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

– – – ◊ – – –


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.

Quote of the year, so far.

“I increasingly believe that the desire to create beautiful things, when it is authentic and sincere, coincides with the aspiration to perfection.”

Sophie Taeuber-Arp

“Kiss the sky” or “Ignorance is never an excuse, baby” – interactive installation serving as an allegory pertaining the stereotypes and dynamics of love, sex and adulation in the vernacular of popular music and/or the relationship between artists, industry and audience.

The interaction between users and installation creates two outputs: A) the immediate audio on location and B) 33 mixed versions recorded and distributed at random over a period of 33 years. These versions will all be exactly 33 minutes long and cataloged with the above title followed by opus number and publication date.

All recordings will be obtainable at no cost through distribution channels making use of the most popular and state-of-the-art technologies, but only by redeeming the voucher code phrase (”i:am:a:thief”) displayed at the site of the installation. The entire catalog will be licensed under a Creative Commons Attribution NonCommercial ShareAlike 3.0 Unported License and/or similar future license. All copyrights remain entirely with the artist.

Anatomically correct model of a female human heart, cast in colorized durable silicon. Dimensions and weight are exaggerated by 1:1¾. The heart is suspended from the ceiling by a red cable offering support but also carrying the wiring for both electronics and the system communicating with the corresponding external electronics in the   guitar. The model is heated and maintains a constant temperature of 37° celsius. Internal mechanics create a tangible throbbing pulse timed with a rythmic basso beat emerging from a concealed speakersystem. The volume and rate of the sound is controlled by a gyro within the heart. This is set to a range of 60 to 180 beats pr. second and a volume range of 40 to 80 decibel depending on motion and altitude respectively. A letterpress sign next to the installation offers brief instructions to pick up the heart and gently throw it at the guitar.

At the height of 3 meters a customized 1959 Les Paul Standard VOS electric guitar is mounted in to the wall, recessed by 15 mm. The customization includes the Axcent self-tuning system, removal of all controls, dials and the pick guard. A white high-gloss finish on all surfaces including fretboard and pickups has been applied to the guitar canceling out all other markings and graphics. The self-tuning system is programmed to tune itself rapidly in random order to 4 different chords (G#m#5, AM7, E7#9 and E9sus4) and is triggered by the heart connecting with the strings (pure nickel, round wound). The sound emerging from the impact is modulated digitally to swell near-instantly to full volume (90 dB), to maintain a repeating delay in time with the pulse of the heart, to sustain the volume for 10 seconds before it decays and fades out and is engineered to deliver a clean, chorused and phasing timbre to create a spacious and spherical chime. This sound is amplified and delivered through the same concealed speaker system as the heart pulse. If a string happens to break it is to be replaced immediately and only in opening hours and on site. The person trusted with this task will be instructed to move as slow as possible and to wear a white mid-thigh-length lab coat with the word ”Intermission” embossed on the back. The exhibition venue is free to generate revenue through sponsors placing logos on the coat.

”you me us this” or ”Lets Walk The Line”

The basic element of this object consists of a walkable passage made entirely from safety glass treated to operate like -what is commonly known, as a ”one-way-mirror”; transparent from the outside (the exhibition-room) and mirrored from the inside. Thusly the main visual input to visitors walking inside the passage, will be the interior reflections, the outside being mostly obscured by the mirrored surface. Visitors on the outside have visual access to what happens inside the passage as well as to the words ”you me us this” on one side of the passage exterior glass wall, faintly projected via video and running on an endless loop from left to right.

Added to the passage interior are 32 individual, flexible, silicon coated,  monofilament optical fibre cables, emitting a strong sideways light. Each fibre cable represents a line of light hanging from the fully mirrored passage ceiling (no one-way transparency). The cables are suspended on a line, the entire length of the passage at an equal distribution. The color of the light in each individual fibre has a specific value: the first cable at the right side aperture is a bright green (RGB 0-255-0), the last on the left a bright red (RGB 255-0-0). The 30 cables between these have graduating values to seemless mix the red and green. To emphasize this gradient the length of the fibre optic cables variates: the first green cable is cut to the exact length of half the passage height and the red cable close to full passage height (minus 5 cm above floor level to allow free movement). The in-between lengths of cables are trimmed so their ends describe a straight but descending line over the length of the passage. As the cables are flexible, do not transfer heat and hang in the line of traffic within the passage, visitors are welcome/forced to walk in to them or hold them aside as they pass, resulting in a constant motion of the cables. The light from the cables, the muted light of the exterior running text and a dimmed spot illuminating the pulpit, are the only lights in the exhibit room

