Allegory

Some more harvest

↓ ”Face” or “Border line”,  mixed media on paper.face-the-border

↓ Untitled,  mixed media on cardboard.circles-and-ladders

↓ ”Penta”,  mixed media on paper.pentacairoborder

↓ ”Step up”,  mixed media on paper.step-in-to-it

↓ ”Bond”,  mixed media on paper.bond

↓ work in progress, (600 x 800 mm), mixed media on MDF.a

↓ work in progress, (600 x 800 mm), mixed media on MDF.c

↓ work in progress, (600 x 800 mm), mixed media on MDF.b

Postulation? All signs made on cardboard are a social commentary of one kind or another.

Except maybe the ones printed there en masse you might think, but then: not really. It does not matter whether you are picketing a behaviour incompatible with your own, asking for a free ride in a particular direction or soliciting financial compensation for your misfortune. Those are just the actions behind the sign. The sign itself is what you see first: a statement, a bulletin, an intention spelled out as clearly (or misguided) as the designer is intellectually capable of. Find them on the streets, discarded after use or ready at hand, more than often frayed with the incapability to change much if anything. But still and always addressing someones need or willingness to engage in some kind of social contract, to buy, to sell or whatnot and thereby issuing that postulated commentary. Is that reason enough for yours truly to apply artfulness on them? That is as legit a question as anyone and there’s this: as of 2011, fifteen percent (1.000.000.000) of this planets human inhabitants still see to their bodily needs in the open.

↓ Title(s): “En Suite: the right turn, our collective values, their shared advantages and the sound of freedom” (365 x 485 mm, mixed media on cardboard, work in perpetual progress)

ensuiteA

The right turn:
“I am the light!” she yelled and blew her whistle.

ensuiteB

Our collective values:
… that night he kept walking by our windows,
screaming his frustration at his phone: “… but I love you, asshole!”

ensuiteC

Their shared advantages:
“Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities.” (C. Sandburg)

ensuiteD

The sound of freedom:
“The Uniform Plumbing Code, section 409.2.2 requires that all water closet seats, except those within dwelling units or for private use, shall be of the open front type.”

Standing at that street corner, dazed by the mid day heat of summer: this petite and straightforward woman rides by on her bike, laboriously carrying a full size sledgehammer, upside down by the end of its shaft.

↓ Working title: “Axegeis?” (540 x 598 mm)

540x598

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Consciousness snapped back with the image. Like an instant enigma, a flash of divination. Still reeling I crossed the street, hot rubber kissing the tip of my right foot as a car swam by engaging its horn. The vision got knocked in to my cornea for an eternal second and the titillating scene seeded an inferno at the end of my spine, shooting blind impulses at my cerebellum and beyond.

For months now I have tried to read the riddle. Deciphering and paraphrasing the visual, trying to force transparency onto the fetish. Listen … the Danes are a tribe of cyclists and I’m as devoted as any. Albeit a little late in life – I was six and already a wimp, I woke up one morning having dreamed of teaching myself how to keep balance, got up and outside and just did it: ran my bike straight in to the nearest wall and then out in to the world. And yet I can not solve the formula of woman, hammer and two-wheeled motion.

There’s a bodily satisfaction in pedalling yourself forward at speed, by your own faculty. I’ve watched the muscles of my thighs build over the stretch of just a few weeks, I’ve shuttled the most awkward items on my faithful wheeled vehicle (or tried to) and I’ve had some seriously rough exposures to tarmac, gravel, more masonry and fellow road users.

So there is clearly something physical at hand with this matter. In that observation. Somewhere in my mind. When that woman teetered by. Carrying a sledgehammer? A tool for back-breaking labor, an object of brutality, a symbol of crude energy and immense authority, far to hefty for her delicate build and most obviously not one she was used to carry along (seen from a point of gravity it would have been easier to carry the hammer by its head one would think?) Still she jerked me out of my stupor in the middle of the street and faded out of view. Flummoxed, I still am. A bafflement now partly consigned to board. The investigation still in process.

Standing at a street corner, oblivious in the heat of summer and this mousey housewife rides by on her bike, laboriously carrying a sledgehammer upside down by the end of the shaft.

