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I stop and look for you. In my mind she fucks you and I am disgusted, and feeling sorry for both of you. I turn the page of the book I am reading on the train going somewhere and realise it has not yet been written. I think about ways of writing myself through the spectacle of everyday life here in different locations. I observe a detail on a building and this detail follows me throughout the day. Now it is night and I still see the exact detail as if in daylight. I am on a hilltop, being pushed from it by soldiers and Orthodox people over and over again. I wonder what someone else would have done in this situation – maybe written about it? I continue to climb the hilltop as if obsessed with reaching the top, knowing this is completely irrelevant. The soldiers hold hands as if in a fairytale – I feel their body heat and the force of a push, which makes my way downhill faster than anticipated.
I was there and watched myself as I stepped further into complicated matters. Later we were discussing whether complicated was a positive or negative term.
I start going east, 2012
8 sheets of Plexiglas (70 x 100 cm each), sandblasted text, inkjet prints
Four fragmented memories of a place are gathered together in the text and photo installation I start going east. The place is not named explicitly in the texts, but can be interpreted as the Occupied Palestinian Territories. The work’s protagonist reflects upon experiences and encounters that take the viewer deeper into the unknown and at times the surreal. The texts, presented as sandblasted foil-text on four sheets of Plexiglas, mix the autobiographical with fiction. They appear to levitate in front of a wall, behind which surfaces in four shades of green are mounted under Plexiglas, one for each of the texts.
This work was supported by the Danish Arts Council.