Phantasms of Artistic Production

A collection of lists, descriptions and mind-maps on visions, fantasies, daydreams and fears connected to artistic productions. This material as used for an installation and a lecture performance.

Part 1: I have to lie down – pretty much about hardly anything

During the exhibition I am as hyperactive as possible. I collect and develop figures of thought, descriptions, instructions about all kinds of minor and hardly-any-productions, about slow, discrete and hidden production, about latency phases and the phantasm of non-production. I collect these ideas with help of the visitors: Please give me an interview (5-15 min) on your delicate, narrow or reduced production, but also on your everyday production or your fantasies of non-production or large-scale production. If you like to we will make a drawing.


Installation at “The Production of Nothing” at Kunstpunkt Berlin, 2018


Part 2: Works, works, works (Phantasms of Works)

Collection of texts, gathered while staying at Brunakra Contemporary, Gislöv Sweden,  + lecture performance and Mini-Workshop, Konstitutet, Malmö 2019.

What are artists’ phantasms of perfect works? What are we desperate for? What do we dream of, when we think of making a huge work (a dream almost every artist entertains)? How we imagine tiny works? What precise concepts – known and preconscious – do we entertain when we speak of poetic, daring, or consequent works? What ideals do we have in mind? What are the impulses, the perceptions, the hunches that get us going? What ideas about working processes and states of being passive and active are connected to these ideas on works.

The lecture performance consisted in reciting lists of characteristics and phantasms to different forms of work (big, small, minimal, crass, consistent, poetic …). The motives contradicted each other, changed the level of reference, mirrored each other … After a time, the audience was allowed to decide whether to continue and which topic would be dealt with next, with the lists becoming more fragmentary. Simple projected graphics allowed the visitor to see where in the particular order you were. In a subsequent mini-workshop, the visitors questioned each other about their fantasies of future work.

Excerpt from the lecture performance:


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