by Vibe Overgaard and Emilia Bergmark
Performative dinner lecture about work and potatoes in a changing world
Saturday, 22 February, 6:30 – 9 pm
Working Potatoes is a performative dinner lecture played out at an elaborately set dinner table in the Mariakapel. Alongside a masterfully served three course dinner made from the traditional worker’s crop, the potato, attendees will experience a choir*, a lecture on the changing world of work, and the history of the Solanaceae family, told by a potato of great descent. Working Potatoes humorously comments on the origins of capitalism, storytelling as a market strategy and the metaphysics of work.
With this project Hotel Maria Kapel [HMK] enters the third chapter in Slow burn, a year-long research programme on what is means to care – for the art institution, for artists, for audiences and for ourselves. After Space and Navigation HMK now focuses on the concept of work. The chapter brings together four artists who look at work, its histories and the relationships and realities it produces from varying angles, examining how we work, why we work so much and the function of work in contemporary society. First HMK welcomes Vibe Overgaard and Emilia Bergmark, followed by Katherine MacBride and Kirsten Astrup in March. Together, they pose the question of other ways of living, being and listening.
*During Working Potatoes, Merve Kılıçer, Dagmar Bosma, Nadia van Essen and Bergur Thomas Anderson will deliver a site-responsive performance that hovers between the sacred and the mundain.
Vibe Overgaard is a visual artist with a specific interest in history. Her work is centred on a critique of the cultural normalisation of capitalist ideology in Western society. She works with installations and performances and employs traditional display strategies of ethnographic museums as a visual manifestation of the past. Her artistic practice is anchored in theory and research with a Marxist approach and she has been involved in several projects for self-organised education and knowledge-production.
Emilia Bergmark uses the narrative of everyday life as a source material, and in her work she recreates phenomenological observations into poetic visual anecdotes based on writing, installation, film and printed matter. She makes absurdly humorous audio installations and sculptures that reflect on ways of working, ecological collapse, design aesthetics and potential futures. She also teaches research into queer and feminist models for collaboration.
Photography: Franzi Mueller Schmidt