Væsner. Episode 11: Noise


It seems as if the small street where I live has grown noisier while I was gone. Maybe it’s just that I’m still attuned to the silence of the summer cottage, but it sounds as if heaps of metal and rubbish are pushed by a strong wind up and down, up and down the street all night. The gate to the yard is right underneath my bedroom, and it quivers and roars as if drunken people hammer and kick at the old wood all night. It’s an old gate and it’s a noisy one, nothing new there. It’s just never been this bad before. Is this the summer-party-high season? I’m too old to know. I’m also too old to stay awake all night, listening to bellows from the yard and the jangles of rubbish from the street. I need sleep. I need quiet.

I need to not be thinking about bloody gates.

We bring episodes of the blog-series Væsner every week. For previous episodes, follow the tag ‘væsner’. Join the Monster Network on Facebook or follow us on Twitter for updates.

‘Væsner’ is written by Anne Nielsen. You can follow the True & Accurate Accounts of her experiences with Copenhagen Gate Services, strange weather and dancing shadows on her blog and on Twitter.



Væsner. Episode 10: Oven III


Posted on August 3, 2016

“What kind of pizza did you have?”

“What? When?”

“That night with the oven-letter. What kind of pizza was it? The pizza-burger-pepperoni one?”

“Narh, vegetarian. Didn’t get to make it, though.”

“Why not?”

“I don’t know. This whole letter thing freaked me out a bit.”

“How’s that an excuse for not making pizza! I once found a handful of hair in the oven. Roots and all. Still made the pizza. Topping is topping, you know?”

“Hair …”

“At least with the letter, it’d still be vegetarian.”


We bring episodes of the blog-series Væsner every week. For previous episodes, follow the tag ‘væsner’. Join the Monster Network on Facebook or follow us on Twitter for updates.

‘Væsner’ is written by Anne Nielsen. You can follow the True & Accurate Accounts of her experiences with Copenhagen Gate Services, strange weather and dancing shadows on her blog and on Twitter.



Invitation: conversation piece

At the Why Monster Studies Now? symposium, artist Liv Bugge presented some of her exciting art projects. Now she invites you, the people of The Monster Network, to participate in a conversation piece on the subjects of telepathy, time, materiality and the environment.



Tuesday 19th of December, at 6 pm

Oslo (Place to be announced)


People from the Monster Network are hereby invited to take part in a group conversation with an object and historical entity, a couple of million years old. I am hosting a session, or exercise, where the task is to communicate through material and time, using telepathy as a technique learned from the school of animal communication. The session involves a group meditation, to allow images, sensations and feelings to flow in our bodies in the meeting with the object in conversation, followed by a group discussion. The exercise comes from an interest in the image production of awake and sleeping dreams, meditations and telepathic communication. In a playful way we focus on reading in a broad sense, as well as the collectivity and temporalities of the subconscious, on both a singular and collective level. The session is an exercise in nonlinear ways of relating to historical existences and concepts of time, as well as using the whole body as a image producing apparatus. This conversation is part of a larger artistic research project questioning the normative beliefs concerning our relationship to the environment, by exploring ways in which we use the concepts and narrations of nature to constitute and consolidate our own history writing as well as our governance of resources and bodies.

The conversation will be documented with an audio recording, which will be transcribed and may be used in production of artworks. Information about this development will be given to the participants. The conversation will be in English if any non-Scandinavian speaking people are present.

The session is open for a maximum of 15 people. The participants will receive the sum of 300 NOK each that will cover transporation etc.

Please email to LivBugg@khio.no before December 12th if you would like to participate, with the subject line “conversation piece December”.

Liv Bugge

Research fellow

Academy of Fine Art, Oslo

 In Norwegian:


19. desember klokken 18:00

Oslo (info om sted følger)


Jeg søker med dette deltagere fra The Monster Network til en gruppesamtale med en historisk eksistens. Continue reading

Væsner. Interlude: Worse Things + Here be Monsters

We’ve chosen to jump to the most recent episodes of ‘Væsner’ this week, thereby disturbing the chronology a bit. It feels more timely this way.

Væsner – An Interlude:


Worse Things

Stay safe. And bring the revolution.

Here be Monsters

Anne Nielsen?


“Yes, I’m here.”



