Skup Palet

Your mentality is alert, practical and analytical

Skup palet — Mon, 07 Nov 2011 11:29:33 +0000

Andreas Vesterlund, Skup Palet NYC-office, arrives in GBG Fri 11.11.11 at 11 am. Brings wallpaper with artichokes and palm trees, a piece of floor and some tools.

11/10/2011 – YOUR MENTALITY IS ALERT

AV is on his way from NYC to work with us for ten days. What our work will look like is unclear. He is bringing some pieces, imagined and material, we have others. There is particleboard in the Eastern European interrogation room, and an idea of interacting with the previously existing context has developed. It is not possible to work as a gallery anymore. Especially not here. The Pallazzo is a place for method innovation and repeated attempts to let disparate activities intermingle. Nothing can be pure or dedicated only to either this or that. We need to break down our own notions of how production works.

11/10/11 – A BEGINNING

11/11/11 – SUPERSTITION

AV has arrived at the Pallazzo. In our preliminary conversations, we’ve really only decided one thing; we will not produce an exhibition, but the result might still have that function. It’s hard to avoid imitating the properties of a gallery. Do we need to disguise our work, and if so, how much? The wallpaper is coming too. Bird cages instead of artichokes. Three rolls. I still want to use them, AV says, I want to build a place for them. Today’s date is all ones, that’s still pretty special. We’ve talked about yesterday’s full moon and these ones several times already. J has had enough. Chronology is a way of measuring time and finances, it means nothing more than that, not a more successful marriage, winning the lottery or a good harvest. That’s a reasonable objection. When we go to throw out the recycling, we find a tiny horse by the cardboard disposal. Usually the garbage room is full of useful stuff, but today only this horse. It’s too small to be of any use and is missing one leg.

11/12/11 – GEOMETRY

A geometric point lacks extension in space. A line is one-dimensional and indicates only length. For us to be able to see it, physical width is required. We have bought wood beams. 20 of them, 7 x 4.5 cm. AV says: You’re talking about area here. Be consistent. They are 2.5 meters long, for visibility, 7 cm wide. Depth has nothing to do with this, extension in space is what we’re after.

11/13/11 – A STRUCTURE MADE OF WOOD

AV is building a wall. J describes it as unwieldy. It needs to be big. Also because of the need to be able to cut it into smaller pieces. Building has gone on for most of the day. It is currently impossible to understand that AV is not in fact building an exhibition, and will not have an art opening, but we do understand that a circular saw is needed to get the job done, so we go buy one.

11/14/11 – EVERYTHING CAN BELONG

The wall is undeniably there, and it’s pretty big. It is not sculpture. Neither is it part of a room. The way it looks right now, it doesn’t really want anything. An attempt at stage setting. Gudrun is coming tomorrow. At the breakfast meeting the question of whether we should take a vote on this is raised. Hell no, says Kahuna, a watered-down democratic decision is the last thing we need. AV wants plastic mat for the flooring. J goes to the garbage room and comes back with several pieces of a completely different material. Samples of wall-to-wall carpeting, precise little squares in dull colors, tufted wool, acrylic and polyester. J says, Until tomorrow, this wall is a part of a specific event taking place here. We need to decide how this should work. AV builds the floor to wrap around one of the columns.

11/14/11 – NOTHING IS ABSOLUTE

P arrives. He brings a text belonging in some sort of shared history.

The compression artifacts in what Hito Steyerl describes as “Poor images” portray a history of wills. Traces formed only when someone wants to simplify, indicate, complicate, add to or alter. In the meanderings and new layers of language, similar artifacts can be seen. Tiny traces of previous usage and remains of things that were not included, but also attempts at expressing that which doesn’t quite belong, or cannot quite be described; things we try to weed out. It is in the artifacts and defects, in the dirt, in the wills that I search for my love story.

P and AV drives to Järntorget to buy a wallpaper smoother. Everything starts over, continues or stays the same.

11/15/11 – G DAY

J installs a gradient of fluorescent lights along a wall. AV has built a disconnected wall. It is placed lying down as an extension of the structure at the opposite end of the room. A floor or a wall, a stage? A room exploded in a very controlled fashion, or never really fixed in the first place. The two parts try to connect by lining up, building another room in the room. The rhetoric of an exhibition lingers between the columns in the garage and seem impossible to break up. Not even in our own conversation. Our exploration of the functions of this space turns into a struggle between wills pulling in opposite directions. No one expected us to agree, this is not a collaboration. Still, irritation is growing. Everyone feels the need to have their decisions validated by the group and to interfere in everyone else’s work. Initiative wanders and dies. As if everyone’s integrity is at stake.

11/15/11 – THE ELEVENTH HOUR

Creative processes tend to value willfulness as a specific quality, as opposed to other more democratic systems. Am I leaving enough of an imprint on our collective shaping of a room if I refuse to take part? Can I get behind what you do with my vision of what this is? Is the opportunity to pursue and take responsibility for your own agenda really equivalent with ownership? A right to defend it from external attacks? Though our movements through the structure are calm, and our venture in the eye of an observer is progressing toward something which can be considered a finished product, we are walking over land mines in a self-inflicted war zone.

11/15/11 – POWER STRUCTURES

G is about to speak. She will explain the structure of power in society and how it works through separation by gender. Normative thought manifests in ideas of the Other as either the same or different. Such ideas lead to violence within the body politic and reinforce class society. The crowd gathered to understand consists mainly of women. This is no surprise. The privileged doesn’t always realize that everyone is a loser in a system like this. G is dynamic and beautiful. She will speak about these thinks as long as it takes. It’s a simplified educational model, drawn in black marker directly on the wall, she speaks in a way that creates identification even with skeptics and doesn’t exclude the non-initiate. Yes, of course you can make that choice, G tells a woman in the audience, of course you can take comfort in the fact that we’ve come pretty far. But since society still looks like this, she draws angry circles around the statistics on the wall, I consider that choice a question of solidarity.

