2015-03-27 Back in the Painting Studio

art, recent work

150327 1bTwo days ago, a feedback session ending with a secret waffle party in the smithy… Today, things are jazzing me around: down goes the rag, up come the prints and the plates. It’s fun, but also frustrating; I cannot yet see what’s really going on.

2015-03-23 Back in the Painting Studio

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This time, I needn’t draw the grid because I know it anyway. I concentrate on the circle (or close-to-circle, to be exact). One laborative space isn’t enough, I need three; but, in duplicating the circle, I realize the wall isn’t really big enough. Fine, I’ll make the circles overlap then. One for the metals, one for the prints. And the third one for a text, as a beginning.

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2015-03-20 Back in the Painting Studio

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Today is the second day of the Light Symposium, and the day of the spring equinox. And – remarkably – a partial solar eclipse is happening as well, at 11.00 am here in Stockholm. Grey clouds veil the celestial bodies, just enough so that everybody could follow the event with the naked eye. People crowd in the streets as the light dims. A passing shade, the sun disc turned into a crescent slowly rocking from left to right, a distant ship in the immense seas above us… then, it’s over.
A little later, I leave the symposium for the studio; leave lectures for artefacts.

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Sketchwork in the Painting studio

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Sketching on white wall; plummet, graphite, charcoal, metal plates.
(17 photos, © HHW.)

I really like it at the graphic department. People are kind, and work hard. Workshop teachers are skilled, clever and generous. There’s one thing I miss, though: a wall. Fortunately, the Royal Institute of Art also provides us with a painting studio – huge walls, large windows – which can be booked for a shorter or longer period. I’m lucky enough to get access almost instantly, and spend a weekend transferring small-scale sketches into full-size ones.
First day, I arrive in the afternoon to unload: sketchbook, metal plates, tools. I notice the wall needs some white paint, I’ll have to bring it tomorrow. Dusk falls.

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Next day: make space, whitewash the wall, hang the plummet, draw the outlines. Draw the circle, the grid.
A full day’s work.

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Third day: add the plates. Arrange them according to previous sketches. Move them around until it’s truthful. Then stop.

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Project work I

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The new academic year begins tomorrow, Monday, so this should be the appropriate time to sum up my first semester as a project student at the Royal Institute of Art.

Mostly I’ve been working in the lithography workshop, where Patrick Wagner has an eye and a helping hand for everything and everyone. I’ve printed from two stones alternately; one fairly small, the other one large (and heavy)… The procedure for stone lithography goes something like this: grain the stone repeatedly with sand and water, until it has a clean, smooth surface; draw the image upon it; etch the image into the stone with acid and gum arabicum; roll up with printing ink; print. And then, clean up.

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Upstairs from the litho workshop is the common area of the graphic department. Along the wall, tables are lined up in a row – one of those is at my personal disposal. I have chosen this place because usually, it’s just in the thick of things… Now, this early winter morning, the room is still dark and silent. I light the lamp and unpack my things. Dawn is breaking.

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Getting a better grip of graphic techniques, following lectures and meeting artists, being likewise challenged and encouraged, seeing old things in new ways… I even think I’m beginning to see the outlines of what I’m doing here. Idiosyncratic as it may be, I’m working on a dictionary. An imaginary.

Project Student!

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140901 01b KKH140901 05b KKH140901 07b KKH  Registration day at the Royal Institute of Art (Stockholm)

And then… and then, one late summer day I found myself once more a student at the Royal Institute of Art. On September 1st, the new semester began – immersed in sunshine and jazz music – with a speech by new director Marta Kuzma. Then official photographing on the lawn. And for me, a space in the graphic department. I bring the object from Mr Benetton, and install myself.

140912 01b KKHNow, that’s already two full months since, and my main project is slowly evolving. It’s connected to my studies at the Södertörn University; I could say I’m attempting at bringing art to the academic world, as well as academia to the art world. Or: that I’m exploring what can be lined up in written sentences, and what can be reflected on a surface only.

“Training the Fundamentals of a Democratic Society” IX

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Time to reveal how the project came off, really. First, a recap – this is the ‘common ground’ we started out from, the untitled poem by Tania Maria Litvinyuk:

We are cities, each one reminds megalopolis,
We have people who come and live inside us.
And we absorb people like sponges, as if we are bottomless,
And these people, certainly, really need us…

And we call people by names, like we call avenues,
We have many roads and not all of them are gorgeous,
And the sky that kisses the pavement is not always blue,
And people that breathe us in are not strong always…

It happens sometimes, that people want to move off,
To finally pick their things and get freedom, become unrestraint,
To start conversation with the best physician on Earth,
And to hang better routes they could have, on their chests.