No, I’m not here. Not at all. This past month has been surreal to say the least and has proved to me that there are things going on that I cannot possibly understand nor even imagine. Monsters and The Digging Dead, otherworlds and portals and void-seas and a rabid tangerine in a White House. I’m not here. I’m not here at all. I’m somewhere else, and I’ve no idea where that is. Until I have a slightly firmer grip on my new reality, I’ll keep the updates waiting a little longer. I need some time to mourn the loss of a world I thought I knew and a future I’ve been taking for granted.

Stay safe out there, people. If nothing else, here be monsters.


We bring episodes of the blog-series Væsner every week. For previous episodes, follow the tag ‘væsner’. Join the Monster Network on Facebook or follow us on Twitter for updates.

‘Væsner’ is written by Anne Nielsen. You can follow the True & Accurate Accounts of her experiences with Copenhagen Gate Services, strange weather and void seas on her blog and on Twitter.



Monsters, politics, resistance. A Monster Network update

During the Why Monster Studies Now? symposium in Oslo in October, the steering committee of The Monster Network met and discussed our plans for the future. In the midst of Brexit, the refugee crisis, the financial crisis, the war on terror, the rising nationalism across countries, the war in Syria, the attack on women’s right to abortion in Poland and many more terrible things that are currently going on around the globe, we decided that our future projects should somehow engage with the subject of politics, monsters and resistance. After the American presidential election, this decision stands stronger than ever.

As a network, we want to explore and implement the kind of ethical work and resistance monster theory has to offer, and we want to do so as collectively as possible. We therefore hope to be able to get back to you all with more information shortly and invite you to some exciting, subversive things indeed.

/The Monster Network






Visual Monsterisation Strategies

By Annegret Maerten

Monsters thrive in the messy swamps of pop culture. They live in the fertile space where classic literary narratives and traditional aesthetic norms are blown apart by visual strategies born at the crossroads between political turmoil and contemporary taste. The particularly adversarial climate of the current American Presidential election campaign proves that monsters are nourished by culture’s incessant need for new imagery.

In an example from a couple of weeks ago, game designer Mike Selinker worked with several illustrators to produce an adaptation of the well known ABC book The Gashlycrumb Tinies by Edward Gorey. The original 1963 illustrated book is an assembly of macabre pictures about children meeting their unfortunate ends through such creative mishaps as being “sucked dry by a leech” or being “devoured by mice”.


In 26 different images the 2016 persiflage transposes the visual language of the original source directly onto a set of new images. While most of the illustrations in the amusing A-Z feature distorted drawings of Trump, it is the last picture that eventually sees him morph into a tentacled, bog-eyed and bewigged creature, wafting over a dystopian landscape and ushering the little girl Zeitgeist over a cliff. The Trump ABC is a reinterpretation directly addressing a range of policy issues that the illustrators see as marking out the Conservative candidate as unsuitable for the office of Commander in Chief. In doing so it relies heavily on the retention of the original alphabet structure and uses textual elements to deliver its criticism.


This first example shows the ways in which satire allow us to make sense of current issues through already familiar visual contexts. While stealing from or ‘being inspired’ by other art work is one of the most common ways for artists to find authentic expression for their own ideas, most monsterisation processes are a lot more complex than this. Often when a new monster is born, it dodges attempts to be assigned a conclusive meaning. This is not only because it draws its fangs and slimy limbs from a variety of visual sources, it also relies on the violent deformation of forms and contexts. Monsters leech off images that are freely circulating in popular culture. In their bellies they churn around these ideas and regurgitate them into new, puzzling and scary shapes.

When monsters fuse the remnants of several texts and images onto their bodies, it is not only incredibly difficult to make out the exact sources that have served as inspiration; exactly what they are saying, alluding to and achieving also becomes much more ambiguous.

In October a Big Issue magazine featured a cover illustration of Donald Trump in jarring colours reminiscent of the iconic ‘Uncle Sam’ image in which a man points at the onlooker. Big Issue, for those not familiar with the British publishing landscape, is a magazine set up as a social enterprise and which has been around since 1991. It prides itself on producing high-quality journalism and is published on behalf of homeless and vulnerably housed people who are able to support themselves through working as street vendors. The magazine covers are usually laid out in striking colours, sometimes featuring celebrities or allusions to current affairs. The picture on that particular issue is special because it is not merely an amusing picture of a person of current interest, but because Trump has been turned into a zombie-like creature. (EDIT: As critic Andrew Haydon has just pointed out to me, the aesthetics of the figure are directly informed by the John Carpenter alien invasion B-Movie They Live which was made in response to Reaganomics. In the film a special pair of sunglasses allows the wearer to detect the weaknesses of the American democratic system as personified in the fleshless aliens. Below I hint at the various visual and pop culture influences that have come together in this figure.)


