From time to time, you can hear or rather sense the remnants of a voice that belongs to the French actor Thierry Bosc.

Text fragments are written by Samuel Beckett. The atmospheres are recorded in, among other places, Stockholm, Paris, Rome and Connemara. Unique.

About GOFUN, an off-white pigment made from oyster shells.

Many types of pigments were once brought to Japan from China, and the pigment known as gofun in Japan originally denoted white-lead pigment. However, due to the humid environment of Japan, white lead would turn black, thus making it difficult for this pigment to remain white.

History. Over the centuries, oyster shells gradually replaced white lead as the raw material for making white pigment. Today, gofun continues to be used as white pigment in traditional art and craft.

It is believed that white pigment made from oyster shells became known as gofun from the end of the Heian period (12th century).

Oyster Shells. Ostrea denselamellosa (Densely lamellated oyster) is a species of oyster whose shells are used to create gofun. The shells are first given 10 to 15 years of natural drying against the elements, a process that breaks down organic substances contained in the shells and allows foreign objects such as stone or fish scales attached to the shells to be easily removed. Gofun made from oyster shells is an excellent pigment that is resistant to flaking and soft enough to be easily applied with a brush and guarantees long-lasting whiteness. Soft white. In comparison with white pigments made using metal powders, gofun is characteristically softer with a warmer hue. It is blended with glue before being applied as white pigment on paintings, as well as Hina dolls, Hakata dolls and Fushimi dolls.

Karl Dunér (b. 1963), is a Swedish artist, theatre director, and scenographer. His visual art has been shown internationally at venues including Prins Eugen’s Waldemarsudde, Vandalorum, Kristinehamn Art Museum, the Swedish Institute in Paris, as well as in Berlin, Dublin, Freiburg, Brussels, Yokohama, and Tokyo. Recent exhibitions include Sophögen at Orionteatern and Galleri Duerr. Since 1997, much of his work has focused on Memory and the Art of Memory. His mechanical sculptures act as memory capsules: while the sculptures themselves remain, the movements, sounds, and lights within them constantly change. Each piece can be understood as a self-contained performance, in which the action is determined and controlled entirely by the work itself. Theatre often informs his practice, with many works experienced as scenes, actions, or happenings. Recurring materials include film, photography, audio, mechatronics, painting, puppet mechanics, and papier-mâché. For this exhibition, we will be presenting one work from his series Skulls.