Kunsthal Aarhus – DUMP!

  • Sarah Surgey
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  • 23rd August 2015
  • 1536

    Nordophile is constantly searching for Nordic art centres/projects and festivals who work tirelessly to promote and showcase art, artists and their efforts to promote thought through their work. The collaborations that we have brought you all have a dedication to the art, fully. Sometimes unstructured, sometimes unrestrained but always fully committed. We encourage Nordophiles to combine their Nordic […]




    Nordophile is constantly searching for Nordic art centres/projects and festivals who work tirelessly to promote and showcase art, artists and their efforts to promote thought through their work. The collaborations that we have brought you all have a dedication to the art, fully. Sometimes unstructured, sometimes unrestrained but always fully committed. We encourage Nordophiles to combine their Nordic travels with some of these art exhibitions and festivals so you fully appreciate being in and part of the Nordics.

    Nordophile have come across Kunsthal Aarhus which is a contemporary art centre located at the heart of the city of Aarhus, Denmark: cutting edge art, landmark architecture, intimate atmosphere.

     

    Ny "løbebane"
    Ny “løbebane”

     

    The institution initiates, commissions, produces and presents art at an international level to local, regional, and international audiences. Kunsthal Aarhus creates art in a broad context, connected to other fields of human activity, other disciplines, and to a wider society as part of a sustainable approach.

    It provides a research-based participatory, collaborative and transdisciplinary platform for artistic experimentation and critical engagement. Kunsthal Aarhus strives to be an inclusive, transparent, dynamic and flexible institution that fosters the culture of appreciation and values diversity of contributions.

     

    Shaped Canvas Track

    Come and try Kunsthal Aarhus’ running track.

    Shaped Canvas Track is designed by the Dutch artist/designer duo Jeroen Bouweriks & Linda Beumer and was selected from a Call for Ideas in the summer of 2013. The selected project is inspired by the American minimalist icon Frank Stella and the Danish middle distance runner Wilson Kipketer, and in this way it combines art and sport.

    With its red rubber surface the track is perfect for a 50 metre sprint from the J.M. Mørks Gade street to Kunsthal Aarhus’ new entrance. The stripes of the track wrap around the old building becoming a hybrid between landscape architecture, sport, design and art.

    This fascinates City Architect from Aarhus Municipality, Stephen Willacy:
    “The selected team has created a very inspiring project. They have been able to create a temporary artwork, which guides the visitors with humour and clear design, but also respects the existing architecture.”

    The artists, Jeroen Bouweriks & Linda Beumer say:
    “We believe in the unexpected combination of disciplines, and that this can result in interesting dynamics. The idea of walking, running with a certain goal – in this case to the entrance – can become a game or a challenge. Why not facilitate this motion with an unusual track in a contemporary art context. It’s the mixture of these two worlds that can appeal to different kind of visitors.”

    Lars Nielsen, Chief Coach for the National Athletics team who has been a consultant on Shaped Canvas Track explains his interest in the project:
    “It combines sports and arts, and for me these are two elements with a lot in common. Both demand the same to get you to the top level, and that is commitment. You have to think in new ways, seek inspiration and make use of other people’s ideas.”

    The project marks the start of the new phase of the transformation of Kunsthal Aarhus, connecting the development of its new artistic profile with its architectural features:
”With this project we are rethinking the idea of the future art institution, and how to transform Kunsthal Aarhus into a more open and accessible institution that is connected to the wider world. Imagine if people will literally be able to run in and out of Kunsthal Aarhus and merge the experience of the art programme inside with the outside” – add Joasia Krysa, Artistic Director and Iben Hofstede, Administrative Director of Kunsthal Aarhus.

    Shaped Canvas Track can be experienced until 2017 and is the first commissioned art project in Kunsthal Aarhus’ new public programme “Museum Without Walls” (2015-2017) comprising of a series of new artworks developed specifically for urban context and participatory projects developed through social media.

     

    Current Exhibition

    DUMP! 26.June.2015-20 Sept.2015

    Collective Making series at Kunsthal Aarhus presents a new exhibition curated by Elaine Gan, Steven Lam and Sarah Lookofsky.

    DUMP! gathers together artists, scientists and organisms to explore multispecies collaboration that reshapes the ruins of modernity and resists industrialized progress. Contesting the celebratory logics of invention and making that dominate contemporary discourse, DUMP! creates an arena for waste, obsolescence, and decomposition, where practices of nurturing and collective cultivation may begin, turning composts to compositions.

     

     

    DUMP! upends the division between nature and culture, while refusing separations between art and science; the art institution and the natural history museum; and wonder and comprehension. By presenting creations of humans and nonhumans alike, DUMP! calls out for new ways of seeing, describing, making, and living in unruly entanglement within contaminated worlds.

    Inspired by Lucy Lippard, a self-described “compiler” of exhibitions, and taking its cue from garbage heaps – and the multispecies life that ferments and flourishes in them – the exhibition will continue to grow throughout its duration.

