{"id":523,"date":"2014-02-05T08:00:19","date_gmt":"2014-02-05T07:00:19","guid":{"rendered":"http:\/\/skaneskonst.se\/?p=523"},"modified":"2014-02-05T08:00:19","modified_gmt":"2014-02-05T07:00:19","slug":"utstallningar-2013","status":"publish","type":"post","link":"http:\/\/utv.skaneskonst.se\/en\/utstallningar-2013\/","title":{"rendered":"Utst\u00e4llningar 2013"},"content":{"rendered":"
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\n15\/11 – 8\/12 2013<\/p>\n

THE CONSTRUCTION AND FLUCTUATION OF THE ARTIFICE AND THE REAL<\/h1>\n

OBS
\nONSDAGEN DEN 4 DEC HAR VI BARA \u00d6PPET 18-22<\/strong>
\n30 november, 18.00 – 21.00
\n\u00c5ter\u00f6ppning med nya verk av S\u00d8REN AAGAARD\u00a0<\/strong><\/p>\n

5 december, 19.00 – 21.00
\nROBERT BOLIN\u00a0<\/strong>and his site-specific performance Parasit\u00a0<\/strong><\/p>\n

Galleriet:
\nADAPTATIONS<\/strong><\/em>\u00a0S\u00d8REN AAGAARD (dk)Scenrummet:
\nNEXT ROOM HARP<\/strong><\/em>\u00a0BJARNI TOR PETURSSON (is)
\noch
\nTHIS LAND IS MY LAND<\/strong><\/em>\u00a0MAIKEN STENE (no)<\/p>\n

Jeg ble spurt av Sk\u00e5nes Konstf\u00f6rening om \u00e5 organisere og medvirke i en utstilling og inviterte Bjarni Tor Petursson og S\u00f8ren Aagard til \u00e5 stille ut sammen med meg, fordi jeg vil utforske hvordan vi individuelt og i forhold til hverandre diskuterer differansen mellom virkelighet og konstruksjon. V\u00e5re individuelle uttrykk og metoder skiller seg fra hverandre, men vi m\u00f8tes i interessen for hvordan ulike kunstformer b\u00e5de kan holde p\u00e5 og bryte med sine forestillende egenskaper.<\/p>\n

Gallerirommet er et sted hvor avstanden mellom kunstverket og betrakteren varierer alt etter hvem det er som f\u00e5r lov \u00e5 skrike h\u00f8yest; betrakteren i sitt analyserende utenforskap, kunstverket i sin innebygde symbolikk, konstruksjonen i sin materialitet…
\n-Maiken Stene<\/em><\/p>\n

ADAPTATIONS<\/div>\n
S\u00f8ren Aagaard arbejder prim\u00e6rt med videoinstallation, hvorigennem han udforsker narrativets muligheder. Senest gennem en r\u00e6kke v\u00e6rker, der i gr\u00e6nselandet mellem film og tekst unders\u00f8ger filmatiseringsbegrebet ved at overs\u00e6tte tekst fra forskellige litter\u00e6re genrer til filmiske v\u00e6rker. Derved udforskes forholdet mellem ord og dets \u00e6kvivalens i det filmiske billedsprog.<\/div>\n
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ADAPTATIONS<\/div>\n
S\u00f8ren Aagaard primarily works with video installation, through which he explores the potential of the narrative. Recently this comes to play through a series of works in the borderland between film and text that examines the concept of film adaptations by translating text from various literary genres into cinematic works. This turns in to an exploration of the relationship between words and their equivalents in the cinematic imagery.<\/div>\n
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THIS LAND IS MY LAND<\/div>\n
Mennesket er b\u00e5de uegnet og uinteressert i \u00e5 pr\u00f8ve \u00e5 forst\u00e5 hva stein egentlig er; noe som kanskje forklarer hvordan det er i stand til \u00e5 foreta voldsomme inngrep i naturen selv om det skulle resultere i uoversiktlige konsekvenser for framtiden. I fors\u00f8ket p\u00e5 \u00e5 \u00e5pne opp den antroposentriske forst\u00e5elsen av natur, bruker Maiken Stene \u00a0landskapsmaleriets diskurs til \u00e5 unders\u00f8ke den visuelle differansen mellom naturen og menneskets persepsjon av den.<\/div>\n
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THIS LAND IS MY LAND<\/div>\n
Man is both unfit and uninterested in trying to understand what stone really is, which might explain how it can make tremendous interventions in nature even if it were to result in unpredictable consequences for the future. In trying to open up an antropocentric understanding of the natural world, Maiken Stene uses the discourse of the landscape painting to examine the visual difference between nature and man’s perception of it.<\/div>\n
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NEXT ROOM HARP<\/div>\n
\u00dea\u00f0 er ekki upp\u00f6rvandi a\u00f0 dreyma aftur og aftur a\u00f0 ma\u00f0ur s\u00e9 staddur einn \u00ed yfirgefinni verslunar-mi\u00f0st\u00f6\u00f0. Verslunarmi\u00f0st\u00f6\u00f0 er blanda af n\u00e1tt\u00faru og leiksvi\u00f0i e\u00f0a a\u00f0 minnsta kosti einhverjum tveimur a\u00f0skildum raunveruleikum. Me\u00f0 \u00fev\u00ed a\u00f0 hlusta \u00e1 \u00fe\u00f6gn hennar m\u00e1 reyna a\u00f0 skilja hva\u00f0 h\u00fan er innant\u00f3m. Bjarni \u00de\u00f3r P\u00e9tursson veltir \u00fev\u00ed fyrir s\u00e9r hvort vi\u00f0 h\u00f6fum stigi\u00f0 svo dj\u00fapt inn \u00ed heim s\u00fdndarveruleikans a\u00f0 gervi-t\u00f3mi\u00f0 s\u00e9 \u00ed raun meira \u00f3gnvekjandi og \u00fear af lei\u00f0andi skiljanlegra en \u00fea\u00f0 raunverulega.<\/div>\n
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NEXT ROOM HARP<\/div>\n
To repeatedly dream of being totally alone in a deserted Shopping Mall is not an encouraging thing. The Mall is a blend of nature and the theatrical, or, at any rate, of two distinct realities. Only by listening to its silence can we try to understand how profoundly hollow it is. Bjarni Tor Petursson questions whether we have stepped so far into a world of simulacra that it is now in every sense more appropriate to speak of a simulated void; a void that is even more terrifying than the real one.<\/div>\n
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\n28\/9 – 20\/10 2013<\/p>\n

