KUNSTHALL TRONDHEIM | 2013 - CONVERSATIONS WITH ULLA WEST AND HELENA HOLMBERG






LLLL ART AGENCY
AT
PROJECT KUNSTHALL TRONDHEIM
ARTIST IN RESIDENCE
ULLA WEST

LLLL ART AGENCY



TO LIVE AND TO WORK

After the talk with Curator Helena Holmberg, we visited Swedish Artist Ulla West at the Kunsthall’s Studio Residence. Ulla is working, walking the city of Trondheim and visiting libraries, preparing her Show at Kunsthall for the coming year.


http://ullawest.com/
http://en.wikipedia.org/wiki/Ulla_West
http://kunsthalltrondheim.no/program

RELATED VITAMIN 002 (III/-)

When we think about space, we have only looked at its containers. As if space itself is invisible, all theory for the production of space is based on an obsessive preoccupation with its opposite: substance and objects, i.e., architecture. Architects could never explain space; Junkspace is our punishment for their mystifications. OK, let's talk about space then. The beauty of airports, especially after each upgrade. The luster of renovations. The subtlety of the shopping center. Let's explore public space, discover casinos, spend time in theme parks... Junkspace is the body-double of space, a territory of impaired vision, limited expectation, reduced earnestness. Junkspace is a Bermuda triangle of concepts, a petri dish abandoned: it cancels distinctions, undermines resolve, confuses intention with realization. It substitutes hierarchy with accumulation, composition with addition. More and more, more is more. Junkspace is overripe and undernourishing at the same time, a colossal security blanket that covers the earth in a stranglehold of seduction... Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends... A fuzzy empire of blur, it fuses high and low, public and private, straight and bent, bloated and starved to offer a seamless patchwork of the permanently disjointed. Seemingly an apotheosis, spatially grandiose, the effect of its richness is a terminal hollowness, a vicious parody of ambition that systematically erodes the credibility of building, possibly forever...

Rem Koolhaas JUNKSPACE
https://www.facebook.com/OMA.AMO?fref=ts

Anto Lloveras Lapieza Relational Art SeriesNTNU UB Biblioteket DragvollKunsthall Trondheim Marisa CaminosUlla West
  — con Anto Lloveras y Lapieza Relational Art Series.



WE BRING YOU THE COFFEE




LLLL ART AGENCY
AT
PROJECT KUNSTALL TRONDHEIM
CURATOR HELENA HOLMBERG








WE BRING YOU THE COFEE


Helena Holmberg directed INDEX artprogram in Stockholm for 10 years. She saw the chance to develope her ideas leading a new art concept in the city of Trondheim, Project Kunsthall. The idea is to have a space that shows Contemporary Art in the city. Nowadays the Kunsthall hast taken a space in the center of town, 200 m2, divided into a lobby space, a big showroom and a private studio for Artists Residents. The space is however temporary, since Kunsthall will be moving to a larger space soon. Temporary also works for art. Colonizing spaces and minds is the idea of the ideas.

During October, we saw the work of Sound and Videoartist Hong-Kai Wang from Taiwan, and Videoart from Ex-Yugoslavia from the 70´s, Serbian Artist Nesa Paripovic.

This conversation is part of the STRUCTURAL BASIS of FROZEN HEAT,
ONLINE ARTSHOWS (2014-2015) upcoming art series curated by LLLL as satellites of LAPIEZA ART SERIES.



http://kunsthalltrondheim.no/program
http://www.indexfoundation.se/scripts/Page.asp?id=2
https://www.google.no/search?q=Nesa+Paripovic&rlz=1C1ASUT_noNO564NO564&espv=210&es_sm=93&source=lnms&tbm=isch&sa=X&ei=oI2XUtP2FuXOygOSn4DIAQ&ved=0CAkQ_AUoAQ&biw=1366&bih=666
http://www.dailymotion.com/video/xdclyh_nesa-paripovic-promesses-du-passe_creation
http://www.zavod-parasite.si/eng/archives/777
http://www.youtube.com/watch?v=hxuU99vtQGY
http://www.w-h-k.net/projects.html
http://www.moma.org/interactives/exhibitions/2013/soundings/artists/14/works/


