Ann-Sofi Sidén
[4] The visit made headlines in the Stockholm evening press,[5] and led to an appearance by Sidén on a Swedish TV talk show, Ikväll, hosted by Robert Aschberg.
Under the guise of looking for art to take with her on her imminent space travel, she engaged several gallerists in conversation, one of whom assisted in reapplying mud on her body.
The digital archive that is part of the museum contains over 4,000 articles, consisting of drawings, poems, videos, films, and sculptures that Sidén made about QM during her career.
"[10][11] Sidén continued working with the raw material collected from West 9th street for a number of years, focusing on madness as a creative power.
Sidén explains her own reaction to the advertisements that she found in the journal: Glancing through some of the magazines it struck me that here was one of the most blatant forms of subliminal marketing.
It occurred to me that exactly like religion, the psychiatric science--in spite of its very brief history--had its fair share of structurally implicated madness and violence connected to it.
The camera views include the front desk, corridors, and storage closets, and they also go into the rooms, revealing dozens of guests involved in activities such as reading a newspaper, going to the bathroom, masturbating or having sex.
The shelving system contains hoses and helmets, and the surveillance monitors show firemen eating, showering, sleeping, exercising and responding to an alarm.
[20] [21][22] For a group show at the Wanås Foundation in southern Sweden, Sidén made a bronze, self-portrait, fountain sculpture, Fideicommissum (2000).
[23] The title refers to the institution of Fideicommissum in Sweden, where the first-born son inherits the familial state in the aristocratic class.
For the residency, she made a journey on horse-back that lasted 25 days, and ended at the Lyndon B. Johnson Space Center in Houston, Texas.
3 MPH is a kind of slow road movie where a constant movement from right to left displayed over 5 screens portrays the numerous people I met along my path, and a woman, myself, on a horse, making an anachronistic journey on the little piece of public land between the highway and the fences dividing large properties of open land in Texas.
The sound of hoof beats on asphalt takes us from the black and Hispanic inner city of San Antonio, east to the modern all white suburbs of Houston.
In between those two modern cities, the cowgirl figure blends in naturally along vast stretches of open cattle and farming landscape, riding through hidden towns that look like the source material for the legendary Western film sets that Hollywood now has torn down to make room for space film sets.
[26] In Passing is a spatially complex video work in which the viewer is encouraged to move through the installation in order to experience all parts of the narrative.
On two monitors and four large projection screens, we follow parallel stories featuring the woman and the child after their separation at the hospital.
In Passing is equally much a calling into question of our human failings in the present moment, and a test of the strength of the bond between children and parents, the vulnerability of the abandoned, and the pain of separation.
The resulting video piece, with 4 large monitors mounted vertically in the windows of a multi-story building in Reggio Emilia, shows the participants sliding down the pole after announcing their name and place of birth.
Sidén and a colleague at the Royal Institute of Art embarked on a 38-day, 720 km horseback ride from Stockholm to Wanås, in the south of Sweden, in the fall of 2009.
Sidén and composer Jonathan Bepler collaborated on "Curtain Callers" from 2009–2011, during which time they filmed and recorded sounds at the Royal Dramatic Theatre in Stockholm.
The material consists of the backstage process of a working theater, including stage hands, cleaners, actors rehearsing in dressing rooms, and script read-throughs; also included in the material is a live event held at the Royal Dramatic Theater in April, 2010, when over 600 choir members in and around Stockholm were invited to sit as audience members and perform under the conducting of Bepler.
