegation and empathy. Her project also engages with the relations between humans and animals; of our interdependence, slippages and connection, but also registers of violation, and the animal as a distinctively human projection surface. She has been exhibiting since the early 90s in various biennales and institutions, for example the biennales in Istanbul, Venice, Sao Paolo, Shanghai and Vienna; in institutions such as Bonner Kunstverein, Tate Liverpool, Hamburger Bahnhof, Berlin, Hayward Gallery, London and Moderna Museet, Malmö and Stockholm.

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