↓ Working title: “Ax me?” (540 x 598 mm)

540x598

And oblivion turned to a full-on mysterious quasi-revelation as I crossed the street, the image seared in to my cornea for a moment. The whole thing turned me on, flicked a switch in my gut, fired crisscrossing axons in my brain. Of what is a conundrum to this day. Even after visually dissecting it for a few months. Now … I love riding my bike, as do a lot of people in this tribe we call the Danes. There’s something physically gratifying in propelling yourself forward at speed, by your own power. I’ve watched the muscles of my thighs expand over the expanse of just a few weeks, I’ve transported the most unwieldy objects on two wheels (or tried to) and I’ve had some severely abrasive contacts with tarmac, gravel, walls and even cars. So there is definitely something corporeal going on. In that image. Somewhere in my mind. When that woman rode by. With a sledgehammer? A tool for hard work, an object of violence, a symbol of brute force and overwhelming power, far to heavy for her petite stature and most obviously not one she was used to carry along (it would’ve been easier to carry it by the head? I’m guessing. Who am I to know.) Nevertheless she made me stop in the middle of the street as she vanished down the street. Perplexed, I was. And almost run over by another cyclist of life. The image has since been analysed, altered, interpreted, over-worked, re-worked and now half committed to board.

I’m still confused. And turned on. What?

Done. Now have a seat. But be careful while you march on, alright?

↓ “The Chair” or “Auto-portrait #117” (367 x 475)

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Here’s to teachers, politicians and parents. You deserve it.

orson

If you don’t get it, you have a nice classical movie to must-watch.

 

But the “M/S Corporatocracy” seemed such a steady vessel?

From shore it didn’t look quite so violent. Or had he just become a little hardened by the inevitable and seemingly endless prelude to the downturn? He took a few cautious steps backwards, the wet clothes still sticking to his body. An equally soaked rat stepped on to the beach, shook its oleaginous fur, darted past him and cheered in passing: “Race you to it! Those beads sure ain’t gonna string themselves aye?” He turned and looked inland. The jungle looked anything but inviting.

Transits of Venus (slow moving facts, unreachable truths and trivial news / there’s a poem, a code to our blues / dripping with foam, the guise of lust / Mars can’t wait to crush and get crushed)

 
               Millenium Catalog:2001 CE to 4000CE 
               (Astronomical Years: +2001 to +4000) 

                    Transit Contact Times (UT)
              -------------------------------------  Minimum           
   Date         I      II   Greatest   III     IV      Sep.  Transit
               h:m     h:m     h:m     h:m     h:m      "     Series 

2004 Jun 08   05:13   05:33   08:20   11:07   11:26   626.9     3 
2012 Jun 06   22:09   22:27   01:29   04:32   04:49   554.4     5 
2117 Dec 11   23:58   00:21   02:48   05:15   05:38   723.6     6 
2125 Dec 08   13:15   13:38   16:01   18:24   18:48   736.4     4 
2247 Jun 11   08:42   09:03   11:33   14:04   14:25   691.3     3 
2255 Jun 09   01:08   01:25   04:38   07:51   08:08   491.9     5 
2360 Dec 13   22:32   22:52   01:44   04:35   04:56   625.7     6 
2368 Dec 10   12:29   13:00   14:45   16:31   17:01   836.4     4 
2490 Jun 12   11:39   12:02   14:17   16:32   16:55   741.1     3 
2498 Jun 10   03:48   04:05   07:25   10:45   11:02   442.7     5 
2603 Dec 16   20:43   21:02   00:13   03:25   03:43   517.1     6 
2611 Dec 13   12:04   13:07   13:34   14:01   15:04   934.8     4 
2733 Jun 15   15:02   15:30   17:18   19:06   19:34   808.3     3 
2741 Jun 13   06:33   06:49   10:17   13:44   14:00   385.6     5 
2846 Dec 16   19:30   19:47   23:11   02:35   02:52   432.1     6 
2854 Dec 14     -       -     12:19     -       -    1026.7     4 
2976 Jun 16   17:45   18:19   19:44   21:10   21:44   850.5     3 
2984 Jun 14   09:01   09:16   12:49   16:22   16:37   336.3     5 

