Oslo Pride 2024
Hele 70.000 gikk i paraden (NRK) på lørdag 29. juni. Å ta et representativt antall bilder er jo klink umulig. Som vanlig i mine ‘100’ prøver jeg å legge fokus på individet og løfter dem ut fra sjøen av mennesker som deltok. Disse mangfoldige, modige og fargerike vakre menneskene fremstår som rollemodeller for oss alle (og ikke minst for våre barn) i sin søken etter frihet, identitet og å være og elske den man vil. ‘Brave New People’, som jeg kaller dem, gir meg både håp og glede. Pride handler ikke om ideologi eller en slags bevegelse mot etablerte normer, men om frihet. Og frihet må bekjempes, som man ser i frihetskampene i Ukraina og Palestina, som var veldig, veldig til stede i Oslo Pride 2024. ‘No pink washing’ på den ene siden og at Pride handler om så mye mer enn regnbuefarger var noen av de tydelige beskjedene på bannere i paraden. Keep up the good work. Gleder meg til neste 100 i 2025.
Hilsen Tjook (frivillig Pride-fotograf)
Oblatum Obligat ’24
Belief systems and their consequences
“Oblatum Obligat” consists of over 2,500 hosties arranged in a human-sized circle, symbolizing individual potential confessions of faith. These beliefs extend far beyond religion, encompassing politics, capitalism, other ‘isms,’ the nation, brands, love, self-belief, and even conspiracy theories. The installation draws parallels to faith and values in the art world, inviting comparisons to Marcel Duchamp’s “Fountain” and the story of “The Emperor’s New Clothes.” It seeks to question and reflect on value creation in the art world. The title underscores how faith shapes value and identity in religion or contemporary art. By contextualizing how art is elevated through collective belief, Tjook invites viewers to reflect on how beliefs affect secular—impacts and cultural and economic landscapes.
The hosties’ circular arrangement and abstract form refer to eternity and the infinite nature of spiritual commitment. Each hostie represents the body of Christ, given for humanity. By using these religious elements in a non-traditional format and placing them on the floor, Tjook challenges viewers to reflect on the relationship between sacred offerings and their obligations in both a religious and moral context.
The hosties, produced in Italy, bear the inscription “Signore, dacci sempre di questo pane” (John 6:34), which translates to “Lord, always give us this bread.” The phrase “what is offered binds” can be translated into Latin in various ways, depending on the exact meaning one wishes to convey.
NORSK: Troens Konsekvenser
“Oblatum Obligat,” består av over 2500 hostier arrangert i en menneskestor sirkel, som symboliserer individuelle potensiale trosbekjennelser. Disse gjelder so mye mer en religioner, det gjelder også å tro på saker som politikk, kapitalisme og andre ‘ismer’, nasjonen, merkevarer, klærlighet, tro på seg selv eller og tro på konspirasjonsteorier.
Installasjonen trekker paralleller til tro og verdier i kunstverden hvor man kan tenke på Marcel Duchamps “Fountain” og historien om “Keiserens nye klær» . Den søker å stille spørsmål ved og reflektere over verdiskapning i kunstverdenen. Tittelen understreker hvordan tro former verdi og identitet i religion eller samtidskunst. Ved å kontekstualisere hvordan kunst også heves gjennom kollektiv tro, inviterer Tjook betraktere til å reflektere over hvordan tro—religiøs eller sekulær—påvirker kulturelle og økonomiske landskap.
Den sirkulære arrangementet og abstracte sirkelformen av oblatene henviser til evighet og den uendelige naturen av åndelig forpliktelse. Hver oblat representerer Kristi kropp, gitt for menneskeheten. Ved å bruke disse religiøse elementene i et ikke-tradisjonelt format og plassere dem på gulvet, utfordrer Tjook betrakterne til å reflektere over forholdet mellom hellige offer og deres forpliktelser i både en religiøs og moralsk kontekst.
Hostiene, produsert i Italia, bærer inskripsjonen “Signore, dacci sempre di questo pane” (Joh. 6:34), “Herre, gi oss alltid av dette brød.”Uttrykket “oblaten forplikter” kan oversettes til latin på noen få forskjellige måter, avhengig av den nøyaktige meningen man ønsker å formidle.
Oil Fur – Tjook (2024)
In Tjook’s art project “Oil Fur,” we are invited to explore the intricate interplay between comfort, ecological awareness, and the human impact on our environment.
Backward into the Future
“If the future looms before us as something very frightening, many of us feel an impulse to step back…” Tjook ’24
The rise of nostalgic nationalism and reactionary forces globally, and the sentiment that progress is a relic of the past, represent a significant shift in societal values and attitudes toward individual development and freedom. This shift is exemplified by various developments, such as the Russian legislation against the rights and organizations of LGBTQ+ individuals, which reflects a broader trend of increasing conservatism and resistance to progressive values. A recent Russian law defines LGBTQ people as extremists: ‘To love the one you want’ is not a fundamental human right but an act of extremism and all supporting LGBTQ organizations are forbidden in Russia now. Many populistic politicians in Europe and the USA want to return to ‘the good old days’ and sometimes more like ‘the middle ages’ with solid religious and Christian values where the Bible and other religious literary sources are still the law for all behavior.
Bible Belt (2023)
As an artist deeply immersed in the nuanced ebb and flow of societal trends, I find myself constantly at the intersection of past and future, tradition and innovation. My most recent artwork “Bible Belt,” but also “Up Next,” and “Double Cross”, are not just artistic expressions but are dialogues in themselves, exploring the dichotomies that define our contemporary existence.
In “Bible Belt,” I have employed the diptych form to symbolize the juxtaposition of two distinct worlds: one rooted in tradition, symbolized by rubies, and the other in a progressive, modern outlook, represented by sapphires. This artwork contemplates the increasing pull of nostalgic nationalism, a phenomenon where certain segments of society yearn to return to what they perceive as simpler, more certain times. But this piece also asks whether we are moving backward into the future.
“Bible Belt” is a diptych comprising two transparent belts, each adorned with twenty miniature versions of the Holy Bible, set in silver holders with plastic gems like rubies and sapphires. These colors symbolize the choice between traditional belief systems and the challenges of a rapidly changing modern world. This artwork visualizes the reactionary tendencies present in both the American and Norwegian “Bible Belts” — regions that, despite their geographical differences, share a retreat towards traditionalism in times of uncertainty.
Inspirasjonen til Bibelbelte kommer fra observasjoner av de aktuelle reaksjonære strømmene både i det amerikanske Bible Belt og den norske “Bibelbelte.” Til tross for deres geografiske forskjeller, deler disse regionene en reaksjonær tradisjonalisme, noe som reflekterer en menneskelig tendens til å holde seg til det kjente i usikre tider.
Verket er en ironisk og protestfylt kommentar til tilbakevendingen til gamle verdisystemer i møte med den moderne verdens usikkerheter. Beltene, som er inspirert av punkbevegelsens bruk av metallpinner og pigger, står som metaforer for ubehaget som kommer med å utfordre status quo og ønsket om å bryte fri fra begrensende strukturer
The inspiration for “Bible Belt” comes from observations of the current reactionary currents in both the American Bible Belt and the Norwegian “Bibelbelte.” Despite their geographical differences, these regions share a reactionary traditionalism, reflecting a human tendency to cling to the familiar in uncertain times.
The work is an ironic and protest-filled commentary on the return to old value systems in the face of the uncertainties of the modern world. The belts, inspired by the punk movement’s use of metal pins and spikes, stand as metaphors for the discomfort that comes with challenging the status quo and the desire to break free from restrictive structures.
Tjook’s “Bible Belt” as a symbol of concern
In this context, Tjook’s artwork “Bible Belt” emerges as a potent symbol of concern regarding these shifting societal values:
Holding On to the Past: The belt, in Tjook’s work, can be seen as a metaphor for holding on to traditional values and norms, resisting the changes brought about by modernity and progressive movements.
Historical Symbolism of Belts: Belts have been used historically to subjugate and control, as in the flogging of enslaved people, women, and children. This historical use underscores the theme of authority and control inherent in reactionary and nationalist movements.
Punk Movement’s Reappropriation: Conversely, in the punk movement, the belt became a symbol of protest and defiance against authority. Tjook’s use of belts adorned with miniaturized Bibles and colored plastic
gemstones can be interpreted as a nod to this reappropriation, symbolizing a stand against the restrictive norms and values championed by nostalgic nationalists.
- Use of references to Rubies and Sapphires: In “Bible Belt,” the incorporation of rubies and sapphires is highly symbolic. Rubies, with their red hue, historically symbolize passion, sacrifice, and the blood of Christ, reflecting deep devotion and spiritual vitality. Sapphires, on the other hand, represent heaven, divine favor, and wisdom. The choice of these gems in “Bible Belt” could signify the deep-rooted religious beliefs and traditional values held by certain societal groups.
- Symbolism of the Belts: The belts themselves, historically instruments of both authority and rebellion, symbolize the tension between control and resistance. One belt, set with rubies, might represent traditional, perhaps more rigid, interpretations of faith and morality. The other, adorned with sapphires, could symbolize a more heavenly, enlightened approach to these concepts.
- Reflection on Societal Shifts: The artwork reflects on the rise of nostalgic nationalism and reactionary forces, suggesting a societal retreat to traditional values and beliefs, symbolized by the attachment to the ‘old’ (the Bible belts) in the face of modern challenges.
Connection with “Up Next” and “Double Cross”
My artistic exploration doesn’t end with “Bible Belt.” “Up Next” and “Double Cross” complement this dialogue. “Up Next” addresses digital influence and algorithmic manipulation, depicted through blister packs and pills symbolizing our dependence on and manipulation by digital media. “Double Cross,” on the other hand, explores the intersection of various religious and cultural traditions, with cross forms and architectural elements as key symbols.
“Double Cross” and Its Context
- Tema: Kulturell og religiøs samhandling og konfrontasjon.
- Symbolikk: Korsformer og arkitektoniske elementer som representerer møtet mellom ulike religiøse kulturtradisjoner.
- Samfunnsmessig Kommentar: Utforsking av religiøs og kulturell identitet og fremmedgjøring i et sekulært samfunn.
Tjook’s “Double Cross” is a complex artwork that offers multiple layers of symbolism and meaning, which, when viewed in context with his other works like “Bible Belt” and “Up Next,” reveals an in-depth exploration of modern societal and cultural dynamics.
Architectural and Heraldic Symbols: “Double Cross” engages with architectural elements and heraldry, reminiscent of flags, nations, and power. This can be seen as an exploration of how cultural and religious symbols and structures shape our understanding of identity and power.
Saint Andrew’s Cross and Inguz: The form of Saint Andrew’s Cross (Crux decussata) and the reference to the Viking symbol Inguz, which symbolizes isolation or separation, create a dialogue about transitioning to a higher state. This may reflect a desire to transcend existing structures or beliefs.
Divination and Insight: “Double Cross” invites a process of divination and insight, a call to “read the signs” and delve into deeper spiritual and cultural questions.
“Up Next” Diptych
- Tema: Digital påvirkning og algoritmisk manipulasjon.
- Symbolikk: Bruken av blisterpakninger og piller representerer avhengigheten og påvirkningen fra digitale medier.
- Samfunnsmessig Kommentar: Kritikk av hvordan digitale plattformer kan forme meninger og forsterke polarisering.
Blemmepakninger og Piller: I min diptyk “Up Next,” bruker Tjook blemmepakninger og piller for å representere den avhengighetsskapende naturen til digitale medier og manipulasjonen av informasjon. Kunstverket kritiserer hvordan digitale algoritmer, som YouTubes “Up Next”-funksjon, kan skape ekkokamre, noe som fører til polariserte meninger.
