Cally Spooner (b. 1983, UK) lives and works in Turin, Italy. Her practice is realized through multiple forms, including choreography, found objects, videos, sound installations, and written propositions, yet it has repeatedly returned to how the body’s movements are shaped by social, cultural and economic forces. Her projects often subtlety disclose the structures and histories that shape movement, bringing attention to learned behaviors that are seemingly natural. Spooner studied philosophy, dance, and theatre, and is currently completing her PhD, researching the intersections of these disciplines and allowing them to inform multiple aspects of her practice. She has published a series of five articles in the publication Mousse that reflect on ‘performance’ and temporality, under the banner A Hypothesis of Resistance.

While many of her early works were realized with her own body or by collaborators who were invited to realize them on her behalf, more recently, she has assembled objects, images, and even the exhibition’s visitors, as her materials. This is also the case for her intervention in the Astrup Fearnley Collection through the installation of sonic works drawn from her project Deadtime, an anatomy study. Yet it will interact with the Collection, focusing attention on latent aspects of works currently on display. Sounds, drawn from this body of work, will spill and travel through the museum, shaping how the space is navigated. Undertaken in collaboration with Ultima Oslo Contemporary Music Festival, this constellation of works begin on the museum’s exterior, continues in the first gallery, shapes the passage through gallery 7, and ends in a cacophony in DEAD TIME (Maggie’s Solo), 2021.

In collaboration with Ultima.

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