Tuesday, October 19, 2010
Thursday, October 7, 2010
Lina's Umbrella in the Attic
It has been really interesting to see different approaches to the installation. Here's a couple of my documentation photos :-).
Wednesday, October 6, 2010
Mathijs van Geest in You Are Here, Gallery Mejan
And Beyond Forever
Cover of a found book 'Palanga' scanned, edited in photoshop and printed.
Crystallized
Vulcanic ash collected in an empty waterbottle, displayed on a granite shelf.
Tuesday, October 5, 2010
Wednesday, September 22, 2010
Images from the exhibition at Galleri Mejan, Sept. 18-29th, 2010
Image 1 - Baldvin, Pella, Hulda
Image 2 - Lina
Image 3 - Hulda
Image 4 - left hand space of Galleri works by Emma, Olav, Asta, Mathijs, Helene, Karen
Image 5 - space to the left with works by Domas, Dillan, Bryndis, Olav and Gabi
Image 6 - Irma
Images from the Symposium at Moderna Museet, Sept. 17
Kari Stefansson, CEO and founder of dcodegenetics, Icelandpresentation recorded on video "Where do Artists come from?"
Werner Nekes, “Panorama, The First Mass Medium,” lecture and presentation of historical panoramas from his collection, followed by screening of his film "Makimono" from 1974
Marjolijn Dijkman, artist
“Theatrum Orbis Terrarum”
Artist talk presenting several photo, video and internet works of her recent research projects
Michelle Teran, artist
“Dime Store Novels in the Age of Digital Reproduction: Media, Social Networks and Society”presentation of media works and performances based on intercepted surveillance videos and geo-tagged youtube encounters.
Tuesday, August 24, 2010
SYMPOSIUM 17. + EXHIBITON OPENING 18.9.2010
PANORAMIC INTERCHANGE:
LANDSCAPE, SOCIETY AND THE INDIVIDUAL
International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen
Friday, September 17th, from 10.00 – 18.00 hrs.
Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.
Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.
Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to an artists perspective of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary networked and mediatised societies (Michelle Teran).
WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals.
Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.
MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.
Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.
KÁRI STEFÁNSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.
MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany
Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.
Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
PROGRAM:
10.00 Welcome
10:00 - 11:30 Werner Nekes
“Panorama, The First Mass Medium,” lecture and presentation of historical panoramas from Werner Nekes’ collection.
11:45 - 13:00 Michelle Teran
“Dime Store Novels in the Age of Digital Reproduction: Media, Social Networks and Society”
13:00 - 14:00 Lunchbreak
14:00 - 15:15 Kári Stefánsson
“Where Do Artists Come From?”
15:30 - 16:45 Marjolijn Dijkman
“Theatrum Orbis Terrarum”
17:00 - 17:50 Film Screening, “MAKIMONO,” 1974 by Werner Nekes, sound by Anthony Moore
The unfolding of a continuously varying impression of the representation of a landscape. MAKIMONO reflects the horizontal and vertical legibility of film, the progression of filmic language.
This event is jointly organized by the art academies in Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm. It is funded through KUNO and Nordplus and hosted by Moderna Museet, Stockholm.
LANDSCAPE, SOCIETY AND THE INDIVIDUAL
International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen
Friday, September 17th, from 10.00 – 18.00 hrs.
Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.
Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.
Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to an artists perspective of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary networked and mediatised societies (Michelle Teran).
WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals.
Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.
MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.
Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.
KÁRI STEFÁNSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.
MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany
Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.
Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
PROGRAM:
10.00 Welcome
10:00 - 11:30 Werner Nekes
“Panorama, The First Mass Medium,” lecture and presentation of historical panoramas from Werner Nekes’ collection.
11:45 - 13:00 Michelle Teran
“Dime Store Novels in the Age of Digital Reproduction: Media, Social Networks and Society”
13:00 - 14:00 Lunchbreak
14:00 - 15:15 Kári Stefánsson
“Where Do Artists Come From?”
