exposition

2020     landscape (ceremony of misunderstandings), performance at Kunstnernes Efterårsudstilling 2020, group exhibition. Den Frie Centre for Contemporary Art, Copenhagen
2020     geist (brothr), ephemeral sculpture at Skygger dannes, group exhibiton. Atelier b8, Copenhagen
2020     in'kōd, tunnel installation at Situationist, group exhibtion. Situationist, pan-continental
2020     untitled (trauma), etchings at Misplaced, group exhibiton. Oped Space, Tokyo
2020     earth, engraving at KITE 4, group exhibition. Airbound Space, London
2020     leak, sound entry at CD MIX, radio show. Export Radio, London
2020     fuck digitus, video at thumb, group exhibition. Virtual
2020     sorry (language is a virus), performance at We Need To Talk About It, group exhibition. Hanover Space, London
2020     untitled (trauma), etchings at WiP Show, group exhibition. Royal College of Art, London
2019     en vild ro (a wild tranquility), performance at Native Instincts, party. The CLF Art Cafe, London
2019     sejerø, etching at 9th (an exhibition of prints), group exhibition. SLAUGHTERHAUS, London
2019     teeth/trash, drawings at Degree Show, group exhibition. Chelsea College of Arts, London
2019     journal contribution, launch of Sculptorvox Vol. 3: A God Complex (ISSN 2515-7329 03). Standpoint Gallery, London
2019     activation of mpaacc v0.0.1, performance at Safehouse, group exhibition. Safehouse 1 & 2, London
2019     everybody’s down, sculpture at Safehouse, group exhibition. Safehouse 1 & 2, London
2019     bios, installation at spareroom space, solo exhibition. Lucas Court (council estate) Battersea, London
2019     sejerø, installation at We, aaaaabakapblicbchcs....nzratrwsjksocspswthhyc, group exhibition. Triangle Space, London
2019     Guest Hacker, Operation Earnest Voice. The Photographers Gallery, London
2019     synthetic reading, performance at Annual Radio Show, radio show. Piet Zwart Institute, Rotterdam
2018     synthetic reading, performance. Chelsea College of Arts, London
2018     bios, cyanotypes at Anonymous, group exhibition. Chelsea College of Arts, London
2018     found objects 4: gold tooth, sculpture at In Progress, group exhibition. Chelsea College of Arts, London
2015     treponema-pallidum, drawings at Vi Tager Intet Ansvar 3, group exhibition. KW3, Copenhagen
2015     various paintings at Kulturkajen Docken, group exhibition. Copenhagen
2015     various paintings at Åbne Værksteder, group exhibition. Kunstforeningen 2100, Copenhagen


publication

2021     Journal contribution (prose): Dog Days. The Pluralist #1
2020     Book (dissertation): In search of primordial technics I. mpaacc
2020     Journal contribution (poetry): LER, FUND. Slagtryk - tidsskrift for digte & kortprosa (#5)
2019     Zine contribution (prose): hukommelses-id: 14. UNIVERSET ER EN FÆLLED, Center for Militant Futorologi
2019     Journal contribution (sculpture): хардкор. Sculptorvox Vol. 3: A God Complex (ISSN 2515-7329 03). A contemporary sculpture journal
2017     Journal cover (etching): untitled. Slagtryk - tidsskrift for digte & kortprosa (#6)
2015     Book (prose): Blå bøjende aura (ISBN 8799839504). Forlaget Foliom

text

2020     landscape2020-11-21.json
2020     LER, ETIKET, FUND (Danish), Slagtryk - tidsskrift for digte & kortprosa. Poetry
2019     Rids af en kritik af samtidskunstens svar på tegning i Danmark (Danish), IDOART.DK. Criticism
2019     Into the revitalisation of printmaking beyond the expanded field. Essay
2019     Presentation manuscript. Manuscript, statement
2018     AI creativity and demystification. Essay
2017     4 Writings (synthetic reading). Prose

curatorial

2020     thumb: a net exhibition concerning virtual scale and drawing
2019     mpaacc v0.0.2 (Multipresent Anti-Aggressive Communal Computer) infiltration 35.191299, 24.465309, 25 June, 15:44 GMT+1. Meditation
2019     mpaacc v0.0.1 (Multipresent Anti-Aggressive Communal Computer), infiltration 51.4698555,-0.06522284422128638, 8 May, 19:45 GMT. Sound and vision of inhibitors Panser Kone, Suzic, Ill Ill, id-9781, Meta, A Body Which Does Not Move Is A Dead Body, Fatemah Kazemi, Tom Chisholm, Theodor Præst Nymark Jens

education

2019 - 2021     Master of Arts, Royal College of Art, School of Fine Arts
2018 - 2019     Postgraduate Diploma in Fine Arts, Chelsea College of Arts
2016 - 2018     Mentorship, Asger Carlsen
2015 - 2016     Preparatory course, Copenhagen Art School
2012 - 2013     Computer Science, CBA (discontinued)
associate

2020     Member, printmaking at Grafisk Værksted Næstved
2018     Member, printmaking at SLAUGHTERHAUS, London
2015     Member, printmaking at VÆRKSTEDERNE
2019     Member, Billedkunstnernes Forbund (BKF): Danish Visual Artists
2019     Member, Danske Grafikere (DG): The Danish Printmakers Association
2018     Member, DRAW reading group (interdisciplinary approaches to drawing) at University of Arts, London
2014     (ended) Founder, kollektiv, Ved Klosteret
2018     Founder, exhibition space, mpaacc (Multipresent Anti-Aggressive Communal Computer)
2019     Founder, research project, mnet (Mundane Nature: Ecology with Technology)
2016     Technologist, Better Collective

awards

2020     Distinction award (thesis), Royal College of Art
2019     Distinction award (degree), Chelsea College of Arts


placements

2019     Artist presentation at Banqueting Hall, Chelsea College of Arts

contact

+45 2538 0331, aarvik92@gmail.com
Studio based at Royal College of Art, London, or Raadvad 40, Outer Copenhagen

/

Dead, static, discharged bodies that only sparks. Literal and othered bodies, lie on the ground, on their backs, and can not rise. Their joints are missing or disassembled. They become a metaphor for technical bodies and systems, that are explored through formulas, materials and cooperation with machines, such as intangible computers, synthetic voices, computer vision, drawing, clay, printing presses, and other signs of engagement.

These mythical and technical explorations manifest themselves in experimental, relational and diagrammatic activities where the actor is in the same place as the spectator, interpreting and questioning in monotony. Activities are constantly reduced and abstracted through (im)material manifestations, paralinguistic activities, and isolated worlds where definitions are not dependent on authority (e.g., the searching definitions of Primordial Technics and Deadpan Technics).

Technics becomes an expanded and poetic field within ontology, art and the everyday, that can be rethought through sensorical registers and representation, not structures of engineering.