Tova Mozard

Two Cops takes place in a park on the Hollywood hills, between Beverly Hills, Hollywood and Studio City, a common hiking destination for actors to walk around and practice for various film roles. The film follows two extras who are preparing to play the role of policemen. Steve and Eric Cohen, the identical twins who play the two police officers, are both professional extras. Dressed in their police uniforms, the men aimlessly walk around the park and talk about how they should act as policemen, how they’re supposed to move, talk and look. Referencing Hollywood films, the characters are copies of a copy, a type of mise-en-abyme.

Somewhere in the hills of Los Angeles, we meet four actors who portray the police profession, through narrative and staging.

A comedian is preparing, rehearsing to tell the story of what life is like in his line of work.

20 years ago, a budding filmmaker met a Hollywood extra on a film set. Together they created a fantasy world in the shadow of the glitzy parts of Los Angeles. A sanctuary away from the bustle of modern life. Neither fiction nor reality, but both at the same time.

A man digs a hole in the earth while he describes and reflects on his life. By looking back on parts of his own history he comes closer to some form of reconciliation with it. The work brings to mind how words anchor us in reality but also keep us imprisoned in our own narratives.

Leona is a nightclub singer in Los Angeles. In the video she sits in her living room, sings short demonstrations of songs, and comments upon each of them. She alternates between performing and speaking about her life as both a private and a public person. She addresses the person behind the camera, the audience watching the video almost 'becomes' this person and it creates an intimate space between the viewer and the subject.

The artist Tova Mozard places herself, her mother and grandmother on the Royal Dramatic Theatre's main stage. In a therapy similar staging stories accidentally and unavoidably passes between generations, between mother and daughter.

In a post-apocalyptic era, the prophecies roll against an unknown recipient, as religious messages from secular temples. The media's neon signs shine in the night and a lost soul wanders through life without apparently meeting anyone else. Are we at the end of the world, the end or the rebirth?

20 years ago a Hollywood extra met a budding filmmaker. She honed her directorial skills and he practised lines. Years later, a film which was never supposed to be had already been shot. Neither reality nor fiction, but both at the same time.

A video in which we meet a Swedish woman, Mrs. Berliner-Mauer, who has entered into a marriage with the Berlin Wall. Her unusual disposition is objectum-sexual, an emotional and sexual attraction to things. The woman’s personal and sexual relation to the wall is contrasted with its historical political significance.

This work is to a certain extent a portrait of a dying breed – the American style entertainer with an ever-gleaming smile on his face who is out of sync with his time.