    The exhibition is sited in and between two locations: Kunsthal Aarhus and Søby Brunkulslejerne – a post-mining landscape of contamination, garbage, and unruly multispecies transformation. Both places will host projects, proposals, artifacts, and concepts compiled along two strands of overlapping inquiry that constitute the DNA and organizing principles of the show:

     

     

    Unmaking Making:
    There is a utopian and almost naive celebration of the creative maker in this era of crisis and extinction – a heroic figure invoked as alibi for economic recovery and sustainability by policymakers and governments. DUMP! proposes that the seduction of making, which also often goes unexamined in the field of art, dangerously reinforces a techno-positivist neoliberal logic of accumulation, which has accelerated the ruinous buildup that is threatening the very possibilities of collective life.

     

    Multispecies Collaboration:
    The ecological crisis facing the planet evokes an apocalypse that can be rationalized and mapped. DUMP! proposes that its key challenge is messy: nature and culture, humans and nonhumans can no longer be taken apart. Plants, fungi, animals, microbes challenge us to reconsider the unruly, rogue, invasive, and unspectacular compilers that hold things together, in effect playing across difference. DUMP! challenges the story of human domestication and mastery with murky, multispecies heaps.

     

     

    Workshop

    Aarhus University Research on the Anthropocene (AURA) and Kunsthal Aarhus host a weekend workshop with creative methods and experimental genres for living in contaminated landscapes, garbage dumps, and compost heaps of the Anthropocene. Led by Niels Bohr Professor Anna Tsing and Professor Nils Bubandt of Aarhus University, Department of Culture & Society, AURA research combines the arts, sciences, and humanities to ask: how might humans and nonhumans continue to inhabit a damaged planet? How might “we” collectively make and unmake livable relations?

    The workshop is organized in conjunction with an exhibition currently on view at Kunsthal Aarhus, curated by Elaine Gan (AURA), Steven Lam (Purchase College, NY), and Sarah Lookofsky (Museum of Modern Art, NY). Over a weekend, the workshop will gather seven different artists-scientists from the exhibition in a series of performances, tastings, presentations, and roundtables. A short story by Ursula K. Le Guin, The Carrier Bag Theory of Fiction provides a rich conceptual framework. (Guests are invited to enjoy reading the short piece in advance.)

     

    elaine_gal (1)

     

    5 September, the workshop opens with a welcome at 10.30am, followed by a curatorial introduction to the exhibition. This will be followed by an AURA presentation on ongoing field research at the brown coal mining beds in Søby Brunkuslejerne. Around noon, Åsa Sonjasdotter (Sweden/Berlin) will lead a potato harvest and share insights on historical trajectories of potato varieties. In the afternoon, Cecilia Vicuña (Chile/NY) will talk about seed collecting and the beings of seeds in Chile and Denmark. This will be followed by Semiya 2015 town hall, an open celebration of seeds and stories. All guests are then invited to take a short break to eat Sonjasdotter’s potatoes harvested in the morning, along with some local beer brews. In late afternoon, Pawel Wojtasik (NY) will do a screening and open discussion on his experimental documentaries and works in progress.

     

    6 September, the workshop reconvenes at 13.00pm, with an open seminar by Etienne Turpin (Jakarta/Berlin) on postnatural histories. This will be followed by a short presentation by Amy Balkin, calling in from San Francisco, CA. At 15.00pm, roundtable discussion among all participants will be held. This roundtable will engage with Le Guin’s short story through three key themes: (a) the work of art and archives as carrier bags in a time of unprecedented environmental crises, (b) problems of scale and narrative, and (c) the representation of species temporalities and differential ontologies through various media (performance, poetry, film, writing). A tasting/cooking event by Spurs collective will be held in the early evening.

     

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    Invitation to become involved

    Collect seeds in late summer
    Examine the particularities and origin of the seeds you find
    Contemplate and love the seeds, share your notes, drawings or photos of them

    Saturday, September 5th at 3 pm at Kunsthal Aarhus, citizens are encouraged to bring their seeds as contributions to a realization of “Semiya”, a 1971 work by the artist Cecilia Vicuña during her visit to Aarhus. Citizens (including scientists and artists) will observe, present and discuss the seeds. Dinner will be served.

    In 1971, Cecilia Vicuña proposed the work “Semiya” to Salvador Allende, the socialist Chilean president who died in the military coup that deposed him two years later. The proposal involved the collection of seeds throughout the country for a gathering and nationwide celebration of seeds. Allende smiled and said the country was not prepared, but perhaps would be by the year 2000. Since the work was never realized at the time, the artist is calling for participation for a realization of the work in 2015 in Denmark in conjunction with the exhibition DUMP! at Kunsthal Aarhus:

    “My idea is very simple: To encourage people to gather seeds as an act of love and contemplation. The collection may be performed during the late summer (August). On the 6th, we will join with and meet others who have been gathering seeds, to engage in a collective conversation. I will contribute with poetry readings and researchers will talk about the current situation of seeds in a global perspective, their loss of habitat and freedom due to the interference of transgenic crops that disturb or contaminate wild and native species. The event will feel like a town hall with people of all ages.

