Installed working year clock (IC controlled LED display), poem in connection to clock (variates on site).
”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)
IC controlled LED display sign at the entrance floor of Kulturhuset, Stockholm and a poem on a wall under the clock.
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:
Elements: Childrens cake-meal remainings, sound, performance, photograph, laser, programmed electronics, live streaming audio, hand paintings etc.
Place: Open Studios, Malmö Art Academy 2000
Coyote Coyote, tell me what is magic?
Magic is the first taste of sweet strawberries, and
magic is a child that dances in the rain of summer.
Elderberry Flute Song
PETER BLUE CLOWD
Alice! oh sorry the Queen! we must hurry, we are already too late!
This complex piece of work was the culmination and migration of various interests I had of time in relation to: controlling powers (religious, political), emotions, technology in our life and the human vulnerability. The piece effectively showed the emergence effect of combining various energetic elements to something really out-of-space. The idea for the work came up from a picture I took of a smashed rabbit on the street, not very far from were I lived in Malmö at that time. The combination of a ritual process was important to establish a energy field in the room, exited of entropical symbols and meanings in humanism.
The microchip together with the display was making a shift between two states of time, when changing from a slight hum and the time-speaking voice.
The major important elements in the installation, the photo of the smashed rabbit, the children’s performance, the left lovers (table) and the micro chip was merged together with the physical emotions of the sound and smell in the space. The amount of many different elements and levels in this piece of work made the inter-relative reflections between different thoughts and feelings to a project itself. One had to start in one thread to end in another.
The picture of the smashed rabbit was not placed until they had left. I told the whole process for them about my sadness for the poor rabbit and their role of the piece: to eat some cake in honor for the rabbit and leave the remaining’s from their meal to be a part of an art piece. I told that I couldn’t hang up the picture of the rabbit since it was too repulsive. It was difficult to explain the complex relations I tried to deal with time and the sounds, technology, feelings, control etc. in the installation but I did my best.
Children gathered around the table for a fictive meal for the rabbit.
”…till like a clock worn out with eating time.”
JOHN DRYDEN (1631-1701)
This text was important for the piece to reflect on the various meanings every element had in connection to the others. The text made clear of the character in noticing the precision of the equipment, the children’s participation, and the importance for everything used/taken into account in the space. The text has the feeling of a manual for understanding, but from all the information/facts the visitor need to fill in quite a lot himself.
English version, pdf >>>>>
Swedish version. pdf >>>>> (images added after exhibit)
The screen, digital display. Changing between two
All at Björkhagen day nursery.
Enikö Körmendi at Latronix Laser systems
Children’s paintings, the sound from a grasshopper,
low pressure sodium light and IR controlled strobes.
Exhibit: In the group exhibition: ‘Kaduns’
coordinated by Malmö Art Academy, Malmö Music Academy and Artist Doug Ischar, Chicago, UIC.
Location: Peep Gallery, Rooseum (now closed), Malmö, Sweden
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.
when the flashes went on it looked like this, detail from wall:
when the flashes where off (most of the time) it looked like this, detail from wall:the long forms with tentacles are supposed to be grasshoppers
Public installation/event with: 8 wood tripods, official mark off tape
Friday May 14 1999, S. Förstadsgatan 18, Malmö
Paths Rearranged(with permission)
People are always moving through spaces and levels of consciousness. In the city signs are telling You where to go and how to organize Yourself to others. We are often very well coordinated to meet the demands of the city. Both to make our movements fit economically in this environment and to keep up the feeling that we are free to make individual selections of directions in the city and life.
Movement takes time and effort and, therefore, it’s important to measure the shortest way between two places. That measurement is, however, often deformed by the shifting variables (physical or mental) for city travel.
The rearrangement at Södra Förstadsgatan is an installation to make people move differently through a space. Pedestrians will be confronted by an area marked-off with construction tape. The placement of the tape defines two basic paths; around the marked-off area (2.) or through the center of it (1.). At a distance (a) it would seem better to pass around the construction, but as one approaches it (b) the route through the center could be the simpler route.
Route of Kindness
An ambulance suddenly needs to go through the space. A man with white coat jumps out of the ambulance, moves two of the tripods, the ambulance passes through, the man kindly places the tripods back again, the form is really untouched. Its all over in a couple of seconds.
Thanks to :Alex Slide, Sharon Lockhart, Lars Brunström, Dag-Are Haugan, for positive feedback and support during the project.