Autonomous Marxist a guided tour 4. Hamburger Bahnhof - Museum für Gegenwart, Berlin, Sammlung Marx.

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1 Bamboozled 1 The body A body without the body, without a photo of it, one can imagine the eye behind it, follow with the eyes and see the different foci. Angles, the eyes move everywhere, up- down- acrossalong- close. Anselm Kiefer at Hamburger Bahnhof, 2 his imposing works that overwhelm me with all that body in the works. It gives me presence and shows how even the serious work is made beautiful by size. When one cannot discern the demarcation or sense the body, where it stops or its size like a ghost only eyes. Treatment by body therapy consists of exercises allowing one to feel the body, pat- notice- touch, articulate it, genuinely basic, get to know the body and acknowledge it. When everything howls and storms, when the hell of psychosis turns up, weight can generate calm, even on a mind-numbing February day without clarity, just foggy and misty. The weight of the ball blanket at night distributes itself and calms the body, which can then surrender to sleep. In Kroppens fortællinger ( Tales of the body ), Tove Hvid speaks about the body being marked in the same way as the mind, which does not either continue unaffected following traumatic experiences. 3 The body remembers our stories. Hvid gives concrete descriptions of what the body looks like before a given treatment: The body has protected itself in armour made of muscle [...] the head is held high by the neck muscles, because it won t do to lose it. (left-ving political activist)? Autonomous Marxist a guided tour 4 I have chosen to use my own experience as material; a work can contain everything, the most elementary in all nuances. One of the reasons for choosing myself as material is that there is free play here. I don t depend on a catalyst; my earlier planned graduation project burst apart, along with myself, when my leading actor died. This I am not hindered by this time. 1 Bamboozled: confounded or perplexed. In the television series Friends, Bamboozled is a game show for which Joey auditions to become the host. Because he thinks that the rules are hard to understand, Ross and Chandler offer him to practise with them as contestants. When the game show is later discovered to be too complicated and is therefore not to be aired, Chandler, Ross, and Joey are astonished it s easy, a piece of cake. Season 8, episode 20. tt / Accessed 10 March Hamburger Bahnhof - Museum für Gegenwart, Berlin, Sammlung Marx. 3 Tove Hvid, Kroppens fortællinger [ Tales of the body ] (Viborg: Modtryk, 1999), p La Visite Guidée, the title of a work by Sophie Calle that Malene Vest Hansen uses, among other things, to write about representation of the self and about subjectivity in Sophie Calle. Periskop [ Periscope ] no. 7 (1999), p

2 Lena 06/05/ Inte helt lätt att hitta en bra och ledig översättning av din utställningstitel! Vill du hellre ha något annat är du välkommen att föreslå något. Det skulle naturligtvis också funka att använda den danska titeln genomgående, eller att förkorta den till Sweet Sixteen när den återkommer senare i texten Dansk titel og en forklaringen i parentes could have been fun og så i resten af teksten bruge hele titlen på dansk In my degree exhibition, Sweet Sixteen kunne ellers være sjovt ( Sweet sixteen could have been fun ), one of the components was an 11-metre long salon style exhibition containing a variety of pictures, but without people in them. There are a dog and a cat, a dead hare, a spinal column, and legs that stick up out of a body of water. This made up one of the two rooms of the exhibition. The primary story of the exhibition is from my teenage years but it has many threads leading to today; there are stories of different kinds and lengths. The stories are told in titles that can be read in the survey overview. Briefly about my days as a teenager: I was an autonomous Marxist and my entire focus was on politics I shared this with my friends, socially and in school. The schism for me is the rape in Amsterdam and a few months later a violent assault, outside the political sphere the autonomous invincibility could be broken and I became like many other young people, a victim of abuse and I didn t dare tell anyone about it. The time afterwards was like being on a bender, my confidence (in myself) was broken and I became rootless in earnest. Twenty years later, these violations are