Goro Tronsmo is a Norwegian artist and stage director working in Oslo, Stockholm and Berlin. She has been making context specific work that question and relate to the architectural and institutional context of the venue, and use the curatorial concept as basis for the storytelling. The institutional framework of visual and performing art is in this way incorporated in the plot as a type of hightened realistic fiction.
With a background in acting and actors instruction, she mixes concepts of theatricality and representation, sometimes in scripted but seemingly improvised settings, sometimes with dancers improvising as participants in the illusion of the installation.
Her work as a visual artist is executed as large scale context specific architectural living installations. Through the architectural installation the audience enter the project as on the inside of the script. Her architectural work deals with architectural program and its correlation to movement: by the architecture choreographing how you move in a space, the audience is lead through connotations in architectural programs, that in effect initiate changed perspectives of the site through a point of view perspective. Her performative work inside these installations create complete illusion of situations with the use of light, props, media strategy, graphic design and hidden staged situations.
Middle picture: Still from the project ACHACU - a staged institution in Altes Postfuhramt West, Berlin. The project consisted of a 1,5 year long continual transformation of institutional identities, from loft apartment, screening room, sound dome, dance studio, skate park, architectural monument and as the backroom of a gallery, staging the functions of the art market economy. The picture is from a 48-hour sleepover event with performers and audience living in the installation.
Bottom picture: Stills from Muscle Temple, a reality project about a performing arts company. The actual situation in the rehearsal process and continuous documentation was used as a method to redefine concepts of performed reality, time, work, movement, dramaturgy, art object, and performativity. Exhibited at Black Box Theater in Oslo it functioned as a "Duchampian non-object", creating confused and dissatisfied artistic staff and audience, initiating a discussion of object mode in performing arts and the production premises and economy related to it. The project also exposed problems connected to mediating conceptual projects in a field with a lack of curatorial praxis and only programming venues.