The passage flooring is composed of 10 pressure- and weight sensitive rubberized off-white tiles. Each individual square tile (100 x 100 mm) covers the width from wall to wall in the passage and is rigged to play a single-note sound. The timbre, attack and release of each synthesized sound is designed to be mellow, soft, droning and slightly pulsating. Together the tiles represent a 10-note F#M7 chord with additional bass and high octaves. This chord is for all the uneven hours of the day (e.g. 01:00 to 02:00pm). For the even hours of the day they will sound the notes for a corresponding E6 chord with 5 seconds of silence fading in and out between the hours. The volume of the floor-sound is linked to the weight applied to each tile. This weight is cumulative: The more people in the passage, the higher the volume of the piece, maxing out at a 90 decibel pressure. The speaker system reproducing the sound is a surround-system encompassing the entire exhibition room with the ”sweet spot” (the focal point of the sound in the room) placed on the passage-end and the pulpit, while the pulse and drone of the chords will continue to “travel” the room in swooping circles.

The pulpit: At the left end aperture of the passage, where the fibre cable is most green and in the direction of the running text, an auxiliary object is placed: roughly cast in light grey concrete, facing the visitor exiting from the passage. The base of the pulpit doubles as the housing for a powerful subwoofer. A dim spot illuminates a book fixed on top of the pulpit. The 1002 pages of this ledger allows/asks visitors to enter the date of their visit and their name leaving only space enough for a short/single “word”. Two pens are offered -albeit secured to the pulpit by a thin steel wire, to make these entries: 1 bright red pen engraved with the words ”I walked the line” and 1 bright green pen with the phrase ”you me us this”. Replicas of these pens will be for sale in the museum shop in sets of two, with a certificate of authenticity, signed by the artist. *

The revenue from the income on the sale of these pens will be placed in a fund. This fund will focus solely on buying shares in companies that produce handguns, with the sole end-goal to obtain stock majority in said companies for the purpose of terminating the companies, their activities and any patents and/or licenses they might hold, completely and forever. Any revenue produced by these investments will equally go to this fund and its objective.


* Liner notes for the packaging:
We walk draw the line
And pledge never to build on failure,
but use it as a stepping stone
to ultimately turn the tide
$ > 
 > $

“999.999” or “There is a lovely land”

fundamental cultural values
in a homogenic society1

This work of art consists of three homogeneous objects, identical in appearance and constructed in the same material and to the same dimensions. The objects share a footprint of 0,4356 m2 (66 x 66 cm.
26′ x 26´= 4.6888 ft2). The base and cap of each are of a chalk-white semi-gloss acrylic polymer composite2. The top half of each object is constructed of bullet-resistant untinted glass. The caps all conceal 4 LED light fixtures3 illuminating the interior of each display box with a strong bright white light. This will be the only light available in the otherwise darkened exhibition room. They will be placed in immediate proximity to each other, the distance between them equal to one-eighth of the longest dimension of the exhibition space. Each base will have one side containing an interface from which spectators can operate and/or interact with the object. This side must face north regardless of the general layout of the room. No sound will emit from the boxes except for those mechanically generated or as otherwise indicated herein. There will be no signage other than the bare minimum required to work the interfaces. The exhibition space itself must at all time be climate controlled and adjusted to exactly match the temperature and humidity as recorded by the weather station at Kastrup, Copenhagen4. The equipment used to maintain the environment must be able to keep olfactory conditions absolutely neutral.

Fig. a: “Glass Bell”

Made and cut from crystal lead glass5, transparent with no trace of color, hanging at eye-height, appx 185 cm or 6′, from the cap inside the box. An aluminum arm is attached via a pulley to the bell. It holds a hammerhead at the far end, cut from Danish granite of the type “Hellets Granit”6, polished to a semi-gloss. A thin metal wire running over a series of pulleys activates the hammer. The wire exits through an aperture placed at absolute center in the bottom of the display box.