RELATED VITAMIN 002 (II/-)

It was a mistake to invent modern architecture for the 20th century; architecture disappeared in the 20th century; we have been reading a footnote under a microscope hoping it would turn into a novel; our concern for the masses has blinded us to People's Architecture. Junkspace seems an aberration, but it is essence, the main thing... product of the encounter between escalator and air conditioning, conceived in an incubator of sheetrock (all three missing from the history books). Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness: escalator, air conditioning, sprinkler, fire shutter, hot-air curtain... It is always interior, so extensive that you rarely perceive limits; it promotes disorientation by any means (mirror, polish,echo)... Junkspace is sealed, held together not by structure, but by skin, like a bubble. Gravity has remained constant, resisted by the same arsenal since the beginning of time; but air conditioning - invisible medium, therefore unnoticed - has truly revolutionized architecture. Air conditioning has launched the endless building. If architecture separates buildings, air conditioning unites them. Air conditioning has dictated mutant regimes of organization and coexistence that leave architecture behind. A single shopping center now is the work of generations of space planners, repairmen and fixers, like in the middle ages; air conditioning sustains our cathedrals. (Unwittingly, all architects may be working on the same building, so far separate, but with hidden receptors that will eventually make it cohere.) Because its costs money, is no longer free, conditioned space inevitably becomes conditional space; sooner or later all conditional space turns into Junkspace.


Rem Koolhaas JUNKSPACE

https://www.facebook.com/OMA.AMO?fref=ts

Anto Lloveras Lapieza Relational Art Series Marisa Caminos Kunsthall Trondheim Helena HolmbergNy kommunedelplan for kunst og kultur i Trondheim
  — conAnto Lloveras y Lapieza Relational Art Series.









ART ALSO SHINES IN PERIPHERIES - SHOW BY MARKUS LANTTO AT HEIMDAL ART CENTER - TRONDHEIM NORWAY


LLLL ART AGENCY
ART ALSO SHINES IN PERIPHERIES
HEIMDAL ART CENTER - TRONDHEIM NORWAY
19.10.13 - 2PM
Turid Mathiesen Kvålsvoll artist and director bring us by car. She has worked for years as member in the art association. Recently she has moved to the leading position at the direction board, together with Lotte Evenser artist and board member. Both of them share the vision on the art they want to exhibit. The feeling of slight depression among independent artist has now left the atmosphere, and their will to strengthen the visibility of great art and ideas is their main goal.
The house where the shows are exhibited is nice and big. Four rooms includes now the artworks of Markus Lantto, sweedish artist that moves comfortably in the arenas of ready mades, furniture as art, site specific installations and kitchy memories. The first room has been lowered the sealing. It is a simple and powerfull piece, the whole room is lowered to Markus height. No objects, just a low wooden sky on your head. The weight of compression is a great ingredient. Next room presents three pieces in a dialogue. One is a ready made, there is a floor piece made of hundreds of wooden leftovers, and two wall stick-pieces made of wood as one material. The third room contains a diversity of photographies and small objects, a display of memories and kitchy humor. The fourth room contains a videoart loop, where a lady speaks to camera about ordinary facts, while Markus and his collegue Per Kristian Nygård fully naked, move furnitures around the house.

After visiting the show we sit upstairs, in the private area, to have coffee and chocolates (a local standard) and talk about the heimdal project. The conversation is joined by Astrid Wallster Holdbakk, pioneer and founder of HKF and Øyvind Evenser art phd student, researching on the documents that distribute performance art. We show our interest in building alliances for the coming years with all agents in the city. We artists are not competing but promoting each others. We like that idea.

