Humans since 1982 are Bastian Bischoff (b. 1982, Germany) and Per Emanuelsson (b. 1982, Sweden). Since meeting as postgraduate students at HDK Göteborg in 2008, the duo have produced works that defy easy categorisation, situated between visual art and product design. Creating objects and experiential installations, their work manages to be analytical with a healthy dose of escapism.

Consistent signatures pervading Humans since 1982’s body of work include the preservation of everyday objects or things they consider to be precious, yet that we may not; visual puns and mischievousness; meticulous (sometimes mathematical) problem solving; and a drive to engage concepts with the latest methods and materials. These ideas and processes can be observed in their first, satirical work Surveillance Light (2008), which invited observation into the home with open arms by building standing lamps from CCTV cameras; to Celebrating the Cross (2009), a controversial sun lounger in the shape of a life-size black crucifix; to The Clock Clock (2008-10), which created a clock and alphabet out of an animated, time-based type font; to Collection of Light (2011-12), in which the most efficient light source to date, LED bulbs, were archived – as in entomology – like pinned-insects, for an imagined, future audience.

Humans since 1982’s most well known work to date, A million Times (2013-ongoing), is both a kinetic sculpture and a functioning clock. Developed from The Clock Clock, its hands veer from unpredictable, mechanical spinning, to perfect, synchronised alignment; visually representing the abstract concept of time, and reporting real time. Limited editions of A million Times have been constructed with artisans from Belgium, Switzerland, Sweden, Germany, Italy, and Denmark, using high-grade materials including electro-formed copper, anodized aluminium, and marble.

The Humans since 1982 studio is based in Stockholm, and now comprises a large group of specialists with different professional and cultural backgrounds.

 
 
 

Bastian Bischoff (left) and Per Emanuelsson