Cecilia Edefalk’s ”Mina ord” (My Words) chronicles a series of extraordinary conversations with deceased artists, inanimate objects, and even natural elements. The catalyst for these dialogues was a chance encounter in Stockholm’s Tegnérlunden park with the spirit of August Strindberg. This unexpected meeting sparked a realization in Edefalk that communication with other realms was possible, provided one approached with a genuine and open heart. Subsequent encounters with Strindberg led Edefalk to explore the Moderna Museet’s collection with a tape recorder, where she began to hear the voices of artists emanating from their works. These initial dialogues with figures like Georges Braque, Edvard Munch, Joan Miró, and Hilma af Klint expanded over time to encompass a wider range of entities, from fellow artists to guppies, trees, and stones.
The conversations documented in ”Mina ord” are marked by a blend of candid observations, humorous exchanges, and profound insights into the nature of artistic creation. While some spirits offer constructive criticism or advice, others express impatience or assert their own autonomy in the conversation. Edefalk approaches these encounters with a sense of curiosity and receptiveness, allowing the words to flow through her without judgment. The voices, distinct in tone and temperament, often offer perspectives on ”the painterly condition,” highlighting the intricacies and peculiarities of artistic expression. Despite the unconventional nature of these dialogues, Edefalk remains grounded in her artistic practice, viewing the encounters as a source of inspiration and understanding.
Edefalk’s interactions with the deceased artists are particularly noteworthy, offering glimpses into their creative processes and personalities. Giacometti, initially unresponsive, later confesses to an outburst of anger directed at his wife and model, Annette, resulting in the removal of paint from a canvas to reveal the underlying wall. These exchanges provide a unique perspective on the emotional and psychological aspects of artistic creation, revealing the struggles and frustrations that often accompany the pursuit of artistic vision. The conversations are not limited to technical aspects of painting, but also touch on broader philosophical themes, further enriching Edefalk’s artistic journey.
Beyond the realm of human artists, Edefalk’s communication extends to the natural world, revealing a surprising sentience in inanimate objects. Trees and stones become active participants in the dialogue, offering their own unique perspectives on existence. A pine tree proclaims, ”It is bigger than you think,” hinting at a deeper, interconnected reality. Stones express their desire for visibility and share their connection to the earth, revealing a hidden world beneath the surface. These interactions blur the lines between animate and inanimate, suggesting a universal consciousness that permeates all aspects of existence.
Edefalk’s approach to these conversations is characterized by a lack of skepticism and a genuine openness to the unknown. She embraces the ambiguity of these encounters, accepting the messages without attempting to analyze or interpret their meaning. This receptivity allows for a free flow of communication, creating a space where seemingly disparate entities can engage in meaningful dialogue. Edefalk’s willingness to listen without prejudice allows her to glean valuable insights from unexpected sources, expanding her understanding of both art and the world around her.
”Mina ord,” as described by Magnus Florin in the afterword, is refreshingly devoid of doubt and sensationalism. The book serves as a sober record of exchanges with entities from beyond our conventional understanding of time and space. These entities, while originating from a different realm, express a clear connection to the present moment. Edefalk’s journey into this uncharted territory offers a fascinating exploration of the boundaries of communication and the potential for connection beyond the limitations of our physical world. The book ultimately challenges our preconceptions about consciousness and the nature of reality, inviting readers to consider the possibility of a more interconnected and expansive universe. The radical statement, “You shall say: I am Kazimir Malevich. I am absolute, I am girl, I am child, I am garden, I am absolute,” encapsulates the book’s exploration of identity and the interconnectedness of all things.