- Blister Packs and Pills: In my Diptych “Up Next,” Tjook uses blister packs and pills to represent the addictive nature of digital media and the manipulation of information. The artwork critiques how digital algorithms, like YouTube’s “Up Next” feature, can create echo chambers, leading to polarized opinions.
- Artistic Representation of Algorithmic Influence: The composition, forming a text that resembles a raster structure or pixels, symbolizes the digital nature of this influence. It suggests how our perceptions and beliefs can be subtly shaped by what we consume online.
- Connection with “Bible Belt”: Both artworks, though focusing on different mediums (religious texts in “Bible Belt” and digital media in “Up Next”), address the theme of influence and control. “Bible Belt” critiques the clinging to traditional beliefs in a changing world, while “Up Next” highlights the modern challenge of digital manipulation and its impact on personal and collective ideologies.
The Significance of the Diptych Format
In Tjook’s works such as “Bible Belt,” “Up Next,” and “Double Cross,” the diptych format plays a central role, far beyond just an aesthetic choice. It serves as a dialogue between the artwork and the audience, and among the contrasting elements within the artwork itself. This format represents a journey of discovery, a deeper understanding, and interpretation, where the combined effect of the parts offers a richer, more comprehensive meaning.
Each panel in these diptychs is not just a separate entity but also a part of a larger, interconnected narrative, challenging viewers to engage in comparative analysis. This process involves discerning the differences and similarities between the panels, enriching the understanding of their relationship and contribution to the overarching theme.
In these works, each panel reflects contrasting concepts or viewpoints, as in “Bible Belt” where one panel symbolizes traditional belief systems, while the other represents modern realities. This coexistence and interaction of these divergent perspectives are further deepened in “Up Next” and “Double Cross,” where the format is integral to adding depth to the exploration of themes. “Up Next” contrasts the seductive yet manipulative nature of digital media, while “Double Cross” explores the intersection of different cultural and religious ideologies.
The diptych format unveils the relationship between the contrasting elements and their cumulative relevance to the entire concept. This not only elevates the audience’s interaction with the artwork but also deepens the exploration of its themes and messages, highlighting the dualities they represent.
Forgive the nations…
In my artistic universe, I delve into the contrasts and tensions of our modern society. My works “National Egoism” and “States of Violence” stand as critical observations of the current era, deepening the themes explored in my diptych works “Bible Belt,” “Up Next,” and “Double Cross.”
“National Egoism”
“National Egoism/Nasjonal Egoisme” er et logo-kunstkonsept som ble til i en tid preget av fremveksten av høyrepopulisme. Dette kunstverket, produsert i ulike form fra tredimensjonale logoer og neonskilt, til en national egoisme flagg som henger halvstokk og holdes opp av et rød lunte som er festet som skoliser aven rød og blått tursko (ref. the matrix)…see bilde under. I NE prosjektet førsøker Tjook å stille spørsmål ved økningen av nasjonalistiske tendenser i samfunnet. Det reflekterer hvordan nasjonal egoisme spiller en sentral rolle i verdenspolitikken, en tendens til å sette egne interesser først uten støtte fra en tydelig organisasjon eller et selskap. Dette temaet speiler de samme dilemmaene jeg utforsker i “Bible Belt/Bibel Belte” — valget mellom tradisjon og modernitet, og hvordan nasjonalistisk tenkning kan påvirke dette valget.
Tjook’s installation “Å være seg selv nok” (…to be enough for oneself), first exhibited at ‘Gamle Munch Kunsthall)the Old Munch Art Hall in Oslo in 2024 as part of the “Mellom meg og Norge” exhibition, challenges themes surrounding national identity and ethical dilemmas in modern Norway. The artwork employs symbolic elements—a pair of half-height mountain boots, a flag, and a connected red fuse—to provoke a dialogue about self-sufficiency, cultural isolation, and the consequences of national egoism.
The phrase “Å være seg selv nok,” attributed to Henrik Ibsen’s play “Peer Gynt,” encapsulates a theme central to the nature of identity and self-sufficiency. In “Peer Gynt,” Ibsen explores the journey of the main character, Peer Gynt, who lives entirely for himself, pursuing his desires without regard for others. This theme of self-indulgence and isolation reflects the idea of being “enough for oneself” in a critical light, highlighting the tension between self-reliance and selfishness.
Central to the installation are two mountain boots resembling shoes produced in Asia, each painted in one of the primary colors red and blue, connected with a red fuse that functions as shoelaces. This arrangement not only alludes to the iconic choice between a red and a blue pill, known from “The Matrix,” where the red pill represents an invitation to uncover the harsh reality, while the blue pill symbolizes a choice to remain in blissful ignorance. This choice prompts the audience to reflect on the value of truth versus comfort and challenges them to consider the consequences of confronting or avoiding reality in their own lives.
It reflects how national self-centeredness plays a pivotal role in global politics, a tendency to put one’s interests first without the backing of a clear organization or company. This theme mirrors the same dilemmas I explore in “Bible Belt” — the choice between tradition and modernity, and how nationalist thinking can influence this choice.
“States of Violence”: A Critique of the American Dream
In “States of Violence,” I address the darker aspects of the American dream, where the dream has turned into a pyramid scheme and a life-lie. This work criticizes the capitalist system and its role in creating collective frustration and aggression, manifested both at the individual and national levels. The artwork explores how individual rights, like the right to bear arms, can be exploited and create a culture of violence. This theme resonates with the conflict and confrontation I explore in “Double Cross,” where different cultural and religious ideologies collide.
Integrated Themes and Interconnections
Together, these artworks represent a multidimensional exploration of the challenges and dilemmas faced by modern humanity:
- Identity and Influence: They explore how external influences — whether religious, cultural, or technological — shape our perceptions of identity and reality.
- Confrontation and Interaction: While “Bible Belt” and “Up Next” focus on internal conflicts and choices, “Double Cross” addresses the external confrontation and interaction between different cultures and traditions.
