Category Archives: Conceptual Works

LEGOLAND (2012) Documenta 13, Kassel

performance with various old portable spy gear, battery powered radio transmission, radio scanning and writing

Other minds pavilion – dokumenta 13, Kassel, Germany
Performance date 26 July 2012

DSCN8181a Nagra SN was used in the performance playing the artists own recordings from contemporary spy stations on the shortwave band from various activities from the recent years. Some spy station recordings were only 2 weeks old.

Sound collage with own recordings of various number and clandestine radio transmissions plays at radio transmission through common portable radios during performance:

Concrete privacy in the public space
The work Legoland uses radio as its medium, also the work focuses on various aspects of numbers and communication methods within clandestine operations such as number stations or secret intelligence services the name is taken from the nickname of MI6 building in London. The audio material for the performance has been collected from various radio receivers around Europe, North America, and Asia.


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Broadcasting secret messages into air is a peculiar activity, since it’s indeed shared in a public space. Hence everyone could in practice tune in the actual frequency and listen to it. However, there is only one kind of listener that could decrypt the message (for i.e. special number stations) due to a simple but efficient and unbreakable method using only a paper and a pen.

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The benefits of still using radio today has the advantage of the impossibility to trace the listener in contrast to the use of computers where everything has traces of IP numbers, logs and hard-drives. Radio waves are difficult to stop and in every moment of time waves are passing borders and through people. The history of these broadcasts are to be traced back to the beginning of the radio medium itself making them the first public broadcast ever transmitted. The transmissions are unregistered and hence illegal to the FCC. Even though these type of transmissions had its peak in the cold war, they can still be heard. Some has changed its behavior to digital mode (which still is made up of numbers).

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Anonymous influence (2008-2009)

arrangement with:  left-over material from the Swedish Design Award’s scene decoration at Berns (site specific)

Exhibited at: skeppsholmen  june 2008- winter 2009

curator: Gabriela Lopez, Svensk Form

 


Winter 2009

 

Late Fall 2008

Fall 2008

Visitors as well as locals might be curious about this (cryph-) temporary monument. Could it be made by some American minimalist? or is it some strange remaining from a workshop?

Display started in June 2008.


A popular Skeppsholmen motive, it might be famous, better to have a shot of it. Summer 2008

 

«ПУШКИНСКАЯ-10» 2006

This entry is for Russian Users only!

“.. 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

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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).

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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
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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.

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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

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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.

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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