A more sanctified animal, capable of lofty thought, who could have dominion over the rest, did not exist

until then. Man was born. Either the creator of all things, origin of a better world, made him from divine

seed; or it was the earth, recently separated from heaven and still holding celestial seeds, that the son

of lapetus [Prometheus] moulded into the image of all-controlling gods, mixing it with rainwater.

While the other animals are bent downward, looking at the ground, man was given an upward countenance,

and was ordered to behold the sky and lift his erected face toward the stars.

Ovid, Metamorphoses I.76-86

(Trans. B.B. Imwinkelried)

The publication features a selection of photographs, drawings and texts by Agnes Nedregård, and

essays by Amelia Jones, Bob Dickinson, Branko Boero Imwinkelried, Olivier Lussac, and Tommy Olsson

with graphic design by Slovenian Novi Kolektivizem, the design section of NSK (Neue Slowenische

Kunst).

Agnes Nedregård, Performance Works: The Big Toe looks at Nedregärd's work from a diversity of

perspectives and media, including a photo essay studying horizontality/verticality and bent/straight

lines. Using Henri Lefebvre and Georges Bataille as a point of departure, this photo essay focuses on

Nedregard's subversion of vertical erectility and the artist's counter-agenda of explosive bendability.