a generator for starting up my production of works and provide a point of reference for my graduation exhibition. image, hvis det er ok Picture 3, Easter 1994: We were dropped off, it had taken 24 hours to hitchhike, it was a fun trip in many different cars. Picture 4, Amsterdam Central Station, where we, all five of us, had agreed to meet. Mobile phones and , social media were not at our disposal, so there was nothing for it but to wait until we were all assembled. Picture 10, We went out to the house occupied by squatters and waited until someone came home. A picture of the street sign on the wall of a house. In a project like mine I have several times thought about the staged action artwork (det iscenesatte handlingsværk), which Susan Hinnum s PhD thesis from 2002 used as a catalyst to examine the Danish art scene in the 1990s. She makes connections to Bourriaud s relational aesthetics, which, in brief, is about the need for seeing an art work in relation to its time and surroundings, such as its social space. Hinnum goes further and puts the artist s use of his or her own experiences into a concept that she terms the staged action artwork. Hinnum speaks of an artistic expression that can be confused with our own everyday existence, and where we are confronted with various aspects of everyday life, staged within an artistic discourse. 5 A particular pictorial artistic expression, in which a documentation of the artist s own life functions as an emphasised element in the artistic statement. 5 Susan Hinnum, Den virkelighedssøgende 90 er kunst: serendipitet som nøglebegreb [ The realityseeking art of the 1990s: Serendipity as a key concept ], in Samtidskunst og undervisning: en antologi [ Contemporary art and teaching: An anthology ], ed. by Karsten Arvedsen & Helene Illeris (Copenhagen: Center for billedpædagogisk forskning, 2001), p

3 For this reason it is suggested that the staged action artwork should not be understood in relation to experimenting with the concept of art, but rather in searching among topics for art, inclusive of the artist s own private sphere. 6 After having resumed my studies, after a leave of absence of several years, I received encouragement to search for possible works in my own history. I started by examining madness, other mad people, and working-class artists. Exactly how I discovered my own abuse stories I cannot remember but I wrote about them. I have written them through characters in order to in this manner provide various views, viewpoints on the story. Staged action artworks cannot be characterised by any particular form, because it is their content that is important. The content determines the form. They are works that rather than adhering to formal aspects explore our different life contexts and challenge our social and cultural self-understanding. Here the exhibition locale becomes a laboratory for the creation of experience. 7 At first I sent the texts to my girlfriend, who is also a pictorial artist, unedited and without sections. It was exactly like some authors speak of; I couldn t wait. There were heart poundings uh, it was transgressive; it ended by my calling her. I asked if she had any comments; the first thing she said was that it was difficult to read because I am her friend, but she thought it could provide good material for works. The works often take as their point of departure the personal world of experiences of the artists, and in the same way they also address the viewers own worlds. 8 The texts are written in different voices. This takes place in Amsterdam, where I was raped when I was sixteen years old. I have tried to set up the premise by writing like two young men; creating a prose and using the power of dramaturgy. In the text some of the story is told by a young man who lives in the house occupied by squatters where we stayed during our trip. He is the observer: It s been a pretty regular day, we have been out putting up posters. All across Amsterdam, but tonight we ll have a drink and some loud music. At our last house meeting we decided to clean up a bit around here, not so many old beer bottles all over the place. Jesus and Dave were back after a summer in Copenhagen/Christiania, apparently they ve had one hell of a trip. They went on to Barcelona this morning. When we got back from putting up posters there were five people outside the house, four boys and a girl. They have hitchhiked from Copenhagen; they sat outside in the old 6 Susan