Fabrikken for Kunst og Design, Copenhagen, 2019
View inside one of the 14 showboxes.
Imagination, Space and Liberty, 2005
Video projection, 5 x 5 m.
The Showroom, Copenhagen
Frank Franzen is showing this video projection in a white box, a box open at one end, and with a transparent back-projection screen at the other. In the video we see a seagull hovering over a reversed fan or propeller, situated in the bottom of the picture. The wings of the seagull and the blades of the propeller are reflecting each other. The video runs in a short loop, keeping the seagull flying forever and ever. It is a poetic video, but at the same time, it also frames some overall ideas about the concept of The Showroom series, and, on a metaphorical level, the juxtaposition of opposites related to the project, such as reality/illusion and freedom/restriction.
The titel, Imagination, Space and Liberty, underlines this reading, and at the same time points to a more general comprehension in terms of associations connected to each of the words in the title.
Painters' Corridor, 2006
Filmloop, timelab 3:56,
Projection at Nikolaj Kunsthal, Copenhagen
Private Cabin, 2001
Video cabin with interior decoration, video and surveillance camera.
Kunsthal Charlottenborg, 2006
Private Cabin shows the result of an examination of the relationship between what is private and what is public. Here sexuality is explored as an entity that has clearly moved from an intimate sphere to an increasingly general area of exploration, not least with regard to the spread of pornography. A video cabin, the type one can encounter in red-light districts all over the world, has been set up for the public to use. However, one quickly becomes aware that something is amiss. Instead of the expected porn, an image of the selfsame room is sitting in, tones onto the screen. One sees a man enter, place a cassette in the video and then start to masturbate. The obvious discomfort of witnessing an act that is normally restricted to the privacy of one’s own home is only reinforced further by the sneaking suspicion that one, too, is being watched –because how otherwise could the film have come into existence?