EATING THE OTHER

 

EATING THE OTHER

Oksasenkatu 11 Gallery Helsinki 1-3 Sep

Liminality, video, Alexander Mood

Kebab dreams, video, Dan Lageryd

Tide, soundwork, Jenny Aschenbrenner

When the electrician Harry Beck designed the map for the London railway system, he used an electrical circuit plan as a basic inspiration. Given that our thoughts and impulses are transmitted electrically, the map and the undergrond network stands as a perfect metafor for the nerve system in the city.

The video work consists of two projections of people who are on their way out through the ticket barriers at metro stations Östermalmstorg and Skärholmen, leading up to two distinct parts of Stockholm: a Million-program suburb and the city’s financial center. Like waves of people, they are welling up from the underworld, in slow motion.

(Skärholmen and Östermalmstorg are located at the two ends of the Stockholm socioeconomic spectrum, strictly segregated by the city’s highly segregated housing situation. They are also on the same subway line.)

Cut out adhesive letters spelling Pizza, Kebab, Sushi, Take Away. A graphic semblance of a man in a mustasch serving a pizza. An exotic made up bird on an utopian island. This is what is presented to us in the windows of fast food restaurants across cities in the western world.

The fastfood restaurant is at the same time a place where prejudice is challenged, a place of exploitations and a place of dreams. Exotic dreams of faraway places and exotic food, less exotic dreams of work, of safety and money, of establishing a new life, of financing a move back home, of providing a future for your family.

Today’s surging people form a connection with what those at modernity’s birth tried to understand in their time of rapid change and what this did with the experience of a firm and lasting identity.

A series of fragments from Virigina Woolf’s novel The Waves are woven together now and then, the suburbs and the inner city, elite and exclusion. The same thoughts, the same fears and hopes of rest and security tucked into the quagmire of change.

You can not live outside of the machine for more than maybe half an hour.”

As a motorway noise of colliding sentences, a sea of competing statements, the voices form a sort of chorus, consistent in their search.

Liminalitet

 

Alexander Mood

Jenny Aschenbrenner

Presenterar Liminalitet

ID:I Galleri, Tjärhovsgatan 19

Vernissage Torsdagen 9/2  17:00-21:00

Öppettider: Tor-Fre: 12-18. Lör-Sön: 12-16

Utställningen pågår till 19/2

 

liminality

The old order is about to die. Yet a new one is not in place.

Industrialism and the ideologies that were born with it keep on playing out their role or need to move focus. Loosening of the power structure creates unrest and friction between communities economically, politically and religiously.

The term “liminality” is taken from anthropology and coined by the French anthropologist Arnold van Gennap who was active during the first half of the 1900s. The concept names the stage in a ritual which occurs between the starting position and the state you want to achieve during a rite of passage.

We use the term to describe the state we find ourselves in. In the midst of the crisis whilst the old economic and social systems collapse, but new options are still lacking.

On this basis, we will show two works: video work xx together with the sound work

The video work consists of two projections of people who are on their way out ticket barriers  at metro stations Östermalmstorg and Skärholmen leading up to two distinct parts of the Stockholm: a Million-program suburb and the city’s financial center. Like waves of people welling up from the underworld, in slow motion.

The work carries references to ”Workers Leaving the Lumiere Factory” (1895) by the Lumière brothers, one of the world’s first movies, produced in a time like the one we find ourselves in now. A time fully on its way into the industrial society and modernity, through the machinery and automation of work harbored by the factory. Now we leave that era behind, with the help of other machines, a different kind of automation but with the same fundamental change in society and culture as a consequence.

The work also references the English artist Mark WalliInger’s piece ”Threshold to the Kingdom” (2000) which similarly shows people on the way out of the customs area at City Airport in London UK. In this film, people leave a sort of gap, a nowhere-land, between two worlds and walk back into the ordinary world. The airport’s departure and arrival terminals before and after the trip, as transcendent space.

Frozen in the middle of the state of liminality, through the journey from one place to the other, in how they are entangled in time’s fluctuations, changes in society, but also in how they, by traveling to a different location than where they started also place themselves into a possible rebirth. The person on the border, in passageritens centre stage, carrying the potential for change.

(Skärholmen and Östermalmstorg are located at the two ends of the Stockholm socioeconomic spectrum, strictly segregated by the city’s highly segregated housing situation. They are also on the same subway line.)

In the sound work  today’s surging people form a connection with what those at modernity’s birth tried to understand in their time of rapid change and what this did with the experience of a firm and lasting identity.

A series of fragments from Virigina Woolf’s novel The Waves are woven together now and then, the suburbs and the inner city, elite and exclusion. The same thoughts, the same fears and hopes of rest and security tucked into the quagmire of chnage afflict the people who are in the border state.

”You can not live outside of the machine for more than maybe half an hour.”

As a motorway noise of colliding sentences, a sea of competing statements, the voices form a sort of chorus, consistent in their search.

Displayed in the inner room is the A collection of street posters gathered from all over the world since 2004. From the extreme political to the purely commercial, events that have already become history scream out messages and propaganda intended for city streets in a special purpose. Things that have happened but are now passed and only remain as fragmented traces.

Messages written out from walls in the public domain, some of decisive events, presidential elections and protest marches, others small events, important for a few.

NATO campaign in Afghanistan, Trump’s election campaign, propaganda of suicide bombers, the presidential election in Ghana, the battle for the  Finnish humor on DVD and a missing dog in New York.