Our construction has become a backdrop, a stage set in which a coming-together of people is taking place, a forum for talking about structures and the necessity of breaking the established order. Limits are often moved first in the cultural field, G says, that’s where we can build new modes of identity and thought. Yes, these are very familiar views.

11/16/11 – YOUNG LADS AND BURNING FENCES

P is trying to understand his own positions by writing a story based on encounters from the past. A wants to understand him, or at least understand his interest in the alien voice which has made its way into our whole construction. P says, I have to learn Roark’s defense by heart, but first I need to figure out how agreements work and why there is competition between us even though we want the same things. You don’t want to categorize the world or values, A says. Dichotomies is a simplified and useless foundation, but the easiest way of building an Us. Ayn Rand is trying to get to me, according to her I can never be, I am a second-hander, P says. You can claim that the role of the architect is adaptable, can belong to different people from time to time, that the idea of a certain approach can inhabit different bodies temporarily, individuals and collective simultaneously, A says. D and I drove around Hisingen like lost sheep, P says, we thought we were looking for a burning fence but in truth we were searching for a lowest common denominator. It made us distressed and sad.

11/16/11 – THE PORK

Anders from VARV has shown up. Tomorrow he will hold a lecture at HDK, which will not be a lecture. An unstructured conversation without goals, that’s what I want, he says. We’re standing in the kitchen. AV is in the process of preparing a pork based dish. There has been a fair amount of pork these past days. Equal importance has been awarded this pork, roasted for many hours, marinated in various sauces, smoked and charred with a blowtorch. At every point of worry or uncertainty we have returned to the pork, talked about how it should be cooked and made peace in eating these very carefully prepared meals. Now, the remains of a roast will be mixed with mascarpone and hickory salt. We talk about where we stand. I think the most important thing is to be able to engage fully, Anders says, in whatever it might be, engage, take the time needed to exist in something. It doesn’t have to lead anywhere and it doesn’t have to be art at all. I have a bookcase with books, and it is just a bookcase and nothing else.

11/16/11 – A SMALL WAR MACHINE

When Terror starts talking about how she wants to build a large catapult during the upcoming HIEP Lab week, Anders goes off to print pictures of different models. One is more like a canon, you need to cast a barrel to build it, but if you did that you would be able to shoot beer cans to the opposite side of the river. AV is the one who calculates this, after finding out that the bridge measures 418 meters from end to end. The can would land exactly on the edge if you fired the cannon from a protruding rock. Anders nails the blueprints onto our tourist information booth. I think I need to build some sort of small catapult at least, there’s something nice about that, AV says. It could shoot fortune cookie fortunes.

11/17/11 – SKUP PALET

In the beginning, Skup Palet was an idea in need of a headline. We borrowed that from a language not ours, because we thought we would be able to empty it of meaning and fill it with our own content. Maybe not for M, since he is from Poland, but for the rest of us the name functioned as an unknown field. Naming something is a ritual act. When J and I chose to move our artistic practice to Sockerbruket and work within Hey it’s Enrico Pallazzo, the thing that was Skup Palet turned into a voice through which we could act inside another type of collective. For AV and P, who have had their practices in other places, the content is partly different, but that doesn’t matter right now. No common decisions need to be taken, we all do our own part. The literal translation of Skup Palet: we buy pallets, is enough. We travel, together and separately, from point to point.

11/17/11 – YOUR EMOTIONAL NATURE IS STRONG AND SENSITIVE

AV wants to continue and complete the construction he’s had on his mind for a while. I enjoy the doing itself, joining one piece to the next and arriving at some kind of conclusion, he says. Building exhibitions is fun. A believes we need to start questioning the ways in which we produce art. It works the same way as Gudrun’s response to the woman choosing to be a housewife, she says. It’s a question of economy. Color, design and nostalgia have been claimed by marketers and tied up in branding. For me, AV says, the conversation is the important part. The discussion arising while I build and do.

Guiding Lights

Skup palet — Fri, 14 Oct 2011 14:05:24 +0000

Friday 14 october

A work divided between two locations.

Location1. Galleri 54, 22.40 pm
Location2. Hey it´s enrico Pallazzo 19-23 pm

Multiple Gradient

Skup palet — Thu, 11 Aug 2011 11:44:54 +0000

“The undivided whole is effectively a single pole operation — the nondual nature of consciousness. It would appear to be cyclic. Realities will thus be expected to be structured out of harmonic vortices in the upper astral, mental and spiritual worlds with the potential to be free from conflicting opposites.”

Current HIEP production, April 2011 and onwards.

Target Range

Skup palet — Fri, 05 Aug 2011 08:46:03 +0000

Skup Palet & Varv presents TOURIST INFORMATION 18/8: Target Range (holiday poetry, books and air rifle shooting).

Hey it’s Enrico Pallazzo!, Sockerbruket 20-22, Göteborg, Sweden, Thursday August 18, starting 16:00. All welcome!

Also read our tourist guide, Different ways of getting around in the city or countryside of Gothenburg, Sweden or watch some reading of holiday poetry.

Autonomous Zone

Skup palet — Sun, 10 Jul 2011 23:05:08 +0000

KITCHEN
Ingredients
400 g chicken hearts
1 bottle of Priorat; Manyetes 2006, clos mogador

The wine is to be injected into the chicken hearts by a young man. Use a thin hypodermic needle. Fry in hot pan with butter while smoking and drinking the rest of the wine together, season with salt and black pepper. Invite people to eat by the stove.

Deep fried chicken feet

Deep Fry 2 minutes while listening to joyful still not to loud tunes. Serve in paper napkins directly from pan.

