Time Machine 1.4.2 (2013) is an investigation into the symbiosis between light and time. The “image-machines” diffracts the light by 1.4.2, resulting in these color rings. This series of pictures looks into the possibility of time also being diffracted/slowed down by 1.4.2 within the surface of the image.
By asking what notions of time and space stereoscopic images produce, Entangled Realities II (2012) unfolds this photographic 3D technique, through a set of archive images of seagulls. Here the images are sidelined with a physics light experiment, called the double slit experiment, performed on gelatin silver prints. The experiments are conducted using a seagull’s feather and in the back room the installation i set up so the feather reacts to the viewer’s movements, while a scrolling text explains the Many-Worlds interpretation, thus investigating whether the parallel images of stereoscopy might reveal parallel universes, while also suggesting an entanglement between the viewer and the feather.
Entangled Realities takes its point of departure in the double slit experiment, a light experiment, that has been at the center of an ongoing scientific investigation into what light consists of. New discoveries in this experiment led to the development of quantum physics with its many new attempts to understand how the world works, among other, the Many Worlds Interpretation. The double slit experiments were performed using a hair, thus making these gelatin silver prints a kind of fossil evidence of the artist and the viewer having ended up the same world, namely the exhibition space.
Space Dog Odyssey is a series of photonovella performances, or rather, performances that would like to be fictional documentary films. A Sub-Space Dog Odyssey, The Prequel is the second in a series of queer, post-humanist rewritings of major historical events, told through the pets of powerful politicians. This prequel takes its point of departure in WWII. Performed by two actresses, the narrative unfolds in two strands; one is Hitler’s mistress Eva Braun and the other his dog, Blondi. Woman and dog is confused and Blondi’s pups, becomes Eva’s love children, causing a reaction in Hitler, resulting in WWII becoming undone. Here history is re-negotiated through a pun on the word subspace, being both a metaphor for the bunker they would end their days in, but also being Blondi’s relationship to Hitler and in the end, by taking use of the last meaning of the word, a way to undo WWII.
Space Dog Odyssey, A Cold War Romance, written and performed in collaboration with Mathias Kryger, takes its point of departure in the Cold War and the Space Race. The narrative of the performance follow two strands; one is the encounter between Nikita Khrushchev and John F. Kennedy at the Vienna Summit in 1961. The second strand is the story of Strelka, the Russian spacedog, who was allegedly the first (along with Belka) to return to earth alive. Nikita Khrushchev gave one of Strelka’s offspring, Pushinka, to the Kennedy family and Pushinka went on to have pups with The White House dog Charlie. The distinction between (hu)man and dog is blurred, thus reconfiguring history, giving it a precipitate happy ending, where the Berlin wall is never erected.
In the same letter, where the famous analogy of the simultaeneously dead and alive cat paradox, Schröedinger attemps to make the same point, through this analogy of a photograph, which was meant to critique the Copenhagen interpretation. Two copies of the same photograph, an out-of-focus depiction of fog, hang side by side.
Diplopia takes point of departure in a cover of Whole Earth Catalog (a magazine that ran 1968-’71 that voiced the “DIY” & “back to the land” movement) from Fall 1970. Nasa’s first picture of a full globe from 1967 became the outset for the aesthetics of the magazine and later a pastiche of this very image made the cover in Fall ’70 (a photograph of the sky taken with a 180 degree fish eye lens). Diplopia means double vision and the installation, consisting of video, photography and architectural elements, revolves around the copy, investigating the principle of originality and its ambivalent role in western society since Plato.
“In the Space Between You and Me” is a two- screen video installation. On the soundtrack a male and a female voice-over take turns speaking the same monologue. A narrative unfolds, which takes point of departure in a situation of two people looking into each otherʼs eyes, causing an experience that goes from unwillingness, arrogance and dominance to insecurity, anxiety and nausea. Slowly the narrative leads to an experience of a loss of a coherent self and the break-down of individual subjectivity.
It is told in the second person (“you”), thus performing the narrative with the audience, provoking the experience to be lived (again) by those who interact with the work.