The last report from my stay as Artist in Residence
In the three reports from my Residency, I have tried to deepen the different challenges I as an artist have come out in my meeting with another culture and in my work to create installations.
It also gives an insight into my visual universe and an approach to understanding why I work with installations that my artistic expression.
It also gives an insight into my visual universe and an approach to understanding why I work with installations that my artistic expression.
Exhibition Invitation and Press Text
In connection with the exhibition, I had agreed to pay for the printing of an exhibition invitation. This I had completely forgotten. Then just 10 days before the opening I talked about the Press text and design with Nissak.
Fortunately, I have InDesign on my mac. I have also made some photos, I think will fit perfectly fine for the exhibition invitation. So I immediately began with the layout process.
Press text, is always a demanding process for me as I in few words had to describe a visual installation that actually requires to be experienced and sensed.
As analytical artist, I have become better and better, to put words and meaning in my symbolic universe that swirls up from my subconscious. The visual expression is first formed in my universe - before the thought become words.
As an artist, it is important first of all to convey his visual language. But the written word is also important as it can give the viewer some link, some password to read, the visual language.
In the first part of my career, I created more metaphysical systems that adhered to the inner and outer space in a process of dialogue between the conscious philosophical, technological and aesthetic - and the unconscious mental and spiritual.
'Art should not be understood, it must be sensed and experienced and fill one with wonder'. I wrote then and now again in my new press text.
In the second part of my career, I worked more with the idea and contextual based projects going more direct visual and intellectual dialogue with the viewer through recognizable symbols, as the three installations I have created here in Yogyakarta.
We live in an information society where the visual information is becoming more and more dominant, as they picked up faster than text and can be understood and interpreted at different levels. It is therefore important that we learn to "read the world" coherence.
Fortunately, I have InDesign on my mac. I have also made some photos, I think will fit perfectly fine for the exhibition invitation. So I immediately began with the layout process.
Press text, is always a demanding process for me as I in few words had to describe a visual installation that actually requires to be experienced and sensed.
As analytical artist, I have become better and better, to put words and meaning in my symbolic universe that swirls up from my subconscious. The visual expression is first formed in my universe - before the thought become words.
As an artist, it is important first of all to convey his visual language. But the written word is also important as it can give the viewer some link, some password to read, the visual language.
In the first part of my career, I created more metaphysical systems that adhered to the inner and outer space in a process of dialogue between the conscious philosophical, technological and aesthetic - and the unconscious mental and spiritual.
'Art should not be understood, it must be sensed and experienced and fill one with wonder'. I wrote then and now again in my new press text.
In the second part of my career, I worked more with the idea and contextual based projects going more direct visual and intellectual dialogue with the viewer through recognizable symbols, as the three installations I have created here in Yogyakarta.
We live in an information society where the visual information is becoming more and more dominant, as they picked up faster than text and can be understood and interpreted at different levels. It is therefore important that we learn to "read the world" coherence.
Ceramics workshop launched the process
Instead of having only 30 bowls in each firing, for the sake of building the open oven, they were now forced to burn the last 200 pieces in one portion.
It's the old man I see in control of the entire furnace construction, stacking of the cups to allow air ducts. One can see that it is new to them, with so many dishes at once. The open oven structure is somewhat wider than normal, therefore they were forced to use some of letting the building bricks, as the bowls on.
It's the old man I see in control of the entire furnace construction, stacking of the cups to allow air ducts. One can see that it is new to them, with so many dishes at once. The open oven structure is somewhat wider than normal, therefore they were forced to use some of letting the building bricks, as the bowls on.
They also had trouble getting hold of the special dry grass, which they use to sweet dishes with both sides, as it burns rapidly with huge flames. It has been very exciting to follow how they create a black sooty bowl.
I had asked them to get drive the dishes that had been burned to Kersan Art Studio, so I could test the stacking of the cups and get an idea if I had ordered enough.
I had asked them to get drive the dishes that had been burned to Kersan Art Studio, so I could test the stacking of the cups and get an idea if I had ordered enough.
A few days over the promised date, I received the last 200 black sooty dish so I could finish the completion of the nine circles of bowls, with a center and a diameter of 4 meters. Fortunately, I had enough bowls.
The structure now consisted of a total of 358 bowls. I added the circle 7 several bowls so the circle formed by 365 bowls.- As many as there are days in a year.
The circle should have a certain size, be demanding and, like blowing up the room. Therefore, I was forced to withdraw the two pillars of the room.
The symbolic idea of the twelve dishes with dried salt on top of the other, seemed visually completely wrong. At the same time the salt can not dry in the gallery's humid heat.
