Art : A Collaborative Monument

Örn Alexander Ámundason & Lof Nimar
3rd to 29th April 2015

Shown at Platform Arts Studio Belfast.

The two artists from Reykajavik, Iceland and Hjo, Sweden respectively, on October 28 2014 set up a collaboration from their respective studios in Malmo and Reykjavik for Belfast based local artists and identical twins Karen and Claire Gibson to participate in a live performance.

The aim was to have the Gibson sisters to read a letter of simple instructions and directions as the sat separately at flat drawing tables with a white A1 drawing sheet laid out in front of each of them and await verbal instructions while under live camera linked observation from the young Swedish and Icelandic Artists. After reading the simple instructions both right handed artists read and put aside the letter shortly before commencing. The letter observed they would be at times in receipt of contradictory instructions with both receiving the same verbal instructions simultaneously.

They commenced the collaboration.

The Gallery published an exhibition visitor information sheet fror the resulting exhibition. The Platform page shows a plan of the finished arrangements and the location of streams of video and audio.
The lighting arrangements are apart from diffused light from two windows entirely artificial.

See the Platform arts website and Platform Arts April June Newsletter for additional information and openings etc.
It notes the visiting artists websites and

It begins –
Some say that collaborations need leadership. Is this true? Or is it possible to collaborate in a completely non-authorative, equal way and still manage to reach your goal?

This response to the exhibition is entirely unconnected and not a collaboration of any kind. It is fictitional as an observation mechanism.

When words attributed as scripted by Olof, Õrn these are also fully fictional nor actually a record of which said what or any order of instruction.
It is possibly indicative of the process which has already taken place.

The monument is in existence. The process is present.
No illustration or words are part of the exhibition or attributed and so are isolated from it.
Session. Run that past me again. Does the meeting of the times come across as historical enough?
Nicholas. It seems so from what there is initially.
Look at the field has it it been turned?
Session. It has disappeared. No trace.
Take a line from the brush and make it Sunglasses.
Karen drew first then Claire. It was less obvious to Olof why Örn wanted this. The glasses Claire quickly followed in drawing were ambitious of sun.
Örn put into his composition a bridge, his nose draw an m. A peak Olof thought. Each poke erasing this and that. Örn wanted a circle as did Olof
Fill one one said.

Session. Did he say which side? Where? Yes said Nicholas. The one Olof asked for, he instructed be filled. Claire filled hers with circles. Small ones, you know the ones becoming the bowl of green marbles under the toothbrush? Well those are how they sat on the table facing the West wall.

But the Solar Eclipse set in the East? Session asked Nicholas.
It’s represented by the Sunglasses placed in the West wall this Edison wanted. We set this up in Belfast don’t forget so the Sun was rising there.
That galaxy is often beset with the weather pattern delicately pulled at short speed as it does not travel in time very quickly on its own terms.
Edison should have been clearer. His little entertainments are the stuff of entering the gaseous extermination zone. Don’t forget these ancient gases they exist in are rarities and playing with them is only possible as lhe has dominion over the andromeda there.

The sunglasses kept out the rays of the Sun and they turned two lights into the Sun Moon as what they call metaphors. So they repeated the Moon twice? Session asked. Yes the drawing Claire produced was gas turned into water so Olof thought and he turned it into the Metaphor for liquid contained in Glass. Then the set designer could not keep them together because these primitive ‘marbles’ they call them had no electrons despite the potentiality of the gas and light the people themselves carried.
Sometimes the set was empty and the place chilled.
They went into a glass bowl on the table. Nicholas told Session.
And the two women were they in sink with this? Did they challenge any of this. No said Nicholas. They were sensible enough as collaborators to explore the process from the letter on the basis of the absent quality Edison believes we need to reform.
How encouraged is Edison?
I have yet to look back but he wrote this note I have in front of me.
Remotely recite it I don’t want to hear it directly.
You mean right now Nicolas asked?
” the siblings are representative right brained about eighty or ninety percent. They were impressively different despite their genetic bond. They are very direct and inside the message once it is switched onto that art characteristic which seems to drive them as if they want experiences as well as reflecting experiences. They hold little fear once engaged.
The moons was the strangest part of it. I never realised or forgot the absence of knowledge of the young ones. They had just of course been distracted by the poorest auroras in their short lifetime so hadn’t looked up more than a thousand times that day.