- Divination and Reflection: “Double Cross” invites a process of divination, resonating with the reflection on choices in “Bible Belt” and the exploration of algorithmically driven ‘signs’ in “Up Next.”
Final Thoughts
Through my artworks — from the diptychs “Bible Belt,” “Up Next,” and “Double Cross” to the critical observations in “National Egoism” and “States of Violence” — I aim to provide a space for reflection and dialogue. I challenge viewers to contemplate their role in these complex and often contradictory societal dynamics. My artworks are not just visual representations but critical commentaries that seek to understand and challenge the underlying currents shaping our world.
“Bible Belt” is more than just an art piece; it’s part of a broader conversation about our era’s cultural, spiritual, and technological landscape. I look forward to presenting this work at an exhibition in 2024, where I hope it will inspire thought and dialogue among its audience. In a world marked by rapid changes and conflicts, I intend to offer a space for reflection and exploration through my artworks.
About
Hello, I’m Marcel Dekker, artistically known as Tjook, a graduate of the Minerva Art Academy in Groningen, residing in the vibrant heart of Eastern Norway, in the small town of Gan near Fetsund. Today, I’m excited to share the inspiration and thought process behind one of my latest conceptual artworks, “Bible Belt,” which delves into our current era’s profound questions and contrasts.
With warm regards,
Marcel Dekker / Tjook
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‘The Water Monopoly’ – Inverted miracles
In 2012, artist Tjook unveiled his provocative artwork “Water Monopoly” during the water-themed exhibition at Fet Church. This piece explored the intricate relationship between humans and natural resources through compelling symbolism, including white wine bottles and Norwegian gooseberry branches. Referencing the biblical miracle where Jesus turned water into wine at the wedding in Cana, Tjook’s work offers a modern critique by inverting this miracle—transforming wine back into water. This artistic reversal highlights Tjook’s commentary on Norway’s state-controlled alcohol distribution system, Vinmonopolet, and emphasizes his belief that while the state should not monopolize wine, it should indeed control clean water.
Fast forward to 2024, and “Water Monopoly” makes a significant return, this time at the esteemed Gamle Munch Museum. The reimagined installation features 16 white wine bottles arranged in a glass case measuring 37 x 37 x 37 cm. Each bottle contains a Norwegian gooseberry branch and a mix of water and wine from the original 2012 exhibition, bottled by the artist himself. These bottles are labeled with Tjook’s custom-designed Vannmonopol logo, a direct nod to the branding of Norway’s Vinmonopolet.
“Talking Tojo” Invites to Connect
“Talking Tojo” – as part of my *COMU Imperfectum project, blur the lines between new AI capabilities and artistic expression and creativity. The project, invites into a dialogue with generative AI, questioning its impact on aesthetics and identity. (*Imperfect Code Mutants)
In “Talking Tojo,” Tjook paraphrases the famous line from ‘Taxi Driver’ – “Are you talking to me?” Weaving a narrative where AI characters, though seemingly engaging with the audience, are embarking on a journey of self-discovery. This unique artistic venture uses the power of conversation – not just as a tool for communication but as a mirror, reflecting the deeper questions of identity and existence that lie at the heart of both art and human experience
Who or What is Talking?
The characters playing out in “Talking Tojo” are born from a blend of my own textual and visual instructions training and generating new AI experiences. Each portrait, aspiring to a form of perfection, reveals upon closer inspection the subtle discrepancies that define their “imperfect” nature. This notion of ‘incompleteness’ is a crucial aspect of the project, reflecting a deeper narrative about the nature of AI and its place in the artistic world.
Angus and Siren
In this project, Angus and Siren, the AI entities, are not just digital appearances but also have voices that engage in a poignant dialogue about existence. These characters, accessible through short videos, invite viewers into conversations about virtual aesthetics, identity, and the emotions they evoke. This interaction goes beyond viewing; it’s an experiential journey where viewers are asked to reflect on their perceptions and feelings toward these AI beings.
A Thought-Provoking Interaction
“Talking Tojo” is more than an artistic display; it’s a kind of interactive narrative. Angus and Siren, with their longing for life and connection, echo the classic yearning seen in tales like Pinocchio, coming to life and making the wish of an old man come through. They challenge viewers to contemplate the blurring lines between artificial and real, questioning the nature of existence and the potential for AI to transcend its digital boundaries.
Central to Tjook’s work is an exploration of perception: How do we see beauty in these AI creations, and what emotions do they evoke? This contemplation pushes viewers to look beyond the digital exterior to the unique source code, the true essence of these artworks. “Talking Tojo” marks a paradigm shift, much like the advent of photography, where AI-driven art challenges and redefines artistic norms.
In essence, “Talking Tojo: Tjook Lets AI Speak for Itself” is a testament to contemporary art’s dynamic, changing landscape. It challenges us to embrace AI-shaped realities, reevaluate our perceptions, and engage in a dialogue that surpasses traditional art boundaries. Tjook’s work is a call to ponder the significant impact of technology on art and identity, epitomizing how art, in the digital age, remains a mirror of our constantly evolving world.
Behind this project is my own story, a Dutch-born artist who has spent over two decades in Norway, exploring both conceptual and photo-based art at the intersection of art and technology. “Talking Tojo” is a recent culmination of these explorations, offering a unique and thought-provoking experience that contributes to the ongoing discourse in modern art. For more insights into my journey and previous works, I invite you to visit www.tjook.com.
Other AI proisjects bt Tjook:
Bakover inn i fremtiden
Read the English article ‘Backward into the Future‘ here.
