Here is an overview of some projects that I have done or been a part of doing, which, though they often relate to the Researtch, still would be better considered as engagements and experiments for their own sake.
The Rites of Eleusis – The Rite of Saturn (as done by Club de la Faye) 2010
As a continuation of the work with the Magus Theatre in 2005, I took up the Rites of Eleusis (Crowley 1910) again in 2009, consulting an esoteric expert in order to make a detailed analysis of the symbology of all seven rites in the play. From that analysis, I scetched the succession of each rite as a performance, through which the correct symbology, transposed into a form that allowed greater artistic freedom for the work, was sown into what would become a series of productions in different genres, each genre chosen depending on the nature of each successive rite. The project so far is unfinished, or rather, not begun: the first rite, The Rite of Saturn, takes place “above the Abyss”, hence not of “this world” and is therefore manifested as a first subtle impulse, in the form of a film. The script is ready for further activation at the right time. By making the analyzis and the scetch, and then manifesting this first rite, I reached a culmination regarding the thirst to work with the Rites of Eleusis, and went from there deeper into the collective work with Club de la Faye, my Master-education, and other things related to my Researtch at that time, such as Brazilian Jiu-jitsu and tantric studies.
“Aleister Crowleys Rite of Saturn as done by Club de la Faye” was first screened to an audience in Copenhagen, Denmark, at Lygten Station (built 1909) on the 19th October 2010, on the minute exactly 100 years since it´s original premiere at Caxton Hall, UK. The work was done with myself directing, and in collaboration with Fredrik Lindgren (camera, post-production) and members of CDLF (Birgitte Klæbel, Gry Worre Hallberg, Helena Amalia Giannakos, Iwona Rejmus, Marie Cecilie Arendt, Peter Tommila, Sifka My Thrane, Spaze Elevkjæer, Ulf Hansen), and with special appearance by Charlotte Fogh and Jan Fogt.
Den Perfekte Storm – 2014
Den Perfekte Storm (”The Perfect Storm”) was the name of the Opening Event of the Smag Verden (”Taste the World”) festival, which took place along Prags Boulevard, Copenhagen, in a collaboration between the intensely creative work- and makerspace PB43, The Town of Copenhagen, Copenhagen Cooking, and many organizations from Amager, especially in the area around Prags Boulevard.
Den Perfekte Storm was reflecting the core themes of the festival – multiculturalism and gastronomy. It was created through a broad collaboration of artists and institutions present in the area, with myself as theater pedagogue and Framesetter (a term from the collective work-methods of Club de la Faye). The audience was offered a progressive art-piece, involving several ingredients, including live music, Oriental, Brazilian and contemporary dance – and avant garde performance. The art-piece, which had a duration of about twenty minutes, was created by inspiration from the gastronomical principles used at Restaurant Noma – Time and Place – in key with said gastronomical principles, did we honor the concept of multiculturalism, by bringing forth a new taste directly from the soil of creative activity, that existed naturally in the area around PB43. The underlying motivation for manifesting Den Perfekte Storm, was to offer a genuine piece of art to the audience, that would infuse the festival with movement and good vibration, through a process which inspired creative synergies in the area to activate and activate each other.
Cast, consultants and collaborators:
Musicians: Andreas Bennetzen (Composing, also on vocals and electric upright bass), Afonso Corrêa (Percussion), Michael Aslanes (Percussion). Dancers: Inessa Christensen, Louise Yaa Aisin (also on vocals), Marianne Mogensen, Simone Dias Vieira Madsen, Lise Kofod. Performers: Birgitte Klæbel, Björn Jono Ganzer, Casper T.K Jensen, Hanne Westerberg, Iwona Rejmus, Linette S. Christensen, Rasmus Knutzen Nielsen, Stine T. Andersen. Wild Cards: Aleksi Koskelin, Sophia Måge. Consultants: Kirsten Delholm (advice on full picture and details), Madeleine Kate McGowan (practical work with style and the “MA”). Support: Frank H. Wederkinch (advice on logistics), Fredrik Lindgren (documentation), Gert Rosenkrantz Fuglsang (Kulturhuset Prismen), Inga Gerner Nielsen (session on “image to flesh”), Meire Gde Oliviera (great support on choreography), Per Lykkeskov (Øens Stilladser), Steen Andersen (Arbejdsfælleskabet PB43), Tommy Ejlund Laursen (support on guitar), Zheni Banova (support on coordination and PR), Peter Tommila (Framesetter).
The Cooking Pot – 2014
Den Perfekte Storm involved a cooking pot, which was the key prop in the show. This item, in turn, represented the underlying, long-term intention with the project – that of activating creative synergies in the area around PB43. The cooking pot was therefore also a container for the gathering of input, and remained on the site as a temporary sculpture for the rest of that year. On the cooking pot, was listed the names of the institutions in the area, that were supporting the idea, and that were interested in taking input and nurturing creative synergies with the many other inspiring things, that was brewing in the area at the time. The sculpture was a fix-point, in a continuous activity of other nudging measures to that end.
However, the area where PB43 had it´s home on Amager, was soon sold to a company instead, and would by spring 2015 get teared down, in order to host a storage hotel – promptly making the 140+ creative individuals at PB43 to leave the area. This brought a natural end to the work put into the area by me, which began with the making of The Perfect Storm.
Orthogenesis (!?) 2014
In the advent of PB43 soon moving out to give room for a new storage facility, I engaged Mads Bech Paluszewski-Hau (Obernkarbi) and Anders Børup (Synsnerve) and developed and manifested together with them, the ceremonial performance “Orthogenesis (!?)”, centered on the destruction and recollection of the Cooking Pot, which had to be removed from the area by the last day of December that year. This was for me the most constructive way, to give the attempt to establish further creative synergies in the area, a good funeral.
Instruments for destroying steel, projected video-puzzles and poetry connected, to produce sensations for eyes and ears, hearts and minds. And there was glögg for the audience to drink in the cold winter-night.
Sponsored by Amager-Øst Lokaludvalg, Kulturhuset Prismen, Arbejdsfælleskabet PB43
Performance Ritual with Yaa Lioness 2015
Created and performed with Yaa Lioness, as a culmination of a series of therapeutic sessions by her on me during the same spring, and as a practical preparation for the then upcoming fourth journey to Bali.
LJUS LJUDER 2018
In this working, I applied elements from my Researtch (mainly in relation to immersive performance and/or ritual work), in a strictly Museal, installation format, at the HYPER-part of the OVERGANG exhibition at Museum Ovartaci (Risskov, Denmark) during the summer of 2018.
In contrast to Towards Personal Growth, the working was an experiment with applying direct magical thinking to my Researtch, in the construction of magic potentiality in a portal of Art.
The result I defined as an interactive non-performance art installation and immersive hyper-sigil. This partly in a tribute to the emerging meme of Occulture. Partly, as a way to achieve further transformation and growth, and to try new things, following the white rabbit.