This conversation is part of the STRUCTURAL BASIS of FROZEN HEAT,
ONLINE ARTSHOWS (2014-2015) upcoming art series curated by LLLL
as satellites of LAPIEZA ART SERIES.


http://www.heimdal.kunstforening.net/?pArticleId=29677&pArticleCollectionId=317

VITAMIN 026 (I/-) 

Hoy la mayoría de las casas gusta sólo a dos personas: al propietario y al arquitecto. La casa tiene que gustar a todos. A diferencia de la obra de arte, que no tiene que gustar a nadie. La obra de arte es asunto privado del artista. La casa no lo es. La obra de arte se introduce en el mundo sin que exista necesidad para ello. La casa cumple una necesidad. La obra de arte no debe rendir cuentas a nadie, la casa a cualquiera. La obra de arte quiere arrancar a las personas de su comodidad. La casa tiene que servir a la comodidad. La obra de arte es revolucionaria, la casa es conservadora. La obra de arte enseña nuevos caminos a la humanidad, piensa en el futuro. La casa piensa en el presente. La persona ama todo lo que sirve para su comodidad. Odia todo lo que quiera arrancarle de su posición acostumbrada y asegurada y le abruma. Y por ello ama la casa y odia el arte.

Adolf Loos
Escritos sobre la casa
1911-1930


Anto Lloveras Lapieza Relational Art Series Markus Lantto Heimdal kunstforening Turid Mathiesen KvålsvollTrondheim, Norway ArtSceneTrondheim Visit MY Trondheim

CONVERSATION WITH MATHIAS SAMUELSEN ON YOUNG NORWEGIAN POETRY



LLLL ART AGENCY
MATHIAS SAMUELSEN
YOUNG NORWEGIAN POETRY

Mathias Samuelsen is now living in the artist residency in Ringvebukta. We come to talk and know about his works and the poetry scene in town. We sit and talk for an hour with cofee and “kanelboller”. The house has a lovely cat. Mathias studied comparative literature, with a thesis about the influence of Buddhism in Young American Poetry. Mathias is busy preparig an artshow in town, where he will show pieces he is doing in collaboration with Artist Andreas Schille. Trondheim has had a strong poetical activity in the past, and collaborations among Poets and Artists are not unusual. Mathias is preparing new events in town, festivals and book presentations in art spaces, a way to expand the interconexions between the different cultural scenes. The art residency in Ringvebukta has also guest artists that he curates himself. We are pleased to know that the residency will allow Mathias to focus on poetry for the next five years, and be the host of the artists to come.

This conversation is part of the STRUCTURAL BASIS of FROZEN HEAT,
ONLINE ARTSHOWS (2014-2015) upcoming art series curated by LLLL
as satellites of LAPIEZA ART SERIES.

http://forfatterlag.wikidot.com/om-laget
http://www.forfattersentrum.no/pub/forfattersentrum/main/?aid=102
http://www.adressa.no/kultur/article7113455.ece
http://www.kolonforlag.no/authors/details/39
http://www.forfatterforeningen.no/artikkel/bokbilde-no-3#.UoVEXhpLNcQ


RELATED VITAMIN 026 (IV/-) 

