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 Series, Anto 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

LLLL ART AGENCY

http://issuu.com/lapieza

http://lapiezalapieza.blogspot.no/

http://paulalloveras.blogspot.no/ - paulalloveras@gmail.com

http://antolloveras.blogspot.no/ - antolloveras@gmail.com

http://tomototomoto.blogspot.no/

http://www.lkv.no/babel.htm

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

http://issuu.com/lapieza

http://lapiezalapieza.blogspot.no/

http://paulalloveras.blogspot.no/ - paulalloveras@gmail.com

http://antolloveras.blogspot.no/ - antolloveras@gmail.com

http://tomototomoto.blogspot.no/

http://antolloveras.blogspot.com/

Some background tips. The office years. The city as scenario.http://youtube.com/tomotofilms

The building of the cloud.http://issuu.com/lapieza

http://lapiezalapieza.blogspot.no/

The 59 series. The 750 numbered pieces. The 120 artists.
The space in Madrid. The physical and the virtualhttp://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

http://lkv.no/kunstnere.htm

http://www.trondheimkunsthall.com/news/Selvorganisert-ikke-selvforsynt.-Tjue-r-med-Lademoen-kunstnerverksteder

http://forfatterlag.wikidot.com/om-laget

http://www.forfattersentrum.no/pub/forfattersentrum/main/?aid=102

http://www.adressa.no/kultur/article7113455.ece

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

http://www.markuslantto.com/

http://www.visitnorway.com/en/Where-to-go/Central/Trondheim/What-to-do-in-Trondheim/Museums-in-Trondheim/

http://www.madefromwaste.org/news/kitchen-dialogues/

http://kitchendialogues.com/
http://greguskunst.blogspot.no/

http://www.un.org/

https://www.facebook.com/events/1425318387683929/
https://www.facebook.com/PAULALLOVERAS/media_set?set=a.10151193813178077.481416.784313076&type=3



Anto LloverasLapieza Relational Art Series Marisa Caminos Fredrik Lund United Nations News CentreUnited Nations Foundation United Nations PublicationsMartinka Bobrikova Oscar Gil Lorente Per Kristian Nygård

 — con Elisabeth Søiland, Ole Tolstad, Oscar Gil Lorente y 22 personas más.

¨

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 Series, Anto Lloveras yAndreas Fortes.

CONVERSATION WITH TORHILD AUKAN | LKV 2013

outdoor living has shaped her relationship with life and art

WHERE
We visit her in her atelier at LKV, where we lectured some days ago. It feels like coming home, to a large warm building full of artists at work. We arrive and get a cup of warm tea, it is a rainy day, we crossed the city walking with our umbrellas. Now we sit in the room Torhild uses as office.

PHILOSOPHICAL STATMENT
What Torhild explained as first statement is her sensual way of experiencing nature, the surroundings. The idea of being part of nature. The body as research, the existence as an investigation field, and the art as a tool of expression. The philosophy behind this statement makes us think in certain nordic existentialism, where there is no clear limit between nature and philosophy, a scratch into spinozian pantheism. We watch a film she did some 20 years ago, and we get the idea. Black and white elements of nature, and the presence of the body, the body of him, and her own. The film is short and shows the statement. A poem.

ORIGIN
Torhild spent many years living outdoors. Outdoors meaning out in the nature, in the forest, where she lived in a cabin, before having her kids, and with her kids. That outdoor living, has shaped her relationship with life and art. Most of her works are recognizable because of the repetitive pattern she has taken for the representation of the idea. The so called technique or method.

METHOD
Photography is a starting point of most of her works, the look, the idea, the capture of time. Then that capture is transformed in the dark room, a room of silence. The work takes the size of the wood plates she has used as canvas. Norwegian wood. The use of pigments, chemicals and light exposure makes the image appear on the wood. The cyanotype is always blue, a blue close to the Klein Blue, adding the faded image of the photographed body coming out, and the graphic pattern of the wood.

NOW
The body fading is now her own, we see the evolution of the idea, from the small scale with many images, to large size, with a single one. Torhild has recently travelled to China as resident to produce works, and is making evolutions on her concept, making it clearer and sharper.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.lkv.no/k-torhild-aukan.htm
http://utdanning.no/tema/yrkesintervju/kunstner
http://www.trondheimkunsthall.com/Sitter-bleken-aukan/
http://www.stolav.no/kunst/galleri-kart-gastro-aukan.htm


RELATED VITAMIN 025 (I/-)

