Søren Berner has been performing and exhibiting since 2002. He is working in a cross-over between visual art, performance, music, urban activism and philosophy. His works have been presented at Cabaret Voltaire, Zurich, Kunsthaus, Zürich, MAK, Vienna, Istanbul Biennial, Turkey, W139, Amsterdam, Overgaden Institute for Contemporary Art, Copenhagen, Kunstraum Walcheturm, Zurich, Artville Tempelhof, Berlin, and in many other places.
For Live Art for Children 2018, he will present the work “Still Life”, where children can recreate their favorite meals for photographing in the style and fashion of the still-life painting of the 17th century.
For Samtalekøkkenet October 2012, he played with the format and of letting the discussion about his work be a part of the performance:
For the Live Art for Børn festival in 2014, he was working with a large group of kids. He used google maps to find playgrounds in backyards being unused during daytime. Then he took the group there and rang doorbell’s until they were allowed in (to the playground). After an hour he rang the doorbell again to find a warm apartment, where the kids could have their lunch on the floor.
In another project, he asked the children about the space between institution and home. The public space belongs to all of us, children too, but they normally experience it only in the passing to “somewhere”. They played hide and seek at a public library and football at a public square. Then he asked, what they were missing. Birds and animals, they said. Thomas Dambo helped them create birdhouses and together, they placed the birds houses in public space in inner city Copenhagen: Street art for kids.
All photo’s by Henrik Harder Bak
It is generally accepted that the image of Chris Burden shooting himself in the arm is a piece of performance documentation, but what about Yves Klein “Leap into the Void”?
We don’t know, if Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation, that one documents a performance that “really” happened, while the other does not?
In a remake of Leap into the void, he was really jumping into the cold water in Winter Helsinki. He positioned the audience in a line. The first took a picture of him jumping. He next of him jumping and the first photographer. the third took a picture of Søren Jumping and the two photographers in front of him.