Matilde Westavik Gaustad
1987, The School of Walls and Space Skolen for Mur og Rum http://cargocollective.com/mwg
Anne Nora Fischer & Anna Moderato
1988 & 1984, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala & The School of Sculpture Charlottenborg & Billedhuggerskolen Charlottenborg– Because everything is so…
– So pointy.
– Point, point, point on point.
– But this is a bit round.
– But this is like, all the lines go in to go out.
– One, two, three, four.
– Actually, I think I’m sure.
– Okay, can we also say that these ones are also the first and second and third and
forth?
– In three: one, two, three.
– Okay, I won’t be a part of that one, but you can choose then.
– But you were already a part, you have pointed five times.
– I can also agree on that.
– Mmm.
– So then we’re five.
– Me too.
– What?
– That’s the vote.
– But I don’t know.
– But if that’s the method you choose, so be it.
– But then the other option is that you choose this one and then it’s a dictatorship.
– But could we say, maybe, or for example, I am fine with all of them except this one.
– Me too.
– And maybe we can in that sense…
– Yeah.
– Yeah.
– Mhm.
– Yes.
– I agree.
– That’s good.
– Not this one.
– Not this one, but the three of them. Yes.
– Hmmm… mmmm… mmmm… Not this one.
– Okay.
– I would take out this one.
– Mhm.
– And I this one.
– Yes, exactly.
– And this one..
– And this is like..
– It’s okay.
– I would definitely want the second one in first, please.
– I pull myself from taking the decision on that.
– One, two, three, four, five. Now we have five. Or maybe six with Isolde.
– I haven’t decided. Sorry. But I like this one.
– That one is really nice.
– Olivia that is actually yours.
– I thought I chose this one.
– No. We chose these two.
– In general, I must say that I don’t fully know why I like it.
– I enjoy this a lot because it knows.
– Mm, I agree.
– It’s like a firm suggestion.
– Mmm.
– How come, how come, you feel these two are trying to be quirky? How is that seen?
– Because that’s so much…
– Because of these little like, hmmmmouu.
– But, do you, I’m not sure you can be aware of so many quirkinesses.
– Of course it has like this movement. But it also feels like it knows, it knows it has
this movement.
– It’s a little too straight, still for me.
– But in comparison this is more straight.
– No.
– Yeah, okay cool.
– Yeah.
– Yes that’s fine.
– I choose this one.
Hannah Anbert
1984, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala & Department of Theory and Communication & Skolen for Teori og Formidling
Nanna Anike Nikolajsen
1984, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Mathias & Mathias
1986 & 1991, The School of Sculpture Charlottenborg Billedhuggerskolen CharlottenborgTrine Schultz
Sallie Marie Gade Kaplan
Simon Alkærsig Madsen
Nya Hegelund Vilhelmsen
Sara Behr Ludvig
Annemarie R. Jensen
Catherine Raagaard
Julie Nybro Bonnichsen
Frederik Janum Friis
Nanna Marie Christensen
Tobias Hansen
Mathias & Mathias
, Liv Rahbæk Frandsen
Hannah Karmann Roslev
Dennis Olesen
Simone Kirk Aarup
Amalie Hviid Bartholdy
Natascha Christina Petersen
Josephine Husted Jespersen
Mateusz Nowak
1991, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala
Mads Bech Nielsen
1991, The School of Time-Based Media Skolen for Tidsbaserede Medier
Tinne Zenner
1986, The School of Media Arts Skolen for MediekunstARRÁBIDA • HÁ SÓ UMA TERRA, 2016
16mm film; 13 min loop, 3D milled topographic map, MDF; 30x30x4cm
ARRÁBIDA • HÁ SÓ UMA TERRA, 2016
16mm film; 13 min loop, 3D fræset topografisk kort, MDF; 30x30x4cm
ARRÁBIDA
The film revolves around Arrábida Natural Park south of Lisbon, Portugal.
