An exhibition in a phoneboot rebuilt as a gallery where I exhibited a Systembolag (the Swedish monopoly licour store) and sold there teeny-weeny bottles. The visitors had to take a number and the entire exhibition as a whole, where this installation was a part was issued a summons by the actual line to "Systemet".

The catalogue text to the hotdogstand-exhibition printed on the grease-proof paper I used for wrapping the hot-dogs:

SIGN,APPEARENCE and CLEAVAGE.
THE SIGN. Not the commonlanguage sign's on beforehand stable and assured significance or objective referent, but the artistic sign's resistance to the conceptualizing igualizing of differences. Their refusal to represent a putative objectuality, an inherent subjectivity. A sign that resists the regularity of the code, that brings light to the filter's blind spots. In the kiosk there is both a linguistic filtration of the world and a subversion and dissolution of this coded world. The filter both cover expose. It partly obstruct the sight, but forms at the same time the visible's existential potential. A division of the room in a behind and an in front takes place in the hotdog stand. A vertical glitter both cover and underline a nebulous form-world. In the centre of the image there is a spot where the glitter is strating to dissolve. The amorhic start to make it's way through, it poses like a layer of fog or mould on the vertical divisions. The divided narrative acknowledges a double reading: an interplay between protruding and entropic dissolution. Without referring to any group (rather to a generation) the sign is significant.Here is always a poyfonic sign that celebrates the opacity, the impermeability and the non-momentarily readability. A sign that has abandoned every faith in itself.