En dypdykk ned i min kunstneriske utforskning av samfunnsmessige dualiteter
Oppsvinget av nostalgisk nasjonalisme og reaksjonære krefter globalt, og følelsen av at fremgang er en relikvie fra fortiden, representerer en betydelig endring i samfunnsverdier og holdninger mot individuell utvikling og frihet. Denne endringen illustreres av ulike utviklinger, som den russiske lovgivningen mot rettighetene og organisasjonene for LGBTQ+ personer, noe som reflekterer en bredere trend med økende konservatisme og motstand mot progressive verdier. En nylig russisk lov definerer LGBTQ-personer som ekstremister: ‘Å elske den man vil’ er ikke en grunnleggende menneskerett, men en ekstremisthanding, og alle støtteorganisasjoner for LGBTQ er nå forbudt i Russland. Mange populistiske politikere i Europa og USA ønsker å vende tilbake til ‘de gode gamle dagene’ og noen ganger mer til ‘som i middelalderen’ med solide religiøse og kristne verdier der Bibelen og andre religiøse litterære kilder fremdeles er loven for all adferd.
Bibel belte (2023)
Originalstørrelse: 2 x 120cm x 40 cm (To gjennomsiktige belter med miniatyrbibler)
Bibelbelte er et konseptuelt kunstverk som utforsker dualiteten mellom tradisjonelle trossystemer og moderne virkelighet. Verket består av to transparente midjebånd eller belter, hver utsmykket med tjue miniatyrutgaver av den hellige Bibel, plassert i sølvholdere med innfelte blå og røde edelstener i plast. Disse fargene representerer valget mellom å omfavne tradisjonelle trossystemer eller konfrontere systemer i en raskt skiftende, moderne verden. Dualiteten understrekes ytterligere ved at verkene er utstilt bak glass, noe som signaliserer det unnvikende ved klare svar i dagens komplekse samfunnsdiskurs.
Inspirasjonen til Bibelbelte kommer fra observasjoner av de aktuelle reaksjonære strømmene både i det amerikanske Bible Belt og den norske “Bibelbelte.” Til tross for deres geografiske forskjeller, deler disse regionene en reaksjonær tradisjonalisme, noe som reflekterer en menneskelig tendens til å holde seg til det kjente i usikre tider.
Verket er en ironisk og protestfylt kommentar til tilbakevendingen til gamle verdisystemer i møte med den moderne verdens usikkerheter. Beltene, som er inspirert av punkbevegelsens bruk av metallpinner og pigger, står som metaforer for ubehaget som kommer med å utfordre status quo og ønsket om å bryte fri fra begrensende strukturer
Tjooks “Bibelbelte” som et symbol på bekymring
I denne sammenhengen fremstår Tjooks kunstverk “Bibelbelte” som et kraftig symbol på bekymring angående disse skiftende samfunnsverdiene:
Å holde fast ved fortiden( se tittel ‘Bakover inn i fremtiden’)
Tjooks verk, kan sees som en metafor for å holde fast ved tradisjonelle verdier og normer, og motstå endringene som modernitet og progressive bevegelser bringer med seg.
Historisk symbolikk av belter: Belter har historisk blitt brukt til å undertrykke og kontrollere, som i piskingen av undertrykte eller slavebundet, men også kvinner og barn. Denne historiske bruken understreker temaet om autoritet og kontroll som er iboende i reaksjonære og nasjonalistiske bevegelser.
Punkbevegelsens og gjenbruk: På den andre siden ble beltet i punkbevegelsen et symbol på protest og opprør mot autoritet. Tjooks bruk av belter utsmykket med miniatyrbibler og fargede diamanter kan tolkes som en henvisning til dette gjenbruket, som symboliserer en motstand mot de restriktive normene og verdiene som nostalgiske nasjonalister fremmer.
Bruk av referanser til Rubiner og Safirer: I “Bible Belt,” er bruken av rubiner og safirer høyst symbolsk. Rubiner, med sin røde farge, har historisk symbolisert lidenskap, offer, og Kristi blod, og reflekterer dyp hengivenhet og åndelig vitalitet. Safirer, derimot, representerer himmelen, guddommelig gunst, og visdom. Valget av disse edelstenene i “Bible Belt” kan bety de dype religiøse troene og de tradisjonelle verdiene som holdes av visse samfunnsgrupper.
Symbolikken i Beltene: Beltene i seg selv, historisk sett redskaper for både autoritet og opprør, symboliserer spenningen mellom kontroll og motstand. Ett belte, satt med rubiner, kan representere tradisjonelle, kanskje mer rigide, tolkninger av tro og moral. Det andre, utsmykket med safirer, kunne symbolisere en mer himmelsk, opplyst tilnærming til disse konseptene.
Refleksjon over Samfunnsmessige Skift: Kunstverket reflekterer over oppsvinget av nostalgisk nasjonalisme og reaksjonære krefter, og antyder en samfunnsmessig tilbaketrekning til tradisjonelle verdier og tro, symbolisert ved tilknytningen til det ‘gamle’ (Bibelbeltene) i møte med moderne utfordringer.
Forbindelsen med “Up Next” og “Double Cross”
Min kunstneriske utforskning stopper ikke med “Bible Belt.” “Up Next” og “Double Cross” kompletterer denne dialogen. “Up Next” adresserer digital påvirkning og algoritmisk manipulasjon, illustrert gjennom blemmepakninger og piller som symboliserer vår avhengighet av og manipulasjon av digitale medier. “Double Cross,” derimot, utforsker møtepunktet mellom ulike religiøse og kulturelle tradisjoner, med korsformer og arkitektoniske elementer som nøkkelsymboler.
“Double Cross”- Diptyk
- Tema: Kulturell og religiøs samhandling og konfrontasjon.
- Symbolikk: Korsformer og arkitektoniske elementer som representerer møtet mellom ulike religiøse kulturtradisjoner.
- Samfunnsmessig Kommentar: Utforsking av religiøs og kulturell identitet og fremmedgjøring i et sekulært samfunn.
Tjooks “Double Cross” er et komplekst kunstverk som tilbyr flere lag av symbolikk og betydning, som, når det ses i sammenheng med hans andre verk som “Bible Belt” og “Up Next,” avslører en grundig utforskning av moderne samfunnsmessige og kulturelle dynamikker.
