As Is – Rasmus Pedersen



A while back I bought a small table loom. I was looking for a way to connect some thoughts and experiences from recent archival research projects and years of collective art projects. Also, I told myself, weaving might be a way to shake off some of the demands for mediation, that will sometimes completely smother an object when exhibited. That might be a bit much to ask of a set of horizontal and vertical lines, but nevertheless if something would somehow get stuck in there, that wouldn’t need wordiness (that’s Annie Albers’ term) to come across, that would be wonderful wouldn’t it? We ask it of writing, and well, it consists mainly of the same components. And then, unmediated, would these rag rugs that came off my loom speak of those experiences, in their language of geometrical abstraction, as well as those experiences that we usually try to exclude from portfolios and shows: day jobs, child rearing, etc. I would like them to. After all, it is the same pair of hands that I employ when I work as an art handler, build drywalls, write and translate, and wipe the snot of my kid’s face. It is a lot to ask, but hey, why produce art objects, ephemeral, durational or pseudo-twodimensional (Albers again) if we do not believe that they could do just some of that.


For Patterns in Resistance I had planned a piece consisting of a series of rugs repeating a pattern, installed on top of acoustic panels. I chose the title “AS IS” #2 after a talk given by Mace Ojala from Ethos Lab at an introductory meeting. “As is” is a term used in software licensing, when an open source developer publishes work. Using this term the developer claims authorship, and let’s others change and alter their work, and at the same time (in Mace’s words) says: “I have made this thing, and have made it available for you. If using it causes you trouble, you won’t have the right to take over my life though we are connected through this artefact”. In regard to an artwork, I would rephrase this as: “I have made this form and its function available to you, but it is not my duty to mediate it into wordiness, and if the work somehow resonates with you we are connected through it and please alter and reuse what you like”.


Acoustics were and are not a major concern when planning industrial buildings, and in covering one of the massive mobile walls like this, I was hoping to help facilitate some of the talks and workshops that were going to take place in the biennial. This is often the role assigned to textiles in architecture, and it is a good one: facilitating dialogue. The pattern comes from a photo I took mounting these same acoustic panels while at work hanging a show of video works. The four dark lines mirror the lines of velcro behind the acoustic panels. So here we are back to some wordiness, I’ll end it here. Here are a few photos of part of the work installed at my studio.


Rasmus Pedersen, June 2020