Bildbruk translates choreography into objects. The project philosophizes upon the polarization between benefit/utility and pleasure, art production and the daily ordinary. To challenge normative notions of subject and object, by using the choreographed 'body' as transmedial, by addressing it as (s)object.

Bildbruk produces and distributes a number of art-objects and ordinary tools to be sold, exposed and performed. Such as; a book, several catalogues, prints, postcards and calendars, two exhibitions, a short film and a glass installation. And, to begin with, a soap and a dishcloth.

Bildbruk rephrases choreography and its preconceived economies. Choreography is transferred from the tangible immediacy of the dancing body to the two dimensional fixity of photography, and further onto the topologies of a number of utensils/objects, and their functions. These transferences implicate radical alterations, not only of choreographic form, function and economy, but also of motive and trajectory.

The project intention is to:

transfer choreography from its own self-image/subject, via photography to become a (s)object and a tool
distribute choreography, and the notion/image of choreography to other contexts, markets, target groups and places then the – for the field of choreography – predisposed
disseminate consumption and usage of art-productions as utilities

The project challenges the preconceived notion of choreography as something ephemeral, meant to be looked at/consumed by the purchase of a ticket, that cannot be sustained, owned, or used in material terms. To instead propose choreography as a functional item, meant to be used, therefore also to be sold and purchased, as a trade item; one material product amongst many others constitutive parts of our every day life economy.

Object, desire and narrative
Proposed items/(s)objects are a soap and a dishcloth. Others could be puzzles, Rubic's cubes, Memory games, tattoos, oilcloths, mouse pads, curtains, carpets, bowls etc.

Soap
Photos of choreography (image, pattern, relief) are inscribed onto different kinds of soaps (compact, transparent, molded) using different techniques (dissolving, gradually appearing etc.). Via the soap, choreography touches/caresses the user and washes/cleans the user's skin. The materiality of the soap is consumed, and the image of choreography appears/disappears, and a new choreography comes to surface. Starting point is the instable and self-disintegrating character of the soap, by which the user satisfies his primal desire and/or need, hygienic and/or aesthetic. In concrete terms this soap is a haptic choreography, which occurs by contact with and by the changing of the soap's material mass. More than so, as soap, choreography comes to surface by giving up its own materiality, that is, becomes victim of its own becoming. In this sense, also gains metaphorical, philosophical substance/meaning.

Dishcloth
Photos of choreography are printed or woven into dishcloths made of rubber and/or fabric. Via the dishcloth, choreography touches/caresses the object which surface the user touches/cleans/washes. The choreography assumes the shape and function of the user's hand that is acts as prosthesis, and fulfills the task of braking down unwanted dirt. In concrete terms this dishcloth is a haptic choreography with specific protective function. In a metaphoric sense it is a prosthetic choreography, a functional extension of a movement that through the medium (the dishcloth) serves the user's need. The user's desire for the dishcloth may be thus be understood as a secondary desire, since not projected upon the dishcloth itself (here usually disregarded with antipathy), but rather implicit to what the dishcloth is meant to achieve, namely a distance between one surface and the next, via a third surface/substance.

Other materials and formats

trio floor
short film - 700 images of a 4 min. long choreographic sequence as a 4 min. film by photos
exhibition - 373 images in consecutive order (37,3 meters)
catalogue - 200 images post-cards pad – 60 images
42 posters
15 prints (limited edition)
Calender 2012

cloth
book with text by writer/poet Aase Berg - 34 + 34 images under & above the cloth
4 alt. 8 real-size images to be displyed in public spaces

cover2
catalogue1 – writing on sofa
catalogue2 – Risky solo
catalogue3 – writing on sofa in a real home, fully dressed
catalogue4 – body parts (feet thigh calves armpit mouth etc.)

(s)objekts soap & dishcloth with images from cccover, filt, cover2

possible developments
cribs series, sofa-calendar, IKEA advertisement of all their sofas in different rooms etc.

The project is a collaboration of Cristina Caprioli and photographer Håkan Larsson. During 2011 Caprioli and Larsson have pursued a number of collaborative experiments. Which have resulted in a large number of images and several ideas for new formats and motives.