On the side of the base facing north and at waist height, no more than 100 cm or 42′ above ground, a single-fingerprint scanner is installed just above a white-on-black 6-digit liquid crystal display counter7. The scanner and its electronics are set to operate the wire system: for each 3 identical right hand index fingerprints read, it lifts the hammer a millionth of a fraction of its full pendulum (see fig. 1). Each identical fingerprint can only be read these 3 times and must be scanned with at least a 3-day interval between scans. The scanner accepts only right hand index fingers; attempts at using any other fingers will not be read. Each successful read will prompt an electronically generated four note chime (F#maj78and the third and concluding scan will prompt the box to print a receipt, which will be signed by the artist upon request. At the millionth registered and confirmed set of prints, the box will cut the wire causing the hammer to fall and smash the Bell.

The deconstructed Bell will be replaced with a new and identical Bell constructed and installed as the original and thereby starts a new cycle. This cycle cannot end. The remaining shards of the smashed Bells will remain in the box.

Fig. b: “Umbrella”

This box contains a small transparent umbrella made of heavy clear vinyl9 mounted on the bottom of the display box. On the day of the exhibit opening, the umbrella will be at a fully folded stage. The umbrella unfolds as does a normal umbrella by extending springs and ribs within its construction, albeit its operation is linked to close interaction with the mechanical, and computer system contained in the base of the box and controlled by the interface mounted on the side.

The interface is similar to that of an automated telling machine: it accepts all known international credit and debit cards, adhering to all legalities concerned. Through this payment device, spectators can unfold the umbrella by buying any number of increments of extensions, at the rate of DKK10 1,00 = 1 millionth of an extension. At the time the audience has deposited exactly 1 million DKK in to the account linked to the payment device, the umbrella will be fully extended. Spectators will be prompted with the typical requirements of entering Personal Identification Numbers, desired amount and currency. A thermal print receipt will be the approved document for the transaction and will be signed by the artist upon request.

Once full extension of the umbrella has been reached, it will collapse to its original state and start a new cycle of unfolding. The funds generated will be transferred to the business account of the exhibition museum and can only be used to procure a new piece of art to be made by the Artist. Any revenue generated through interests that exceed DKK 999.999,00 may only be used to supplement the maintenance of the art herein specified. All legal information including the full text of the Contract will be printed on the back of each receipt that is generated by the artwork.

Fig. c: “Surveillance Camera”

Mounted inside the display box at a height equal to the Umbrella and the Bell sits a standard professional Surveillance Camera11. It is fitted to a motor capable of moving as close to 360˚ as possible. The high-def lens of the camera is at all times pointed towards the room outside the box in order to register all movement in close proximity to the box. The general motion of the camera follows a random search pattern based on an algorithm simulating the flight of the common housefly12.

When the camera and its built-in system registers a person moving into its field of view, it will stop its search pattern and lock on to the face of the spectator for appx. 30 seconds in order to register the color of the spectator’s skin. If this color-value is determined by the camera and computer to be more than 15 on the von Luschan scale13 the LCD counter will add the determined von Luschan scale-points to its count. If the spectator moves before the value of the skin color is established by the system, the camera will abort its scan and continue its search pattern. At every successful count a receipt will be printed. These receipts will contain information showing instructions on how to request an official apology for any personal discomfort the spectator may have experienced. The Artist will then sign this receipt.

Upon collection of von Luschan points equaling 1 million, the cycle starts over in reverse and begins subtracting points, counting down to zero. The cycle of adding and subtracting points will never stop.

1. Danish national anthem:
2. Corian:
3. Minimum luminous efficacy: 80,0 lm/W or 8.7 W LED
4. EKCH 55-37N 012-39E 5M:
5. Glass with high refraction:
6. Typical Bornholmian granite:
7. Transflective display:
8. Nondominant seventh chord, F#, A#, C#, E#:
9. PVC:
10. Exchange rate:
11. CCTV:
12. Musca Domestica:
13. Skin color classification: