”I hate men, because they hate me. As an extension of Emma Pilipon’s work ‘Carmen’ I speak to the men, the boys, the guys, and the old bastards with their own words. In a repetitive vengeance I’m not listening, not asking for mercy and I do not explain. I don’t...
Again and Again We Ask These Question consists of a collection of questions used and asked repeatedly throughout the development of and within several lecture performances held by Hillside Projects. It takes into consideration and reaches out to all extinct and endangered species, cultures and...
Traces of Garden is a poetic relationship about colour, shapes, and movement. The pictures are based on recorded material with water, trees, landscapes, and a love scene. The images’ aesthetic is a kind of digital neo-impressionisms. A key area is, in fact, the time, the viewer’s...
While watching my footage from Morocco, I started playing atthe “Rear window”, making several “zooms” in one singletake filmed at the Square Jemaa el-Fnaa in Marrakech. Littleby little, I began to discover thousands of stories in onesingle clip. The game and voyeurism...
Secretly, she is filming everything. In a surreal apartment a cougar, a guest, a child and promises of a dog if the child plays along.
A man returns to the cabin where he spent summers as a child in order to reconstruct a series of strange events in the past. How could his parents’ couch suddenly be out in the yard? How come the walls in the bedroom suddenly were pink? How could he have let this happen?
Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work ‘When the Sun Sets It’s All Red, Then It Disappears’ from 2008.
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En dag i staden and Enligt Lag will be screened in the programmes World's Fair & The Cinema and Prison Images at Anthology Film Archives this summer.