Hinnum, Kampen om virkeligheden: Det iscenesatte handlingsværk som det lod sig iagttage på den danske billedkunstscene i 1990 erne, perspektiveret på baggrund af de foregående tredive års internationale kunsttradition [ The struggle for reality: The staged action artwork as it could be observed in the Danish pictorial art scene in the 1990s, put into perspective against the background of the international art tradition of the previous thirty years ], pp Unpublished PhD dissertation, defended at the Royal Danish Academy of Fine Arts, 15 March Christian Dahl, Kampen om virkeligheden [ The struggle for reality ] in Dagbladet Information [ The daily information ] 19 March 2002, Accessed 21 February Ibid. 3

4 furniture we ve chucked out by the road. They seem very nice, they glow with the readiness to have one hell of a trip. Jesus had written down our address in their house, Børnehuset (the Children s House) in Copenhagen. They smoke a lot; all the time one of them, who is American, rolls cigarettes he s a cool guy. Then there are three dark-haired boys who all look alike could they be siblings? The girl looks like a circus, she s full of colour, has tolerant and curious eyes. Picture 11, Tonight we ll have a party and get to know our new friends. Andreas, Christian, and Ray want to go out and get some shrooms, Thure and I will stay for the party in the house. Today the house is gone; the picture shows a view from the street in We put some punk on the stereo, loud and noisy that s the only way to listen to music. I sit and watch the girl, there are only two people sitting there, the others have gone in to town for some techno and whatever is on offer there. It s the loudest of them who s together with the girl. They laugh, smoke, and drink pure alcohol nice people, they offer me some. The music is raw, we all sit in a circle, the others from the house are also here. The other voice in the text is the rapist s. He talks about how he raped: It s hard to say why I did it, did I ruin her evening? No way, I gave her an unforgettable evening. I just felt like it, and then I don t give a damn about what she wants. One of the others show her the bathroom, I go down there and wait until she comes out. I can see she s very drunk, so it will be easy. I grab her when she gets out of the bathroom. She said, No, I want to go back to the others. I ll show you something, no she said again I want to go back to the others. Grabbed her hard, so that she realised that I meant it. 9 Picture 21, The rest of the trip down there I ve suppressed, I only remember the rapist s behaviour towards me. The humiliation was total and that I would rather forget. A scene from inside Amsterdam of street life with bicycles and shops. I staged my own story and put it into a documentary context, the images were not just newly produced for Sweet Sixteen could have been fun, they were also taken from my archive. In my archive I have a little of everything, academic texts, pictures, and objects. Many of these things form the foundation of my graduation exhibition and are the basis for this text. The archive I am almost always teased about my archive. Just want to defend myself and ask, Who is it that has saved the press release from 2002 about Susan Hinnum s doctoral disputation? It sounds as if I save everything; that s not quite right, but I have a good sense of what to put in the archive and what not. Carolyn Christov-Bakargiev writes about The Brain in documenta 13, about selecting during the construction, and having many objects to choose from and being selective. By my modest standards I think of the survey overview, which, just like the Brain at documenta 13, provided the background for the construction. 9 Martine Sepstrup Jensen, Amsterdam,

5 The Brain: The Rotunda in the Fridericianum is an associative space of research where a number of artworks, objects and documents are brought together in lieu of a concept. 10 My archive is modest in comparison, yet still usable. It has suffered from my lack of stability, my not having my own home, water damage, and holes, as P.S. Krøyer called his depressions. 