1 November – 5 December 2002

The installation Liquid Chain – Into the Vapour Wall: the Fall is made up of two parallel parts, both of which take place at Galleri Christina Wilson. The first part is an installational exhibition of sculpture, created by the artist. The second part is a series of events – lectures, discussions and concerts – all utilising the theme of the exhibition: how social interaction can be seen as the foundation of the room in the same way as the physical material the room is constructed of, and how organisation, structure and system influence our physical world.
The two parts of the exhibition flow forward, interdependent: the arrangements bring life to the sculptures, and the sculptures are units of accumulated experiences that inform the staged events. This produces a dynamic dialectic between the two parts of the exhibition. In this way the whole gallery and all its elements can be seen as an installation. In the second room of the exhibition, which is where the arrangements take place, a large stage has been built of earth. Emerging from the side of the stage is a bar constructed of hay and earth, and surrounding these two elements is an inflatable seating structure made of black plastic. The choice of material informs us that FOS has created a paraphrasing of design and functionality; despite the fact that the function of the installation is readily apparent, the viewer will wonder why the artist has gone to the trouble of filling the gallery with 18 tons of earth and 120 bales of hay.

The exhibition of sculpture in the first room takes advantage of the gallery function. The sculptures – furniture, gowns, a walking figure without upper torso – are all placed on low plateaux constructed of earth, with wooden borders. In the corner, next to the furniture, a kind of lamp has been mounted, suggesting a cosy alcove. But here, as in the second room, the focus is slightly skewed: the furniture, which seems to be antique, is entirely new, and the gown constructed of layers of thick, white felt, is again a paraphrasing of fashion and design. The plateaux are harshly illuminated by projectors and the sculptures flow out of their normal functionality and become theatrical in what appears to be a deliberate scenography.

The function of the gallery space is altered on several levels: every Thursday and Friday it becomes a public niche, while the rest of the time it is a theatrical construct, or perhaps an association of the gallery’s purpose. The title of the exhibition, Liquid Chain – Into the Vapour Wall: the Fall, references again the flowing, the indefinable and the transformed. On the 6th of December the final part of the exhibition will open: the Fall, in which the Danish curator Jesper N. Jorgensen will take over FOS’ interior design and create an exhibition of contemporary work from Denmark and abroad.

FOS’ art moves freely in a whirlwind of references created by what he calls MIT – Market, Information and Technology. MIT is a spatial concept and refers to all the external influences that affect modern man. FOS’ practice and projects are associations of these influences, and FOS calls this practice social design.
For a programme of the event series, click on www.christinawilson.net and www.socialdesign.dk, or refer to the artist’s statement on the official invitation to Liquid Chain – Into the Vapour Wall: the Fall.