Whats in between the world and us / Almost the same but not quite
82 pages, 210x295mm, Language: English, Print: Indigo, Soft cover, Published: 2016
WHAT’S IN BETWEEN THE WORLD AND US and ALMOST THE SAME BUT NOT QUITE conveys meaning to what is left behind in the public realm. The book reveals an ambiguous gap between what is shown and what is concealed, hovering on the fringes of the visible, often inhabited by minorities.
WHAT’S IN BETWEEN THE WORLD AND US consists of the recurring motif of burned out cars in different suburban settings, an alluring feeling starts to emerge. The torched out cars look so out of place and displaced within their surroundings, yet so obvious. Every time there is a riot something is burning. What comes out of a layer of ash that has been spread over the periphery of a city?
A purification from a contamination,
or a contamination from purification?
What is it in the imagery of destruction we cannot let go of? The gaze towards the marginalized others as savages is so deeply embedded within us that the representation ends up in a torched car, ashes, self-immolation.
We are left with the remains of the flames,
ashes, the language of our generation.
ALMOST THE SAME BUT NOT QUITE is a series of surfaces of what is shown and what is invisible. It consist of fragmented photographs of the economically and ethnically marginalized suburban realm of Stockholm and also clearances of tagging. Behind the white layers one can recognize the sceneries of public housings.
By portraying the suburbs in the light of the uncanny I am trying to bring out the strong desires that exist towards us. This place has become a surface of projection for all of our irrational fears. The media describe the housing programs as something unfamiliar, dangerous, it has almost gone so far that these neighborhoods have been dislocated from the Swedish landscape. By portraying the realms in an uncanny light I am also re-enacting the experienced preconceptions.
Within the repetition of the desolate and the empty neighborhoods it becomes nothing but an alienated place.
Roots are routes for how one seemingly will be perceived. These alienated places constitute the daily landscape for immigrants, their place is a normalized architectonic ruin in the periphery, which bring together a less visible political ruin, the one about their marginalized citizenship. While taking the public transport in Stockholm one can see a clearance of tagging on walls, which looks like plaster covered with plastic and tape. While I am observing this remarkable way of cleaning the public realm I instantly associate it with the notion of whitewashing which is a form of censoring.
Everything is layered in clearance.
Clearance as a way to assimilate?
Clearance as a way of being silenced?