Uinverse portfolio: Libertalia
In 2019, amidst the buzz of a European Capital of Culture training programme in Rijeka, two dynamic individuals met—Alexis Johnson and Isabel Lagos. Both were invited as experts in site-specific outdoor performances, their meeting sparked an immediate connection and a wish to work together, and they embarked on a collaborative journey.
It turned out to be quite the transformative force, to start off with they had reshaped the fabric of the training programme, They crafted an immersive experience that transcended the traditional confines of the programme inviting lecturers and students to broaden their perspectives and embrace a more practical, hands-on approach. The programme underwent a transition from a rigid lecture-based sessions to an immersive space fostering creativity through dialogue and tasks. Here, a trailer made by the Rijeka, European Capital of Culture coms team. As usual Isabel and Alexis were busy with students and submerged in the set-ups so they didn't partake in interviews. Each expert would be welcome and introduced by them to the co-creative idea of the programme, a dialogue around that would usually take place in the evening and the structure and practices for each day would be announced.
Following that meaningful collaboration they continued their partnership in both Sweden and the UK, which led to various projects. In this dynamic, the idea of Libertalia took shape.
The development of Libertalia marked a significant milestone in their work together. Drawing inspiration from the story of the Pirates of Libertalia that they had encountered in the Gathenhielmska area, they connected with European cities and established partnerships. In this vision, the pirates, depicted as guardians of liberty, became a performance troupe travelling across European cities with a unique performance mast. Their mission: to invigorate artistic communities, encouraging them to explore and share their untold stories through co-creative practices in their chosen art forms. Guided by a handful of sources, amongst others Neil Peterson, Director of Inside Track, who helped them establish connection with relevant European cities.
At its essence, Libertalia encapsulated Isabel and Alexis's shared passion—to be catalysts for untold stories and dreams. Their collaboration went beyond mere art production. It was a testament to co-creation, reshaping historical narratives, site-specific work and fostering a new way of creating.
Upon a successful application to Creative Europe, their journey moved quickly. Initiatives such as the Gothenburg Majorna Library Expo, Libertalia exhibition at Manchester Central Library, and Blackpool Hive had given birth to a collective of artists that contributed to the project and took also part in the Gothenburg 400 years' anniversary events. This collective played a pivotal role in the development of Libertalia. There are several creative parts connected to the collective, artist Pete Jameson Sinclair is for example working on a Libertalia book and research films about the life of a Libertalia pirates called John Norcross and he has been painting portraits of each of the contemporary Libertalia crew and artists. The Libertalia project was supported in Sweden by Kulturbryggan and by the Swedish Arts Council and in UK by the Arts Council England.
AoU - Academy of the Unknown
Libertalia wasn't just a project; it was a personal odyssey—a reclaiming of Alexis' and Isabel's stories as marginalised practitioners, as it was of the co-creative "together we thrive". Their journey was marked by years of dedicated efforts, pouring immense work into their craft, often concluding with minimal to no recognition. Libertalia emerged as a transformative chapter, signifying a profound reawakening—a symbolic journey. It served not only as a beacon for the collective to reclaim its rightful place but also as a defining moment of self-rediscovery and empowerment for women and for marginalised artists.
Click the image to read Alexis' report on
the Libertalia Exhibitions.
An unforeseen storm loomed on the horizon—the global pandemic crept slowly in and swept them away, both at the same time.
The pandemic's dual nature—its gradual and almost unnoticed inception, followed by its rapid and impactful surge—has of course altered the course of human existence, reshaping norms, and challenging ways of life and work in ways most people are still unable to understand.
Its arrival was not only unexpected but arrived at a particularly sensitive period. Libertalia's core team in Gothenburg was in the midst of creating not only a project and an artwork, but most important a collective that yearned for connection, visibility, safety, and very much depended on physical togetherness for the completion of such.
But there was nothing they could do, the pandemic was a fact, and was challenging their aspirations. It tested their resolve and the essence of their collaborative ways, disrupting the very fabric of the shared visions and need for physical presence, unity and freedom.
During this period of uncertainty and upheaval, significant personal, local and global changes were unfolding, how and what was unknown, and gave decisions a sour taste of uncertainty, anxiety and frustration. Amidst this chaotic landscape, they held onto certain constants; to their connection and task, the unfolding narrative, the development of characters, and the creation of aesthetics.
The Libertalia mast stood as the greatest challenge—a symbolic beacon meant to navigate them toward new horizons. A navigation that didn't seem to be forthcoming.
As circumstances continued to shift, they found themselves compelled to let go of the pursuit of the mast. Limitations in both space and time, combined with the inability to physically gather and train together, rendered the realisation of the mast an increasingly unattainable goal.
The Digital Ship emerged, it was the safest choice.
Challenges stemming from diverse safety regulations across different countries not only impeded the group's ability to come together but also fostered a divergence in perspectives. These differing viewpoints resulted in a fragmentation of ideas regarding what was considered safe or unsafe.
Adding to the challenges with the pandemic, that Isabel and Alexis had been grappling with health issues since the beginning of 2020. Both were intermittently affected by the lingering effects of long-haul COVID. Despite their battles with illness, they persisted in their efforts, striving to uphold the collective even from their respective sickbeds. Their unwavering commitment persisted until autumn of 2021 when their health declined to a point when they were unable to continue. Medical professionals intervened, asking both Isabel and Alexis were placed on sick leave for an extended period, it turned out to be far longer than they could possibly imagine. The adversity of the pandemic and its toll on their health compelled a pause, "a time in the void" as one of the artist's lovingly called it, halting their efforts as they focused on recuperation and healing.
Despite the adversities and setbacks they faced, the creation of the Digital Ship and the groundwork laid out had inherent strength. The partners, along with a dedicated group of core members, got together and with the aid of the core story structure and innovative digital labs persevered in shared exploration and continued with the project.
What came as a surprise was their adaptation to technology. Together, they embraced and learned to co-create through digital means. This sure was a surprise.
The shift to a digital mode of collaboration transformed their approach, yet at its core, the values of freedom and co-creation remained resolute and unyielding. Despite the unconventional path necessitated by the circumstances, they managed to uphold the essence of their shared vision, fostering collaboration in an entirely new landscape.
More than they can possibly know was born from that vision and determination, it is often so and rarely acknowledged..
Click the image to read Alexis' report on
the Libertalia Academy of the Unknown.
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