KU-projekt 2011
Budapest Satellite
Ingo Vetter
Grand Opening of Carlsson/Svensson Contemporary in Budapest, January 14 2011
Galéria Carlsson/Svensson Contemporary
Paulay Ede u. 44. sz. fszt.
1061 Budapest
Hungary
Carlsson/Svensson Contemporary (C/S) is a commercial gallery and project room dedicated to the foremost developments in contemporary art. C/S has no restrictions for artistic expression, the gallery backs all media and formats, ranging from exhibitions to screenings, performances and experimental happenings.
The founding of C/S in the early 1990ties marked the start of a new generation of galleries in Scandinavia, not only in terms of the artists exhibited but also in terms of its commitment to longterm representation and operating on an international arena.
Having gradually moved to larger spaces the gallery has successfully launched the careers of Scandinavian artists and also introduced internationally acclaimed artists to the Scandinavian audience. Today, K/S is one of the leading galleries in Scandinavia and enjoys privileged relationships with international museums and collectors.
Still, the core of our commitment is to provide an arena for new and experimental forms within contemporary art. Following a request of the artist we represent, to expand our activities to new territories, we decided to open new branches of C/S. Budapest is an emerging cultural hot spot with an extremely vivid art scene and we are happy to join in this development by opening our first gallery satellite in Hungary.
We kick of the wheel on Friday, January 14th, 2011 with a fusillade of superimposed solo-exhibitions from the most promising young generation of Scandinavian artists: Olof Bandh, Josefin Bergman, Johan Björck, Jenny Carlsson, Matilda Ekström, Kristoffer Grip, Akram Al Halabi, Johanna Hästö, Caroline Ljuus, Elvine Lund, Erik Nilsson, Tommy Persson, Aron Rantatalo, Matti Sumari, Linus Svensson, Sebastian Wahlforss.
For more information visit www.carlssonsvensson.eu or if you have questions email us at info@carlssonsvensson.eu
Gallery technicians: Tábori András, Miklós Erhardt & Ingo Vetter
The launch of the gallery is sponsored by the KU funds of Umeå Academy of Fine Arts and the BALTIC Donation.
Painter-Filmer-Writer, lecture series 4 - 6
Florian Zeyfang
Lecture series 1-3, see KU-projects 2010.
Mike Kelley – Maja Wismer, art historian and curator
25 - 26 January 2011
This workshop had focus on one of the most productive contemporary artists: Mike Kelley (*1954). For more than 30 years Mike Kelley has been developing a complex oeuvre circling around topics such as American mainstreamʼs expections and conceptions of life as well as its representations. Trauma, stereotypes and ʼunofficialʼ version of representative stories are made visible and become significant. Since his graduate studies at CalArts in Los Angeles in the late 1970s Mike Kelley applies a variety of artistic media from installation to performance, painting, writing and film directing in a conceptual logic. The art historian and curator Maja Wismer introduced a few branches of the widespread body of work of the Californian artist.
Captain Pamphile – Gunter Reski, author and curator
24 - 25 Februari 2011
A lecture and discussions with Reski about his latest works, including his recent project called “Captain Pamphile”. In the last years, narration or storytelling techniques have been a main focus in contemporary art. “Captain Pamphile” turns those singular spot-like narrative moments into an extended and collaborative format. This group show, organized by Reski and presenting 62 international painters, is like an open instructed collaborative work, with a hint of superstructure. Starting point is the novel "Capitan Pamphile" by Alexandre Dumas, published 1839. This book can be read like a contemporary description about economical crises and crashs, that happened a few years ago, and it’s subjects become the motives of the artists in the show. The multitude of different authorships induces a soft touch of Gesamtkunstwerk. “Broken handmade literary film” or “Trailer about a book” are other keywords to describe the idea of this group show, and was subject of the lecture/workshop.
Pioneer in experimental film – Gunvor Nelson
16 – 17 May 2011
The last lecture in the series turned towards a pioneer of experimental film: Gunvor Nelson. Nelson’s career began in the 1960s in the dynamic San Francisco Bay Area. In the early 1990s, after more than 30 years in the USA, she moved back to Sweden where she lives and works in Kristinehamn. The first day Florian Wüst introduced and contextualized her film and video work on the background of U.S. and European filmmaking. On the following day Gunvor Nelson was a guest for the second part of the workshop, reflecting on her artistic work of the past 45 years.
Lessons in Sustainability – Kirkenes
Ingo Vetter and Florian Zeyfang
Lessons in Sustainability is a four-year project started by Umeå Academy of Fine Arts in 2008 and running through 2011, in collaboration with the Academy of Contemporary Arts in Tromsø, as well as the Royal Academy of Fine Arts, Copenhagen and the Royal Institute of Art in Stockholm.
The term sustainability has taken on varied meanings in the twenty-five years since it first came into use. But, in the various meetings and declarations on sustainability, discussions of culture were more or less nonexistent. Recently though, the notion of sustainability has become a popular subject for the arts, with many thematic exhibitions and even a biennial. But the interpretations of the term within the arts are vague, and as undefined is the impact of this discourse on our university practice: Educating artists in the Nordic region. In this research course, we will map the different intentions and meanings in the relation between sustainability and art.
