The Cabinet
YEAR: 2011 I MATERIAL: HD film, shown as a five channel video installation or in teater version I DUR: Place of Origin 12 min, Play 4 min, Messy 10 min, Creation of the Object 5 min, Cabinet 2 min / 26 mins (teater version)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet is originally produced as a five channel piece, consisting of five projections; Cabinet, Place of Origin, Play, Messy and the Creation of the Object. The cabinet is projected on a three-dimensional shape and the other films on flat surfaces. There is also an edit to show on a single screen.
The Cabinet is about instincts, origin, hidden and suppressed feelings and smallest denominator of man – a state where we are all equal. It asks us to turn to an unconscious level between desire and disgust, between logic and irrational behavior. A cacophony where everything fits the back as well as the educated and structured front.
Throught the film’s cabinet we travel into a common internal space that unites us in an original creative source - a kind of birth of the Artpiece. The title refers to older times curio cabinet or "A Cabinet for Curiosities," a place where you simply enjoyed the things that meant something special, secluded from the rest of the world, often primitive, unknown and variegated things.
If the cabinet in The Cabinet symbolizes a person's body, so does the mud, clay and other fluids in the piece stand as a symbol of the ”glue” or the invisible medium for our communication channel. The unformulated chaos allowing the entry of a final result. The Cabinet depicts an ambivalence. In the part Messy we see a young woman in a seemingly precarious position. Messy is all about desire, pleasure and the effects of the explotion. Who is being exposed? Perhaps are the viewers the one who get our ambivalence exposed? The part Messy is built on research of a pornographic sub-genre called "messy" where it's all about stimulating pleasure with goo, slime and throwing up and onto themselves or others. The front and back at the same time. It’s about who is watching and who is being exploited, as much as it is about the desire and the cost for being included and enclosed by something.
Central material in this work is mud. The mud represents at the same time the nature of the earth's first organisms came. It is the original artist material, yet it stands for something indescribable; dirt, garbage and decay where we all end up. The Cabinet explores an expression that moves around a pre-linguistic universe, and through different scenes showing transformations between various feelings and comments on the artistic process built-in dilemma. Inspiration comes from the horror and splatter films' special effects, youtube and Grotowskis "poor theater" and butoh dance existential movement. The Cabinet can be seen as a Jungian memory urn at the same times as an outlook into the future.
With this work I’d like to give way for an ”inbetweeen” - state of mind that often get marginalized and placed low. Especially now, in a time when clarity seems to be virtue and concepts such as "people of the real" (like a right wing liberal Swedish politician said) is labeled, I want to show that there is a point with what we define as the undefined. I think that in this lies a very important vocabulary, in where the future lies.
![]()
The Cabinet is about instincts, origin, hidden and suppressed feelings and smallest denominator of man – a state where we are all equal. It asks us to turn to an unconscious level between desire and disgust, between logic and irrational behavior. A cacophony where everything fits the back as well as the educated and structured front.
Throught the film’s cabinet we travel into a common internal space that unites us in an original creative source - a kind of birth of the Artpiece. The title refers to older times curio cabinet or "A Cabinet for Curiosities," a place where you simply enjoyed the things that meant something special, secluded from the rest of the world, often primitive, unknown and variegated things.
If the cabinet in The Cabinet symbolizes a person's body, so does the mud, clay and other fluids in the piece stand as a symbol of the ”glue” or the invisible medium for our communication channel. The unformulated chaos allowing the entry of a final result. The Cabinet depicts an ambivalence. In the part Messy we see a young woman in a seemingly precarious position. Messy is all about desire, pleasure and the effects of the explotion. Who is being exposed? Perhaps are the viewers the one who get our ambivalence exposed? The part Messy is built on research of a pornographic sub-genre called "messy" where it's all about stimulating pleasure with goo, slime and throwing up and onto themselves or others. The front and back at the same time. It’s about who is watching and who is being exploited, as much as it is about the desire and the cost for being included and enclosed by something.
Central material in this work is mud. The mud represents at the same time the nature of the earth's first organisms came. It is the original artist material, yet it stands for something indescribable; dirt, garbage and decay where we all end up. The Cabinet explores an expression that moves around a pre-linguistic universe, and through different scenes showing transformations between various feelings and comments on the artistic process built-in dilemma. Inspiration comes from the horror and splatter films' special effects, youtube and Grotowskis "poor theater" and butoh dance existential movement. The Cabinet can be seen as a Jungian memory urn at the same times as an outlook into the future.
