of just a few varied elements, the nomadic architecture KASANOMADUM
appears as a form ever capable and ever in need of change
like a movement, which an existing piece of architecture absorbs
and captures, so as to turn it around, and send it back, from the
inside to the out. It reveals that aspect of the architecture in
which it appears that cannot be seen. It leads a life of its own
and is visiting Kunstnernes Hus in Oslo. And in showing something
other than just itself, it recurs in everything that can be seen.
itself, a process I have called functionalisation.
KASANOMADUM is the other side of all and any space in which it appears.
KASANOMADUM produces and conveys the obverse of the space, the obverse
of the sedentary space:
of this space of our imagination is the construction of a movement
contrary to the existing construction of the space we assume to
be reality. It is not the space of a counter reality, but rather
the obverse of the space of our reality, without which this reality
would not exist:
of the fiction
of the KASANOMADUM is the space of roving thoughts. Reterritorialised,
I call them fixed ideas. It was through KLARAKASA, which in 1992
became the first home of these roving thoughts, that fiction became
fixed as fixed idea.
In the meantime
these fixed ideas have been subjugated by the pragmatism of our
reality. They were contextualised, in order to check whether they
were sufficiently resilient. Thus we have had, in 1994 BESINKASA,
in 1995 , in 1999 KIOSKKASA, since 1999 Ausstellung der Ausstellung
(Exhibition of the exhibition) and in 2001 DEPOT. Temporary pieces
of architecture were erected and variously occupied according to
various needs. They transformed themselves and adapted to the diverse
requirements of the sedentary, which was thereby brought into question
so as to dissipate its determinative character.
KASANOMADUM deterritorialises the space that it occupies, lending
the external space a temporary form. This thereby comes into being
in the spatial and temporal continuum of a movement, which signifies
mobility and change, in a way that grants roving thoughts form and
space as fixed ideas. All things prospective, approximate, possible
and unconcluded temporarily find their spaces, become contextualised
and are decontextualised.
This wandering around, this roaming among the possibilities of fiction
knocks holes in the bearing capacity of the real. KASANOMADUM is
a machine for the production of art, and simultaneously a dispositional
device through which it is shown.