I found out that a bowl in the center, filled to the brim with the white salt, the symbol of the centralization of power, would fit well with the title 'Salt Life' as well as my symbolic allusion to Mahatma Gandhi who in 1930 led a 400 km. long march to the sea to demonstrate against the government salt monopoly. A symbolic struggle for freedom. Salt is essential for life. Life salt.
The structure now consisted of a total of 358 bowls. I added the circle 7 several bowls so the circle formed by 365 bowls.- As many as there are days in a year.
The circle should have a certain size, be demanding and, like blowing up the room. Therefore, I was forced to withdraw the two pillars of the room.
The symbolic idea of the twelve dishes with dried salt on top of the other, seemed visually completely wrong. At the same time the salt can not dry in the gallery's humid heat.
I found out that a bowl in the center, filled to the brim with the white salt, the symbol of the centralization of power, would fit well with the title 'Salt Life' as well as my symbolic allusion to Mahatma Gandhi who in 1930 led a 400 km. long march to the sea to demonstrate against the government salt monopoly. A symbolic struggle for freedom. Salt is essential for life. Life salt.
Ceramics as a material is an unknown country for me
In some of my installations, I have over the years used pots and vases as symbolic of life rewarding and ceremonial forms such as in installations:
'Requiem' / Solbjerg Chapel 2013 / Ice crystals on copper / The Last Supper
To Be Or Not To Be’ / Kronborg Castle 2008
To Be / Life bowl in wood / Past
Or Not / Life bowl in aluminum / Present
To Be / Life bowl in acrylic / Future
Metamor’phosis /
Although I have worked with ceramics idiom, I have no great knowledge of clay. This is the first time I used the sacred bowl made of clay.
It was a bit of a surprise that the salt water slowly were absorbed by the clay in the black sooty burned bowls. Although they were burnt clay were still porous. If I would have used black sooty burned bowls filled with dried salt, I would have given them a coat of varnish.
I had chosen to use the same paint and color that I had used to spray the bamboo to all the jar shaped large bowls. When I used the paint undiluted, the jars got darker.
It was a bit of a surprise that the salt water slowly were absorbed by the clay in the black sooty burned bowls. Although they were burnt clay were still porous. If I would have used black sooty burned bowls filled with dried salt, I would have given them a coat of varnish.
I had chosen to use the same paint and color that I had used to spray the bamboo to all the jar shaped large bowls. When I used the paint undiluted, the jars got darker.
One of the specially shaped jars overturning - disaster
During the painting of the jars, I happened to bump into a bamboo rods, which then topple one of the four specially shaped clay pot. We had just finished painted both in and outside. It was good that it was me and not one of the young people who caused this disaster. I have been skillfully to limit my self-criticism to quickly finding things unrecoverable state and my own imperfections.
Fortunately it was only gone in a few large pieces, so the ceramist could glue it together. Otherwise it would take more than a week to prepare a new one. When it first had to dry and then burned and then through 3 layers of paint. There were only four days to the opening.
Fortunately it was only gone in a few large pieces, so the ceramist could glue it together. Otherwise it would take more than a week to prepare a new one. When it first had to dry and then burned and then through 3 layers of paint. There were only four days to the opening.
The liquid begins to leak out of the side of two of the jars
The liquid in the repaired jar started after a few hours in the bottom around the drip system, to press the outer layer of paint like bubbles filled with fluid which burst when pressed on them. The jar was dripping now twice as fast as the other as the water now came from several holes. Holes we could not control.
The jar is probably not been thoroughly enough painted up again inside as it should. There have certainly been a few places where water has could be sucked into the clay.
After a few hours it happened with one of the other containers. We have not been vigilant enough to treat the inside, so they were 100% waterproof. By only fill up half the liquid in the two, they have come to work and does not drip more than the other.
The jars should have had a layer of glaze before they got painted. "I should have know" that what Ardi little reproachfully said to me.
There is a great deal I should know not to repeat the mistakes others have made. But there is no eternal truth. New constellations provide new answers. The art is continually asking questions and given.
The jar is probably not been thoroughly enough painted up again inside as it should. There have certainly been a few places where water has could be sucked into the clay.
After a few hours it happened with one of the other containers. We have not been vigilant enough to treat the inside, so they were 100% waterproof. By only fill up half the liquid in the two, they have come to work and does not drip more than the other.
The jars should have had a layer of glaze before they got painted. "I should have know" that what Ardi little reproachfully said to me.
There is a great deal I should know not to repeat the mistakes others have made. But there is no eternal truth. New constellations provide new answers. The art is continually asking questions and given.
Here in Indonesia gives the employer, its workers a form of time off
We called immediately after the opening of the ceramics workshop to hear whether they could create 4 new jars, which this time should have a layer of white glaze. So we could paint on top of the glaze.