Sara Wallgren<\/h1>\n

MICROM\u00c9GAS part II
\nSara Wallgren f\u00f6rundras av dold information och sv\u00e5rtydda m\u00f6nster, av tidsbegrepp och synestetiska upplevelser. Ingen plats \u00e4r mer fylld av dessa \u00e4n den yttre rymden. Under sommaren p\u00e5g\u00e5r ett samarbete med Onsala Rymdobservatorium som kommer att h\u00e4mta och spela in radioinformation fr\u00e5n Jupiter.<\/p>\n

Information fr\u00e5n himlakroppar existerar som b\u00e5de ljud och bild samtidigt, eller ingetdera. Elektriska impulser ifr\u00e5n Jupiter n\u00e5r radioteleskopet i Onsala med en timmas f\u00f6rdr\u00f6jning och \u00f6vers\u00e4tts till antingen ljud eller bild f\u00f6r att kunna tolkas. Med teckning och ljud blir datan fr\u00e5n Jupiter utg\u00e5ngspunkten f\u00f6r Wallgrens utst\u00e4llning med titeln Microm\u00e9gas.<\/p>\n

http:\/\/www.sarawallgren.com
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\n28\/9 – 19\/10 2013<\/p>\n

SOFT TURNS (Sarah Jane Gorlitz och Wojciech Olejnik)<\/h1>\n

Vernissage GALLERI natten l\u00f6rd 28e kl 18-21<\/strong><\/p>\n

SOFT TURNS (Sarah Jane Gorlitz och Wojciech Olejnik) har samarbetat p\u00e5 stop-motion- och videoinstallationer sedan 2006. P\u00e5 Sk\u00e5nes konstf\u00f6rening kommer de visa projektet\u00a0Behind the High Grass<\/em>\u00a0<\/strong>som v\u00e4xte fram ur en bok de hittat p\u00e5 en loppmarknad i Berlin.<\/p>\n

\u201dN\u00e4r du f\u00f6rflyttar dig fr\u00e5n en plats till en annan finns ett \u00f6gonblick av att vara emellan, d\u00e4r finns ett sp\u00e5r av dig sj\u00e4lv i det f\u00f6rsta rummet och redan en projektion av dig sj\u00e4lv i n\u00e4sta. I detta transitl\u00e4ge, h\u00f6r man samtidigt till tv\u00e5 platser och ingen, som om man inte h\u00f6rde till p\u00e5 ett fullv\u00e4rdigt s\u00e4tt, men p\u00e5 en tillf\u00e4llig, partiell s\u00e4tt \u2013 reducerad till ett “annat”.
\nEn reseskildring kan bli till en metafor f\u00f6r att behandla fr\u00e5gor som r\u00f6r \u201dandra\u201d. Fylld med generiska ber\u00e4ttelser fr\u00e5n verkliga platser, visar dessa litter\u00e4ra verk ofta komplexa sociala, historiska, politiska eller psykologiska sammanhang.<\/em><\/p>\n

SOFT TURNS (Sarah Jane Gorlitz and Wojciech Olejnik) have been collaborating on stop-motion and video installation since 2006. They are currently based in Toronto, Canada.\u00a0Behind the High Grass<\/em><\/strong>\u00a0is a project based on a travel book they once found by chance at a flea market in Berlin.<\/p>\n

When moving from one space to another, there is a moment of being in-between, where there is a trace of oneself in the first space, and already a projection of oneself in the next.\u00a0 In this transitory mode, one simultaneously belongs to two spaces and to neither; as if one belonged not in a fully-fledged way but a temporary, partial manner – reduced here to the precarious state of an \u2018other.\u2019
\nThe travel book has become, for us, an apt metaphor to address issues concerning otherness. Cloaked with generic narratives occurring in real places, these literary accounts actually often delve into complex social, historical, political or psychological contexts.\u00a0 Much of our recent practice surrounds a post-war travel book we once found at a flea market, which had lost all its text, leaving only enigmatic sepia images.\u00a0<\/em><\/p>\n

www.softturns.com<\/a><\/p>\n

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\n23\/8 – 15\/9 2013<\/p>\n

Kristian Berglund<\/h1>\n

Paranoia, natur och det ok\u00e4nda m\u00f6ts i Kristian Berglunds arbeten. K\u00e4nslan av att n\u00e5got annat p\u00e5g\u00e5r bakom v\u00e5r rygg \u00e4r en r\u00f6d tr\u00e5d i utst\u00e4llningens sammanst\u00e4llning av r\u00f6rliga bilder och skulpturer.<\/p>\n

Kristians k\u00e4nsla f\u00f6r detaljer \u00e5terfinns i hans utg\u00e5vor av minimalistiska b\u00f6cker. \u00c4ven h\u00e4r kretsar temat ofta kring naturen.<\/p>\n

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