Arkitektoniske og Heraldiske Symboler: “Double Cross” engasjerer seg med arkitektoniske elementer og heraldikk, noe som minner om flagg, nasjoner og makt. Dette kan sees som en utforskning av hvordan kulturelle og religiøse symboler og strukturer former vår forståelse av identitet og makt.
Sankt Andrews Kors og Inguz: Formen av Sankt Andrews kors (Crux decussata) og referansen til det vikingske symbolet Inguz, som symboliserer isolasjon eller separasjon, skaper en dialog om overgangen til en høyere tilstand. Dette kan reflektere et ønske om å transcendere eksisterende strukturer eller tro.
Divinasjon og Innsikt: “Double Cross” inviterer til en prosess med divinasjon og innsikt, en oppfordring til å “lese tegnene” og dykke dypere inn i åndelige og kulturelle spørsmål.
“Up Next” Diptyk
- Tema: Digital påvirkning og algoritmisk manipulasjon.
- Symbolikk: Bruken av blisterpakninger og piller representerer avhengigheten og påvirkningen fra digitale medier.
- Samfunnsmessig Kommentar: Kritikk av hvordan digitale plattformer kan forme meninger og forsterke polarisering.
Blemmepakninger og Piller: I min diptyk “Up Next,” bruker Tjook blemmepakninger og piller for å representere den avhengighetsskapende naturen til digitale medier og manipulasjonen av informasjon. Kunstverket kritiserer hvordan digitale algoritmer, som YouTubes “Up Next”-funksjon, kan skape ekkokamre, noe som fører til polariserte meninger.
Kunstnerisk Representasjon av Algoritmisk Innflytelse: Komposisjonen, som danner en tekst som ligner en rasterstruktur eller piksler, symboliserer den digitale naturen av denne påvirkningen. Det antyder hvordan våre oppfatninger og tro kan bli subtilt formet av det vi konsumerer på nettet.
Forbindelse med “Bible Belt”: Begge kunstverkene, selv om de fokuserer på forskjellige medier (religiøse tekster i “Bible Belt” og digital media i “Up Next”), adresserer temaet innflytelse og kontroll. “Bible Belt” kritiserer klamringen til tradisjonelle troer i en forandrende verden, mens “Up Next” fremhever den moderne utfordringen med digital manipulasjon og dens inn
I mitt kunstneriske univers dykker jeg ned i kontrastene og spenningene i vårt moderne samfunn. Mine verk “National Egoism” og “States of Violence” står som kritiske observasjoner av nåtiden og fordyper temaene utforsket i mine diptyk-verk “Bible Belt,” “Up Next,” og “Double Cross.
Betydningen av diptych-formatet
I Tjooks verk som “Bible Belt,” “Up Next,” og “Double Cross” spiller diptyk-formatet en sentral rolle, langt utover et rent estetisk valg. Det fungerer som en dialog mellom kunstverket og publikum, og mellom de kontrasterende elementene i verket selv. Dette formatet representerer en oppdagelsesreise, en dypere forståelse og tolkning, der den kombinerte effekten av delene tilbyr en rikere, mer omfattende mening.
Hvert panel i disse diptykene er ikke bare en separat enhet, men også en del av en større, sammenkoblet fortelling, noe som utfordrer seerne til å engasjere seg i en komparativ analyse. Denne prosessen innebærer å skille forskjellene og likhetene mellom panelene, noe som beriker forståelsen av deres forhold og bidrag til det overordnede temaet.
I verkene reflekterer hvert panel kontrasterende konsepter eller synspunkter, som i “Bible Belt” der ett panel symboliserer tradisjonelle trossystemer, mens det andre representerer moderne realiteter. Denne sameksistensen og samspillet mellom disse divergerende perspektivene utdypes videre i “Up Next” og “Double Cross”, der formatet er integralt for å legge til dybde i utforskningen av temaene. “Up Next” kontrasterer den forførende, men manipulerende naturen til digital media, mens “Double Cross” utforsker møtet mellom ulike kulturelle og religiøse ideologier.
Diptyk-formatet avdekker forholdet mellom de kontrasterende elementene og deres samlede relevans for hele konseptet. Dette hever publikums interaksjon med kunstverket og fordypelsen i utforskningen av dets temaer og budskap, og fremhever dualitetene de representerer.
National Egoisme og States of Violence
In my artistic universe, I delve into the contrasts and tensions of our modern society. My works “National Egoism” and “States of Violence” stand as critical observations of the current era, deepening the themes explored in my diptych works “Bible Belt,” “Up Next,” and “Double Cross.”
“National Egoism”
“National Egoism/Nasjonal Egoisme” er et logo-kunstprosjekt som ble til i en tid preget av fremveksten av høyrepopulisme. Dette kunstverket, produsert i form av tredimensjonale logoer og neonskilt, stiller spørsmål ved økningen av nasjonalistiske tendenser i samfunnet. Det reflekterer hvordan nasjonal egoisme spiller en sentral rolle i verdenspolitikken, en tendens til å sette egne interesser først uten støtte fra en tydelig organisasjon eller et selskap. Dette temaet speiler de samme dilemmaene jeg utforsker i “Bible Belt/Bibel Belte” — valget mellom tradisjon og modernitet, og hvordan nasjonalistisk tenkning kan påvirke dette valget.
It reflects how national self-centeredness plays a pivotal role in global politics, a tendency to put one’s interests first without the backing of a clear organization or company. This theme mirrors the same dilemmas I explore in “Bible Belt” — the choice between tradition and modernity, and how nationalist thinking can influence this choice.
“States of Violence”: En kritikk av den Amerikanske drømmen
I “States of Violence” tar jeg for meg de mørkere aspektene av den amerikanske drømmen, der drømmen har blitt til et pyramidespill og en livsløgn. Dette arbeidet kritiserer det kapitalistiske systemet og dets rolle i å skape kollektiv frustrasjon og aggresjon, manifestert både på individ- og nasjonalt nivå. Kunstverket utforsker hvordan individuelle rettigheter, som retten til å bære våpen, kan bli utnyttet og skape en voldelig kultur. Dette temaet resonnerer med konflikten og konfrontasjonen jeg utforsker i “Double Cross,” der ulike kulturelle og religiøse ideologier kolliderer.