The owner of the workshop could just tell that potter had taken off and was taken home to his family in Solo. She did not know when he would come again.
What a freedom employer here in Indonesia allows. I was out for the same at the bamboo workshop that the worker there had to make ris farmers bamboo deathbed had not shown up in 2 days, without telling workshop leader why.
The owner of the workshop could just tell that potter had taken off and was taken home to his family in Solo. She did not know when he would come again.
What a freedom employer here in Indonesia allows. I was out for the same at the bamboo workshop that the worker there had to make ris farmers bamboo deathbed had not shown up in 2 days, without telling workshop leader why.
Ceramist will make four new jars in clay mixed with concrete
Because my exhibition outside normal opening April 19 to May 19, also displayed during Yogyakarta Open Studio May 29 -14 June. Am I interested in my installations function maximum. I do not know how long the life jars can hold. Suddenly, one of them may stop and collapse as a living body.
At the end of the week is the ceramist back and I take with Ardi out to the workshop. On ceramist, we can understand that only occasionally comes one that can give pottery glaze.
He suggests instead that he mixes the clay with concrete, it makes the jars waterproof. However, in this humid weather, and if it continue, it will take up to 3 weeks until they are dry. He still had the cardboard model in 1: 1. Now I just hope that the two leaky jars hold until we can replace them.
At the end of the week is the ceramist back and I take with Ardi out to the workshop. On ceramist, we can understand that only occasionally comes one that can give pottery glaze.
He suggests instead that he mixes the clay with concrete, it makes the jars waterproof. However, in this humid weather, and if it continue, it will take up to 3 weeks until they are dry. He still had the cardboard model in 1: 1. Now I just hope that the two leaky jars hold until we can replace them.
Again, there is a communications problem arose
Before the bamboo poles can get up to hang, there had to be establish a jig system of thin bamboo, for the 9 long bamboo poles to hang in. Installation Time Life / Life Time must also have its own jig system established.
The head of the bamboo workshop has been out and check the task. But again there was a communication problem. Via Ardi, I had asked him countless times when they would come and established the jig systems.
The 2 craftsman throughout, had helped me with my project, popping up on the day, we finally have agreed with all the bamboo poles to the suspension system. But they didn't know, they also had to crawl up the 4 m. height. So they had to confer with the leader. Fortunately, they took on the task. They had their tool and we had some string they could use.
The head of the bamboo workshop has been out and check the task. But again there was a communication problem. Via Ardi, I had asked him countless times when they would come and established the jig systems.
The 2 craftsman throughout, had helped me with my project, popping up on the day, we finally have agreed with all the bamboo poles to the suspension system. But they didn't know, they also had to crawl up the 4 m. height. So they had to confer with the leader. Fortunately, they took on the task. They had their tool and we had some string they could use.
Learning to unwind and enjoy the moment
I have been a little better to also be able to unwind and enjoy the different facets of life. Especially when you are in a new place full of new impressions. So I try to keep stress at a distance. - I have every good reason this time, since I have local craftsman to work with the materials I still do not master. But then I am physically inactive, which makes me a little stressed. It is reassuring to have an assistant and now two, it gives me a belief that we will succeed.
I have been out eating with Nissak seen events and openings of art exhibitions and visited a few artists in their studios. When Lenny, head of Kersan Art Studio and her husband Michael, who is German came, I have been out with them and eat and listen to live music. One evening we heard a orchestras only play Rolling Stones and the lead singer, who was as thin and with a mouth as big as Mick Jagger mock his body language and dance technique perfectly. These old songs evoked beautiful memories and emotions in my body and soul.
I have been out eating with Nissak seen events and openings of art exhibitions and visited a few artists in their studios. When Lenny, head of Kersan Art Studio and her husband Michael, who is German came, I have been out with them and eat and listen to live music. One evening we heard a orchestras only play Rolling Stones and the lead singer, who was as thin and with a mouth as big as Mick Jagger mock his body language and dance technique perfectly. These old songs evoked beautiful memories and emotions in my body and soul.
We still had not found a company that had red rope
Since there are now only small 2 weeks to the opening, assumes Lenny also that she would try to get the red rope through her contacts in Jakarta and the red powder.
After a week of searching in Jakarta abandons Jenny, she can not get the rope. Ani has meanwhile found a red cotton rope of 14 mm. thickness. Unfortunately, it is quite soft, so with bamboo sens weight, it becomes longer and thus thinner. She has not made contact with some located within 16 mm. white rope, we could color.
