Posts Tagged 'art'

Little big man

Martijn van Berkum, Svolvaer — From my fifth until my 16th I set out every year with my parents on a holiday trip to France. We had huge a orange tent and a station car with a metal construction on top that my father filled with a one meter pile of plastic chairs, a table and loads of toys and other junk. Then a bright blue plastic cover went over it and the whole thing was fastened with a couple of meters of neon orange rope. Squeaking under the tremendous weight it was carrying, the car would sink around twenty centimeters and it’s a miracle the axes never broke on the way.

Inside the car every cubic centimeter was filled, minus a small space exactly matching the dimensions of my body. There I would sit for twelve long agonizing hours while temperatures were slowly crawling over thirty degrees the further we approached our destination. To add insult to injury, I had to sit with my feet up all the way, because the space in between the front and back chair was exactly large enough to fit in a cooling box. A light brown cooling box, with a dark brown lid on top and round corners, the loyal travel companion of every average Western family in the eighties.

Now, if you were to travel today to Lofoten, in the far north of Norway, and visit a tiny town called Svolvaer (a trip I can highly recommend), you will find at the sailboat harbor in the center a cooling box exactly similar to the one my parents owned. The colors are different, a soft pale orange box and a bright orange frame, but the design is just the same. It was put there in 2004 by the artists Elmgreen & Dragset for the LIAF 04 (Lofoten International Art Festival) exhibition.

Elmgreen & Dragset
Tiergarten, Berlin, May 21th, 1991
2004

LIAF is a biennale and therefore the 2004 edition collected the “best of” biennale material: Henrik Håkansson, Michael Elmgreen & Ingar Dragset and Pipilotti Rist, among others, all Nordic or international art heroes. Being the biggest exhibition in Norway, together with Momentum in Moss, it is rather strange to be located in Svolvaer, which accounts for only 4000 inhabitants. Why organize such a huge event in such a remote area? I’m not sure whether the 2004 edition managed to answer that question and hitherto, every second year discussions about the legitimacy of LIAF’s being at Lofoten surfaces again. The Elmgreen & Dragset piece always plays a central role in that discussion and given the number of occasions it has been vandalized one can argue whether it is a successful public art work.

On the other hand, I could also argue that the merits of the work are super interesting. It takes up the ready-mades by Duchamp and puts it into the context of a growing local tourist industry and the romantics of outdoor camping. Being casted in bronze and over painted to look exactly like a plastic box, it issues questions around mass production, uniqueness and prize vs value. But these are very much ‘white cube issues’ and don’t speak very much on a site-specific level, let alone that they’ll mange to answers questions around the legitimacy of LIAF at Lofoten. Why should inhabitants be so interested in such boring questions about what art is? And why should they care about international artists making statements about their tourist industry? in a way they don’t care about and financed with a chunk load of public money that could also be put in maintaining local fisher industries or other public matters. Could that be too big a discussion for such a small art work?

Despite the arguments that surround the work, the fierce debates and misunderstandings, the cooling box has a quality, or rather, it has developed a certain quality. Each and every year the box gets kicked into the water; it’s been mocked, debated, covered by snow, attacked by storms, loved and hated. Nonetheless, it survived and I admire the little fellah for its resilience. It’s small size, apparent vulnerability and triviality turn it into a perfect actor in the debates surrounding public art and LIAF’s legitimacy. It’s a chameleon that can shift from representing two internationally acclaimed artists, to being a controversial public art work, to an expensive solid bronze object, and to being an innocent, beaten little child, abandoned by its spiritual parents and left at its own devices. In other words: it’s a little big man.

I love these schizophrenic characteristics the work embodies. But what fascinates me even more is the fact that all the violence and critique the work has endured over the past years yields one crucial result: the much sought-after legitimacy. The box is battered and bruised, but still stands proudly on the jetty by the water. It has earned its place there and has become a proper citizen of Svolvaer.

A report about LIAF 08, which ended a little while ago will follow shortly.

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Antonio Scarponi nominated for the Curry Stone Design Prize

Point of view is proud to announce that one of its members, Antonio Scarponi, has been nominated for the prestigious Curry Stone Design Prize.

The Curry Stone Design Prize is awarded every year to breakthrough design solutions with the power and potential to improve our lives and the world we live in. The Curry Stone Design Prize recognizes exceptional, emerging design innovations that contribute to the vitality of the world community”.
– from the Curry Stone Design Prize website.

Antonio’s practice takes place at the intersection between contemporary art, design, architecture and social engagement. Intertwining these discourses creates a framework that enables him to engage in the sheer complexity of the societal issues his work deals with. It renders Antonio an independent position where he can situate a critical and “subversive” practice of imagination.