15:30 - 16:45 Marjolijn Dijkman
“Theatrum Orbis Terrarum”
17:00 - 17:50 Film Screening, “MAKIMONO,” 1974 by Werner Nekes, sound by Anthony Moore
The unfolding of a continuously varying impression of the representation of a landscape. MAKIMONO reflects the horizontal and vertical legibility of film, the progression of filmic language.
This event is jointly organized by the art academies in Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm. It is funded through KUNO and Nordplus and hosted by Moderna Museet, Stockholm.
Symposium Schedule and Programm
PANORAMIC INTERCHANGE:
LANDSCAPE, SOCIETY AND THE INDIVIDUAL
International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen
Friday, September 17th, from 10.00 – 17.30 o’clock.
Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.
Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.
Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to artists’ perspectives of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary, networked and mediatised societies (Michelle Teran).
WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals. Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.
MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.
Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.
KÁRI STEFÁNSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.
MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany
Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.
Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
PROGRAM:
10.00 Welcome
10:00 - 11:30 Werner Nekes
“Panorama, The First Mass Medium,” lecture and presentation of historical panoramas from Werner Nekes’ collection.
11:00 - 12:15 Michelle Teran
“Dime Store Novels in the Age of Digital Reproduction: Media, Social Networks and Society”
13:15 - 14:30 Kári Stefánsson
“Where Do Artists Come From?”
14:45 - 16:00 Marjolijn Dijkman
“Theatrum Orbis Terrarum”
16:30 - 17:15 Film Screening
“MAKIMONO,” 1974 by Werner Nekes, sound by Anthony Moore.
The unfolding of a continuously varying impression of the representation of a landscape, MAKIMONO reflects the horizontal and vertical legibility of film, the progression of filmic language.
This event is jointly organized by the art academies in Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm. It is funded through KUNO and Nordplus and hosted by Moderna Museet, Stockholm.
LANDSCAPE, SOCIETY AND THE INDIVIDUAL
International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen
Friday, September 17th, from 10.00 – 17.30 o’clock.
Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.
Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.
Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to artists’ perspectives of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary, networked and mediatised societies (Michelle Teran).
WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals. Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.
MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.
Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.
KÁRI STEFÁNSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.
MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany
Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.
Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
PROGRAM:
10.00 Welcome
10:00 - 11:30 Werner Nekes
“Panorama, The First Mass Medium,” lecture and presentation of historical panoramas from Werner Nekes’ collection.
11:00 - 12:15 Michelle Teran
“Dime Store Novels in the Age of Digital Reproduction: Media, Social Networks and Society”
13:15 - 14:30 Kári Stefánsson
“Where Do Artists Come From?”
14:45 - 16:00 Marjolijn Dijkman
“Theatrum Orbis Terrarum”
16:30 - 17:15 Film Screening
“MAKIMONO,” 1974 by Werner Nekes, sound by Anthony Moore.
The unfolding of a continuously varying impression of the representation of a landscape, MAKIMONO reflects the horizontal and vertical legibility of film, the progression of filmic language.
This event is jointly organized by the art academies in Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm. It is funded through KUNO and Nordplus and hosted by Moderna Museet, Stockholm.
Tuesday, August 17, 2010
Preußens Street View
Googles street view of architecture, urban environment and citizens is pre-or outdated by 200 years as shown by FAZ on 13.08.2010.FAZ published this to mark the beginning of the official period of protestations, allowing Germans to officially object to the publishing of images of houses, addresses or other imagery by google street view.
Monday, August 9, 2010
Fjord Light August 2010
Spectacular evening light on Hardanger Fjord, August 2010. The Sublime is still with us!
Friday, June 11, 2010
Locals and Tourists #60 (GTWA #51): Oslo by Eric Fisher
Base map © OpenStreetMap, CC-BY-SA
Tuesday, June 8, 2010
YOOOHOO PANORAMIC INTERCHANGE CLARIFICATION
Yes, everybody should send in a sketch of their work by June 17th and develops the work according to their own plans...
Still, it is necessary to keep in mind that there actually is a point of departure for both the conference and the exhibition. this is not a secret. the dynamics of the project have taken us further ...but the point of departure, which we should take into consideration is...
