Category Archives: Conceptual Works

«ПУШКИНСКАЯ-10» 2006

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“.. Инсталляция Томаса Нигрена «Изменяя движение. Rearranged movement»

Государственный центр современного искусства представляет инсталляцию шведского художника Томаса Нигрена «Изменяя движение. Rearranged movement» в рамках проекта «Field Studies/Полевые исследования: современное искусство из Финляндии и Скандинавии».

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Томас Нигрен исследует взаимосвязь психологического восприятия движения и реального перемещения в пространстве. Проходя одной и той же дорогой каждый день, мы обычно выбираем самый короткий путь. Но что мы при этом теряем?

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Jumping 097Photo: Marian Goulyaeva Gullimar

Томас Нигрен закончил Royal University College of Fine Art (Стокгольм), член EMS (Electronic Music Society, Швеция), участник фестиваля современного искусства New Perspectives (2002, Швеция) и многочисленных групповых и персональных выставок.

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При поддержке Федерального агентства по культуре и кинематографии РФ, Арт Центра Пушкинская 10, Информационного бюро Совета Министров Северных стран в Санкт-Петербурге, Nordic Culture Fund, Nordic Institute for Contemporary Art, Sleipnir. ..”

«ПУШКИНСКАЯ-10» 2006 

What turns the Wheels? (2006)

6 paper sheets 150cmx270cm, ballpoint pen drawings, wood, wire, turnings.

Wirsbo konsthall

Modern man must descend the spiral of his own absurdity to the lowest point; only then can he look beyond it. It is obviously impossible to get around it, jump over it, or simply avoid it. Václav Havel



Spirals of thought
This piece was created in relation to the exhibition space. Eventhough the questions I asked in making the work had clear formal relations to the exhibition space (history, floor etc.) I found myself repeating the questions I had asked. What is a spiral? What is motion? How tiny is my life compared to the living in everything?
The spiral movement of the pen was energized with my questions. Self sustaining motion for moving energy and thoughts in the easiest form, what connects? The small drawings were in a middle position where I found them acting both as an overview and a closeup for something that holds the emptiness beweeen us together, vital energy, massive and activating. Among some spin-off effects one interesting line with this piece was for me addressing meanings in economy in relation to internal time (micro-macro).

Closeup view on one of the thousands small drawings

Info sheet at the exhibition (Swe)  >>>>>>>>

Press (SWE):
“Nystanet tycks samla upp golvets slumpmässigt tillkomna mönster och få det att slå ut, att blotta tidens gång med poetisk uttryckskraft. Motsatta processer krockar. Att samla upp och att sprida ut återkommer i installationens andra del som består av fem lakansbreda våder med penntecknade härvor, klotter- snurror som små nebulosor i ett universum.

De kan ses som beståndsdelar i oändliga gåtfullt fungerande sammanhang, våra kroppar eller själva stjärnhimlen, som alltid är i rörelse för att förvandlas,
gå under och återfödas. Det döda materialet får liv: historia fångas upp, minnen dras fram och förvandlas till kunskap.”
Kristina Mezei, VLT

Peak Performance (2006) Västerås

Installation with: Children paintings, sound,  light and video.

Västerås Konstmuseum, 2006

Platon’s cave inverted
In the autumn of 1999 I recorded the sound from a grasshopper in the countryside of Malmö. The sound appealed to me in the various meanings of manipulation of the nature, artificial or natural. Then some weeks after I contacted a day nursery because I wanted to have the children’s paintings as an opposite element to the low pressure sodium light. This sodium light produces a special phenomena in that it only has a peak in the spectrum of 589.0nm – 589.6nm producing a monochrome environment. The strobes acted as a link between the paintings, light and the sound in that it shows the colours of the paintings when the strobes are active in the space. I wanted to keep the age of the children quite low as an indexical element of their positive interests in colour and composition. The setup is arranged so that a layered inner room exists within the space.



Schematically the installation is a layered structure:
1) Audio recordings of grasshoppers
2) Colour paintings and participation of Target group (children or other group)
3) Low pressure sodium lights (could also be visible outside the gallery at night as well)
4) Strobes activating the space and the linkage between the elements
5) Interaction with audience during the exhibit (moving in the space, setting the flashes on with motion detectors)
6) Information about the procedure of the piece with documentation video connected to installation




The children’s paintings and performance – video documentation
This movie shows a small discussion we had with the children before they went up to the space and started create different kinds of insects and grasshoppers. This was to assure that everyone of them understood their part in the process for the final piece. We talked about why I came up with this idea on grasshoppers and their special sound they make. We noticed that not everyone hear the sound from them and we also listened to the sound for remembering the high frequency and for grasping personal memories.

In addition to the installation a video was showing our discussion we had with the children and their participation and paintings.


Slide show
Images from the preparation where the children paints in the installation slide show >>>>>>
photos by Anna Lindén, Västerås Konstmuseum

text available at the installation (Swe) pdf >>>>>>>>>

Thanks to:
Hammarbyskolan, Students and Teachers

Peak Performance (2002) Umeå

Installation with:
Children’s paintings,
the sound from a grasshopper,
low pressure sodium light and
IC controlled strobes (revised element for this exhibit).
Constructed walls (for inner room)

Gallery 60 Umeå, 2002


In the autumn of 1999 I recorded the sound from a grasshopper in the countryside of Malmö. The sound appealed to me in the various meanings of destroyed or undestroyed and artificial or natural. The children’s paintings became an opposite element to the low pressure sodium light that only has a peak in the spectrum of 589.0nm – 589.6nm producing a monochrome environment. I wanted to keep the age of the children quite low as an indexical element of their positive interests in colour and composition. The strobes acted as a link between the paintings, light and the sound.

Umeå 2002, Documentation movie from the show

will be available soon from youtube

Introduction text avaliable at the exhibit, pdf >>>>>>>>
Girl in action, painting grashoppers or insects

when flashes went occationally on it looked like this above

Peak_Performance_docu_insiMmostly it looked like this above (when flashes were off)

Boy in front of camera, in the background his own drawing

Girl in action, painting spiders

The Space (the inner room inside the gallery space)

outside Gallery 60 (the sodium light was on 24 hours)


Thanks to:
all at Sandbacken’s day nursery, Umeå!
special thanks to Jan Norlin
Philips Light Sweden

Year Clock (2002)


arrangement with:
Installed working year clock (IC controlled LED display), poem in connection to clock (variates on site).

exhibited at:
”Artists, Junkies and Adventures”, Kulturhuset, Stockholm,2002

“…our entire concept of time is dependent on an understanding of periodicity. Time is depending on night and day, the periodic rotations of the plantets, the stars, the periodic functions of our bodies and the seasons, all of these various periodic events, and without them we really have no concept of time. Time is really a very important aspect of universal structure.What I have learned is it goes very slowly.”

La Monte Young (interviewed by David Toop, Ocean of Sound -Serpent’s Tail, London 1995- p.178-179)


C controlled LED display sign at the entrance floor of Kulturhuset, Stockholm and a poem on a wall under the clock.

Formless  time
We try our best to match our life with our society, sometimes forgetting our relation to larger cycles since we are so occupied with our smaller cycles. The need for the extra large clock in this space demanded for an afterthought and polarization. Time can be seen as emptiness in its most formless non-material state. The slow movement of the digital display had a relation to its over-informative character .
Poem under the clock: