N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
N, NNE, NE, E, SE, SSE, S, SSW, SW, W, NW, NNW
DOXIC OREA. 2015
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Peo Bengtsson. Printed design by Per Törnberg.
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Peo Bengtsson. Printed design by Per Törnberg.
DOXIC OREA. 2015
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Gunnar Meller. Printed design by Per Törnberg.
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Gunnar Meller. Printed design by Per Törnberg.
DOXIC OREA. 2015 (detail)
DOXIC OREA. 2015 (detail)
DOXIC OREA. 2015
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Peo Bengtsson. Printed design by Per Törnberg.
Concrete staircase from Forssellstrappan, marble terrazzo, printed aluminum, hand etched iron plate, spray paint.
For Norbergfestival. Photo by Peo Bengtsson. Printed design by Per Törnberg.
Global Roundup. 2015
Roundup® (glyphosat, herbizid), Morgenstern Carex, rubber, plastic corn fork, kork, glass globe, metal sticker.
Part of DEEP SKIN at Sudbury Neutrino Observatory (SNOlab) http://deepsk.in/
Roundup® (glyphosat, herbizid), Morgenstern Carex, rubber, plastic corn fork, kork, glass globe, metal sticker.
Part of DEEP SKIN at Sudbury Neutrino Observatory (SNOlab) http://deepsk.in/
Global Roundup (detail)
Global Roundup (detail)
Global Roundup. 2015
Roundup® (glyphosat, herbizid), Morgenstern Carex, rubber, plastic corn fork, kork, glass globe, metal sticker.
Part of DEEP SKIN at Sudbury Neutrino Observatory (SNOlab) http://deepsk.in/
Roundup® (glyphosat, herbizid), Morgenstern Carex, rubber, plastic corn fork, kork, glass globe, metal sticker.
Part of DEEP SKIN at Sudbury Neutrino Observatory (SNOlab) http://deepsk.in/
Farm Sensorium / Iron Brew. 2015
Installation view, Galleri Bon
Installation view, Galleri Bon
Farm Sensorium / Iron Brew. 2015
Installation view, Galleri Bon
Installation view, Galleri Bon
Farm Sensorium (That Thing Long Ago / Last Chapter / Next Season). 2015
Grain sheaves, metal stands, spray paint.
Grain sheaves, metal stands, spray paint.
Farm Sensorium (That Thing Long Ago / Last Chapter / Next Season). 2015 (detail)
Farm Sensorium (That Thing Long Ago / Last Chapter / Next Season). 2015 (detail)
The Hungry Soul ("What-A-Wheat"). 2015
Stickers, wall paint. (Made with Per Törnberg)
Stickers, wall paint. (Made with Per Törnberg)
Iron Brew (ADHD). 2015
Sheet metal, C-Print. 65x85 cm. (Made with Per Törnberg)
* Sunset Yellow FC and Ponceau 4R may have an adverse effect on activity and attention in children.
Sheet metal, C-Print. 65x85 cm. (Made with Per Törnberg)
* Sunset Yellow FC and Ponceau 4R may have an adverse effect on activity and attention in children.
Iron Brew (env iron mental). 2015
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU.
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU.
Iron Brew (env iron mental). 2015
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU.
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU.
Iron Trigonometry. 2015
Wood, Sunset Yellow FCF paint, iron, magnet, glass, spray paint, wooden arrow, medieval iron arrowhead.
Wood, Sunset Yellow FCF paint, iron, magnet, glass, spray paint, wooden arrow, medieval iron arrowhead.
The long period of his innocent life summarized in two fundamental aspects intersecting two significant epochs within a period of about one hundred and thirty years, 2015.
Ink-jet print (photographs of gravestone from Niederdollendorf, late seventh century) pavement sign, text.
Roman order collapsed,
(What destroyed the world’s greatest civilization? A peek into / Chapter Eighteen / Character of Constantine–Gothic War–Death of Constantine¬–Division of the Empire among his three sons¬–Persian War–Tragic Deaths of Constantine the Younger and Constans¬–Usurpation of Magnetius–Civil War–Victory of Constantius / many more chapters written),
and with it the apparatus of organized Christianity. This is not to say that the faith itself entirely disappeared. It withdrew into little enclaves here and there; where best it could survive under the protections of town walls or powerful men. We know little of its fortunes, for the written source gives out almost as completely as they do in fifth-century Britain: a silence that is itself eloquent. There are gaps in the episcopal lists. At Cologne for example, no bishop is known between Severinus in about 400 and Carentius, attested in 566 (!!!!). We catch glimpses of Christianity in the occasional Rhineland tombstones. Sometimes we can spot the new arrivals embracing the faith of Rome. But frequently the signals are ambiguous.
