SLAKT [ 2022 ]
My cathartic cooking show.Preheat your mind into a state of despair.
Allow to reduce into agony.
With a sharp knife, chop the hearts and place into a non-stick pan.
Allow to cook slightly.
After a few minutes, turn the hearts and add blood.
If bottled blood is unavailable, use your own.
Keep on heat until medium rare. Add a pinch of doubt before devouring a full pint of blood.
Taste your pain and season with additional blood if your experience is lacking.
Your dish is ready when you feel atrocious, exhausted and futile.
IKEJIME I & II [ 2022 ]
Performed at Certosa Initiative – for milan design week – fuorisalone
Invited to present a fashion showcase for the FLÆKJA project, Svart chose to subvert the commercial expectations of the stage, transforming it into a space of raw, existential confrontation.
By systematically dismantling a dead fish on stage, the piece exposed a raw, unfiltered meditation on agony, ecological trauma and the vulnerability of living tissue.
“Ikejime” is a precise Japanese ritual of instantly paralyzing a fish to minimize its distress and prevent the accumulation of stress and toxins in its body.
This ritual stands in sharp, hypocritical contrast to the reality of modern industrial fishing. By leaving millions of tons of synthetic ghost nets to haunt the oceans, humanity has created a mechanism of endless, slow-motion slaughter.
By contrasting this humane ideal with a raw, agonizing spectacle of physical destruction, the performance explores the boundary between mercy and cruelty.
top by Svart
mask by Svart / yuki / m.i.n.u.i.t.
CHILD'S PLAY [ 2022 ]
important types of play for growing children:
- physical play
- social play
- constructive play
- fantasy play
- games with rules
OVÄSENDET [ 2019 ]
and iðno reykjavík
Oväsendet explores the friction between the artist’s inner reality and a society that demands conformity, drawing a direct parallel to Det stora oväsendet, the brutal 17th-century Swedish witch trials.
The performance positions the creative urge as a form of possession. To surrender to your art is to invite endless external suffering, but it unlocks a limitless spirit and ultimate cathartic relief. Conversely, to deny this inner world is to execute the inner artist. without this sacred interiority, the individual ceases to truly exist.
Ultimately, this piece serves as another form of Svart’s personal catharsis, where the artist, like the accused heretics of history, must choose between spiritual liberation or social execution.
IZANAGI [ 2018 ]
performed at Gamla Bío – Reykjavík
inspired by japanese mythology, the performance projects an ancient cycle of birth, decay, and rebirth onto the psychological landscape of modern society.
“as an artist, i have responsibility to explore and develop conceptual interpretations of life and death.
researching ancient philosophies deepens the understanding (or misunderstanding) of existence and allows me to drift ambivalently, but consciously through purposes and ideas.
it is then my job to compose or formulate these concepts into an apprehensible medium.”
The piece manifests Izanagi’s desperate descent into the underworld (Yomi) to reclaim his deceased wife, Izanami. It captures the cognitive dissonance of breaking a sacred promise, the horror of confronting her rotting corpse, and the ultimate, traumatic severing of their union. The performance concludes with the purging of this darkness mirroring the ritual cleansing of Harai, where the act of surviving trauma becomes a fertile ground for rebirth.
