Eating the other : ID:I galleri

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LIMINALITY; video, Alexander Mood
KEBAB DREAMS; video, Dan Lageryd
TIDE; soundwork, Jenny Aschenbrenner

When the electrician Harry Beck designed the map for the London railway system, he used an electrical circuit plan as a basic inspiration. Given that our thoughts and impulses are transmitted electrically, the map and the underground network stands as a perfect metaphor for the nerve system in the city.

The video work consists of two projections of people who are on their way out through the ticket barriers at metro stations Östermalmstorg and Skärholmen, leading up to two distinct parts of Stockholm: a Million-program suburb and the city’s financial center. Like waves of people, they are welling up from the underworld, in slow motion.

(Skärholmen and Östermalmstorg are located at the two ends of the Stockholm socioeconomic spectrum, strictly segregated by the city’s highly segregated housing situation. They are also on the same subway line.)

Cut out adhesive letters spelling Pizza, Kebab, Sushi, Take Away. A graphic semblance of a man in a moustache serving a pizza. An exotic made up bird on an utopian island. This is what is presented to us in the windows of fast food restaurants across cities in the western world.

The fastfood restaurant is at the same time a place where prejudice is challenged, a place of exploitations and a place of dreams. Exotic dreams of faraway places and exotic food, less exotic dreams of work, of safety and money, of establishing a new life, of financing a move back home, of providing a future for your family.

Today’s surging people form a connection with what those at modernity’s birth tried to understand in their time of rapid change and what this did with the experience of a firm and lasting identity.

A series of fragments from Virginia Woolf’s novel The Waves are woven together now and then, the suburbs and the inner city, elite and exclusion. The same thoughts, the same fears and hopes of rest and security tucked into the quagmire of change.

”You can not live outside of the machine for more than maybe half an hour.”

As a motorway noise of colliding sentences, a sea of competing statements, the voices form a sort of chorus, consistent in their search.

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