El nombre de Brakhage se ha convertido prácticamente en sinónimo de cine experimental, y aunque la larga lista de sus innovaciones -que incluye un montaje vertiginoso, casi cegador, y la manipulación de la película con pintura, collage, incisiones o raspaduras- explique en gran medida esta reputación, es la densidad intelectual y el carácter no-narrativo de su cine, casi abstruso, lo que en muchos sentidos ha caracterizado al cine experimental de vanguardia, no tanto para el especialista como pára el público que se atreve a adentrarse en las peligrosas aguas del cine no comercial. No obstante, a pesar de lo variado de sus atribuciones, Brakhage es definitivamente un pintor. Comenzó pintando el celuloide en 1961, en la segunda parte de Dog Star Man, que trata el nacimiento de su segundo hijo, y en Thigh Line Lyre Triangular, también de 1961, que incluye el nacimiento de su tercer hijo. Lo que le motivaba era presentar o replicar lo que él llamaba "visión hipnagógica". El diccionario define hipnagógico como "relacionado o asociado con el estado que precede al sueño", pero Brakhage lo describe como lo que vemos al cerrar los ojos. En una conversación de 2000 con Bruce Kawin, compañero suyo en la Universidad de Colorado en Boulder, señala lo siguiente: El espectador puede cerrar los ojos y no mirar la película, y, aun así, al mismo tiempo seguir viéndola en su cabeza. Se llama visión hipnagógica. Cuando cerramos los ojos, todos nosotros poseemos un de la luz". Sus imágenes son translúcidas, aunque a veces se difuminan y parecen los titilantes luminosos de las calles. En muchos de sus escritos y entrevistas, el director afirma que sus filmes tratan sobre "la luz". Autores que han escrito sobre Brakhage apuntan que cuando habla de la luz se refiere a los objetos en sus películas y subraya que lo que es importante no es el objeto en sí, sino la luz que refleja.

Stan Brakhage es un pintor. 

Sin duda.

https://www.facebook.com/pages/Stan-Brakhage/112336632110877

Anto Lloveras Lapieza Relational Art Series Marisa Caminos Stan Brakhage

  

CONVERSATION WITH PONTUS KYANDER - TKM DIRECTOR 2013

LLLL ART AGENCY STRUCTURAL CONVERSATIONS NORWAY
PONTUS KYANDER DIRECTOR
TRONDHEIM ART MUSEUM
NOVEMBER 2013

WE BRING YOU THE COFFEE

We sit in the headquarters office for a couple of hours. We drink coffee and talk about the task of being the museum director.

Background

Pontus Kyander is an Art Critic and Historian. Pontus worked as a documentary filmmaker for years. Pontus travelled around the world with a camera visitng artists. The task was to record them at their workspaces. The films were productions for a Swedish culture TV magazine. During those years, Pontus got familiar with artists all around the world.

Curatorial
Pontus Kyander curates the content of the museum and the museums satellite art spaces. The curatorial concept is based on the duality local-international. The international links, and the knowledge of the art world rythm, that Pontus has built during years, are the key fundaments of the ongoing shows. Besides the internationalization of the museum, the director has the task to include local artist, norweigian artists, artists from Trondheim, to equilibrate the mood and the rol of the institution.

So, the idea is to have a fresh international artscene to be seen in the city, 

and a selection of the most relevant artists in the city and region.http://trondheimkunstmuseum.no/
http://no.wikipedia.org/wiki/Pontus_Kyander
http://www.kunstforum.as/2012/12/not-your-average-museum-director/

RELATED VITAMIN 023 (I/-)

La magia de una palabra -DADA- que ha puesto a los periodistas ante la puerta de un mundo imprevisto, no tiene para nosotros ninguna importancia. Para lanzar un manifiesto es preciso querer A.B.C., fulminar contra 1, 2, 3, impacientarse y aguzar las alas para conquistar y esparcir a grandes y pequeños a, b, c, firmar, gritar, jurar, arreglar la prosa a manera de evidencia absoluta, irrefutable, probar su non plus ultra y mantener que la novedad se asemeja a la vida así como la última aparición de una cocotte prueba lo esencial de Dios. Su existencia ya ha quedado probada por el acordeón, el paisaje y la palabra dulce. Imponer su A.B.C. es algo natural -y por consiguiente lamentable. Todo el mundo lo hace a guisa de cristalbluffmadona, sistema monetario, producto farmacéutico, pierna desnuda que convida a la primavera ardiente y estéril. El amor por la novedad es la cruz simpática, es prueba de un mimpotacarajismo ingenuo, signo sin causa, pasajero, positivo. Pero esta necesidad es tan vieja como otras. Al dar al arte el impulso de la suprema simplicidad: la novedad, uno es humano y verdadero respecto de la diversión, impulsivo, vibrante para crucificar al tedio. En la encrucijada de las luces, alerta, atento, al acecho de los años, en el bosque. Yo escribo un manifiesto y no quiero nada, digo sin embargo ciertas cosas y estoy por principio contra los manifiestos, como también estoy contra los principios (decilitros para el valor moral de toda frase -demasiada comodidad-; la aproximación fue inventada por los impresionistas).Yo escribo este manifiesto para mostrar que pueden ejecutarse juntas las acciones opuestas, en una sola y fresca respiración; yo estoy en contra de la acción; a favor de la continua contradicción, y también de la afirmación, no estoy ni en favor ni en contra y no lo explico porque odio el sentido común.

Manifiesto Dadá / Ttristan Tzara (1918)
https://www.facebook.com/pages/Tristan-Tzara/107939495893975?rf=112432142102872#


Anto Lloveras Lapieza Relational Art Series Marisa Caminos Pontus Kyander Tristan Tzara Trondheim Kunstmuseum

  — con Pontus Kyander y Anto Lloveras.