What follows is an unsorted, nonhierarchical and partly arbitrary selection of characters who have influenced our work. A family album, a list of usual suspects, your average perpetrators - or maybe just a side show of funny faces, assembled together from our library of eyes, noses, ears, facial hair et cetera.
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In the context of SQUID, we found out in 2008 that urban and narrative were the most common search words, or themes, used in the SQUID archive. The varieties in approaching, investigating, or tip-toeing around these themes are as many as the number of contributions. Nevertheless, we thought it was an interesting thread we had stumbled upon and felt compelled to follow up and decided to do this under the theme of Urban Narrative.
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00_ Fiat Lux. Narrative in-forms realities. It gives them a form. So that these can be recognised, narrated, historicized, represented. Narrative stands for any form of representation. The urban condition is a tangible reality that takes form with narrative, here understood as any kind of representation, visual or not.
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The current existing terminologies connected to urban space to me seems limiting in terms of understanding urban space. This has to do with the dichotomy public – private and its lack of ability to describe the complexity in society today. […] To be able to discuss and describe urban life it’s therefore necessary to find terms that is in between the public and the private.
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I have been living in Southern Kurdistan or Northern Iraq for more than six months and day after day, week after week I discover the multitude of doors that allow for perceiving the nuances of a different society.
Cooking and tasting food while sharing stories is to me a privileged access point that reveals much more than what it seems to tell.
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There were several books on the bookshelf that I was too short to reach, and one who didn’t fit amongst the others because of its size: it was being kept on the desk in the office instead. The book of chronicles. I learned to read fairly late, and I started out with this one. “The 20th century chronicles”. I was sitting with it for days on end. All through the night, secretly. The cover was a collage of scientists, presidents, celebrities, emigrants, wars and athletes. It was rather easy to grasp, well arranged with two months worth of time for every page spread: history begun in January of 1900 and ended, abruptly, in December of 1987.
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Once I asked my parents for a dictionary. I wanted the boxed kind, navy with a magnifying glass. But Dad doesn’t get gratification deferral in that way, so instead I got the kind with two volumes, six columns inside. According to it, desire is both a longing and an absence. It’s sexual. And desiree is a kind of potato, pink-skinned with yellow waxy flesh.
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That's it. That. That
sensation of being
fucked. Penetrated.

The fact that it's so
contradictory.

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I'm convinced that you cannot describe nature, not philosophically, nor in a scientific manner and, not in the last place, not from an aesthetic point of view either. The moment you start describing it, studying or painting it, nature is undone and becomes something different altogether: a dissertation, a story, or an art work, anything that fits into a human framework of understanding. It's a Bermuda triangle of philosophy, science and culture in which nature disappears.
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In my luggage, on my first trip to Svolvær in January 2008, I had a couple of guidebooks on the Lofoten Islands in Norway - not containing a word on what interested me the most - the migration patterns of humans and animals in the area. Humans have obviously always been on the move, despite enormous social and geographical barriers. It's a fascinating thought. Migration does, in fact, contain fantastic potential for evolution and growth, both for the individuals and for the society - economically, socially, and culturally.
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