Consider the Frankish nobleman buried at Morken, between Aachen and Cologne. Was he a pagan or a Christian? There is no conclusive evidence either way. What of the warrior commemorated in the famously enigmatic stone at Niederdollendorf near Königswinter, a bit further up the Rhine, at some point in the seventh century? What did he believe in? It may be that these are the wrong sorts of questions. Well, less appropriate than some others. The antithesis pagan/Christian may be too neat and simple.
Reality tends to be fuzzy.
(Fuzziness is an essential and important part of the process of barbarian conversion.)
At this time the idea came to him that he ought to go to the territory of the pagan Slavs and preach the word of the gospel to their blinded minds. And when he was thinking about this the angel of the Lord appeared to him in a vision and drew a circle in a small space, as it were on the page of a book, showing him the whole world. ‘Look,’ he said, ‘ and see how much of the world remains untouched. Choose to go where your labours will bear fruit.’ And Columbanus understood that the Slavs were not yet ready for the faith, so he remained quietly where he was until an opportunity to go to Italy appeared. Oh well then.
For the moment let us simply observe that grave-gods are at best ambiguous witness to belief. (Gregory of Tours, however, as we know, is not. Smiley.)
Ink-jet print (photographs of gravestone from Niederdollendorf, late seventh century) pavement sign, text.
Roman order collapsed,
(What destroyed the world’s greatest civilization? A peek into / Chapter Eighteen / Character of Constantine–Gothic War–Death of Constantine¬–Division of the Empire among his three sons¬–Persian War–Tragic Deaths of Constantine the Younger and Constans¬–Usurpation of Magnetius–Civil War–Victory of Constantius / many more chapters written),
and with it the apparatus of organized Christianity. This is not to say that the faith itself entirely disappeared. It withdrew into little enclaves here and there; where best it could survive under the protections of town walls or powerful men. We know little of its fortunes, for the written source gives out almost as completely as they do in fifth-century Britain: a silence that is itself eloquent. There are gaps in the episcopal lists. At Cologne for example, no bishop is known between Severinus in about 400 and Carentius, attested in 566 (!!!!). We catch glimpses of Christianity in the occasional Rhineland tombstones. Sometimes we can spot the new arrivals embracing the faith of Rome. But frequently the signals are ambiguous.
Consider the Frankish nobleman buried at Morken, between Aachen and Cologne. Was he a pagan or a Christian? There is no conclusive evidence either way. What of the warrior commemorated in the famously enigmatic stone at Niederdollendorf near Königswinter, a bit further up the Rhine, at some point in the seventh century? What did he believe in? It may be that these are the wrong sorts of questions. Well, less appropriate than some others. The antithesis pagan/Christian may be too neat and simple.
Reality tends to be fuzzy.
(Fuzziness is an essential and important part of the process of barbarian conversion.)
At this time the idea came to him that he ought to go to the territory of the pagan Slavs and preach the word of the gospel to their blinded minds. And when he was thinking about this the angel of the Lord appeared to him in a vision and drew a circle in a small space, as it were on the page of a book, showing him the whole world. ‘Look,’ he said, ‘ and see how much of the world remains untouched. Choose to go where your labours will bear fruit.’ And Columbanus understood that the Slavs were not yet ready for the faith, so he remained quietly where he was until an opportunity to go to Italy appeared. Oh well then.
For the moment let us simply observe that grave-gods are at best ambiguous witness to belief. (Gregory of Tours, however, as we know, is not. Smiley.)
The long period of his innocent life summarized in two fundamental aspects intersecting two significant epochs within a period of about one hundred and thirty years, 2015.
Gravestone, found in Niederdollendorf, Nordrhein-Westfalen, Germany. Late seventh century. Limestone. Dim.: 42,5 x 22, 5-25,5 x 16,5-19,5 cm.