     

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    Online
    Document your collection of seeds on social media (Facebook, Instagram, Twitter, Flickr, Vine) and use the hashtag #semiya2015. All these seed posts, if they are assigned as public, will automatically gather on the website; https://tagboard.com/semiya2015/231493

     

    At Kunsthal Aarhus
    For the exhibition DUMP! at Kunsthal Aarhus, the artist created the work “Seed Quipu” containing both seeds, recently collected by the artist in Chile, and seeds collected in Aarhus. New seeds will join the installation following the event. Both “Seed Quipu” and the Danish enactment of “Semiya” are created in close collaboration the researchers Meredith Root-Bernstein and Marilena Campos of AURA (Aarhus University Research on The Anthropocene).

     

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    About the artist:
    Cecilia Vicuña is a poet and multidisciplinary artist from Chile. Her work embodies the meeting point between art and poetry, text and textile, the body and the land. Her ritual performances/site specific installations bring together the oral traditions of the Andes, science and linguistics to meet the contemporary realities of ecological disaster. Vicuña’s art has been exhibited in New York at the Whitney Museum of American Art and the Museum of Modern Art, at the Museo Nacional de Bellas Artes in Chile, and at the Institute of Contemporary Arts and the Whitechapel Art Gallery in London. Her most recent book is Spit Temple, 2013. Vicuña is a founding member of Artists for Democracy.

    Head to Kunsthalaarhus.dk for information on DUMP! and other exhibitions.

    Thank you to Kunsthal Aarhus for text and photos.

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    Norwegian artist Rina Charlott Lindgren

  • Sarah Surgey
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  • 24th July 2015
  • Rina Charlott Lindgren 15

    Norwegian artist Rina Charlott Lindgren first came to our attention as one of the artist in Residency at the Nordic Artists’ Centre Dalsåsen. She was born in Tromsø, Norway but now resides in the culture hub in the centre of Europe, Brussels.    “Alignement IV”, wood and graphite 2015 and “Glacier”, pencil on paper, 2015 […]




    Norwegian artist Rina Charlott Lindgren first came to our attention as one of the artist in Residency at the Nordic Artists’ Centre Dalsåsen.

    She was born in Tromsø, Norway but now resides in the culture hub in the centre of Europe, Brussels.

     

    Rina Charlott Lindgren 3

     Alignement IV”, wood and graphite 2015 and “Glacier”, pencil on paper, 2015

     

    Art historian, art critic and curator Joakim Borda compiled a summary about Rina, talking about her as an artist, her works and style. Describing her interpretations on Norwegian Goth also known as Nordic Gloom, Joakim reflects on this young artist who is increasingly becoming respected within this art genre.

     

    Rina Charlott Lindgren 5

    “Collection”, graphite and pencil on paper, 2015 and “Collection II”, graphite on paper, 2015

     

    Mysteries of Ocean – Reflections on the work of Rina C. Lindgren

    It is twilight in an almost barren Birchwood forest, with ghoulish green reflections tainting the scarce foliage clustering on the top of naked stems. In this sort of dark gloomy forest well known from Scandinavian folklore with its many tales of trolls and sprites, a portal into another dimension opens itself in thin air, white light streaking out it. Like few other artists of her generation, Rina C. Lindgren knows how to create enigmatic images that are as uncanny as technically exquisite.

     

    Rina Charlott Lindgren 6

    Overview

     

    I have had the privilege of working with Lindgren on several curatorial projects since she graduated from Trondheim Art Academy in 2011. In that short time she has become one of the most promising exponents of what has been described as Norwegian Gothic, or Nordic Gloom – a contemporary interpretation of Gothic aesthetics within contemporary art with a particular Scandinavian sensibility. In her book “Heart of Darkness: a Poetics of Darkness”, Anne Williams describes the essence of Gothic conventions as the systematic representation of ‘otherness’. The basic formula of Gothic representation can often be reduced in opposites such as good/evil, nature/culture or male/female. It is in the tension between such opposites that the Gothic appears in fiction and art.

     

    Rina Charlott Lindgren 12

    “Sample”, pencil on paper and collage, 2015

     

    Choosing often to work in pencil on paper, Rina Lindgren deal with a string of themes, which can be divided in motifs that closely connect to the symbolic imagery of Romanticism, such as ruins, caves, dead trees and stormy seascapes, “the dangerous mysteries of ocean” Mary Shelley described in her classic Gothic novel Frankenstein (1818). These works can be seen as commentaries on the Romantic idea of the terrible Sublime, awe-striking and frightening at the same time. In a seminal work entitled What is left Behind III (2011) a buried young man is consumed by the roots of a tree, bringing to mind the corpse brides and vampiric phenomena of Gothic horror.

