The opening of the exhibition will be celebrated on Tuesday, November 11, 2025, from 5-7 p.m. A warm welcome!

The Wet Language

is a constantly growing series of photographic collage images around questions of language, the body, identity, alienation and belonging: the Dadaist who meets his twin brother. Many of the images have autobiographical undertones. The exhibition is realized as a framed series of digital photographic collages (not AI or Photoshop-processed), all in size 30x40 cm including frame with double passepartout, the glass lies directly against the image and the frame is a few centimeters deep like a “box” or a viewing cabinet. The images have been printed as C-print on Premium Photo Paper, 225 gr.

The Wet Language

marks that the author has now returned to an artistic career that was interrupted by university studies in the early 1970s. It was a time of searching, now it is instead a matter of finding the pictorial equivalence to an authorship that has extended over an entire adult life. Without really knowing how it happened, the author has also linked these ones to the collage images that he presented in 1982 in the montage book En drömmares dagbok (Kaleidoscope), compiled together with the author Thomas Wulff.

The Wet Language

can best be described – but hardly understood – based on the ideas expressed in the books that form the conceptual starting point of the series: Det våta språket (2023, Litorale, Brutus Östlings Bokförlag Symposion) and the novel Döden, döden i Fließendorf (2024, Litorale). The series ties these discourses together on the issue of alienation, exclusion, identities, twinship – in short, the “wet language” as an embodiment of the series’ emotional credo.

The Wet Language

also includes a video projection specially created for the project with texts that "fall apart" into fragments and detached sentences, parts of sentences and individual words and letters. The video was created in collaboration with artist Göran Pettersson.

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