Lina Selander

public commissions

Överföringsdiagram nr 1 [Diagram of Transfer No. 1]
With Oscar Mangione

Never ask what a video, or a series of images as these, means. Don't look for anything to understand; but instead what it functions with, how it operates, in connection to what it transmits a transforming and within itself converging creative desire.
What sets in motion? What makes appear, and disappear? And Whereto?
Recognize that the video only exists through the outside. Connecting to other machines of whatever kind or material: artistic, social, revolutionary, preserving, loving, etc.; operating simultaneously in relation to themselves and to other — as images, movements, scenes, sometimes screens, projections or works — through their outside. Humming for themselves, for anyone.
To interpret the video is to turn it into a sacred, layered text without end, a bible, and oneself into a priest (at best) and a servant to the hierarchs in the court of the known.
Transformation reside in looking. The title of our next film will be: Looking is the best telling. If it weren’t so, it would be because recitation is even better, the repetition of words, (or images?), as from memory, in a strictly formal manner. In fact, looking can be said to be a kind of recitation, and vice versa. A crypto-transference. A formal repetition of an outside, a surface form which nothing can be extracted.
The happiness of an eye before which the sea of existence has become calm, and which can no longer tire of gazing at the surface and at the variegated, tender, tremulous skin of this sea. Never previously was there such a moderation of voluptuousness.
What would there be to extract? There is no knowledge of the subject of this tender, tremulous skin — the video — no references to any knowledge of a subject matter; nothing in the service of meaning or significance. There is no interpretation that leads to the reality that is represented or referred to, no liberating aboutness, the way out that is also the way in; neither is there any theme comfortingly bringing it all together.
Instead of representation and interpretation: experiments with reality.
Instead of extraction: recitation-transference-transformation; unknown constructions.
The diagrammatic or abstract machine does not function to represent, even something real, but rather constructs a real that is yet to come, a new type of reality. 
The video works its way forward, crawling on the ground, sometimes under the ground.
Recognize this crawling on the ground; that that is what you see: the movements, thoughts, gestures, while they occur. Neither before nor after. Always in medias res, never ab ovo. Always before it becomes a sign. It doesn’t immobilize its gestures. Crawling forward, it only leaves images of other gestures: Cruziana.
The value of the video does not come from what we already know (from what we already are), but instead (if from anywhere at all nameable) from doing away with all such things, crawling forward, in the discovery of a reality that is both coincident and incompatible with ourselves, what we know and what we take to be real.
It is a search for freedom. A demand for autonomy.

 Nietzsche, The Gay Science, Epicurus …
 Deleuze and Guattari, ATP 142 …
 Lenin’s Lamp …