We’re working on it there. This week, I would have access to it. I have a couple of things. For instance, the idea with the poem, that’s something I’ve prepared some stuff. I want to run that, test it, see how it looks like just to get an idea for it. Sometimes it’s hard to imagine something further if you haven’t just done it.
Me, too. [laughs]
I just want to share something completely off topic here. It’s just something I’ve been working on the last three days, maybe that’s something to come up…Does this work?
Are the images going through on Skype? Hi. Can you hear me?
It looks red. [laughs] Pretty red. I’m working on this big carpet, this exhibition I’m doing in a couple of months’ time, which is based around this flat magazine ETOPS, which was about the brain. We don’t have to talk about that. It’s the sculpture works that come from that, which is a series of bronze figures, like toy warriors.
I don’t know. Did we talk about that? It’s a Lego series called Chimas. It’s a bad series. They only produced it for two years. It has a storyline which is basically different animal tribes fighting each other. One is a fire tribe. One is the ice tribe. They fight for chi.
If they find this sparse natural resource, they just put it in themselves, they get high, and they race each other. It’s two groups fighting for dope, which was a kids series. It’s interesting what narratives one builds for kids. I’m trying to build a show where basically the whole flow is based on the meat scan.
In the sketch, you’re on the carpet and you’re standing on this end, ego-shooter mood. It’s bloody and it’s neat. The picture is just very simply taken from another work that I’m doing where we actually scan meat parts in slaughterhouses, because I’m working on a different sculpture project, which is incorporating meat industry and cartooning industry.
I’m working in carbon fiber to replicate meat pieces in large size. This is, basically, you scan the 3D object. Normally, I use industrial scanner. It’s all gray. This time, it was a handheld so it came with this photo which is just basically the mapping to map the 3D meat piece. In this case, it looks good. You know it from mapping a human and mapping other stuff. I thought this is a good floor.
I don’t know. Maybe that’s a format to develop the carpet for the…I don’t know. [laughs] It could be something in that direction rather than the printed magazine. The third picture shows just a division of the carpet, how it’s going to be laid out in space. It’s 11 meters times 9 meters times 20 meters. You’d basically be walking on this.
That’s the closest to what I can come to imagining the VR space you guys were in. It’s a 2D picture, but you walk on it. That’s going to be the exhibition with the bronze figures. Maybe just throw that in and share it.
Maybe we have a real space next year in Stavanger. Oh, wow. Who made this now?
Forty-nine. 49 fishes. [laughs] That’s very good.
42?
Maybe it’s worth trying out some stuff in VR space. Maybe it’s possible, Mike, if we meet to connect me with somebody where we can throw in some images, some objects into…
I’m pretty sure I get the heads-up tomorrow. That’s how it always works the last seven times I’ve transferred up to here. It’s delayed. I’m calling all day.
C’est la vie.
There is like a magazine of ETOPS, which is called ETOPS Headache, which is essentially just on the brain. It’s introduced with neuroscientists, that field of research. That’s the conversation. Then, there was an exhibition in London including these bronze figures.
I guess, essentially, the link was widely, “What is a concept? How do you make a concept a story line in order to teach?” That was the link between the two, but they were released at the same time.
Now, the magazine is gone. The figures are still there, but there’s the end presentation of it, just has this meaty carnage carpet, which is more about idea of fighting for resources. It’s very, very simple like that. It’s, yeah. I think it would be a good place to actually really see those sculptures and just be in that.
I just can imagine like these small bronze warriors that all of the people in the show on the meat carpet. I think that’s the essential. It’s like the 7x7=49 here, like all the fish in the space, for the grand red herrings, yeah.
Then it might just be also just like in the resolution thing, like the carpet has a resolution, which is 72 dots per inch. The image is big. There’s a bunch of, I don’t know, we’re testing out the colors at the moment. I think it’s more like that’s the look of it, yeah.
No, that would make no sense. The only thing that would make sense is just like the carpet idea into what the carpet could be. I think just putting in the meat carpet could print the 7x7=49 with the herrings. That’s something that would come out from here [laughs] as the carpet.