Cada colonia parte del jardín. El jardín es lo primario, y la vivienda es lo secundario. Sólo la persona que precisa conseguir alimentos por medio de tener que trabajar en el huerto, además de la profesión que ejerza, tiene derecho a reclamar de la comunidad suelo para sí. Y debe autorizársele a vivir en ese jardín, para mejorar su cosecha. Pues, para él, este tipo de vida es una necesidad. Pero a la gente que no produzca alimentos le corresponde vivir en bloques de pisos. La satisfacción que se experimenta ante un jardín tiene su razón de ser sólo en el cultivo de alimentos. El gozo ante lo ajardinado como búsqueda de placer estético debe satisfacerse, hoy en día, visitando parques públicos. Esas dos maneras de gozar con un jardín son contrapuestas: por un lado la satisfacción ante la cosecha (destrucción de la naturaleza), y por el otro la satisfacción ante las plantas (contemplación de la naturaleza). No todos son aptos para ser jardineros. El trabajo de jardín es un medio contra la destemplante división del trabajo, que hace corresponder respectivamente la construcción y la destrucción a personas distintas. El trabajo de jardín es el complemento destructivo absolutamente necesario para todo trabajador constructivo. Sin él se deteriora espiritual y corporalmente. El suelo no tiene que ser propiedad del individuo. Pues con ello se conseguiría justo lo contrario de lo que se quiere. En vez de facilitarles la persona su derecho al trabajo destructivo, se impulsaría la especulación del suelo. El suelo pertenece a la comunidad que forma cada colonia.

Adolf Loos
Escritos sobre la casa
1911-1930

https://www.facebook.com/pages/Adolf-Loos/109293425757058?fref=ts

Anto Lloveras Lapieza Relational Art Series Marisa Caminos Mathias R. Samuelsen Adolf Loos Trondheim, Norway
  — con Lapieza Relational Art SeriesAnto Lloveras y Marisa Caminos.

LECTURE AND CONVERSATIONS AT LKV - TRONDHEIM | UNITED NATIONS OF ART



Lecture at LKV Trondheim Norway Tuesday October the 22nd, at 11:45 am.

FROZEN HEAT – ART SATELLITES - NORWAY
ONLINE RELATIONAL CONTEMPORARY ART EXHIBITIONS
ANTO LLOVERAS | PAULA LLOVERAS | LLLL ART AGENCY | LAPIEZA ART SERIES | TOMOTO FILMS
GMAIL . YOUTUBE . TWITTER . BLOGGER . FACEBOOK : ISSUU
OCTOBER 2013


The FROZEN HEAT idea is to generate 10 online art shows in the coming two years (2014-2015). The shows will be launched from NORWAY, including norwegian, spanish, croatian, french and mexican artists. The series work as a constellation of exhibitions, independent yet relational. Each show is build with 10 artworks.

FUNDAMENTS

The online art shows are part of a complex and unstable process art show that involves more than 100 artists. During three years LAPIEZA was a hybrid between an arist-run-space and an art gallery. LAPIEZA ART SERIES has presented 58 exhibitions so far, with 750 numbered artworks. The structure builds itself with a progressive methodology, directed by Anto Lloveras, permanent curator of the series, and Paula LLoveras, partner now in scandinavia (as part of the LLLL art agency). The series will expand their base in 2014 to Norway, Croatia and France, where there will be local associate artists. We are already making contacts to build up the international art shows.

GOALS

There is a vision and need to enforce the culture-capital in the highly commercialized post-structural capitalist environment. The generation of bridges of new communication among artists around the world. The permanent exhibition in the internet of a complex and unstable art installation. The generation of an artistic form based on the real social networks of today. The intensification of the art scene online, where most of the people spend their time. The use of all media to enlarge the idea of the installation as social sculpture. The vector of all the series is the concept we work on : ACTIVE SOCIOPLASTICS. A new form and speed in the exhibition and publication of the artworks. The idea is to build a solid body of work for each artist in the series, while we are building the collective installation. Both form and frame mixed together to generate the evolution concept. These ideas are to be seen already online.

FORM

The series want to reach new audiences for art, using the social media as youth is now using as daily entertainment, placing art nutrients in the daily ration of consumed time online. The series are online-based. The idea is to evolute physical-shows to virtual shows, that can be seen faster and wider. The tools are always evolving and all data is transferred to the emerging databases. Each series present 10 artworks, the work of 10 artists. Every artwork is told in a text, in pictures and video. The artworks are numbered and the series have an evocative name to be remembered as part of the process. We combine artworks as a conceptual curatorial process. The reach of the project is international, distributing the focus of publishing in 5 nodes in the coming two years. The series were launched in Madrid, and have been very active in Mexico City in 2013. The idea is to generate new nodes in France, Croatia and Norway in 2014 and 2015.


event
https://www.facebook.com/events/1425318387683929/?ref_newsfeed_story_type=regular




TODAY WE CELEBRATE ART AS A UNIVERSAL LANGUAGE. 

