The 7-meter big circle is slowly created
After many attempts, I had decided to use the clay that they made brick of in the little brick factory there is on the other side of the road. It was the clay that easily dried out crackling.
We contacted the brick factory. Got a deal with one of the craftsmen who would be able to mix the clay in the right texture and create it 7 meter. in the diameter and 3 cm thick. The craftsman and I figured out that we have to use 600 kg. clay. The same as 700 bricks.
We contacted the brick factory. Got a deal with one of the craftsmen who would be able to mix the clay in the right texture and create it 7 meter. in the diameter and 3 cm thick. The craftsman and I figured out that we have to use 600 kg. clay. The same as 700 bricks.
Ardi is my ass. on the project
I had focused on the spread of the claycirkel at least 12 days before the opening so it could be completely dry and create the cracks I was hoping for before opening.
The bamboo circle was delayed, so it prevented me from getting ready with various work processes that had to be done before the bamboo circle could be hung up. The rope has to have time to reach their maximum length with the weight of the jars.
All of this should be in place before the clay circle, which was the foundation, the bearing ideological element of my Global Project.
The bamboo circle was delayed, so it prevented me from getting ready with various work processes that had to be done before the bamboo circle could be hung up. The rope has to have time to reach their maximum length with the weight of the jars.
All of this should be in place before the clay circle, which was the foundation, the bearing ideological element of my Global Project.
Now the moment had come where the clay they had mixed in front of the Sarang building, by trampling around it, was carried in buckets and scattered out.
Slowly, the global circle was created. I got the two men not to create a surface that was too slippery and create an edges that seemed like lava that was slowly solidified.
Slowly, the global circle was created. I got the two men not to create a surface that was too slippery and create an edges that seemed like lava that was slowly solidified.
The soundtrack sounded like a scary variation
I was very relieved and pleased that it was possible to create a soundloop. Now I should just hear and experience it in the spaces with Global Hope -Global Despair.
Sarang had a big OK speaker, where the sound loop via the USB plug automatically resets the sound sequence.
I put the plug in and out came a scary variation. I was completely knocked out. Was it really the sound I had created yesterday, along with the sound engineer. This scary variation I heard, I could in no way use it in the Installation. I was completely knocked out on behalf of Black.
I and Black on the opening
I contacted Black and he asked if the speaker was set to stereo. Because if I had used the mono, it just became noise. I could not see any stereo or mono loss. Instead, I tried to overplay the music to my USB plug. I connected my USB plug and the sound that was now streaming through the speaker, sounded like the soundloop we did record yesterday.
I made the time more visual visible
The circle itself has to be completely dry before i with a black spray created a large circle around the clock shows and in this way the time will be more visual visible. Now there was a better visual dialogue between the big global and the more local time universe.
12 clay plates are added to the installation
The clay circle had become very dominant, so even with circles around the clock, the Global Circle lacked stronger visual contradiction. So 5 days before opening, I decided to add 12 clay plates, made in the same clay type as the claycircle, as the plates also had to crack.
I took some clay with me to the ceramics there in 2015 made 365 bowls to my Installation 'Salt Life'. She told me that it was very hard to make a plate with this kind of clay, as the clay did not stay very well together. It was missing sand.
I took some clay with me to the ceramics there in 2015 made 365 bowls to my Installation 'Salt Life'. She told me that it was very hard to make a plate with this kind of clay, as the clay did not stay very well together. It was missing sand.
She made one plate. We let it dry during the night. The next day it was already cracked, but too much.
We agreed that she made12 plates, in a slightly better type of clay. I just had to hope that they cracked a little less violently.
We agreed that she made12 plates, in a slightly better type of clay. I just had to hope that they cracked a little less violently.
Jars sketch drafts
’'Life Tunnel' I found a place in his own universe
I had ordered 8 extra jars, so I had the opportunity to create a 4 meter high 'Life Tunnel'. I found an ideal place to place it where it did not take visual energy from my 'Global Hope' Installation, but had its very own universe and still was in connection with this Global.
For the purpose of securing the interconnected jars via wires, 'Life Tunnel' became 7 jars. We were 3 people to connect and secure the jars.
