The Emotional Experience of Space

The shape consists of used shooting plates that the police use when they train to shoot. The plates lie behind the human silhouettes that the police are shooting at. The police, who have the state monopoly on violence, are the only ones allowed to shoot at drawn silhouettes of a person, and in the extreme, at another person. The plates are assembled into a six-sided cube.  2025
Polystyrene, 140 · 60 · 58 cm. text on wooden board, 41 · 57 cm. 

Do Not Leave Me, 2013 
Steel sheet, 160 · 50 · 1 cm. text on wooden board, 41 · 57 cm.

Two glass boxes are stacked, a large box on top of a small box. The difference between the two boxes is that the small one is just strong enough to withstand the weight of the large one without breaking. 2025
Glass, sandstone, 152 · 128 · 77 cm. text on wooden board, 41 · 57 cm. 

A soundproof black glass box. The box is intended for one person lying down. The box has four breathing holes and a hole for installing a light source. The light source prevents the person from looking outside. From outside the box you can peer into the box, and you can call the person inside. The room outside is dark. 2025
Soundproof black glass, pine wood, 178 · 178 · 64 cm. text on wooden board, 41 · 57 cm. 

I foråret […] 2025
text on wooden board, 41 · 57 cm. 

The object is designed for foie gras production and consists of a glass plate with two holes. You insert your right arm through one hole and grip the goose’s head, forcing it through the other hole. With your left hand, you hold the goose’s neck while using your right hand to stuff the goose with feed. 2017 (reproduced 2025)
Steel – (12 mm) glass plate, 77 · 194 cm. Photo, oak frame, 146 · 190 cm. text on wooden board, 41 · 57 cm. Model: my mother  

Storage box intended for my brother. On the side of the box there is a hatch that can be opened and removed. The box has three holes: one to caress his hair, one to feed him, and one to scratch under his feet. 2015
Bamboo plywood, plexiglass, rubber wheels, 52 · 60 · 200 cm. text on wooden board, 41 · 57 cm. 

A game consists of 1024 pieces. 2025
Plaster, 158 · 130 · 20 cm. text on wooden board, 41 · 57 cm. 

A polycarbonate box covered with reflective film. Inside, fireworks are installed and when they explode, the mirror effect stops, rendering the box transparent. As the fireworks fade, the box again becomes reflective. The remnants of the spent fireworks remain in the box. 2019
One-way mirror film on transparent polycarbonate, pine wood, 204 · 154 · 43 cm. text on wooden board, 41 · 57 cm. 

The bed is intended for two persons. The bed has two holes and a hatch on the side that can be opened. Under the bed is a person who pinches up through the holes. The persons defecate through the same hole that the hand pinches through. 2021 (reproduced 2025)
Birch plywood, larch wood, paint, foam, stainless steel, 140 · 140 · 60 cm. [2 editions] text on wooden board, 41 · 57 cm. 

by Anne Kølbæk Iversen

The Two Axes Of Gender Aggression And The Masculine Mandate
In all acts of gender aggression, two axes of communication converge. The first is a vertical axis, from the aggressor to the victim. Along this axis or within this relation, the aggressor addresses the victim, communicates to her that she is part of his territory. In verbal aggression, […] the vertical axis predominates. By contrast, the horizontal axis is decisive in rape, because it is along this horizontal axis that the aggressor meets and competes with those who, in an archaic imaginary, are understood as charged with watching over and protecting this body, keeping it safe. [1]

Udstillingen The Emotional Experience of Space præsenterer ti skulpturer. Skulpturerne giver anledning til at reflektere over forholdet mellem autonomi, overgreb og indskrænkning. Det er oftest først når den orden, vi oplever som selvfølgelig, bryder sammen, at vi ser det usynlige væv af rutiner og forskrifter, som har holdt os oppe.

Affektteorien peger på, at følelser skaber overflader og relationer ved at styre, hvordan vi relaterer til objekter og andre subjekter. Om vi hader, føler afsky, glædes eller skammer os er afgørende for vores omgang med verden. Men samtidig er vores erfaringer med verden med til at forme vores følelsesmæssige respons. Skam er en isolerende følelse. Skamfølelsen får den skamfulde til at se ned og væk og undgå blikket udefra. Med internaliseret skam og frygt for skam (shame anxiety) indskrænkes subjektets handlerum og hun krymper sig under vægten fra verden, der invaderer hende. Skammen bygger en celle, hun ikke selv kan bryde ud af.

Flere af udstillingens skulpturer er redskaber til potentielle handlinger. De synes at interessere sig for, hvad der kan ske, hvis vi følger et tankeeksperiment ud i dets logiske konsekvens. Der er en stille voldsomhed over skulpturerne, som var de torturredskaber eller mellemværender i et sadomasochistisk forhold. Samtidig er der noget humoristisk over de nøjagtige beskrivelser af skulpturernes funktioner, hvor du fx bliver instrueret i at tvangsfodre en gås ved at stikke din arm ind gennem et hul i en glasplade.

[1] Rita Segato, The War Against Women, 2024

Photo: Brian Kure

Supported by Fake Foundation
Grosserer L.F. Foghts Fond
Danish Arts Foundation
The Council for Visual Arts
Danish Art Workshops