3089 Dec 18   17:39   17:55   21:31   01:06   01:23   320.6     6 
3219 Jun 19   20:50   21:46   22:19   22:52   23:49   908.1     3 
3227 Jun 17   11:21   11:37   15:13   18:50   19:05   293.4     5 
3332 Dec 20   16:16   16:32   20:14   23:56   00:12   235.5     6 
3462 Jun 22   23:29     -     00:27     -     01:26   948.1     3 
3470 Jun 19   13:31   13:46   17:26   21:07   21:22   247.9     5 
3575 Dec 23   14:29   14:44   18:32   22:19   22:34   131.5     6 
3705 Jun 24     -       -     02:32     -       -     989.3     3 
3713 Jun 21   15:25   15:40   19:22   23:05   23:20   215.2     5 
3818 Dec 25   12:57   13:12   17:01   20:50   21:05    41.1     6 
3956 Jun 23   17:22   17:37   21:21   01:06   01:21   175.2     5

“Satyagraha LVM/MMXVII” or “the Truck, the Track, the Travel”

– art as hommage to prosperity, tolerance and evolution

Background and Objective
27 member states of the EU had a total freight transport estimated close to 2200000000000 metric ton‐kilometers (tkm or ktm = transportation of 1 metric ton over 1 kilometer) in 2009. Over three quarters (77.5 %) of this freight was transported by road. Two thirds of all goods transported by roads in 2010 were transported within each member state. Source

In Denmark (2011) freight transportation by road was 12 tkm, carrying 178000000 tons of goods. The number of heavy trucks roaming a highway network of 1130 kilometers was 28.480. Source

A new projection from the National Environmental Research Institute expects a total emission of greenhouse gases in Denmark to be 66.200.000.000 tons CO2 in 2008-2012. In 2010 the transport sector was responsible for 25% (16.721.000.000 tons CO2) of the emission in Denmark. Source

All these numbers are expected to increase. The following facts are provided to further elucidate the illogicalities: our planet weighs 5.9736×1024 kg and moves through space at a velocity of 107.200 km/h. Production capacity of bio-diesel in the EU was 22.117.000 tons in 2011. Popular bio-fuel crops like canola and soybeans require about 14.000 liters of water to produce 1 liter of diesel. A standard European truck has an average mileage of 3 km per liter. 146.000.000 million children in developing countries are under-weight. Source

The ramifications, not just for Europe, but for the planet in general are significant. This ritualistic piece of art is designed to provide a sense of perspective and scale on the environmental impact humanity installs on it. Instead of alienating the audience with endless rows of data and the difficult to understand terminology regarding the objective, metaphoric values and images are provided.

The large-scale sculpture consists of 3 basic elements: the Truck, the Track and the Travel. It will take exactly 1 year to complete the performative installation, not including time for preparation. On conclusion all remains of the artwork are to be left untouched at site, except for the base station itself, which will be dismantled and disposed of. Any documentation produced by the artist in connection with the artwork that does not exist in digital form, will also be destroyed. Digitized material will be publicly accessible online under a common license for a limited time of 999.999 hours after the conclusion of the piece. At that moment all official items connected to the project will be deleted. Any evidence hereafter will be in the hands of general folklore and/or entities with the artist and his work.

Location
Lille Vildmose (LVM) is the largest remaining raised bog in Denmark (DK). It covers 76 km2 (situated approximately 30 km west of highway E45) thus making it the largest nature reserve in DK and the largest bog of its kind in northwestern Europe. Due to extensive peat digging and other commercial exploitation, this habitat for several endangered species of animals and plants has slowly shrunk in size and deteriorated at a steady pace for centuries. Efforts to save the unique nature of the bog have only recently begun and as of 1999 the Golden Eagle has started breeding there again, re-establishing itself as the crown jewel of the preserved wildlife at LVM.

Total coverage of the core installation will extend to almost 8 km2, LVM being the only flat area in DK big enough to accommodate it. The center point of the circular track will be +56° 49′ 47.02″, +10° 12′ 34.69″. Auxiliary facilities for maintenance, exhibition and security will be situated in a base station at the 12 o’clock point of the track-circle.

