The Groke roams the wasteland looking for love. Hoisting the flag of the European Union—the empty signifier par excellence—she maps her prospects on contested grounds. All alone, her shadowy appearance keeps missing the mark of human touch.

The empty halls of crystallized finance, dead hunches, and yesterday’s valuations are also the spaces of possibilities. Junctures in time, skeletal rubble.

Who is she? The circumstantial convergence of economic forces, the
resurgence of flow, brings with it apparitions. Inhabiting the clefts and crannies,
the points of fissure, the Groke slides on the plane of a continuous now. Cannibalizing her own structure, the Groke finds herself driven by the undead desire of capital.

The figure of the Groke, first appeared in Tove Jansson’s ​Trollkarlens hatt​. Her strange ways and mysterious appearance keeps her an outsider to the inhabitants of

Moominvalley. She seems to be looking for something, her desire, however, remains unknown and misunderstood.

Isbrytaren​stands in for Moominvalley when Max Ronnersjö decides to bring this ghostly presence into the reality of cultural life. In an act of strife, the Groke procreates, morphing into an army of herself. Like money invested into a product turns into more money when the product is sold (M­C­M’), the Groke multiplies in circularity. In spaces of ruthless change possibilities cannot help but to pop up—like dandelions through asphalt. Ronnersjö’s sculptures are built with discarded objects found on the premise of ​Isbrytaren​.

So why do ghosts appear? Whether searching for lost love or obsessively haunting
on account of a wrongdoing of past, the main question is not​why, ​but​how? How is it possible for a spectral force to materialize in our world?​Exactly through the weak points of our social fabric: in the un­mapped non­places, in the unwanted spaces needed for a structure to stand—in those areas not considered constitutive parts of the whole. Here it is possible to encounter the rifts in perceptibility through which apparitions manifest themselves. These are the spaces through which Max tease out the Groke into reality.

This ghost hunt invites its participants to face the sliding horror of transitionary capital.