I was Born in the Old World,
But Now I am Here.
Curated and organized by Su Yeon Lim
I was Born in the Old World, But Now I am Here.
November 2017, Gallery 062, Chicago.
Duration: 1 hour
In this durational performance Nanna Rosenfeldt-Olsen create and disrupt arbitrary systems through a series of ritualized mark-marking actions. Prior to the performance two black chalk squares are drawn on a white gallery wall. In the space two handmade ceramic vessels hang from cotton strings. The vessels are molded with the portraits of Nanna's parents, engaging a tradition with examples from Ancient Greece, Pre-Columbian Americas, Medieval Europe, and enslaved African-Americans during the nineteenth century. The cotton strings suspending the ceramic vessels create a makeshift pulley system using the exposed architectural infrastructure of the performance space
—a former industrial warehouse common of the American Midwest. At the other end these strings are tied to her body. This system attempts to visualize the connection to family and cultural history and the influence of place on these connections.
Over the course of an hour Nanna attempted to blur the boundaries between the two squares with her body. As she moved, the strings hindered my movements and transferred this energy to the floating figures, which sprinkled fine white chalk as they danced. As viewers entered and left the performance space their tracks were left in the white chalk, disrupting the system and implicating the viewer.
Nanna Rosenfeldt-Olsen is an artist (born in Denmark, 1985) currently based in Chicago where she is in the process of taking an MFA at the School of the Art Institute of Chicago. Nanna graduated with a Bachelors Degree in Fashion and Textile from The Design school of Kolding (2010). Nanna explores the duality that lies between the body and the mind through different materials and mediums. In her work, she combines live performance with video, photo and object (both found objects and sculptures) in installations. Fascinated by our responses to the emotional object – things, places, spaces—and the way we attach stories to the object as a result.