In the original performance of “À la recherche de l’information perdue” (Bergen, Reykjavik, London, Leipzig), the artist takes us on an adventurous trip into the realm of zeros and ones, of data and pure information, of ciphers, signifiers and figures. On the other side of reality, we encounter suspected heroes, leaks and phreaks, engineers of escape who control our secret desires. Rape can be performed in many ways. In a state of total transparency: what shall we eat, when society feeds upon the repressed?
The performance (2018) is a technofeminist comment on the WikiLeaks case and Julian Assange’s confinement following a rape accusation. Instead of making a moral judgment, however, the performance uses and combines sources from information science, psychoanalysis, cultural studies, feminist studies, and activism to embed the case in a wide cultural landscape in which gendered structures become more than obvious. The performance is divided into nine chapters with headers—Information, Organization, Zeroes & Ones, Binary Worlds, Pure Difference, Cyberfeminism, Gender & Technology, Naked Information, and Transparency—and creates a captivating atmosphere by the use of sound and visuals.
The image on offer is a digital collage (2022) that is composed of elements of forensic evidence (photo of ripped condom) as included in the official police report of Swedish police dated 25 October 2010.
