Human Being Image #2; oil on canvas, 200 x 200 cms (2019)
Human Being Image #4; oil on canvas, 200 x 200 cms (wip / May 2019)
Human Being Image #2; oil on canvas, 200 x 200 cms (2019)
Human Being Image #4; oil on canvas, 200 x 200 cms (wip / May 2019)
Art moves on; like clouds, like life.
Satan’s Death – last part of Satan’s Trilogy – was brought to an end by New Year’s Eve 2017. We, the artists, quickly transformed ourselves into LVL4 art association (named after the primary studio/hangout space on the 4th level). By doing this, we managed to stay in-House for yet another year. No more theatre production…
LEVEL 4 exhibition (November 2018)
…but on November 1st, doors were opened to the public once again. For a full month, visitors could experience installations, sculpture, paintings, sound art and performances – such as The Magic Garden (Anja Dahlgren/#cversatilesthlm), Polluted Ocean (Elise Mattisson Chue), Seastar’s Sea (Eka Acosta), The Ritual (Robin Victor Dahlqvist), Fear Less (Em Fexeus), 700 portraits (Camilla Hammarin), Våga! (Thea Blanca)… to mention just a tiny fraction.
And more; the Hackshack project, lead by Alice Bulukin and Ivan Alexander Höök, invited everyone to build and experiment with electronic devices. The remarkable Archive for Temporary Art (Lisa Fält, Victor Gussing Chihuailaf, Carolina Alvear Bello and Klara Nordqvist) curated five short-term exhibitions within the exhibition. Makaroni photo studio offered instant portraits. Younger artists like Albin Limnell shared space with professionals such as Frida Farm and Izabella Englund…
…and then there was the abundance of graffiti/street art; DEMENZ&MYS, DIRTY, OMEH, Klotterklungan and others curated by Juntan… plus LEEV, Ziggy, KLTR and more…
As for the Passage Room, it just… stayed. Honoured with a sound installation – Livmoder (Uterus) – by Nathanael Saposnikoff, the compost lead a quiet life, tending its fertile darkness.
FINISSAGE-EXORCISM (December 1st-2nd, 2018)
Come December, the exhibition ended with a nonpareil art party finissage – staging thirty hours of live music, DJ’ing, spontaneous jamming, sporting all kinds of heavenly/demonic outfits and dancing through the night… By noon next day, a bleak, reluctant December sun watched DJ Lucinda Illernäs perform the outro in Woland’s chamber. And so, the immense, thirty-hour-long, imaginative-beyond-borders and completely impossible FINISSAGE-EXORCISM closed this chapter – opening all minds to the next level.
Leave-Taking (December 3rd-23rd, 2018)
After which every material part of the artworks had to be disassembled, stripped and removed; it took us three more winter weeks, and filled 17 containers… From time to time, I rambled the corridors collecting marks, traces and moments.
Halfways, a portion of those loose bits and pieces came to serve as backdrop in The Last Party trailer for Gothenburg Film Festival 2019 (starring, once more, Angela Wand).
The Passage Room was emptied, too: all wooden, textile, acrylic and metal parts dismantled; the stones and soil and reeds and ashes returned to earth; the lights shut down.
A true friend you have been, House. A magus and a teacher, too. Now time is up.
ps. All filmed material from Satan’s Trilogy now free to watch here:
ALLA SATANS FILMER
School is closed for a week-long autumn break. I meet up with technician Per-Arne Sträng – who also happens to be an artist in his own right – to mount the map pieces. One and a half day of smooth collaboration…
…and – we nailed it! This is it.
Cluster 1 (1A, 1B): the school building
Cluster 2A – 2D; overview (above) and close-ups (below)
Clusters 3 (3A, 3B) and 4 (4A – 4F), overview
Cluster 3, close-ups
Cluster 4, close-ups
Cluster 5A – 5E, overview (above) and close-ups (below)
Cluster 6A, 6B, overview (above) and close-ups (below)
On Friday morning, Leif Josefsson – the school librarian – pops by and improvises an interview for the facebook site…
So, this is really it; all the map pieces are mounted, the starry sky alcove is glowing, and the light projections are up and running.
Just one more thing for Monday;
let’s welcome everybody back to school with a surprise opening; snacks, grapes and applejuice… Good morning!
And now, it’s all yours. Enjoy!
With the starry sky alcove and the coloured spotlights set in place, I could return to the third part of the commission: the school road mapping.
