The project Dear Daughter consists of a series of voice-based live performances, video documents and performative speech installations. In these works, I interweave my own experiences and thoughts on crucial elements in female life -such as pregnancy, birth, mothering and female sexuality- with text fragments from feminist literary sources. I then perform the text collages through hybrid technological forms.
Dear Daughter/Sen_sing_inannainanna (Russ, Shiva, Klein), 2019-, is an eco-feminist sci-fi film in where I perform as a ‘cyborg mother goddess’ travelling through space and time, while singing a text about ecosystems, environmental justice, feminist ancient pasts and technological futures to come.
Dear Daughter/Sen_sing_inannainanna (Russ, Shiva, Klein) is made in collaboration with my daugher and my daughter’s father, the artist Stathis Tsemberlidis
The project seeks to confront the interconnected pandemic, ecological, and economic crises, by utilizing imaginative and utopian strategies as initial points of departure. Lysholt Hansen is particularly interested in exploring the moods, feelings, and needs necessary for the creation of sustainable futures. Through embodying a cyborg mother goddess, the artist invokes sci-fi and speculative fiction motifs combined with vivid references such as the Sumerian poet Enheduanna and NASA recordings of the planet Venus, to meditative gestures and her own vocal presence. By positioning the body and voice as tools of resistance, via eco-feminist questions related to solidarity, care, family, and community, Lysholt Hansen asks – how can we more clearly listen and live together in times of crisis and in the future?
The first version of the text Dear Daughter/Sen_sing_inannainanna (Russ, Shiva, Klein) (2019), was written to be performed (through improvisational, meditative, singing voice) in a public bus connecting two institutions of art in Copenhagen: The museum Glyptoteket, with its collection of art and archeological objects encompassing a time span of 6000 years, and the art center Copenhagen Contemporary, that exhibit contemporary art. The text was written specifically for this journey, but also for travelling in a broader sense – space travelling, mind travelling, time travelling. On the public bus, I was wearing a full body suit, a sound amplifier around my waist, and a microphone headset. Circulating between the two art institutions for a duration of six hours, I was continuously singing my text to a playback of the ambient sound generated by the planet Venus in space (electromagnetic waves translated into sound by NASA), which was emitted from the small amplifier around my waist, creating a meditative space in the midst of everyday humdrum of getting from point A to point B in a public transportation vehicle. Although the performance was announced in the program of the Copenhagen Art Week Festival, it was difficult for festival attendees to locate the work, since it circulated in public transportation. It was thus mostly experienced in fragments by passers-by, who might have been puzzled by the alien voice/body challenging social codes of conduct in public space.