A pork roast

Place the pork on a tray. Carve the words ‘eat to live/live to eat’ in to the flesh with a thin and sharp steel blade. Drown the pork in cold-pressed canola oil and grill for several hours on a low temperature until the meat almost falls off and the letters from the poem is carved out in relief by the heat.

Mashed potatoes with some strange nut

EXHIBITION SPACE
Artist in his sixties, male
1 easel
1 box with charcoal

Place artist in a circle of light. Document his actions.

ODE
Intimations of Immortality from Recollections of Early Childhood

From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But he beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature’s priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.

William Wordsworth

Watch a video from the event.

Homage to a Dead Beast

Skup palet — Thu, 21 Apr 2011 18:46:38 +0000

Experimenting within the idea of a Construction site

22 April – 25 April 2011
Open most hours

Logbook:
1916-09-13: Mary the Elephant is hanged by the neck in Erwin Tennessee.

2011-04-14: Conversation taking place between P and A.
2011-04-17: P calls A three times. No answer.
2011-04-18: A calls P one time. No answer.
2011-04-19: J texts P. P texts J.
2011-04-20: J is thinking about a sound system. P is collecting something. A is writing a text. J calls P. P calls A. A calls P two times. Nobody answers.
2011-04-21: P calls A five times. No answer. A borrows J:s phone and calls P. Time set for 2011-04-22 11.00 am.

2011-04-22:
09.57: P calls A about a cancelled train. Time set for 12.00 am.

12.31: P calls A from site. A. still home taking shower. J is blow-drying hair.
12.46: P is picking up A. J is walking.
12.58: Meeting on site
12.20: Pallet is placed in the center of the space.
12.21: A is smoking outside
12.21: J is smoking in the kitchen area
12.21: P is sitting down on pallet
12.33: J place speakers on pallet. P is on the phone. A is smoking outside.
12.41: J place keyboard, monitor, 5 beta tapes and some plastic cover on the pallet. P is telling A about the strange behavior of a seahorse in love.
12.53: P and J carry big boxes from the east-German interrogation-room. A is moving more beta tapes from the sawdust room. All items are placed on the pallet.
13.09: plywood and particle boards are placed against the walls, some small, some bigger.
13.31: a ladder is not moved
13.44: things on the pallet are arranged in symmetric shapes. Then they are rearranged.
14.01: the pallet is becoming a mobile system for monitoring something or for collecting information.
14.14: More techniques are placed on the pallets. Monitors, speakers, different device found in the building. Many boxes of beta tapes.
14.16: A retreat.

Mary weighed 5 tons. First attempt to hang her resulted in a snapped chain causing her to fall and break her hip.

15.31: looking through video files on P:s computer. Africa
16.38: J is placing a lot of different cables on the pallet
16.40: A is outside smoking
16.43: P is drinking coffee
16.44: JT, PS arrives
17.54: things have to be moved
17.55: working as if, breaking it down, building it up
18.04: transferring video to beta tapes.
19.36: T and a stranger arrive. T wants to cook. Or eat. JT is placing a string of led lights under the Pallet
19.42: a portrait of Mary is projected on a pillar, from the pallet. Something needs to reach out
19.46: side-scene is rearranged

…and so forth

Denne engstelige mann med et skjegg spunnet av sommerfugler

Skup palet — Sun, 03 Apr 2011 19:04:33 +0000

Åbi Berglund (SWE)

Hey, it’s Enrico Pallazzo, 8 april – 17 april 2011

The exhibition ”denne engstelige mann med et skjegg spunnet av sommerfugler” (This anxious man with a beard spun of butterflies) is a site-specific installation or a manifestation of sound and garbage. The artist is considering the fact that life itself can be reduced to a desperate act. Building one’s own coordinates is maybe the only way to establish some kind of necessity, however temporarily.

”When I entered the void, the young girl next to me asked for a small tribute. –I don´t own anything, I replied. –I can take your hat, she replied. I searched my pocket for a pen and a piece of paper I knew was in there. On a recite from a cleaning company I plotted some uneven lines, a hen. –What about this? It will do.” (Note found on a serial box, author unknown)

Åbi Berglund, is born in Sundsvall, He took his masters degree at Valand School of fine arts 2007. He currently lives and works in Stockholm. ”Denne engstelige mann med et skjegg spunnet av sommerfugler” is taking place at Hey, it’s Enrico Pallazzo, Sockerbruket 20-22, Göteborg. Opening April 8, 19.00 h with live performance and bar.

Ett samtal om makt, bildning och kunskap

Skup palet — Tue, 01 Mar 2011 14:21:41 +0000

Hey, It’s Enrico Pallazzo, 5 mars kl 17-20

Med utgångspunkt i en problematisering av begreppen bildning och kunskap bjuder Aktivering Jämställdhet, Textival och Skup Palet in till en föreläsning, paneldiskussion och workshop. Under dagen utforskas frågor rörande vem som har tillgång till bildning, hur bildning kan ses som kodad och om hur kunskap produceras. Hur förhåller sig bildning och kunskap till begrepp som makt, kön, etnicitet och klass?

Medverkande:
Moa Matilda Sahlin [koreograf]
Anna Viola Hallberg [konstnär]
David Solberger [lärare/projektledare]
Moderator: Anja Vikingson

Program:
17.00-17.45 Presentation av WISP (Women In Swedish Performing arts eller What Is Stha Problem?), Moa Matilda Sahlin
18.00-19.00 Paneldiskussion: Moa Matilda Sahlin, Anna Viola Hallberg och David Solberger
19.00-21.00 Workshop, mingel och buffé.

Workshopen arrangeras av Textival som en del av deras projekt Bildningskomplexet. Den genomförs med utgångspunkt från samtalet och utgår från idéer och tankar om Bildning, okunskap och känslan av att inte förstå. Till detta knyts de medverkandes egna erfarenheter och en specialutformad enkät. Workshopen genomförs med sex personer åt gången.

