Bruno K. Öijer, a Poet of Raw Honesty:
Bruno K. Öijer, recipient of the DN’s Cultural Prize for his poetry collection "Växla ringar med mörkret" (Exchange Rings with the Darkness) and his subsequent reading tour, discusses his creative process and perspectives. He emphasizes his aversion to the pressure of constant publishing, comparing authors who release a book annually to "mediocre careerists." Öijer’s poetry, exemplified by his New Year’s poem for DN, grapples with the bleak realities of the world while still holding onto a flicker of hope. He views humanity as a paradoxical species capable of both great creation and devastating destruction, arguing that hope for a better world is a necessary, even if sometimes tenuous, lifeline. The poet reveals a trove of diary entries detailing his life and encounters since the 1970s, though he remains undecided about publishing them. He describes finding his poetic voice through introspection and an unwavering commitment to his own path, devoid of external pressures or expectations. Öijer’s writing process demands absolute silence, a silence he paradoxically describes as a "symphony of songs, memories, and voices." He immerses himself completely in the creation of a poetry collection, losing track of time and entering a state of creative flow. Reflecting on his recent tour, Öijer expresses gratitude for his audience’s appreciation of his raw and honest work, a refreshing contrast to the pervasive "cheap, worthless entertainment" that saturates contemporary culture.
Goran Kajfeš, the Hypnotizing Trumpeter:
Goran Kajfeš, recognized for his album "Tell us" with his project Goran Kajfeš Tropiques and "Peaceful piano" with Nacka Forum, discusses his prolific year in music. He describes 2024 as a year of rebirth and renewed energy, highlighting the importance of live performance in a world grappling with darkness. Kajfeš introduces the concept of "hypnojazz," a genre he coined to counter the fragmented way music is consumed today. This genre aims to create an immersive experience, transporting both the listener and the musician beyond the constraints of time and space. Reflecting on Nacka Forum’s 25th anniversary, Kajfeš addresses the band’s deliberate absence from Spotify, explaining their playful defiance of mainstream norms while maintaining a serious approach to music-making. He finds inspiration outside of music, increasingly turning to art and dance for broader perspectives. Kajfeš shares anecdotes from his diverse collaborations, mentioning the meticulous nature of working with Stina Nordenstam and the humorous experience of hearing Janet Jackson sing a Swedish children’s song. His background spanning jazz and pop has granted him a fluidity between genres, allowing him to incorporate diverse international influences and broaden his creative playground.
Gunnel Wåhlstrand, the Master of Tuschlavering:
Gunnel Wåhlstrand, whose retrospective at Waldemarsudde is ongoing, explains her journey as an artist. Initially intending to pursue photography, she discovered her passion for painting after a course with Anders Petersén. Her debut exhibition centered on her father, who passed away when she was a year old, represented only through photographs. Through her art, she sought to recreate and immortalize him. Wåhlstrand’s driving force is the act of painting itself, using layers of tusch to understand her subjects intimately. Music serves as her primary inspiration, currently drawing from Stockhausen and Grisey. Her ideas emerge from a combination of browsing images and listening to unfamiliar music, sparking visions that translate to her canvases. Wåhlstrand’s unique technique, tuschlavering (wash painting with India ink), was inspired by Marlene Dumas but evolved into her own distinctive style after a period of reflection. She meticulously projects photographs onto paper, tracing details with light tusch before beginning the laborious process of layering, which can take months for a single painting. Wåhlstrand sees a contrasting relationship between photography and painting, describing light entering the camera versus darkness flowing onto the paper. Her artistic explorations are deeply personal, transforming unfamiliar subjects like her father into familiar figures through the act of painting. The retrospective at Waldemarsudde represents a culmination of her work, a space to express the entirety of her artistic voice.
Asta Kamma August, the Actress Embracing Absurdity:
Asta Kamma August, praised for her role as Vera in Ernst De Geer’s film "Hypnosen" (Hypnosis), discusses her approach to acting. She reveals the challenge and thrill of portraying Vera, a character who sheds all social inhibitions after undergoing hypnosis. August finds the concept of authenticity in acting currently uninteresting, favoring the portrayal of human absurdity and illogical impulses over conventional notions of truth. She admits to struggling with accessing her subconscious, having experimented with dream journaling but finding it overly taxing. "Hypnosen," in addition to its satirical elements, explores power dynamics and manipulation within a relationship, with Vera’s transformation disrupting the established balance. August credits director Ernst De Geer’s unconventional working style for freeing her from the pressure of "doing it right," enabling her to embrace experimentation and spontaneity. She draws inspiration from diverse sources, ranging from reality TV contestants to everyday encounters, believing these experiences subconsciously inform her performances. August emphasizes the importance of trusting the director’s vision, acknowledging that her subjective judgment of a take can be unreliable. She finds this surrender of control paradoxically liberating, allowing her intuition to flourish. She previews her upcoming role in "Europa efter regnet" (Europe After the Rain), a project exploring Carl Jung’s concept of the collective unconscious, culminating in a feature film.
Andreas Boonstra, the Director Embracing Chance:
Andreas Boonstra, lauded for his staging of "Världen av i går" (The World of Yesterday) at Moment teater, discusses his theatrical approach. He explains his motivation for adapting Stefan Zweig’s book, aiming to share its insights into the impact of world wars on contemporary society. Recognizing the impracticality of a seven-hour-long verbatim adaptation, Boonstra conceived a "dramatized book circle" where chance dictates the scenes performed each night. This aligns with Moment teater’s aesthetic of challenging the traditional boundaries between performers and audience. He reflects on the unexpected success of the production, acknowledging the audience’s connection with Zweig’s memoir and its relevance to the present. Boonstra emphasizes the importance of genuine storytelling, cautioning against prioritizing commercial success over artistic integrity. He recounts the harrowing experience of a violent attack on the theatre during the play’s run, highlighting the community’s support in the aftermath. Celebrating Moment teater’s 25th anniversary, Boonstra reaffirms their commitment to exploring the essence of theatre, pushing boundaries through diverse and unconventional formats. He anticipates adding new scenes to "Världen av i går" for its revival, leaving the element of chance in the selection process open for further experimentation.
DN’s Cultural Prize:
The DN’s Cultural Prize, carrying a monetary award and a sculpture by Eva Lange, is bestowed upon individuals who have made significant contributions to the cultural landscape. The selections, made by the DN’s culture editors, highlight diverse artistic achievements across literature, music, art, film, and theatre. This recognition not only celebrates the individual artists but also underscores the importance of their work in enriching and challenging cultural discourse. The concurrent Lagercrantzen critic’s prize adds another layer of distinction, further emphasizing the impact of these artistic endeavors.
