Knut Åsdam

Bergen Kunsthall

Ever given much thought to the human figures populating architectural models? Those tiny characters involved in a variety of generic activities indicating the potential life of spaces yet to be constructed? Ciphers of normality, Man and Woman Engaged in Conversation, Group of Businessmen Crossing a Square, and Teenagers Hanging Out are placed there to convince us of the purposeful plenitude of a design in which the interests of all relevant parties can be served. Imagine, then, what such abstract figures would look like if the construction in question were no longer on the drawing board but in a state of half-finished abandonment. Or, alternatively, integrated into the messy heterogeneity of an urban landscape where human “designs” of various orders compete for attention.

To engage in this mental exercise is to start approaching Knut Åsdam’s new films Abyss and Tripoli (all works 2010),

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