After a week of searching in Jakarta abandons Jenny, she can not get the rope. Ani has meanwhile found a red cotton rope of 14 mm. thickness. Unfortunately, it is quite soft, so with bamboo sens weight, it becomes longer and thus thinner. She has not made contact with some located within 16 mm. white rope, we could color.
Tuesday. April 14 - just six days to the opening
I have to compromise. I decide to bet on the red 14 mm. cotton rope and buys 160 meters. I have tested it with a bamboo where the function OK. But since we are now testing with 20 kg. water begins rope slowly becoming longer and longer. It can not be used.
I decide that I may use the 10 mm. red plastic rope that a company has said that they hold.
Nissak contact them and get positive feedback, but later in the day, it turns out that they still do not have it stored.
I decide that I may use the 10 mm. red plastic rope that a company has said that they hold.
Nissak contact them and get positive feedback, but later in the day, it turns out that they still do not have it stored.
Wednesda. April 15
This morning Nissak got in contact with a company in Jakarta, which holds 16 mm. red rope. It can be delivered immediately. Nissak transfer payment. The shipment will take a little over a day. Now I cross fingers that it appears. I asked Nissak to contact them again in the afternoon in order to ensure that it has been sent. Gradually I have become accustomed know that things are being delayed or decisions changed.
Thursday. April 16 / Lecture in Indonesia Institue of the Arts - Yogyakarta
While the waves were high in my mind as I waited for the red rope should arrive to Kersan Art Studio, I had to 1 pm. lecture on my work as an artist and as Artist in Residence here in Yogyakarta for 3-year art students at Indonesia Institue of the Arts - Yogyakarta.
Here I ran also into a headwind. Nissak had borrowed a cable for mac. which could be connected with their projector cable, but it did not. We tried various combinations, but had to abandon. Via a USB connector use we Nissak's PC. All photons else had been in the series, were now scattered.
We were now 45 min. late, according to schedule. But some of the last students had just arrived, so I didn't feel so guilty, since it is accustomed here that you do not start on time. All the events I've been to, is started 1-1 ½ hours later than the scheduled time.
Equally scattered photons was my post on my work. Nissak tried as much as possible, to translate my tirade to Indonesian as most students can not speak English.
Morning and afternoon Nissak tried to get through to the company, to hear what freight company, they have used and when it arrives. The situation is now so time-critical that I am prepared to put one of the assistants on a flight to Jakarta and retrieve the rope at the company - and then return to Yogyarkarta. Fly is cheap here in Indonesia. I can not wait any longer to establish the last two installations.
Here I ran also into a headwind. Nissak had borrowed a cable for mac. which could be connected with their projector cable, but it did not. We tried various combinations, but had to abandon. Via a USB connector use we Nissak's PC. All photons else had been in the series, were now scattered.
We were now 45 min. late, according to schedule. But some of the last students had just arrived, so I didn't feel so guilty, since it is accustomed here that you do not start on time. All the events I've been to, is started 1-1 ½ hours later than the scheduled time.
Equally scattered photons was my post on my work. Nissak tried as much as possible, to translate my tirade to Indonesian as most students can not speak English.
Morning and afternoon Nissak tried to get through to the company, to hear what freight company, they have used and when it arrives. The situation is now so time-critical that I am prepared to put one of the assistants on a flight to Jakarta and retrieve the rope at the company - and then return to Yogyarkarta. Fly is cheap here in Indonesia. I can not wait any longer to establish the last two installations.
Friday. April 17
In the morning sends Lenny an assistant out to check the company. It turns out to be a Scam company, with the same address as a hospital.
What alternative solution, I have now. I then saw a little rough natural colored hemp rope that is 16 mm thick. The rope piece was together with some other samples Ani had collected for 1 week ago. I've probably deliberately overlooked it when I did not have much desire to hand paint 150 m. Reb.- I am testing a piece with spray paint. It works fine and dry quickly.
What alternative solution, I have now. I then saw a little rough natural colored hemp rope that is 16 mm thick. The rope piece was together with some other samples Ani had collected for 1 week ago. I've probably deliberately overlooked it when I did not have much desire to hand paint 150 m. Reb.- I am testing a piece with spray paint. It works fine and dry quickly.
The luck is with us the rope is found
The luck is with us. The store has a roll of 140 m.
Rope roll I cut up into pieces of 8 m. Length, to use for hanging bamboo tubes. The rope pieces were laid close together in a row and was in the afternoon were spray painted red.
It went very quickly now that I besides my two young assistants now also got help from a few young family members who have connection to the gallery
It was evening and working light was very bad. Despite the time constraints, I decided that we stopped and instead started early the next morning on the suspension. I found it hard to grasp the scene when there was so bad light. I would just groping around like a blind and frustrated artist. The light helps me to see and think clearly. The ropes would also be drying
out.
