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ERASED MEMORIES UNSPOKEN PRESENTS
Developed during a residency at Lademoen Kunstnerverksteder (LKV) in Trondheim, Erased Memories Unspoken Presents takes shape within the specific spatial and historical conditions of the former Lademoen School. 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 reconciled. The work proceeds through its inconsistencies and overlaps, rather than stabilising this context.
The project does not aim to reconstruct a coherent narrative of the site, nor to stabilise its histories. It operates within the tension between what can be traced and what cannot be fully accessed, allowing the work to be shaped by these limits rather than resolving them into a unified form.
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 in Trondheim. Found wool threads from the studio bind and interfere with the image, operating under conditions of fragility, exposure, and partial legibility.
Emerging alongside archival traces of the use of paperclips (binders in Norwegian) as gestures of resistance during the Nazi occupation, the work does not stabilise the site as a unified figure but registers overlapping and unresolved temporalities, in which architectural planning, wartime histories, and present-day artistic production are not totally connected.
Å Få Sagt Det Uten Å Si Det (To Have It Said Without Saying It), LKV exhibition view (details), 2025
To Have It Said Without Saying It engages with a phrase drawn from a post-occupation Nazi-era school speech, “Å få sagt det uten å si det”, encountered during archival research in Trondheim. Rather than functioning as a transferable statement, it remains tied to its historical conditions, resisting translation into the present without distortion.
The phrase is inscribed through phyrography onto thermal paper sourced from studio receipts within LKV environment. Subject to heat and gradual alteration, the surface does not preserve the text, but produces shifts in legibility, darkening, and loss.
The work registers discontinuities between past and present forms of inhabiting the space. Conversations with resident artists unfold as partial and unresolved, situating the work within conditions where certain gestures cannot be fully recorded or sustained.
To Have It Said Without Saying It, still from recorded performance, 2025
The accompanying video performance To Have It Said without Saying it reflects on acts of silent resistance during the Nazi occupation of Norway—such as the wearing and weaving of paperclips—not to universalize them, but to confront the limits of their transmission. These gestures persist as references that resist full incorporation, retaining a degree of opacity.
Sonata For A Knocking Fist, frame from stop-motion animation. Soundtrack credits Emiliano Locuratolo.
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Sonata For a Knocking Fist develops from the repeated act of knocking on LKV studio doors during the residency, where proximity does not necessarily produce exchange, and access is neither assured nor consistent. In the animation, the raised fist—historically tied to collective struggle—is displaced into a knocking hand, losing coherence and oscillating between assertion and request, while a local account of a ghost that knocks persists without verification or resolution.
Rather than resolving these elements into a stable image, the work reiterated the gesture as interruption, situating the studio within conditions of delay, missed encounters, and forms of withdrawal that complicate the expectation of production.
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