Posts Tagged 'Lifetime achievement'

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.

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.

Robert Rauschenberg

Martijn van Berkum, Rotterdam — I step on my balance. It reads 70 kg. I step off and on again. Now it reads 65 kg. Much better. The difference: Robert Rauschenberg. I put aside his catalogue (it’s so heavy) and realise that this 635 pages monster still doesn’t cover his work altogether. How on earth can I weigh the intellectual, creative and visual influence he had on me?

* I think a painting is more like the real world if it’s made out of the real world *

For sure, I could describe his historic importance being one of the first postmodernist artists: looking at the world, at his environment, his country and culture, rather than looking at his canvas only. He was one of the first who brought back the world into art, “the return of the real”, to use Hal Foster’s famous phrase. I could brag on about the way his layered, mixed-media canvasses unfold the intense complexity of life. How they describe a new world of spectacle and entertainment, of chaos and uncertainty.

But that just won’t do it, at least not when such a giant passes away. So, instead, I will have to “return to my reality”. To the time when I had my own inspiring dialogues with Rauschenberg and that was, like so many of his admirers I’d reckon, when I entered the art academy.

Now this is a peculiar moment in life. You find yourself, for the first time ever, alone on unknown territory and just one question burned in my mind: what on earth am I going to do here? All frames of reference that had provided structure to my fragile young life so far were swept away. I had no clue about what art school was supposed to be; I had no clue of what was expected of me. So for want of something to cling to I bought a ridiculously big Rauschenberg catalogue. 635 pages, I thought, that should provide a long-term source of input.

* An empty canvas is full only if you want it to be full *

It’s quite striking, now I come to think of it. In need of order, of something to hold on to, I turned to an artist whose work could be described best as chaotic, layered and uncertain. What good would that do? Nevertheless, despite this paradox, what I needed wasn’t a “regime” of order and discipline to find my way into life at the academy. Instead, I was looking for something that would get me “out there”. What I needed was a Starship Entreprise, a vessel that would take me on a journey and explore unknown worlds and galaxies! And Rauschenberg turned out to be my Jean-Luc Picard: captain and spiritual guide through my private universe of possible artworks. And so we embarked on a journey.

The metaphor of the journey is crucial in this matter, because movement is the only way to discover what art has to offer. You need to touch, smell, look, create and produce heaps and heaps of mediocre drawings, failed silkscreen prints, attempted paintings and then you need to mix them, layer them, cut them up, glue them together, pile them, fold them, burn them, destroy them and start all over again. This dynamic and creative circle of life seems to describe exactly the attitude that Rauschenberg had towards art and that helped me to get through those first years in art school.

* People ask me, “Don’t you ever run out of ideas?” In the first place I don’t use ideas. Every time I have an idea it’s too limiting, and usually turns out to be a disappointment. But I haven’t run out of curiosity *

An actual count of Rauschenberg’s works could provide some clues about his giant production, so I pick up the catalogue again. After 160 pages I’ve counted 200 art works, leaving 475 pages still to go… In a rough estimation that would add up to around 800 works, which is, needless to say, merely a selection, put together 10 years ago. It’s a long shot, but perhaps Mr. Rauschenberg produced roughly 2000 works altogether. Divided by the 56 years of his professional career, that would account for 36 works a year. Slowly inching along myself, I barely manage to produce four projects a year. I guess I still got a long way to go…

* I don’t think there’s anything really wrong with influence because I think that one can use another man’s art as material either literally or just implying that they’re doing that, without it representing a lack of a point of view *

Robert Rauschenberg: a postmodern Da Vinci, dinosaur and space traveller, spiritual father of influence, creativity, inspiration and ‘point of view’.

RIP.

A Buffalo in Omaha and the Pleasures of Misinterpretation.

Janna Holmstedt, Omaha, NE – This is a short journey through the American Midwest and four examples of public art I think we might see more of in the future.

The character of First National Bank
Walking in downtown Omaha, Nebraska, you will at some point encounter a buffalo – slightly larger than life and cast in bronze. It looks lost and a bit scared among the skyscrapers trying to navigate in this modern urban landscape, but soon you realize it is not alone. Scattered remnants of a herd can be found further down the block. One of the buffalos is trying to escape as it is being consumed by the concrete in the corner of a house. I backtrack the trail northeast and to my surprise there is a group of pioneers with wagons, horses and cows making their way through the city. First I’m like a kid at Disneyland, exhilarated and amazed at the sight. As I discover more of the monumental installation though, I start to oscillate between laughter and disdain. Then it becomes eerie. Are they ghosts? Refugees? Reminders of the fact that this area was explored by the white man only 200 years ago?

