“Training the Fundamentals of a Democratic Society” V

art, recent work

Today’s the day when the process will move to another level. Starting out from the untitled poem, our first week was dedicated to individual (although synchronized) reflective work. Now time has come to share the fruits; not the raw version of personal associations, memories and feelings – it would be impossible, anyway – but a consciously arranged set of words. My part is to form the conditions and to collect the responses. When gathered, they will expand and change our common space of thought.

The first e-mail has already arrived, and I’m waiting eagerly for more…

“Training the Fundamentals of a Democratic Society” IV

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Normally, I work with materials such as oil paint, charcoal, silver, tar, wood or paper to create a virtual space: the image. The materials forming this artpiece are entirely different, though.

Hannah Arendt – in her lecture Thinking and Moral Considerations – firmly distinguishes the ability to think from acquired knowledge, education and even intelligence. To her, thought is no commodity; it has neither solidity nor persistency. Adopting a metaphor from Plato, Arendt compares human thinking to a wind – invisible and fleeting, vanished the very instant it ceases to move. “How can anything relevant for the world we live in arise from so resultless an enterprise?” she asks, and continues: “An answer, if at all, can come only from the thinking activity, the performance itself, which means that we have to trace experiences rather than doctrines.”

Those last words describe pretty well what we’re up to in this project. No special education in poetry or linguistics is required, despite the literary and multi-lingual theme. Neither are there any settled intents, nothing external to be proven or achieved in this artwork. We deal with the tracing of personal experiences, in Arendt’s sense; and the basic materials seem to be time, trust and attention.

“Training the Fundamentals of a Democratic Society” III

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At this stage, access to the project is limited to volunteering participants, and the core process uses the e-mail format. My first step turned out to be based on a misunderstanding; a valuable reminder about the conditions of human communication. Two days into the project, we have already experienced difficulties, misinterpretations, unexpected openings and achievements… very interesting, indeed!

“Training the Fundamentals of a Democratic Society” II

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Here we go; the project starts today with the reading of a poem, originally written in Ukrainian and later rendered into English (note to self: I have to find out the name of the translator!)
…and now, over to Tanya Maria Litvinyuk:

Tania Maria Litvinyuk 2

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…

“Training the Fundamentals of a Democratic Society” I

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Today, I’m proud to announce my invitation from curator Yulia Oleksandriv (Perfect Art Institution, Stockholm/Kyiv) to be part of the project Training the Fundamentals of a Democratic Society. Youth leaders and human rights activists from Ukraine, Moldova, Georgia, Belarus, Russia, Poland, Denmark and the Netherlands are gathering for a three-days’ workshop in Sweden, initiated by NGO Active Ukrainians in Europe and kindly supported by the Swedish International Centre for Local Democracy and the Swedish Agency for Youth and Civil Society.

My contribution will be to conduct a process where individual memories, associations and reflections are transferred and shared across linguistic and geographical borders. Ukrainian poet Tanya-Maria Litvinyuk will provide us a point of departure, and on August 28th we’ll arrive at Stockholm International Library to stage a multilingual performance. The travel in-between will take place in the unseen space of creative thought.

Tomorrow, we’ll be off!

 

finishing & preparing

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140421b grunda pannå

From the studio: a set of wood panels being prepared.
And from the writing desk (for Swedish readers): a reflection, finished in June, about painting with the help of facilitated communication, in relation to texts by Mechtild of Magdeburg, Friedrich Nietzsche and Ludwig Wittgenstein.

Om språk, tanke och det kroppsliga livets möjliga riktning mot frihet.

To be narrated

art, recent work

observatorium“Observatory” by PS (photo HHW.)

The recent two weeks, I’ve spent together with old and new friends doing another Arts-and-crafts Creative Summer Camp; or maybe rather, another Common Creative Chaos/Cosmos Narrative Camp. The form has developed over the years; maybe it’s about time to name the technique, so let’s call it ‘integrative narration’ for a try…

Being the leader, I put forth the beginning of a story. The participants then respond by their own stories, artefacts and finds, their images and suggestions. The evolvement of things from day to day – also real-time concerns, conflicts and break-throughs – find their way into the story, mirroring ourselves as we are; with our strengths and challenges, our sense of beauty and humour, our sorrows and fears, fooleries, pride, wonder, wisdom and empathy. Finally, it ends up with a feast (of course).

kosmos“Cosmos” by TI (photo HHW.)

Change

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Behemot tittar in (2)Time for a change; photo HHW.

 

For almost three years, I have given much of my attention to Art Lab Gnesta and the Karl Schultz-Köln and Marita Mörck-Schultz Foundation. It has been a lot of work, many encounters, much fun and not so few accomplishments. Here are some of the highlights, from the Art Lab Gnesta website…

Art Lab Gnesta/Research@Supermarket Art Fair 2013, six short films: Helena Hildur W, Auli Laitinen, Agnieszka Knap, Arne Widman, Madeleine Aleman, Ivar Sviestins; © Nigo produktion.

Art Lab Gnesta/Research@Supermarket Art Fair 2013, interview by the Swedish Exhibition Agency

“The Giant Corpse Flower Blooms”, performance by Ingela Ihrman at the Venice Biennale, Midsummer’s Day 2013

Green Lab

Karl Schultz-Köln (1921 – 2013) Memorial Exhibition, March 2014

 

…and, from the Swedish Exhibition Agency:

Concluding discussion at the Green Art Lab Alliance seminar in Visby, May 2014

 

However, now it’s time for a change. Parallel with my engagement in Art Lab Gnesta, I have been doing courses, reading and writing. The next semester will find me part-time at the Center for Studies in Practical Knowledge at Södertörn University, and full-time at the Royal Institute of Art – which opens the possibility for me to fully delve/dive into the intuitive and logical learning process. My dear colleagues in the former network of Art Lab Gnesta/Research (which is now likewise independent from Art Lab Gnesta) are still around, a valuable peer-review resource.

To Art Lab Gnesta, and all its crew, I wish the best of luck!

diary painting XXX

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14-04-09b

14-04-09; oil on wood panel (photo HHW.)

I’m happy to be back to work in the studio (it’s been a long time – I can tell from the looks of my palette). I’m also happy to have new followers here…
These ‘diary paintings’ are my taking notes about the day’s atmosphere and light; somewhat like a musician’s exercising scales and harmonies. Usually, they’re made in 45 minutes to one hour. Over time, they may form a theme – or not. Sometimes they open up to something new. Sometimes they are simply uninteresting, dull… much like a diary.