It happens sometimes, that people want to avoid us,
For we cause the addiction, stronger than anything in the world,
And people want to see other megalopolises,
And people want to perceive other cities, to feel or keep hold…

And we do not care. We are solidly frozen forever…
Such majestic, such static megalopolises…
For what do we have to lose? Lots of inhabitants.
Today, I saw spring waving her arm from the train modestly…

(English translation by Ludmila Kovalenko)

Words marked in blue represent the intervention of the project’s participants; during three days of repeated individual readings, each one of us selected some words of special significance. Without sharing, we noted the personal associations, feelings and memories they brought about. Next, we formed our own sentences around those chosen words – still without knowing what the others would come up with. The sentences were gathered and arranged strictly according to their connection with the original poem, and the resulting text was distributed back to all participants. I also offered everyone the option of adding one more sentence, to moderate or to develop some theme. And this is the response, in its final version:

Don’t get absorbed by your daily routines – it’s the fastest way
to die inside, while staying alive; absorb.

City avenues are like arteries, and people then are blood;
so please, run as fast as you can
to keep the city’s heart beating well!
I breathe: tiny ripples from our common sea
of oxygen, of scents and sudden danger,
voices, sounds; alighting on my inner shore,
then withdrawing.

Unrestraint… Keep your dreams all over your chest
in order to control their weight:
you must fulfill them
while they are still light as air.

And what if not?

They will grow heavier. Majestic.
I have so much to lose.

Now, this text is written in English – naturally, since it’s the only language we have in common. But in the last part of the project, we rendered it into our own languages; so, at the public reading, it was presented in four successive transformations. That is…

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…Swedish:

Låt dig inte absorberas av vardagens rutiner – det är det snabbaste sättet
att dö invärtes, medan du ännu lever. Absorbera.

Städernas avenyer är som artärer, där människorna utgör blodet;
snälla, spring så fort du kan,
håll stadens hjärta bultande!
Jag andas: krusningar från ett gemensamt hav
av syre, dofter, plötslig fara,
röster, ljud; de bryts emot min inre strand
och drar sig undan…

Obundna; bär dina drömmar över hela bröstet,
så att du kan kontrollera deras tyngd:
du måste förverkliga dem medan de ännu är lätta som luft.

Och om inte?

De blir tyngre. Majestätiska.
Jag har så mycket att förlora.

***

…Russian:

Не становитесь поглощенными вашей ежедневной рутиной – это самый быстрый способ умереть внутри, оставаясь в живых; поглощать.
Городские проспекты как артерии, а люди в них как кровь;
поэтому, пожалуйста, бегите так быстро, как вы можете
Чтоб сохранить биение сердца города!
Я дышу: крошечная рябь в нашем общем море
Кислорода, ароматов и внезапной опасности,
голосов, звуков; посадка на мой внутренний берег,
затем я выхожу.

Необузданность … Храните ваши мечты во всех уголках сердца
,чтобы контролировать свою значимость:
Вы должны их осуществлять,
Пока они все еще чисты как воздух.

А что, если нет?

Они становятся более значимые. Величественные.
Я не могу так много потерять.

***

…and Ukrainian:

Не давай щоденній рутині себе абсорбувати –
Бо це найшвидший спосіб
Вмерти усередині, залишаючись живим зовні.
Абсорбувати.

Міські авеню – як артерії, а люди тоді – це кров.
Тож біжіть так швидко, як тільки можете
Щоб серце міста билося краще!
Я дишу: маленькі частинки нашого спільного океану кисню
І запахів неочікуваної небезпеки
Голоси, звуки. Хвилі прибою на моєму внутрішньому березі
Нахлинули, потім відкотилися.

Нестримано. Зберігай свої мрії на своїх грудях
Щоб контролювати їх вагу
Ти повинен виповнити свої мрії
Доки вони ще такі ж легкі, як повітря

А якщо ні?

Тоді вони ставатимуть все важчими.
Велично.
Я так багато можу загубити.

'Training...' på IB 02 'Training...' på IB 03

'Training...' på IB 04 'Training...' på IB 11 'Training...' på IB 10

'Training...' på IB 09

Full documentation here:

Evening at International Library, Stockholm

“Training the Fundamentals of a Democratic Society” VIII

art, recent work

Last Saturday, we finally met… The project group had a very tight schedule while in Stockholm, but nevertheless, a few of us managed to get a couple of hours to attune our intentions and make up a draft for today’s event. After we parted, and these remarkable young human rights activists of Eastern Europe moved on to island Gotland in the Baltic Sea, to spend three days at the Swedish International Centre for Local Democracy (ICLD). Until today, we had to worked independently once more, translating the ‘response text’ into Ukrainian, Russian and Swedish. And right now, I’m sitting in the library foyer, waiting for the guys to show up… we’ll have a brief moment of rehearsal – and then, we’ll be on stage.

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