ART AS ART NATION


WE WANT TO THANK THE KINDNESS OF THE STAFF AND PER FORMO FOR THE INVITATION TO LKV. INFORMAL ATMOSPHERE. LAPTOP AND BEAMER. 45 MINUTES OF FREESTYLE ONLINE LECTURING. THE USE OF THE CLOUD AS LECTURE.



LLLL ART AGENCY


Some background tips. The office years. The city as scenario.http://youtube.com/tomotofilms
The building of the cloud.http://issuu.com/lapieza
The 59 series. The 750 numbered pieces. The 120 artists.
The space in Madrid. The physical and the virtual
http://facebook.com/socioplastics
http://twitter.com/lapiezalapieza
The trips around the world.
Mexico, France, Croatia, Spain, Norway
The vision for the coming months.
Online art shows as satellites to the already published.


We love the audience that came. Artist Markus Lantto (NO) from LKV, Artist Per Kristian Nygård (NO) from LKV and AST, Artists Martinka Bobrikova (NO) and Oscar de Carmen (NO) from Kitchen Dialogues and Made from Waste, Artist Lotte Evenser (NO) and Phd Øyvind Kvarme from HKF. Artists Per Formo (NO) LKV , Artist Astrid Findreng (NO) LKV , Artist Barbro Tiller (NO) LKV, Artist Kristina Karlsen (NO) LKV, Artist Merete Morgenstierne (NO) LKV, Artist Ann Lundstrøm (NO) LKV, Artist Birgit Kvamme Lundheim (NO) GKV,
 Poet Mathias Samuelsen (NO) 

The raised questions are very relevant for us.

Are we ready to publish all kind of art?

- Yes, we balance the type and number of art forms so the body of the series is healthy.

Is LAPIEZA art series integrating different kind of art forms and making one online collective serial as art piece? 

-Yes, LAPIEZA is a growing collective artwork, with the ADN of many artists, that have part of their careers linked to this concept.

Would it be possible to make physical art shows once in a while just to promote the permamnent online artshows ?

-Yes, there will be physical actions programed as part of the coming series. We love pop up spaces and fast fast galleries.

And we come up with some questions from the raised ideas.

-Would it be possible for artists to validate their activities by showing some or all of their work in online art galleries? Or is it still necessary for the burocrats to see the artists hanging their canvases in white spaces to get their finance?

Or

Is the permanent online artshow as necessary than the physical ephemeral ?



This conversation is part of the STRUCTURAL BASIS of FROZEN HEAT,
ONLINE ARTSHOWS (2014-2015) upcoming art series curated by LLLL
as satellites of LAPIEZA ART SERIES.


http://lkv.no/babel.htm

¨


CONVERSATION WITH VAKTMESTER MANDAL | ANDREAS FORTES - TRONDHEIM 2013


VAKTMESTER MANDAL 2013 / ANDREAS FORTES



VAKTMESTER MANDAL 2013 / ANDREAS FORTES
While walking around the city talking about it, we meet it, the real art.

Here. We see a shop that is not a shop. Art is here. Art is taking the form of a shop. Lets talk to art. We send a mail and get an invitation to talk art. To talk now. Art to art.

Andreas Fortes, the janitor and artist in residence at Vaktmester Mandal: Department of Life Support, opens the door. He kindly offers warm coffee to these two artists in the role of interviewers. We love kindness in art. As we enjoy the coffee we talk with passion about the art Fortes is busy with at the moment. There are a lot of objects in the space, and paintings.

