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This “mixed media” installation is a play on a metaphysical approach to art as an alternative to the


physical. It came to live with a curiosity towards perceptions of and responses to art carried by emotional intelligence.     



11 squares (affairs) of plaster have each been marked by a transferprint offering textual information on a unique artwork of


varying medium. As such the affairs, alone unsensational, should be perceived merely as surfaces on which the


metaphysical state of an artwork available.



The work is created, as an effort to investigate one side of the question regarding at which state an artwork is most real,


true, valuable, beautiful or relevant.  - in this case the side of metaphysics. Further it confronts cognition and related


understandings of rational and emotional intelligence. The question is; through which mode is an artwork most relatable,


compelling, awarding, beautiful or relevant?     



Simply out, we ask: Could information on an artwork delivered to our brain through language be as emotional relevant as


physical information of the same artwork perceptible for our bodily senses.



Affair is made in collaboration with Amanda Lydért as a continuation of themes explored and material created in the


previous project Colonial Fact.

Various size


Colonial Fact, 2019

performative intervention

Colonial Fact is an art intervention created and performed as a contribution to the group show “Close


Call” conducted by the exhibition space “", Copenhagen. The artwork acts as an unsolicited


curation (on paper) and a model for colonization.



Colonial Fact consists of a catalogue providing information and illustrations on 113 made-up artworks; all


inconsistent with the works exhibited at site. Also, an exhibition poster presenting our imposed exhibition


title (Colonial Fact) and press release, as well as the names of 113 imaginary participating artists and a misleading floorpan.



It is the outcome of reflections upon the power of narrative and potentials in manipulation of such - within


the world of art as in politics and everyday life. We imposed upon, the exhibition and the included artworks,


an alternative curation and a complete restructuring of content and hence colonised existing meaning and


contextual space.


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