Emotional Reasoning. Mousse Magazine #44, interview by Anna Gritz

Overall, my art practice is invested in the micropolitical and the question of how capitalism enters our relationship to our selves. For the past four years my practice has been centred around an ongoing series of seminars and both my collective and individual art practice has been predominantly discursive and research based. I only recently started producing art objects again. The reason I stopped making art objects in the first place was an attempt to evade the art market. While I remain critical of how the art market’s logic shapes the production of contemporary art, and of the art world as a beneficiary of social inequality, I am unsure if the commodification of the artist’s subjectivity is the lesser evil to the sale of art objects in the most obvious commodity form. “The Manual Labour Series”, which is the title of a series of prints Malmø Art Museum commissioned last year, dealt with these ideas by examining manual labour in relation to cognitive labour forms. The series, which consist of five woodcut prints and a laser-cut wooden plate, depicts the human autonomic nervous system and hands injured by repetitive strain. This body of work was for me an attempt to complicate the opposition between the “post-studio” attitude and the authenticity that traditionally was connected to the gesture of art making.’ Read more>