     

    Rina Charlott Lindgren 13

    “Fall is a feeling”, pencil on paper , 2014

     

    Parallel to this, Lindgren also explores a more intensely psychological landscape rooted in her own personal history. Born above the Polar Circle in the Northern Norwegian city of Tromsø, Lindgren is no stranger to “the land of mist and snow”, as Coleridge describes it in The Rime of the Ancient Mariner (1798). In fact, a recurrent theme in Lindgren’s work revolves around the ancient coastal culture of her home region, and her own family history with a seaman father leave biographical traces in both her drawings and sculptural work. Recurrent motifs connected with the Northern coasts, such as lighthouses, fishing boats and fjords are paired with three-dimensional and collages works that incorporate found objects from an inherited family house in Lofoten, as well as memorabilia of her father’s life at sea. These works resemble reliquaries of private devotion, nostalgic perhaps of a culture nearly extinguished by modernity.

     

    Rina Charlott Lindgren 15

    “Solgløtt III” graphite on paper, 2014

     

    Recent works however, seem to move away from the previous fascination with Romanticism and nostalgia. Although architectural details have always featured prominently in her works as traces of culture, lately Lindgren expresses a particular interest in the formal aspects of architecture. Walls, windows and ceilings organise space, ultimately defining the limits between inside and outside. Again we can trace the basic dichotomy between nature and culture, but now the artist turns a more scrutinising eye towards the latter. Paradoxically a long stay in the remote surroundings of Lofoten seem to have had a restricting effect on the artist’s need for visual representations of northern Norway, replacing them for a more abstract and culturally disassociated imagery, although natural phenomena like the sea, forests and skies still play an important role.

     

    Rina Charlott Lindgren(1)

    “Days are floating through my eyes II”, graphite on paper, 2015

     

    Although a young artist in the early beginning of her trajectory, Rina C. Lindgren’s great promise lies in the consistency of her work, in both it’s trueness to a subject matter that is poetic and uncompromising in its draughtsmanship.

    The next solo show from Rina, titled “Wind blown blue”, will be in Bodø kunstforening with opening 1stAugust.

    Photos credited to Thomas Falstad

    www.rinalindgren.net

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    NuArt festival

  • Sarah Surgey
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  • 9th July 2015
  • tilt

    Nordophile was drawn to NuArt by it being such an expressive, improvised, exploration of art by the artists attending this Norwegian art festival collaboration in Stavanger, Norway. NuArt starts with Nuart Plus (Academic and Industry conference) Sept 3-5th. The Exhibition & Festival opening : Sept 5th 7pm And then the Exhibition: Sept 6-Oct 11. Open Wed-Sun […]




    Nordophile was drawn to NuArt by it being such an expressive, improvised, exploration of art by the artists attending this Norwegian art festival collaboration in Stavanger, Norway. NuArt starts with Nuart Plus (Academic and Industry conference) Sept 3-5th.
    The Exhibition & Festival opening : Sept 5th 7pm And then the Exhibition: Sept 6-Oct 11. Open Wed-Sun

    nuart1

    ICY & SOT

    The concept is refreshing to a world which is often limited by other people’s boundaries. NuArt encourages and promotes genuine free expression through art on an open stage to encourage debate and allows the audience to watch the artist’s story unfold in a very natural way.

    A world of no constraints is magnified from different genres of art with no corporate intervention.

    Just imagine the eclectic and raw end results you will see at NuArt! One of the most exciting art exhibitions you will see.

    Nordophile spoke with its Director and founder, Martyn Reed.

     

    tilt

    TILT

    Nuart is an annual independent international contemporary street and urban art festival established in 2001. Since 2005, the festival has focussed exclusively on Street Art making the event one of the oldest there is. The Festival is based in Stavanger on the West Coast of Norway.

    The Nuart Festival follows the ethos behind the Nu teams desire to provide an annual platform for national and international artists who operate outside of traditional systems. Outsiders if you like. The event aims to stimulate debate by challenging entrenched notions of what art is, and more importantly, can be. Nuart aims to provide an internationally relevant, challenging and dynamic environment for artists, students, gallery goers and public alike, an event that aims to reflect the culture as well as participate it helping define it.

    Nuart aims to explore and present new movements and works from within the field loosely termed “Street Art”. Street art has its roots in situationism, graffiti, post-graffiti, muralism, comic culture, stencil art and activism amongst many other things. It is without a doubt the most exciting development in visual art for decades. A “movement” that has caught the imagination of the general public, collectors, auction houses and curators the world over.

     

    martynwhatson

    MARTIN WHATSON

    Nuart consists of a series of citywide exhibitions, events, performances, interventions, debates & workshops surrounding current trends and movements in street art practice by some of the worlds leading practitioners and emerging names.

    Street art as a genre has developed significantly over the past few years, and Nuart is a leading festival on a world basis concerned with the task of identifying, promoting and presenting both pioneers and emerging talents within the scene. The artists who attend the festival are among the most acclaimed and progressive public art practitioners in the world.

    Nuart continues to pioneer a new breed of art exhibition that is neither institutionalised nor commercial, giving the artists free reign to express themselves to the full. Without the usual restraints of curatorial and corporate preferences, the event consistently brings out the best in its invited guests.

    From the first week of September an invited international team of street artists start to leave their mark on the city’s walls, both indoor and out, creating one of Europe’s most dynamic and constantly evolving public art events.

