I was drawn to the idea of encoding, hiding a pattern, perhaps a message, in data; inside a digital image. These images could possess instructions, scripts, for computers to perform. Providing agency within the image, hidden and embedded. A contagious, infected image. Images with agency. Its existence [images] are entangled with software, hardware, code, programmers, platforms, and users. Images are capable of a behavior, to carry out a function that may or may not be intended to its user. Images are becoming computer programs. Images are now capable of triggering an intricate sequence of operations. Images with agency.

The video explores the perspective of a wandering suburbanite, considering the paradoxical condition of the UK suburbs as a result of idealist visions of private property. By prescribing the border as a mediator of the way landowners relate to their surroundings, a genetic code for this landscape can be simulated. The wanderer looks to act as the protagonist in generating a model speculation of a more inclusive and transitory UK suburban landscape, imagining the building block shaped by the realist negotiations of the fence rather than the ideals of the plot.

The video documents actions from
a trip in southern Europe (Bologna, Piran) that investigates abnormal relations with the sorrounding architecture.

The agents from UPSC insist on interact- ing with the buildings physically, (awkward handshakes and positions)
and thus connecting to details that come alive from the backdrop.

The video also aims to insinuate a hidden aspects; intentions, stories, languages of buildings and materials.

The work is inspired by the Italian movie “Il giorno della civetta” from 1968 and the title by a poem from the author Hiromi Ito.

Four young people in an apartment in one of Western Europe’s metropoles find themselves stuck in a conversation about something.

“Bella ciao”, an Italian protest folk song from the late 19th century, was originally sung by the mondina workers in protest against the harsh working conditions in the paddy fields of Northern Italy. It is widely assumed that the song was modified and adopted as an anthem of the Italian resistance movement by the partisans. The partisans opposed na- zism and fascism. However, historians argue that there is little to no evidence that Italian partisans actually sang the song. Versions of “Bella ciao” continue to be sung worldwide as a hymn of freedom and resistance.

The film’s narrative revolves around weather forecasting and weather lore, delving into the cosmological understanding of time and space. It explores the historical account of Curonian villages that were buried by sand, utilizing fragmented time intervals to depict an alternative flow of time. Throughout the story, sand emerges as a contrasting element, repre- senting the negation of all forms and gradually signaling an impending doom. Landscape acts not only as a background but rather as the pro- tagonist of the story. Through its narrative lens, the film investigates the role of storytelling in shaping new perspectives.

Where the mall Amager Centret lies today, Copenhagens largest ropemaking facility was once found - in a past closer than we think. With the intention to ‘hack’ the mall and create other types of interactions and conversations a manual three-piece rope machine was built and brought to the mall. What’s essential when making strong rope is not so much the material or the thickness but the keeping of tension and the turning and twisting the threads in different directions. Without adding anything as such, the process changes the properties of the material, and a social situation not least, quite drastically.

The work is a result of a visit to Georgia in the spring of 2022. It examines the relation between land and river, gravity and movement, people and water.

With a self made floating ‘instrument’ it’s possible to extend the body and smooth the line between land and water and allow a new experiences of the zone inbetween.

The river has a power and due to chang- es in the weather, the size of the river becomes larger and more dramatic, and river and city becomes one.

In today’s society, in which economics, politics, and technology are bound up in a very complex manner, bullerup_autoservice cannot be a decorative element serving a state or an ideology. bullerup_autoservice must be one of the media that serves to provoke doubt and defiance in us: it is a provocative communication between you and me.