In Triptych, ambiguous and contradictory scenes succeed each other like a frictionless scroll down a newsfeed suddenly running amok. Trivial pedestrian scenarios and pop cultural references interweaves with metaphorical scenes, religious symbolism and theatrical gestures as the bodies constantly inhabit states and contexts where previously “self evident” meanings are contorted. A pop concert becomes a funeral as the singer is left in the background of the self-pitying fan. The scenario crumbles as the newly fledged centre of attention flees back into their childhood to give birth to their mother.
Handwritten medieval manuscripts are visual and thematic examples of the cognitive dissonance Triptych investigates. The rich and sometimes extremely equivocal ornamentations in the margins of the page contributes a great deal to the total impression of the meaning of the text. These "Illuminations" or "marginalia", were worlds of their own. In contrast to the clarity of the manuscript texts, they shape a discourse in the margins about the ambiguity of meaning. As god-fearing knights are battling snails, monks and nuns throw their chastity vow over the monastery walls, and rabbits behead bishops, we are forced to diversify our interpretations of the singular elements as well as the whole.
Dance and choreography:Daniella Eriksson & Erik Eriksson Funded by: Swedish Arts Council, Region Dalarna,