Resultatet från workshopen kommer sammanställas till ett separat textverk och diskuteras den 26 mars på Pustervik Lagerhuset under Textivals arrangemang. För garanterad plats på workshopen maila maja@textival.se.

Kvällen bjuder även ett performance av Tina Carlsson samt konst av Jenny Krumlinde. Tiden är 17.00 och platsen Hey, It’s Enrico Pallazzo. Kostnaden är 100 kr, i detta ingår mat och dryck. Anmälan sker till camilla.ohlson@kro.se.

A Resonant Tomb

Skup palet — Thu, 18 Nov 2010 20:15:51 +0000

Barrie James Sutcliffe (CAN)

Vernissage Nov 27 at 16-20

A motorized sound installation for valve radios and medium-wave transmitters expresses relationships between space, distance, and loss. Through the use of two opposing radio stations on the same frequency, A Resonant Tomb provides us room to contemplate the difficulty of communication and separating signal from noise. Moving through this space, we are aware of our own body’s affect on our surroundings and of the information passing through us. The old, not yet dead, media plays with our memories, crackling with the nostalgic resonating echoes of that which was, that which could be, and that which has been only a comfortable dream.

Barrie James Sutcliffe is a Canadian multimedia artist. He is currently based in Göteborg and is a visiting lecturer at Valand school of fine arts

Hey, it’s Enrico Pallazzo Nov 27 – Dec 12

A Resonant Tomb (youaredissolved.com)

Bookshop

Skup palet — Tue, 16 Nov 2010 20:27:26 +0000

I dagarna installerar Varv sig på Hey, it’s Enrico Pallazzo vid Klippan i Göteborg och Torsdag 25 november är det invigning för den temporära bokhyllan/affären. Billig bar.

Hey, it’s Enrico Pallazzo. Sockerbruket 20-22. Torsdag 25 november kl 18 – 21.

www.varv.org

Graden av uppfyllnad

Skup palet — Sun, 10 Oct 2010 19:14:48 +0000

Guro Olsdotter Gjøl (no), Jakob Sjöstedt (swe)

Vernissage fre 15 okt kl 18

Graden av uppfyllnad är ett samarbete mellan konstnärerna Jakob Sjöstedt och Guro Olsdotter Gjøl. Arbetet föddes ur en önskan om att lämna den vanligtvis individuellt inriktade arbetsprocessen till förmån för en gemensam dialogbaserad sådan. Båda konstnärerna har i sina egna arbeten intresserat sig för utställningsrummet och dess fysiska möjligheter och begränsningar.

I deras aktuella utställning på Hey, it’s Enrico Pallazzo konstrueras konfrontationer i rummet där ett samtal kring funktion och ickefunktion, offentlig utsmyckning och förväntningar på form har legat till grund.

Jakob Sjöstedt, född 1977. Bor och arbetar i Göteborg.

I Jakobs arbeten uppstår skulpturala system. I fragmentariska objekt skönjer vi referenser hämtade från betongfundament, flygplatser, kraftverk och infrastruktur. Tillsammans tecknar de en föränderlig topografi över sin egen tillkomst, där betonandet av den skapande aktiviteten, själva görandet utgör det centrala. 2009 tog han sin magisterexamen från Högskolan för fotografi i Göteborg. Han har tidigare i år haft separatutställning på Galleri 54 i Göteborg och Kimvild Showroom i Malmö.

Guro Olsdotter Gjøl, född 1979 i Norge. Bor och arbetar i Göteborg.

Guro arbetar ofta med platsspecifika installationer där gränsen mellan rum och verk i viss mån suddas ut och där den potentiellt korta distansen mellan det rationella och det absurda kommer till ytan. Hon intresserar sig för olika glapp och kopplingar som uppstår mellan en betraktare, det fysiska rummet och verket, där det till synes enkla kan te sig mycket komplext och tvärtom. Hon har utbildats vid Konsthögskolan i Trondheim och Högskolan för fotografi i Göteborg där hon tog sin masterexamen 2008. Hon har tidigare synts på blant annat Galleri Mors Mössa och i Galleri 54:s peepshow i Göteborg.

Hey, it’s Enrico Pallazzo 15 – 31 oktober 2010

Öppet: tis – tor: 14 – 18, lör – sön: 12 – 16

Three quarks for muster Mark, alt_cph 10

Skup palet — Fri, 10 Sep 2010 19:39:34 +0000

Anna Ganslandt (SWE), Jan Pilgaard (DK)

This is the picture we are working with: A third-grade school classroom is positioned in the center of the art fair, and the lessons are the same as any school day; someone is reading out loud and someone else is not paying attention.

The teacher is standing by the blackboard on which figures explain basic mathematical concepts ― perhaps a multiplication table or groups of crude apples ― sketched by the sweet and gentle female teacher whom at least half of the children already have a crush on.

The first school years, filled with anticipation, expectation, impatience, nervousness, a first hint of responsibility. Crayons in a box, a ruler, a book of your own choice and borrowed ones with scribbles on some of the pages. The picture of a class room with small kids learning is an archetype on which society forms its idea about its collective knowledge.

Three quarks for muster Mark by Anna Ganslandt and Jan Pilgaard is the physical transportation of a number of grade-school kids from the Danish countryside to the Copenhagen alternative art fair. The move in itself is an act of switching places between the peripheral and the centre. It is to point out visually the predestined geography of a structure, manifested both social and politically in a western production system. The title is borrowed from Finnegan’s Wake by James Joyce. The short passage about Muster mark, originally picked from an Irish folksong, sounds like one of those rhymes that children learn by heart and repeat while doing something else, or at least that is how we picture children playing. The natural sciences chose to name the quarks after this strange poem. The title is aiming to describe how a process manifests itself, how possible interpretations are both present and absent, both relevant and irrelevant for the piece itself

For several months Anna Ganslandt and Jan Pilgaard have been working on this piece with the school from Naur-Sir on presenting a site-specific installation at the art fair. Parallel to this process a documentary is being produced with the help of Photographers Jonas Isfällt and Mateusz Pozar. The film will be ready for screening late 2010.