The Moon became the M as metaphor which I forced on them as an instruction and told Oran to remove the false light bulb. He had strayed off message but I looked back at the footage, they have a recording which coincides with the memory bank I also looked at. The travel was a little arduous for them as they are only beginning to speed up their ascent into the art made outside the confines of experience. Even the sleep patterns were shortened and they argued to assert the collaborative context in preparation without noticing. They poked so much at the floor it became white in their installation.
I made I two and two collaborators. I had the set designer find his own way and though helped the four collaborators operated under recording and used data and paper devices to create drawings so the pencil maker, sight and sound artists are not for art works seen as internal. The foley artist is a good example as they cannot know if people will listen to their work or if the subtitles are enough. Oran and Olof direct, Karen and Claire interpret and invent the drawings which are the material record. The four of them had no idea how manipulated it has been. They don’t have to think of the eight moons and the Passover of the post production. It has spanned the last two moons and the eclipse was seen by many in the galaxy who looked back on it ands stood out side the light years.
Water featured between them which does not help.

The place and the population formed the third pair with a very sparse reaction to the art as it was beyond most in lots of ways. The ones I see developing it are the four collaborators first but first I see the line they produce hard to travel. The set was flawed the way it normally is and it had several levels which may occur in if the water returns. I looked at the reactions and central was the talk about and around it.
The public space it created was on the road to Damascus. The Palms were not there. The nearest became the brush. It hung over the seventh moon. The West wall thing was interesting as that provided the White of the Sun and the Black of the Moon both the same size.
The West wall was also without a perspective. The wall was uniform height.

Into the space the population passed under the M and some jumped and leapt. Some stood in the line of the Sunglasses on the East windows. They were almost taken way way back. They looked back at the black and white circles. Some lined up with the circles creating the Solar eclipse without a thought. They stood near the North water feature which some drank from. They withdrew sometimes and then went back onto the white floor.

The walls ran out on paper and the space remained black behind it.

The art was connected again by more collaboration, the seventh and eighth moons I initially thought were not connected and the population I initially thought were alone as the seventh.

That for now is not true. The eight is the population who are outside reading and never to be found near their ‘do.

The art of ‘the path, ‘the way, is nearly always within a split second of discovery and when discover happens it is gone again. The collaborators are easily closest to this art being fullest of the electrons passed out and those who jump are often lost and luck can be were and when they land or the time they spend in darkness. The set worked out this time as it was full of metaphor and the signals we’d made were accepted so fast it seems the flow at that time was energised by the moon exploration which was on the minds of the galaxy for a long time. It was outside the art which also seems to prove the explanation was never clear and the artists are the ones who wanted and in these formations aware of quarks and the split second connection is pivotal. It is so fleeting though it only lasts a billion years and a new golden age may swim back to us.

What became of these words?
Existence, Supernatural, Coincidence, Pattern, Thought, Truth, Nature, Universality, Philosophy, Materiality, Future, Forgoten, Metamorphic, Generic, Experimentation, Extensionalism, , Spirituality, Inspirational.
Are we all done with these?

Collaboration is everywhere and as the exhibition shows it in the confines of Art to be difficult and the realities are shifting.

John Graham

4 April 2015 (7th Moon)

The seventh, the population. The eighth, the population.

Art : Royal Ulster Academy 2014

A poor picture of a beautiful little painting by academician Harry Reid.

Yes it is reduced to RUA but lots of people are quite annoyed the emblematic Royal is ridiculous in 2014.
And I agree with them whole heartily.
The obstruction will exists if and when the Riddell building becomes an offshoot. A time to reduce it now to the Ulster Academy.
Vote now.
Telling in kind.
What art is sympathetic to the telling. RUA has a very limited lot of paintings and other forms they would eschew given another disposition so it is here to prod the visitors into an annual excursion around academy art chosen by academicians and then opened for public opprobrium except much will delight.
The typical distilled landscapes without the Kavanagh or flowers without Piper or a white flame of dog or horse imperiously investing gravitas or reworking of an old remembered place by BB it is a journey round a mere four rooms that is constantly creating voids.

