 Jag ska nu försöka öppna detta i en liten månad. Jag gjorde en del i 2011, början 2011, när jag hade en show på Stadsmuseum i Sverige, Modalmuseet. Den första idéen var att göra en del som fanns i en museum. Det är också det som fanns här. Det är verkligen en del som fanns för en museum. Det är också en del som fanns för en museum. Det kanske inte är en art museum, men en museum som är en historia eller en historia. Och det som jag hade i min studie var att jag fanns för en museum. För jag hade en fanns för någon som var på en museum och kom i ett nivå och reaktörade saker så att han eller hon tycker att det är en bra väg för att öppna historien från sin poäng. Eller även stelar saker och ta dem till sina baser och göra en liten museum. Och det är hur det alls började. Så jag har beslutat att börja i en väldigt logisk mannare, med den första humana som, så att säga, har vi Lucy. Och jag har också börjat med Lucy, för det är också något specifikt med honom, för hon har en namn som gör oss känna att hon är mer som en person än Neanderthal, för exempel. Det är så att det är Lucy. Vad är Lucy? Och då, om du vet den historien om Lucy, är det så att när de var faktiskt med att skriva och hitta honom, när de var spela Lucy i skydda med dimens, så är det så att hon fick namn Lucy. Så för mig, alla de här små historierna och generellt, det är mycket, det är att göra min minskning och börja säga historier om mig. Så det är de sista siffrorna, ja, det är 6, 1, 2, 3, 4, 5, det är 6. Och det börjar sådana, igen, en typ av logisk manör och så vidare. Vi går, då kanske en annan person, inte vet mig, men det är, det blir som mig, startar till att använda mer de fotnoten av historien, som de läfna, saker som vi inte riktigt vet om. Och alldeles är det så att säga, så här kan också vara en del av historien. Så, då igen, du har de lavar lamp och så har vi Lucy. Vi kan inte, i en mån, jag är sådana som beskriver dem, båda som en viktig stepp i historien. Och då, som du ser, det är också fylld med detaljer. Och jag försöker bräffligare att gå dig through ett par av dem. Det är en partlig artefakt från historiet, men det är också en partlig artefakt just från min universitet. Så det är som Borges novel, Alef, när det är den här gärna en universitet i den här basen. Of course, du kan inte göra det, men du kan försöka. Och det är så här som min att försöka definiera historien och min arbete så långt i 6 meter. Och of course du löser för att du inte kan. Men det är en honesta att försöka definiera historien och mer just saying like, well, it's everything that's around it that is actually making sound like what you will interpret in this is the most important thing. And for example, you have this, which is a Japanese copy of Edison's phonograph, the first, the first ever method to record sound. But my idea here is I based it on an urban legend that passed around the world a couple of years ago that with the laser needle that you can actually trace sounds when ceramic urns were being made. You can't, but it's a beautiful idea that then you would hear the sound of these people doing these urns 3000 years ago, for example. So it's just saying like, well, wouldn't that be great if we could just read history or even it could be like a recording device that we could record something to the future. Because now we don't really see the film because we're still dealing with that one. But that's also like the common, that's where everything ends here. It ends with a science fiction film from 1959 called On The Beach. So it's a small clip where a guy is just like we are here now trying to find the key. What is this? What is Mr. Andersson? What is this piece about? And it's the same thing. He's searching for a signal. You realize that he's walking in some kind of a biohazard suit and he's coming to a Morse code device that is sending out the signal. And we realize that he's been searching for the source of the signal. But it's he's not finding what he wants to find that we can imagine. It's probably a human being sending out the signal. He's finding a Coca Cola bottle leaning on this device just randomly sending out the signal. And in one in one way you can say that he has this glimpse in his eyes when he realized the big joke of this, that the world is much bigger than he could ever imagine like because it is still a signal and it's still some kind of a symbol for something. It's just that he cannot grasp it. And that is for us of course extremely frustrating when we're standing in front of things that we cannot really understand. And of course that's a trope of art often that people often ask about. What is this about? You know, why did you do this painting? What is it? And partly you should never answer that question because it's always become wrong. You know, it's that is the reason often that the artist did it because he doesn't really know or she doesn't really know either, you know. So for me, there's also a bit of confusion in this piece. It's like, why did I know why? But now the third time I'm showing it, it also starting to make sense. It's the fourth time I'm showing it, it's starting to make sense. And what I also decided to add is, it's going to be on the wall later on. It's these two cartels, which is the first one is from the Moderna Museet in Sweden. When they describe in Swedish and English, what am I doing? What is this piece about? And then it's when Palet