Killing Kidding Colliding

Killing Kidding Colliding takes its outset in birds’ collisions with glass and the artists personal relationship with bipolar disorder, in order to investigate the connections between economy, architecture, work and mania. These four pillars create the foundation for a video where the camera seems to detach itself from the operator and slip into a manic state. Seeping into the materiality of the film, the mania becomes allegorical to both an economic system as well as a pathological condition. Theorist Mark Fisher points out that bipolarity cannot exclusively be understood as a consequence of chemical imbalances in the brain (which can be cured with psychoactive drugs). It is connected to the way in which societies are structured, to capitalism and to labour: ”Capital follows you when you dream. Time ceases to be linear, becomes chaotic, punctiform. As production and distribution are restructured, so are nervous systems.” Killing Kidding Colliding looks at how an economical structure flows through everything, from smooth architecture to intimate sensations and perceptions of reality, and how this holds a seemingly invisible violence. Additionally, the work looks at mania as a condition that is not just a testimony of violence, but also opens a space for alternative perceptions and existences.

Video Installation / 07:62 min / 2021 / The video on this page is an excerpt from the full video.