No, it would need to be something else. I just, the imagination of a carpet being a format or where something could end up in, or like a way to…If you say, “Let’s think about exhibition space, what could a formative exhibition space be?” it would be then…
Then I guess I have my format. I’ll do different versions of sculptures, like I do world-based sculptures at the moment. Then there’s the question of sizing, or where do you take this place, but a carpet could be a good format to create something within a gallery space, yeah.
I wouldn’t see the reason why it should be meat, yeah, like in this case. It could be something, yeah.
OK, mm-hmm.
Bye-bye.
Yeah.
Me? Yeah. Good morning, you. Good morning. I’m an artist. I primarily work with sculpture, and it’s different materials. It could be very classical, and then glass, metalwork, to using ready-made for medical industry, airplane industry. It’s different from time to time.
It used to be, I would say, that when I came out of school more…I tried to be more conceptually or I tried to get more information into my sculpture, I guess sometimes more than I thought was possible for the viewer to read.
There was a split in my production, where I decided that I want to act purely on form, or it appears to be a conversation piece, and be able to kick start many conversations, and not just the illustration, and that one dimensional reading off a topic. I started publishing research in terms of texts. I started doing interviews with people when I was interested.
It’s often industry-related, but I’m interested in. It started off with an interview, where I was just interested in aviation at the time. I was wondering how it was to be a pilot. We got the pilot. There was an anonymous interview with the pilot, and so he could say certain things about his airline that he maybe couldn’t say if he would say it under his company name.
That became the pilot issue, and it went into a series of publications relating to adult industry, entertainment industry, plastic surgery, and then I went into the rainforest, and food production.
Different topics that interested me. They were printed publications, question-answer, anonymized, not to protect people, but more the thing that you could have a high and low.
Again, the last one was about brand. If you would speak with a very famous neuroscientist in Germany, he would already have done 50 interviews, so you just get the same interview that we had done for the last magazine. If you would maybe speak with a younger researcher who’s not a public persona, sometimes, the language and the way of speaking about the field was just more interesting.
If you then anonymized it, it wouldn’t be like this, read who is famous, don’t read who is not famous. You get more like a…
They take time. The first one was the aviation one. It’s called ETOPS, and it’s a certification for a twin jet, a two-motor airline plane, and how long it’s allowed to fly. It was a certification that started when…
It means extended operations, and that was just the idea. How far can you go with the topic before it falls apart as a metaphor? That’s the pilot issue, which is more pictures. It has the Q&R with the pilot in the back, which I thought was really cool.
Then there was one on the LA porn industry, but also on the plastic surgery industry, unrelated. It’s like somehow a magazine about being young, trading your body for money, or being old, trading your money to become younger kind of trajectory.
LA, then there’s one where we went to Brazil and to Peru. It’s about rainforest, but it’s also about tasting menu, a la Chef’s Table, where reinventing national cuisine through food. Biodiversity of monoculture somehow is the…but they’re all, it’s all text savvy, full-on interviews.
They’re all 12 interviews a piece. Then there’s the last one – we cut the format, so it’s a little bit more like “Pulp Fiction” – which is called ETOPS Headache, and it’s about neuroscience. It’s 2020, so it’s…These are the magazines, basically.
Yeah, being online, reading, taking in, I really liked the poems. I think it’s a really cool format to work in politics with. The thing with ETOPS, we decided, it’s a collaboration also with Matthew Evans, who I did some of them with.
It’s not printed, because it’s a slow process. It’s something where it’s like, I don’t know how many people read them, either, but it’s there. If it will be online, that kind of format, I think it wouldn’t work in the same often.
I often thought about, would it work online? As a printed, 100 pages manuscript, where you could dive into it, it’s accessible, but it’s not like…I never figured out. We deliberately didn’t go online with it and thought about a slow distribution and doing topics that are lasting.
I could be interested in being able to figure out how to make an online version, of course. I think that would be interesting.
It’s insane how much, huh? Do you type it all yourself?
Yeah, it’s great. I was reading some of them yesterday. I liked the setup of it. It’s really like, yeah.
I was also looking into stuff like I was reading about using blockchain technology to monitor the environment in Taiwan or pollution. Was I right, or did I get that wrong, the air boxes, where people use a blockchain report?
That’s open function, and a lot of people are using that?