The origin of Uncle Sam as the personification for the United States is apocryphal but likely dates back to at least 1812 when America was, still, or yet again, at war with Britain. It took about a hundred years, until 1916 for the image we know now to solidify into its iconic state. The illustration by artist James Montgomery Flagg appeared first in the magazine Leslie’s Weekly under the title “What Are You Doing for Preparedness?” and later, in the Second World War, served as a military enrolment poster. The creature with its exposed jaw and teeth also has distinctly zombie-like features. The idea of Uncle Sam as a zombie is not new: in 1996 — a time in which the States were involved in numerous military operations all over the globe — a horror military comedy lured punters into the cinema with the catchy tagline “Uncle Sam wants you… dead!” Now, this unspecific personification of America’s national pride has been swapped for an actual politician.

This Trump Monster both invokes the uncertainty about America’s future and plays to the popular conceit of a dystopian apocalypse. The flesh is taken off its face, revealing the sinews underneath which are made up of the colours of the American flag. The ‘rotten core’ forms a visual antithesis to Obama’s iconic 2008 election poster in which the colours of the flag are unambiguous and blocky, an image surface on which ‘Hope’ is quite literally projected. Instead, the projection of fear reflects back at us a jarring zombie-esque face, and instead of “Hope” an ironic “Nothing to fear” in a B-Movie alien flick font is splattered across as an ominous warning. The Trump Alien erupts from the complex paradoxes that underlie American history exactly in that moment when the patriotic idea at the core of Uncle Sam is twisted into senseless oblivion by a demagogue.


Another example draws heavily from European cultural history. Greek mythology in particular with its unreasonable deities and suffering demi-gods has been a rich source for artist reworkings throughout the millennia. Cursed by the goddess Athena for ‘laying with’ Poseidon in a sacred temple, the snake-headed female Medusa has become a popular choice especially when attacking women in power.


Vanity Fair’s illustration by Edward Sorel which depicts Trump as the ancient Gorgon beast appears a strange choice for a refiguration of Trump as monstrous. According to some interpretations of Ovid’s take on the story, Medusa was cursed by Athena after being raped by Poseidon. It introduces a strange irony into the picture to cast a man accused of and bragging about sexual assault in the role of a vilified woman. There is after all a history of female artists of reclaiming monstrous females, such as Medusa, to probe into female relationships (Sylvia Plath, for example, wrote a poem about her mother which alludes to the myth).

The article accompanying the picture discusses the convoluted tax issues around Trump’s business empire. Therefore the central themes of the underlying myth have been completely emptied out and have little bearing on this new monster. Instead, an amusing jibe about Trump’s unruly hair is fused with the symbolic character of the serpent standing in for regeneration. This aspect is perhaps more prominent in the myth of the many-headed snake creature Hydra which regrows a new snake head if one has been hacked off.

More intriguing in context with the same mythical background is this street poster which depicts Democratic nominee Clinton as a female Perseus slaying the Medusa. While the askew Medusa/Trump parallel is still present, the focus of the image is on Clinton dressed as the American comic book super hero Wonder Woman.


In the original myth the alliance between the cursing goddess Athena and the conquering hero Perseus stands opposite the perpetrator Medusa. The two women, according to art historian Marina Warner, act out the conflict between a woman being able to demonstrate and side with masculine strength and female fertility and victimhood (in the moment of death Medusa bears the fantastic beast Chrysaor and the winged horse Pegasus). In the act of violence committed by the new Clinton-Perseus lingers the rejection of traditional binary gender circumscriptions that govern how are females in power are supposed to act.


The picture also alludes to the misogynistic attack that Trump has repeatedly launched at Clinton. On top of the figure the word ‘nasty’ is printed in a celebratory gesture of reclaiming a word that was meant as an insult. The way figure and font are positioned in relation to one another echoes pop artist Beyoncé’s reclaiming of the word ‘feminist’ in one of her performances. Only in taking on the role as the Medusa slayer and exerting violence, the proto-masculin hero turns into an empowered female. For those who want to know more about the Medusa, Elizabeth Johnston has written a great article for The Atlantic examining how throughout history powerful women have been vilified through portraying them as the gorgon.

