What does it mean to make art about the experiences of one's own childhood and can one depict a hometown that was left 20 years ago? In the project HOMECOMING , artists Oscar Andersson, Victoria Verseau and Josefina Björk return to their hometown of Skövde to meet their old antagonists: “raggarna”/the conservative and transphobic motorculture people. Together with “raggarna” and the queer community in Skövde, they will try to create a spectacular motorculture-epa-drag-show for the city's annual city festival.
HOMECOMING is a project that moves freely between community art, performance and documentary film. It is about growing up as LGBTQI, belonging, and meeting “the other”. Through a crazy art project, the artists want to face their own fears and prejudices, bring together groups that usually do not meet and deal with the wounds from an abandoned hometown.
On a local festival I meet a transphobic man who has never before met a transwoman.
This is Cellulita!!!
Cellulita has finally arrived in her hometown of Skövde!
Here she visits Skövde's landmark, the cement factory, which she could see from her childhood bedroom window every day because her childhood home was very close to the factory.
When she couldn't sleep she could sit for hours watching the never-ending smoke rising slowly into the night atmosphere.
Cellulita also had her first summer job at the cement factory. She was the one who brought some glitz and glamor to work. Slowly, inspired by Cellulita, almost all the men who worked in the factory, young and old, began to wear short sequined skirts. That's why you can occasionally see men wearing sequined dresses and skirts in Skövde. Something that is not very well known and can not be seen in other small towns in Sweden. Cellulita started a rare trend that lingers many years after she left.
Cellulita has never been ashamed of her cellulite. She always wears short skirts and proudly let the cellulite hang out for the world to see! She even thinks they are a bit cute and mysterious like the moon's countless craters.
Supported by The Swedish Arts Grants Committee and Skövde Konsthall.