Integrerte Temaer og Dialog
Disse verkene skaper en integrert dialog omkring:
- Identitet og Påvirkning: Alle tre verkene tar for seg hvordan ytre påvirkninger – være seg religiøse, kulturelle eller teknologiske – former vår oppfatning av identitet og virkelighet.
- Konfrontasjon og samspill: Mens “Bibelbelte” og “Up Next” adresserer indre konflikter og valg, utforsker “Double Cross” den eksterne konfrontasjonen og samspillet mellom ulike kulturer og tradisjoner.
- Divinasjon og Refleksjon: “Double Cross” inviterer til en prosess av divinasjon, eller innsikt gjennom tegn, som resonnerer med “Bibelbelte”s refleksjon over valg og “Up Next”s utforskning av algoritmisk styrte ‘tegn’ i digitale medier.
Samlet sett representerer Tjooks verk en flerdimensjonal utforskning av moderne menneskers utfordringer og dilemmaer. “Bibelbelte” belyser personlige og samfunnsmessige valg mellom det gamle og det nye, “Up Next” utforsker teknologiens innflytelse på vår oppfatning og atferd, mens “Double Cross” reflekterer over de kulturelle og åndelige krysningspunktene i vårt globaliserte samfunn. Disse verkene, både hver for seg og sammen, inviterer til ettertanke og dialog om vår tids kulturelle, åndelige og teknologiske landskap.
Til slutt
Gjennom mine kunstverk – fra diptykene “Bible Belt,” “Up Next,” og “Double Cross” til de kritiske observasjonene i “National Egoism” og “States of Violence” – ønsker jeg å tilby et rom for refleksjon og dialog. Jeg utfordrer betrakterne til å vurdere deres rolle i disse komplekse og ofte motstridende samfunnsmessige dynamikkene. Mine kunstverk er ikke bare visuelle representasjoner, men kritiske kommentarer som søker å for stå og utfordre de underliggende strømningene som former vår verden.
Ustillinger?
“Bible Belt” er mer enn bare et kunstverk; det er en del av en bredere samtale om vår tids kulturelle, åndelige og teknologiske landskap. Jeg ser frem til å presentere dette arbeidet på en utstilling i 2024, hvor jeg håper det vil inspirere til tanke og dialog blant publikummet. I en verden preget av raske endringer og konflikter, ønsker jeg å tilby et rom for refleksjon og utforskning gjennom mine kunstverk.
Om
Hei, jeg er Marcel Dekker, kunstnerisk kjent som Tjook, en utdannet ved Minerva Kunstakademi i Groningen og master psykologi ved Leiden univesitet. Jeg jobber som både kunstener og UX-designer, og er bosatt i det livlige hjertet av Øst-Norge, på en husmansplass nær Fetsund. I dag er jeg begeistret for å dele inspirasjonen og tankene bak et av mine nyeste konseptuelle kunstverk, “Bible Belt,” som dykker ned i vår tids dype spørsmål og kontraster.
Med vennlig hilsen,
Tjook
The cost of the American Dream
Once an aspirational ideal, the American Dream has become a pyramid game and a life lie too many still want to believe in. It creates a few winners and a massive base of frustrated and angry people. It is like a lottery game that sells as a just system where everybody can win, but, only a few can win, and the masses pay for the wins of the few. The capitalist system and ideology play a central role here and is based on greed, and it is a system for making money, not a system designed to achieve a good or better society.
Collective frustration and aggression manifest on the individual level in massive school shootings and on a national level by the storming of the Capitol. The individual right to arm oneself is being exploited by the NRA lobby, which makes aggression a righteous defense mechanism and capitalistic underpinned ideal. The wrong idea is that good people can prevent harm by shooting bad people, as depicted in the Hollywood industry, the game industry, and many other forms of entertainment, underpinning the cowboy hero ideology inherited from an ancient settler and the ‘free world ideology’ where killing people who lived there before was seen as a Christian deed or just as collateral damage. However, statistical facts prove that more often than not, bad people shooting defenseless good people(like schoolchildren)is the real general effect of a lack of gun control: the Second Amendment is a counterproductive obsolete piece of legislation.
Angry people need, love, and vote for an angry populist leader who feeds their anger. Hitler’s “stab-in-the-back myth”, and Donald Trump’s & Jair Bolsonaro’s “the election was stolen” rhetoric are three of many examples with an unfortunately significant and intended effect. These leaders are adept at exploiting the masses’ anger and directing it toward their political opponents for their narcissistic game. Everybody knows in their gut this will lead to confrontation, conflict, violence, and as a nation; ultimately selv- destruction.
Their arrogance is as big as their EGO
The wealthiest capitalists and individuals often evade paying their fair share of taxes, which could provide healthcare for everyone in society. Their actions stem from the greed-driven capitalist system that rewards individuals at the top and encourages what’s known as “moral whitewashing.” They falsely portray themselves as good people who’ve achieved the American Dream by exploiting the system for their benefit while avoiding taxes that could fund healthcare for all. Instead, some prefer to make narcissistic charity donations or host fundraising parties with champagne, leaving healthcare underfunded. They showcase their supposed “moral capital” by traveling to Davos in private jets to discuss inequality, but little action is ever taken.
Historian and author Rutger Bregman made headlines at the World Economic Forum in Davos by suggesting that large marginal tax rates, like those proposed by Rep. Alexandria Ocasio-Cortez (D-NY), would benefit the public more than philanthropy.