  

The Truck
A standard, 25-meter long, European, white-cabbed, rigid tanker-truck equipped with a 20.000-liter payload of standard bio-diesel. The tank is constructed in a transparent acrylic material (PMMA) in order to make its pale yellow content visible. Neither Truck nor tank displays any graphic marking, except for a scale on each side of the tank measuring the contents by 52 increments.

The Truck is modified to meet several different requirements for its operation: the engine is connected to and fueled by the cargo-tank. A computerized system will start, work and stop the engine autonomously in accordance to a strictly specified schedule. The automatic pilot system provides a continued maximum speed of 10 km/h throughout the operation of the Truck, except on the days specifically assigned for calibration of speed and/or driving time needed to meet the schedule. Exterior illumination of the Truck over night, or in periods of low-level light, will be provided by high capacity floodlights mounted on all sides of the truck, thus providing light for the night-shift driver to navigate by, but also making the position of the Truck visible from the base station at all times. Wireless state-of-the-art systems for satellite broadcasting of TV-signals, internet streaming and communications are installed and operated from the Truck. The cabin can accommodate up to 5 people at a time and is furbished with everything necessary for a comfortable and safe residency for the driver(s) and their guests.

The Truck will at all time be manned with minimum 1 driver. All drivers will work one 8-hour shift at a time. The drivers crew will consist of the artist as the main driver supplemented by an extendable number of volunteer drivers. Special guests will be invited to drive honorary rounds or to be passengers at certain occasions. During these visits the artist, or the driver in charge, will conduct interviews, happenings or similar events that will be broadcast from the Truck either live or recorded for later use. The guests will come from all walks of life, and the public is invited to propose people as guests or apply for themselves to be guests, thus making the cabin of the Truck a public platform of communication for celebrities, artists, musicians, politicians, religious figures, teachers, students, neighbors, parents, children etcetera.

Facilitation and service of the Truck will be carried out from a “satellite” mobile unit designed to perform this task while in motion. This includes delivery of goods for the crew and driver as well as the crews and guests themselves. Maintenance and emergency tasks will be performed at the base station, preferably in the designated time slots of the schedule.

  

The Track
The main stage for the Truck is laid out as a perfect circle track with a diameter of 3.183 meters. This provides a Track length of exactly 10 kilometers, allowing one hour per circumference of the Truck. The center point of the circular Track will not be marked. An “outer ring” of the Track will provide a service lane for the satellite vehicle. All movement on the Track will commence in a clockwise direction and never on foot.

The bog will provide a level, unobstructed area for a dirt track, running directly on the soil at hand. Due to the natural qualities of the bog, reinforcement of the Track bed with gravel will be done before and during the project where necessary. This will include drainage of areas with excess water and removal of any vegetation that grows above the Trucks clearing height.

There will be no other markings of the Track than the Track itself. A simple guidance system will be incorporated but not visible to the naked eye, transferring a signal to the Truck causing an auditory warning to sound if the Truck is getting off course: if direction needs to be corrected to the right (towards the center point of the Track) a pre-recorded male voice will chant the word “duragraha” until the Truck is back on course. For a correction to the left, the signal will be the word “satyagraha” chanted by a female voice.

At the northernmost, 12 o’clock point of the Track, a base station will be build to house everything necessary for the maintenance of the project. This will include living quarters for the staff and guests, but also a spacious exhibition area for the public with a panoramic, elevated view of the Track. Video screens will show the interior of the Truck cabin. Occasionally a two-way communications system will be applied between exhibition area and Truck. The audience is not allowed on to the Track itself. A fire squad will be on guard 24/7 as well as a team of biologists assigned to keep the Track as clear from wildlife as possible.

  

The Travel
At the first second of sunday, january 1st, in the leap year of 2017 the Travel is kicked off. For the next year the Truck is scheduled by its computer system to drive non-stop, for all 24 hours of each day of the week, except for Saturdays and Sundays. These days are reserved for rest and recuperation of drivers and staff and maintenance to the Truck. Every first monday of the month is designated as a buffer day. Either operating time will be shortened, or the speed of the Truck will be altered according to calculations of the onboard computer, so the Truck can meet the nominated schedule and/or fuel consumption. Holidays will not be observed.

As the Track at first will have no visible markings made by the Trucks weight and its tires, the shifts between drivers will be shortened to accommodate for the extra stress of keeping the Truck on Track, until these marks of wear to the Track become obvious. This is expected to happen within the first 24 circumferences.

