Installation view
Aftenlandet2013Installation view

AftenlandetPeinture et Sculpture, Copenhagen2013

Installation view
Aftenlandet2013Installation view
Archival Blue-Black Registrars Ink2013Ink on gravure paper in wooden frame77,5 × 105,5 cm
Aftenlandet2013Cotton500 × 250 cm
Model of Road Moai2013Sandstone 3D print on plinth10 × 4 cm

Aftenlandet (The Occident) understands itself as being in a continuous progression. In this forward going movement it is led towards heights characterized by enormous complexity and depths defined by compact simplicity. Its needs accumulate, its pleasure happens in the need for development and progression. It senses itself as itself, as its desire intensifies it adds pressure. The climax of the curve does not top. The rise passes as a discharge into the decline. A sliding unconscious, uncontrollable event. The Occident is lost in the twilight of its own endeavors. It crumbles, falls and fades. During the phase-out the new slowly occurs. Merged and parallel it grows and deteriorates.

The mirror image of The Occident tones forward. The distortion suits its need for self-righteousness. The story of the abrupt necessity covers the continual and monotone. It splits culture and nature and thus avoids relating to the absence of impetus. Quivering it is tempted by the dramatic. From the shadows step real occurrences. They lay the foundation for the future. Sweetness is introduced. The colourful defense of The Occident becomes norm.

There is no question of a process. The diverging maneuver is created solely by the need to avoid dealing with the fact that it is composed of the manifold. In the manifold there is simultaneously violent movements and total standstill. The shapes are formed in order to form, sharpen, sort and in the last resort make possible. The Occident lies in the image of itself. It is being cradled in its understanding of itself. In this way it leads itself forward. The change happens in its knowledge of this.

Photo: Jan Sondergaard