Symbolic And Real Police, 2017, HD video, 32.34 minuttes, Computer Mafia, MoMA Downtown, New York

See all videos here.

Broken Cybertruck, 2024, photograph, 6×4”, Social Photography, Carriage Trade, New York

Transfiguration of Eros, 2017, pastel on acid-free paper, 18x24", Simulation Day Chaos, Hurrala, Los Angeles

Face Jagger, 2017, 3D print, flightcase, LED strip, 16x25x8", Iwillmedievalfutureyou4, Kunsthal Aarhus, Aarhus

Face Jagger is a project where Jakob S. Boeskov presented a fictional hi-tech weapon at security fair in Anaheim, California. It is part of the Pre-Crime Triptych which you can read about here.

Fuck the Singularity, 2014, Mulherin + Pollard, New York (click image to see more)

See drawings here

Dancers, oil on linen, 2017, 40x60 inches, Computer Mafia, MoMA Downtown, New York

Davos Orgone Device (w. Mathias Kessler) 2024, pastel on paper, 18x24", π Projects, Frankfurt (2024)

More info here

Simulation Day Chaos, 2017, pastel on acid-free paper, performance, Hurrala, Los Angeles

More info here

War Wizard, 2005, video 5 min. Screening War, ZKM (Center for Art and Media) Karlsruhe

Thule Drawings, 2011, framed pastel on acid-free paper, various dimensions, Thule, V1 Gallery

Dr. Cruel and the Afro-Icelandic Liberation Front, 2010, video 8:48 min. Creative Time, New York

More info here.

Future Robots, 2014, pastel on acid-free paper, 18x24", Fuck the Singularity, Mulherin + Pollard, New York (click image to see more)

More images here

Davos Orgone Device (w. Mathias Kessler), 20x25" photograph, π Projects, Frankfurt

More info here.

Map Car Man, HD Video 5 Min. R/L Window, New York (2014)

Total Simulation, 2018, (performance still) LED lightbox, powered speakers, mixer, microphone, Autonomics, Scandinavian Institute, Copenhagen

The Wreck, 2010, pastel on acid-free paper, 18x25", Siggimund, The National Gallery, Copenhagen

Intel Statement, 2017 inkjet print on acid free paper, 90x 35 inches, Shadow Cabinet, Cuchifritos Project Space, New York

Inkjet print on acid free paper, 90x 35 inches

In the show 11 artists and writers each were appointed a position in a "shadow cabinet". The show opened on the date of the Presidential inauguration 2017. The pieces ranged in scope from the conceptual to suggestions both sincere and satirical.

Participating artists:

STATE (Wolfgang Staehle), UNITED NATIONS (Joan Waltemath), DEFENSE (Peter Fend), NAVY (Marie Lorenz), TREASURY (Stan Cox), LABOR (Fred Lonidier), ENERGY, (Brian Holmes), MEDIA (Coleen Fitzgibbon), INTEL (Jakob S. Boeskov), INTERIOR (Alice Outwater) and EDUCATION (Franz Vila)

Alien Shame Pole, 2018, cardboard, expansion foam, wig, strobe, smoke machine, 100x5x5", Computer Mafia, MoMA Downtown

See video here.

Search Machine 1 & 2, 2012, pastel on acid-free paper, each 40x24", Weekend Futurology, Mulherin + Pollard, New York

ID Sniper, 2003, 3D print, steel, metal, aluminium, vitrine, 72x96x12", Populism, Frankfurter Kunstverein, Frankfurt

The ID Sniper is a project where Jakob S. Boeskov brought a fictional hi-tech weapon to Chinas first international arms fair.
It’s part of a triptych which you can read more about here.

Quantuum Political Feedback, (m. Edward Akrout) 2017, video still, Rencontres Internationales, Centre Pompidou, Paris

Play With Me, Computer God! 2014, pastel on acid-free paper, 18x25", Fuck The Singularity, Mulherin + Pollard, New York

More images here

The Escape, 2013 (performance still) banner, rope ladder, roadside flares, Tournament d'objet, Kunsthal Charlottenborg, Copenhagen

Megasuckers, 2000, (performance still), fireworks, dollarbill, Bucharest, Romania

Photographic print, 3x5 inches

Megasuckers was a performance which took place in front of Palace of The Parliament (i.e. "Ceaușescu's palace") in Sector 5 of Bucharest, Romania. The performance took place Feb. 12th 2001 at the corner of the building where the IBM corporation had rented office space. An American 1-dollar banknote was rolled outside a firework skyrocket which was then lit and fired towards the palace. The concept of the performance was to mark the end of a bipolar world and the beginning of a global capitalist hegemony based on information technology. There was no audience at the performance except the photographer. The performance and the journey to Romania to create the performance was documented in the Danish periodical 'Virus' (issue # 5, 2001).

Photograph by Mense Reents.

Works

Works