Anna Ganslandt, (Sweden) and Jan Pilgaard (Denmark), visual artists, have their main practice in Gothenburg Sweden where they among other things run the non-profit organization Skup Palet, a collaboration with artists that aims to investigate structures of cultural production in a broader context. Skup Palet operates since a year back within a network of commercial practitioners located in an old carpentry workshop by the harbor, Hey it´s Enrico Pallazzo, where Ganslandt and Pilgaard are commissioned artistic producers of a large exhibition space.

It starts with a melody then comes the cockroaches

Skup palet — Wed, 14 Jul 2010 18:43:54 +0000

Alfred Boman, Duda Bebek, Elin Elfström, Henning Hamilton, Guido Pierri, Karl Norin, Jim Thorell, Tommy Sveningsson

It starts with a melody then comes the cockroaches är en samling plats- och tidsspecifika verk som nu presenteras på Hey, it’s Enrico Pallazzo. Med utgångspunkt i den aktuella lokalens beskaffenhet ställer verken sinsemellan frågor om ute- och inneslutning genom att frammana paradoxala relationer mellan det gemensamma och det solitära med hjälp av en uppsjö collage, objet trouves, graffiti, installationer etcetera. Till skillnad från mycket annan samtida konst görs det dock inte med en etisk-politisk agenda. Det är snarare ett öppnande av den estetiska erfarenheten, separationen och sammanfogandet av två sinnlighetsregimer vid dessa gränser som eftersökes.

Om den institutionaliserade samtidskonsten i stor utsträckning begagnar sig av globalt differentierade tecken för att skapa nya hybridformer, vilka bättre anses svara mot behovet av gemenskaper i globaliseringens tidevarv, så fokuserar man här istället på konstens förmåga att hålla idén om det politiska, i betydelsen en annan sinnlig regim, öppen. Hur en politisering av konsten i form av teckensammanställning kan bli tvingande, snarare än öppnande, visas exempelvis i Jim Thorells och Tommy Svenningssons verk Welcome home, där de genom att utföra en ironisk pastisch på David Finchers film The Game visar hur inträdet i en ny, men enkel teckenordning kan vara tvingande och kaotisk.

I sin helhet understryker verken vikten av att upplösa varje nödvändigt förhållande mellan ett tecken, konstnärligt eller ej, och den sinnliga förståelsen av detsamma och att gränsen däremellan med nödvändighet måste stå under förhandling. Så visar exempelvis Elin Elfström upp sitt bildarkiv, vilket i mångt och mycket fungerat som förlagor till hennes senare oljemålningar där bildernas tidigare glansiga ytmässighet nu bara antyds genom det underliggande bildplanet, medan själva figurationen tycks vara stadd i upplösning eller åtminstone förebådande en sådan. Bilden blir ej till avbild, utan pekar mot en annan bild samtidigt som den vittnar om passagen däremellan.

Också Alfred Bomans och Karl Norins installation, Asshole is not an alternative lifestyle, tycks ifrågasätta denna gräns där objektens status som estetiska eller ekonomiska osäkras. Tillvägagångssättet är däremot annorlunda. Genom att upprätta ett svävande kolorerat rum i rummet inverterar de gränsen mellan den vita kuben och det sociala: de förlänar rummet med ett antal objekt, vilka är till skänks och tvingar på så vis besökaren att reflektera över så väl objektens som sin egen status: konstnärligt objekt eller bytesvara, betraktare eller konsument?

De samlade verken, varav några här bara nämnts kort, tycks helt enkelt betona att det är nödvändigt att begrunda, inte bara deras betecknande funktion – till vilket land leder de oss? – utan också deras ursprung – genom vilken natt har de banat sin väg? För skulle man inte kunna argumentera för att exempelvis det samtida altermoderna projekt genom att bortse från den senare frågan, i själva verket motsvarar, snarare än motsätter sig den immateriella kapitalismens logik, där uppfinnandet av nya identiteter föregår dess realisering genom konsumtion? Förmår vi inte reflektera över arbetet i detta ursprung, utan bara lyssna till jordens sköna, så återvänder spelemännen snart i form av kackerlackor.

– Johannes Björk

Hey, it’s Enrico Pallazzo 17 – 31 juli.

Vernissage Lördag 17 juli kl 18 till sent. Dj´s: Simon Ohlsson, Daniel Rehn, Henning Hamilton

Öppet: söndag 18 juli kl 16-18, tisdag 20 juli till torsdag 22 juli kl 14-18, lördag 24 juli och söndag 25 juli kl 18-20, tisdag 27 juli till torsdag 29 juli kl 14-18, lördag 31 juli kl 18-20

tommysveningsson.com
jimthorell.se
elinelfstrom.se
bomanalfred.tumblr.com

Border Reverb

Skup palet — Mon, 07 Jun 2010 18:36:40 +0000

Raul Gschrey, Moustache Collectif, Helen Turner, Ashley Wong

Curated by Benoît Loiseau & Joanna Figiel

Border Reverb is the result of an ongoing collaboration between Beyond Borders Network and LDN/BRU that originates from a shared enthusiasm for questioning and transgressing creative, cultural and geographical boundaries. Following from the Border Infection exhibition (March 2010, London), we join the Clandestino Festival & Border Reverb workshops to showcase a series of short videos by international emerging artists. The work investigates issues and limitations surrounding human flows, surveillance culture, ownership and the distinction between the private and the public.