de Tokyo is doing the same thing, but they're saying slightly different things. And then I haven't actually gone through the text material from here, but I'm sure that's going to change a bit too. So that is also for me dealing with the idea of the museum also has a part in this. And of course, the museum is standing behind something. And I'm saying this and that. The museum is now owner and also the sender, like the Morse code of this. So let's see what do we have here. Så if we go back and dig into my own universe of this, we have traces of an older piece called the Baghdad batteries, where I'm going through an old. Possibly urban legend, possibly a conspiracy theory, or possibly a fact where some people claim that 200 BC, someone created what was a predecessor of Alessandro Volta's battery like a galvanic cell. I proved that this could happen by making 50 of them with vinegar, iron and copper placed inside one of these. And I ran a simple electrical magnet just holding a paperclip in position. Just saying that at least it was possible. I'm not saying that it happened, but it was possible because at this time it was also something that disappeared. The only so-called Baghdad battery was lost in 2003 during the lootings when USA invaded Iraq and it's now gone. So it will most likely disappear. So I was feeling like, okay, let's just bring this topic up again. So at least it's there. So now when you Google the Baghdad batteries, then you have like rather funky pictures from a crazy guy in Sweden making these Baghdad batteries. So again it's a part of history. And then two months ago, Stephen Fry, the actor, comedian from Britain, his crew contacted me because he has a talk show and they wanted a picture of my Baghdad batteries on the backdrop when they were asking the questions. Where can you find the oldest battery in the world? And they've been searching the net for images of the Baghdad battery and find these black and white not so cool pictures. And then they find this, which is like, this looks good. So all of a sudden my Baghdad batteries are now a part of like the Baghdad battery culture and what does that mean? So then it brings back to who is delivering information. In this case a museum. But if BBC touches this, then it's another kind of credibility. So it's also these things I'm playing around with in these cartels that the more people are talking about it, the more real something gets. Okej, I'm already saying too much. But let's just go through a couple of just details. Maybe we can move all the way to the end because that's also where there is. I can also quickly tell you that these ones are fake. It's not real skulls. So these are manufactured by a company called Skulls Unlimited. They're also buying skulls, they say on the internet, we're buying. So if you're, which is the same with these flint stone tools, the only real artifact here is this one, which I found on the bottom of the ocean in Greece. But no one knows that, but now you do. And then we have this balance thing, which for me is also the middle of this. It's really the middle of the centerpiece of the entire where everything is starting to tip over and lose control. So in this you have like a perfect balance of things, which is then the candlelight, which is then you could say blown out at exactly the right moment before everything tips over. And for me, this is also the key in my way of storytelling, because of course you can choose to keep enlightening the world, but sooner or later you have to pay the price. And that is also something that's coming back earlier in a piece. It's a piece of paper with a text with a man sitting in a cave, cold and dark, and he kind of realizes that he's going to die. But he has a book and a set of matches. So he starts reading the book by lightning match after match. After a while he realizes that this is not going to last. So he starts making torches of the pages he already read. And in the end, dramatically enough, he's lost one match and one page. So he lights the final match and he starts reading that final page. And then he lights this page on fire, which is like slowly burning while he's reading it. So when he finished the book, he's left in darkness, which is dramatic. But it's also for me, the key element is of course that he has to match and he has the book or the final page. So what price do you pay to actually take a step forward to learn something or to experience something? There's always a price. And that kind of point of no return has been. I've been dealing a lot with that in my art. I've been also dealing a lot with perception, things you think are something and then they change in front of your eyes. And then you have to decide what do I really, what leg do I stand on here? Is it the physical impact or is it what we know is real and not real? And you have a slight trickery also in this piece, which is for me like a homage to what I did like, OK, that was then, now is now. So it's also a bit of a humble grave to some of my old works here, because I used the lava lamp and this two way mirror glass before, because if you would see the lava lamp is standing here, making a reflection, but then by some kind of trick, there's also being reflections on these sides. So it's just like these reflections are spreading out. So that is also something saying like, well, you can try to walk around this, but you will always see