Arrábida Natural Park is located on the northern shore of the Sado River estuary in Portugal. Covering 108 square kilometres, it is one of the 30 areas, which are officially under protection in the country. The park covers the Arrábida Hills, the Mediterranean- like vegetation and microclimate, a number of caves along the coast and the Serra da Arrábida, the highest point in the park at an elevation of 499 meters.
Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory.
”From the moment human civilizations started to build, they began to look for a material to join stones into a firm and solid mass.” In the Early 1900s, the concrete factory Outão was founded in the valley Vale da Rasca, Arrábida. Set between the limestone Arrábida hills and the clay formations, the plant is situated between raw materials and efficient ways of transportation. The Outão works complex is one of the largest concrete plants in Portugal with a daily output of 1.000 tons.
The factory Outão is centred in a valley, branching through the park via chutes and shuttle systems over and under ground to transport the porous material from the quarries to the factory, then to the shipping harbour.
The raw materials for concrete production consists of a mixture of limestone, marlstone and clay sourced from quarries and open cast mines, working along platforms or storeys along the vertical section of the Earth. Quarried blocks of material are crushed to molecular particles. In its simplest form, concrete is a mixture of paste and aggregates. The paste, composed of cement and water, coats the surface of the fine and coarse aggregates. Through a chemical reaction called hydration, the paste hardens and gains strength to form the rock-like mass known as concrete.
There is a constant movement of material through the park, covering the landscape in concrete dust.
16mm is an analogue moving image film format. Coated onto a thin layer of film, the photographic emulsion is a fine suspension of light-sensitive, solid crystals in a liquid substance. When exposed to light and later chemically developed, the formations of the crystals change to black metallic silver particles that form the image. Colour films have multiple layers of emulsion with dye added acting as optical filters.
Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film consists of 16mm film shot in the specific landscape of Arrábida and 3D-animation of the topographic landscape constructed with height data and particle systems.
Land topography is a digital image of the three-dimensional structure of the surface of the Earth. Topographic data sourced by NASA (National Aeronautics and Space Administration) and USG (United States Geological Survey) is exported from www.terrain.party as height maps. A height map is a raster image used to store values, such as elevation data, which can be converted into a 3D mesh and form a terrain. Topography not only gives a realistic picture of what the Earth’s surface actually looks like, it also helps scientists determine how rivers and streams drain through the landscape, where plate tectonics or erosion are building or wearing away mountains and specifies where the Earth provides minerals and materials for industrial use.
Time is physically embedded in the matter;
a continuous transformation of the whole.
A particle system is a digital graphics technique that uses a large number of small particles to simulate certain kinds of ephemeral phenomena. Examples of these replications are, but not limited to, explosions, water, fog, dust. The materiality depends on the singular particle and the movement of the system, here constructed by a force field.
The molecular is not destroyed, only restructured. There is only one earth.
Geomorphology is the scientific study of the origin and evolution of topography created by physical, chemical or biological processes operating at or near the surface of the Earth. Quarry, transport and deposition of material are direct changes to the form of the Earth’s surface by human activities. Today it is recognised that dynamic changes to the landscape are essential to its nature.
HÁ SÓ UMA TERRA
ARRÁBIDA
The film revolves around Arrábida Natural Park south of Lisbon, Portugal.
Arrábida Natural Park is located on the northern shore of the Sado River estuary in Portugal. Covering 108 square kilometres, it is one of the 30 areas, which are officially under protection in the country. The park covers the Arrábida Hills, the Mediterranean- like vegetation and
16mm film; 13 min loop
3D milled topographic map, MDF; 30x30x4cm
microclimate, a number of caves along the coast and the Serra da Arrábida, the highest point in the park at an elevation of 499 meters.
Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory.
”From the moment human civilizations started to build, they began to look for a material to join stones into a firm and solid mass.” In the Early 1900s, the concrete factory Outão was founded in the valley Vale da Rasca, Arrábida. Set between the limestone Arrábida hills and the clay formations, the plant is situated between raw materials and efficient ways of transportation. The Outão works complex is one of the largest concrete plants in Portugal with a daily output of 1.000 tons.
