Alla inlägg under maj 2009

Av Lars Vilks - 6 maj 2009 21:04

Blinky Palermo (1943 -77) was born Peter Schwarze in Leipzig, in what would shortly become East Germany. He and his twin brother were adopted as infants by a family named Heisterkamp, a name they took. The family soon moved to the West German city of Munster, where Palermo's adoptive mother fell seriously ill and died when the boy was fifteen. He was rechristened once more in 1964, when he entered Joseph Beuys's class at the Kunstakademi Düsseldorf, taking the curious moniker of Sonny Liston's Mafia manager, Frank "Blinky" Palermo. He remained notoriously quiet in public and was especially reserved about his art. There were problems with alcohol and drugs, and he died on the remote Maldive island of Kurumba. It's the resume of a romantic.

From 1968 Palermo produced murals and wall drawings that intervened directly in the architectural space, but from 1972 he executed his paintings on steel or aluminium. Many of these were made in New York. Its emphasis, however, is on colour and surface, which makes it difficult to classify stylistically; there are elements, for example, of gestural abstraction and even of the human figure in fragmentary form.

Blinky Palermo is represented with two works in Ladonia:


Black Triangle 1970 (installed in a cave opening)

BlueTriangle 1970

Av Lars Vilks - 5 maj 2009 11:23

Rirkrit Tiravanija (pronounced Teer-a-van-ee-ja) was born in Buenos Aires in 1961, son of a diplomat; he has lived in Thailand, Ethiopia and Canada. Since 1989, his most characteristic artistic act of generosity has been to cook food in galleries - usually traditional Thai curried vegetables - and offer this food to his "viewers" for free. This is an example of "relational aesthetics" and today Tiravanija is looked upon as the very pioneer of this movement. He is making various projects, involving people as a part of the art, all over the world.  

His project for Ladonia Biennial is the stunning 11 000 Virgins. 11 000 "virgins" are running on the shore of Ladonia.

Av Lars Vilks - 4 maj 2009 11:39

Yoko Ono b 1933 Japan

 Today Yoko Ono is one of the few contemporary artists who are known to a wider audience. She began her carrier as a reluctant member of Fluxus, an experimental and Dada-inspired network of artist that developed in the early 1960s. John Cage was one of the most important influences on her performance art. 

For the biennial Yoko Ono has made a site specific variation on one of her main themes: the ladder. 

Border Line Ladder (a huge ladder placed close to the border between Sweden and Ladonia – on the Swedish side), 2009

Av Lars Vilks - 4 maj 2009 10:36

John Baldessari (b. 1931, USA)

John Baldessari is a well known veteran within conceptual art. His work often attempts to point out irony in contemporary art theory and practices or reduce it to absurdity. His art has been featured in more than 120 solo exhibitions in the US and Europe.


Much of Baldessari's work involves pointing, in which he tells the viewer not only what to look at but how to make selections and comparisons, often simply for the sake of doing so. Baldessari critiques formalist assessments of art.


Shore with Persons of Different Nationalities, Photo 2009


Av Lars Vilks - 3 maj 2009 10:53

Tamara Grcic (b. 1964, Germany)

In the last years, the artist has been working predominantly with natural objects. First, she studied and documented during the course of many months the various stages of decomposition of different fruits and vegetables. Arranged and formalised, and thus held at a distance, the still fresh, or already rotting, mouldy, running, or shrivelled objects demonstrated for a short period to the outside viewer as well a very own capacity for transference. Their material presence, the fact that actual changes can be seen and smelled, created an invisible context of emotions and associations, without allowing a reduction to one pattern of interpretation.

In a series of steps, each oriented towards a specific spatial, temporal, or situational context, Tamara Grcic has expanded the thematic space of her works and made their borders increasingly permeable. The hermetic grasp of natural cycles has transformed itself into a more playful dealing with the material which she places in other contexts and combines with formal elements. This leads to a creation of transitions between naturalness and artificiality, real conditions and imaginary possibilities.


In the biennial 700 oranges "visit" the art space and are spread across a large part of the room on irregular display-tables. Their actual reality lies in another cycle which here only for a short time intersects with art.
In the central market, these fruits circulate in daily and seasonal cycles in significantly larger quantities. Their organic existence is subject to exact time schedules and transport routes that are run through quickly in order to keep the fruits fresh until they reach their destination. Like an industrial product, they are part of a more or less homogeneously accessible offer of commodities. The short stay in the biennial interrupts this time schedule. What becomes important is how they are individually arranged, the tension they create in another space, their display, their colour, and the smell they emit. The displacement, the freeing from their normalised boxes, leads to an intensive physical charge that would under other circumstances remain concealed.

For Tamara Grcic, this reveals for a moment an imaginary reality existing between two otherwise separated worlds. But in the film three oranges escape for a short time. Its feedback, in the end, leads to an actual detour: it was originally intended to only borrow the oranges and then hand them back over to their usual cycle. As this was not possible for reasons of foodstuffs law, the project was enabled by the donation of a Ladonian wholesaler. I her video work Untitled (Escape of the three oranges) Grcic makes a humoristic comment on her work in Twelve Hour’s Exhibition in Portikus, Frankfurt (2008). Questions concerning the decay of natural objects, the logistics of the fruit market and gender are posed in an amusing way when mirroring Sergei Prokofiev’s opera The Love for Three Oranges
Av Lars Vilks - 2 maj 2009 12:39

Anya Zholud (b. 1981, Russia)
Anya Zholud is a very young artist that rapidly emerged on the Moscow art scene in 2008. Her interest in simple objects ("everything around us is so complicated that I want to make everything easier and clearer"), her intent gaze at them, and her attempt to uncover their essence ("anyone can draw, yet I want to make things look convincing and important and to turn them into art") along with her classical arts education and assured brush quickly attracted the attention of the international artworld. Zholuds sculptures are a kind of three dimensional drawings and a common subject is furniture.

Schematic Space of Elementary Happiness – Sofa, 2007, Installed on the shore opposite the entrance to Ladonia New Museum

Gynaecological Office – Table and Chair, 2008, Installed on Highway no. 1

Av Lars Vilks - 1 maj 2009 09:55

Spencer Finch's installations take form in a variety of different mediums, but he is probably best-known for his work with fluorescent lights. In some works, he attempts to recreate the exact color and intensity of light that existed at a specific place and time.

Sunlight in a Passing Cloud in Ladonia (1 Second, 24 Hours)

The artist recreates a moment in that visionary country’s sky also veers toward the overly clinical. Finch used a colorimeter — a device that measures the density of a color — to record the light in a passing cloud. To replicate it, he created a bank of fluorescent lights and a large cloudlike form made of blue, purple, yellow and gray lighting filters.

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