The Notion of Authority, 2024
120 framed text works on A4 paper, ladders
The material for the work is notes taken between 2014 and 2023. The notes have been worked over sculpturally and materially, in the sense that the editing is actual and physical. I cuts up the texts and glues them back together, repeatedly, and these numerous edits are thus evident in the final results.
I had created an installation that makes it impossible to get a clear overview of the text, just as it is impossible to see an entire sculpture, because it is three-dimensional and at least one side of it is thus always hidden.
The Notion of Authority, 2024
1 out of 120 framed text works on A4 paper
Isolation is a basic condition in Drugs Consumption Room H17
We who are here are intense, absent and unreliable.
The place holds a longing that is shared.
H15
I fall in love and surrender to the place.
I am addicted to him and lonely.
I feel excluded and faraway, as if I’m floating. The feeling is heavy, like something that will not budge, and maybe that’s what makes it feel like floating. I can’t focus. I want to party and to disappear, to cry. Can a place swallow a person?
The soundproofed rooms are for shooting cocaine. What happens to the body when it’s absorbed?
There are different needles for shooting drugs. What’s the difference?
What does heroin consist of? How is it produced?
Why do drug addicts move the way they do?
I’m fascinated by the work of the actor.
Do you have to be a human to play one?
Put an actor under.
The virtual space can serve as a temporary space. The virtual space is static. The physical space moves. As we step out of the virtual space, we change the physical one.
How do the forces of the structure work? That is, what can’t be seen.
To kill a swan, strike its neck with a bat.
The swan flaps its wings as if to fly, only the flapping is quicker. It whips its head around as if it weren’t headless. It swings its neck to evade the bat.
Grip the neck of a duck. Swing its body around with a force and speed which exceed that of the duck. The duck’s neck will break, and it will die.
Two glass boxes are stacked on top of each other. One glass box can contain a person curling up, the other glass box can contain a person lying outstretched.
Two glass boxes are stacked, a large box on top of a small box. There is a hole through the side where the two boxes meet. The difference between the boxes is that the small one is just strong enough to withstand the weight of the large one without breaking.
A rhyme has a rhythm. It is a place, a kind of institution. I recited my first rhyme when I was eight years old. The rhyme included the words red meat. I can hear the words faintly and imagine the meat.
I recite the rhymes every day. Sometimes I shout them. I always carry them with me. They’re portable. Are the rhymes a defence and something to defend?
I have learned to say the rhymes during conversation. I can say them during sex. The rhymes keep me awake. I say them at night. They wake me up.
I recite the food I have consumed in a day. At times I recite the food I have eaten in the past several days. Currently, I recite my intake from the past one to two days. I must say the rhymes in a certain way. It must sound like the voice of someone else.
The rhymes connect me to the world, because I have connected them to it.
I must imagine the food I recite. Whatever I say, I must simultaneously see. That is, I must see the boiled egg I have eaten when I say boiled egg. If there are more than one, they are pluralised, boiled eggs, or quantified, four boiled eggs.
The rhymes can distinguish me from you, and thereby they make you real.
In Persian, to speak is to hit the word.
The rhymes point to a grief over the loss of a life without them.
The sculpture is made of the same material as the floor and looks like a shadow. A shadow is a hole in light. The shadow allows you to emerge in three dimensions. Without an object, there would be no shadow.
The sculpture is connected to pain, that is, to a wound.
The sculpture is covered in morphine, which is analgesic. That is its function. It is an analgesic medication. It is a drug that makes you sink. An inner space where you are not present.
Morphine. To fall without getting hurt.
A trauma exists in the present tense but can never be looked at directly. In fact, the possibility does not exist. It has become a dream, just as a dream is the ultimate synthesiser yet still has a split quality to it, because you remain on the other side.
The trauma is played again and again and persists in what comes from the outside. It can be examined and replayed but never removed. Repeat the trauma situation again and again.
Water can carry you, but it can also flood you.
Imitate the animal you want to kill.
Hunt. I will take the human out of you.
A space of possibility is contingent on a form, a place.
From a form, a space of possibility can arise.
The complexity of a material does not lie in its application.
Freeze a person. What is harmful about being warmed up?
At night we cannot be hit.
When something is three-dimensional, at least one side is always concealed.
Sculpture. Covered in poison. The form is ravaged.
We lie down beside each other to show that we are two.
To bring the weapon into the country, we fit it with a light and call it a torch.
I pay a man in sex to make a website.
At home I leave the door to the back stairwell open. I like the thought of the apartment being accessible to everyone, of there being nothing to break into or intrude on.
She loved one child more than she loved the other. She had one child with a man she loved and the other with a man she did not love. But something bound her to the child she had with the man she did not love. Something she could not place with the man she loved and therefore had to place elsewhere.
The sculpture is the mirror and has no circumference.
The sculpture consists of two shooting ranges. They are designed for handguns. The ranges are mirrored and overlaid. When you use them, you shoot at each other.
The word space comes from the French espace, meaning period, distance, interval between two or more objects.
A surface becomes an object as it interacts with what surrounds it. What is two-dimensional becomes three-dimensional.
The subject fills the glass so you cannot see through it. The subject’s details dissolve the subject.
She must hold me from within.
Pinch your fingers together to form a beak. Insert your pinched fingers into the anus of another person. Like a beak, the hand opens, QUACK QUACK
The object is designed as a modular system which can either be assembled and used as a shelter or configured into two individual sculptures. In this work the modules are separated and assembled into two sculptures. Because a shelter exists by virtue of its capacity to contain a person, this is a sorrowful space.
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 pump in feed.
translation by Jennifer Russell
tak Anne Kølbæk Iversen og Anders Bonnesen
Supported by Danish Arts Foundation
Rådet for Visuel Kunst
