Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
A girl travels around Europe. She is I. She sleeps around. Finally she finds two male friends. Two times cock in her little feminist hands – so fucking luxurious. She plays with both of them separately. With the camera rolling she tells one of them, the one who thought he had her all for himself. Then the unexpected happens. To uphold his honor in front of his friend he acts like it was his idea to let his friend sleep with her too. The film breaks conventions, norms and patriarchal rules about how a girl should behave. It deals with gender rules, taboos and demanding too much space as a girl. But most of all it’s about honour between male friends. And the way men are forced to act like men towards one another. That’s right, unless they become feminists and do something about their imposed gender roles.
Born 1974. Lives and works in Stockholm, Sweden. Joanna Rytel graduated in 2004 from the University College of Arts, Crafts and Design in Stockholm. She has developed a complex artistry, which always points out our times most poignant issues of gender, power and identity. She approaches these issues with great integrity, putting the personal at stake, making her form of address accessible to those outside the usual art and film worlds. Considering how loaded these topics are, one might guess that Rytel would handle them with political correctness. Far from it The politically correct answers are left out and the reaction becomes stronger when viewers are deprived of their passive role and become a part of the answer.
Sex, gender, feminism, honour, abortion and racism: Joanna Rytel explores some of the most controversial topics of today. Rytel creates situations of an almost childishly provocative nature: she depicts sex workers at art shows, strips for animals, has birthday parties for aborted foetuses; a distressing method without a safety net.
Joanna Rytel has premiered twice at the Berlinale Shots with her films. 2016 she won the Teddy Award for her film Moms On Fire she also received a Swedish Oscar Nomination,
the Guldbagge Award for best short, with ‘Me seal, baby’.
Joanna Rytel:
My work can be divided in three main characters. One is my interest is in the relation between animals and humans. I have made performances for animals and filmed their reactions. In ‘Animal-Performance’ I play music, dance and strip for monkeys, cows, goats and horses. In ‘Then I´ll take your cat’ I masturbate in front of a cat. I both these works am interested in the animals reactions to human behaviors. In ‘They look like this’ I have photographed animals from behind. Animals are being reduced by humans and I want to make the animals into individuals instead of merely objects by showing that they have sexes. Society denies that animals have an identity in order to justify the use of them as objects, food, keep them in zoo, use them for experiment etc. I am interested in the human ethics that denies ethics of animals.
Another character in my work is in human relations and power structures. ‘A Film Inwards’ is about the desire and obsession to gain a persons love. This film project stress the question of power structures in love relationships. ‘To Think Thoughts You Don’t Want To Think’ is a project about unwanted racial thoughts. The story is in told in a dairy format and is about the ambiguity of white women’s racial thoughts and their desire of the black man. Both of these films are extensive projects. I have also made shorter video work and photos about these issues.
The third character of my work is feminism. I have made an action against the Miss Sweden Contest in 2001. Me and my college went up on stage in live television broadcast and unfolded a banderole with a feministic statement. This caused a huge media effect and since then the Miss Sweden Contest has not been shown in swedish live television anymore. I continuously write feminist texts that I read in performances at various events, both inside and outside the art-context. In ‘For Your Eyes Only’ I made an installation which a professional female stripper dancing exclusively for a female audience. Outside the strip-room there was a video with a female stripper speaking about the difference between dancing for a male and a female audience.