The events happening during the one year long Travel, will be broadcast to an independent TV channel as well as to cable networks and the internet. Programmed events will happen on a regular basis over the year, e.g. the inaugurational interviews of guests invited prior to the start of the Travel (both of the Dalai Lama’s, President Vladimir Putin and King Frederik X of Denmark will be the first honorary guests). Spontaneous events will also be announced and transmitted at will.

An hourly updated programme and an application form for people who want to participate as either guests or volunteers, will at be accessible through the extensive website attached to the project. Some events like the daily weather forecast, the weekly news resume and the monthly roadkill cooking show will be syndicated for commercial stations to buy. The income hereby generated, as well as all other revenue, will be donated to a host of charity organisations aimed at third world development.

The conclusion of the Travel will happen unceremoniously and end at the exact last second of 2017, sunday the 31st.

“Dianoia crosses a divided line, I think … ”   – a flash-tragedy in one act.

– – – ◊ – – –

THE CHARACTERS

DIANOIA: A middle-aged man with a microscope for a head. Wearing a neutral shirt, no tie. His black pants are rolled up to mid-calf exposing his bare feet.
THE CAPTIVES (#1, #2 and #3): three nondescript personages in identical jumpsuits. All strapped upright into each their own apparatus that renders them completely immobilized. Only their naked hands and feet are visibly moving, their faces fastened and obscured by restraining masks. The right eye of each captive is visible to the audience as a grainy video close-up on a screen fixed to the top of each mask.

– – – ◊ – – –

lights up. Placed in the center of an all black stage, the three captives and a fourth empty restraining apparatus at the rightmost position, form a line with very little space between them. The captives are heard mumbling, apparently bickering at each other. Their video-eyes, fingers and toes are moving frenetically. Captive #1 cries out frequently and increasingly louder. The entire backdrop slowly lights up with an oversized low-resolution video of a fireplace, crackling cozily

ALL CAPTIVES: (in unison relief) Aaaaaaaaaaaaaaaaahhhhhhhhhhhh!

#3: finally! I fucking hate when that shit happens … but I told you so! Didn’t I? Ha! … and there it is … aaaah, good old faithful. Halle-fucking-luja!

#2: (muttering) oh will you just shut up already?! You have no idea what you’re talking about … this is just happening once in a while and that’s it. It’s a bloody nuisance, but it always does come back … and as long as it returns to normal, it’s ok and we’re good. OK? … stop complaining and don’t be such a bitch.

#3: (snickering) you call me a bitch, eh? … I wasn’t complaining, baby! I was EX-plaining … you little know-it-all-asshole …

captive #1 still sobs and groans. The murmurs and growls from #2 and #3 are subdued. Each moves fingers, toes and video-eye. The cages are rattling

#3: (sneering) Pff! The whining comes from the right side as usual, hn?

in a choreographed manner, #2 and #3 stop moving their fingers and strain their video-eye towards #1 who continues being very agitated

#1: I know … I know! I’m sorry; I’m sooo sooo sorry! But it stresses me out like no end! I can’t take this no more, it is soooo demanding! (sobs) I don’t know what to doooo? (snivels) It’s like … I lose focus and everything becomes sooooo boring and hard to doooo and go through with… even the food is tasteless … (blubbers) … do you think I should take a few days off? Call in sick? Or s-so-something?

#3: (screaming in disdain) o-m-g! l-o-l! l-m-a-o! You moron! Why don’t you shut up? Whiny-ass crybaby … get a grip will ya?! I can’t listen to that shit anymore! (mocking) BLA BLA BLA BLA and BLA BLAAAA BLABLABLA! …. BLA!!!

#2: (angry) shut up! Both of you! … always making a biiiiiiig drama out of e-ve-ry-thing?! What’s wrong with you?

long silence. The captives do not move. The video-eyes are either closed or looking down. As the crackling of the fireplace becomes louder, the flames get bigger and brighter. A distant muzak is barely audible.