The works off the wall are most constantly creations of persuasive strong presence. From the small Graham Gingles symphony in broken shards of glass. Within a glass box. To Brendan Jameson’s two sugar memorials, one a tidy Thiepval tower,
the other mausoleum for Tate door open with an inscription befitting one half of the empire for which dentists became an essential health enhancer.
The glass box large and free from the flies or humidity of passing humans. It sits on a wooden floor. Stately absurdity. Another piece by Claire Gibson takes the ordinary as if found yet changes the ordinary object into a formal object of modern beauty.
The object seen is a screw top light bulb of around 8″ diameter x 2. They are treasure in a wine crate or apple box with chain as other found object.
They have imprinted images as reflections where they are of the elegant classical architecture and imply the former surroundings.
All three of these artists reproach our sense of remembrance in this year of remembering. To that can be added several other narratives.
The other sculpture taking my eye was less a sculpture and more an applied raised set of (possibly resin paper mâché) blue faced ‘bars’ with their impression continued in paint on the wall they are fixed too.
This is a little understated but very well considered and presented piece.
It seems concurrent with pattern, colour and minimal art forms that have an architectural as well as natural derivation.
In a corner, poorly hung are two little drawings/paintings one like a Polaroid the other like a family photograph circa.fifties. See the shadow fixed.
The top one is a very neatly executed painterly view of a beach populated with camper type awnings and lightweight furniture. No one is to be seen.
Only the essence of heat and little shadow.

The top corner is literally overshadowed by the painting to its right. Another mishap. Other paintings, without a bevel framing board have their top intruded on by fractions but annoying as an itch. Giving a dark shadow at the top of the artists image.
Higher on a wall is a very monochrome drawing on paper, showing an interior of a redundant factory somewhere in Belfast.
Firstly it is a new way of looking. Instead of the realism of a photograph of which there occur some examples here of the distemper of plaster or the ‘natural’ brickwork with human presence of one or other form, this drawing picks out the discarded Eames type chairs, the electrical switchboxes and paraphanalia undisturbed. The paper barely has any pencil damage and the uniformity of the drawing is raw. The style of object drawing is stationary elsewhere. This is an image correct in scale and carrying in its composition a beautiful presence and weight of place. This is also a remembrance of inventive workplaces destroyed by the greed and parasitic commerce putting the whole economy on its knees.

My favourite piece is the David Crone painting.
It is a form of four squares.
These are not defined but there as a key formative attention point of unseen entrance from the outside square the viewer reads each element and the depth of colour, radiant, deep and shaping Indian, Egyptian, ebullient vigorous themes of anti-apathetic settled thought.

In keeping with Nietzsche he proposes perhaps through this painting at least my understanding brings it, the Dionysian life, that of chaos from unrestrained, uninhibited, reckless exhuberance, outside the fragilista visions returning little, the relativism, the obsequeence of unseeing is here present. It is looking into the discord finding an underlying truth and some evidence of natural shapes are there I cohabiting our and their space.

As you may gather I really am appreciative of this painting. There are no standard meanings but its relevance is that for me it created the connection with my own preoccupations. It is positive and revealing all at once. It certainly is light years away from everything else seen here.

What David Crone is saying to me in this is that the way forward is to not intervene with or recreate rules in order but to allow the self and others to rely on their innate natural ability to ascend the safe unreasoned haven and fragile dependancy model. This is where so many images meet and relate in our own conference of enlightenment.

Jeremy of Blackheath is a very good painter. I have seen his expansive views of Greenwich, the portraits without allegory but he has entered an altogether epilogue fate of recuperative art. Paul Muldoon collaborates to co-author this work. A narrative best left in the Trafalgar or whatever bar they dreamt it up together. Pouring out beneath the rafters of a studio setting is the orchard. The forbidden fruits.
Muldoon looks his normal curmudgeonly self, the one were the muse has left through the eavesment of the ancient but modern home of the type Blackheath is full of. Dark foreboding homes.
Far removed from ‘In the Stairwell’ where light enters. He sits florid in a floral shirt, with a cauliflower ‘brain metaphor?’ such parody in one palm, a knife balancing a mushroom in the other. Arch is the idea and the Orchard court of fertility.

A painters noir in somber tones and permeated by a feeling of disillusionment, pessimism, and despair is one where a five minute journey round the painting delivers the Telling, poems, Apple on his head, Just William Tell.
A horseshoe in suspenseful hubris upturned to catch the fallen epitaph. The missing instrument the ghastly Greenwich ships surgeon like skull implement possibly savoured in the Maritime Museum on the Royal Parks Lawn.

That instrument, for Trepanning, where the pin is gently pressed against the skull at the location of the preferred entry upon which the mini saw wheel circulates cutting out a calcium rich biscuit from the crown.
The operation is a success but doomed to failure if reflection/infection sets in.
Both turn to vegetables and are wheeled to Nine Elms Market by daybreak.
Back to the rotten borough and needs of the people.




More to be added at a later time.

John Graham

28 October 2014