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People. Moves. Places.


Description of campaign/project

As a duo team consists of a video artist/filmmaker and a choreographer/theater director, we work towards to locate and unite the common voice between our vision and the subject matter that so attracts our attention.

We do not want to make any participant an object to be consumed by us for the making of our film. What we want is to collaborate and experiment together with them. We do our best to bond with each and every participating dancer by establishing mutual understanding on the rationale of the making of our film. To be specific, what we want to achieve is to create augmented experience for all participants, including ourselves.

We strive to come up with a common language to communicate our findings with the audience through our film.

The choice of whether or not to participate in any event – be it social, political or cultural in nature – is entirely autonomous decision for every person to make. We believe art offers people an option. Intended participant who chooses to take part in art event enlarges her/his chance to enjoy, encounter augmented experience if s/he treats Art as an opportunity.

What we learned from the making of this work keeps us learning more about our art practice: When coining ‘Art as an opportunity’ problematic issues regarding artistic justice arise. When putting art in a social context, we wonder how do we ensure that there is a fair ground for all to access art as an opportunity? Are there organic ways to encourage participation? Would open-source authorship be an optimal approach for all art forms? Would artistic input be considered as an asset rather than just a tool when putting it in social context? From art advocates’ end, in what ways should ‘artistic insight’ be valued on a fair basis?

Curators comments More info on Curators & Editors ›

There are just so many things I love about this film. The composition. The rhythm. The intimacy. And the power of its simplicity.

I left your film feeling as though I understood something in these people, I don’t normally understand in many of the people I am surrounded by each day. It felt like I had been part of a something intimate and honest. It felt like the people in your film had opened up to me – but the fact is I am simply a viewer sitting at my desk lookiing into a computer screen and I have not actually communicated with those concerned at all. This obvious fact, surprised me.

The choreographed ‘moves’ added a mysterious, almost other-worldly mood to something very everyday. Yet the uniformity of these moves was countered by the strength of everyone’s individuality. This contributed further to the overall intimacy I felt while watching.

I am however left uncertain and curious about what exactly happened behind the scenes. Sometimes it is more powerful to leave this to the imagination; to provide hints, clues and allusions, but not to spell out every little detail. I think a flaw in much participatory practice is to expose every component of one’s process in poorly written texts and a seemingly endless display of bad digital photos. You obviously don’t work like this (thankfully). And perhaps it is a sign of my greediness for more of the stillness and intimacy I felt in your film – but I think there is room in your work to give just a little more…not in the film, but in a different creative medium that builds from the film’s process and/or it’s wider reception.

Your film achieved a kind of filmic dialogue, in which I felt something quite intimate with those involved – despite never having a word uttered nor being in their physical proximity. That is almost, magic.

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Other comments

7 years, 2 months ago

How to portrait or capture the particular tone of people living in a North Icelandic village? Leaving the portrayed in rigid and silent framings, not able to explain themselves (verbally at least), might seem to be an odd way to go. During our first test shots we discovered how a flat angled camera pointing at the local’s choreographed moves lead to a perceptual mismatch since we somehow were looking at a real everyday scenery, and, at the same time, a vastly theatrical setting, emphasized even more by the tempo and the repetitions in the final film. Well, maybe it is due to this simple performative twist that some kind of authenticity nevertheless is able to find its way to the eyes of a viewer. Like proclaiming that this film is a staged documentary! But then again, which documentary isn’t staged? In any case we ended up with this ‘field report’: a sequence of portraits of the locals situated in their accustomed surroundings. Each of them is articulating their own person, not in the dimension of lingual communication, but simply through the similarities and differences that only the viewer is able to comprehend. So, dear Alana Hunt! Thank you so much for curating our film. My spirit was truly lifted with pure motivation when I read your richly written feedback on the intimacy that you’ve experienced while watching it. It was exactly that affect we had hoped to trigger with this choreographed way of communicating; a way beyond language.

Best wishes and lots of gratitude,
Troels Primdahl

Curators comments

This work has been commented by 1 curator(s):
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Entry details


People. Moves. Places.


a field report from Siglufjodur

Concept author(s)

Jolene Mok; Troels Primdahl

Concept author year(s) of birth

1984; 1984

Concept author(s) contribution

Both of us are responsible for coming up with the concept, production and post-production of this work.


Hong Kong

Other author(s)

Jessica Roper

Other author(s) year(s) of birth


Other author(s) contribution

Production Assistant


United Kingdom (Great Britain)

Competition category


Competition field


Competition subfield


Subfield description

In the end of the 1960’s the herring vanished from the sea around the northern coast of Iceland. All of a sudden the golden era of fishery industry in Siglufjörður came to an end. Thousands of workers lost their jobs. Yet today, the unfortunate maritime history has shown to have an evident influence on the inhabitants of Siglufjörður. Strong indications of previously unknown competences have been emerging over the recent years. Distinctive capacities are pulsating right under the surface… This documentary validates the fact that a multitude of new capacities might have occurred as a consequence of the disappearance of the herring. The 12 field pre-recordings with people from Siglufjörður empirically reveal 1% of everyday life in the post-herring era.