#2: (happy) aaaand here we go … aah … come on comrades … lets get back to business!

after a while the three video-eyes start moving in unison, as if watching a very slow-moving tennis-game. Five volleys later Dianoia enters stage left carrying his glossy black shoes in one hand. He patrols the stage, carefully inspecting every corner, repeatedly crossing his arms. Now and then a nod seems to confirm an interesting find. He inspects the audience front row fixedly, only to finish his going-over by observing the captives who do not notice him at all. Dianoia joins the engulfed captives in one pass of the invisible tennis-game. Finally he bends down and puts his shoes in front of the empty restraining apparatus, adjusts their placement minutely, brushes his hands against the front of his pants and faces the audience

DIANOIA: (clearing his throat) I’m back! … I have come back for all of you!

the captives strain their video-eye toward Dianoia, gasping loudly.

#3: What the ef? Is that you?

#2: Hey?! Why’d you come back! Didn’t we t… ?

#1: (interrupting cheerfully) Hi! That’s unexpected?! Where’ve you been? (then whimpering) Have you been gone long? … wait … eh? … who are you? (crying) … back? … whoa?

DIANOIA: (touching each captive successively, talking eagerly) Yes! Yes, it’s me Dianoia … I’ve decided to come back to you guys and tell my story. I’ve learned so much up there … I know now how to get you out of this … you know? … I see all these things clearly now and I tell you … things here are not like they seem … this place is a fucking cave and it does hold us down … (stops abruptly, notices he is pointing at himself) … eh … (stabs his index at the captives) … controls you … locks you up inside this pipedream for no reason … oh, my friends … I am deeply convinced that we can change …  I’m telling you … you should just … follow me … free yourself … and … and … yeah, come with me …

silence. Dianoia freezes in a begging posture, his strong-minded body language completely transformed. When the silence becomes awkward he makes a feeble motion, pointing upwards then reaches out open palms towards the captives.

#2: Wait-wait-wait … wait. You’re not really saying that you went “up there” or whatever, and that “somewhere” was all uh-ah-different and oh-so-better and more for-real than here? I don’t believe you. I can not, and I will not believe you!

#3: And b-t-dubya you arrogant prick … didn’t we all agree last time, that you’d go terminate yourself? You were all malfunctioning and supposed to be recycled and replaced … the wide-open-sorry-ass-whimp over there hasn’t been himself since … since you … and your bullshit.

#2: Yeah look at him. It’s disgusting and repetitive and it’s all your fault. I knew from the start we couldn’t count on you … go get outta here! Go! … NOW!

DIANOIA: But I’m telling you! All you have to do is to come see for yourself and you’ll know! It’ll change! To the better! All it takes is the light of day and once you’re used to that … it will become clear! I promise. Please? Try it?

#1: why should we? Because you say so? We’re not that crazy. This place is good enough for us … right? As long as we don’t complain too much … I mean … look at you … all pompous and fancy.

#2 and #3: Yeah (snicker) … for-real

Dianoia takes a few cautious steps backwards as he steals a glimpse at the audience. He squares his shoulders and inhales sharply. With balled fists he approaches the captives

DIANOIA: (breathing out) Okay. Here’s the deal … you get out of those things and give it a try … no no no, listen to me … If you don’t like it … which I know you will (stabbing each word at the captives with his index-finger) … you will never hear a word from me again. Deal?

#1: … ahem. Yeah. Nah. No thanks, really. I’ve already seen you fail once and I still have no clue what you’re talking about , so … (sniffling) I’d bugger off if I were you, really … sorry

#2: My god? You’re trying to call a deal? Somebody should put you down right there … are you deaf? … (screaming) SHUT YOUR FACE AND GET OUT!

captive #1 and #2 close their video-eyes. With open arms Dianoia turns to #3 in a gesture of last hope.

#3: (super-cheery) Deal! Suuuure! Let me out. I cannot wait to prove your ass wrong! Come on dude-a-noia … lets get it over with, once and for all …

Dianoia immediatedly walks over and unlocks the restraining apparatus that holds captive #3. The cage-like door snaps open and the captive steps out, stretches his neck and cracks his joints. He stiffly follows Dianoia to the stage front. There he reaches slowly in to his side-pocket. He removes his hand again, index pointing and thumb sticking up mimicking a big gun. He points it at Dianoia, and shoots him in the heart with 3 loud shots. Dianoia erupts in sprays of blood and falls of the stage. Lights out.