Back in spring this year, schoolkids in two classes presented me with their hand-drawn maps – each one showing their own path from home to school. I began to fuse those forty-something individual images into one collective map. Some related to places that were easily recognizable, and some of their features were obviously identical; a supermarket, a traffic circle, those two water pools and the Thai restaurant. Others were very personal, and sometimes pertaining to different layers of reality; a secret tree-house, an encounter with a friend or a wild animal, or some wildly ambivalent feelings expressed in graffiti style… And there were suns, and moons, and stars.
Having arrived at an overview, I again divided the map in triangular parts and arranged the sketches in clusters designed for five different walls; now with the individual paths intertwined – sometimes interacting – and (almost) all ending up in the central piece with the school building.
Then, twenty-one pieces of felt were cut and prepared with starch. Similarly, twenty-one wooden boards were produced to tauten the felt pieces onto. And the embroidery race started…
It was pure delight to discover all the details of the kids’ maps; humorous – sometimes cheeky – emotional, colourful, observant and straightforward. In rendering their felt-tip pen drawings into yarn stitches, I did my very best to stay true to the original.
August and September came and went. Stitching, listening to the radio, stitching; pausing only to eat and sleep, and sometimes to go buying more mouliné thread… And slowly, the map took shape. By the end of October, I stowed the embroidery table away. The map was ready to mount.
Back in the old Watertower of Gnesta… Collaboration with artists Julia Adzuki and Patrick Dallard (SymbioLab) has been brewing for some time now. Karin Lindström Kolterud – who added the element of ancient sound technique kulning to Resonance Jam #2 – has joined the team. Since last year, a group of people have gathered recurrently in the Watertower to try out its unique acoustic qualities – and during this long hot summer, a number of artist residencies have taken place.
Tomorrow, we’ll launch ANTENN 2018, a two days’ Sound Art Festival. And what an amazing line-up of artists: Linnea Rundgren and Tomas Björkdal with live multichannel sound and image projections, Girilal Baars doing Mongolian overtone singing, jazz/classical duo Johanna Dahl (cello) and Ebba Westerberg (percussion)… not to mention the male voice choir of nearby village Björnlunda – and quite a few more!
Full program here: ANTENN 2018, program
And my part? A contribution to the upcoming performance of Julia and Karin; they will be playing with voice, body, space, and another one-of-a-kind instrument – a wrecked old marine buoy, prepared by Patrick. Julia and I did the lighting… and the setting sun joined us for an hour, turning the watertower into a giant Camera Obscura. What an honour; playing duet with our home star.
What next? After the night comes morning light… The starry sky alcove calls for a surrounding light design. Earlier, I did some tests with torchlights – but where to find permanent spotlights producing such a distinct, sharp-edged image?
Having searched high and low, and after consulting lighting experts – among them Gerhard Rehm at CDC Lighting and Bengt Ahlin at Färgrum – I finally find the spotlights I’m looking for, through the Rebel Controls company; they’re actually miniature gobo projectors. And, they’re expensive. And, they don’t really fit into the existing wall, because they’re too long; need to add a few centimetres of thickness there.
Spotlight collars – design and result
So, I contact Snickerifabriken Järna – a carpenter’s shop where they do CNC lathing – and present a sketch. And – whoaa! – what a beautiful piece of work they produce: ten perfectly cone-shaped collars, lathed out from hard five-ply birchwood. Thank you, carpenter Nisse! Rather than painting the collars to “blend into the wall”, I’ll pay tribute to craftsmanship by treating them with matte varnish.
Collars mounted, wiring installed
Site director Anders has been very supportive all along; now he brings a hole saw and cuts all the holes I have marked out. Electrician Thomas does the wiring, and I can mount the spotlights. A day or two for trying out the colour filters and set the final composition – having great fun…
Shadow selfie with three spotlights
Meanwhile, school goes on. The spring term is soon coming to and end. Schoolchildren still aren’t allowed to visit the workplace area – but every now and then I do a little guided tour around the venue for a group of curious kids together with their teachers, or on their own… They are the ones who will spend the days and years to come up here. To share the joy with them is even better than playing alone with light and shadows.