The last few days have been hectic, I was ready to completely abandon the show when we not have been able to get the rope. Nissak has had to put up with a temperamental, frustrated artist who was a little out of concepts.
It went very quickly now that I besides my two young assistants now also got help from a few young family members who have connection to the gallery
It was evening and working light was very bad. Despite the time constraints, I decided that we stopped and instead started early the next morning on the suspension. I found it hard to grasp the scene when there was so bad light. I would just groping around like a blind and frustrated artist. The light helps me to see and think clearly. The ropes would also be drying
out.
The last few days have been hectic, I was ready to completely abandon the show when we not have been able to get the rope. Nissak has had to put up with a temperamental, frustrated artist who was a little out of concepts.
Saturday. April 18 - Tomorrow at 3 pm. opening
8 am. we started with the suspension of bamboo pipes.
Lenny had already arrived from Jakarta with his professional skilled craftsman assistant. He was quickly put into my jig system that was visually and safe working and at the same time simple to set up and adjust. It gave me the opportunity to survey the whole and utilize the many hands that I now had available.
By common collective help, it went incredibly quickly to get the bamboo pipes up to hang. Then I could concentrate me to get the visual sense of the height of the bamboo as a holistic picture.
It was a great feeling that with common colletive effort, that we could make such a huge quantum leap, without striking a blow.
Since there usually is too short a time for setup my big installation projects, I have often been in similar stressful situations, but then I had to fight all alone.
Financially, I had to choose not to have an assistant, otherwise I would not have been economically impossible for me to create the installations I through the years have created. Everything has a price.
I sense that when it comes, then the Indonesians moves closely together and the community's spirit of fighting for it to succeed.
Lenny had already arrived from Jakarta with his professional skilled craftsman assistant. He was quickly put into my jig system that was visually and safe working and at the same time simple to set up and adjust. It gave me the opportunity to survey the whole and utilize the many hands that I now had available.
By common collective help, it went incredibly quickly to get the bamboo pipes up to hang. Then I could concentrate me to get the visual sense of the height of the bamboo as a holistic picture.
It was a great feeling that with common colletive effort, that we could make such a huge quantum leap, without striking a blow.
Since there usually is too short a time for setup my big installation projects, I have often been in similar stressful situations, but then I had to fight all alone.
Financially, I had to choose not to have an assistant, otherwise I would not have been economically impossible for me to create the installations I through the years have created. Everything has a price.
I sense that when it comes, then the Indonesians moves closely together and the community's spirit of fighting for it to succeed.
Finally came the bamboo pipes up to hang - a beautiful sight
Bamboo pipes should now be tested to see if all, still is dripping of liquid at both ends. Then they had to be emptied, cleaned and filled with colored water. Still there was a bamboo pipe to be repaired, it still leaked fluid.
It was a tremendous relief and a very beautiful sight to finally see bamboo pipes up and hanging in the red rope. That it should first be the day before the opening, was not planned. Although the brand, the positive sentiment and helping spirit here in the important and thrilling final stage.
It was a tremendous relief and a very beautiful sight to finally see bamboo pipes up and hanging in the red rope. That it should first be the day before the opening, was not planned. Although the brand, the positive sentiment and helping spirit here in the important and thrilling final stage.
’FLOATING SOUL ’
- The title 'Floating Soul' matches the experience I have of the Indonesian Soul in general. Indonesian soul takes life with a serenely as the hanging bamboo in my Installation 'Floating Soul'. Indonesians flowing quietly in a horizontal position with the flow and give in to strong external forces.
Tests rope system in Time Life / Life time
While I was waiting for the final red rope, I tried with the purchased cotton rope, how the rope system in Installation Time Life / Life time, would come to work with the eight wheels - and how it would affect the jars location.
Therefore I had prepared how I could try out the weight distribution between the jars and bamboo deathbed. I had got four buckets and filled them with water. They would replace the jars until the length of the tension between the jars and bamboo deadbed had been determined.
I had rather quickly abandoned the idea of the jars when they were slowly drained should get bamboo deathbed to descend further and further down toward the floor.
It is theoretically possible, but it requires that the jars are emptied completely equal. The wheels do not span that the weight distribution between the jars and deathbed is accurately calculated .- Just to fill liquid on the jars and set them to drain in a certain slow rhythm is demanding.- The main thing is the visual image of the time and life .
Therefore I had prepared how I could try out the weight distribution between the jars and bamboo deathbed. I had got four buckets and filled them with water. They would replace the jars until the length of the tension between the jars and bamboo deadbed had been determined.
