Why the latest program of Nathalie Djurberg & Hans Berg is “only suitable for evil”

This month, the visionary multimedia two -person group Nathalie Djurberg and Hans Berg turned the Tanya Bonakdar gallery into a charming world, which were fantastic characters of their charming free fix videos. In the dreamy forest reproducible in the gallery, there is a disturbing visual effect and mysterious figure. From the haunted house and darkness to humorous humor, people are reminiscent of lingering uneasiness, which makes people initially make people initially The laughter exceeded.
The title of imagination “Just evil” set the tone for the show, which caused a specific response. Djurberg told Observer that when we caught up with the couple a few weeks after the opening, Djurberg told the observer. “Anyone who participated in the performance must be evil, because this is the title, which makes us laugh. First of all, this is the evil of the role and its behavior. Then it includes all of us; few of us are as saints as saints. After a lifetime, I know the saints anyway. “
The role -playing is the core of the practice of the two. This is carried out by creating delicate and dreamy scenes. These scenes are living by their imaginative characters and audiences themselves. Their work is booming in the interaction between installation, sculpture and immersive video, creating an environment of continuous intersection audience and art. “In every case, we will play this idea. You have a role to play, and whether you play a role evil. However, you can’t control how others explain your or your behavior.” Djurberg said. “Even if your intention may be the intention of the sage, he knows what the result is, or how your partner will explain it.”
The liquidity of this character-heroes and anti-heroes are blurred with each other, which is the core of the exploration of human nature. Berg added: “Everyone is the hero of their own story, and sometimes you are the anti -heroes in your own story.” “The title reflects the liquidity of these characters. These characters are discussed in the seven large animations in the show. Different characters play a completely different role, depending on the situation of them. “


The two groups drawn inspiration from fairy tales. It took many years to develop colorful. Diversified stock characters and prototype symbolized characters. These characters running in the framework of fables and metaphors are like inspiring their stories. The story is part of the formation of Djurberg’s childhood: “Then, age is getting older. When the mother no longer provides most people, when fantasies are still as vivid as Hollywood movies, I will continue to make my own channels and have a In the video animation of the two -person group, the dream -like character plays a narrative. These narratives are somewhere between comedy and Sartre drama, from dark and interesting to disturbing.
These video narratives sometimes merge comedy and psychological exploration methods that are reminiscent of the “behavior comedy” popular in the 17th century. It uses entertainment as a means of questioning traditional characters, social regulations and artificially, and super -layered society. Djurberg said: “When I started from the animation, this was an unknown desire, that is, to understand the world, I and others-this is the basis of fairy tales and storytelling-but in art, I don’t think I have to entertain.” The fairy-tale-style animation has evolved into a serious tool for investigating human survival-it does not always be able to watch comfortably. “Hans and I do not do this for entertainment, but because you must follow it to force us to think and inspire us, and in art, there is freedom of freedom to start. Ending is pleasant, no matter how seductive it is, it is not the purpose. “
The characters of Djurberg and Berg have refined the general survival struggle. While acting as a fable reflection on human irrational fables, they reveal the tension between desire, fear and anxiety. Their dreamy creatures reflect the tangled thoughts lurking under the surface of consciousness. Through exaggerated forms and weird conditions, people can see. Their contradictory narrative often disrupts any sense of reality with ridiculous narratives and taps human and collective unconscious depression corners. Djurberg said their role may be ridiculous, but they reflect reality. “Life and human beings are more ridiculous than what we have invented; in dreams, daydreams and wake -up life have created more ridiculous things.” Twist of distorted and exaggerated, with the characteristics and physical functions of enlarged, they are The number of numbers is disgusted and strange, and pushing the audience at the same time, just like our discomfort to life itself. She continued: “It’s hard to see life, because we are always inside. Even if we dream of a ridiculous dream, we are also among them and rarely question its absurdity.” Breaking the hallucination, or as she said, as she said As in the same way, “the dust produced from daily life.”
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In the late 1990s, international exhibitions were exhibited internationally, including in the Venice Biennale. This was one of the first people to be promoted to the contemporary art field, both as a narrative and art medium. When the digital rendering 3D animation began to rule the cinema, they were still committed to the handicraft skills of early animation technology and retained their works that made their works unique. Djurberg said: “The potential of the media is almost endless.” He pointed out that the built -in contradictions of fixing motivation are stupid, naive, and seemingly mediocre media playful appearances. “This is also its beauty; watching things that may be emotional, at the same time, you can’t be caught off guard, because your thoughts will not be as boring as other media, just like you are dull when watching the news.” She further argued that although the animals are fixed It borrows the elements of sculpture and painting, but it is still a medium. There is no formal art historical pedigree, which provides extraordinary freedom.