    Nuart is a not for profit event run by a small group of idealistic volunteers, vandals and bored arts professionals.

     

    nuart

    LEVALET

    Join our crew for Nuart 2015!

    We’re looking for enthusiastic people who wish to gain some invaluable experience this fall. The volunteers are an essential part of the festival and contribute in all areas of the production. Help us create one the world’s leading street art festivals, let’s make this years festival the best one yet! Drivers, catering, painters, writers, production crew and artist hosts are all needed. If you have skills you think we may need, just drop us a message.

    Send a quick mail including a little info about yourself to info@nuartfestival.no

    www.nuartfestival.no

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    Örebro OpenArt 2015

  • Sarah Surgey
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  • 30th June 2015
  • openart

    OpenART is Scan­di­navia’s biggest public art bien­nial, running for twelve weeks in Örebro, Sweden. With its fifth edition in 2015 (Örebro OpenArt 14th June-6th September) OpenART commits once again to turning the city upside down, with art that will surprise, intrigue and inspire.     Contem­po­rary art from all over the world is temporarily displayed in […]




    OpenART is Scan­di­navia’s biggest public art bien­nial, running for twelve weeks in Örebro, Sweden. With its fifth edition in 2015 (Örebro OpenArt 14th June-6th September) OpenART commits once again to turning the city upside down, with art that will surprise, intrigue and inspire.

     

    openart

     

    Contem­po­rary art from all over the world is temporarily displayed in the city center, for everyone to expe­ri­ence without an admis­sion ticket. The public space becomes under OpenART an inten­sively shared space, that people acknowledge, re-expe­ri­ence and re-collect. Addi­tion­ally, OpenART takes a broad leap into the public arena, with projects and activ­i­ties that reach out to a diverse public. Guided tours, activ­i­ties for chil­dren and young people, as well as special events are avail­able for everyone under the summer of 2015.

    When OpenART’s in town, the cityscape is lifted to a vibrant dimen­sion, where art seems to peek-a-boo at passersby. People will encounter art in places they least expect it every­where in the city center – in the streets, shop windows, facades, on the water surface, around the castle or in parks. The great thing is that the artworks are in within 10-minute walking radius from Örebro castle, making the exhi­bi­tion easily acces­sible by foot or bike.

    Every edition, OpenART exhibits about 100 artworks, created by contem­po­rary artists, locally and inter­na­tion­ally known. Iconic creations like BadBad Boy (Tommi Toija, 2013), The Big Yellow Rabbit (Floren­tijn Hofman, 2011), Bunny Project (Conny Bloom, 2009) and Spectacle Agnostico (Kent Karlsson, 2008) have infused small- and large-scale fantasy into the public space, making head­lines in the inter­na­tional media.

     

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    photo; Al Weiwei, Xu Bing, Song dong at OpenART

     

    In 2015, OpenART show­cases 72 artists who exhibit 130 artworks on more than 70 venues indoors and outdoors.

    OpenART chal­lenges percep­tions of what art is, building bridges between cultures and people, while fostering local and inter­na­tional art dialogue.

    It all started in 2008, when two rebel hearts and devoted art freaks decided to give people an alter­na­tive art space, one that would be expe­ri­enced not only phys­i­cally; a space that people would acknowl­edge, relive and recol­lect; a space that would remain in the collec­tive conscience and that would be sacredly kept at the heart of the public. Art for every­body, in the city center – this was the idea that sparked a long-term collab­o­ra­tion and friend­ship between Mats Nilsson, then Head of the city’s art gallery and Lars Jonsson, a recently Örebro-relo­cated artist.

    2008 The Art Gallery organizes the first OpenART
    Mats and Lars started working together at the art gallery in 2007. That year, the gallery received a new policy direc­tive to display art in uncon­ven­tional places.

    “And then it struck us. Lars and I both wanted to the same thing – an exciting project that would put cutting-edge art on display in public loca­tions in Örebro”, says Mats.

    As a result, OpenART started in the summer of 2008. The first edition featured 71 artists, mostly from Scan­di­navia, whose works were exhib­ited anywhere from hidden corners down­town Örebro to shop windows, on rooftops or on the surface of river Svartån. It became popular among the people in no time. A surprise came already in 2008, when OpenART was awarded the “Surprise of the Year” award (Årets över­raskning) at Örebro­galan.

     

    2008

     

    2009 OpenART grows

    In 2009, the confir­ma­tion that OpenART was becoming inter­na­tional came once the artist selec­tion process begun. Appli­ca­tions from many parts of the world came pouring in. Örebro was taking its first step on the world’s cultural map as an exciting art plat­form.

     

    2011

     

    2011 A Big Yellow Rabbit

    At its third edition in 2011, OpenART made head­lines in the inter­na­tional media, after a gigantic bunny was dropped in Örebro’s central square, its tail against the sculp­ture of Engel­brekt Engel­brek­tsson, one of Sweden’s greatest national heroes. Floren­tijn Hofman’s Big Yellow Rabbit became an icon, loved by many and condemned by some due to its loca­tion. The love for the city’s big rabbit went as far as deter­mining a group of people to campaign for saving it from disman­tle­ment.

