The Light of The Lodge
2012, Copenhagen, Denmark
The artist’s ongoing interest in secret societies engendered her project in Copenhagen The Light
of The Lodge, produced for the Copenhagen Art Festival in 2012.
In her own words:
“For me, ever since I saw Lars von Trier’s film, Copenhagen has been the city of The Kingdom.
The original Danish title Riget also translates as ‘the realm’, leading one to think of dødsriget
- the realm of the dead.” The sinister, albeit comedic, masonic rituals depicted in The Kingdom
inspired a series of projects about and around the masonic secret societies, their rituals, allegories
and symbolic language.
Rajkowska worked a performative response to the city’s masonic past - a night march of women. A group of women started their walk through the city from the Royal Library garden, one of the most tranquil spots in the city. They wore long black capes and pointed hats topped with flaming torches. They had rattles in their hands, which intensified the pace of the walk and acted as a warning. The choreography of the march functioned as a symbolic transmission of the power of reason and control to those who, according to the hierarchical and male structure of the lodge, are excluded from authority.
of The Lodge, produced for the Copenhagen Art Festival in 2012.
In her own words:
“For me, ever since I saw Lars von Trier’s film, Copenhagen has been the city of The Kingdom.
The original Danish title Riget also translates as ‘the realm’, leading one to think of dødsriget
- the realm of the dead.” The sinister, albeit comedic, masonic rituals depicted in The Kingdom
inspired a series of projects about and around the masonic secret societies, their rituals, allegories
and symbolic language.
Rajkowska worked a performative response to the city’s masonic past - a night march of women. A group of women started their walk through the city from the Royal Library garden, one of the most tranquil spots in the city. They wore long black capes and pointed hats topped with flaming torches. They had rattles in their hands, which intensified the pace of the walk and acted as a warning. The choreography of the march functioned as a symbolic transmission of the power of reason and control to those who, according to the hierarchical and male structure of the lodge, are excluded from authority.
Copenhagen Art Festival
curator: Christian Skovbjerg Jensen
www.cph-artfestival.org
curator: Christian Skovbjerg Jensen
www.cph-artfestival.org
The Light of The Lodge. Edition Copenhagen