Backward into the Future

Norwegian text

“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.

1. 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.
2. 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.
3. 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.

1. 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.
2. 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.
3. 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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