The women and children in the trail stops to overlook the demolition taking place across the street. The former headquarters of the Union Pacific Railroad, built in 1924, are dismantled brick by brick to give room for Omaha’s third-tallest building, the WallStreet Tower – a steel and glass construction that will house 275 luxury condominiums.
Omaha used to be an importan railroad hub and the grand Union Station, a showpiece in art deco style, was built 1931 to celebrate this. But already 40 years later it closed, at the same time as the equally grand Burlington station right behind it. Suddenly the silent bronze installation strikes me as perfect for the site; the romanticism of it all, the scattered and nearly extinct animals it depicts, the brick conquering the prarie, then steel and glass conquering the brick as the Union Pacific Headquarters is being demolished in the middle of it all. I wish that too would be cast in bronze, frozen in time just as it is with the workers and machines poking around in the open wound.

But I included more in the reading than I should, the relations and historical facts activated by the sight wasn’t intended at all. A plaque tells me it was built to represent ”The Spirit of Nebraska’s Wilderness and the character of First National Bank”. To be a bit more precise, the goose and bison seen among the skyscrapers symbolizes: Great Strenght, Free Spirit, Intelligence, Adaptability and Loyalty.
Ironically, the giant Canada goose was thought to be extinct in the 1920s, but their return together with the bison is on the plaque called a ”conservation success story”. I guess that’s also a very precise description of bronze monuments.

In support of the arts
Another public sculpture that got my attention is to be found outside Qwest Center, a convention center and arena for entertainment opened in 2005. My fondness of it is again based on a fatal misunderstanding. Giant, shiny spheres are balancing on top of each other, reflecting the fence that surrond them as well as the support mecanism that makes the spheres stay in place. I appretiate the apparent combination of materials until I realize that the wooden stick with duct tape and foam wasn’t made of painted bronze as the rest of the sculpture. It is simply there to prevent the balls to fall apart. Disappointed I step back to get a full view of the entire piece. According to the artist it ”vividly symbolizes the arts and humanities that take place at Qwest Center”.

Misinterpretations of temporary appearances made me appretiate these installations. In fact my interpretation was the direct opposite of the intended one. The transitional, mishappened character set them free for a moment from the symbolic load they were designed to carry.

In a previous post Martijn calls for an ethically concerned and somewhat enlightened artist when dealing with the delicate matter of producing art for public space, since it involves the aspect of speaking on behalf of a community. In the cases I mention above the initiators do not speak on behalf of the community, they speak of themselves and their aspiration as corporations. And the comissioned artists are happy to employ their skills (why shouldn’t they?). This is private land and the installations and parks created are offered as gifts to the community. Corporations thus seems to continue the tradition of monumental art, or public art on the whole, when national and local governments are becomeing more aware of the difficulties involved in initiating public art projects without risking protests or complaints in terms of representation and democracy.
The solution in many cases seems to be to avoid dialogue and engagement. When local governments on the other hand do dare, they tend to argue in terms of ”creating a landmark” or ”putting the city on the map”. This way they manage to ignore the (important) questions of representation, democracy and the use of public space altogether. In a situation when the overall purpose of public art is to promote and attract, the alternative ways to ”speak back” through for example street art, then becomes either very subtle – almost private – or bombastic. But to criminalize the phenomena (as in Stockholm, described in this post) is nothing but grave arrogance.

But let’s continue the journey northwest, to the Black Hills in South Dakota.

Making a statement, making money.
A monument impossible to misunderstand is Mount Rushmore with the four presidents carved in the mountain. My spontaneous reaction to the sight was ”America, fuck yeah!” (somehow the tune from the film Team America World Police has got stuck in my head). The monument fascinates first and foremost by the skill and labour invested in it. But yet again it is overloaded with symbolism. The artist Gutzon Borglum wanted to celebrate the birth of the United States of America and the nation’s first 150 years of history.

In an Indian souvenir shop in nearby Keystone I encounter another version of history: four Indian chiefs are potraited in front of Mount Rushmore. The caption reads: ”The original founding fathers”.
The mountain was known to the Lakota Sioux as the Six Grandfathers. The United States seized the area from the tribe in 1877. Nevertheless, Mount Rushmore is now a huge economical success, attracting tourists from all over the world and listed as a National memorial.

