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Victoria Skogsberg

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Headbang (installation shot)
Headbang (installation shot)
(Video installation)

Within the dimly lit confines of a grey room, the Headbang installation holds four video screens. Three screens show some kind of constant stream of jagged parallel lines, representing some kind of measured activity. The loud electronic buzz from the monitors builds up a tension and the austere gallery environment implies that the audience is also involved in conducting and recording this test.

Then the sound of movement from behind, the fourth screen shows the artist wired up to an EEG machine, wide eyed and strapped up, wrenches her whole body forward, like a headbanger at a rock concert.
Headbang (installation shot)
Headbang (installation shot)
The three monitors register the corresponding violence in a mountain like outburst on these sensitive lines. Like a minimal experiment this installation uses our curiosity with the unknown, to create a tension of something strange taking place by playing with the ability of the human mind to want to believe in the extraordinary.
White Light (installation shot)
White Light (installation shot)
White Light (installation shot)
White Light (installation shot)

“Some believe that death is annihilation of consciousness; others believe with equal confidence that death is the passage of the soul or mind into another dimension of reality.”

An investigation into the unknown runs through Victoria Skogsberg’s art. Based on research and issues surrounding the paranormal, her art takes the form of drawings, photographs, video and sound, to create atmospheric installations.

In her recent installations Skogsberg has used the appearance and disappearance of the human figure in wall drawings and video works, to suggest a phenomenal presence in the space. Through examining ideas associated with spirituality and belief, science and experience, her intention is to alter the viewer’s comprehension of the world and concepts of reality, by looking beyond the ordinary, through presenting suggestions of the unknown.
He Notices That He Still Has a Body
(Pencil drawing on wall/floor)

The work suggests a presence of a sudden departure from the room, or perhaps even a presence in a halted moment in the process of departure. The room is physically empty except from a shadow of a chair in the form of a pencil drawing on the wall down on the floor. There is no chair in the room.
He notices that he still has a body
He notices that he still has a body
White Light
(Video projection)

In ‘White Light’ a huge screen shows what looks like a hospital bed, empty and alone. As the camera zooms in, a high-pitched whine builds, and flashes of light jar you into blinking. As the bed approaches, the screen fades to white, at which point you are presented with the opposite view, of a ceiling, in a film-like quality. Again the camera moves, this time ascending towards the ceiling-towards the light. The experience is once again back to the perspective of looking down onto the bed.
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