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Felice Hapetzeder. 2015 (5:38)
(Henrik Lund Jørgensen video archive) 


When I received Henrik Lund Jørgensen's material, it was the first time in the Carousell collaboration that I was not immediately confronted with inner resistance regarding to the material's form. The footage was HD quality, and the shots seemed well planned. There was even an actor in the scenes. But what he was perhaps expressing, and the intentions in the filmed material, passed me by. What was the man doing in those places? He was pretty much propped up in architecture, in environments. Thus, meaning could be projected on him, similarly to the associations that Lev Kuleshov experimented with in the Kuleshov effect in the 1910 and 1920s.

In Yes–No, a voiceover voice poses questions. There is a certain authority in the questions, which are taken from Oxford Capacity Analysis, a list of questions advertised as a personality test by the Church of Scientology. What is the meaning of these questions, which seem insinuating; what do they do to a person in a vulnerable position? The work Yes–No is an individual journey, a metaphor for a mental state. Perhaps it can be an inspiration for reflection about how mental processes associated with so-called domination techniques, totalitarianism or sectarianism, affect individuals.