A short video for those too far away from Lund, Sweden to come and visit.
Artikel av Henrik Hedlund och undertecknad i Sydsvenska Dagbladet på Konstkvällen, 18 oktober 2014
Det gick riktigt bra på Kulturnatten – över 50 besökande även om det fanns hundratals andra evenemang och Vegagatan ligger en bit utanför centrum.
Jag har också öppet på min helt egen “Konstsöndag” dagen efter 14-17.
Unbelievable as it is, Kulturnatten is here again: Saturday September 20.
Here is what you may experience in my studio: 30-40 works you have not seen before, a special feature, new types of frames, travel and other photographs on various media plus two short debates.
Sålång Pågång continues for about a month – after Kulturnatten by appointment only on 0738 52 52 00 or at email@example.com.
I’m excited about it! I have had so many things to do in my other “world” – that of war and peace – where sad things like Israel-Gaza, Iraq and Ukraine have taken almost all of my time.
All works at Kulturnatten are new
It feels great, therefore, to now devote myself to processing, creating and printing various images that I have taken both this year and earlier.
I will introduce 30-40 new works – on fine arts papers, canvas and metal. Part of my joy comes from having the freedom to experiment with a diversity of media (PhotoGraphics technique) – as you’ll see.
Black Girl With A Pearl Earring
The feature I have in mind this Kulturnatten revolve, to a certain extent, around my pastiche on Vermeer’s “Girl With A Pearl Earring” from about 1665 that I have written about previously here.
I am happy to tell you that it has made its editorial appearance in the September issue of Sköna Hem, Sweden’s largest interior design magazine.
I have experimented with how to present Black Girl With A Pearl Earring. However I consider the variation more important than the theme therefore it will be exciting to showcase the different expressions in terms of sizes – from postcards to 61-91 cm (A1) – and media I have on offer – fine arts papers, canvas and metal.
You know, with me you get numbered and signed works taylor-made in sizes and media according to your wishes.
For the first time I will show some of them “live”.
Since last I have experimented with both making my own frames and buying frames at flee markets. I’m curious to see how various forms of presentation can shape a more attractive whole than just putting up prints on the wall. However, no glass in front – never!
Travel photo and pictorialism
There will be works Continue reading
You may have guessed that I am looking for art photography in particular here in Basel? You are right! And I am happy to report that there is so much of it; photography is as accepted as an art form as, say, painting, film, sculpture, prints and multiples. Secondly, there are interesting “dialogues” between photo and painting.
Gerhard Richter – whose exhibition at the Beyeler Foundation outside Basel I shall return to – comes to mind. Many of his paintings appear as photography (until you get closer). But there are also many other examples of how the two art forms speak with each other.
One such example is Joel Meyerowitz and here in Basel he shows a kind of photo narrative at the Howard Greenberg Gallery in New York. A couple of years ago he visited Paul Cézanne’s (1839-1906) studio in Aix-en-Provence. He managed to get the permission to take pictures there and was drawn to the grey colours of the studio in which various of Cézanne’s objects and belongings were exhibited.
Next he took pictures of these objects – as if de-coding Cézanne’s paintings and seeing each object in them as a piece of art, a motif for another sort of painting – created with his camera.
I found that interesting, explorative and brilliantly beautiful. Could be done with many other artists – illustrating both time and space in the art and how high quality work may always be seen in its company and add something new. Continue reading
Imagine a large empty factory hall in the middle of which you have a square room with doors into 14 smaller rooms…
You are of course curious about just what is happening behind these doors and there is a brochure explaining it in details. But still – you have to get in, be there…experience the mysteries that a closed door always evokes (and not the least when there is a guard who let’s you in one-by-one after having been waiting in a queue for some time).
“14 Rooms” has been created by Foundation Beyeler, Art Basel and Theater Basel, three very prominent cultural institutions in Basel and it is curated by Klaus Biesenbach and Hans Ulrich Obrist. It is situated close to the main Art Basel Fair but independent of it and the one-day entrance ticket is CHF 18. 14 Rooms is about performance art.
Here are some examples of what you actually experience:
In Yoko Ono’s room you see nothing. The installation, or whatever you want to call it, is pitch dark and called “Touch Piece” which she created for the first time in 1963 and now here. You walk in a see nothing – also not when your eyes have adapted. In the brochure you are encouraged to touch whoever you bump into there and thereby challenge your sense of intimacy and privacy, as it’s expressed. The touches I experience were very avoiding – a little laughter perhaps, an “Oh, sorry” and no attempt to really touch, rather a confusing about meeting some stranger there in the dark and avoiding a touch.
As I had been in there a couple of minutes and carefully set one foot in front of the other I sensed not another human being but a wall. I followed it around to the entrance point and think that by then I was alone there.
I honestly can’t tell you what I felt or thought. It was merely a little fun, a little tickling and I liked to hear people’s laughter or nervous “Sorry” – remember, we are in Switzerland and everything is uptight even in an experimental setting like this. Perhaps there is something outdated in 2014 about an idea from 1963 and that at that time it was revolutionary and lead to more than avoidance? (No photo possible).
Otobong Nkanga’s “Diaspora” (2014) was more lively: two black women carry a Queen in the Night plant in a pot on their heads and sing, speak to the plant and, sometimes perhaps, to each other and the visitors. Much of the text is about loneliness and feeling to be outside , being picked at. And the floor is painted as a topographical map. (Photo possible – as all other visitors did it against the rules). Continue reading
This is the second article about SCOPE in Basel, June 2014, the first here. And among the artists I’d like to introduce to you here is Patrick Tschudi who lives and works in Lima, Peru. At first his works may appear flat and cool, all the people have a round black head and colour is applied very sparsely and never mixed. They are C-Prints in limited editions.
At the same time there is something touching about them.
It seems that he is occupied with the role of individual human beings in cities and other spaces where there are masses of people, strangers. The black ball heads are not necessarily a sign of de-humanization but, perhaps, more a way of saying that while we are all individuals we are all exactly that: human beings who don’t have to feel alone but may enter into relationships because of what we all share as human beings?
I find the two people on the bench overlooking a harbour with that huge industrial complex and bridge far away quite moving although I don’t see any obvious attempt to appeal to the spectator’s emotions in Tschudi’s work.
You may see many more on his homepage. The various series and categories have titles such as “believers”, “nowhereland” and “signs”. Perhaps I am attracted to these prints because they are so clearly affiliated with photography.
I have no idea how Tschudi goes about creating them but the point of departure could be a photograph which is processed or, rather, re-created in Photoshop. But that’s just speculation.
What is also interesting is the attempt to reduce everything to its pure forms. His images of everyday activities are reduced to shapes, there are no details. There is a kind of haiku quality to Tschudi’s works also in the sense that they are not supposed to convey any emotions. They are factual and you may put whatever “meaning” into them you like, if any.
Here are two such works from his homepage.
Oh, simplicity and sophistication in one! Continue reading