The American Dream has become a myth, a lie that still today costs society everything. It perpetuates inequality and creates a society of winners and losers. It is time to move beyond the American Dream and create a society based on and rewards harmony, cooperation, and community. More than ever before in the history of mankind, we need international solidarity and cooperation to solve global crises, including climate change, and address national egocentric tendencies both at home and abroad. We need a fair tax system that is just, one that ensures that everyone has access to healthcare, education, and a decent standard of living, now and in the future. That would give us less aggression and instability and the base we need to be able, both as a national and global society, to move in a better direction with more hope and trust and get rid of the feelings of moral resignation and impotence.
Understand me correctly, I have nothing against the USA in general. The USA has brought a lot of good to the world and continues to do so, and no society and democracy has to be perfect… I definitely would much rather live in the USA than in Russia, China, or any other country that sees individual freedom as a threat to the power of the state. My critique of the American dream is primarily based on the concerns I have for the USA that I love, the United States where a free multicultural society shows that personal freedom and a harmonious society form the optimal combination to offer humanity and our planet a future perspective that me and probably any conscious person in this world would gladly support and contribute to. This America seems to be slipping away, unfortunately… or seems to have come to a complete standstill, why in heaven’s name?
Tjook
SHEBA – Onyx Royale
Hi,
just pure joy, to discover the endless new possibilities of AI software during my Christmas holidays.
Happy new (art )year to all of you in 2023
Tjook – desember 22
Code Mutants
The characters depicted here are generated by AI software which was given both digital text and image input by the artist and processed further into the shown images.
The Queen of Sheba was a powerful and wise ruler who reigned over a prosperous kingdom in Africa and informed the idea behind the SHEBA – Onyx Royale – image series. She was known for her intelligence, beauty, and wealth, and she was admired by people across the globe. And so, the legacy of the Queen of Sheba lives on, inspiring and empowering black individuals everywhere to be the best versions of themselves and to strive for greatness. Onyx Royale – stands for both beauty and class; a black gem with royal qualities
Oslo Pride 2022
Planned, but canceled parade… the day after.
‘Fuck Angst!’ The first image covers the main feeling of the people that showed up at the ‘canceled Pride’ parade after the vicious hate attack on a queer pub in the center of Oslo. The Oslo police advised against the parade because they could not determine that this was in fact a one-man’s attack or that more would follow. This Pride parade should have been the biggest feast ever, after covid and the beautiful weather expected. Most Norwegians and organizations wanted to show their support and love to the queer communities. But ‘fuck fear’ I thought and went anyhow to document with my yearly Tjooks 100.
I met a small community group in the park near the police station at Oslo Grønland. Most of them at the center were those the most vulnerable and used to be exposed to both hate, discrimination and exclusion. There was no visible armed police safeguard to shield them from possible attacks of hate crimes. Officially the parade was canceled so almost no Norwegian organization showed up that day except for the queer guys from Fjellgruppa.
As the parade went to the streets of Oslo singing ‘We are here, we are Queer we are not gonna disappear’ and ‘Kampen fortsetter! ‘(The battle goes on!) More and more people joined, ending up with a few thousand people in front of the crime scene, putting down flowers showing their grief, sorrow, and compassion.
The pictures I took that day were 25. Juni speak for themselves. The following day in the rain I took some more shots. Many manifestations of compassion followed later on and still do.
Love to you all.
Tjook
De laatste lente (novel)
‘De laatste lente’ ( The Last Spring)is a dutch novel about the loss of the muse of the Dutch artist Vince. Vince tries to find out why there is no hope for a love affair with his muse and is confronted with the fact that the traditional roles between artist and muse are not compatible with the need for an equal life partner. ‘De laatste lente’ is an emotional account, a revisionist love story, a journey back in time, from an end to a new beginning.
‘De laatste lente’ is Tjook’s writing debut and was published by DOUBLE CROSS in October 2020
Dutch bookshops:
Een bed in straatrumoer
A bundle containing 20 Dutch poems and 20 art photos produced in the 1980 – 1994 period by the artist Tjook and published by DOUBLECROSS
Preview on Blurb
Oslo Pride 2010 – 2021
No pics this year because of COVID, therefore a selection of my pictures from the Oslo Pride parade over the last decade. Enjoy:)
World-class art and the void… Subjekt.no
‘I want to show the void after the terror. Where only the visual arts are intact’ Tjook
“Up Next”
“Up Next”: The Digital Dilemma
“Up Next” spirals out from the personal and historical into the digital realm. Here, the diptych form takes on a new meaning, contrasting the addictive allure of technology (embodied in blister packs and pills) with the stark reality of algorithmic manipulation. It’s a commentary on how our perceptions are shaped, not just by what we see but also by what we are shown. In a world where ‘next up’ is often a sensational or extreme viewpoint, how free are our choices?
“Up Next” consists of 2 works made of blister packs and pills. The title “Up Next” is designed as a text in both works. The composition forms a text and provides an association with a raster structure or pixels.
Some vloggers use the Red Pill analogy from the Matrix films to point out that their message reveals the truths that official media want to cover up. Here, manipulative and populist communication strategies are used hand in hand with Youtube’s commercial «Up Next» technology «. «Up Next» is a direct reference to a seductive technology or algorithm from Youtube. «Up next» videos appear next to or under the videos YouTubers watch. The technology exposes users to growing sensational and sometimes more extreme content within their areas of interest. This, in turn, may lead to groups watching different channels on YouTube gaining more extreme opinions over time, which in turn can lead to a polarization of opinion expressions. Viewers can get hooked and spend more and more time on the YouTube channel and thus are exposed to more advertising which in turn increases YouTube’s revenue. With this work, the intention is to aestheticize, materialize, and problematize this phenomenon.
What is Up Next?
Because our future entails many uncertainties, it is easy to escape into the digital world to look for answers and content that addresses our feelings, fears, and uncertainty. We also can experience having more control. My work is inspired by pop art and the conceptual art tradition and artists such as John Giorno, Barbara Kruger, Jenny Holzer, Lars Ramberg, Kjartan Slettemark, and General Ideas. Up Next was inspired by a podcast of @DimitriTokmetzis / @HassanBahara/ @AnniekeKranenberg – you can find their content on ‘de Correspondent’