I had rather quickly abandoned the idea of the jars when they were slowly drained should get bamboo deathbed to descend further and further down toward the floor.
It is theoretically possible, but it requires that the jars are emptied completely equal. The wheels do not span that the weight distribution between the jars and deathbed is accurately calculated .- Just to fill liquid on the jars and set them to drain in a certain slow rhythm is demanding.- The main thing is the visual image of the time and life .
Time Life / Life Time is established
The four rope between bamboo deathbed, the wheels and the four living jars will be established.
Rope pieces I choose to nail fixed to the bar the ropes touch. This means that it do not require balance in weight distribution between bamboo deathbed and life jars. I have figuratively nailed the situation. No one will notice that the strings are nailed to the beam.
Rice farmer symbolic tools are positioned so that the balance of bamboo bearing is preserved.
During the symbolic bamboo bed I created a symbolic spiritual land elevation, the 4 kg red color pigment that Lenny had imported from Singapore.
Rope pieces I choose to nail fixed to the bar the ropes touch. This means that it do not require balance in weight distribution between bamboo deathbed and life jars. I have figuratively nailed the situation. No one will notice that the strings are nailed to the beam.
Rice farmer symbolic tools are positioned so that the balance of bamboo bearing is preserved.
During the symbolic bamboo bed I created a symbolic spiritual land elevation, the 4 kg red color pigment that Lenny had imported from Singapore.
'LIFE TIME / TIME LIFE'
Symbolic bamboo deathbed, facing west, toward Mecca, for an Indonesian rice farmer who slowly falls asleep with the 3 most important tools that were necessary for him and his family's survival through a long life.
Symbolic clay jar, life-tank slowly emptied and life is running out. Life is time and time is life.
Sunday. 19 April - Opening 3 pm.
On Sunday morning I concentrate me to get all the details in place and provide the now somewhat battered bamboo, once red spray on the surface, which made a huge difference.
Jars with their round bottoms, lived a life of their own. A few of bamboo pipes dripped not quite as they should.
I had already initially set me on, that I was forced to tone down my expectations for the project technically, would come to work 100%. That's the idea, the visual sensuous design language that will carry this project.
Bamboo tubes lived entirely their own life, which of course had come off on my position on the two other installations, also organic lived their lives. I concentrated only to fix the most serious detail and felt it was the right thing here in Indonesia, to take it easy and relax, if the whole is strong enough ignores small details. So even though life jars not hung in exactly the same height, I had resigned myself to live with this as the jig system made it extremely difficult to manage in the daily care of the 2 live installations.
Jars with their round bottoms, lived a life of their own. A few of bamboo pipes dripped not quite as they should.
I had already initially set me on, that I was forced to tone down my expectations for the project technically, would come to work 100%. That's the idea, the visual sensuous design language that will carry this project.
Bamboo tubes lived entirely their own life, which of course had come off on my position on the two other installations, also organic lived their lives. I concentrated only to fix the most serious detail and felt it was the right thing here in Indonesia, to take it easy and relax, if the whole is strong enough ignores small details. So even though life jars not hung in exactly the same height, I had resigned myself to live with this as the jig system made it extremely difficult to manage in the daily care of the 2 live installations.
Opening 3 pm.
The opening went well. There were not as many visitors because we had chosen to have opening in the afternoon. Openings in Yogyakarta tends to be at night.
On the immediate response, I have the feeling that Indonesians like my Installations, which in its symbolism is very clear and therefore easy to go to and experience
On the immediate response, I have the feeling that Indonesians like my Installations, which in its symbolism is very clear and therefore easy to go to and experience
Kersan Art Studio / Danish Artist B.v.H.H.S.
Press releases:
Before
arriving Yogyakarta as an Artist in Residence my knowledge of Indonesian
Islamic culture and symbolism was limited. I was invited to create an Installation
specifically for Kersan Art Studio large Pergola 8x8 m.
From
experience I know that I don’t suddenly get brilliant ideas. They come slowly
with hard work and are born and shaped in
time and space. Therefore it was important for me to create some sketches and work
with visual symbolic ideas before arrival in Yogyakarta for a period of 7
weeks. These ideas could then be developed and adapted to the physical and
psychological realities.
To
create an Installation / Exhibition I must fully be the artist I am, meaning I
have to talk the visual language I speak. It is impossible succesfully to combine
two very different cultures and visual languages in just 7 weeks.
The
material I chose for my exhibition are Indonesian everyday materials like
bamboo and clay - in the form of jars and bowls, as well as a common Indonesian
visual symbol language. In this way I hope both physically and mentally to
engage in dialogue with the Indonesian spirit.
