By being turned into Objects for the Subject, woman, colored, and queer are thus deprived access to a Subject position that would enable their voice to be heard, their acts to be accounted for, and their self-representations to be acknowledged within the dominant order. This happens in a few particular moments, for instance, when a bodily organ swishes by the ear into the visual space, or when the sound of two kissing crania, with organ-filled chests slurp close up in the soundscape. A raging fire blazes forth through a long corridor as several cripples hobble in panic in a futile attempt to escape the flames. Artist Magnus Wallin is mainly known for his computer animations, inspired by video games and medical imagery. Wallin does not categorise these various pictorial elements, nor does he grade them.
The images themselves would hardly suffice.
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This body, the very foundation of our existence, which has been so thoroughly examined and dissected, compromised and celebrated by history, science, politics, and art. It is true that every description in word or image in some way is based on observations of an existing reality but the strange thing is that at the same time it creates this reality it says it describes, and that which ought to be outside the representation forms we use to describe it land up just out of sight. This is not bad. But what I find really captivating in this exhibition is its spatial, architectural qualities. The wheelchair as a collective sign for all handicapped was thus specified and individualized and its stereotyping effect became visible.