Finally, a tribute.
About two-three hours drive south there’s a less well known site. Actually, Mount Rushmore wasn’t my main goal when I traveled all across Nebraska. It was Carhenge, a replica of Stonehenge, but instead of stones, American vintage cars have been used. I must confess I love this place. Conceptually minded as I am, I regard it as a great contemporary American monument.
Again I’m running the risk of reading more into the place than intended by the creator. Jim Reinders started to build in 1987 and got help from his family and relatives. Originally a result of Reinders’ fascination with Stonehenge and a memorial to his father who had a farm on the land, Carhenge is now owned and preserved by a local group. Carhenge attracts more visitors and attention each year. It seems Reinders and his family by their private initiative unintetionally have put the little town of Alliance on the map

This was four examples of public art that has affected me recently. Skilled or not, clever or stupid, funded by private, corporate or state interests, this is what we will se more of in the future I think, when art is increasingly legitimized as landmarks, attractions or trademarks.
It also means we will see more of (sometimes illegal) counter statements, interventions, actions and volontary misinterpratations. Skilled or not, clever or stupid, they are an attemp at dialouge. An effort to set the apparently static order in motion. As if to say: ”This is not a closed case”.

Director Ingmar Bergman and Sweden

Trial and Error, Stockholm – Ingmar Bergman died July 30, 2007, 89 years old (on the same day that director Michelangelo Antonioni passed away). I’d like to mention his influence on the image of Sweden, and the Swedish view on Bergman.


INGMAR BERGMAN AND THE IMAGE OF SWEDEN:
Bergman’s way of portraying his country in his films had a massive impact in the 1950s and 1960s. Around the world the people of Sweden was regarded as brooding, depressed and consumed by guilt. And Sweden itself was, according to the American Associated Press: ”the claustrophobic gloom of unending winter nights, its glowing summer evenings”.

Then, in the 1970s, Bergman involuntary changed the international view on Sweden again. It was in 1976 that the Swedish tax administration began a witch hunt on the director, who was brought from the theater by uniformed police. This was later recognized as the work of power hungry administrators and he was freed from all charges, but he was mentally broken. Around the world, the view of Sweden as a Soviet in miniature was cabled out.

This made not only Bergman aware that ”anyone in this country can be attacked and humiliated by a special kind of bureaucracy that is growing like a raving cancer”. At the same time, Swedish author Astrid Lindgren (writer of ”Pippi Longstocking”) was supposed to pay 102% in marginal taxes. Stories like these did not only change the view of Sweden, it also had its consequences within the country and the social democratic party lost the next election after 44 years in power.

THE SWEDISH VIEW ON INGMAR BERGMAN:
Sweden doesn’t have that many inernational celebrities, but we are very focused on formulating our country, inwards and outwards. Ingmar Bergman is therefore important to us in more ways than first meet the eye. Our icons are getting too old (like the botanist Carl von Linné and the mysticist Emanuel Swedenborg) or to well used (like the pop group ABBA or tennisplayer Björn Borg). What we want is someone to represent Sweden NOW, and rather not just anyone internationally important (like Hans Blix), but someone who put our country on the map. Or, to be frank, someone who indulge us by devoting time on the Swedes.

Ingmar Bergman did this. He has (reluctantly) become a natioal monument in Sweden, and now that he is dead we want to honor him. But how, where and by whom? The competition is on, and many voices are heard within a few days after his death.
How many Ingmar Bergman streets can we have in Stockholm, for example? If there is more than one there might be some confusion, so one enthusiastic politician reasoned ”one can change the name a little, call it ”Director Bergmans street” or something like that.” A lot of new books are being written, TV is finally showing his films again, and a few days after his death we learned that we will get a new stamp with Bergmans face on it. Further more, we already have one important Bergman monument since the massive Ingmar Bergman Archive has been inscribed in the UNESCO ”Memory of the World Register”.

I personally like Bergman a lot, I think there is nothing more natural than some form of memorial. But lets not get to whimsical – lets focus on what counts. Danish director Lars von Trier (”Dogville”) put his finger on it the other day:
”Bergman is by many charactarised as a genius. But there is only one way to celebrate the genius and that is by making his films accessible. He might be concidered as kind of a national monument in Sweden, but it is the films that is the monument. It is a scandal that they are not available for everyone to see!”
Lets start there, I say.

Some recommended reading: Ingmar Bergmans two fundamental books, ”The Magic Lantern” and ”Images: My life in film”; The official Ingmar Bergman website; Interview with Lars von Trier (Swe); The Daily Astorian on Bergman; and a Playboy-interview with Bergman from 1964


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