For the purpose of securing the interconnected jars via wires, 'Life Tunnel' became 7 jars. We were 3 people to connect and secure the jars.
Exhibition Invitation and Press Text
Now that the clay circle is created, I have a little more time so I have the opportunity to think of the exhibition invitation as well as the press text.
This time I think the installation is filled with symbolic characters, so it will be to much to make a description of the installation.
In connection with creating the clay circle, I have taken some photos I can use for the invitation. I have the Indesign program lying on my computer so I made a totally OK invitation. After adding keywords on the invitation, it helps to understand and symbolize the Installation.
The press text is always a demanding process for me, as you have in few words to describe a visual installation that really requires to be experienced and sensed.
This time I think the installation is filled with symbolic characters, so it will be to much to make a description of the installation.
In connection with creating the clay circle, I have taken some photos I can use for the invitation. I have the Indesign program lying on my computer so I made a totally OK invitation. After adding keywords on the invitation, it helps to understand and symbolize the Installation.
The press text is always a demanding process for me, as you have in few words to describe a visual installation that really requires to be experienced and sensed.
Press Release
GLOBAL HOPE - GLOBAL DESPAIR
INSTALLATION 700 X 400 cm./ Soundloop by Black
600 kg. CLAY, 12 JAR, 12 PLATES, 12 CLOCKS, BAMBOO, ROPE
This 'Global Time Installation' with 12 ticking clocks raises a visual question to some of the major global problems in the world. Has the time run out ?
The large dried-up and sprawling clay circle and the 12 life jars hanging empty tightly in the air, held up by a life umbilical cord, which can easily burst. Is there any HOPE?
- GLOBAL CLOCK- WATCH UP - CLOCK TICKING - LAST DROP - STARVATION -
- LIFE UMBILICAL BURST - EARTH & SKY - UPSIDE DOWN -
- LIFE UMBILICAL BURST - EARTH & SKY - UPSIDE DOWN -
__________________________________________
As an analytical person, I have become more skilled and skilled in putting words and meaning on my symbolic universe that whirls from my subconscious mind. The visual form of expression always forms first in my universe - before it is transformed and thought in words.
As a visual artist, it is important first and foremost to convey its visual language. But the written word is also important as it can give the viewer some link, some passwords, to read the visual language.
In the first part of my career, I created more metaphysical installations that relate to the inner and outer spaces, in a dialogue process between the conscious philosophical, technological and aesthetic - and unconscious mental and spiritual.
We live in an information society where visual information becomes more and more dominant as they are captured faster than text and can be understood and interpreted at different levels. It is therefore important that we learn to "read the world", create coherence.
As a visual artist, it is important first and foremost to convey its visual language. But the written word is also important as it can give the viewer some link, some passwords, to read the visual language.
In the first part of my career, I created more metaphysical installations that relate to the inner and outer spaces, in a dialogue process between the conscious philosophical, technological and aesthetic - and unconscious mental and spiritual.
We live in an information society where visual information becomes more and more dominant as they are captured faster than text and can be understood and interpreted at different levels. It is therefore important that we learn to "read the world", create coherence.
Choi Korean photographer
Choi the Korean photographer had opened with me in her own space. She has via photo chosen to show the situation of Indonesian women today. The 9 women she had portrayed and exhibited them self through photos and text about their daily lives.
The opening went well
The opening went well. There were about 60 people. The opening was between 16-20, to show the special garden facilities also in daylight.
On the day of opening, there were several Indonesians who wanted me to explain what I wanted to tell with the installation. There was not yet a press release in Indonesian, but only in English.
The Indonesians are not trained to think creatively, but to precisely make and think what is being said and expected.
On the immediate response, I feel that the Indonesians like Installations, if they have a distinct symbolic language and therefore is easy to go to and experience.
On the day of opening, there were several Indonesians who wanted me to explain what I wanted to tell with the installation. There was not yet a press release in Indonesian, but only in English.
The Indonesians are not trained to think creatively, but to precisely make and think what is being said and expected.
On the immediate response, I feel that the Indonesians like Installations, if they have a distinct symbolic language and therefore is easy to go to and experience.
