Works: Windows #2 (2018) with Flora Bouteille, site specific text installation, chalk, water, saliva / Rain Poem (2017) moving image, 03:43 / Whisper Network (2018) silver text vinyl series / Untitled (2018) hand towel, metal rail / To kill the body you must remove the head (2018) photograph / Stand up (2012) moving image, 06:27 / Thriller: a cruel picture (1972) excerpt from Bo Arne Vibernius' legendary rape revenge film / Amulet (2018) painted leather jacket / Soft 404/Bend over backwards (2018) with Flora Bouteille and Verna Hark, song and iPhone video, 03:09 / Masked Penitents (2018) with Flora Bouteille, video installation, red light, crystal curtain, 09:15
...it’s fine, our desires just operate in different directions, like i want to embarrass the audience and you want to embarrass yourself
haha come onnnnnnnnn we’re both just trying to have a good time ...
so - on a basic level the joint thread is eroticism, but also, allowing for porousness Wonky things or wrong things
like, this whole thing could be funny but it’s not.
i’ve been thinking about ‘forced plug-ins’ trying to force something into someone or a subject-machine
ok ya i’m not against it, i don’t relate to it though, or maybe i can get to that through something to do with proximity to violence?
yeah that and being haunted by things you don’t want to be haunted by - it links to an abstracted post-trauma thing
ok and guess that has something to do with boundaries - disregarding, or losing them?
yes, it’s clear that the world is ‘adjusted’ to our desires through devices, it’s this that facilitates the attitude of Give Me What I Want And Then Leave Me Alone
I think it’s kinda due to the illusion that numeric/abstract platforms are giving us, they always fit us, our needs, anticipate our desires etc so our devices tend to make us believe we are the gods in the centre of the universe when there are as many humans as there are (imaginary) centres.
Give me what I want and then leave me alone is a collaborative installation comprised of moving image, song, photography and written and spoken text. Both artists approach the erotic from differing perspectives; love, consent, sentimentality and technology recur in the work like hauntings. Working across varying modes allows the artists to approach the themes with nuance, not shying away from the emotional and ethical difficulty inherent in the subject. The exhibition is a part of both of the artists' MFA theses for Kuvataideakatemia.
In thisexhibitionmy works exist as different tactics with which to approach the question of how to re/build, through both making and consuming, an erotic identity.