Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
After a period of exhaustion symptoms, manifested both physically and mentally in me, I see a parallel to a planet – and society – in exhaustion. The way we act towards each other and all other living will affect us all.
In Submission 360° we see a body that is slowly falling towards the ground. We are all constantly falling to the ground. If it weren’t for gravity, we’d be falling into space. We are falling each day, and every day cells die, our skin is falling, slowly our minds and tissues are falling into an inevitable decay – or transformation into something new. We are often unaware of this, but we are still submitted to this cycle. Eventually we are coming back to where we came from (according to some creation myths), to the ground and to the soil. Zooming out, we are also facing a rapid death of species with a much warmer climate, and soon this planet will not be for us to live in anymore. The water puddle in the film might be a memory and a portal into what used to be here long before. Maybe this is the back door to meet The Water Sprit [that you meet in the AR work The Essence]?
Åsa Cederqvist (b.1975) works has a performative foundation and is expressed through video, sculpture, installation and performative add-ons, so-called extensions, and in an interface containing all of those elements. Her work often portrays bodily, interpersonal and material transactions during constant on-going creation and valuation. Through negotiations between virtual/ digital and physical states, Cederqvist strives to complicate the viewer’s reading to embrace a fluidity and yet presence. For the past five years, Åsa’s practice has explored co-creation processes as well as the conditions and possibilities of playing – whereby she explored presence, vulnerability, trust and a kind of everyday magic. She has explored how one can create new materials and approaches that could work sustainably and critically – and at the same time, challenge and stretch methods, aesthetic hierarchies and expectations. One result of this is the film (and the spatial presentation) Mama Dada Gaga, as well as the latest exhibitions Some Kind of Metabolism and In Natura. 2004-2011 Åsa worked as a film director of commercials and music videos, 2010-2020 as a lecturer in textiles and art (Konstfack).