The center part of this research project was a series of courses. The geographical, cultural and natural space of the Arctic, the Nordic and the Barents Region was the framing and focus of investigation. With the climate change, this region has become an area of geopolitical tension. New possible trading routes and natural resources have drawn international attention. The area is a region of international borders, of NATO and EU, as well as an area the Sámi reclaim as a nation without borders – Sápmi. It is a space of cultural diversity, cultural conflicts, of uncultivated land, of proclaimed private or governmental ownership and proclaimed right to access without private ownership. The third and last course in our series took place in Kirkenes and Zapolyarny, Nikel (Russia). Within one week, 12 participants from Umeå Art Academy worked together with students from the Academy of Contemporary Arts in Tromsø, the Royal Academy of Fine Arts Copenhagen and the Royal Institute of Art in Stockholm, under the central question: How do geopolitical changes and tensions appear in the north, and how do they influence both global and local situations?
The Animation Manual
Micael Norberg
The Animation Manual är ett konstnärligt projekt i samarbete med konsthögskolan i Hué, Vietnam.
I kulturella utbyten är det viktigt att finna metoder för att ta till vara på och dokumentera erfarenheterna som samlats in och överföra dessa till och från berörda platser. Vår utgångspunkt är skapa en dialog praktiskt konstnärligt. The Animation Manual utgör en form där erfarenheter utbyts och redovisas. Manualen blir en dokumentation av arbetet tekniskt och praktiskt, men också en plats för dokumentation av de samtal och diskussioner som uppstår imellanrummen, alltså de händelser och diskussioner som uppstår utanför workshopens förutbestämda ramar. Det är detta som vi ser som den del av projektet, där vi försöker samla in och bevara kulturella och konstnärliga erfarenheter samt att föra dessa till och från den plats varifrån de uppstod.
I workshopens praktiska del fokuserar på att göra animationer med enkla verktyg så som mobiltelefoner, kompaktkameror etc. Vi utgår ifrån idén om att det är viktigt och ibland nödvändigt att kunna arbeta med snäva praktiska och ekonomiska ramar, att se möjligheterna med detta och som konstnär använda sig av platsens förutsättningar. Vi ser det som viktigt att i detta arbete vidga synen på det som kan ses som begränsningar till att också innefatta och ge till idén och uttrycket. Vi tror på det sättet att workshopen kan tydliggöra och utmana de likheter och olikheter som vi upptäcker i vårt möte.
The Animation Manual är en ramberättelse om mellanrummen.
Vad händer i mötet mellan olika kulturer och vad består det av?
I vår egen konstnärliga praktik har vi erfarenhet av att gestalta det som finns nära oss. Vi försöker uttrycka oss om vår samtid och omgivning genom att utgå ifrån personliga erfarenheter.
Micael Norberg
Decreation in Choreography and Philosophy
Per Nilsson
Projektet pågår.
Galleri Maskinen
Joakim Hansson
Galleri Maskinen is an artist run research project with Joakim Hansson as project leader and includes former and present students from the Umeå Academy of Fine Arts; Rasmus Albertsen, Elin Bruun-Nystedt, Carl-Erik Engqvist, Per-Arne Sträng and Ida Hansson.
Galleri Maskinen was formed in 2008 by a group of students at the art academy. In the beginning the gallery was nomadic, but now it is a space at Pilgatan 28 in Umeå.The group has a special interest in video- and soundart, and will in the future concentrate on those artforms, to establish a more clear profile as a gallery. Galleri Maskinen aim to develop, with cooperation with students at the Umeå Academy of Fine Arts, their work through critique-workshops, in the form of discussions and presentations to receive and give critique of the their works.
Projektet pågår och fortsätter under 2012.
16mm Film Praxis and History, workshop and film excursion
Florian Zeyfang
Berlin, November 7 – 12, 2011
A workshop for students about exploring the breadth of 16mm material through screenings of films from the archive of the Arsenal institute for Film and Video Art, and studio visits to artists in Berlin working with 16mm material and, most importantly, through the production of own Bolex-shot, table-edited films.
In collaboration with Deutsche Film- und Fernsehakademie in Berlin.www.dffb.de
The Legacy of the Land
Ann Edholm
November 29 – December 12, 2011
The Land Art and Los Angeles Research Trip
Participating students: Sara Alfredsson, Madelaine Sillfors, Laura Piasta and Jaqueline Shabo.
We travelled through Utah, Nevada and California and visit specific Land Art sites, Robert Smithson’s spiral Jetty, Nancy Holt’s Sun Tunnels, Michael Heizer’s Double Negative, Walter de Maria Las Vegas Piece, as well as other sites/cities/towns of cultural and social political significance.
In the late 60’s and 70’s artiste became critical of the plastic aesthetics and the ruthless commercialization of art and began making work that addressed the environment and the world outside the white cube.
What can we learn from these places of art, which are so thoroughly fixed t a chosen place and which only experienced in a certain room, but that are so much alive, still in a process of creation, in a space which cannot be locked up at closing time, except by nature it self?
Most of us will only ever know this work from archival documentations feature large works in epic land, documenations of land art rarely protrays the work as changing or as a active system. Over the past decades land art has eroded, cracked, grown, and even in some cases, such as Walter de Maria’s Las Vegas Piece disappered somewhere in the Tula Desert.
”How much time does a person spend with a piece of sculpture? An average
of perhaps less than one minute, maximum of five or ten, tops.
Nobody spends ten minutes looking at one piece of sculpture. So by
starting to work with land sculpture in 1968 I was able to make things of scale
completely unknown to this time, and able to occupy people with a single work for
periods of up to an entire day.”
-Walter De Maria
Slow Narration Transparent Still – Book
Florian Zeyfang
Projektet pågår.
