Lina Selander

public commissions

The Offspring Resembles the Parent
Hd video, colour, sound 13:44 min.
With Oscar Mangione
With support from Moderna Museet, Stockholm and Microhistories, Konstfack and Vetenskapsrådet / The Swedish Research Council.

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The new work The Offspring Resembles the Parent (2015) was created for the Biennale; like Silphium, it was made in collaboration with Oscar Mangione. The title is based on Aristotle’s Politics, in which he argues that for money to increase at interest is the most unnatural mode of getting wealthy, since, unlike livestock and crops, money cannot breed as it “exists not by nature but by law”. Both works relate to the observation that memory is inextricably connected with economy – in the sense of capital that we manage or hand down. Etymologically, the word stems from the Greek goddess Mnemosyne, protector of memory, language and recall (and thus also the guiding light
of Warburg). In Latin translation we have monere (to remind), which later became the root for both money and muntze, the stem for the Swedish word mynt (coin). The starting point of the film is the emergency money printed in the 1920s, banknotes used during times of crisis and inflation, or for enclaves without a set structure or definite borders, such as ghettos, concentration camps or colonies. The meticulously designed notes are often visually dramatic, with propagandist messages in word and image. Engaging the veritably cinematic qualities of the delicately coloured colonial notes, Selander and Mangione conjure up a bygone era, one in which a project disastrously helped lay the foundations for our own welfare society. “Colonialism as a vehicle for modernism”, as Hamid Dabashi puts it. The work, which is still in progress at the time of writing, ends the exhibition in a contemplation on fictive economies, dormant power, blind subordination and a hyperinflation of values – human and monetary.

Stills from video


Installation views Sirius Art Center, Cobh, Cork, 2016.

Installation views from Galleria Tiziana Di Caro, Naples, 2015

Photo: Danilo Donzelli