11 It will be interesting to get the archive together and be master in my own house; it has been a very long time since I have dared to do that. Picture 7: Don t live alone can t be alone yet. Number 16, The jacket from my youth as an autonomous Marxist. The jacket is authentic, I almost always wore it. It was a fun reunion; for me time means a great deal, it gives me security and makes fear go to hell, to speak candidly. Number 14, Security. My archive is not just made up of paper, there are a few things left, among them the wall clock from my graduation exhibition. Earlier the clock chimed every half hour in my godmother s and godfather s flat; we lived on the ground floor and they on the first floor, so that sound is old and very soothing. The clock was part of the salon style exhibition and it helped greatly in allowing me to dare to watch over the exhibition alone. In addition there was someone who said that not a living soul would come to the exhibition; that helped with my courage and it ended up being rather nice new encounters I chatted with several people. Mod mut courage 12 Picture 19, Fear-suppressing tools, like a cannonball in the stomach. Oatmeal porridge gives me weight so that I stand more firmly when I m going forth to fight windmills. Picture 23, A lack of focus gives me room to manoeuvre, especially outside. I often make use of the technique of zooming out, so that the impersonal relationship is maintained. It s friendlier to greet people everywhere, but for me it becomes that much harder to be out on a bad day. Picture 13, A terror-suppressing tool, it can only make a single journey at a time. The elevator in the school is slow, but it is a more fearless way of reaching my studio. 10 Carolyn Christov-Bakargiev, documenta (13): Das Begleitbuch, Catalog 3/3, (Ostfildern: Hatje Cantz, 2012), p P. S. Krøyer ( ), Accessed 21 February An old work on paper with text in the shape of a cross, which says vov vov (bow-wow). One vov yields a dog, to vove (dare) is to be brave. Underneath it says, mod mut courage, that is, courage in three languages, but also being against depressing vovemod (audacity). Fear and courage are the two duellists in my life. 5

6 Picture 2, Pegs. Last summer I was on my way out to hang up the laundry; a little dog that wants to get there first and wham knocks over the basket of pegs on the lawn. I went in first to get the camera and hung up the laundry afterwards. Picture 12, Nectarine. Yet another summer scene taken at the same time as the picture of the cat Katter out in my office in the garden room. A visual point of reference. Picture 29, Cat and dog cosy, actually. I get a good deal of security and stability from keeping pets; my therapist tells me that I must fight the anxiety with each unmanageable task. I don t always succeed, but the animals are taken care of. Picture 30, A handstand in the Norwegian countryside, again I try to defy the depth of my mind. This is from 2008, during a wilderness trek taken after I had lost two people who gave me security. We walked and walked; I was completely shot, so when we reached the cabins there wasn t much opportunity for card games or cabin cosiness. One of the evenings I saw on the list of supplies that one could get reindeer; I envisioned it á la Ossobuco it was not, it was a big can of dogfood bon appétit! Picture 24, Loft. In my presentation after the summer to my graduation advisor I had a picture of a large deserted house near here. Here I envisioned a good image of a loft, perhaps with a single light source and cobwebs, etc. It wasn t a good image it wasn t exciting. I had even taken the dog and my mother with me, because I didn t dare to go in alone. I took several pictures of the two of them; they are also curious, you see. The photo ended up being taken in the attic at home, filled with all things under the sun and a single light source. The detour was again necessary. Pictures of flowers are immortal gardens 13 In Sweet Sixteen could have been fun I had four titles with floral subject matter. There were forty-four different-sized pictures of, flowers, ready to be displayed in the salon style exhibition. The purpose was to give me the necessary security and thus the courage to exhibit my works. When all the pictures had been hung it became clear that there was no need for additional flowers other than the four previously mentioned. Picture 1, Hibiscus, from when I turned 30 in Hawaii. The oldest picture in the exhibition, taken in April In 2007 I was an exchange student at the Emily Carr Institute in Vancouver. I stayed together with six young men who were not students of the visual arts like I thought, but volleyball players who studied at the University of British Columbia. They thought I was a man, so the confusion was total. It was a good experience and interesting to see a world that has a view of the Pacific Ocean and to take a little side trip to Hawaii in the middle of it all. Picture 8, Chicory my granddad often called coffee chicory. Chicory was used as a coffee substitute during the German occupation. Chicory is an attractive blue flower that can often be found in roadside ditches in Lolland. 13 Illustreret Tidende [ Illustrated News ] no. 6 (1992), p.18. 6