Fortes is a painter and installation artist, who studied in London, but was born and raised in Trondheim, spending his childhood and youth in and around the restaurant run by his family, and close to the visitors that came for the accommodation offered. In this life of being an artist with a background in neighbourly outreaching, Fortes lets his role as janitor of the house and commercial venue he works in, influence the art. It is a way to live on the front line, where things happen to be real.

Annother idea Fortes is working with is to spread the word of the need to colonize old abandoned spaces in the city. By placing himself into the real, his own artwork complexifies.

Vaktmester Mandal presents installations with all kinds of objects, mostly life related, memory condensed materiality. We loved to see some pizza pans as canvases. The artistic activity at the Department of Life Support also provides a build-up to collective shows in the city. The real, the social, the memory, the city, the objects and the paintings are the basic ingredients in the artistic reality of life as a janitor.

We love to know the front line is busy.


This conversation is part of the STRUCTURAL BASIS of FROZEN HEAT,
ONLINE ARTSHOWS (2014-2015) upcoming art series curated by LLLL
as satellites of LAPIEZA ART SERIES.


http://andreasfortes.com/
http://vaktmestermandal.no/kunstrom-i-trondheim/

RELATED VITAMIN 026 (III/-) 


Yo estoy por principio en contra de trabajar mucho, sin excluir mi persona.


El aire aquí es barato y en la luna caro. Para el artista todos los materiales son iguales y preciosos. Y estoy a favor de que la gente mire al mundo con ojos de artista. El revoco de cal es una piel. La piedra es constructiva. A pesar de su parecida composición química, existe entre ambos la mayor diferencia en su utilización. El revoco de cal tiene más parecido con el cuero, tapiz, materiales de pared y barniz, que con su prima, la piedra caliza. Si se presenta el revoco de cal sinceramente, como revestimiento del muro de ladrillos, tiene tan poco de qué avergonzarse de su modesta procedencia como lo tiene el tirolés de sus pantalones de cuero en el Castillo imperial. Pero si ambos se ponen el frack y cintas blancas, ese hombre se sentirá allí inseguro, y el revoco de cal se dará cuenta de repente de que es un estafador.

No construyas pintoresco. Deja tal efecto para los muros, las montanas y el sol. El hombre que se viste de manera pintoresca no es pintoresco, sino un payaso. El campesino no viste de manera pintoresca. Construye tan bien como puedas. No mejor. No te vanaglories. Y no peor. No te rebajes con intención hasta un nivel más bajo del que fuiste colocado por tu nacimiento y educación. Incluso cuando vayas a las montañas. Habla con los campesinos en tu lengua. El abogado vienés que habla con el campesino en el dialecto del picapedrero tiene que desaparecer. Fíjate en las formas en las que construye el campesino. Pues son de la sustancia acumulada de la sabiduría de los antepasados. Pero busca el porqué de la forma. Si los adelantos de la técnica han hecho posible mejorar. esa forma, empléese siempre esa mejora. La hoz es sustituida por la trilladora. La llanura necesita una estructuración arquitectónica vertical; la montaña, una horizontal. No pienses en el tejado, sino en la lluvia y la nieve. Así piensa el campesino, y por ello construye en las montañas el tejado más plano que le es posible según sus conocimientos técnicos. En las montañas la nieve no debe deslizarse cuando ella quiere, sino cuando el campesino quiera. El campesino, por tanto, tiene que poder escalar el tejado sin peligro para su vida, para poder quitar la nieve. 


Adolf Loos
Escritos sobre la casa 
1911-1930

https://www.facebook.com/pages/Adolf-Loos/109293425757058?fref=ts
Anto Lloveras Lapieza Relational Art Series Marisa Caminos Andreas Fortes Adolf Loos Vaktmester Mandal
 — con Lapieza Relational Art SeriesAnto Lloveras yAndreas Fortes.