The male figure is shown standing on a braid pattern, holding a speak – a royal lance perhaps – in his right hand, his head surrounded by a glow, and wedge sharped lines radiating from the body. The radiance lines seem to emanate from a circle carves into the figure’s chest. A chevron pattern completes the composition beneath the braid. It is probable that the figure is a Christ effigy. The obverse of the stone in carved in relief. A partly notched frame contains the representation of a warrior, perhaps of the deceased. His right hand is raised to his head and holds a clearly identifiable bone comb. Why an insignificant gesture such a combing one’s hair should be represented on a funerary moment is a puzzle, unless for this deceased warrior it was the hair to which attention was to be drawn. It will be recalled that long hair was the distinguishing attribute for the Merovinian kings, a signal of their select status and sacred link to their ancestral gods.
Of course, hair has a long tradition as an indicator of strength and vitality. (Smiley.)
The left hand rests on the one edged sword, clearly recognizable by its characteristic sheath, which the figure wears across its middle. A two-headed, protective death-snake with gaping jaws frames the head. Part of another peeks out from beneath the sword hilt. A pilgrim’s bottle of an eastern type is places at his right foot.
>>>> This individual may have died a Christian.
Or wait,
although both pictures contain elements that, in all likelihood, refer to pre-Christian ideas, the latter is generally understood to represent Christ, whereas the man on the front is believed to represent the deceased himself. Damn!
Fulget Crucis Mysterium,
the mystery of the cross does gleam,
where the creator of flesh,
in the flesh,
by the cross-bar is hung,
Vexilla Regis
No gifts were found in his grave. Evidently as means of self-representation these gravestones stress the social awareness of the deceased and reflect the transitional coexistence of pagan and Christian motifs, though they do not permit the undisputed conclusion that all the deceased were indeed Christians.
(Richard A. Fletcher – The Barbarian Conversion: From Paganism to Christianity Richard (1999); Herbert Schutz – Tools, Weapons and Ornaments: Germanic Material Culture in Pre-Carolingian Central Europe (2001); Laury Sarti – Perceiving War and the Military in Early Christian Gaul (2013); Gibbon’s Decline and Fall of the Roman Empire ed. Moses Hadas (1962); Wikipedia – thanks.)
Gravestone, found in Niederdollendorf, Nordrhein-Westfalen, Germany. Late seventh century. Limestone. Dim.: 42,5 x 22, 5-25,5 x 16,5-19,5 cm.
The male figure is shown standing on a braid pattern, holding a speak – a royal lance perhaps – in his right hand, his head surrounded by a glow, and wedge sharped lines radiating from the body. The radiance lines seem to emanate from a circle carves into the figure’s chest. A chevron pattern completes the composition beneath the braid. It is probable that the figure is a Christ effigy. The obverse of the stone in carved in relief. A partly notched frame contains the representation of a warrior, perhaps of the deceased. His right hand is raised to his head and holds a clearly identifiable bone comb. Why an insignificant gesture such a combing one’s hair should be represented on a funerary moment is a puzzle, unless for this deceased warrior it was the hair to which attention was to be drawn. It will be recalled that long hair was the distinguishing attribute for the Merovinian kings, a signal of their select status and sacred link to their ancestral gods.
Of course, hair has a long tradition as an indicator of strength and vitality. (Smiley.)
The left hand rests on the one edged sword, clearly recognizable by its characteristic sheath, which the figure wears across its middle. A two-headed, protective death-snake with gaping jaws frames the head. Part of another peeks out from beneath the sword hilt. A pilgrim’s bottle of an eastern type is places at his right foot.
>>>> This individual may have died a Christian.
Or wait,
although both pictures contain elements that, in all likelihood, refer to pre-Christian ideas, the latter is generally understood to represent Christ, whereas the man on the front is believed to represent the deceased himself. Damn!
Fulget Crucis Mysterium,
the mystery of the cross does gleam,
where the creator of flesh,
in the flesh,
by the cross-bar is hung,
Vexilla Regis
No gifts were found in his grave. Evidently as means of self-representation these gravestones stress the social awareness of the deceased and reflect the transitional coexistence of pagan and Christian motifs, though they do not permit the undisputed conclusion that all the deceased were indeed Christians.
(Richard A. Fletcher – The Barbarian Conversion: From Paganism to Christianity Richard (1999); Herbert Schutz – Tools, Weapons and Ornaments: Germanic Material Culture in Pre-Carolingian Central Europe (2001); Laury Sarti – Perceiving War and the Military in Early Christian Gaul (2013); Gibbon’s Decline and Fall of the Roman Empire ed. Moses Hadas (1962); Wikipedia – thanks.)
Hard Weather w. Carson Fisk-Vittori. Installation view, Et al. Gallery, San Francisco.