    The campaign to save the rabbit did not succeed. Mats Nilsson explained in an interview with The Tele­graph that “We are not interested in having the rabbit reduced to a commercial gimmick.”

    After a successful 2011, Mats Nilsson received Örebro Spar­banks’ culture schol­ar­ship for his involve­ment in the exhi­bi­tion.

     

    big-yellow-rabbit-by-florentijn-hofman-top

     

    2013 Largest Scandinavia

    Following a new polit­ical deci­sion, OpenART became an orga­ni­za­tion of its own in 2013. It has since func­tioned as an inde­pen­dent project within the Munic­i­pality of Örebro. The event is real­ized in close coop­er­a­tion with the City Art Gallery, Örebro County Museum and Konst­främ­jandet Bergslagen.

    Bene­fiting from great support from part­ners, OpenART devel­oped diverse projects meant to actively involve a wider audi­ence in a dialogue with art. Besides guided tours, projects for chil­dren and young people, as well as programs for artists in all stages of their careers have taken place under OpenART. Two such projects are OpenART Kids and OpenART Academy.

    In 2013, OpenART estab­lished itself as the biggest public art bien­nial in Scan­di­navia, featuring more than 100 works by 71 artists from all over the world, OpenART Kids, OpenART Academy, guided tours and special night tours, as well as special events. Almost all OpenART activ­i­ties are free of charge.

     

    2013

     

    2015 Big focus on Contemporary Chinese Art

    At the fifth edition of OpenART, a special focus is on Contem­po­rary Chinese Art. A unique cura­to­rial collab­o­ra­tion between inde­pen­dent art curator Feng Boyi and OpenART Director Lars Jonnson sees thir­teen contem­po­rary artists from China preparing artworks for unprece­dented exhi­bi­tions, symbol­i­cally enti­tled “Encounter” and “No Holds Barred”. Ai Weiwei, Xu Bing and Song Dong are among the partic­i­pants.

    OpenART 2015 has received a record interest, with 450 artists from more than 70 coun­tries sending in appli­ca­tions. In 2015, OpenART show­cases some 130 artworks, created by 72 artists from 19 coun­tries. The artworks will be exhib­ited on more than 70 venues across city center.

     

    A few of the Artists

     

    Åsa Andersson Born 1965 in Stock­holm, Sweden. Lives and works in Stock­holm, Sweden
    From series: The Cherry Blossom Sanatorium – Video, objects, prints/photographs, light.

    The Cherry Blossom Sanatorium is a ‘work in progress’ name for different works presented in art contexts, prose and poetry writing and illustrated talks.

    Artist Statement

    Raking in the autumn, I am stunned by wonder. The start of buds. Silk, wounds of resin. I barely dare to cross the ground.

    Spring. Small protrusions glisten in the wind, falling down towards the source. Down there, in the soil – all these little ghosts. If I touch a blossom, quickly on its way, a pirouette, and then as I said, down. A part of me is also carried down to the source. I actually believe this. All small ghosts live in the soil.

    The Cherry Blossom Sanatorium – the name appears despite the difficulty in pronouncing it. I do not know if it is intended for only blossoms, or if others can be taken in or sign up. Or if the blossoms themselves act as host? I will investigate this. They do also carry a marvellous light.

    In Japan, one can find cherry blossom tea. The petals are dark pink with salt powdered around. The grains have absorbed the spring. My purchased package remains unbroken for a long time. Somebody said the tea tasted like tears.

    www.powder4context.com

     

    AsaAndersson

     

    Johan Suneson Born 1963 in Västan­fors, Sweden. Lives and works in Malmö, Sweden

    Elephants, Flamingos. The animal sculptures consist of incomplete bodies, where visitors can step in and replace the parts that are missing. In this way one can merge with the animals, and for a moment change his or her perspective. The exotic animals are sculptured in a round style, reminiscent of animated interpretations or soft toys. They constitute a comment on empathizing with things, but they also an association with play.

    Artist Statement

    In art, there is freedom and fantasy. Art is a part of reality. It can be a statement and an invitation. It can arouse the viewer’s memories or lead to speculation. I want my sculptures and paintings to look homemade and strange. I want the viewer to feel that there are different ways of looking at things. It is good if art can remind us that perspectives can and will differ.

     

    johansuenson

     

    Cecilia Jansson Born 1975 in Lund, Sweden. Lives and works in Örebro, Sweden.

    Now (2015) Video projection (duration 1 hour), sound and ornate plates from prison in a container 6-12 meters depending on space.
    Now is an attempt to transfer the viewers to the corridor under the high security prison in Kumla. The corridor is decorated by artists and inmates, both recently and in the 70ties. The title Now refers to the inmates’ lack of patience that I experienced while working with this decoration project.