The factory Outão is centred in a valley, branching through the park via chutes and shuttle systems over and under ground to transport the porous material from the quarries to the factory, then to the shipping harbour.
The raw materials for concrete production consists of a mixture of limestone, marlstone and clay sourced from quarries and open cast mines, working along platforms or storeys along the vertical section of the Earth. Quarried blocks of material are crushed to molecular particles. In its simplest form, concrete is a mixture of paste and aggregates. The paste, composed of cement and water, coats the surface of the fine and coarse aggregates. Through a chemical reaction called hydration, the paste hardens and gains strength to form the rock-like mass known as concrete.
There is a constant movement of material through the park, covering the landscape in concrete dust.
16mm is an analogue moving image film format. Coated onto a thin layer of film, the photographic emulsion is a fine suspension of light-sensitive, solid crystals in a liquid substance. When exposed to light and later chemically developed, the formations of the crystals change to black metallic silver particles that form the image. Colour films have multiple layers of emulsion with dye added acting as optical filters.
Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film consists of 16mm film shot in the specific landscape of Arrábida and 3D-animation of the topographic landscape constructed with height data and particle systems.
Land topography is a digital image of the three-dimensional structure of the surface of the Earth. Topographic data sourced by NASA (National Aeronautics and Space Administration) and USG (United States Geological Survey) is exported from www.terrain.party as height maps. A height map is a raster image used to store values, such as elevation data, which can be converted into a 3D mesh and form a terrain. Topography not only gives a realistic picture of what the Earth’s surface actually looks like, it also helps scientists determine how rivers and streams drain through the landscape, where plate tectonics or erosion are building or wearing away mountains and specifies where the Earth provides minerals and materials for industrial use.
Time is physically embedded in the matter;
a continuous transformation of the whole.
A particle system is a digital graphics technique that uses a large number of small particles to simulate certain kinds of ephemeral phenomena. Examples of these replications are, but not limited to, explosions, water, fog, dust. The materiality depends on the singular particle and the movement of the system, here constructed by a force field.
The molecular is not destroyed, only restructured. There is only one earth.
Geomorphology is the scientific study of the origin and evolution of topography created by physical, chemical or biological processes operating at or near the surface of the Earth. Quarry, transport and deposition of material are direct changes to the form of the Earth’s surface by human activities. Today it is recognised that dynamic changes to the landscape are essential to its nature.
HÁ SÓ UMA TERRA
Jonas Theis
1990, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Esben Gyldenløve
1983, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Cecilie Skov
1988, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg & Department of Theory and Communication & Skolen for Teori og Formidling http://cecilieskov.com
Christine Overvad Hansen
1988, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg http://www.christineovervad.dk
In neutral equilibrium
1.
I en af Charlottenborgs udstillingssale er monteret en stålkonstruktion. Højt oppe under loftet strækker den sig fra væg til væg og spænder rummet ud. En stabil base for det, der er på vej til at ske. På konstruktionen er der monteret et armatur i bronze. Fra armaturet spidder to tilspidsede bronzestænger sig igennem konstruktionen og skyder op mod loftet, hvor de strejfer glasset i ovenlysvinduerne. Bronzearmaturet er beklædt med en dragt i det let gennemsigtige, elastiske stof shaper mesh. Ideen om en krop opstår mellem armaturet og dragten. De mødes i en indbyrdes diskrepans mellem shaper meshens ønske om at formgive og bronzearmaturets statiske formation. I antikkens fremstilling af skulpturer anvendtes stof til at fremhæve detaljer ved kroppen, hvor stoffet næsten usynligt kunne lægge sig over en kropsdel som et ekstra lag hud
2.
