DEAD MAN (ASA ZONBI DUB), 2004.
3 channel video works installation, sound system, black vinyl tejp archetectural diagram floor drawings, desolated warehouse spaces, office interiors, ghosts and stuff.
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Dead Man is a large scale mixed media installation, made as part of group exhibition ‘Laplandia’, in the town Storuman, Sweden, 2004.
The composition was installed in a then recently abandoned spatious Samhall warehouse/works shop and office (Samhall is a state owned company and organisation providing training and jobb oportunities for people with disabilities in collaboration with Swedish Public Employment Service).
The composition invoke various affective modalities lingering about an abandoned and hounted work space, as tensions of electric flickering and flashing silver coins form clusters, turning, becoming faces and spectralities of the monarchy, capital and the Swedish National State. Hypnotic scenes are cut short by immersice soundscapes of roller coaster screams and laughing masses, ebb and flow or murmuring soundscapes carrying the projektions swarming, criss crossing superimposerd flight lines of the typical scandinavian bloodsucking mosquito. The workings negotiate ghosts whispwring notions to be understand in terms of ecology and biotopes, in friction with scandinavian social engineering, care, community, genetics, blood and capital. All in a typical, yet unique, frontier town and region of the far north.
In relation to the exhibited installation, the exhibition kommitee organised two public talks (one in Storuman and one at Lueå Konsthall) on notions of Alienation, Labour, Bordering and the Other, in relation to aural-visual cultures and practicies.
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3 channel video works installation, sound system, black vinyl tejp archetectural diagram floor drawings, desolated warehouse spaces, office interiors, ghosts and stuff.
.....................................................................
Dead Man, (Video still), C-Print, 2004.
Dead Man is a large scale mixed media installation, made as part of group exhibition ‘Laplandia’, in the town Storuman, Sweden, 2004.
The composition was installed in a then recently abandoned spatious Samhall warehouse/works shop and office (Samhall is a state owned company and organisation providing training and jobb oportunities for people with disabilities in collaboration with Swedish Public Employment Service).
The composition invoke various affective modalities lingering about an abandoned and hounted work space, as tensions of electric flickering and flashing silver coins form clusters, turning, becoming faces and spectralities of the monarchy, capital and the Swedish National State. Hypnotic scenes are cut short by immersice soundscapes of roller coaster screams and laughing masses, ebb and flow or murmuring soundscapes carrying the projektions swarming, criss crossing superimposerd flight lines of the typical scandinavian bloodsucking mosquito. The workings negotiate ghosts whispwring notions to be understand in terms of ecology and biotopes, in friction with scandinavian social engineering, care, community, genetics, blood and capital. All in a typical, yet unique, frontier town and region of the far north.
In relation to the exhibited installation, the exhibition kommitee organised two public talks (one in Storuman and one at Lueå Konsthall) on notions of Alienation, Labour, Bordering and the Other, in relation to aural-visual cultures and practicies.
.....................................................................
>index
>news
>cv
>contact
>returns