In this work I explore the readability of image and sign, and our mania to interpret when they stand next to each other like textual language. In the piece I used one of the first "shock pictures" flourishing on the Internet (goatse man) and the swastika, a symbol with different meanings in different times and in different parts of the world. The idea that art are not there to find answer, but rather to formulate questions and angles to problems, are central to the piece. It objects to the idea of representation and the notion that symbols and signs have a static intelligible meaning. The aesthetic and structure of the banner refers to the comic strip and the combination of figurative and abstract attach to different painting traditions. It can be read as a commentary on the absurdity of the condemnation of the abstract art and the acclaim of the figurative in states like Nazi Germany.

The structure of the title I borrowed from Duchamp’s piece The Bride Stripped Bare by Her Bachelors, Even. In that work Duschamp goes beyond a strictly conceptual tradition, approaching a complex composition that calls for multiple readings, divergence and creativity.

The liability to use images and signs as language showed when the textile was censored from "Vulnerability", an exhibition of contemporary art, done by women artists, part of the Moscow Biennale 2009.

Image from Gallery 54, Göteborg. The banner was installed as a drapery so the visitors could drag/fold the fabric back and fort to make parts of the piece more or less visible.