7 Picture 9, Livelong can be put into the cracks, to ensure that one has a long life. I read that in a biography of Hans Christian Andersen; it gave my intuitive use of flowers more backbone. Based on pure superstition, his mother put livelong into the cracks of rafters, because if they kept growing there, one could count on living for a long time. 14 I looked at the helpfulness of some of the other flowers and the superstition surrounding them, borrowed a load of books from the library, and after a few pages noted dryly that it is not there that I have my interest in flowers. Picture 17, Anemones in Lolland I picked it. I took the pictures out here in the nearby forest. Kaj Munk 15 wrote Den blå anemone ( The blue anemone ) in A good spring song that I often sing snatches of. Picture 22, The quiet calm of the forest, a paraphrase of the song I skovens dybe stille ro ( In the deep quiet calm of the forest ), 16 which continues, where dwell the singing hosts, where my soul listened many a time. Living in Lolland, out in the country, close to the forest, is one of the healthiest things I have done. When I inherited a collection of flowers that had been used as an inspiration for painting porcelain, I hung many of the flowers up in the studio. That was in Another aspect of the flowers is the tradition that floral pictures are a part of; they were counted as women s art. In pictorial art we have had several important artworks dealing with floral subject matter; in the nineteenth century especially, several artists have gone down in art history, albeit often accompanied by sarcastic, condescending comments. Flowers were formerly considered to be on the lowest rung in the hierarchy of subjects and they constituted a sanctuary for women s creativity, that they were not begrudged after all, it was the only thing that was not beyond them. 17 Anna Syberg s brother contemptuously called her, Alhed Larsen, and Christine Larsen Swane the flower ladies. 18 One of the other prominent female pictorial artists, Miss Christine M. Løvmand, painted floral pictures between 1827 and 1872; she participated in the spring exhibition approximately yearly. 19 Winter s Child 14 Elias Bredsdorff, H.C.Andersen: Mennesket og digteren [ Hans Christian Andersen: The man and the poet ], ([Copenhagen:] Fremad, 1988), p. 21. tysk terrortjeneste, Peter- Gruppen. Jeg har skrevet forkert 15 Kaj Munk ( ), born in Lolland, author and parish priest in Vedersø, pioneer in a national literary context and known in particular as a hero during the German occupation. Whereas he earlier wrote about the strong leader, he changed his views at the beginning of the occupation, which he resisted. He was killed by the Gestapo in Fritz Andersen, song no. 272 in Højskolesangbogen [ The folk high school song book ], (FFDs Forlag, 2008). 17 Illustreret Tidende no. 6 (1992), p Lisbeth Smedegaard Andersen, Det begyndte med Jomfru Sørensen: kvindeskæbner gennem 200 år [ It began with Miss Sørensen: Women s destinies through 200 years ], (Kristeligt Dagblads Forlag, 2012). This book describes the history of Denmark seen through the women in Andersen s family and linked through art historical references. 19 Illustreret Tidende no. 6 (1992), p

8 There is magic in role models. 20 That is also why the task of dusting off the work of female artists is important. The understanding of the individual in the wide and the wider context. 21 derhjemme, som i barndomshjem. at home? Dea Trier Mørch has always been with me; her graphic art hung in my home and her books are still in the bookcase; she valued creating works for the majority of the people. Her lines are crude but precise and figurative; she illustrated the books herself. She studied at the Copenhagener academy [the Royal Danish Academy of Fine Arts]; later she continued her studies in academies in countries that were members of the Warsaw Pact: Warsaw, Krakow, Belgrade, Prague, and Leningrad, 22 which was a common route to take. I admire her drive and her faith in socialism, which subsequently has been denounced. 