Hvad bliver synligt i tomrummet?

What does erasure render visible? This article examines carefully crafted lacunae in Jeannette Ehlers’ video artwork Black Magic at the White House (2009) where the visual field is simultaneously the site of bodily disappearance and a space for negotiating colonial-historical erasure. The article argues that this is achieved through a fabulative artistic practice in which boundaries between the authentic and inauthentic are made indistinct.