Hey, it’s Enrico Pallazzo Friday 11 June, 18.30 – 20.30.

With the support of the Centre for Cultural Studies, Goldsmiths.

Virtuellt vatten, the road movie

Skup palet — Sun, 14 Mar 2010 20:29:55 +0000

Virtuellt vatten

Skup palet — Fri, 05 Mar 2010 20:31:24 +0000

Markus Anteskog (swe)

Markus Anteskog angriper med sin utställning Virtuellt Vatten landskapsmåleriet utifrån påverkan från människan. Under en resa till Aralsjön har konstnären illustrerat ett av jordens mest kontaminerade områden i en serie akvareller, målade med det giftiga vattnet från den försvinnande sjön. Var och en av målningarna har sedan slutförvarats i lufttäta keramiska kärl. Skapandet och förpackandet av verken har dokumenterats på plats. Markus Anteskogs konstnärliga intresse för Aralsjöområdet ligger i ett av människan skapat ekosystem där konsekvensen av människans ingrepp är katastrofal men inledningsvis var ett försök att få öknen att blomma.

Hey, it´s Enrico Pallazzo 13 – 28 mars 2010
Vernissage lördag 13 mars kl 19 – 01

Öppet: tis – tors: 14 – 18, lör – sön: 12 – 16

Hey! it’s TEXTFEST

Skup palet — Mon, 01 Mar 2010 20:19:26 +0000

Textival och Hey, It’s Enrico Pallazzo arrangerar Textfest i Hey, It’s Enrico Pallazzos lokaler på Banehagsgatan 1P.

Lördag 6 mars från kl 20 till sent.

Läs mer på textival.wordpress.com

Dip to Black

Skup palet — Mon, 15 Feb 2010 18:59:31 +0000

Sara Lännerström (SWE), Jesper Norda (SWE)

Det är mycket länge sedan. När det svarta var riktigt svart och det grå var vackert och släppte igenom ljus. En man sover i ett litet hus nära vattnet. I sluttningen ner mot sjön har någon lagt stenar i rader som bildar terrasser. Mannen vaknar tidigt och tänker på olika frön han ska så. Vattnet är mörk och berget bakom huset kallt.

Dip to black är en term som används i videoredigering. En svart ruta. Ett sätt att byta scen när man berättar en historia.

Hey, it’s Enrico Pallazzo 20 februari – 6 mars 2010
Vernissage lördag 20 mars kl 17 – 23

Öppet: tis – fre: 14 – 18, lör – sön: 12 – 16

Jesper Norda (f. 1972) har sin bakgrund som musiker men ungefär halvvägs in i utbildningen till tonsättare växlade han över till bildkonsten. År 2002 tog han sin magisterexamen vid Konsthögskolan Valand. Allt sedan dess har han dock arbetat parallellt med musik och bildkonst. Båda lika konstnärligt konsekvent. I bildkonsten expanderar den konceptuella grunden i enkla rumsliga ingrepp av ljud, objekt, text eller ljus, ibland kopplat till populärkultur ibland till rent subjektiva erfarenheter. – Bengt Olof Johansson, ur katalogtext Tystnadens mittpunkt, Kalmar Konstmuseum

Senaste utställningar:
Tystnadens mittpunkt, separat, Kalmar Konstmuseum
Heart of the matter, separat, Sandvikens konsthall

Kommande:
Ta plats, grupputställning, Kulturhuset Stockholm, mars 2010

Sara Lännerström (f. 1975). Bor och arbetar i Göteborg. Examinerades från Konsthögskolan Valand 2005 och har sedan dess arbetat med både med film och installationer/skulptur. Det fysiska materialet spelar alltid en särskild roll i hennes konstnärskap. Hon har de senaste åren gjort ett en del kortfilm och är visuell artist i gruppen Echodeck.

Senaste utställningar/framträdanden:
Filmfestivalen, Göteborg med Echodeck

Kommande:
Pluto, Stockholm med Echodeck, feb 2010
Plan_d, Düsseldorf, maj 2010

300m³ @ Hey, it’s Enrico Pallazzo: sailing experiment

Skup palet — Fri, 08 Jan 2010 19:21:24 +0000

Diane Morin (CAN)

Use the material found on site. Install lines at equal distance form each other. Amplify the sound of objects moving on those lines. Break down the movement into single pulses. interruption. glitch. waiting.

”sailing experiment” has been created on site, during few weeks of exploration in Skup Palet space using material found on site.

”It is a continuation of explorations with kinetic and site specific installations. In earlier projects I have been interested in how the movement of animated devices, which I designed, can produce images through either visual or sonic traces. I have been recording their traces on photographic paper, drawing their repetitive movements on walls, letting them cast their own shadows on surfaces, amplifying and recording the sound theyproduced while moving.

In sailing experiment, animated objects are slowly sliding on lines stretch in the space. Their subtle movements are producing sound, light and shadows, as they are moving. I am interested in how the uneasy wandering into that space, how the small events happening or not happening in sailing experiment can lead to an extended experience of time and attention.”

Diane Morin (1974) lives and works in Montreal, Canada. She graduated with an MFA in Open Media from Concordia University in Montreal in 2003. She has been creating installations since 1998, joining her work with kinetic art and new media by using a wide range of material and expressions. Her work has been shown in several Canadien exhibitions, among them Effleurements (2008) at The Society for arts and technology[SAT] in Montreal, Effondrements at Mercer Union in Toronto and recently in Sweden at Electrohype 2008 at the Malmö Konsthall, Malmö. She did several artist residencies including the Banff Center for the Art, Alberta, Canada, Art3, Valence, France and the Finnish Artists’ Studio Fondation in Finland, and curently at Independent Study at Valand School of Fine Arts, Göteborg.

