Monday, March 17, 2008

Combustion (I am angry and I am sad and so are you)








Performance, duration 60 minutes
2007



Critique of hetero-normativity was the point of departure for the performance Combustion (I am angry and I am sad and so are you). I entered the gallery wearing jeans and t-shirt, took my t-shirt off and held a short speach before I wrote the text "I am angry and I am sad and so are You" on my chest and arms. Thereafter I invited the audience to come with me out in the street outside the gallery. With me I brought a baby pram prepared with sheets, cloths and newspaper paper.

Outside the gallery I placed the audience on one side of the street and the pram on the other, poured grill fluid over the baby pram and stuck a match to it. While the baby pram was burning I stood together with the audience watching it and asking one person at a time if I could hold their hand. After twenty minutes the baby pram had burned down. Thereafter I went back into the gallery in company with the band Kids On The Ranch(Imri Sandlund and Elin Mörkeberg). They gave a short concert in my installation, where the wall was covered by newspaper clip. The day after the burned out baby pram was installed on the site .

Photo: Elin Mörkeberg

Combustion (I am angry and I am sad and so are you)









Installation
300 x 300 cm and 120 x 70 x 110 cm

2007

Sunday, March 16, 2008

Self-portrait as Kurt Cobain, as Andy Warhol, as Myra Hindley, as Marilyn Monroe.




Photography
4x5 cm
Digital C-Print
30 x 40 cm
2006

Self portrait as Kurt Cobain, as Andy Warhol, as Myra Hindley, as Marilyn Monroe is an appropriation of a photography by Douglas Gordon entitled Self-portrait as Kurt Cobain, as Andy Warhol, as Myra Hindley, as Marilyn Monroe. The work consist of a photo boot photography where my artificially bleached hair is covered by a blond wig. Self portrait is an act of resistance as it attempts to sabotage Gordon's right to inscribe himself into the history of queer identities while also entering the notion of gender to the context. Through occupying identities and writing myself into a historic chain of real or fake blondes I am suggesting a non-essential viewpoint.