it partly yourself or partly other things. It's not only exactly what you see. And then you have the two faced calf. And if you know your English, you always know that someone has to face. This basically a liar or someone's trying to trick you. So it's all these like my it's my humor. I think those things are funny. I think it's having a two faced calf is saying like, well, it might also be that I'm trying to trick you here that I'm lying. And you have a Magrit piece called Las Ortiz de Le Col, which is also funny, I think. Which, when you put a mirror here, becomes like the Rorschach inkplot test, which is basically designed to see if your mind is the way it should be. And that one, again, coming back with the calf, you see like a split skull. So it's all these references to popular culture, history, but also topics that I've been dealing with earlier. I've also been dealing with the Rorschach patterns in the marble of the Mies van der Rohe pavilion in Barcelona, for example. So it's also tying together my little universe. And then in the far back you have everything is collapsing down to it's just only me moving back here, but it should be should be all maybe if you move back there, because otherwise it feels like I'm standing over here shouting just feel stupid. So partly also why the the projector is in the pavilion or in the sorry, not the pavilion, the vitrin is because it's almost I wanted this to be an object, but something is leaking out. And what we see here is of course what we see there. It's it's also the future in 1959. It's a gloomy and very dystopic future, but it's still it's sci-fi from the 50s. We already passed that. So it's also that we are ahead of the future that we see here. And there is, for example, a quote by William Burroughs, where he says the maybe you can read it. It says exactly. So he what he says like it's all a film run backward. So it all started with the with the relativity theory, but it ends with atomic bomb, but he sees it backwards. And he was a master of these things with a cut up to actually saying like, well, what came first? And I'm currently working with a project now, where I choose a title from Carl Sagan, the also kind of mindboggling astronomist that died in 96, where he said, if you want to make an apple pie from scratch, you must first invent the universe, which is a fantastic way of looking upon the world. You start with talking about an apple pie and three seconds later, you're demanding that the universe is being reinvented. And it could also be a fitting title for this piece, because you start with something that is just plastic paper lava lamp. But in the end, it's also that where do you decide to put yourself in this? So back here, we have a myriad of things. We have the text I talked about earlier. We have the first television sendings from the Berlin Olympiad in 1936, where the megalomania idea to send it straight into space, to have the third rise expand endlessly into space. So that is the signal that is furthest away from the earth as we know it, which is interesting but disturbing, of course. And then we have the bag that battery as it was seen when they found it, which is now gone. We have a comic strip, which I also used in another piece, which also summons things together in this way, because it's also how do you read history? It's these two guys from the Stone Age referring to the sky having the same colors as the Sistine Chapel, which of course you can't, because you're a Stone Age man and the Sistine Chapel is built 30,000 years later. And they kind of realized that in the last square, but like what? So it's all these myriads of things like from this side, you have some kind of vibrant, like a hopeful embodiment of things. While from the side where you're standing, everything is basically ruins. You have even a small bronze ruin that I made. You have the Sphinx, you have that's a fantastic Swedish painter, by the way, Karl Magnus Larsson. And then you have Julius Caesar and then this poor fellow who got a bullet in her head. And then the most beautiful title, of course, I've been pointing this out to everyone. You have this petrified tree, the stone. You see there and the title for that, which is, of course, very just like to put it down. They say like it's called in the petrified wood, a tree, which I think is also the key also for this piece, because what might look like you have to know a lot of things about this. It's not really true, because if you start looking, there's a lot of keys that's binding things together here. If you, for example, would start looking and say like, OK, this is René Magritte, OK, René Magritte did this one in 1927. What is this? This is like really fluid and some kind of a hope, something is moving. And then you have another René Magritte piece here from 1950, where everything is just petrified. It even has the French word rev, like an old ruin. So it's like old Magritte saying like it's over. We didn't do it. We had such high hopes for this surrealism, but it didn't really happen, and it's over. So at one hand you have like three and a half million years ago with Lucy, but also you can realize the history also moving extremely fast at time. So from 27 to 50, it's an incredible universe in between. What happens in between these years is incredible. So that's also something that's getting more and more comprised, the further you go in this.