Thanks to Canada Council for the arts for their support. Thanks to Martin Westerdahl for his sailing equipmentand help. Thanks to Jesper, Julie Fournier Lévesque and Anthony Marcellini for their help with the space.

Hey, it’s Enrico Pallazzo Jan 15 – Jan 31
Open Tues-Fri 15-18 Sat-Sun 12-16

How to write like Walter Benjamin

Skup palet — Tue, 15 Dec 2009 20:32:36 +0000

Mateusz Pozar (SWE)

How to write like Walter Benjamin is a series of videos which purport to teach the viewer how to write art theory, using Walter Benjamins 1935 essay The work of art in the age of mechanical reproduction.

By copying Benjamins text, and presenting it online – in a medium where everything is a reproduction – I try to see if the aura which he believed was lost, has reappeared with the public use of mass communications; Have we become savvy enough that we experience certain reproductions as a “presence” on a stage? Also, by focusing on the banal aspects of writing, of putting pen to paper, the value of reflecting on ones surroundings, and the value of analysis and purposeful thinking, is brought to the forefront.

The series will conclude in February 2010. You can see it at: vimeo.com/album/168375

Book release

Skup palet — Fri, 20 Nov 2009 14:27:13 +0000

What do you mean by that METAPHOR – Photography 2006-2009

Signe Vad (dk)

This Friday Skup Palet presents the release of an artist-book by Signe Vad, a Danish photographer, visual artist and curator based in Copenhagen. The artist will be present at Hey, it’s Enrico Pallazzo to talk about her recent work. The book release will be accompanied by a reopening of the exhibition Dip to Black by Sara Lännerström and Jesper Norda, since the original opening was partially cancelled due to the extreme weather. There will be music and the bar will be open as well.

Signe Vad works with basic existential issues linked to what it means to be a human being. She approaches this from different angles, either directly as with her series The Decisive Moment — staged self portraits where the cable release is a metaphor for the choice of moment — or through staged video loops and photographs, addressing a more symbolical state of being; Trapped in one’s own decisions, and the consequences they have on one’s life

She is interested in the restrictions which we experience when trapped in our own consciousness, as well as the influence which society and culture exerts on us. The existential questions remain in focus, particularly the way they manifest via our actions in a community.

The book is the result of collaboration between Signe Vad and Black Box Gallery with great help from Studio and Black Book Publication.

Hey, it’s Enrico Pallazzo Friday 26 at 18.00

Rebel with out a cause

Skup palet — Sun, 01 Nov 2009 19:43:15 +0000

Anna Ganslandt (swe), Fredrik Ganslandt (swe)

Carl Gustaf Christer Pettersson
23 april 1947 – 29 september 2004

Käraste över allt!

Vill berätta att jag är både samlad och upprörd. Upprörd för att vi måste anstränga oss ännu mera – innan vi träffas. SAMLAD för att tiden går…

Jag måste omtala att jag kunde ha råkat illa ut häromveckan men som tur är finns det folk som vill mig väl.

Din C

Anna Ganslandt works primarily with spatial installations and happenings
where the temporary becomes the carrier of meaning. The conviction that an artist cannot claim ownership of any given work is manifested in how Ganslandt is mixing her own material with material either stolen or borrowed from others, as well as how she reuses parts of her own works, allowing both a reinterpretation as well as a re-contextualization of old material. The piece Rebel without a cause investigates the reconstruction of history and is part of a recent work process together with creative director Fredrik Ganslandt.

Galleri Signe Vad 6 – 30 November, 2009.

Frustration Canon, alt_cph 09

Skup palet — Wed, 30 Sep 2009 19:10:13 +0000

A message to be found

Skup palet — Fri, 18 Sep 2009 14:21:07 +0000

Mateusz Pozar (SWE), Olle Essvik (SWE)

“Instead of writing an email or sending a text that will arrive instantaneously, send a postcard that won’t arrive until you want it to. Perhaps you want to remind yourself of something in five years time or make a prediction for the world to read in ten years time? Write a postcard, upload an image and select the keywords you want search engines to index. Somewhere on the vast Internet there’s a message waiting for you.”

www.amessagetobefound.org

Frustration Canon @ Hey, it’s Enrico Pallazzo

Skup palet — Mon, 14 Sep 2009 19:12:07 +0000

Frustration Canon, in preparation

Skup palet — Sat, 12 Sep 2009 14:18:30 +0000

Jan Pilgaard (DK), Anna Ganslandt (SWE), Mateusz Pozar (SWE), Mark Melvin (UK), Pär Fridén (SWE)

“All theories of time confront two inevitabilities: first the inevitability of sequentiality and the impossibility of true repetition and second, the inevitability of death and forgetting as symptoms not just of a lost past, but of the decay of the self.”

Skup Palet is an international collective of creative practioners. For the Copenhagen Alternative Artfair 2009 they intend to collaborate on a performance work, a work whose preoccupation is process, and in turn looping, sequence and rhythmic iteration are prominent in its conception. The artists involved often experiment with various cycles and levels of repetition in their own practices, be it a discussion of the habitual and routine, investigations into recollection and memory or appropriation from popular culture. These loops and repetitions are always fractured by a series of interruptions, repetitions, re-edits so that although the pieces are often comprised of existing appropriated material they are reworked to invite alternate meanings and inquiry. This work “Frustration Canon” is metaphorically and literally shot through with a persistent and interrupted beat, which marks out time: producing and performing time for the collaborators themselves, their participants and viewers. With performers hitting their foreheads upon the table in rhythmic iteration the work attempts to comment on a moment of collective frustration, which seems appropriate and resonant in this climate of political and economic crisis. The piece aims to question repetition, a process that is so often deemed negative, a process that implies a lack of change, and a process that does not augment a situation or build on existing knowledge to generate change. Skup Palet intend to explore this familiar process differently presenting repetition as something positive and unifying rather than negative which can be seen in the process of recollection for example, which is one that implies looking back to the past and therefore loss. It is apt that the performance will take place in Denmark, as it is in the Danish language that this sentiment is best articulated. It is only when we recall or discover how the Danish word for repetition is constructed that we can begin to understand the positivity in the process. Gjentagelse, in Danish, is composed of two words that can be roughly translated in English: ‘gjen’ is related to the English ‘again’; and ‘tagelse’ to the word ‘take’. To ‘repeat’, therefore, as in Gjentagelse, is to ‘take again’. The promise of repetition is that through it the subject will be able to recover, to reappropriate what is lost through the passage of time, and ultimately, through finitude. Gjentagelse, is life that takes again, without allowing for the possibility of our taking back, retaking, recovering and reappropriating what has passed. With this in mind, “Frustration Canon” then offers a constancy and reassurance in the face of mortality, collectively repeating a cathartic gesture in unison based in the here and now.

