When I was a kid, my dad always wore a tie, at work, after football training, at breakfast. The suit and tie shaped my image of how a man would dress, and what job an adult should have. As children we are shaped by our parents and our expectations of life are founded, as we grow older we discover that expectations may not be matched, that expectations are discrepant with the life we really want. The portrait with ties represents this social heritage, the creation of identity and the expectation of everyday repetition and predictability.
SUBSTANCE is a sound work on a 12” LP vinyl record. It includes 11 tracks each with a recording of a dissolving painkiller tablet. The tracks display variation in audio as the tablets dissolve due to the medicines different chemical properties and physical design such as size and thickness. The painkillers have been ordered from E-bay and shipped from around the globe.
TREO - acetylsalicylic acid and caffeine
IPREN - 2-(4-Isobutylphenyl)propanoic acid
BAYER ASPIRIN C - acetylsalicylic acid and C-vitamin
DISPIRIN ASPIRIN - acetylsalicylic acid
ALVEDON - paracetamol
ANADIN EXTRA - acetylsalicylic acid, paracetamol and caffeine based
NUROFEN - 2-(4-Isobutylphenyl)propanoic acid
SOLPADEINE - paracetamol and caffeine
PANADOL - paracetamol
APOFRI - acetylsalicylic acid and caffeine
PINEX - paracetamol
RATIOPHARM - paracetamol
In the 1960s the ancient archeological site of Göbekli Tepe was discovered in Turkey, dating back some 10 000 years. A forgotten city buried in soil by the people who once lived there.
The discovery of the lost city led scientist to believe that Göbekli Tepe had the potential to profoundly change the understanding of a crucial stage in the development of human society since it predates what we believe to be the earliest civilizations. How the site was built and why it was ultimately abandoned remains a great mystery. Theories and speculations of a cataclysmic event taking place before the construction of Göbekli Tepe led some to believe that earlier civilizations were far more advanced than we could ever imagine and that survivors from a cataclysmic event, most likely a meteor strike, could have passed down knowledge to stone age humans on how to construct advanced architectural structures such as Göbekli Tepe. Waltz for the cataclysm tells about the fragility of our society and human, everyday life in the event of a cataclysmic event such as a meteorite strike. The circular motion of history, civilizations rise
and fall and reborn, are much relevant to the 21centuary, a century characterized.
The installation is an outcome of observation and intense work over three weeks in the Yan mountains, and its surrounding in Shangyuan, North Beijing. Piles of brickwork, misty mountains, stacks of wood, forgotten ruins, plastic waste, abandoned shoes, and Jujube trees constitute the immense clash between culture and nature. The installation includes video work, and sculptural work created over a few weeks in Shangyuan.
“Once in The Loop (2018)”, depicts the rise and fall of the city synchronously with nature’s retreat and regrowth. The video is created from a large number of drawings that are brought to life in a circular motion. “Once in The Loop” can be views as a metaphor for economic cycles as well as the movements of the seasons or the rhythm of breathing and so on. The work makes use of the analogue and tedious work of drawing combined with a game engine tool.
Music by Francesca Burattelli.
Dreamweaver combines tradtional craft with game engine tech.
Work is in process.
The terminal is a journey through a 9 space virtual world. Within a 10th physical world, this space. But it is also a travel through a mental landscape. In the terminal We encounter creatures discovered in my meditation, like the holy figure of the NGs, blue boy and the girl with the pink hair, characters seemingly inhabiting that world without caring about our presence. These characters are too busy caring about themselves to even notice us.
Perhaps is this work an escape, a kind of escapism. As I see it art gives us the privilege to escape our own preconditions in order to reinvent, reflect, to find pleasure and company. I also see the work as something real, an object in itself, a world in itself, an existence, so we do not really escape reality, verklighetsflykt, we just make a temporary visit into another real. Just like larping. If you don´t belive me, belive quantum physics. A teacher once asked me How do you want to live your life with art? Not what kind of art do you do? The question encapsul something I believe is essential to my own practice. Namely to have art as a life practice, to create moments where you might lose your self, moments where you make temporary visits to temporary worlds. Good and bad.
For this work I found most inspiration from my own memories and experiences, moods I’ve felt emotions, encounters I had and times of fear. Sitting in front of the computer, building a world, it is easy to pore from your self into the work.
But of course the images and beings and music and sounds are not there for me alone. I hope that the moods are shared with the audience. That the music and tempo sparks nostalgia and can open us to the experience of memories and inspiration. And ultimately create new memories of a more gentle world.
A formal aspect of the work is the use of a FPS point of view camera. The way we recognize this camera movement is severely associating to games. When cinema first came people did not have the visual language to understand the meaning of a first person shot or a jump cut in cinema. As the audience learned these ways of understanding cinema it became appropriated in the collective culture. Just like we learned how to recognize the way cinema works with camera operations and language we now recognize the language and movements of virtual worlds..
I have worked with the game medium for this project. The tools makes it possible to create huge mountains and tiny zebras, to add music and language. 3d-modelling, and game composing can be very addictive. Very much as it can be addictive to play a game. In this world All is possible.
I saw the sun is a sculptural and a family artifact. The work is permanantly installed at the museum of Arkeology in Salvador Bahia, Brazil facing the great atlantic ocean.
The story begins in 1964 when my father moved to Bazil to marry his x-wife. Zita and Ralph, my father, had met in London a few years earlier. However only after a year the marriage ended back in Sweden. My father had many times showed me the gold rings from this marriage he he gave me these two rings. From my mother I was given a gold braislet that belonged to my grandmother. these objects where later melted and transformed into a golden sculpture. The sculpture depicets a pregnant NG, a mythological beeing from the Terminal Green (a work dear to me).
A large series of painting depicting pregnant creatures.
Ett verk (s)om avsked, en skulptur, ett ljud skapat av super-ponerade sinusvågor separerade av oktaver, ett frö för framtiden.
Med utställningen tittar vi närmare på ljudets kraft, dess flyktiga natur och ljudets förmåga att, för lyssnaren, skapa inre bilder
Andra medverkande är Niklas Gagner, Alexandra Karpilovski, Martin Onassis, Sabine Kongsted, Sayuri Chetti och Carina Erdman med flera.
“In a carefully arranged space, Höglund invited visitors to take a place on a natural-coloured carpet, stretching out on the floor or sitting on a low, wooden bench designed by the artist, the top surface of which was a mirror that reflected trees and air, time and again reframing our perception of the outside world in a multifaceted manner. It was an on-point gesture in which Höglund showed sovereign ability to play with the mental space of the visitor. While in the exhibition space, the visitor heard parts of a sound recording of more than two hours in length, of the journey of a suitcase being flown from Copenhagen to Amsterdam. Höglund succeeded in taking the viewer to a space that exists both internally and very far away - producing a heightened concentration on the experience of the moment itself. The migratory act of the source, the “target” and the output all seem to coalesce in this piece, inviting the mind to migrate with transcendent movements that our brains unceasingly carry out. Myth, mind and matter joined in one mesmerizing installation.
For this piece Alexander Höglund was nominated for the Rietveld Fine Arts Prize 2014”
Suzanne Wallinga and Martijn Hendriks
My grandmother never had a drink or a smoke, she never tried drugs and for this she was very proude. However I can still remember the conforting sound of a dissolving TREO. i guess those white pills were her drug.
The work starts out as a sound piece, a recording of the dissolving TREO, it developed to a meditative performative practice and protest if you so will. And from here sculpture.
Hayao & Cuckoo is a short theater play written, directed and performed by Alexander Höglund.
The story is set to a fantasy world where Hayao is in search of a magical and holy being called Cuckoo. Cuckoo has the power to bring Hayaos dead father to life and heal the pains his mother suffers. In the play Cuckoo is performed by a talking rice coocker produced in Korea (and also speaking in Korean). The dialog revloves around sacrifies and tasks Hayoo must performe for Cuckoo. Music plays an important part in the work setting the moods for Cuckoo.
Hayao & Cuckoo was first performed at w139, in Amsterdam 2015.
Thanks to Martin Onassis & Jay Yoon for additional graphics and support.
This series of works takes it´s starting point in Zigmund Baumans concept of liquid life. A kind of contemporary life that changes faster than we are able to adapt. Mental distress and happieness is under the loupe. Is it reasonable to go towards whatever, with full speed?