Animals Autobiography Body Chains of effects Community Collaborative Dialogue Dream Drift Evolution Failure Family Feminism Forest Gravity Home Identity Inequality Language Love Manifesto Melancholy Narrative Nature Navigation Notes Pain Perception Prostitution Power Rhythm Script Scepticism Sculpture Self-organization Sociology Space Subject Television Territory Time Tourist Translation Tradition Travel Urban Utopia

They had cut the umbilical cord, cleaned him, weighed and measured him.
His parents had held him.
- He looks so alive, said his mother.
- The child should be crying, said his father.

Testing was done on the little body and they gave contradictory results. His heart stood still, while it grew. His body did not respond to any treatment, still his growth was normal.

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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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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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SQUID said they wanted me to write about that which triggers me, which makes me want to do things, create. The things that give me energy, something important to me and thus also a part of my work as an artist. I thought it would be fun to write. Exciting. Possibly demanding, but in a challenging way. I was thinking I was going to write about Seinfeld.
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A local Zambian dance performance with African masks in variations of black and white. The children sob and roar. Their expressions of fear and their screams in a foreign language sink deep down inside me. Why the masks seem to terrify them so, I cannot understand. It is a game, but still and all, it isn't. The black children I usually play with glance at us.
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One thing leads to another - so can the world be related. Causal connections above and beyond the easily predictable make me curious and therefore the chain of effects motif occupies an important place in my work, especially as a narrative means.
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I am a thoroughly urban person, having grown up in Tallinn, and later living in Riga, St Petersburg and New York. Nevertheless, on St John's Day in 1996 I found myself on the balcony in Kütiorg, reading Nietszche's 'Ecce Homo', realizing that cities as such has nothing more to offer me.
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