Hard Weather w. Carson Fisk-Vittori. Installation view, Et al. Gallery, San Francisco.
Hard Weather w. Carson Fisk-Vittori. Installation view, Et al. Gallery, San Francisco.
In Love of Man. 2014.
Powder coated eiffel tower, latex, silver chain, charm, 2014
Powder coated eiffel tower, latex, silver chain, charm, 2014
Ring of Glass (Stay Hard). 2014
Frame, glass, latex ring, acrylic glass.
Frame, glass, latex ring, acrylic glass.
Ring of Glass (Stay Hard). 2014
Frame, glass, latex ring, acrylic glass, ink jet print.
Frame, glass, latex ring, acrylic glass, ink jet print.
All Low / The Lowest of the Low. 2014 (detail)
Tower of A(r)mor, 2015. (Made with Sydney Shen)
Ink-jet print, magnet.
Ink-jet print, magnet.
Tower of A(r)mor, 2015. (Made with Sydney Shen)
Ink-jet print, magnet.
Ink-jet print, magnet.
Tower of A(r)mor, 2015. (Made with Sydney Shen)
Installation view, Minibar Stockholm.
Installation view, Minibar Stockholm.
Tower of A(r)mor, 2015. (Made with Sydney Shen)
Purple Venus. 2013 (Made by PWR)
Digital photo rendering, ink jet print.
Digital photo rendering, ink jet print.
Spirits. 2013
Installation view, Artists Unlimited Galerie, Bielefeld.
Installation view, Artists Unlimited Galerie, Bielefeld.
Spirits (Bedlam). 2013
Wooden bed base, paint, spray paint, paper tube, brass, hardware.
Wooden bed base, paint, spray paint, paper tube, brass, hardware.
Spirits (And if some god should strike me, out on the wine-dark sea, I will endure it, owning a heart within endured to suffering, for I have suffered much and laboured much, in war and on the seas: add this then to the sum). 2013
Video: 10 sek loop, tiles, wood, paint.
Video: 10 sek loop, tiles, wood, paint.
New Emotions be Warned. 2013 (detail)
New Emotions be Warned. 2013
Wood, paint, iron oxide, Falu red paint, lamb hide, synthetic fur, Mora knife, ceramic tiles, carpet.
Wood, paint, iron oxide, Falu red paint, lamb hide, synthetic fur, Mora knife, ceramic tiles, carpet.
New Emotions be Warned. 2013 (detail)
New Emotions be Warned. 2013 (detail)
Alone Like an Animal, and Yet Think. 2011
Tar, synthetic fur, wire, hardware, wood, marching drum.
Tar, synthetic fur, wire, hardware, wood, marching drum.
Alone Like an Animal, and Yet Think. 2011
Tar, synthetic fur, wire, hardware, wood, marching drum.
Tar, synthetic fur, wire, hardware, wood, marching drum.
Alone Like an Animal, and Yet Think. 2011
Tar, synthetic fur, wire, hardware, wood, marching drum.
Tar, synthetic fur, wire, hardware, wood, marching drum.
On the Beach (Karl), 2012.
Framed Photograph. Part of Beautiful Potential, Mother's Tankstation, Dublin.
Framed Photograph. Part of Beautiful Potential, Mother's Tankstation, Dublin.
Iron Comfort. 2015
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur. 2015
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur. 2015
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Iron Comfort. 2015
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur.
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur.
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Iron Comfort. 2015
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur.
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Wood, Sunset Yellow FCF paint, Ponceau 4R paint, iron oxide, iron, stainless steel, aluminium can, IRN BRU, synthetic fur.
Performed as part of IMMUNITY (chorus) at V4ULT, Berlin
Through Wild Country. 2015
Quartz clock, asparagus fern, wheat straw, spray paint.
For 0dx, at Ashley Berlin. http://www.0dx.org/afigaaibiltfotf.html
Quartz clock, asparagus fern, wheat straw, spray paint.
For 0dx, at Ashley Berlin. http://www.0dx.org/afigaaibiltfotf.html
Through Wild Country. 2015
Fish figurine, steel bucket, almond milk, liquid rubber.
For 0dx, at Ashley Berlin. http://www.0dx.org/afigaaibiltfotf.html
Fish figurine, steel bucket, almond milk, liquid rubber.
For 0dx, at Ashley Berlin. http://www.0dx.org/afigaaibiltfotf.html
