Ellinor Aurora Aasgaard: Missed Connections
To some the term 鈥渕issed connections鈥� might denote the last vestiges of romantic love, but at the same time it provides an ontological framework for an emerging, new mechanized love. Because of this dual connection to both romantic and realistic nostalgias, it succinctly expresses the wish for a change in ones private social organization, like a deus ex machina.
It is maybe in this sense of capturing a moment of potential alterity that the exhibition 鈥淢issed Connections鈥� offers an accurate portrayal of something, or another. Somewhat ironically there are a lot of connections to be made in 鈥淢issed Connections鈥�. In every room one encounters objects, installations, prints and animations always depicted as being more than just one thing, for instance the tombstone-carryon luggage, or the swimming pool-Jeopardy studio.
The point of departure for this contemporary grotesque is naturally an airport in which desires and horrors of a cosmopolitan travel experience mixes freely in humorous irreverence. Bulging eyeballs cry out adjustable queue dividers, creating a path to be followed into a vision of hell, made up of mounting credit card debts, offset later on against fantasies of unfulfilled potential and financial reward. Materially, constructions in papier m芒ch茅 blend stylistically with 3D-rendered animations and computer drawn images, while handcrafted items intersect with ready-made objects. The materials, just like the motifs, melt stark contrasts together, adding to the chimeric expression of a fashionable demodernization.
In every room the phantasmagorical arrangement of things seem to suggest a snapshot of the inner life of a self-entrepreneur, or at least someone who has put their ass on the line in some sort of hectic travel environment. The anthropomorphous quality of the many things in here give the impression that everything is speaking to this imaginary main character. Like the titular glove in Max Klinger鈥檚 Paraphrase on the Finding of a Glove, each object can potentially be imbued with both pleasure and doom, fantasy and nightmare.
Missed Connections naturally also presents the idea of a gap having emerged. While clearly pointing to an absence of something, so many schools of philosophy, psychology and even different mythologies recuperate the symbolic meaning of gaps as sources of creation. In Lacan鈥檚 psychology it constitutes the subject itself, as it is essentially divided, in Nordic mythology it is the beginning of the Universe, Ginnungagap, the yawning void. As we strive to inhabit this world in better ways, our daily digital rituals will continue to juxtapose images of the inane with the intelligent, satire with sentiment and permissive intrigue with moral admonition 鈥� until one day maybe, a new world can emerge.
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To some the term 鈥渕issed connections鈥� might denote the last vestiges of romantic love, but at the same time it provides an ontological framework for an emerging, new mechanized love. Because of this dual connection to both romantic and realistic nostalgias, it succinctly expresses the wish for a change in ones private social organization, like a deus ex machina.
It is maybe in this sense of capturing a moment of potential alterity that the exhibition 鈥淢issed Connections鈥� offers an accurate portrayal of something, or another. Somewhat ironically there are a lot of connections to be made in 鈥淢issed Connections鈥�. In every room one encounters objects, installations, prints and animations always depicted as being more than just one thing, for instance the tombstone-carryon luggage, or the swimming pool-Jeopardy studio.
The point of departure for this contemporary grotesque is naturally an airport in which desires and horrors of a cosmopolitan travel experience mixes freely in humorous irreverence. Bulging eyeballs cry out adjustable queue dividers, creating a path to be followed into a vision of hell, made up of mounting credit card debts, offset later on against fantasies of unfulfilled potential and financial reward. Materially, constructions in papier m芒ch茅 blend stylistically with 3D-rendered animations and computer drawn images, while handcrafted items intersect with ready-made objects. The materials, just like the motifs, melt stark contrasts together, adding to the chimeric expression of a fashionable demodernization.
In every room the phantasmagorical arrangement of things seem to suggest a snapshot of the inner life of a self-entrepreneur, or at least someone who has put their ass on the line in some sort of hectic travel environment. The anthropomorphous quality of the many things in here give the impression that everything is speaking to this imaginary main character. Like the titular glove in Max Klinger鈥檚 Paraphrase on the Finding of a Glove, each object can potentially be imbued with both pleasure and doom, fantasy and nightmare.
Missed Connections naturally also presents the idea of a gap having emerged. While clearly pointing to an absence of something, so many schools of philosophy, psychology and even different mythologies recuperate the symbolic meaning of gaps as sources of creation. In Lacan鈥檚 psychology it constitutes the subject itself, as it is essentially divided, in Nordic mythology it is the beginning of the Universe, Ginnungagap, the yawning void. As we strive to inhabit this world in better ways, our daily digital rituals will continue to juxtapose images of the inane with the intelligent, satire with sentiment and permissive intrigue with moral admonition 鈥� until one day maybe, a new world can emerge.
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