En kvinde træder ind i rummet. Hun har en sele på, som fastgøres til hejsespillet, der ligeledes er monteret på stålkonstruktionen. Herfra hænger der en syet pose i plast med en lermasse i. Monteret til hejsespillet hæver hun sig langsomt fra gulvet og hejses op under loftet. Det indpakkede ler monteres et stykke oppe til en line og hænger frit svævende i rummet. Med præcise bevægelser frembringer hun to bronzestænger fra posen, der hænger fra hendes sele. De monteres til den nederste del af amaturet, så bronzestængerne kommer til at hænge som to ben pegende ned mod udstillingssalens trægulv. Omhyggeligt bliver dragtens ben trukket ned over armaturet og lukkes omkring det. Man ser nu, at den indpakkede ler fungerer som kontravægt til bronzens tyngde. I et perfekt balancepunkt svæver ler og bronzekonstruktionen med kvinden mellem sig.
3.
Kvinden begynder langsomt at hejse sig ned igen og kort efter udløses en mekanisme, der bryder forbindelsen mellem bronzestængerne og deres kontravægt. Bronzestængerne falder hurtigt nedad og stopper idet de spidder gulvet. Kvinden er ét med de maskinelle mekanismer og armaturerne. De er alle redskaber, der har til formål at udføre den handling, der medfører bronzestængernes fald mod gulvet. Dragten spændes ud og strækker sig nu i en bevægelse fra gulv til loft som en forlænget, udspændt krop. Går man tæt på kan man fornemme den lette vibrering i konstruktionen, der konstant er i bevægelse balancerende på bronzestængers tynde spidser. Kun med et egentligt fæstne i bronzestængernes gennemspidning af stålkonstruktionen er figuren på en gang stabil og ude af balance. På én gang krop og arkitektur.
Kontravægten ligger hvor den faldt, ved siden af den udstrakte krop, der strækker sig som en søjle op gennem rummet. Den er stadig forbundet til den overbrændte snor, der forbandt den til armaturet. Leret kondenserer mod plasten og afgiver fugtige plamager på plastens overflade, mens den langsomt tørrer ud.
Nanna Stjernholm Jepsen, maj 2016
TAK TIL
Jan Hansen & Pia Overvad Hansen, Nanna Stjernholm Jepsen, Lea Guldditte Hestelund, Heine Kjærgaard Klausen, Franco Turchi,
Martin Erik Andersen, Bjarke Jepsen, William Andreas Wivel, Søren Rye, Pia Eikaas, Mette Woller
Una Gunnarsdottir
1985, The Painting Department Malerskolenparadise lost beach scenarios
2016
In case of an existential vacuum, it’s good to go back to the borders of land and sea. stay at the edge and for a brief moment, contemplate the circles of human being. procrastination and procreation. a never ending short story!
canvas, rabbitclue, oil, chalk, pigments
Baby Banana 1 and 2/ barnamatur
Eternity and In nity are best friends/ Eilífðin og Óendanleikur eru perluvinir fødselsdag/ birthday/ afmæli
sex on the beach is a cocktail/ hanastél í sigurku i
decomposition of biomass/ niðurbrotinn vatnsberi
vertical spirit/ hliðar andi
Hilsen
L’esprit de l’escalier
Magnus Andersen
1987,
Alexandra Reimann
1985, The School of Graphic Arts Grafisk skoleKeep it simple stupid.
Martha Svihus
1986, The School of Graphic Arts Grafisk skole & Department of Theory and Communication & Skolen for Teori og Formidling marthasvihus@gmail.com
Untitled, oil on canvas, 280×380 cm
Anders Hergum
1983, The School of Time-Based Media Skolen for Tidsbaserede Medier
Lucas Wichmann Melkane
1988, The School of Walls and Space Skolen for Mur og Rum & Department of Theory and Communication & Skolen for Teori og Formidling
Anne Kristin Kristiansen
1986, The Painting Department Malerskolen„The point for now is only that ethnography is thick description. What the ethnographer is in fact faced with – except when (as, of course, he must do) he is pursuing the more automatized routines of data collection – is a multiplicity of complex conceptual structures, many of them superimposed upon or knotted into one another, which are at once strange, irregular, and inexplicit, and which he must contrive somehow first to grasp and then to render.“
Clifford Geertz, Ethnologist
Troels Nøhr Holmstrøm
1977, The School of Walls and Space Skolen for Mur og RumAh, hvad er nu det?
