Bjorn Veno: Chapter II and III

Dates: 13.2.2009 to 15.3.2009. The works are tinted with a fictional impression due to the combination of high-end production and incongruous elements, and yet a sincere and unsettling sense of loss, tension and despair transpires. Often presenting the scenes of his 'fictional autobiographies' in places and settings which are personal to him - from his ancestors' Norwegian farmland to his various childhood homes - Veno uses 'automated performance' as a way to access his subconscious. In 'Paradigm', step into the space between childhood fantasy and adult suffering, revisiting the houses in which he once lived and now negotiating his response with the physical language of the body. Somewhere between a refuge and an adventure, this return into the past is inevitably laced with melancholia and yet we discover him, with a feeling of unease and empathy, as an adult desperately trying to find meaning to his own expectations of what it is to be a man. Introducing an additional character in the 'Behold' series, casted are family members (and often female members who are more likely to understand his predicament) in order to portray his scenes of despair, and simultaneously initiates a sincere dialogue throughout these complex relationships. The figure of the 'woman' also represents a new question mark around his understanding of his own identity. The role of women having become increasingly blurred in our current society, has lead him to question the foundations of his irrational fear of them - which he believes may result in a loss of his status as a man.

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