Weary Chuckle
Sculptures (chair, brooches, beekeeper costume, copper bells)
Weary Chuckle #1 and #2 both acted as props for the performance The Wardrobe while being independent sculptural works. The sculptures thematized vulnerability and the barriers we construct around ourselves.
Weary Chuckle #2 consists of an armchair covered with a multitude of brooches: an everyday object, typically associated with relaxation and safety, transformed into a potentially dangerous surface. Our familiarity with brooches provides an immediate bodily response to remind us that the needle of a brooch, if not attached correctly, can unexpectedly penetrate the skin. This refers to normality as body horror: a discomfort that rises from the familiar.
Chair, broches, 80 x 79 x 74 cm
On screen: Family Mattered, animation, 03:30 min, developed by the musician Faye Fadem (Trust Fund Ozu) for the performance The Wardrobe.
Installation view, Ensembles and Monsters, Kunsthal Aarhus. Curated by Seolhui Lee. Photo: Jacob Friis-Holm Nielsen.
Installation view, Ensembles and Monsters, Kunsthal Aarhus. Curated by Seolhui Lee. Photo: Jacob Friis-Holm Nielsen.
Installation view, Ensembles and Monsters, Kunsthal Aarhus. Curated by Seolhui Lee. Photo: Jacob Friis-Holm Nielsen.
A protective suit against an outside world that develops into a bodily phenomenon. When used as a prop in the performance, the suit becomes a sound instrument. As the performer moves, the bells create a cacophony of acoustic timbres. This transforms the visual metaphor of a rash into an auditory element, indicating that our inner turmoil can manifest bodily when the body is exposed to normative imprints.
Beekeeper suit, copper bells, 50 x 120 cm
Installation view, Kunsthal Aarhus. Photo: Jacob Friis-Holm Nielsen.
Beekeeper suit, copper bells, 50 x 120 cm
Installation view, ODP3. Photo: Rine Rodin.
Beekeeper suit, copper bells, 50 x 120 cm
Installation view, ODP3. Photo: Rine Rodin.
Duo exhibition with Sophia Ioannou Gjerding, Kunsthal Aarhus. Curated by Seolhui Lee.
Ensembles and Monsters explore the so-called baggage we bring with us when we engage with the world around us. From different angles, the exhibition spotlights the unseen “monsters” within our everyday assumptions, learned behaviors, and cultural conditioning. These are not the fantastical creatures of folklore, but rather the distortions and biases that hide in plain sight, shaping our worldview. The exhibition invites us to embrace the outsider, the otherworldly, and the misunderstood. Far from being a purely negative force, the exhibition present the “monster” as a double-edged phenomenon. It suggests, in a world turned upside down, embracing the “monster” might be our best hope for creating a more inclusive and sustainable future.