Det er jo en pladespiller og to højtalere.
Ja, ja…. men det er jo helt outdated.
Jooo, – men det er også hipt.
Ahh, njaa…
Jo, altså, jeg tror det handler om at have fingrene nede i den grønne maling. Om at lytte og om at se. Hvad vil du gerne se?
Du mener sådan noget føleri.
Ja præcis…. Det er vel ok!? … – En vis langsomhed…. jeg synes at det er vigtigt.
At??
Øhh, – at give sig tid til at kigge ud i luften….
Jeg er stået af!
Nej, – altså, – at spekulere over hvorfor vi er her. At ville røres og at ville give nogen noget. Jeg vil eleveres! Ellers gider jeg ikke!
Ja, o…..
…
…..
Jonas Georg Christensen
1983, Department of Theory and Communication Skolen for Teori og Formidling & The School of Time-Based Media & Skolen for Tidsbaserede Medier https://m.flickr.com/#/photos/jonasgeorgchristensen/26758526405/Note regarding the installment of my work(/text-image project) presented in Charlottenborg, on the occasion of Afgang 2016
The cube (50 x 50 x 50 cm) in my installation (re-)presents – ideas about – an endless virtual (and thus also a Euclidean ideal kind of) space, literally speaking; u-topian space (‘not space’). These kind of ideas are not much unlike the ideas (by which I mean the theoretical propound [forelæg]) about the white cube as an exhibition space, which we today are dealing with. Since art in the public space has become (site-)specific in a way where it is standing in relation to a/the space, as art, and the art institutions has let go of the role of “being the one” showing art to the public and thus itself has become a public sphere, all art in ‘art-space’ can, to various degrees, become/be done site-specific.
Inside this space – my installations concrete cube – we find all, the imaginary, kinds of variables [variabler(/varianter/variationer)] of the images that are present [foreligger]. The sound piece (jeg er her) NU is presented on top of the cube, which could lead the viewer to connect the cube with ideas about a space that is both structured and percieved through ‘time-form’. At least I, through the use of the cube, intent to activate – both the concrete and more imaginary – ideas and thoughts one could have about composition. That is to say, to think about time and composition in terms of quantity/quantities, and thus as factors.
With the installment of the text-image project, I’m seeking to create opportunities to consider and wonder about [overveje] all the possible kinds of images that could be, in between the images that are presented – instead of seeking to figure out, or understand which ones are missing and how these could be connected – and I have tried to use the cube in the room to activate the empty fields in between the filled fields. But to get going towards an imaginary space, we are in need of concrete material (relations), examples, that can kick start and set the limitations, and what then further becomes important, in relation to this kind of relation; is the relations – which again means the way (things/objects) are spun/bound/chained together. I’m putting the weight on the connections/connecting points – the relation between the relations – since this must be our fixpoint, when thinking plastically about our terms and the circumstances ‘(t)here-fore’. Here we might, with advantage, use the internet as a figure for our further thinking. Because what is the internet, the biggest (at least measured in quantities relating to ‘concresity’) virtual space we have, other then the hyperlinks/hyperlinkings and the ‘chainy’ ways in which these are connected and (are set/)stand in relation to each other? What kind of relations these then are – viewed in the light of relational mechanisms and structures which we know of from the human ‘inner life’/soul-life – should be interesting to try and figure out. I guess this is what sci-fi culture deals with, speculating about what our machines, computers and so forth are, viewed and set in relation to the human being.
