Tove Kjellmark was born 1977 and is based in Stockholm, Sweden. She is educated at The Royal Institute of Art in Stockholm where she received her M.F.A. 2009. Kjellmark is initially trained as a sculptor. Besides working in her studio she teaches, mentors and collaborates with humans and non-humans of various types and technologies.
Tove Kjellmak’s work can be described as visual appropriations of forms and structures from the complex world in which we live. She is currently looking at the glitches in transformations between the digital and the organic; the gaps in the experience when moving from one world to another. Tove Kjellmark is recognized for creating spaces of critical reflection about techno-scientific acceleration, artworks that asks questions about the nature of human and nonhuman agency in a highly ‘indoctrinated’ post-human world. Over a longer period of time she dealt with techno-animalism, giving rise to another type of animality, another type of nature but above all very delicately playing the affects of the involved audience.
Futurum 08 Konsten.net
Text by Anders Olofsson
Can we one day design a machine that is indistinguishable from the animal? This is the question that drove René Descartes, four hundred years ago, to his widely influential Animal-Machine hypothesis.1 This ethological hypothesis (ethology is the study of animal behavior – see Animal) claimed that animals, like other machines, were assemblages of parts and as such he rejected the idea that animals are able to attain a degree of rationality; animals do not ‘think’ and their behavior is not in any way similar to human action. Nicolas Malebranche, seconding Descartes, took this idea a step further, claim ing that the cries and groans of this animal- machine point to its mechanical failures (its ‘cogwheels’) rather than to its joy or sorrow.