At the same time, the lack of scripts and dialogues violated linear storytelling, making their video narrative open and explained free of charge. “This is more directly targeted at your emotions; Berg explained:” There are fewer filters in the brain. These filters explain what you see, hear and hit you more directly. “
By making weird narratives weird, logical scenes and seemingly ridiculous narratives, DJURBERG and Berg have realized fairy tales and typical fertile “suspension” of the cinema. Or logical elements, with stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, stories, not logic. Sympathize with their own characters and finally challenge their views on reality and “familiarity”.
Therefore, their narrative has surpassed the screen, developed into an immersive multi -sensory experience, encouraged the audience to abandon suspicionism, accept the logic of the fictional world, discover personal logic, and deeply rooted in their own and external world – in. “Our work is a form of research, a way to understand something inside themselves. During the search process, the works are continuously expanded to be eager to immerse themselves in some aspects to understand it and experience it, not just right right, just right right? The theoreticalization of this is Berg said. “We want to feel, hear and touch something to understand and fully experience it. “
Over the past two decades, Nathalie Djurberg and Hans Berg have been engaged in seamless cooperation-one difficult handmade and animated characters and settings, while the other constitutes the accompanying music and sound design. “We have worked together for a long time, so that this process is seamless (almost always). The cutest thing is that when there is a flow without meaning, because another person fully understands it anyway. When there is When there was no flow, Hans unfortunately hear endless complaints. “This is about itching that wants to see, and then slowly realized. We talk and talk, but we don’t always care about the work itself, but our Tiptoe Tiptoe Tiptoe Tiptoe tries to hone its theme and finds the essence.” Bo Bo. “Bo.” Bo Ge added. This organic back and forth, which is marked by tension, side -by -side and resolution, drove their processes and inject their work into the richness of layered.
This interaction always always appears new works. Djurberg again: “Maybe I will remember that we are now in that state rather than at the end of the project, but I don’t remember how it happened. I think this is a vague image. A half -created fantasy, unclear, have to have to have to have to have to have to have to be created. Considering that it is necessary to do physics. “This job is like a big space between us, where we have added different things, thoughts, ideas, and then form. Even if our role is clearly defined, this process is a common place in common. “” “


Berg’s work can complement the narrative environment carefully made by Djurberg, and adds emotion to the narrative environment carefully designed by Djurberg, either enlarged the drama, or formed an embarrassing contrast with the scene, thereby enhancing the discontinuous discontinuous problems that cause key problems feel. This interaction enables them to face and explore their possibility of creative subconsciousness, and transform the elusive instincts into tangible forms of various media.
Throughout the conversation, the two artists were still very pleased to investigate the driving force for their work and dynamics inside the society. but why? Berg raised a question to himself, but concluded that there is no honest answer-the behavior of most people is subconscious, instinct and usually disagreeable motivation. Essence He said: “I found this fascinating that we have all these rules, systems and behaviors, but then, half of our time, everything we do, we don’t know what we are doing.” “This is where we are doing.” The automatic luggage or what we learn.
Nathalie Djurberg and Hans Berg’s “only evil” lasted on Tanya Bonakdar until February 21.