23 In the book Winter s Child, which takes place in a maternity ward and is written in riveting prose, she relates through several characters how anxiety-ridden the waiting time is in the pregnancy section prior to delivery. Everyone hopes for the best and supports each other. Admissions to a psychiatric ward have several times given me associations to Winter s Child. 24 The book was groundbreaking when it was originally published in 1976; it was made into a film in 1978, directed by Astrid Henning-Jensen. We are all standing on the shoulders of great forerunner women and men; in two years from now women will have had the right to vote for the Folketing, the Danish national parliament, for a century. It is of value to me that there are three leading women in the government that is well done for a relatively short time. In personal terms, I will be, hopefully, the first academic in my immediate family; as in Lisbeth S. Andersen s book, we can write our own history in parallel to History. 25 Margrethe Vestager, the Danish Finance Minister, said on the radio when she was asked about women in power, that there were very few women present when she attended a meeting at the Copenhagen Stock Exchange and that the men are still in control of the money. When she, later the same day, visited a fashion fair, the reverse was the case. 20 My role models are: Janet Cardiff, Herdis Møllehave, Susan Phillipsz, Albert Mertz, Danica Dakíc, Hannah Wilke, Otto Dix, Johanna Fjaestad, Thomas Hirshhorn, Helene Denhart, Yang Fudong, Tanja Hamid, Nalini Malani, Henry Heerup, Joseph Beuys, Lasse Ernlund Lorentzen, Sophie Calle, Hans Egede Scherer, Hans Scherfig, Kristina Kvalvik, Viktor Rosdahl, Joseph Kosuth, Marc Chagall, Hito Steyerl, Joachim Koester, Bob Smith presents, Niels Lomholt, Kvinder på værtshus (Women Down the Pub), Joao Penalva, Pierre Huyghe, Ditte Ejlerskov, Dea Trier Mørch. Citatet er af Lene Adler i Pieta fra s , magi i forbilleder står på side [AUTHOR?], Lene Adler Petersen in Pieta, Kvinders former: i musik, film, foto, billedkunst, litteratur [ Women s shapes: In music, film, photo, pictorial art, literature ], ed. by Inge Bruland et al. (Copenhagen: Tiderne Skifter, 1986), p Dea Trier Mørch, ( ) in Dansk Kvindebiografisk Leksikon [ Dictionary of Danish women s biography ], Accessed 20 February Mørch was a member of the artist s collective Røde mor ( Red mother ). 23 Recently Ole Sohn had to resign as the Secretary of State for Business because he had been the chairman of the Communist Party of Denmark and presumably was paid in part by the Soviet Union. 24 Dea Trier Mørch, Winter s Child (Lincoln: University of Nebraska Press, 1986), originally published in Danish as Vinterbørn ([Copenhagen]: Gyldendal, 1978). 25 Lisbeth S. Andersen, ibid., p. 15: like a quiet undercurrent under the larger history of men. 8

9 Wouldn t it be great if there (in general) simply was a mixture of men and women? 26 We take back the night, it is a lie that women are weak 27 Quite recently there was a headline in an online newspaper: I felt guilt about having been raped. 28 The article is about a young woman on her way home, who takes a shortcut through a park. Afterwards she was so anxious and shattered by the rape that she cut off her hair in order to protect herself. Lena 06/05/ Menar du inte Nu postulerer jeg ikke at kronragede ikke er romantiske? jeg mener at jeg postulerer at kronragede ikke er romantiske og svarer i sætningen at det er vi nok alle(når det kommer til stykket) Before my educational trip around Europe 29 I had shaved my head, because I sought a position without too much romantic attention. Now I claim that people with shaven heads aren t romantic; we probably all are, but to me it felt easier to travel alone with my head shaved. Out on the Lido, my head shaved and facing the Grand Hotel Des Bains, 30 Eva Hjorth photographed me while I waved. The other photos we took during that period were also pictures of waving. In 2002 she and I received grants for young artists. 