My work rhythm has been completely ideal
I have enjoyed being a Artist in Residency here in Sarang. My room has been perfect with the little terrace, which I have been able to use as a work room, as it has been protected for the direct sun. The lawn that I look at has been lighted by the sun, more or less every single day.
My working conditions have been ideal. From the start I have been able to review the project and the schedule. I have been fortunate enough to get the materials and professional assistance I needed.
Time has gone very fast, and I've let myself bring along the calm flow of power here in Yogyakarta, which also goes to be the most relaxed and most artistic city in Indonesia.
You can not say that the Indonesians are working efficiently, but it is an emotional positive stream, of goodwill that meets one. I try also to flow, and enjoy the calm stream, in an attempt to release the hectic fire that has always caused my blood to circulate faster when I start on an installation project. It will fill a lot of my mind as my thoughts become 100% focused on this.
I was so pleased that I from the start could move into the exhibition room already 2 weeks before opening. Normally I have only had 1 week to set up an installation.
I have been here 1 month and it's only 10 days fo the opening, so the stress has slowly begun to fill my mind, even though I have time to get all the details sorted out.
Time has gone very fast, and I've let myself bring along the calm flow of power here in Yogyakarta, which also goes to be the most relaxed and most artistic city in Indonesia.
You can not say that the Indonesians are working efficiently, but it is an emotional positive stream, of goodwill that meets one. I try also to flow, and enjoy the calm stream, in an attempt to release the hectic fire that has always caused my blood to circulate faster when I start on an installation project. It will fill a lot of my mind as my thoughts become 100% focused on this.
I was so pleased that I from the start could move into the exhibition room already 2 weeks before opening. Normally I have only had 1 week to set up an installation.
I have been here 1 month and it's only 10 days fo the opening, so the stress has slowly begun to fill my mind, even though I have time to get all the details sorted out.
As an artist, I have thrown a stone into the water that makes rings and spreads
It is not a big enthusiastic audience that shows up for my exhibitions in Denmark. My art is very accessible and therefore I communicate with a limited number of people. It's not through the amount of debt collapse I'm moving on, but it's the belief that in my artistic expression I convey something essential that strikes deep in some individuals. These individuals directly or indirectly convey this experience. I have a thrown a stone in the water that, according to the nature of the water, makes rings that expand and spread.
I think it is important for a democratic social society that we each utilize the knowledge we have and develop and pass on this and do not fall into trivial repetitions that the materialist society demands to make to be successful.
As in science, it is important all the time to share its knowledge with colleagues inwardly for progress, and with the outside world at a broader informative level outside, for the understanding and for this new knowledge to be incorporated into the common culture.
Art collector's private art palace / museum in Jogja
An Indonesian artist colleague Tri Suhardjanto, a good friend of Choi, invited me home to show his workshop and housing that was under construction. He works with large naturalistic tableauer that he visually processes.
It was getting dark, but Tri would like to have us to visit the 'Agung Tobing Museum', a private museum where he currently had several large sculptures. They would keep open for us.
We drove through a couple of artistic portals before we got out of the car. In the dark a luminous palace building struck us magically. The whole building was lit by giant prism chandeliers. In the water basins in front of the building you saw horses made of Tri, reach the gallop against one. A lavish overflow corner.
It was getting dark, but Tri would like to have us to visit the 'Agung Tobing Museum', a private museum where he currently had several large sculptures. They would keep open for us.
We drove through a couple of artistic portals before we got out of the car. In the dark a luminous palace building struck us magically. The whole building was lit by giant prism chandeliers. In the water basins in front of the building you saw horses made of Tri, reach the gallop against one. A lavish overflow corner.
In addition to the galloping horses, Tri has also created the bull with human feet that trample on Balinese galam / gong battles as well as the fascinating dragon that unfolds in the middle of an adventure book
The entire building was filled with huge sculptures and giant paintings in many different styles, modern and more classic. It was a fascinating collection of works that gave a great insight into Indonesian culture through100 of the year.
It's just a pity that all these amazing works of art are only seen and experienced by the few, namely those invited by the collector of art. This private museum, which reminded more of a palace, was still not fully finished, they were still working on a few other buildings. A fascinating and very special experience.
