Installation for the Sub Festival 2019, Denmark.
By Malthe Dahl & Mads Vine.
Our work explored a basic feature of life; development. Our lives move forwards. But our development is subjected to certain conditions. Conditions imposed on us from our birth. We do not choose the body we inhabit. We do not choose the country we are born in. We do not choose the milieu we are born into. Yet these elements inevitably shape our lives. We tried to distill a lifetime into four paintings, four dialogues and four narratives, each representing a stage of life; birth, adolescence, middle-age and death. Each painting progressed from stage to stage. The first ones were painted in lighter nuances and had organic forms. As they progressed the colour became darker and the shapes took on angular, geometrical shapes. The narratives exhibited thoughts and memories of the life we aimed to portray, while the dialogues represented encounters with the outside world. The installation “Submission” was commissioned by the Sub Festival, and was created on location in six days.
Story concept by Malthe Dahl & Mads Vine. Written by Malthe Dahl. Illustration & design by Mads Vine.
‘COMPONENTS OF A GUN’ can be stylistic defined as ‘Cynical Naturalism’. It’s dark, sarcastic, critical and humours. These elements is interpreted in the design through a continuous black and white look, with caricatured and over-exaggerated figures, symbols and stereotypes through illustration and typography.
Written by Malthe Dahl & Mads Vine. Design by Mads Vine.
Editorial piece reflecting on the key ideas, ideologies and optimism behind the Futurist Movement, page by page moving towards the present world we live in today, portrayed in a not so optimistic light. Texts inspired from: The Manifesto of Futurism by Filippo Tommaso Marinetti, Henry Miller, Michael Strunge.
Photography and design by Mads Vine. Written by Malthe Dahl.
Reading from the dictionary the noun ‘hole’ is explained as ‘A hollow place in a solid body or surface’. Following the words down the line, the adjective ‘hollow’ leads to associations of mystery and other words follow naturally. Words like; space, void, cave, crack, tunnel, passage and even aperture, as was used in taking these photographs.
Holes take up many vital functions in the present. Underneath our cities, holes are everywhere, forming a gigantic spider web of key infrastructure, keeping our transportation running, providing fibre cables and delivering district heating. We also dig holes to bury our lost ones or we carve out caves deep under earth to do away with our nuclear waste. One recurrent theme of holes in terms of their functional use for humans, is that they tell us something about what we keep below the surface. It tells us something about that which we hide, but nevertheless exists.
This book seeks to portray holes in a place of intimate privacy: The bathroom. Bathrooms consists of hollow shapes and surfaces in solid forms, made for hiding and doing away with the traces of our self that we have deemed less flattering. Toilet holes serve as tools for removing elements that are natural human conditions but have been denaturalized by culture. Underlining the private nature of our toilets, is the fact that the doors leading to our bathrooms often are the only ones in our house, that are equipped with a lock. This is what makes bathrooms both mysterious and highly personal.
Letting the bathrooms serve as mirror reflections of their owners, the greasy dirt under the toilet seat and the short, black hairs scattered in the sink, creates a conflict between the perception we want to communicate and the unattractive traces of living. These traces are highly personal, leaving behind the DNA of their owners as they spit after brushing their teeth or as the skin sheds and falls in the shower. As such, no matter how big the wish one might have to do away with the stains on the floor, or the chalk in the drain, the bathrooms become reflections of their owners. But not only genetic trails are left behind. Cleaning habits, interior design, choice of toilet paper and toothpaste brand. All this indicates and sketches an outline of the owner of every toilet, allowing us to make assumptions about the character of its inhabitant.
Installation for Holstebro Festuge/Holstebro culture week, 2017.
Concept by Malthe Dahl & Mads Vine.
Photography by Peter Tanko, Juan Escamilla & Matteo Guarnaccia.
Special thanks to Laurits Henningsen & Victor Tambo.
'The Lemon Project' is a two part installation consisting of a 'Lemon House/Studio and a 'Lemonade stand'. At the 'Lemon Stand' we offer you a freshly squeezed glass of lemonade in return of a picture of you, balancing a lemon on the top of your head. 'The Lemon Project' interests itself in form rather than substance. Art, installations, happenings, etc, are often surrounded by mystery. A meaning is expected to be derived from a work, that seems incapable of opening up, and being decoded. This can often be intimidating for people with no prior knowledge of art, and thus leads them to pull away. The Lemon Project is not an intellectually heavy-weight project, which gives rise to considerable reflection and thought. On the contrary. Stop your brain activity, and do not try to derive anything greater from the project. Stop looking for the bigger picture, and let us have your picture - with a lemon on your head.
The purpose of the installation was to illustrate and establish an understanding of the mind, of a person diagnosed with Asperger.
In opposition to most people, Asperger-diagnosed people have great difficulties decoding social situations. Predictability and planning is essential for Asper-diagnosed people, and concepts like smalltalk can seem impossible to figure out. This often causes great stress for the person suffering from the disease, as they are not lesser intelligent and often are aware that they are differentiating from the norm due to their social handicap. With this installation the outview of an Asperger-diagnosed person is tried literated: People with aspergers have a tendency to view everything very literate, and one may describe it as a black/white view, without nuances, and very boxed. The installation was constructed with black sticks, covered in white sheets, forming a box, in which you could insert your head. When on the inside, the colors would create a black/white view, and the sheets, would reveal only silhouttes of the people walking by, thus symbolising the feeling that a person suffering from Asperger might have: They are aware of everything that’s going on around them, and they see that social interaction is taking place around them, but their diagnose creates a veil that makes it hard for them to decode it. On the inside of the box, on brown fabric, was an excerpt written from an interview with an asperger diagnosed, explaning his relationship to the concept of smalltalk.
Inside box, words from an asperger diagnosed, translation: THE CONCEPT OF ‘SMALLTALK’ IS USED TO A LARGE EXTENT BY NEUROTYPICALS. IT IS TO DISCUSS SEEMINGLY IRRELEVANT SUBJECTS, FOR EXAMPLE THE WEATHER. I PERSONALLY THINK THAT SMALL TALK IS UNNECESSARY, AND IT CAN BE A FAIRLY SEVERE CHALLENGE FOR ME. IF THERE IS ANYTHING SPECIFIC TO TALK ABOUT, IT GOES MUCH EASIER. The installation ‘Asperger’ was presented at the Arts & Design graduation ceremony in 2014.
Jazmin Bustos on the coffee industry.
Short film about Barcelona based artist Xano Armenter
Music: Tom Waits - Closing Time
Photography by Juan Escamilla. Packaging and design by Mads Vine.
Packaging and redesign project of Tom Waits’ Rain Dogs album from 1985. Inspiration from Waits’ lyrical universe and work of Michael A. Russ and Anders Petersen, photographers behind Swordfishtrombones (1983) and Rain Dogs.