A Zombie walk is a performance documented on film where the artist walks as a zombie through Stockholm.

The soundtrack is paranormal music recorded 1968 by Affolter-Zinner who got contacted through the spiritualist medium Seutmann, passing on some technical instructions for improving the reception of a television set, from Thomas Alva Edson (1847-1931) which in turn worked on the development of an aparatus to communicate with the dead.

The artists starting point is the increased popularity of the Zombie in popular culture which could be seen as a critique of our society.The zombie is currently understood as simultaneously powerless and powerful, slave and slave rebellion.

One could say that the zombie has transitioned from a representation of the laboring, enslaved colonial body, to a dual image of capitalist enslavement: the zombie now represents the new slave, the capitalist worker, but also the consumer, trapped within the ideological construct that assures the survival of the system.

We can see the organization of a consumer environment for the immediate satisfaction of anticipated desires where entire populations move zombie-like and intellectually silent beneath exaggerated images of their unconscious drives.The Zombie also reveals what we fear the most namely losing one’s consciousness- “the self”  and become a part of the monstrous horde. Ultimately the zombie reflects our own mortality. 


Liverpool Biennial 2004

Performance carried out during the Liverpool biennial. The point at which I started was to research if it was possible to carry out a feministic performance as a man.I began with a comprehensive survey of the literature as well as interviews about the history of feminism and what feminism  could be today. What and who decides who is a man and who is a woman? What are the risks of generalising the ambitions of a movement whose wishes may appear to be very different? Who can say these days what is artificial or authentic in a world characterized by bio-political questions? These things among many others are talked about in a recording explaining the procedure of the performance as well as it´s meaning before it´s performed.
Sound (mp3)  
Through the years it has occurred to me that certain motifs recur in performance. I have seen innumerable paintings with hair, naked performances, chainsaws, blood, and various forms of material in movement.

I wanted to create a performance with all of these moves, one after the other. The intention was to find the cutoff point between distancing commentary and the physical presence that actually arises during a live act. By being serious in my performance while using clichéd images I wanted to research the audience’s acceptance of the performance and my own experience of it. 

I burned myself with fried bacon, shaved off my hair in front of a fan, painted with blood, rolled around in earth and flour, washed myself in milk, was crucified, sawed a hole with a chainsaw, and disappeared.
The Wetterling Gallery 2005

To paint for me has always been a physical act. I decided to create a seascape using my body, my clothes, and my hair as brushes. 
Painting is perhaps one of the last manmade objects in the western world. In this performance I have used a somewhat forgotten medium and motif. The aquarelle seascape.
The result brings up the question of academism of style (abstract expressionism) at the same time as the performance in itself adds another narrative.
International Festival of performance art. Minsk, Belarus
In cooperation with Anna Koch. Drawing from a apparitions in Zeitun 1968 and a Japanese nun we created images and movements using flashlights to create afterimages of our own apparitions as well as working with endurance and mental states.



 Shamanistic performance inspired by Samí rituals and pagan myths at Lá- Bas. Helsinki


Participatory workshop. Using transformative methods drawn from different sources such as theater for the oppressed, using our senses in unusual ways as well as Tarot and psychic readings. Exploring different topics both intellectually and with our bodies. Image from workshop in Tallin. Ptarmigan 2013.


Handcuffed is a temporary collective performance where the visitors have to build social relationships without economic transactions. Each person is connected to the other thus forced to move together. Participants are challenged since they will not be told what to do and left for 2 hours in a public space before released.