A group of wooden sculptures are suspended from a ceiling using neon-colored rope. The oversized, carved bonelike fragments suggest a kind of body, both sensual and material. An oversized horse leg, something reminiscent of a pelvis and large claws that looks like it origins from a mythical beast suggest a movement through the room. The surfaces alternate between rough and polished, covered with nails or exposed, suggesting compulsion or restraint, control or chaos. In the center hangs a large horn with a ponytail, reminding us that only a few centuries ago unicorns were a very real creature whose horns were used to purify water and cure the sick. During the Middle Ages and the Renaissance, unicorn horn, now known as Greenland narwhal horn, was an exclusive product and merchandise that contributed to the prosperity of the Nordic region. The work unveils a brutal part of Nordic colonial history, whilst opposing science’s rigid relationship to truth, measurability and archivcal practic.