After
visiting various production workshops, working with bamboo and pottery,
I
decided that I would realize 3 of my Installation idea and not only the large
installation under the pergola
'Art
should not be understood, cannot be understood, it must be sensed and
experienced and fill one with wonder'.
'FLOATING SOUL'
-
The title 'Floating Soul' matches the experience I have of the Indonesian Soul in
general. Indonesian soul takes life with a serenely as the hanging bamboo in my
Installation 'Floating Soul'. Indonesians flowing quietly in a horizontal
position with the flow and give in to strong external forces.
’Soul’ / New York 1988
I've unconsciously delved into my own ancient 'Soul'. - 'Floating Soul' refer namely to Installation 'Soul', I created in New York 1988. It was like a red inferno, a forest of luminous energy, a mirror image of New York City. America’s noticeable 'Soul'.
'SALT LIFE'
Life Circle
- The Eclipse of Life, 365 black sooty clay bowls, just as many as days in a year, bottoms up, so to speak - rooted up in a symbolic protest. Mahatma Gandhi led in 1930 a 400 kilometers long march to the sea to demonstrate against the government's salt monopoly, symbolicly a struggle for freedom. The salt of life.
'LIFE TIME / TIME LIFE'
Symbolic bamboo deathbed, facing west, toward Mecca, for an Indonesian rice farmer who slowly falls asleep with the 3 most important tools that were necessary for him and his family's survival through a long life.
Symbolic clay jar, life-tank slowly emptied and life is running out. Life is time and time is life.
KERSAN ART STUDIO
Yogyakarta / Inonesia
As Artist, I have thrown a stone into the water, forming rings and spreads
After one week after my opening, I could feel that now I was first dropped down after seven weeks of intense focus. Therefore, I enjoyed extra, the jazz band random play at the restaurant, I had chosen to eat. They played in the more classical rhythmic style. There were not so many that seemed to take this creative expression to themselves. The orchestra held, however, concentration and gave 100%, the only way they can as artists get on with their communication and exploration of the musical language.
Nor is the large enthusiastic crowd that shows up for my exhibitions. My art is often inaccessible and therefore I communicate with a limited number of people. It is not by the amount of shoulders flap I proceed, but it is the belief that in my artistic expression conveys something essential that strikes deep in some individuals, one is in dialogue with certain plans. These people convey directly or indirectly this experience on. I'm throwing a stone in the water, depending on water quality forming rings that expands and spreads.
I want to communicate with more people, but must recognize that each understood easily recognizable visual language, is not it I'm passionate about exploring. I am trained to think and visualize abstract. Other visual skilled artist when through their visual language a wider audience.
I think it is important for a democratic social society, each of us utilize the knowledge we have and develop and pass this and not due to trivial repetitions as this materialistic society requires to perform to be successful.
Just as in science, it is important all the time to share his knowledge with his colleagues internally for progress - and with the outside world on a broader informative level action, for understanding and for this new knowledge is incorporated into the common culture.
Nor is the large enthusiastic crowd that shows up for my exhibitions. My art is often inaccessible and therefore I communicate with a limited number of people. It is not by the amount of shoulders flap I proceed, but it is the belief that in my artistic expression conveys something essential that strikes deep in some individuals, one is in dialogue with certain plans. These people convey directly or indirectly this experience on. I'm throwing a stone in the water, depending on water quality forming rings that expands and spreads.
I want to communicate with more people, but must recognize that each understood easily recognizable visual language, is not it I'm passionate about exploring. I am trained to think and visualize abstract. Other visual skilled artist when through their visual language a wider audience.
I think it is important for a democratic social society, each of us utilize the knowledge we have and develop and pass this and not due to trivial repetitions as this materialistic society requires to perform to be successful.
Just as in science, it is important all the time to share his knowledge with his colleagues internally for progress - and with the outside world on a broader informative level action, for understanding and for this new knowledge is incorporated into the common culture.
Demanding installations to maintain
'Floating Soul' and Life Time / Time Life are two very demanding installations to maintain. Therefore, we have Liflatul to be the person during the entire exhibition period helps Nissak to make sure they work.
The colored water in bamboo pipes, requires every other day to get a dose of concentrated bleach, as the stagnant water in the humid heat attracts mosquitoes and other living creatures. The problem is that it also neutralize the water's red color, so it needs an extra dose of color powder.
Every evening and morning for the opening and closing of all drip systems. During the day the water must be from all the jars poured back into bamboo pipes. One time a week, all water is changed, and bamboo pipes must be cleaned with clean water.
Likewise also the life jars drip system opens and closes every morning and night and changed water every week.
All these processes with respect to the amount of chlorine, color powder and liquid have taken some days to get a handle on, so it was good I could not leave right away.