Remember the pre-fab absorbers recommended for three of the classrooms? Did I mention there was some debate over this? Agreed, acoustics are extremely important – but on the other hand, a colour that ends up hidden behind a white panel is actually no colour… Everyone involved plays a part in finding the best solution. The school representative wants the coloured walls to stay fully visible. What if – says the architect – what if the panels were scaled down a bit, and mounted higher up, just below the ceiling? But would they still be functional enough..? The commissioner comes up with the idea to extend those slimmed-down panels over the side walls too, and the site manager calculates the cost. Since I’m the one responsible for the colour design, I really appreciate all this good will. Next morning, I suddenly remember…
Marble Wool sample, by Karin Auran Frankenstein and Tomas Frankenstein Auran;
photo © Auran Frankenstein
…the Marble Wool – a material recently developed by Karin Auran Frankenstein and Tomas Frankenstein Auran, mainly using waste from the tanning industry and starch-based glue. This could be the missing link – something that would be functional as a diffuser, but also decorative in form and colour. I contact Karin and Tomas, and they kindly accept to take up the work. A couple of weeks later, they come up with sketches for three site-specific designs – far better than I could have imagined. The sketches get approval from everyone, and so we go for down-sized panels complemented with Marble Wool in three classrooms…
Three sketches for Marble Wool installations, © Auran Frankenstein
Read more about Marble Wool and other art projects at Karin’s website:
…or at the website for design exhibition Utvalt i Skåne (where Karin and Tomas were granted a scholarship award)
…or visit the large exhibition Next Level Craft – where, by the way, nuno-felting by Anna Wahl Gran is also on display.
Having finished painting the acoustic diffuser, I return to the alcove with the circular window. The bench is there, waiting. The dyed silk is now being processed by Anna Wahl Gran and her co-workers at Högklint; felted with dark fine wool into large swathes of fabric… I receive one magnificent piece after another, and store them in the adjacent classroom. And I’ve got a set of optic fibres, a “Starry Sky Set”, ready to install. This requires some planning, a star map, a ladder and a good drilling machine, a staple gun, non-acid wood glue, a lot of tooth picks, and patience.
First, I mark out positions for each of the 81 individual fibres, arranged to resemble some of the constellations of the Northern and Southern skies. Then, I remove the wall boards to drill the holes. That made, I stretch and fasten the felted pieces over the plywood. Toothpicks, pushed in from the backside, show where the holes are and make way through the strong fabric where the drilling machine would be useless.
Meanwhile, the fibres have been provisionally attached to the original brick wall. Now comes the patience part…
With the felt covered wall-boards loosely set in place, I can squeeze one arm in from behind to manipulate the thin fibres into their holes – working literally by fingertip sense, not being able to see through wood – and meet with the acrylic toppings from the front side. Applying the proper kind of glue, again by the help of toothpicks, and trying not to loose any of those minimal fixtures, measuring 3 by 5 millimetres…
The whole process takes me three full weeks or more, but finally I’ve arrived. And it works!
I’ve learnt a lot from this commission; about the existence of acoustic absorbers, for instance.
One of the many professions involved in the renovation (I lost count of numbers long ago) is the acoustic consultant, who provides advice concerning the interior soundscape. Those guidelines come with a drawback, though: the recommended pre-fab acoustic panels would cover most of the coloured back walls, which were designed to give each classroom its character… Hmm. The commissioner, the site manager, the architect, the school representative and I discuss the matter, but decide to leave the issue unsolved for now.
Unlike the other classrooms, the music room is furnished with a site-built wooden panel, designed to diffuse soundwaves rather than absorb them. It’s made from lathes of different thickness, arranged in a sequence of four: one broad, one thin, two mid-sized; repeat x 14. The visual pattern of the diffuser corresponds to some kind of keyboard, or notation of rhythm perhaps. Of course, the surface had to be painted too – it wasn’t part of my commission, really, but I couldn’t keep my hands away…
I decided to use the lilac of the back wall (just a shade lighter) for the bottom and the sides of the lathes. Then the outer surfaces could sport a colour sequence… Hey, couldn’t it be associated to tones somehow? Yes – Chinese music traditionally uses a pentatonical scale, where the notes correspond to white, yellow, violet, red and black. Now that’s a pretty unconventional palette; I’ll give it a try. Furthermore, the colour sequence of five, overlapping the form pattern of four, will produce a pleasant cross-rhythm.
Then there was the carpenter, who suggested I paint the whole thing in red, green and yellow instead, as a tribute to reggae music – well, I could at least sneak such a triplet in somewhere. And isn’t there some other combination of colours connected to a certain kind of music..? I ask around, but get no positive answer. Come to think of Conchita Wurst, stunningly beautiful drag queen and inspiring artist… Conchita may or may not be transgender, but she reminds me about a flag that deserves to be better known: the pink, white and blue one.
Salute to Conchita! Salute to Bob Marley and his legacy! And, thinking of legacy – Cecilia Lindqvist, my teacher in Chinese, studied music in Beijing in the early 1960’s. Her teacher then was the renowned qin player Wang Di. Salute also to Wang Di!