Rearranged Movement 2006
by NCCA editorial board, St. Petersburg Branch
catalog page, pdf >>>>>>>>>>>>
Category Archives: Exhibits
Entrance / Ingång (2006)
Wall construction of hay, clay, chalk and spruce pales
20 x 2,4 m
Realised for Wij Trädgårdar, Ockelbo, Project: “Konst och Trädgård”
Play
This piece started off from a series of curved wall sketches. The specific curved form was producing the effect of a closed space but open to the surroundings. The issue of hiding and the hiding-place as a start of childrens play and imaginations were important considerations but also the idea of entrance of a mental passage in time and memory. The form also materialised the philosophical cause and effect and the mystical arrow of time.
Memory
The smell from the hay, the temporary construction (with its material) and the inner space which opened up towards the peasant landscape made me think of memories and activities that belonged to my childhood. After a period a ruin-alike shape takes form (and the hay-smell has slightly changed).
Early July: Exhibition visitors are walking into the field
photo: Yngve Gunnarsson.
Late July: After a period the ruin-alike shape takes form, photo: Arbetarbladet
Activity
Remanings from grass and some hay was left on the ground when a circle was cutout with an old fashioned scythe to enhance the effects of some activity that had been interrupted. The form open as a scene of events was suitable for creating engagement into a sudden in-the-moment activity from the public i.e. a role play or story telling. The distant placement of the wall was nessesary to make the observer go out in the field and to mentaly produce some expectations.
Press (SWE):
“Vinden har delvis raserat Tomas Nygrens vitkalkade mur av höbalar ute på fältet, men samtidigt har ruinkänslan vuxit. Verkets titel “Ingång” syftar på den smala passage som öppnar sig i höet när man kommer nära. Det finns beräkning i den rörelse besökaren måste göra för att ta sig in mellan balarna; plötsligt är man på andra sidan och muren är borta. Kanske vill konstnären visa att den enda ingång som finns leder till dig själv. Det hänger på dig vad du gör. ” Niels Hebert, Arbetarbladet
Map over the area >>>>>>>>>
Entrance imageEarly June: Front View
Early June: Front View
Early June: Rear View
Early June: Entrance/Door View
Early June: Myself in work with a scythe
Party for the Rabbit / Fest för Haren (2000)
Type: Installation, (heavily variates to site)
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)
The Manual
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
Thanks to
All at Björkhagen day nursery.
Enikö Körmendi at Latronix Laser systems
Peak Performance (1999) Malmö
painted by children in the age 3-6 years
Installation with:
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
Notes:
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
Documents:
English, pdf >>>
Thanks to (titles in 1999):
Emil Welin at Philips Light Sweden
Stinus Patel, artist, Denmark, Copenhagen
Doug Ischar, Artist, Professor, USA, Chicago and Los Angeles