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Lina Lundquist

An ever-expanding vortex is devouring everything in its way, gulping time beyond the division of day and night, striving for endless productivity and a world beyond the need for sleep. Rest is for losers in a hyperactive world without shadows. But the pineal glands of somnambulists working the night shift refuse to believe that the overhead fluorescent of a predawn 7-Eleven is sunlight, leaving them without melatonin and deep sleep. A zombie-like standby, always on edge, deprived of all dreams beyond the one of self-made success. An insomniac state characterized by fragmentation—of attention, organization, and time when the boundaries between labor and leisure, consumption and production, commodity and producer, are blurred. These ideological frameworks are made invisible by being presented as natural, so atomized they elude overview, leaving the individual simultaneously exhausted and overstimulated. Restlessly scrolling for boredom breakers, looking for ease in yet another pulse-measuring gadget. 

In assemblages of objects and images, my works reflect on the materialization of dominant ideologies. Through a shift in an object’s function or placement, I direct attention to its history of production, merging traces of structurally determined desires, reflecting the infrastructure of industrialization. Assembling elements separated by the idea of chronology, peeking through the fissure in the drape of normality that veil the all-encompassing catastrophe. A Frankenstein’s monster—an animated composition of dispersed fragments—threatening to reveal the recklessness of progress. The glitch is a reminder that we are listening to a time out of joint. A grain of dust on the lens emphasizes the spatiality of technology. The low-resolution image bears the traces of its movement: how it was copied, compressed, and distributed. Held together but dispersed to dispel any illusion of wholeness. 

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