To finish off this menagerie of political monsters, I would like to share one of my favourite Trump monsterisations. It comes from a blog on tumblr that regularly posts stomach-churning photo manipulations using a different, uglifying strategy.


Instead of overlaying countless intertextual references the artist reduces the facial features of Trump to only a few aspects (hair, chin, mouth) and distorts any human familiarity. It’s a literal defacement of the politician the artist would like to get rid of. This deformation transfixes the perceived human failure of the candidate on moral, ethical and behavioural levels onto the visual body of the new monster.

When new creatures come to life, an awareness for the visual strategies involved in their generation is vital in order to pin down the heavily politicised ideologies behind them. The kinds of monsters we encounter in popular culture are part of the currency of creatively facing contemporary challenges.


The Ghastlycrumb Tinies: https://www.brainpickings.org/2011/01/19/edward-gorey-the-gashlycrumb-tinies/

The Ghastlytrump Tinies: http://ghastlytrump.com/

Big Issue: http://www.bigissue.com/the-mix/latest-issue/7059/issue-1228

Vanity Fair article: http://www.vanityfair.com/news/2016/06/the-great-trump-tax-mysteries

Vogue endorsement: http://www.vogue.com/13492873/hillary-clinton-endorsement-president-united-states-democrat/

Medusa and women in power: http://www.theatlantic.com/entertainment/archive/2016/11/the-original-nasty-woman-of-classical-myth/506591/

Marina Warner, Monuments & Maidens, (London: Vintage 1996), pp. 113-114.

On Defacement: http://nagualli.blogspot.de/2013/03/michael-taussig-from-defacement-public.html

Dinild Trimp http://dinild.tumblr.com/

This post was originally published on ‘I Collect Monsters’. You can find the original post here.

Want to write something for the for Monster Network blog? Or do you have some art for the Monster Archive? Let us know at  promisesofmonsters at gmail dot com

Væsner. Episode 9: Oven II

”Well, you ARE a bit absent-minded from time to time …”

Lakse thinks I put the letter in the oven by mistake before leaving for the summer cottage. He’s probably right, but – I mean, surely I’d remember another one of these letters, right?


The paper is black with a white bar and black circle in the top right corner. ‘Gate’ the logo says, just like the last one.

I still can’t see any writing.


We bring episodes of the blog-series Væsner every week. For previous episodes, follow the tag ‘væsner’. Join the Monster Network on Facebook or follow us on Twitter for updates.

‘Væsner’ is written by Anne Nielsen. You can follow the True & Accurate Accounts of her experiences with Copenhagen Gate Services, strange weather and dancing shadows on her blog and on Twitter.



Væsner. Episode 8: Oven

There’s a letter in the oven.

I was putting in a frozen pizza, and there it was.


It’s from Copenhagen Gate Services.


We bring episodes of the blog-series Væsner every week. For previous episodes, follow the tag ‘væsner’. Join the Monster Network on Facebook or follow us on Twitter for updates.

‘Væsner’ is written by Anne Nielsen. You can follow the True & Accurate Accounts of her experiences with Copenhagen Gate Services, strange weather and dancing shadows on her blog and on Twitter.



Monsters & Kitchen Tables – a ‘Why Monsters’ recap

Thank you to all, who attended the Halloween symposium ‘Why Monster Studies Now?’! For those who missed it (for shame!), this is what happened:


First we had a round -table discussion with the founding members of The Monster Network – Ingvil Hellstrand, Aino-Kaisa Koistinen, Sara Orning, Donna McCormack, Line Henriksen – on the subject of ‘what is monster studies and why do (we) It’. The night before the presentation, we’d gathered around Sara’s kitchen table and discussed how we’d like to do this round-table. We ended up deciding on a fairly informal approach, in which we’d structure the one hour around a series of keywords rather than presentations on individual research projects. The keywords were:

  • Monster
  • Politics
  • Methodology
  • Ethics
  • Hauntings/imaginaries

In the spirit of the kitchen table, we wanted the discussion to be nourishing, collective and untraditional within an academic context (“we are academics, dammit!” is a quote from our meeting minutes from the previous evening. We might have opened the wine at this point, but we’re honestly not sure). The aim was to try to rethink the frames for how one can think and imagine for example ethics, politics and methodologies through the haunting imaginaries of the monster. Continue reading