The arrangement I composed for the exit-exhibition is, in my view, working with – or is at least trying to connect and deal with – some of the above mentioned topics and problems. The text-images being shown are not mechanically structured compositions, they are man-made and humanely fashioned in their outset, made with machinery aid. They are composed and spring from lustful/wishful and enjoyment principles – stringently in method. Intuitively, although systematic – within each field/image(-frame) –, held as tightly, or tighter, then a machine/computer would do so. The whole composition is selectively arranged by me. I’m hanging, and showing, these pictures. So I administrate: the artist set in an editing position and thus functioning as an administrative figure.
—
[Note for the installation of my work_06]
Note ang. installeringen af mit arbejde(/tekstbillede-projekt) præsenteret i Charlottenborg, i forbindelse med Afgang 2016
Kuben (50 x 50 x 50 cm) som indgår i mit ‘installament’ (re-)præsenterer – ideer omkring/vedrørende – et uendeligt virtuelt (og således også et euklidisk idealt) rum, bogstaveligt talt; u-topisk rum (‘ej-rum’). Disse slags ideer er ikke meget ulig de ideer der findes om (her tænker jeg på de teoretiske forelæg for/til/over) den hvide kube som et udstillings rum, hvilket vi i dag tager stilling til.
Siden kunsten i det offentlige rum er blevet stedsspecifik på en måde, hvor den både står i relation til det offentlige, offentligheden og ét rum/rummét, som kunst, og kunstinstitutionerne har sluppet rollen som den, eller det sted, der viser kunsten til offentligheden og således selv gradvist omdannes til at fungere som en offentlig sfære (i modsætning til en semi-offentlig sfære, der som rum, fungerer repræsenterende i forhold til kunsten), kan al kunst i ‘kunst-rum’, i varierende grad, blive/gøres stedsspecifik.
I denne kube – mit installaments konkrete kube – kan der findes alle, de imaginære/forestillingsmæssige, slags variabler(/varianter/variationer) af dén slags billede-former der foreligger. Lydværket (jeg er her) NU præsenteres på kuben, hvilket kunne lede beskueren til at forbinde kuben med et rum der både struktureres og opfattes gennem ‘tids-form’. Om ikke andet forsøger jeg, via benyttelsen af kuben, at aktivere – både de konkrete materielle, forestillingsmæssige og fantastiske – ideer, man kunne have vedrørende komposition. Med dette mener jeg komposition som størrelse, hvilket igen må forbindes til at overveje tid og komposition – hvilket vil sige tidslige forløb – som værende masse/mængder, og således som faktorer.
I og med installeringen af tekstbillede-projektet, søger jeg at åbne mulighed for at kunne forestille og gøre sig overvejelser omkring alle de slags billeder der kunne være (placeret), imellem de billeder der er tilstede og præsenteres – fremfor at søge og finde frem til, eller fatte, hvilke der mangler eller hvordan disse egentlig måtte skulle forbindes – jeg har i den forbindelse søgt at bruge kuben i rummet til at aktivere de tomme felter, indimellem de udfyldte felter. Men for at kunne ankomme til et forestillings/fantastisk rum har vi brug for konkrete materielle (relationer), eksempler, som kan igangsætte noget og samtidigt begynde udlægningen af begrænsningerne. Hvad der videre bliver vigtigt, i forbindelse med denne slags relationer; er relationerne – hvilket igen vil sige den måde tingene(/objekter) er spundet/(for-)bundet/kædet sammen på og således, på gentagende vis, sættes til at fungere med – og operere i forhold til – hinanden. Jeg lægger her vægten på forbindelserne og forbindelsespunkterne – relationerne imellem relationerne – da dette må være vores fikspunkt, når vi plastisk søger at overvejer vores vilkår og omstændighederne herfor. I forbindelse hermed kan vi, måske med fordel, benytte internettet som en figur til at tænke videre ud fra, med og over. For hvad er internettet, det største (i hvert fald målt ift. ‘konkretitet’) virtuelle rum vi har, andet end de hyperlinks, dvs. den (hyper-)forbinding og sammenkædede måde som disse – relationer – (er sat/)står i forbindelse (til/)med hinanden på? Hvilke slags relationer der så er tale om – set i lyset fra de relationelle mekanismer(/forhold), og disses strukturerende virkning, som vi kender til fra det menneskelige ‘indre liv’/sjæleliv – kunne det være interessant at forsøge og finde ud af. Jeg vil tro at dette er hvad sci-fi kultur egentlig forsøger at beskæftige sig med, spekulerende over hvad vores maskiner, computere og så videre er, set og sat i forhold til mennesket.