    Time moves very slow there. They want things to happen now, not tomorrow, not the next week, but now. One of the reasons could be that they are waiting for so many things already that one more thing feels almost unbearable. The installation shows the everyday life in this long corridor that connects the buildings in the prison. You can look at some of the beautiful art made by the inmates, but if you want action, you have to learn to wait.

    Artist Statement

    My works are dealing with the value of people’s identity. I want to explore what preconceptions and prejudices are hidden in our need to put people in groups. I have made art with, for or about some of the hidden, forgotten or ignored groups in society. I want to make people consider the fact that every group is made of individuals with unique personalities. The need to put labels on people is worth investigating. What is the label good for?

     

    cecilliajansson

     

    Photos and text credited to Openart.se and the artists mentioned above.

    Contact claudia.pricop@orebro.se for further information.

     

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    The Jaunt: In Møkster

  • Sarah Surgey
  • Tagged , , , , , Leave a comment
  • 10th June 2015
  • mokster

    Nordophile was recently introduced to Jeroen Smeets, who runs a project called The Jaunt. The project as a whole gained our attention immediately but when we heard that one of their artists had been sent to Møkster, just off of Norway, we wanted to showcase it on Nordophile.     COMBINING THE TWO BEST THINGS […]




    Nordophile was recently introduced to Jeroen Smeets, who runs a project called The Jaunt. The project as a whole gained our attention immediately but when we heard that one of their artists had been sent to Møkster, just off of Norway, we wanted to showcase it on Nordophile.

     

    the-jaunt

     

    COMBINING THE TWO BEST THINGS IN LIFE: ART & TRAVEL

    The Jaunt combines the two best things in life: Art & Travel. Over the course of two years The Jaunt has organised a variety of trips with artists traveling to places like Helsinki, Istanbul, Antwerp, Los Angeles and beyond. Artists like Niels ‘Shoe’ Meulman, Jordy van den Nieuwendijk, Mike Perry, David Shillinglaw and many others have been sent on their way to become inspired. After each trip the artists create a unique artwork capturing the spirit and essence of their trip. On their trip the artists keep a travel diary for all the people back home. We travel the world, we inspire and we create.

     

    the-jaunt

     

    In it’s first publication The Jaunt has gathered all the stories, drawings, snapshots and keepsakes from the artists on their trips. The book features exclusive interviews with the artists about their creative process, and shows unique sketches and photos from the trips. Offering a behind-the-scenes look of our artists and the project itself. A perfect introduction for everybody not yet familiar with the project, or a deeper insight if you have been following our trips along the way.

     

    job-promo04

    THE ARTIST

    Job Wouters, also known as Letman, is a typographer by heart. He lives, eats and breathes letters. With his typography Job plays on the borders of illustration, graffiti and calligraphy, mixing them all together for powerful and vivid visuals. No stranger to prints, fashion and large scale murals, Job’s works are as versatile as the alphabet itself. For his trip Job was looking for a place to lock himself in, and have a pure undistracted focus on his craft. Preferably with a good spot for fishing nearby.

     

    mokster

     

    THE DESTINATION

    Møkster is a small island off the coast of Norway, about an hour away from Bergen. It’s small, small in the sense that there are only 65 people living on the island. During the end of the last ice age Møkster was one of the first islands to appear without ice and snow, setting the ground for the first settlers. Archaeological findings of work tools date back to about 5000 years. Nowadays the main occupancy on the island is the local salmon farm, a local shop and a school with seven pupils. With right, this is an ideal retreat to enjoy peace, freedom, nature and a view across the sea.

     

    mokster

    The book is now available throughout Europe, or to order on our website www.thejaunt.net   For more questions please contact: info@thejaunt.net

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    Swedish painter in London – Joakim Allgulander

  • Sarah Surgey
  • Tagged , , , , , , 1 Comment
  • 31st May 2015
  • downtherabbithole