SHORT VERSION:Artists, that is teachers and students, from the Art Academies of Reykjavik, Vilnius, Stockholm and Bergen will be meeting for workshops in the respective cities, places, landscapes and countries to look at, study and learn, to create a dialogue, to research and develop artistic works related to the idea of the panoramic in the context of a nordic and baltic cultural, social, geographical and historical backdrop.
FOR LONG, elaborate and inclusive VERSION http://panoramicinterchange.blogspot.com/2009/10/project-description-and-schedule-on.html
So, thank you Mathijs for sharing the observations, discussions and thoughts you and the others had while still in Reykjavik. Actually there weren't so many conclusions in these remarks, rather they were valuable observations that could contribute to the further forming of the works, the discussion, the exhibition design and title.
And thank you again, exhibition group, for reminder on date
Another suggestion for a title, which would incorporate and expand on all of the title suggestions so far
Watch out, look out, move back and forth to create space, crossroad, cafe de paris, crossroad.........woo
ooa
ooaah"
Monday, June 7, 2010
towards the exhibition
Concerning our approach towards the exhibition.
During our extra days in Reykjavik we, from Bergen, had a nice talk about this and made an attempt to put some things down.
In the discussion that is going on I feel that we are drifting away from the core, at least not towards it. It feels to me that we are talking about things before clarifying what we have so far.
How do we react on the subject of this program? From what or where do we work? What is the material for our work?
As we know the interests, works and approaches are very different in our group. But by answering these questions we came to one big division inside the whole group.
If we keep the intentional program of the Panoramic Interchange course as our subject we found two/three layers within our group in which we all manoeuvre.
We discussed the two ways to create a panoramic (of any kind) point of view:
Zooming in, - this could mean to grab a detailed subject in the course itself.
We thought of
Baldwin’s research on the KUNO institute
Dillans focus on view furniture
Sindri’s interest in the people participating in the course
some of us focus very much on what they seen/experienced in the course
Zooming out, - here we thought how some of us use material from outside of the course
Café Paris
Lina’s installation
Gabi’s George Bush metaphore
Off course not for everyone it is so clear in what category they fit. Or maybe I don’t even want to call it categories. We just figured that this, especially in relation to creating a panorama, was a clear division to position us in.
What could we do with this?
This could be a way to divide the space, locate the works and create a theme around it. We could also see it as a general thing and work from here.
In the symposium there as well is zooming in/out a present subject (?)
I wonder what your response to this is?
We from Bergen hope to find a solution that does not need such a grand construction around one of the participants’ works (Bryndis, Dillan) and hope to let these works develop by the person itself instead of becoming the visual for the entire show.
During our extra days in Reykjavik we, from Bergen, had a nice talk about this and made an attempt to put some things down.
In the discussion that is going on I feel that we are drifting away from the core, at least not towards it. It feels to me that we are talking about things before clarifying what we have so far.
How do we react on the subject of this program? From what or where do we work? What is the material for our work?
As we know the interests, works and approaches are very different in our group. But by answering these questions we came to one big division inside the whole group.
If we keep the intentional program of the Panoramic Interchange course as our subject we found two/three layers within our group in which we all manoeuvre.
We discussed the two ways to create a panoramic (of any kind) point of view:
Zooming in, - this could mean to grab a detailed subject in the course itself.
We thought of
Baldwin’s research on the KUNO institute
Dillans focus on view furniture
Sindri’s interest in the people participating in the course
some of us focus very much on what they seen/experienced in the course
Zooming out, - here we thought how some of us use material from outside of the course
Café Paris
Lina’s installation
Gabi’s George Bush metaphore
Off course not for everyone it is so clear in what category they fit. Or maybe I don’t even want to call it categories. We just figured that this, especially in relation to creating a panorama, was a clear division to position us in.
What could we do with this?
This could be a way to divide the space, locate the works and create a theme around it. We could also see it as a general thing and work from here.
In the symposium there as well is zooming in/out a present subject (?)
I wonder what your response to this is?
We from Bergen hope to find a solution that does not need such a grand construction around one of the participants’ works (Bryndis, Dillan) and hope to let these works develop by the person itself instead of becoming the visual for the entire show.
Sunday, May 16, 2010
Thursday, May 13, 2010
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