Since 2004 Antonio has been working – in collaboration with Stefano Massa, Federico Pedrini and Antonio De Luca – on the Dreaming Wall project, a public space installation originally designed for Milan. It’s a green-coloured UV light sensitive wall that turns white when light falls on it. At night it displays text messages send by phone, or submitted on the Internet. A computer controlled UV laser beamer projects these text messages that last for fifteen minutes on the wall and then dissolve again. The project is a hacking of public space; it drifts away from the functionality of everyday life and creates what Antonio refers to as “the sub consciousness of a city asleep”.

On a personal level we enjoy working with Antonio, who has a beautiful mind, and a critical and passionate attitude that brings energy and innovative ideas into our collaboration.

Congratulations!

Read Antonio Scarponi’s posts on Point of view here and visit his website here
Read an article Antonio recently wrote about his “RIKEA” project.
The Curry Stone Design Prize.
And read their article on Antonio’s practice here.

Stealing beauty

Martijn van Berkum, Rotterdam — Busy, busy weeks. But I have to squeeze in this article since the art work in question is one of the funniest and most intelligent works I have seen the last months.

Stealing beauty is a 20 minutes video art work by the Israel-born artist Guy Ben-Ner. It’s a parody on typical sitcom soap opera’s on television, staged in different IKEA stores over the world. We follow the fictive lives of Ben-Ner, his wife and their two children as they struggle with problems that are drenged with moral and cultural issues. The camera is put up without authorisation of the IKEA stores and people are walking by, looking into the camera and intervening in the imagined lifes of the Ben-Ners, while price tags change from euro to dollar to yen.

The real Ben-Ner and his family themselves have migrated to the United States and in a very comical way the video issues problems of migration, of trying to fit in, trying to adapt to a Western way of living. “Honey, I’m hohooome”, is the first thing Ben says when he arrives in an IKEA living room. But their foreign accents, and their hilarious comments on the peculiarities of Western-American culture reveal that they don’t fit in precisely. References in their texts to Marxism give a hint, for instance when the children yell “children of all nations unite” when they are arguing with their father. The want for dissolving into a collective, symbolized by the globalized IKEA consumer ideal, is apparently stronger than maintaining your own identity.

For more information, please check this great article in the New York Magazine Art Review.  

A four minute trailer of the video:

A discussion about the future of art in public space

Martijn van Berkum, Rotterdam – – Great things in life don’t last. We’ve learned it last week when, after two decades of depression, the Dutch soccer team finally shook off the superb style of the old Dutch masters and defeated France and Italy with stunning postmodern efficiency. We saw it yesterday and learned that the new style had no more than a one-week lifespan… and the Dutch team lost against Russia… Despite the odds, Anna Tilroe, curator of the Sonsbeek 2008 exhibition, decided to organize this year’s edition around the theme ‘Grandeur’. But will this greatness last?

I invite you to join a discussion about the future of art in public space.

Sonsbeek traditionally stands for the largest outdoor exhibition in the Netherlands, a legacy it owns largely to the legendary edition of 1971 that presented the first land and performance art of that time. It sought to extend and challenge the barriers of art: its location, the white cube, the relation to its environment and audience, and its presupposed autonomy and universality.

Whereas the 1971 edition was the first one to leave the Sonsbeek park and integrate the art works into the city of Arnhem, Tilroe has decided to revert this dispersion and return to the park. Alongside, the tradition of examining the relational and site-specific aspects of art has been abandoned as well. The works seem to be out-of-place, self-contained entities that bare little or no relation to the environment, its historicity, nor its visitors.

Zooming out of the exhibition and looking at art in public space from a larger perspective, I see more problems. The public domain traditionally represented a highly dynamic place where opinions and world-views were published and public discussions were situated. That quality is diminishing, a process that is caused by a number of factors: the privatization of public space for one (read more about that in this article on Point of view, by Janna Holmstedt), the commodification of public art works and, above all, the gradual dispersion of the public debate itself into new and more vital sites and media such as weblogs, internet forums, schools, community centers, comments sections of news papers and art initiatives in neighborhoods.

Therefore I ask you the following question: What is the future of art in public space?
You are invited to join a discussion in the comments section of this article.

Now, lets talk about football

Martijn van Berkum, Rotterdam — To stand in the middle of the arena and let the cheers and buzz of the crowd run through you; to feel the grass, control your breathing, know where your teammates are, blindly, at any time; to experience the game as if it were in slow motion, seeing every action before it happens. That’s when you truly inhabit the game; that is Zinedine Zidane in his best days.

When I was contemplating on an article that would discuss all those great art works dealing with football as subject, the one underneath, ‘Zidane: A 21st Century Portrait’, stuck to me. It is a feature film by the artists Philip Parreno and Douglas Gordon. In 2005 they filmed football player Zinedine Zidane during the match Real Madrid – Villa Real with seventeen film camera’s, real-time, 90 minutes long.

It stands out from other ‘football art’ because, rather than turning the sport into a metaphor, it examines the essential quality of the game: a highly concentrated site where performance, narrative, sound and movement interplay with each other. The video, in relation to that, is a symphony and dramatization of these settings. It filters out all disturbing elements and focuses on Zidane moving, breathing, scanning the game and playing the ball.
In complete… control.


Fragment from ‘Zidane: A 21st Century Portrait’ by Douglas Gordon and Philippe Parreno

Those few occasions when I really excelled in my work, I remember having that feeling of complete control over all the circumstances. I’d reckon that in a football match, in order to succeed and win, you would need that feeling all the time. Therefore, a field, or a stadium, isn’t just the stage for a match as such, it also functions as a setting that meets all the conditions required for gaining that complete control and filters out everything that frustrates it. That’s the setting of Parreno and Gordon’s film about Zidane.

“I can hear someone shift around in their chair… I can hear someone coughing… I can hear someone whisper in the ear of the person next to them… I can imagine that I can hear the ticking of a watch”
– Zinedine Zidane

Examining these circumstances reminds me of some of the great works by the early conceptualists and performance artists in the sixties. They too focused on the characteristics of their environment: Bruce Naumann measured his studio, Douglas Huebler photographed the sky over different cities and Dan Graham described his audience in one of his performances. ‘Zidane: A 21st Century Portrait’ fascinates me because it captures all those conditions in one work and celebrates Zidane as one of the best football players ever, for being able to master and control all those circumstances and excel.

Yes, the Dutch do great at the current European Championship and I am absolutely thrilled! But this first tournament without Zidane… I guess I still have to get used to that…

Please find more fragments from ‘Zidane: A 21st Century Portrait’ here, here and his most gorgeous action of the match here.

Alma Löw: Art in the woods

Trial and Error, Stockholm – Alma Löw is a private initiative, run by artist Marc Broos in the countryside in the western part of Sweden. It started ten years ago when Broos built 16 pavillions in the slopes by his home and began to invite artists.

Entrance to the pavillions

Without economical support from the region he still can’t offer the participants any compensation. But artists keep coming because of the ambition and energy level:  Annika von Hauswolf, Gilbert and George, Leif Elggren, Nathalie Djurberg , just to mention a few. And as an artist you get something that, at least not I am used to: You are not called to any meetings and you are not required to write or explain anything, because Broos only wants you to do one thing: Show us your art! 

Some of the 16 pavillions

This summer is the 10th anniversary and 30 artists have been invited. Artists Jörgen Svensson and Anna Persson have curated the 16 pavillions and Marc Broos the 10 rooms in the new art hall “Paleis Oranjestraat” (named after the street where he was born). 

Paleis Oranjestraat was built because, in an article, Marc Broos was called “King of his domain” and he thought that as King, he should have a palace. He bought a barn close by, rebuilt it into a maze of showrooms. There are also a seminar room, a workshop and, in the future, residencies for visiting artists.

Some interior views

If you travel in Sweden this summer to experience picturesque countryside and art, you don’t want to miss Alma Löw, which has got both. And if the weather happens to be bad, Marc Broos always provides the visitors with rubber boots.

Read more (in Swedish): VF NWT, DN, Konsten.net

Epitaph for Paul Cseplö

Po Hagström, Stockholm – About a village that didn’t recognize the value of art, and about the artist who painted anyway.

A dear friend of mine, artist Paul Cseplö, died May 12 after many years of leukemia.

When I was a child, Paul was the only artist in the small village where I grew up. He came to this northern part of Sweden with his family as a child, escaping the war in Hungary. Soon he began to paint this changing landscape and continued to do so for the rest of his life.

In our village art could be nice, but it was never considered valuable, and the artist himself was regarded as a queer fellow. Paul was told that posters were cheaper, so why buy paintings? This didn’t stop him though, he trusted in art as a force in itself and he knew what it could do. He proved to be right.
Despite people’s low esteem of art and strong opinions about his paintings, they still wanted his services. So when the old school was rebuilt to a hostel, Paul painted all the walls with scenes from nature – for free. And when they built a new dance floor, Paul painted its background. Not that he wouldn’t have appreciated something in return, and not necessarily monetary, but it always turned out to have been for free. And he kept painting for free for 30 years. Few places in this village are without the signature of Paul. Art is everywhere, in homes and the pizzeria, in offices and in boathouses, on trailers and in the old people’s home.
Did the village deserve this? I don’t think so. But Paul made a choice and he painted, and he made sure that art would be present everywhere.

According to Paul nothing really disappears, but this world still is a duller place now that he went off to wherever.


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