INSTALLATION

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Priority List, 2006

Billboard, text
cm 600 x 300 x 200 ca.
In connection with the exhibition "Normalization" in Rooseum Center for Contemporary Art Malmö (Sweden), Critical Studies group presented the project Priority List on Rooseum’s billboard at Gasverksgatan. The project consists of a fragment from a so-called priority list — a government directive as to the allocation of resources to different groups in society in case of a crisis. A priority list is based on suppositions of who is the most useful for the continued functioning of the rest of society. The project Priority List casts light on this hierarchy, focussing on those who are at the bottom of the ladder. – – – Critical Studies 2005–2006: Kyongfa Che, Alfredo Cramerotti, Övül Durmusoglu, Minna Henriksson, Christian Hillesø, Jee-Eun Kim, Christian Schult.

ISTAN-BUL, 2003

Sound, Video, Text, Prints
variable
[View Video]
Sound and video work on Istanbul's bridges connecting Asia and Europe, examples of the "representational aesthetics" of urban infrastructures. (with Iben Bentzen) Istanbul is separated in two parts by a busy gulf. What connect the Asian and the European side are the two bridges Bosphorus Bridge and Fatih Sultan Mehmet. The latest one, Fatih Sultan Mehmet, is most often exposed. It appears as a glamorous image on the front page of various brochures and tourist maps. This bridge has a positive, symbolic meaning in the sense of connecting Asia and Europe. It is a symbol of a structured city proclaiming to be a European metropolis. One thing is how the tourist brochures represent the bridge, another is what the meaning of the bridge is in people’s mind. What do the inhabitants of Istanbul on respectively the Asian and the European side think about the bridge and its importance for the city? Is there despite the physical connection a psychological division?

Composition No.2: 81 Days, 2003

Wood, graphite, paper, acrylic, oil pastel, watercolour
cm 600 x 300 x 200 ca.
Site-specific installation (altar area of St Saviour's Church) for final exhibition Ft3 Residency Award at Florence Trust Studios London. Curated by Cherry Smyth. Pictures: Views of the installation.

Logoism etc., 2003

Online visuals, prints, text, computer, furntiture
variable
Logo: a word or a part of a word printed with a specific formed type. Especially used as a trade mark. What does it mean for a peace project to have a logo? 5MillionPeaceMarch Project was initiated to create a dialogue in the form of an “open source” process. It is a frame, an art project, which opens issues in a political field. If you want to, you can say and do something for Jerusalem and the Israeli/Palestinian conflict, using the project’s name, know-how, support and concept, in order to organize something by yourself. So far it is open and not institutionalized. There is no vertical hierarchy. Can it stay open? There are a lot of groups, associations, organisations, institutions, and individuals, who deal with the situation in Jerusalem and Palestine/Israel. Is there a need for 5MillionPeaceMarch Project? Why do the majority of organisations in cultural, political and social fields present themselves with a logo? It seems that the complexity of the political situation in Israel/Palestine creates a mistrust in the words of the politicians, therefore the need to focus on something visual and defined. The conflict in Israel and Palestine is getting more and more harsh and a solution more and more complicated: is there a growing need for people to make statements and constitute themselves in groups, clearly defined with logos and manifestos, in order to have something concrete to hold on to? (with Iben Bentzen)

The Hidden Lies, 2001

Wood, Graphite, Acrylic, Enamel.
cm 360 x 250 x 5
Six-panel, polychrome 2D installation. The work stays as a metaphor for a living organism winding and pulsing within a perfect artificial structure. (currently on loan to Bauflex Italia srt, Trento, Italy)