- free access (bug me not) 
considered to pay money for listings of artists. But still, there is a web portal (or, rather, there are many more than one) that is making money this way. I am thinking of ARTFACTS.NET - The contemporary art guide as they call them selves.
Could not care less, but if anyone is interested in viewing their own position, please use this free Username: Berlin2006175udb combined with this free Password: gogmanab. It is valid until November 1, 2006


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so, this blog is now found by the, meaning that this is officially public, there is no way to escape, what I write here you could find without knowing the URL.
This should come as no suprise, i do publish this online in order to let it be possible
to find it. Also I do link to a rather many different web pages in this blog and that is tracable,
As well I have told a few people about this blog, in other words, not making a secret over this.
But still it was quite a interesting experience to have someone I know, which I did write about (mistake) finding the blog by searching her/his own name.

This learned me two things I should be thinking about:
- do inform everybody that I write about that I did so. good rule.
- be aware that what I write will be online for a long time and in this sense out of my control.

more to come on this subject later.

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Going to Copenhagen. Haven't been there in almost three years and I am looking very much forward to see some art there again. The reason is Art Copenhagen and the alternative fair ...copenhagen alternative art fair. This first now naming themselves the Nordic Art Fair, and the latter having it first time around this weekend. Except from CirculationsCentralen from Malmö and magazine Pist Protta founded in 1981 and run by Jesper Fabricius - I see no particular interesting participants. We'll see.
Also, to read about the Danish art scene, Kopenhagen is the best medium. Written in Danish.

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In Moment 
Power Ekroth have finally curated a show in Sweden again (I think the last exhibition she made was I could be so lucky, lucky, lucky, lucky with Lena Malm and Nikolaj Recke in Enkehuset in 2001... I might be mistaken there...).
This time she did a show in a newly opened kunsthalle far up in Northern Sweden; Skellefteå Konsthall.
The exhibition is called In Moment and features Pierre Bismuth, Gabriel Lester, Johan Thurfjell and Clemens von Wedemeyer - they all uses slide projectors.
She got a stunning review in the local newspaper. He does not understand anything, he stares at the exhibition as well as the text power has written and feels pushed out of the open and discursive public project that an art hall is, or should be. Only third time reading it did he understand the meaning of
"one of them received an Academy Award for best original screenplay for Eternal Sunshine of the Spotless Mind".
that’s fine.
He also feels insecure about the meaning of the term 'narrative structures'.
that is also fine.
he feels stupid since this exhibition did get a lot of media attention (as if that is something important).
All this is fine, and I do appreciate the fact that Contemporary art is something that is not easily accessible to all. The problem with this article is, and it is written in a good mixture of gonzo and essay form, that he doesn’t even try to understand. There is not the slightest try to produce nothing but a good text that says; this is bad because I do not understand it. By no means does this text even try to go beyond and discover what might be hidden in the exhibition, small hints and suggestions, there is nothing but contempt towards contemporary art, and I do think that this is a typical stand that the media in Scandinavia holds. They do not even try to write texts that enlighten their readers just a single bit, and thus they, in my opinion, does not do a proper job – they think that their readers is either a) stupid or b) not interested, and thus this populist way of writing about it. Sad but true. Someone should address this to the state of the media in our part of the world.

Anyway, below there are some installation views, all taken by Power Ekroth.

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Børre Spaced Out 

© Børre Sæthre

Press text from Børre Sæthre's exhibition at Participant Inc in NY:

Known for his immersive environmental installations, Sæthre will transform the gallery and alter aspects of PARTICIPANT INC's physical space as an integral layer of this open-ended, quasi-narrative sculptural installation. The viewer is introduced to a de-familiarized space that engages a curious sensibility. Furtive display devices create glimpses into an idiosyncratic natural world inhabited by poised animals-oddly disjoined from the overall décor to create awkwardly sexual sites for voyeuristic activity, just watching....

Sæthre's scripted experiential installations (sculptural and reconstructed environments, light, soundscapes, photographic and time-based images) approximate the uncanny ambiance of dreams, the luxurious containment of cinematic experience. Like the influential films Solaris (Andrei Tarkovsky, 1972) and 2001: A Space Odyssey (Stanley Kubrick, 1968), his work relies heavily on the significance of otherworldly ambiances and a collective inclination toward irrational encounters, for example, with animals or unearthly phenomena. At once austere and saturated with clandestine fantasies, his spaces comprise confessions, secrets, and voyeuristic longings that linger within seemingly impermeable interiors-outlined in the structure of a totalizing environment and zoomed-in upon through extracted photographic tableaux.

The framework of design methodology, or the artist's attempt to maximize the residual friction between style and non-style in his work, is described by Sæthre as a learned vernacular-functional aesthetics as psychological damage-that he developed through growing up in an ultra-modern, wipe-clean interior. A realization that even these plastic environments can absorb emotionality, everyday trauma and frustration, served as motivation to subsequently heighten this fact in works that rupture pristine surfaces-revealing their failure to conceal the abject, the depressive, the unpleasant. The appearance of subliminal warnings in his installations take the form of irritating camera flashes, sounds that approximate ringing in the ears, and views of silent, distant explosions.

However, the artist also cites the locus of his work in childhood excursions outside the home (sleeping outdoors in a tent, forest adventures with friends, dreams of forging relationships with animals)-experiences that yielded fear as well as the excitement of innocent sexual encounters. Later confessions reveal this secret world, in forms such as film stills depicting the acquaintance of unusual love partners, bringing to mind childlike desires for the warmth of friendly creatures. Early works also stem from teenage observations of cruising areas, providing sculptural mappings of melted impressions made in ice and snow.

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