The Invention and Conclusion of the Eye

Published by Filip and Plug in Editions

Book launch at NY Art Book Fair, September 21 – 23, 2018 at MoMA PS1

The manuscript for The Invention and Conclusion of The Eye is published as part of Supplement, an occasional pamphlet series by Filip. Produced in partnership with Plug In ICA, Winnipeg, The Invention and Conclusion of the Eye presents a possible future of human vision told through a narrative conversation between a sole protagonist and a computer. Interwoven with contemporary and historical diagrams plotting various aspects of sight, the work depicts vision as a historical construct evolving alongside technology. Published in English, Norwegian, and French.

Liquid Properties

Collaboration with Marjolijn Dijkman

Commission for Munchmuseet on the Move, The Munch Museum, Oslo, 31 Aug - 23 Sept 2018

Liquid Properties, made in collaboration with Marjolijn Dijkman and commissioned by Munchmuseet on The Move, consists of the film Reclaiming Vision and the installation Liquid Properties. Captured through a light microscope, the film features a diverse cast of microorganisms sampled from the brackish waters in the inner Oslo Fjord, alongside algae, cultivated at the University of Oslo. The film reveals various processes in the water that are hidden to the naked human eye. By investigating the brackish water, its inhabitants, its properties, and the traces left by human activities, the film is a reflection upon the relationship we humans have with our surroundings, especially through what we cannot see. The music is specially composed for the film by Henry VegaMunchmuseet on the Move is a four-year, off-site curatorial project of contemporary art, curated by Natalie Hope O’Donnell.

Seeing Without a Seer

Group exhibition and symposium organised by Radical Reversibility, Amsterdam, September 20 – 30, 2018

Seeing without a Seer is set up as a cooperative, imaginative and speculative exercise to grasp what is at stake in the act of seeing. What is ‘seeing’ and where is it located when we take non-human agencies into account? Can we, for instance, imagine how plants or stones ‘see’ their surroundings? In which ways could ‘machine vision’ influence our worldview?

Artists: Anouk de Clercq (BE), Tom Callemin (BE), Marjolijn Dijkman (NL), Hans Gremmen (NL), Hiryczuk/ Van Oevelen (FR/NL), Toril Johannessen (NO), Taisuke Koyama (JP), Tuula Närhinen (FI), Juuso Noronkoski (FI), Martine Stig (NL), August Strindberg (SE), Mikko Rikala (FI)