    BIOGRAPHY  Joakim Allgulander (1965) is a Swedish painter, sculptor and conceptual artist born  in Stockholm. Allgulander studied at the College of Arts and Crafts in Stockholm; to  become one of Sweden’s most renowned contemporary artists. The work of  Allgulander is frequently represented and exhibited both in Sweden and  Internationally. Since his move to London two years ago, he has been involved in a  number of projects with a number of curators and is represented by Jealous Gallery.  Recent exhibitions includes The International Art Fair (Jealous Gallery), The  Original Print Fair RA (Jealous Gallery), Spring Salon, Liljevalchs Konsthall,  Stockholm – where two of his major works; The Human Katapult and the neon chair  Burned was exposed. Intruders. Agardh-Tornvall Gallery, Stockholm, The Great  Sleep. PS Gallery Gothenburg. ART14 (Jealous Gallery). Allgulander is also known  for his neon piece Bubble featured in the UK TV show The Apprentice.  Down the Rabbit Hole is Joakim Allgulander’s first solo exhibition in London and  has been initiated by freelance curator Raffaella Galliano.    Down the Rabbit Hole Lewis Carroll’s children’s classic, ‘Alice’s Adventures in Wonderland,’ turns 150 this  year. Drawing inspiration from the novel, Joakim Allgulander’s latest solo exhibition  titled ‘Down the Rabbit Hole’ evokes the surreal and dream-like state we are  presented in this literary masterpiece.      Similarly, Allgulander explores the spiritual and philosophical journey through  madness to wisdom. His work explores the existential dilemma in his art, and  presents a dynamic interplay between contrasts: what is real and what is  imagination, natural and artificial, new and old, to more archetypical opposites such  as light and darkness, life and death. The work of Joakim Allgulander is  characterised by a strong conceptual base, combined with the skill of craft and a love  for the production process.   His work demonstrates a curiosity and desire to explore different media and  techniques, through works that cover figurative and abstract paintings, sculptures,  graphics, prints and installations. His main body of work consists of a series of larger  paintings depicting chandeliers. The duality occurs in these works through the  interpretation of these objects as symbols for a better life; but also through the  possibility of these becoming organic creatures living a life of their own.       Allgulander invites us to a place where we can explore our preconceptions of ideas,  release our inhibitions, and to start really questioning to gain true wisdom and true  knowledge. In its insanity, in its complete separation from the world of adults, one  can begin the long journey to true knowledge. We can see this in his work  Mushroom; where in popular culture the mushroom represents the psychedelic trip.   If ‘Wonderland’ weren’t a magical fantasy land, Alice would have been probably hurt  by the fall and lost her way as she has no idea where she’s going, what she’s facing, or  how to get home. Going down the rabbit hole is a one-way trip – the entry, but not  the exit, to the fantasy world – Joakim Allgulander invites you to explore it through  the lens of his curiosity and emotion. Exhibition dates at Grace […]




    joakim-allgulander
    BIOGRAPHY 
    Joakim Allgulander (1965) is a Swedish painter, sculptor and conceptual artist born 
    in Stockholm. Allgulander studied at the College of Arts and Crafts in Stockholm; to 
    become one of Sweden’s most renowned contemporary artists. The work of 
    Allgulander is frequently represented and exhibited both in Sweden and 
    Internationally. Since his move to London two years ago, he has been involved in a 
    number of projects with a number of curators and is represented by Jealous Gallery. 
    Recent exhibitions includes The International Art Fair (Jealous Gallery), The 
    Original Print Fair RA (Jealous Gallery), Spring Salon, Liljevalchs Konsthall, 
    Stockholm  where two of his major works; The Human Katapult and the neon chair 
    Burned was exposed. Intruders. Agardh-Tornvall Gallery, Stockholm, The Great 
    Sleep. PS Gallery Gothenburg. ART14 (Jealous Gallery). Allgulander is also known 
    for his neon piece Bubble featured in the UK TV show The Apprentice. 
    Down the Rabbit Hole is Joakim Allgulander’s first solo exhibition in London and 
    has been initiated by freelance curator Raffaella Galliano. 
     downtherabbithole
    Down the Rabbit Hole
    Lewis Carroll’s children’s classic, ‘Alice’s Adventures in Wonderland,’ turns 150 this 
    year. Drawing inspiration from the novel, Joakim Allgulander’s latest solo exhibition 
    titled ‘Down the Rabbit Hole’ evokes the surreal and dream-like state we are 
    presented in this literary masterpiece.   
     Black chandelier grace
    Similarly, Allgulander explores the spiritual and philosophical journey through 
    madness to wisdom. His work explores the existential dilemma in his art, and 
    presents a dynamic interplay between contrasts: what is real and what is 
    imagination, natural and artificial, new and old, to more archetypical opposites such 
    as light and darkness, life and death. The work of Joakim Allgulander is 
    characterised by a strong conceptual base, combined with the skill of craft and a love 
    for the production process.  
    His work demonstrates a curiosity and desire to explore different media and 
    techniques, through works that cover figurative and abstract paintings, sculptures, 
    graphics, prints and installations. His main body of work consists of a series of larger 
    paintings depicting chandeliers. The duality occurs in these works through the 
    interpretation of these objects as symbols for a better life; but also through the 
    possibility of these becoming organic creatures living a life of their own.  
     Blue chandelier Grace
     
    Allgulander invites us to a place where we can explore our preconceptions of ideas, 
    release our inhibitions, and to start really questioning to gain true wisdom and true 
    knowledge. In its insanity, in its complete separation from the world of adults, one 
    can begin the long journey to true knowledge. We can see this in his work 
    Mushroom; where in popular culture the mushroom represents the psychedelic trip.  
    If ‘Wonderland’ weren’t a magical fantasy land, Alice would have been probably hurt 
    by the fall and lost her way as she has no idea where she’s going, what she’s facing, or 
    how to get home. Going down the rabbit hole is a one-way trip  the entry, but not 
    the exit, to the fantasy world  Joakim Allgulander invites you to explore it through 
    the lens of his curiosity and emotion.
    Exhibition dates at Grace Belgravia, London: 5th June – 27th July, 2015
    grön svamp
    JOAKIM ALLGULANDER RAFFAELLA GALLIANO 
    joakim.allgulander@gmail.comraffagalliano@hotmail.com 
    07784 16120207590069904 
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