Astrid Göransson

Casting

K.C.
2011
Tempera on wood
118 x 80 cm (incl. stool 18 cm)

V.V.
2011
Tempera on wood
118 x 80 cm (incl. stool 18 cm)

S.S.
2011
Tempera on wood
118 x 80 cm (incl. stool 23 cm)

A.J.
2011
Tempera on wood
118 x 80 cm (incl. stool 23 cm)

A-S.L.
2011
Tempera on wood
118 x 80 cm (incl. stool 23 cm)

Casting
2011
Videostill

Every movement is a never-ending event. Every step and gesture.The gaze derives its surplus from the tender. The gaze is granted subsistence, but its solidity is trapped in a catching, not a grasping – stopped, but without stance. Gaze and hand, how diverse. The gaze does not extend, it’s unable to embrace. Be still! Every movement present here lets itself slow down and be delayed enough to be formed. Forming is a self-remaking movement, a movement of repetition. Movement takes its measure from the habit of images. The glance’s squinting between the (already) seen and what’s in front of it, is interrupted and stilled in the image. Resemblance withdraws from the portrait. By the habit of gaze, the perception of detection is beside itself and forgetful of its modeling. Here is the casting of a crew, for a Gesture’s ark. One of them turns her flemish-woven hands this way. Her hands are neither formulated or mute, her hands take place and covering them is an ceaseless formation of surface, a surfacing. The hands have no interior but mutation, a passing-by that they’re unfolding. Assembly line of the hands. In the movie is visible the crew’s fumbling, not something directed through habit’s overlapping perspective, nothing uniformed. While the gaze of habit stands on the side, sorting their papers, the hands are touching in a pass-along. What’s left is the crew’s choice – to launch the manner of hands, to present a joint figure. The lingering soot after touching. Forming b l o c k s, the way a typewriter spreads its italics, in a gesture guarding the world’s constant spill.

Kettil Segergren