The cube (50 x 50 x 50 cm) in my installation (re-)presents – ideas about – an endless virtual (and thus also a Euclidean ideal kind of) space, literally speaking; u-topian space (‘not space’). These kind of ideas are not much unlike the ideas (by which I mean the theoretical propound [forelæg]) about the white cube as an exhibition space, which we today are dealing with. Since art in the public space has become (site-)specific in a way where it is standing in relation to a/the space, as art, and the art institutions has let go of the role of “being the one” showing art to the public and thus itself has become a public sphere, all art in ‘art-space’ can, to various degrees, become/be done site-specific.

Inside this space – my installations concrete cube – we find all, the imaginary, kinds of variables [variabler(/varianter/variationer)] of the images that are present [foreligger]. The sound piece (jeg er her) NU is presented on top of the cube, which could lead the viewer to connect the cube with ideas about a space that is both structured and percieved through ‘time-form’. At least I, through the use of the cube, intent to activate – both the concrete and more imaginary – ideas and thoughts one could have about composition. That is to say, to think about time and composition in terms of quantity/quantities, and thus as factors.

With the installment of the text-image project, I’m seeking to create opportunities to consider and wonder about [overveje] all the possible kinds of images that could be, in between the images that are presented – instead of seeking to figure out, or understand which ones are missing and how these could be connected – and I have tried to use the cube in the room to activate the empty fields in between the filled fields. But to get going towards an imaginary space, we are in need of concrete material (relations), examples, that can kick start and set the limitations, and what then further becomes important, in relation to this kind of relation; is the relations – which again means the way (things/objects) are spun/bound/chained together. I’m putting the weight on the connections/connecting points – the relation between the relations – since this must be our fixpoint, when thinking plastically about our terms and the circumstances ‘(t)here-fore’. Here we might, with advantage, use the internet as a figure for our further thinking. Because what is the internet, the biggest (at least measured in quantities relating to ‘concresity’) virtual space we have, other then the hyperlinks/hyperlinkings and the ‘chainy’ ways in which these are connected and (are set/)stand in relation to each other? What kind of relations these then are – viewed in the light of relational mechanisms and structures which we know of from the human ‘inner life’/soul-life – should be interesting to try and figure out. I guess this is what sci-fi culture deals with, speculating about what our machines, computers and so forth are, viewed and set in relation to the human being.

The arrangement I composed for the exit-exhibition is, in my view, working with – or is at least trying to connect and deal with – some of the above mentioned topics and problems. The text-images being shown are not mechanically structured compositions, they are man-made and humanely fashioned in their outset, made with machinery aid. They are composed and spring from lustful/wishful and enjoyment principles – stringently in method. Intuitively, although systematic – within each field/image(-frame) –, held as tightly, or tighter, then a machine/computer would do so. The whole composition is selectively arranged by me. I’m hanging, and showing, these pictures. So I administrate: the artist set in an editing position and thus functioning as an administrative figure.

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[Note for the installation of my work_06]