J.b.i.f.d.m.i.d.f.i.
Berlin, 8th of September, 2022.


Abstract yin with
ebony yang,
capturing my essence
as the conceptual
picture sang.

I see blurs and blotches,
black and white swatches.

Swirling colours
hints of darkness and light.
Bringing me to be blinded
by an artisan's sight.
Oh, I wish I may,
I wish I might,

see the balance of this
world tonight.

I see the larger picture
that the universe has fabricated.
The wonder of the salvation
of what yin and yang
has created.

Yin Yang, written by Beautiful Scars on www.allpoetry.com, circa 2017 .


J.b.i.f.d.m.i.d.f.i. , is a hyper-retrospective exhibition comprised entirely of works produced by or for .
Within the exhibition, a nonchalant leather couch, a carpeted floor, a high-top conference table and a digital canvas print set the surrounding for a series of carefully executed courtroom sketches documenting 's previous exhibition Just because it’s fake, doesn’t mean I don’t feel it!, a pseudo-morphological group exhibition which opened on the 3rd of June, 2022 in Stockholm.

Central to the effort that is J.b.i.f.d.m.i.d.f.i, is the contradicting and divergent forms of formalities within the exhibition as a whole, such as the leather couch being an object of supposed leisure in contrast to the conference table’s potential as a setting for professional parley, or the in-vitro mediated exhibition documentation in the style of courtroom sketching as opposed to the expected and ubiquitous medium of documentary photography.

The medium of courtroom sketching carries with it its own connotations of contradiction as a subjective attestation medium within its sphere of bona fide truth telling, e.i. the courtroom. Here we often see the sketcher’s attempt to make the medium convey more material than the eye can perceive from inside spaces where the existence of the medium itself is based upon camera equipments historical disallowance within them.
Canadian courtroom sketch artist Lauren Foster MacLeod whom worked alongside for the production of the drawings seen in J.b.i.f.d.m.i.d.f.i, recently gained attention from various news outlets in North America for her attempts towards an absence of subjectivity in her recent courtroom sketches. These images can be seen showing trials held during video call conferences with judges, jury, etc. displayed from the domestic perspectives of their webcams alongside or behind the user-interface of conference-call software, somehow appropriating or adopting the qualities of a screenshot. The images she produced show a stark view of how quickly our reality changed in the recent pandemic times, but they also comment on what we are expected to erase or conceal from our virtual experiences when we display these as subject to public viewing.

J.b.i.f.d.m.i.d.f.i forms an environment that exists in and of these dualities and contradictions, baring in mind that this is not the only thing the exhibition does, and that these contradictions are, of course, non-existing, manufactured, fantasized and fabulated, as the works and items in situ transcend their supposed symbolic value and nullifies this simpler dualistic/yin-yang understanding of the exhibition, even if the exhibition at times strives to produce it.
But to use and expand upon the yin-yang symbol, I propose that we attempt to observe the exhibition’s contradictions and divergences metaphorically as a symbol now morphed onto a colour selector wheel.
This metaphorical icon I imagine as a symbol where the yin-yang contrast and contours are placed on the colour wheel as a backdrop, and whereas the original yin-yang exclusively holds two valuables, light and the absent thereof, then for every slight rotation of our new icon, the symbol can be seen changing its perceived appearance until the circle has turned 180 degrees and has lost all its semblance to its original colour palette. The result of this is that the changing contradictions of the exhibition, although still present, are no longer recognisable from its initial vantage-point, and that the divergences and contradictions of the effort can thereafter no longer be understood as a central aspect of the exhibition.
Mads B. Sørensen

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