The world has become more Global conscious in this 'Trump Time'
’Global 'is an important topic I have previously worked as an artist
Global ’Supper’ Overgaden/Copenhagen 2005
Global ’Heart’ Cirkulation Arken Kunstmuseum 2002
’Global Inhallation Expiration’ Waterresevare Berlin 2001
I have always perceived myself as a more global person, as a citizen of the world, therefore, are all my titles over the years, in English, an international language.
Global Holy Night in New York
In my young days, when I was active politically, I was a member of the International Socialist Party, trying to read the international bulletins if I wanted to participate in the ideological debate.
This Trotskyist international organization, I was a member of some years. According to Trotsky, socialist art could only be created in a socialist society.
As an artist, I always perceive my visual language as more globally than Danish.
The global consciousness started in the late 60's when I was young and green and easily influenced by the great international ideas and struggles. The struggle for social justice, democracy and the fight against imperialism. USA out of Vietnam. 'Ho Ho Chi Minh.
When I in 1970 visit New York nearly a year, I had a wonderful Christmas night. Together with my friend Lukas, I enjoyed full breath, some joins in colored paper, then we went down the street in Greenwich Village, where we participated in a smaller demonstration where we walk round in a circle and rhythmically shouted 'Black Black Power to the Black Black people ',' Red Red Power to the Red Red People ',' Gay Gay Power to the Gay Gay People'. We participated in this chain demonstration for a while to show our solidarity. I do not remember that we at that time shouted Femal Femal Power.
We continued uptown to central park where in the middle of the park was held an on going ceremony this holly night, against the war in Vietnam. A thin white snow blanket covered the grass, this starry moodful evening. When we had come a good way into the park, we could in the distance, dimly lit the many lighted candles that the participants held in hand. We could now also more clearly hear this beautiful, recognizable messy moody hymn, "We shall overcome We shall overcome one day." Amazingly beautiful tones that hit a young soul's interior fighting for Peace and Love. At the same time, I was very politically oriented.
We stepped onto the permanent music tribune, where the participated in this ceremony, held each other lovingly in hand. We have brought a candle we turned it on and in this way we created a strong sense of togetherness with strong positive energy.
I do not know how long we stood in a kind of trance singing with the look facing the starry sky. My thoughts and mind were on a spiritual walk.
We went on to a nice restaurant at Union Square and then on to a jazz club that was the end of a very special Holly Night.
This Trotskyist international organization, I was a member of some years. According to Trotsky, socialist art could only be created in a socialist society.
As an artist, I always perceive my visual language as more globally than Danish.
The global consciousness started in the late 60's when I was young and green and easily influenced by the great international ideas and struggles. The struggle for social justice, democracy and the fight against imperialism. USA out of Vietnam. 'Ho Ho Chi Minh.
When I in 1970 visit New York nearly a year, I had a wonderful Christmas night. Together with my friend Lukas, I enjoyed full breath, some joins in colored paper, then we went down the street in Greenwich Village, where we participated in a smaller demonstration where we walk round in a circle and rhythmically shouted 'Black Black Power to the Black Black people ',' Red Red Power to the Red Red People ',' Gay Gay Power to the Gay Gay People'. We participated in this chain demonstration for a while to show our solidarity. I do not remember that we at that time shouted Femal Femal Power.
We continued uptown to central park where in the middle of the park was held an on going ceremony this holly night, against the war in Vietnam. A thin white snow blanket covered the grass, this starry moodful evening. When we had come a good way into the park, we could in the distance, dimly lit the many lighted candles that the participants held in hand. We could now also more clearly hear this beautiful, recognizable messy moody hymn, "We shall overcome We shall overcome one day." Amazingly beautiful tones that hit a young soul's interior fighting for Peace and Love. At the same time, I was very politically oriented.
We stepped onto the permanent music tribune, where the participated in this ceremony, held each other lovingly in hand. We have brought a candle we turned it on and in this way we created a strong sense of togetherness with strong positive energy.
I do not know how long we stood in a kind of trance singing with the look facing the starry sky. My thoughts and mind were on a spiritual walk.
We went on to a nice restaurant at Union Square and then on to a jazz club that was the end of a very special Holly Night.
Peace and Love
AUM AUM AUM
Bjarne v.H.H.Solberg / Artist
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