ABOUT

We created SKOGEN as we started to understand that a lot of our reoccurring existential crises were due to structural problems: How to respond when the arts turns into accelerating amounts of temporary projects and a never ending fast food consumption of ideas and products. How to work (and live) in neoliberal times without being hijacked into a logic of branding, capitalization, attention, exposure, faster, and more and again and again…

We believe knowledge and art should be shared and managed as a common resource – as tools or vehicles that can bring us together for collective reflection, action and learning. We also believe that this means that we constantly have to question the formats for production and presentation – and that this is where art actually has the potential of becoming political.

SKOGEN is an artist run house for performing arts, supporting and producing associated artists from Gothenburg and abroad, organizing their work and research in formats like residencies, study groups, thematic blocks, productions, presentations, lectures, publications and seminars.

SKOGEN works with artists over longer time-spans, beyond the logic of single projects. We try to expand themes over time and to build connections between our city and the world, between the academy, activists and the arts.

We like to think of SKOGEN as an informal para-institution or academy. We support artists to share their work, knowledge and strategies. We invite people we want to learn from. And we warmly invite everyone interested to take part in talks, study groups, workshops and lectures – they are for free…

There is no set fee to see a show or joining a seminar SKOGEN, instead you are asked to make a voluntary dontation when leaving. Food is often served after presentations – we want you to hang around…

Welcome!

Skogen is supported by the Swedish Arts Council, The City of Gothenburg, The Region of Västra Götaland & The Swedish Arts Grants Commitee.

CONTACT

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OFFICE/KONTOR
info [at] skogen.pm
+46 (0) 31-40 98 62

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ARTISTIC DIRECTOR/KONSTNÄRLIG LEDARE
Johan Forsman
johan.forsman [at] skogen.pm
+46 (0) 735 99 03 59

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PRODUCER/PRODUCENT
Anna Lamberg
anna.lamberg [at] skogen.pm
+46 (0) 730 53 33 01

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ADMINISTRATION
Pia Nordin
pia.nordin [at] skogen.pm
+46 (0) 768 943179

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TECHNICIAN/TEKNIKER
Rasmus Persson
rasmus.persson [at] skogen.pm

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GRAPHIC DESIGN/GRAFISK DESIGN
Milena Karlsson
milena.karlsson [at] skogen.pm

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SKOGEN
Masthuggsterrassen 3
SE-413 18 Göteborg, SWEDEN

www.facebook.com/skogen.pm

VISITING

SKOGEN is situated at Masthuggsterrassen 3. The nearest tramstop is Masthuggstorget (Trams 3, 9, 11). After exiting the tram, you cross the square, go up the stairs next to the store Hemköp, walk 50 meters straight ahead and there is a small yard on the left. Don’t be confused: Three theatres are here situated next to each other.

PARKING: The cheepest parking is next to 1:a Långgatan, between ‘Kommersen’ and Amerikahuset. There is no parking possible outside Skogen. For deliveries or transports to the door please call and we’ll open the gate.

SKOGEN has an open pricing policy. This means we do not have a fixed price for tickets. As a visitor you are asked to make a voluntary donation – give what you think reasonable from your situation. You can pay with cash or credit cards.

There are stairs leading down to the performance space, and also to the toilets. If you need assistance, please let us know in advance: info@skogen.pm.

Welcome!

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SKOGEN ligger på Masthuggsterrassen 3. Den närmaste spårvagnshållplatsen är Masthuggstorget (spårvagn 3, 9 & 11). Efter att du gått av spårvagnen, korsar du Masthuggstorget, går uppför de vita trapporna bredvid Hemköp, fortsätter 50 meter rakt fram och går in på gården till vänster. Bli inte förvirrad: Det är tre olika teatrar som ligger bredvid varandra på samma gård.

SKOGEN tillämpar fri prissättning. Detta innebär att vi inte har ett fast pris för våra biljetter. Som besökare får du gärna göra en frivillig donation – ge vad du tycker är rimligt från din situation. Du kan betala med kontanter eller kontokort.

PARKERING: billigaste parkeringen finns bredvid 1:a Långgatan, mellan “Kommersen” och Amerikahuset. Det finns ingen parkering utanför Skogen. För leveranser eller transporter till dörren: Ring så kommer vi och öppnar grinden.

TILLGÄNGLIGHET: Det finns trappor både till scenrum och toaletter. Toaletterna är ej handikappanpassade. Det finns plats för flera rullstolar i scenrummet. Behöver du assistans vid ditt besök får du gärna meddela oss i förväg: info@skogen.pm

Välkommen!

WHY “SKOGEN” #1

Over the years a lot of people have asked us why we choosed to name the venue “Skogen” (“the forest” in english). I recently read these lines of the american writer Robert Pogue Harrison. I think this one of the best explanations for the name I came across so far.

When the arctic freeze began to spread southward during the onslaught of the last ice age, the forests that had once covered much of the northern hemisphere disappeared under the advancing sheets of ice like algae under the roll of a long and luminous ocean wave. As global warming trends caused the glaciers to retreat many millennia later, the forests cropped up again as if they had merely weathered the season in hibernation: a sponateous generation of arboreal, floral, and cryptogamal life.

Ice ages have come and gone, come again and gone again,; and each time the glaciers pulled back – most recently, some ten to fifteen thousand years ago- the forests returned to recolonize the land.

In short, most of the places of human habitation in the West were at some time in the past more or less densly forested. However broadly or narrowly one wishes to define it, Western civilisation literally cleared its space in the midst of forests. A sylvan fringe of darkness defined the limits of its cultivation, the margins of its cities, the boundaries of its instituational domain; but also the extravagance of its imagination. For reasons this book explores, the governing institutions of the West-religion, law, family, city- originally established themselves in opposition to the forests, which in this rescept have been, from the beginning, the first and last victims of civic expansion. The following study, however, does not recount a merely empirical history about how civilization has enchroached upon the forests, exploited them, cultivated them, managed them, or simply devastated them. It tells the more elusive story of the role forests have played in the cultural imagination of the West.

The story is full of enigmas and paradoxes. If forests appear in our religions as places of profanity, they also appear as sacred. If they have typically been considered places of lawlessness, they have also provided havens for those who took up the cause of justice and fought the law’s corruption. If they evoke associations of danger and abandon in our minds, they also evoke scenes of enchantment. In other words, in the religions, mythologies, and literature of the West, the forest appears as a place where the logic of destinction goes astray. Or where our subjective catergories are confounded. Or where perceptions become promiscuous with one another, disclosing latent dimensions of time and conciousness. In the forest the inanimate may suddenly become animate, the god turns into a beast, the outlaw stands for justice, Rosalind appears as a boy, the virtuous knight degenerates into a wild man, the straight line forms a circle, the ordinary gives way to the fabulous.
(…)

If I have learned anything during the course of my work it is that the forest is uncirumscribable. To traverse it means to shun vast areas of it.
(…)

What I hope to show is how many untold memories, ancient fears and dreams, popular traditons, and more recent myths and symbols are going up in the fires of deforestation which we hear so much about today and which trouble us for reasons we often do not fully understand rationally but which we respond to on some other level of cultural memory. In the history of Western civilisation forests represent an outlying realm of opacity which has allowed that civilisation to estrange itself, enchant itself, terrify itself, ironize itself, in short to project into the forest’s shadows its secret and innermost anxieties. In this respect the loss of forests entails more than merely the loss of ecosystems.
(…)

There and then perhaps I realized that in the forest, in its enduring antiquity, was the correlate of the poet’s memory, and that once its remnants were gone, the poet would fall into oblivion.

//Robert Pogue Harrison

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