Tora Schultz Larsen at Galleri Mejan, Stockholm

Tora Schultz Larsen / Stranger inside

Jan 25 - 1 Feb 2021

Exercisplan 3
111 49 Stockholm
Galleri Mejan

Stranger inside (installation view)



Pinocchio (1940) (detail)

painted pine strap-on, blue linoleum, steel, 200 x 40 x 34

Pinocchio (1940)

painted pine strap-on, blue linoleum, steel, 200 x 40 x 34


Off the-Rack

bent birch table legs, steel, 5 x 500 x 4


Divide-and-Conquer

bent birch table with linoleum insert designed by Magnus Olesen produced at Botium, 120 x 160 x 8


Pinocchio (1881)

Floor Dolly (steel, rubber wheels), blue linoleum, The Pop-Up Pinocchio, Collodi, Carlo (1881), illustr.: Lentz, Harold, Blue Ribbon Books, First Edition, 1932. 30 x 40 x 34



The devil’s contract (detail)

Dumbwaiter (steel, stainless steel, motor, chain, gears), modified prada stilettos, 400 x 45 x 50


The devil's contract

Dumbwaiter (steel, stainless steel, motor, chain, gears), modified prada stilettos, 400 x 45 x 50 





Stranger inside (installation view)



Stranger inside (installation view)



Imprints

The Encyclopedia Of Facsimile of Witchcraft & Demonology’ Robbins, Rossell Hope, 1959:371. Photograph of tattoo, 15th century woodcut, ‘Caliban and the Witch’ Federici, Silvia, 2004:134. Photographed backside of school locker door, 2015-2020


Fettered (detail)

birch chair, lacquered witch nose with elastic, 70 x 40 x 40.


Fettered

birch chair, lacquered witch nose with elastic, 70 x 40 x 40.


Face down Ass up 

bent birch table with linoleum insert designed by Magnus Olesen produced at Botium, birch chair, 200 x 105.


Casual determisism 

mute servant (steel), cerulean blue sweater, teal awareness ribbon, 180 x 30 x 30.


School locker (2015-2020)

school locker, lock, blue linoleum podium, 40 x 34 x 156.


































































































All Photographs by Jean-Baptiste Béranger & Viktor Fordell.

three notes on the motionless


The room temperature is set at 20 degrees, based on the average temperature regulations at institutions and office spaces. The temperature is based on a 1960’s datasheet with the metabolic rate of a 40 years old european male. Anyone who deviates from that standard is left to freeze at the expense of one’s health, comfort and productivity. The grey zones of biased data create structures of invisibility and silence. This data not only describes the world, it is increasingly being used to shape it. Freezing or to freeze up is also a defense mechanism that can occur, when you’re exposed to a threat. The state of being motionless, a self-estranged body.


The devil and the witch. Silvia Federici describes the witch hunt as the core of a methodical alienation and subjugation of the female body. Federici emphasizes how the pact with the devil, introduced first time in 1335, was a central component and ideology constructed to justify the criminalization of women. A power relation where women functioned as servants and the devil became her owner, master, pimp and husband. A notion still attached to the body and inhabited as self-recrimination.


Pinocchio is said to be a story about the importance of education. It is the third most translated book in the world, and he is a character that again and again reoccurs in endless interpretations whether it's about commenting on present moralities or determining a post-human future. In the original version, Carlo Collodi’s The Adventures of Pinocchio (1881), Pinocchio is self-conscious, amoral and devilish. The Pinocchio depicted in Walt Disney’s 1940 adaptation is, in contrast, a cheerful little boy who is naïve and easily misled rather than malicious. In order to sell the story, Disney painted a picture of a naive helpless boy - a redraft: investing in the innocent. Pinocchio’s cover-up trademark of innocence allows him to be aware-unaware with no accountability, the only consequence being an erect nose. dickhead. Being selectively blind, makes others invisible.





 

 

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