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ERASED MEMORIES UNSPOKEN PRESENTS
Developed during a residency at Lademoen Kunstnerverksteder (LKV) in Trondheim, Erased Memories Unspoken Presents operates within the specific spatial and historical conditions of the former Lademoen School without resolving them into a coherent narrative Built in the early twentieth century against local opposition and later transformed into a site for artistic production, the building holds traces of education, occupation, and reuse that remain only partially accessible. The work proceeds through these discontinuities.
Material choices follow this condition. The near-continuous daylight of the Trondheim summer creates prolonged exposure, interfering with the controlled processes of image-making. Cyanotype and thermal paper are used as unstable supports, registering traces through light and heat while remaining time-bound. The project unfolds between inscription and loss, where memory is not preserved, but held in a state of ongoing alteration, working through its inconsistencies— where narratives of community, resistance, and cultural production overlap but also fracture.
BINDER, cyanotype print and wool on Arches paper, 42 x 30 cm, 2025
Binder developed from a cyanotype print based on an early twentieth-century blueprint of the Lademoen School, sourced through archival research conducted within the former Dora 1 bunker. Exposure to light produces uneven legibility, while found wool threads from the studio both bind and introduce points of obstruction. The Norwegian word binder refers both to a paperclip and to the act of binding. During the Nazi occupation, paperclips circulated in educational spaces as minor gestures of resistance. These references persist without consolidation.
Å Få Sagt Det Uten Å Si Det (To Have It Said Without Saying It), LKV installation view (details), 2025
The work To Have It Said Without Saying It takes its title from “Å få sagt det uten å si det”, a phrase found in a post-Nazi-occupation school speech, which returns here as residue rather than citation. It is burned onto thermal receipt paper via pyrography, using material gathered at LKV, where fragments of speech circulate without forming a coherent record. What remains is discontinuous; the phrase does not translate into equivalence. The former school, repeatedly reconfigured and now inhabited under unstable conditions of artistic production, does not resolve into a single narrative. Heat and light gradually erase the surface, while cyanotypes marked by paperclips register only brief contact and exposure.
Binding appears only at the moment of its failure. Inscription does not preserve meaning; it lets it slip.
To Have It Said Without Saying It, frame from recorded performance, 2025
The video performance extends these conditions through gestures, pauses, and fragments. References to silent resistance—such as the wearing and weaving of paperclips—remain partial and unresolved. Gesture does not stabilise meaning. What is invoked cannot be fully transmitted.
Sonata For A Knocking Fist, frame from stop-motion animation. Soundtrack credits Emiliano Locuratolo.
Sonata For a Knocking Fist develops from the repeated act of knocking on studio doors at LKV, where access remains uncertain. The raised fist shifts into a knocking gesture, oscillating between assertion and request. A local account of a ghost knocking persists without verification. The work unfolds through interruption, delay, and missed encounters.
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