31 The work was entitled, Vi ser/vi ses ( We see/see you ) and was an installation consisting of water pipes and four 1:1 pictures of me waving; one could make it swing, so movement was added a festive touch. It was a powerful symbol and demanded strength to have a shaved head, but it also gave me space to be, when I was at the beginning of my twenties. Now I am a hundred and luckily I don t get the same attention in discreet clothes and with hair. The horror of the assault, that produces emptiness inside and fuels the fear. Being human and being humane after an assault is very difficult, but from my perspective time is an important element. In most wars rape has been a weapon. There are horrible descriptions of 26 Margrethe Vestager, Finance Minister and chair of the Danish Social Liberal Party (Radikale Venstre) on the radio, Channel 4 (P4) in the morning of 6 February 2013 in connection with Danmarks Indsamling 2013 [an annual fundraising event in support of humanitarian causes], DR1/Danmarksindsamling#/68981 Accessed 20 February Chant for demonstrations; the chorus continues: it is something they have made us believe, so that we won t rebel and will keep quiet. Accessed 3 March Accessed 19 February sigmund freud 29 It was an educational journey, during which I looked at art history. I saw Michaelangelo s David in Florence, the Berlin Biennale, Rodin in Paris, the Venice Biennale, Greco in Madrid, Yoko Ono and Guerrilla Girls on Tour in Barcelona, Velasquez in Rome, Joseph Kosuth and Ilya Kabakov in Warsaw, Titian in Venice, Lucien Freud in Vienna, Frank O. Gehry in Bilbao, etc. 30 Luchino Visconti, Death in Venice (1971). Accessed 11 March A grant awarded in connection with a jury-assessed exhibition for artists under the age of thirty and living in the Øresund region. 9

10 this following the Second World War. Women were also targets and were raped as part of the punishment for being belligerents. The amazing thing was that they all got over it and were able to look ahead, in spite of traumas. Afterwards they continued rebuilding their countries and for that I feel an eternal admiration. In a paper about rape as a weapon of war 32 the topic is the Yugoslav Wars of the 1990s. This paper is absolutely horrible all that hardship and those terrible events. It gives a completely different perspective than does the abuse I have experienced and know of. In the paper it says that rape creates a feeling that one is a pariah: She becomes an outcast, a piece of shit. 33 At the same time, rapists in the Yugoslav Wars were also forced many times to humiliate other people in order to remain part of the military force; a Brotherhood of Guilt. This war between neighbours, family members, and coreligionists makes it topical to focus on negotiations and diplomacy. This was around twenty years ago we still have similar conflicts: Tahrir Square, Syria, Libya, India, Mali, and many other places. I think of Hannah Arendt s banality of evil, 34 about all those of us who are not role models in conflicts, we who are fellow travellers, we who let things happen, wash our hands, and hope for peace. Here we forget that we as a community are just as much a part of the attacking force as the soldiers we send ahead to the trenches/bastions. If I disappear 35 Ear phones on, thirty-five years old see you later, my Danish flag! 36 A room of sound establishes a premise, calm security concentration, and limits my thoughts to the topic. I am wearing ear phones and am thirty-five years old; in my ears blares Zaki Youssef s Hvis jeg forsvinder at the same time that this text is being written. A view over the fields, the pets within two square meters. I live in the house that has a dog lying in the window. Sound in works created with my own hands began with a conceptual text video, where the text Tænk selv engang ( Just think for yourself ) had been written. The sound was a recording of a person typing on a typewriter. 32 Bülent Diken & Carsten Bagge Laustsen, Becoming Abject: Rape as a Weapon of War, AMID working paper series No. 34 (Aalborg: AMID [Akademiet for migrationsstudier i Danmark], 2004), p Ibid. 34 Hannah Arendt, Eichmann in Jerusalem: A Report on the Banality of Evil (New York: Penguin Books, 2006). Hannah Arendt s concept of the banality of evil is based on her coverage of the trial of Adolf Eichmann in Jerusalem. Eichmann s guilt consisted of his being a logistics perfectionist; he dealt with the logistics of the rail transportation to the concentration camps. His ambition became apparent during questioning in the court room, and he collapsed like a balloon. He was a pawn in a totalitarian social system, but his tenacity led to the greatest evil, the Holocaust. 35 Zaki Youssef, Hvis jeg forsvinder [ If I disappear ] Accessed 10 March A paraphrase of Nik and Jay s En dag tilbage [ One day left ] from the album 2 (2004). 10

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