24 April – 1 june 2020


In her visual art practice, Natalie Price Hafslund (b. 1987, UK) pushes at the borders of normativity and psychosis, disturbing inherited ideas of sociological conditioning and disputing perpetual abuses of power. As part of her solo exhibition CLEAN CRIMINAL  in 2018, Hafslund presented three succinct living images at UKS:



In Assassin (2018), Hafslund highlights immoral systematic abuses of (male) power. Having created a DIY-bust of actor and director Woody Allen—notoriously accused of sexual misconduct within his own family—and having studied the classical trick of shooting down someone with a (playing) card, Hafslund tirelessly repeats this gesture using her iPhone.



In Silver Woman (2018), Hafslund plays the role of the desired female object; and yet, silver-plated, she is shining back, returning the gaze of the viewer.



With a soundtrack consisting of an incessant, rhythmic banjo line taken from the award-winning American wilderness thriller Deliverance (1970), Hafslund’s Hollywood Forever (2018) finds the protagonist in a netherworld under a famous Los Angeles graveyard. Hidden in a fresh burial pit dug between graves of the creators of the movie industry—the authors, producers, financiers—the hunky man/woman protagonist channels a (hidden) frenzied pleasure submerged under the regulated stream of entertainment.


Read more about the exhibition in our archive.

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