White Cows Installation

‘White Cows’ is a newer subtract, derived from a series of five performative, site-specific storefront installations I created for the Meat Packing District of Copenhagen in 1996. I was back then assigned to design a pr. campaign for the first fashion week in town. Based on the paradox that it was located in a former slaughterhouse, The Hall of the Axe', I Instead responded with a multidisciplinary anti-commercial art project; ‘White Cows’. 'White Cows' comments on ethics, ethnicities and gender and explore the construction of female identity in a post-human context. The project questions mass medias stereotypical depictions of women and female beauty ideals, and the methods and extent used, to which people will go to in order to achieve this: genetic engineering, life extending, body-beautiful surgery and animal testing. It address issues like factory farming, slaughterhouse methods and fashion industry's production methods which exploit third world countries of cheap labor, and thus ignores human rights. Beauty conquers everything? From 2012-14 the project was extended to street art in the United States, and a site specific pop-up solo exhibition at Jess Projects LA inserted in a multi-ethnic intersection of Phillipinotown, Silverlake, Downtown and Koreatown. Also exhibited at ArtShare Gallery in the heart of Los Angeles' Arts District in 2015, while featured on the cover of Bristol based poetry magazine 'Boscombe Revolution Issue 3: Gender & Revolution'. Right now looking into the possibilities for a pop-up show in London's Meatpacking District. White Cows adapts, and deconstructs, fragments from themes such as sacred white cows of India, Ancient Greek goddesses, anthropology, psykologi, quantum consciousness and post-humanism. 'White Cows' were originally inspired by Damien Hirst's formaldehyde animals, the Salvador Dalí painting 'The Elephants' and the Architect Norman Fosters ’Second Skin’ structures. 'White Cows' implements the concept 'synthetic realism', which I invented back in 1991 for the performance 'Corpus in C' at Arthall Charlottenborg's Autumn Exhibition. Synthetic realism stages body manipulation and draws parallels to surrealism and hyperrealism. The mirrored twin metaphor in ‘White Cows’ is derived from Jaques Lacan’s ’Theory of Mirrors’ in which he describes babies self-recognition and identification with mirrored images. After three months of age babies become aware of the difference between themselves and the mirrored image, and discovers that they can manipulate the mirror image. And as women we do mirror ourselves in other women’s eye-catching appearance, through a certain model for classic beauty which are copied and multiplied to benefit corporate financial hierarchy. The twin metaphor is also about genetic engineering for identical reproduction, inspired by Baudrillard's concept of the hyper real, and illustrates simultaneously the idea of original and copy.

Installation:Paper on Paper

Original:One-of-a-kind Artwork

Size:43.3 W x 18.5 H x 21.6 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.