“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 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.

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.

M9 (deconstrct) . . . an ongoing architectural project

P99 (deconstrct) . . . an ongoing architectural project.

“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: