Cheers to the World, 2011
Solid wood, packing cases, adhesive tape, champagne glasses
Installation view / Grünerløkka Kunsthall
Grünerløkka Kunsthall is the terminus for a number of objects and actions associated with
a parallel existing public and personal incident. The result radiates failure, decay and a
fragmented but meticulous aesthetic that goes into dialogue with the outside world.
A series of champagne glass cases and their associated contents are centrally arranged in
the white-cube in a contrasting combination of reality and image. Clearly marked by the
journey they have been through, the glasses pose on their pedestals with an awkward pres-
ence filled with subtle overtones. Posted from various destinations at different times over
the past year, with the postal workers as both an involuntary creating part and implied
audience, the content has finally reached its incomplete form. The sound of breaking glass,
misleading looks from the counter staff and the outlandish feeling of being both the send-
er and the receiver characterizes the ambivalent atmosphere.
In the same room, we see images from an archive of picture postcards projected onto the
slide projector’s transport case. The fronts show geographic idyll and documentation of
popular artworks or famous landmarks. On the flipsides, however, frozen moments with insuf-
ficient evidence of written communication can be seen among the charred remains. Scattered
information from a semi-public medium fades away, leaving the narrative fragments of words
and memories in a visual interaction with the flames.
A door made of solid wood is reduced to recognizable standard formats and placed on the
floor as odd props. The exhibition space feels like an open box with multiple connections
to a psychological and physical outside world. The idea of an inside and an outside is
gathered in a centre, where the contrast between the immediate present and the distant
past is assembled in a three-dimensional metaphor for officious social interaction.
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