With this work I’d like to give way for an ”inbetweeen” - state of mind that often get marginalized and placed low. Especially now, in a time when clarity seems to be virtue and concepts such as "people of the real" (like a right wing liberal Swedish politician said) is labeled, I want to show that there is a point with what we define as the undefined. I think that in this lies a very important vocabulary, in where the future lies.
The Cabinet, installation view
from exhibition Sindrome, La Capella, Barcelona 2013
(photo by Josep Miquel Herrero Olivo)
from exhibition Sindrome, La Capella, Barcelona 2013
(photo by Josep Miquel Herrero Olivo)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet, 2011, filmstill
(photo by Frida Wendel)
(photo by Frida Wendel)
The Cabinet (trailer) from Åsa Cederqvist on Vimeo.
Production info:
By Åsa Cederqvist
Director of Photography Frida Wendel
Music composer Lisa Holmqvist
Set designer & Wardrobe coordinator Lina Wågström
Editor David Ricci
Post production Sto.p.p.
Grading Nanna Dalunde
Online Ville xx?, Jonas xx
Production manager Sofia Blomberg
Additional sound design Eric Thorsell
Music mixed at Traxton recording by Christian Edgren
Sound mastered at Cosmos mastering by Christoffer Stannow
Starring Francine Agbodjalou, Alexi Carpentieri, Simon Jalnetur Lööf, Niclas Dedorsson, Elicia-Lou Rekke Cederqvist, Manda Rekke Cederqvist, Stella Rekke Cederqvist, Rocco Cederqvist Angelantoni, Sam Hammarlid, Angelica Davis, Arash Arfazadeh, Simon Mullan, Henrik Eriksson, Carin Nordling
Phantom operator Hanna Kriisa
Focus puller Daniel Takacs, Örjan Thöverstam
Gaffer Niclas Panthell, Joachim Bengtsson
Best boy Nils Moström, Johan Hedinger-Etteby
Prop master Petra Lundqvist
Hair & Make up Petra Cabbe, Sofia Cederqvist
Production coordinator Sandra Fröberg
Casting assistant Hedda Viå
Catering Barbro Cederqvist
Production assistants Martina Jansson, Franciska Svensson, Sofia Cederqvist, Karin Bjurström, Sanna Dahlström, Katarina Lundgren, Albin Werle
Special thanks:
Pasi Johansson, Hanna Celikel, SITE/ Johan Wallin, Traxton recording, Jehanders, KKV Stockholm, Cosmos Mastering
© 2011 Ladyace
By Åsa Cederqvist
Director of Photography Frida Wendel
Music composer Lisa Holmqvist
Set designer & Wardrobe coordinator Lina Wågström
Editor David Ricci
Post production Sto.p.p.
Grading Nanna Dalunde
Online Ville xx?, Jonas xx
Production manager Sofia Blomberg
Additional sound design Eric Thorsell
Music mixed at Traxton recording by Christian Edgren
Sound mastered at Cosmos mastering by Christoffer Stannow
Starring Francine Agbodjalou, Alexi Carpentieri, Simon Jalnetur Lööf, Niclas Dedorsson, Elicia-Lou Rekke Cederqvist, Manda Rekke Cederqvist, Stella Rekke Cederqvist, Rocco Cederqvist Angelantoni, Sam Hammarlid, Angelica Davis, Arash Arfazadeh, Simon Mullan, Henrik Eriksson, Carin Nordling
Phantom operator Hanna Kriisa
Focus puller Daniel Takacs, Örjan Thöverstam
Gaffer Niclas Panthell, Joachim Bengtsson
Best boy Nils Moström, Johan Hedinger-Etteby
Prop master Petra Lundqvist
Hair & Make up Petra Cabbe, Sofia Cederqvist
Production coordinator Sandra Fröberg
Casting assistant Hedda Viå
Catering Barbro Cederqvist
Production assistants Martina Jansson, Franciska Svensson, Sofia Cederqvist, Karin Bjurström, Sanna Dahlström, Katarina Lundgren, Albin Werle
Special thanks:
Pasi Johansson, Hanna Celikel, SITE/ Johan Wallin, Traxton recording, Jehanders, KKV Stockholm, Cosmos Mastering
© 2011 Ladyace