In his ‘space poetry’ series, Jesper Fabricius spins a verbal transcript in reaction to socio-political concepts that drive the production of art in response to market trends, governmental corruption and other interconnected phenomena. These statements are juxtaposed by images of genitalia, fornication and/or fabric swaths; each statement and its image feel connected in the critical reading of both, but only after the participating reader negotiates away from their primary analysis of every piece of content.
In Kunsthaefte 29, Fabricius describes, in English and German, several formal considerations in modern art, photography and iconographic studies. Read within the jarring context of a small, stark white zine and several, low-grade photos of genitalia, these ponderings take on a tone atypical of formal artistic comparisons—they become humorous projections of an academic voice, afloat in an informal, yet heavily curated visual layout.