Body to Body

Before even seeing the work of Åsa Norberg and Jennie Sundén currently exhibited at Tensta konsthall, I am intrigued by the title 'Body to Body'. As is mentioned in the exhibition text, the title becomes noticeably charged in these times of social distancing, when physical contact with others inevitably entails certain risks. I assume, however, that the title is not mainly referring to the physical proximity of bodies, but to the ability of our bodies to work side by side in the act of collaboration. Meaning, for instance: exploring together, learning together, performing crafts and making art together – precisely what artist duo Åsa Norberg and Jennie Sundén have been doing since 2005.

“The Little Gallery” as well as the café at Tensta konsthall are currently more colorful than usual. On display are several mixed media textile works. Some of the materials used are rather unexpected and allude to everyday-life, such as terry and fleece. Most works depict a figure of some sort – a few of them a bit abstract while others are more figurative. Additionally, there are two sculptural works functioning as tables around which one is invited to sit. I am told that the tables are designed after the American educator John Dewey's model for an ideal school. Dewey is said to have coined the term "learning by doing", a way of thinking that seems to permeate the entire artistry of Åsa Norberg and Jennie Sundén.

The figures depicted relate to several different educators and thinkers, introducing the visitors to important names in Pedagogy such as Rudolf Steiner, John Comenius and Friedrich Fröbel. However, the connection to Pedagogy does not seem obvious at first glance, which is presumably also the point – rather than providing the visitors a clear and fixed answer, the artworks provide us with clues. Embedded with layers of different perspectives, the works require our full attention to be deciphered. For instance, one work is showing a white figure against a blue background, depicting a character from H.C. Andersen's story The Flax. The figure is inspired by a specific edition of the book from 1941, illustrated by artist Bart van der Leck (one of the founder of De Stijl), in which the story is made up of squares in the three basic colors of yellow, red and blue. Constructing and building things out of geometric shapes is in turn a common pedagogical exercise, presumably used for the first time by teacher and mathematician Friedrich Fröbel (1782-1852). As I’m reading and learning more about these foreground figures in Pedagogy, it seems to me like something that should be common knowledge. Yet, I can’t remember learning much about it in school. Thus, these clever and playful artworks, accompanied by the text, seem to have a particularly important function as pedagogical tools themselves. Functioning as keys, they evoke the curiosity of the viewer and open doors to various perspectives on learning.

The work of Norberg & Sundén feel timely in several regards – they are certainly not the only contemporary artists touching on themes such as materiality, craft and collaboration. Furthermore, as Maria Lind points out in a text written for their exhibition last year at CFHILL, artists have shown an increasing interest in radical pedagogy since the 1990s. There is in fact so many artworks and projects embracing these questions, Lind writes, that a new term has been adopted: “the educational turn”. This “educational turn” is most likely prompted by society turning the opposite way; towards old-fashioned teaching methods and a one-sided understanding of learning. On top of this, education is becoming a product on the market, as schools are increasingly privatized. It is with these thoughts in the back of my mind that I turn to the artists with a few questions.

C-P: In 'Body to Body', there are references to some of the foreground figures of Pedagogy. What prompted you to start exploring Pedagogy and learning? What is it about it and its history that interests and inspires you?

Å.N & J.S: For a long time we’ve been interested in artistic expressions that functioned as part of everyday life or as an engine in various movements, political and social as well as educational. We believe that Pedagogy can play an important role in shaping a democratic society and that it can offer a more holistic view of the people and the environment surrounding us. As artists, it is very interesting to see oneself as part of a larger historical context over time and space where "learning" is constantly present in what one does. In addition, there are many interesting connections between the working methods and attitudes of early reform educators and contemporary artistic processes.

C-P: What thoughts and reactions do you hope that 'Body to Body' will evoke among the visitors at Tensta konsthall?

Å.N & J.S: The works in 'Body to Body' came about at the beginning of the pandemic and we soon realized that we did not have a normal exhibition period ahead of us. The project is based on our previous project 'Gifts and Occupations' which also gathered ideas about pedagogy and learning. Our mission for the exhibition at Tensta konsthall was to create tools and a framework for the various activities that usually take place in the “classroom” at Tensta konsthall, such as the Women's Café and art-related activities for children. We wanted to somehow populate the room in a time of social distancing and create encounters between different stories and times by portraying figures from the history of pedagogy. With the title, we also want to deal with the importance of the physical encounter between bodies, ideas, materials and objects for learning; to learn by doing, seeing, feeling and in exchange with each other.

C-P: Would you say that your art is political?

Å.N & J.S: With our work, we aim to highlight stories or movements that have directly or indirectly had political ambitions and/or social impact, often in conjunction with an artistic endeavor. So, depending a little on what is meant by political, our answer would be yes.

C-P: Your interest in learning and working collectively shows itself thematically in your artworks, but also in the fact that you have collaborated since 2005. How come you formed an artist duo? What do you think are the benefits of working collectively with art?

Å.N & J.S: We started collaborating during our education at the Royal Institute of Art through a joint exhibition, where our two separate artistries met and became one. We found that the exhibition as a whole became more interesting if we brought our works together instead of separating them. Our collaboration is based on conversations and the creation of common frames of reference. The advantages are that we share everything, successes as well as adversities, and strengthen each other in what we do.

Feature by C-print contributor Ella Saar.

Body to Body runs through November 11 at Tensta konsthall

Photo: Jean-Baptiste Béranger

Courtesy of Tensta konsthall