"For the Lulea Summer Bienial I also used local materials. This work was a form of ecological protest against air-travel and its pollution. The theme for the bienial was Industry an Nature and the effect industry had upon nature. All artists that were chosen to participate were invited to come and work there. We were to go by plane. I thought it was ironic that we were harming nature while making an observation about the relation between industry and nature. The timing of the bienual was such that everybody there would be able to experience the mid-summer. A very tempting thing and difficult to refuse but in order to consume less, I knew everybody will have to make sacrifices, I decided not to go and to make a work about that place without having to actually go there. Nowadays many artists travel very much ( I can not say I do not so myself, but try to think before I jump into a plane) and binials are often a means to get many people to the place of the bienial, you could pose that  they have become touristic events and because of the travel they initiate are polluting as well. I made a ‘long-distance work which I totally did over the internet with a local person whom I asked to make daily walks, take photograps and  send them to me. I also asked her to collect material that I choose from the pictures which I felt were representive for the area. According to the plan of the gallery where I was to exhibit I designed a work with these materials. Again this person made the work according to my plans. Next to the installation there was placed a computer on which all our correspondence about the project from the start to the end could be followed. At the end of the exhibition the materials were to be recycled. Because the event was around mid-summer I called the work Equinox, referring to another timing of date in nature."

Most radical is Maria Sezer from Turkey, who in her After the Equinox is attacking the whole biennial culture as an expression of overconsumption and useless waste of resources. Sezer, for this reason, refrained from travelling to Lulea and instead she let a local assistant build an installation according to her directions. It is a thoughtprovoking piece, which with it's low-voiced severity sums up the ideas of the biennial about circulation and responsibility. On the flight home, I sit for a long time thinking about how the global art will change when the oil one day will cease. I for one think that it can be quite interesting.

DN. Kultur/ 9-8-2005, Dan Jönsson