Catalogue > At random

First Citizen (House of the Deaf Man) opens in a small room, where a therapist is in consultation with a young man. Through the use of hypnosis, the young man is experiencing a ma¬nipulation of his unconscious motivation. A feeling of debt is implanted in him through psycho-suggestion. First Citizen (House of the Deaf Man) proposes the idea that the indebt¬edness of the citizen is not only a causality of a flawed eco¬nomic system, but also the last relation that connects the citizen to a community. The only sure way to be part of any power relation is to enter the creditor/debtor relationship. Debt might hence be something that the citizen uncontiously desires - as the only means of experiencing community. First Citizen (House of the Deaf Man) paints an awry portrait of the indebted man with a little help from Goya’s painting ‘Duel with Cudgels’.

Soren Thilo Funder’s works are formal investigations of the power relations of modern day society. Through the use of conceptual visual strategies, cinematic narratives and mise en scène, the works aim to expose the precariousness of contemporary society using fiction to generate new potential spaces for political contemplations and counter-memory. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He has been an artist-in-residence at Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. He was represented at the 19th Biennale of Sydney, 1st Copenhagen Art Festival, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, 2nd International Moscow Biennial for Young Art, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial.