DEAD MAN (ASA ZONBI DUB), 2004.
3 channel video works, sound system, black vinyl tejp archetectural drawings, warehouse spaces, office interiors, ghosts and stuff.
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Dead Man i a large scale mixed media installation, created as part of group exhibition ‘Laplandia’, in the town Storuman, Sweden, 2004.
The composition was installed in a then recently abandoned spatious Samhall office and workshop (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 of an abandoned and hounted work space (hall) where tensions of electric flickering n flashing silver coins form clusters becoming faces n spectralities of the monetary n the Swedish National State, cut short by immersice soundscapes of roller coaster screams n laughing crowds, carrying the engulfing projektions of swarming criss crossing flight lines of bloodsucking mosquitos. The workings invoke the ghosts of the ekology and biotopes in friction with social engineering, care, community, genetics, blood and capital in the frontier towns and regions of the far north.
In relation to the exhibited installation, there were two public talks (one in Storuman and one at Lueå Konsthall) on notions of Alienation, Labour, The border, Bordering and the Other, in relation to art practices and audiovisual media.
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3 channel video works, sound system, black vinyl tejp archetectural drawings, warehouse spaces, office interiors, ghosts and stuff.
.....................................................................
Dead Man, (Video still), C-Print, 2004.
Dead Man i a large scale mixed media installation, created as part of group exhibition ‘Laplandia’, in the town Storuman, Sweden, 2004.
The composition was installed in a then recently abandoned spatious Samhall office and workshop (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 of an abandoned and hounted work space (hall) where tensions of electric flickering n flashing silver coins form clusters becoming faces n spectralities of the monetary n the Swedish National State, cut short by immersice soundscapes of roller coaster screams n laughing crowds, carrying the engulfing projektions of swarming criss crossing flight lines of bloodsucking mosquitos. The workings invoke the ghosts of the ekology and biotopes in friction with social engineering, care, community, genetics, blood and capital in the frontier towns and regions of the far north.
In relation to the exhibited installation, there were two public talks (one in Storuman and one at Lueå Konsthall) on notions of Alienation, Labour, The border, Bordering and the Other, in relation to art practices and audiovisual media.
.....................................................................
>index
>news
>cv
>contact
>returns