/Transcendmagazine#0

ONLINE EDITION

Made in Tromsø, Norway 2017

 

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//Phuture Club

"greetings from the liminal" - poem, program music and drawing by prunk möbel

Featured artists:

Viktor Pedersen/

Sara Rönnback/

Daniel Slåttnes/

Travis Egedy/

Prunk Möbel/

Damla Kilickiran/

Sigrid Bendz/

Ørjan Amundsen/

Simon Daniel Tegnander Wenzel/

Anne Ødegård/

Tokyo Twins/

 

 

 

 

 

 

 

 

 

There is glory in failure. Witches, thieves and beautiful souls will always find a way to resist. In the mysterious, we can transcend our physical dimension, to set new boundaries for our lives.

 

In all the information that is being produced and processed, some aspects remain invisible. But invisibility doesn't prevent it from existing.

 

All our thoughts and wishes are lurking under the surface. Expressing oneself visually can be used as a method to transfer the unmanifested into our reality, as a form of magic. To create is an act where the subconscious can be molded into something material.

 

The visual language holds many mysteries. When our frame of reference expands, invisible phenomenas can be revealed and become integrated in what we call reality. Every thought, each action, is a sprouting seed that grows, unfolds and becomes in the process. Our world is an elastic mass that can be re-shaped, hacked, and challenged.

 

TRANSCEND is about art, technology, fiction, witchcraft, the subconscious, dreams, and everything that hides in-between realities.

Anne Ødegård

Simon Daniel Tegnander Wenzel

 

 

 

 

 

 

 

 

Black Burning under the Great Moon

 

 

 

 

November 14th

Västra Ämtervik

Weather was quiet

The moon was full

 

 

 

 

 

 

 

 

 

 

 

What specifically happened

 

On November 14, we burned clay in a so-called black burning. Twigs were from trees we had cut down earlier in the autumn which needed to be cleared away so they didn’t become nests for rats and hedgehogs. So, from several aspects this burning needed to happen. There had been talk of a coming supermoon on the news so we thought it was appropriate to use the day for animating objects. We wrote down invocations for conditions we wanted to conjure up on pieces of paper. The paper was later placed with clay amulets in a pit and covered with sawdust. The pit was filled over with even more sawdust and covered with a metal plate. Over the plate we piled twigs from the tree felling and started a fire that we kept going well into the night. The embers didn’t extinguish before the next evening, two days later we dug up the amulets.

Sara Rönback/Daniel Slåttnes

Sara Rönnback/Daniel Slåttnes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Incantations

 

* To capture life, a series of passing meetings, passing thoughts and passing memories.

 

* In order to feel much, feel everything. Feeling the bad with the good.

 

* For eagerness, desire and excitement. Immersive, like a tunnel vision.

 

* Excluding the head, only feel the body. Where are the fingers, where is the stomach, where is the wee-wee?

 

* To exclude the body and only have room for the brain. Thoughts that swarm, bolts and chafe, just have to get out.

 

* Pride comes before fall, no problem, I just jump.

 

* Humbly, I ask for the strength to be generous, patient and humble. By this I accept myself in relation to others.

 

* Like clouds emotions glide across the sky. Inside my mind it is cozy.

 

Sara Rönnback/Daniel Slåttnes

Sara Rönnback/Daniel Slåttnes

Sara Rönnback/Daniel Slåttnes

 

 

 

Why?

 

We think that to create amulets are not far from the art practice. As artists we conjures substance and manifest meaning through objects.

 

In the ritual we animate objects with energy through incantations and cure it in fire.

 

We have both been working on how we can look at objects as subjects in a collaboration. Within animistic cultures, there is no doubt that all living things have intentions, a collaboration with a material there would be no sensation. Among sculptors, it is no radical notion too, most will attest, you must know your material to be able to process it according to your visions. Within western culture research has conventionally difficult to imagine a non-human consciousness, but in recent times we have seen a shift where traditional Western thought are challenged by nature’s inherent knowledge.

 

Could things have purpose?

 

Our intentions negotiate with the world with our senses. We see and feel on the clay and it conform in varying degrees from that we have in mind. Maybe fundamentally, senses are ways to feel on the world. We feel sound waves on the eardrum. We feel the meeting with the world on the skin. Eyes are organs that knows very specific forms of the world, light waves. Our brain converts them to appearance. The clay lump has no senses, at least not in the normal understanding. But it feels with the body it has available. It has no brain that can detect the body's sensory experiences, but the substances it consists of will behave according to its own will, and that will influence our actions.

 

What if I give it a sense. I with my psyche give it a meaning.

 

Sara Rönnback/Daniel Slåttnes

 

 

 

 

 

It may not matter if it can be proven scientifically that a different consciousness than we envisage is active in the world with us. Maybe it is really just a question of our psyche - to decide for believing in the material’s existence and will. Can our way of seeing the material alter our way of relating to our cat, or to each other?

 

With technologies such as social media, video games, VR and the like, we have the opportunity to choose which reality we will relate to.

 

As the Ancient One says it in the movie Doctor Strange:

"The language of the mystic arts are as old as civilization. The sorcerers of antiquity called the use of this language spells. But you can call it a program, the source code that shapes reality. We harness energy, drawn from other dimensions of the multiverse, two cast spells - to make magic. "

 

The natural use of programming language might have made it easier for the internet generation to deal with alternative realities even in the western world. With programming and VR glasses we can physically affect the brain to take part of another reality. The ritual and the amulet is like the programming and VR glasses. As these technologies the ritual makes space for the amulet in the mind. The amulet is part of the mind, but in the world. As a reminder of faith in the object's power to change.

 

There is not only one reality. What we perceive of the reality out-there depends on the psyche’s notion of reality. So why not take the chance and play with it.

Sara Rönnback/Daniel Slåttnes

Sara Rönnback/Daniel Slåttnes

Sigrid Bendz

Viktor Pedersen

Damla Kilickiran

Damla Kilickiran

Damla Kilickiran

Damla Kilickiran

Damla Kilickiran

Simon Daniel Tegnander Wenzel

Anne Ødegård

Anne Ødegård

Travis Egedy

Travis Egedy

Travis Egedy

Travis Egedy

Travis Egedy

Travis Egedy

Simon Daniel Tegnander Wenzel

Viktor Pedersen

Prunk Möbel

Prunk Möbel

Anne Ødegård

Ørjan Amundsen

Simon Daniel Tegnander Wenzel

Tokyo Twins

Tokyo Twins