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– Spring/Summer 1999

An Exchange Between Åsa Nacking and Superflex

Åsa Nacking

Superflex, Portable Sauna Computer model, 1998. Courtesy the artists.

Superflex, Portable Sauna Computer model, 1998. Courtesy the artists.

Åsa Nacking: You are working with social interaction in your creative practice. I would like to ask why have you chosen to locate this work within the realm of art?

Superflex: To be specific, we have chosen to refer to our artistic activity as socio-economic integration. The reason we work within art is because of the possibilities it offers - a space in which to experiment, free from the bonds of convention.

ÅN: It seems to me that you are not only posing questions or using art metaphorically, but rather you really believe that art can make a difference.

S: Basically, it is a question of what art is capable of doing. Art is able to focus on various topics And discourses, And our way of doing it is to go beyond mere problematising. We want our art to have a clear social relevance, And we are assuming full responsibility for the consequences. We are engaged in AN operation that we hope will be concretely relevant to an individual or a group of people. The Biogas project is an example of precisely this.

ÅN: Last year, you successfully installed a Biogas system into a one-family home in Tanzania. Do you think that the project should be integrated more broadly into African society in order for it to be considered successful, or is a single intervention sufficient?

S: The Biogas project has several aspects that may be more or less successful. Discussion is an important part - the fact that we have an opportunity to enter into a dialogue with people from a variety of divergent positions. In this situation negative feedback can become an important part of