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

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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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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The Croa River community consists of approximately four hundred families spread out across eighty thousand hectares of Amazonian forest. They aspire to see the land they inhabit become an extraction reserve, and in fact, it is in the process of becoming precisely this: one of the new territories in Acre. As such, it is a good example of the current trend toward territorialization in the Brazilian state. It is also a good example of what territories stand for: self-organization, sustainable growth, and local knowledge.
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During the last few years, I have in my art been working with the understanding of time in different ways. When I spent a few months in NYC in 2002 it became apparent to me that I often understood time as a part of space. I saw time as a variable of space, and I found it difficult to separate that which has already happened from what is happening in the present. This made me question my linear perception of time.
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Near old master Gusti Nyoman Lempad´s house
Gusti´s Pizza Delivery

So contrary to western art:
no vacant space, no omits
in physical meaning
but a vast surface for dreams

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The common octopus, Octopus Vulgaris, can often be seen hung out to dry in the harbour of Antiparos, Greece. Low season, high tide - this is where the Swedes go for vacation, the common Swede. These two kinds of vulgaris are brought together in Greek cuisine; on the small island of Antiparos octopus is served at every tavern. We will stay here for a week, enough time to try all the vegetarian dishes on the menus twice and hopefully also enough time to find a living octopus.
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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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In New York's Latin quarters, "El Barrio", in east Harlem and in the Bronx, music is developed under the best possible conditions. Here the Afro-Cuban rhythms meet American jazz harmonies. It's no accident that New York is an important hub of new innovative music. To call oneself a drummer in this environment without any knowledge of clave would be a joke.
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I live in the house during the construction of the sculpture. I cut myself on bamboo sticks, bump into the large spades that poke out of the tunnels. They dig, hollow out the house to make a new existence in it. I have nowhere to sit - the chairs have either knives or bamboo fastened to them - the refrigerator is covered with staples.
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This I have come to know about home
since I began to think that I want home
to be like this

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A strong dazzling sun from a cloudless blue sky. Glass facades emerge in the sunlight. A house of glass looms into view. A panning and presentation of a city constructed entirely of glass: Crystal Palace.
[...] we wish everyone a good morning. Today in room 101 we'll be showing a film on the legendary mountain, Mt. Everest, which according to our sources reaches around 8848 m. At the same time, in room 314, the classical costume drama, Room with a view, will be screened. For children, there will be a visit by a clown.
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As a result of filmic expression that has benefited from technological advances, the fusion of 'the visual' and 'the narrative' is now resulting in unprecedented forms of expression. What kinds of stories are being told by artists who have acquired the medium of 'the moving image?' How are these stories being told? The focus of this essay will be on storytelling in the medium of the moving image, which has seen a rapid growth since the mid-nineties.
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