Installamentet som er komponeret på foranledning af, og i sammenspil med, afgangsudstillingen, arbejder, for mig at se, – eller forsøges om ikke andet forbundet til og beskæftiger sig på denne vis med – nogle af de ovenfor nævnte emner og problematikker. De tekstbilleder der vises er ikke mekanisk strukturerede kompositioner, de er menneskeskabte/syntetiske/kulturelle (produkter) og humant (ud-)formede i deres udgangspunkt/-spring, dannet med/ved/via en maskinel/maskinmæssig/‘maskinær’ støtte/biståelse/forbundethed. De er komponerede og udsprungne fra lyst-/ønskefulde og nydelsesmæssig principper – med metodisk stringens. Intuitivt, omend systematisk – indenfor hvert felt/billede(-ramme) –, hold så stramt, eller strammere, end en maskine/datamat/computer ville gøre det. Kompositionen er i sin helhed selektivt arrangeret af mig. Jeg arrangerer ophængningen af, og viser, disse billeder. Så jeg administrerer: kunstneren sat i en redigerende stilling, og således fungerende/funktionerende som en administrativ figur(/position).
—
Note for the installation of my work_06
–>
[Note ang. installeringen af mit arbejde_07.5]
“Ok.” the text simply says
– short postludium
And “What should all of this have to do with contemporarity, synchronicity and/or identity?” – the text now asks. “Weeell” – I answer “– that we should find out soon enough, you and I”. “Ok.” the text simply says, laying flat on it’s stomach. So is the text’s time: flat.
But the viewer is always the viewer, like the public – which also can’t be represented by the term for it’s concept/notion(/idea) – and thus always will stand as unconcrete, generalised, non-specific, and also never will be any of ‘us’; the peoples’ people, the ones populating (of/in language). The-others(-) who both set and make the language; the language-able? – the language-programmers: (-)/our-’selves’.
This is a problem – a complication – which we, I guess, will have to learn to live with; languages’ superficial-surfaceness. Always “in-work(ing)”, in-fluential – calling for identity, but never (‘self’-)giving any (of it-)self.
Is it then the texts form which is perverse, or the language-user –, in this case myself – the sender, who misuses the circumstances furthermore? Should one at all be speaking about things like guilt, shame and so forth in this kind of context. Everything is (standing!) as given – stands to fall, is falling out like that and in the end undermines both the user and “it self”. Maybe the reader is the only clean (person/)position in this foolish masquerade? Since enjoyment/pleasure can be found in anything, in the usage of any kind of form. So why would one frown on the (mis-)use of the languages’ forms? Is there a kind of holiness there – and thus also a potential blasphemy at work? We have now come to something about the dramatic moment. This field won’t yield an inch. Sentences freeze. Stand back, in it’s sound(s). Sounding; emphasised/stressed. As, for instance: tiring/annoyed – and so forth.
—
[“Ok.” the text simply says – postludium_02.5]
“Ok.” siger teksten bare
– kort postludium
Og “Hvad skulle alt dette så have med samtidighed, synkronicitet og/eller identitet at gøre?” – spørger teksten nu. “Jooh” – svarer jeg “– det vil vi tids nok skulle kunne finde ud af du og jeg”. “Ok.” siger teksten bare, fladt som den ligger der på maven. Sådan er tekstens tid: flad.