I had run into complications with regard to an extension of my visa. Therefore I first can set off on my scheduled MC.Indonesia Journey April.26.
That was what I feared,- that I again did not had time to test and regulate the various processes vefore the opening.
Many of my installations have demanded that I a few weeks after the vernissage was still working on improving some of the technical processes, I had not been able to obtain complete control over before the actual opening. Many times I have had professional techniques to help me solve the technical challenges my installation project required, for example, when I work with ice and fire. Challenges they nor within the deadline to comply, as it said are situations, testing and experiments, with new constellations of elements. It requires time.
Although 'Floating Soul' and 'Time Life / Life Time' is very demanding and complex installations to maintain, has no one of Kersan Art Studio related employee complains when I again and again trying to remember them on what they should be aware of.
This type of exhibition would never have gone to exhibit in Denmark. Here in Yogyakarta, take the accidents and the new problems quietly. Life is too valuable to make challenges to problems.- But it's not always they can overcome those challenges and then it becomes a problem.
The colored water in bamboo pipes, requires every other day to get a dose of concentrated bleach, as the stagnant water in the humid heat attracts mosquitoes and other living creatures. The problem is that it also neutralize the water's red color, so it needs an extra dose of color powder.
Every evening and morning for the opening and closing of all drip systems. During the day the water must be from all the jars poured back into bamboo pipes. One time a week, all water is changed, and bamboo pipes must be cleaned with clean water.
Likewise also the life jars drip system opens and closes every morning and night and changed water every week.
All these processes with respect to the amount of chlorine, color powder and liquid have taken some days to get a handle on, so it was good I could not leave right away.
I had run into complications with regard to an extension of my visa. Therefore I first can set off on my scheduled MC.Indonesia Journey April.26.
That was what I feared,- that I again did not had time to test and regulate the various processes vefore the opening.
Many of my installations have demanded that I a few weeks after the vernissage was still working on improving some of the technical processes, I had not been able to obtain complete control over before the actual opening. Many times I have had professional techniques to help me solve the technical challenges my installation project required, for example, when I work with ice and fire. Challenges they nor within the deadline to comply, as it said are situations, testing and experiments, with new constellations of elements. It requires time.
Although 'Floating Soul' and 'Time Life / Life Time' is very demanding and complex installations to maintain, has no one of Kersan Art Studio related employee complains when I again and again trying to remember them on what they should be aware of.
This type of exhibition would never have gone to exhibit in Denmark. Here in Yogyakarta, take the accidents and the new problems quietly. Life is too valuable to make challenges to problems.- But it's not always they can overcome those challenges and then it becomes a problem.
You can not leave a child who is not quite ready to fly
Installations where I use technology and living organic elements, which in this case fluid are like children you hope you have trained enough to stand on its own feet within a given period. If this fails, you are forced to continue the exercise until it succeeded.
AT TIMES IN CERTAIN PLACES
Poul Erik Tøjner wrote in 1993 the following text about my work and installation as a genre.
The essential thing about the
installation as a genre, however undefinable and diffuse it may be, is that it
is a temporary context in space and time, of local duration. It is not an
object that can be inquired about and dealt in, above all it does not wish to
be a thing that is segregated from other things, it wants to be an event that
separates one space of time from another and perhaps the second time round
makes us connect what we are thus separating.
The special features of the
installation is its presence. It is obtrusive because it is insistent. It
probably contains various possibilities but is not in itself a possibility
amongst others. It is accessible, yes, it is downright easily accessible
because one cannot avoid relating to it. No one could say that they were not
standing before something or other. What that is must be decided afterwards. It
is true of all art and of the installation in particular that its complexity
already sets the viewer a task where parts are to be separated from a whole and
where the whole is to gather parts.
For B.v.H.H.S. it is this feature of an
event, that something is going on, that something happens, that something
develops in time and space, that makes the installation his genre.
Poul Erik Tøjner got quite right
My installations are events that 'AT TIMES IN CERTAIN PLACES' has manifested itself in time and space.
They have only been around for specific time periods when they are created for specific locations and are demanding re-election and store, as they use technology and living organic elements such. fire, ice, air, and liquid oil.
All the Installations I through the years have created is destroyed, and thus physically out of time and space.
Only a few of my installations, I have show several times. 'HOLY FIRE' because it has its own space. It was created for an exhibition with the group New Abstration in 1988.
I hope 'SALT LIFE' Life Circle also will be show several times. It also lives its own global life.
Balders Kilde / Copenhagen 1988
Hannover Messe / Germany 1990
Aarhus Kunstbygning/ Copenhagen 1993
Love from Yogyakarta
Bjarne v.H.H.Solberg
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