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PROVENCANCE - soloshow at Martin Bryder Gallery in Lund, Sweden 2013.
There is an introduction text on the show and below further images.
In the early 1880s, a drowned young woman is pulled out of the river Seine in Paris. At the morgue, the coroner is fascinated by her beautiful expression
and so decides to cast a mould of her face. The death mask rapidlygained wide-spread notoriety and within a few years this embodiment of a young
woman's suicide went by the name L'Inconnue de la Seine - The unknown of the Seine - and became a commercial product where new casts from the
original where bought and placed above fireplaces all around Paris. People were fascinated by the girl's tragic end and mesmerizing looks and in the
years at the turn of the century her melancholic smile was distributed around Europe in casts and copies, fakes and replicas. By the 1930s, she is used
as the model for the face of the First-Aid Practice Dummy. Still today the dummy for practicing CPR carries the haunting features of the young woman
from the dark waters of the Seine - as if we keep on trying to save her. The story has yet another little twist. It has recently been suggested that the
iconic face of the original cast possibly belongs not to an unknown suicide victim, but rather to a fairly well-known actress of the time.
Fact and fiction, Doppelgangers and copies, fraud and authenticity - subjects we deal with more than ever. Provenance is a term carrying a multitude of
meanings, here it deals with the story of objects - or possibly what it feels like to be a thing. Parthenon on the hill of Acropolis appears in the Provenance
show reconstructed as a model after a vague memory. As the symbolic centre not only of Ancient Greece but more the ultimate icon in our collective
idea of our pure and dignified past - and effectively our cultural and aestethic ideals, Parthenon is actually a place that through history has been plundered
and rebuilt, blown up and transformed. It has gone through a multitude of incarnations, being a church as well as temple or a mosque, it has been city
treasury and storage for explosives. It wasn't even built as an original, it replaced an older Parthenon in the same spot.
Many of the works in this show have titles as absurdly detailed as the roller-coaster history of the things they are based on, and will hopefully provide an
insight as much of what history can be as of where we're at now. As if a game of visual and conceptual Chinese Whispers was being played out, every
reproduction hoists its own story yet is tied, like a string of pearls, to a common thread, a shared past.
Left: A drawing of a digital version of a photo of Herm of Dionysos which is an excellent Roman copy originally
believed to be a Greek original.
Right: A drawing of a digital copy of a photo of a cast of a cast of an unknown drowned woman.
Thek book in bed
A woodcut of a scanned image of a still reproduced in a book from a 16 mm film of Joseph Beuys
performance I love America and America loves me.
Title: A woodcut of a digital photo of an etched portrait of Erasmus printed in a copy of Sebastian Münster's
Cosmographia universalis from 1544 that has been vandalized with a quill a century later in an
attempt to erase the face of Erasmus (reconstructing Damnatio Memorae)
Foreground: Dürers rabbit paper monument. Background: An attempt at recreating Parthenon from memory without ever having seen it for real.
Woodcut and woodstained podium