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Critical Practice

L o u i s e Ø r s t e d J e n s e n

As a child, and still to this day I am deeply fascinated with explosions. Since he was very little, my father has produced a serious amount of bombs.

He would make small explosions in the school yard, on top of his teachers cars, blowing up mailboxes and trashcans, and accidentally sat fire to himself. Later in his life he started experimenting with blowing up telephone boxes and sheds. He would continue this practice throughout adulthood, and growing up has therefore for me involved a series of nerve-racking events. The first time I saw a terrorist attack on the television I was 4 years old. I was sitting in our black leather sofa, when they showed a recording of a bomb exploding from within a concrete building, resulting in its total collapse. With joy, I was jumping up and down clapping my hands laughing and cheering.


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Through an experimental and often collaborative practice, my work revolves around the relationship between well known concepts such as nature, humans and technology. In a blur of autobiography and fiction, my practice explores the agency of the individual in a world of constant change, and navigates perceptual boundaries through participatory performance, installation and video. My work has been shown internationally including at the Ars Electronica Festival in Linz, Austria, Waterton Gallery, London, TEI Stockholm, Sweden, and at Thesmoforia Art Festival, Copenhagen.

My current practice engages with notions of transgression, piracy and surveillance. I am generally interested in the subjects understanding of agency and placement in the world. The work presented here speculates on ones ability to navigate an increasingly abstract globalised reality, and the effect of contemporary technological climates on the individual’s notion of agency.

The creation of a pirate, has led me to investigate my own matter registers from a place in between a genuine self and a blurred portrait of a character without face, highly aware of her own position. This particular pirate is operating from a place of total previlige, and carries out acts which is potentially life threatening with the sole agenda of feeling some kind of importance, to feel alive . . , to mess with a system that proves to have no real interest whatsoever.

The work looks at the notion of piracy as a mode operating at several levels; the hacking of online power structures, the hypnotisation of masses and ruthless capitalisation of our attention. The trespassing and intrusion of territory, merge with aesthetics disregarding contemporary understandings of beauty as a path to engagement.

Records of an Earthly Translation Adaptation — Watch this video with your headphones on, in a dark place where sunlight is dim or abscent. Thanks to Katrine Skovsgaard

The title Recordings of an Earthy Translation Adaptation I stole from the voice recordings of the communication between Nasa and astronauts at the first ever all-women space walk. Translation adaption is what the astronauts go through when their body is adapting to gravity in space.

FloatLikeAWitch

Under the surface, the human eye can see very little. Here, our sight is reduced to a blurred twisted reality. But through external lenses, we are beginning to see what is going on.

The hibernation of significance Leaves a circular trail Their feet are not hurting anymore Since they stayed at home Weeds are dominating now and the surface is smooth and soft There are something swaying in the wind There is someone sunbathing on the grass I forgot about going forward There are dreams of piratical beings



O c e a n s O f S l a c k

Right now, urban environments and virtual worlds capitalise on our attention, and data has recently surpassed the value of resources such as gold and oil.

The match-three puzzle video game for smartphones, Candy Crush Saga, represent a trace of interaction and time. The endless game, which provide its user with no real rewords or narrative, prompts a loss of control and meaning and a consequent loss of self.

Threshold XVI

In my collaboration with Amelie Mckee, we experiment with body worn spy cameras, in a scenario where one’s environment can be recorded without the knowledge of passers-by. The result is live streamed in a first-person game framework, questioning the impact of the Digital arena in the perception of everyday surroundings.

Another World Is Possible

Another World is Possible is a decentralised, self-curating exhibition by the Protozoa collective that mirrors the values of the world the artists wish to create. Each exhibiting artist invites another artist to exhibit, and they in turn invite another artist. The format of the exhibition takes place on a clone site of the Royal College of Art’s digital body – acting as a viral institutional parasite. The site runs on automated scripts, and exists in an amorphous, generative state of potentiality.

Awkward Silence

Medium:

Music and sound art, cassette

Knud Højgaards Fond

Agustinus Fonden

Deltapix Aps