Men beskueren er altid beskueren, ligesom offentligheden – der heller ikke kan repræsenteres ved dets begreb – altid vil stå som ukonkrete størrelser, generaliserede, ikke-bestemt, og altså aldrig vil kunne være nogen af ‘os’. Og alligevel altid vil skulle siges at repræsentere ‘os’; folkene, de befolkende (af/i sprog). Dem(-) der både sætter og gør sproget; de sprogende? – sprogprogrammørerne: ‘(-)os’.
Dette er et problem – en komplikation – som vi velsagtens må lære at leve med; sprogets overfladehed. Altid ind-virkende, in-fluerende – kaldende på identitet, men aldrig (‘selv’) givende noget (fra sig/)igen.
Er det så tekstens form der er pervers, eller sprogbrugeren –, som i dette tilfælde er mig – afsenderen, der misbruger forholdene yderligere? Bør man overhovedet tale om ting som skyld, skam osv. i denne sammenhæng? Alt er(/står(!)) jo givet – står til (for-)fald, falder sådan og underminerer i sidste ende både bruger og “sig selv”. Måske er læseren den eneste clean (person/)position i dette tåbelige maskeradespil? Nydelse/Behag kan der jo findes i alt, i benyttelsen af alle slags former. Så hvorfor skulle man se skævt til (mis-)benyttelsen af sprogets former? Er der en slags hellighed dér – og således også en potentiel blasfami i spil? Vi er nu kommet ind på noget omkring det dramatiske moment. Détte felt giver sig bestemt ikke en tomme. Sætningerne fryser fast. Står tilbage, i lydene. Lydende; betonet. Så som: træls/irriteret – osv.
—
[“Ok.” siger teksten bare – postludium_03]
Anne Sofie Nielsen
1989, The School of Walls and Space Skolen for Mur og Rum & Department of Theory and Communication & Skolen for Teori og FormidlingMapping 6 years of practice
Ann Sophie von Bülow
1987, The School of Time-Based Media Skolen for Tidsbaserede Medier http://annsophievonbulow.netPhotos: Ann Sophie von Bülow
Pull of the Moon(S) (Installation view), 2016, seven channel video installation; dimensions variable
Face of the Moon (Installation view), 2016, Phase I – VI, six photographs: pigment print; 152×152 cm each
Aphrodisiac (version I)(Installation view), 2016, , 2016 – Synthetic animal secretion
Female Hotspring, UWA, facing NE;SW;NW;N;S (Installation view), 2016
SD- video; loop
Female Hotspring, UWA, facing NE (Still), 2016
SD- video; loop
Face of the Moon, Phase I, 2016
Pigment print; 152 x 152 cm
Nna OUI Twerk Baakisimba (still), 2016
SD- video; 5:50 min
Larva (Still), 2015
SD-video; 2:00 min
Face of the Moon, Phase III, 2016
Pigment print; 152 x 152 cm
Female Hotspring, UWA, facing SW (Still), 2016
SD- video; loop
Face of the Moon, Phase IV, 2016
Pigment print; 152 x 152 cm
Nna OUI Twerk Baakisimba (still), 2016
SD- video; 5:50 min
Moa Alskog
1985, The School of Media Arts Skolen for Mediekunst & Department of Theory and Communication & Skolen for Teori og Formidling
Sofie Kondrup
1987, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala
Mathias Toubro & Jens Funder
1986, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Dina Friemuth
1988, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala
Rikard Thambert
1988, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Rune Bosse
1987, The School of Time-Based Media Skolen for Tidsbaserede Medier
Philip Pilekjær
1988, The School of Walls and Space Skolen for Mur og Rum
Biba Fibiger
1984, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Mattias Agerskov
1986, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala
Benedikte Bjerre
1987, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Mathias Dyhr
1991, The School of Sculpture Charlottenborg Billedhuggerskolen CharlottenborgUnder Afgangsudstillingen læser Mathias Dyhr op af sit tekstværk Skitse til en monografi. Se program.
Skitse til en monografi udgives senere i forbindelse med CHART ART FAIR 2016