A temporal category, like repetition, is a subject that can be found in much of contemporary theory. Questioning around this subject can be traced back to the earliest philosophy, but is most notable in Nietzsche’s concept of ‘eternal recurrence’, in Freud’s speculations on the repetition compulsion and the death drive, in Derrida’s discussions of ‘iterability’ and in Deleuze’s theories on repetition and difference. What can be seen from these philosophers is that the question of repetition imposes itself once the idealistic system of thought exhausts its resources and becomes blocked. With the awareness of this obstruction, repetition can no longer just be viewed as a mechanical self-evident and subsidiary phenomenon.

Repetition processes have also played a key role in Twentieth century music, in serialism, in process music and in an inverted sort of way, in the apparent opposite tendency, the search for total differentiation, for example John Cage’s all inclusiveness, where infinite difference can end up sounding all the same. Twentieth century music as a body is obsessed with this problematic, doing the same or avoiding it. American Minimalist music can be seen as an important stage in this movement, as well as a continuing evolution of music. What can be seen is a definite move away from the teleological nature of traditional dialectical music to a non – dialectical replacement of the work as object with the work as process and a unity of form and content. In the repetitive music of composers such as Steve Reich, the concept of the work has been replaced by the notion of the process whose function is not to represent anything outside itself, but only to refer to its own creation. This is true of the process involved in of “Frustration Canon”, a collaborative piece that plays on the language of musical performance.

“Musical processes can give one a direct control with the impersonal and also a kind of complete control … by this I mean: by running this material through that process I completely control all that results but I also accept all that results without changes.”

Repetition then forms an important part of American Minimalist music, a repetition characterized by its non-narrative and a-teleological qualities, where the listener is no longer submitted to the constraint of following the musical evolution of a musical work.

“The distinctive thing about musical processes is that they determine all the note to note (sound to sound) details and the overall form simultaneously (think of a round or infinite canon)”

What is evident In Reich’s work then is a blurring of the boundaries between consumption and production, with the cyclical repetition in his compositions enabling creation and reception to occur simultaneously. This is true of the process in “Frustration Canon” because as the canon proceeds, the performers do not perform an elaborate harmonic musical structure but produce a repeating rhythmic cacophony of sound on the verge of total collapse, a music

“in danger

of brea
king
a part

at any
moment.”

This piece clearly shows the dualism of stasis and movement that characterizes repetitive music. The result of this is the stressing of constantly mutating beats or groups of beats built up cyclically. The performers act as both listener and performer at the same time, involving themselves in the process through their own natural sense of rhythm and co-ordination whilst absorbing themselves in the pulsing monotony of the performance process. Therefore, we get the feeling, in listening to the process, that it is being composed and performed at the same time.

“I believe there are human activities that might be called ‘imitating machines’ which are, in reality, simply controlling your mind and body very carefully as in Yoga breathing exercises. This kind of activity turns out to be very useful physically and psychologically as it focuses the mind to a fine point. So the kind of attention mechanical playing calls for …is related to sitting and holding ones breath.”

It is through this intense rhythmic repetition, where all meaning and finality are deferred indefinitely, that demonstrates just how successfully the repetitive musical process achieves the condition for an experience that exists very much in the moment. It may be that when repetitive processes are applied to the production of work the audience experiences something that exists very much in the present a moment that contrasts the ultimate teleology of our lives. In conclusion, what can be seen is that repeating the identical in another form and constructing a process which involves the changing same, is a structure that is both critical and impersonal enough a strategy to be accessible to us all. Through repetition meaning is deferred and placed outside our reach and with knowledge of this we can come together, breath, forget and think, overcome frustrations and fall into a cycle that transcends the timelines of the world around us.

It’s a Wonderful World Here Too

Skup palet — Wed, 02 Sep 2009 19:17:51 +0000

5 – 19 september

Carson Brainstorm

Skup palet — Fri, 15 May 2009 18:39:25 +0000

Carson Brainstorm är en duo från Göteborg som arbetar med röstspel, poesi, performance och improvisationsmusik. Duon består av Hans Carbe och Johnny Larsson. Hans Carbe är bildkonstnär. I hans bildvärld återkommer finstämda och märkligt sammansatta landskap och miljöer skildrade i tusch och akvarell, han vänder sig även mot andra media som datorgrafik, där kompositionerna antar en annan mer surrealistiskt driven form. Johnny Larson är i grunden poet men har ägnat sig åt musikaliska improviserade performanceverk i olika konstellationer sedan början av 90-talet. I sitt samarbete utvecklar Carbe och Larson sina olika konstnärskap till en scenframställan byggd på det som finns i stunden. Genom att utnyttja akustiken i vardagliga föremål, såsom att släpa stolar och skrot över olika material på golvet, bygger de tillsammans upp ljudlandskap och röstspel med starka kopplingar till den experimentella musik- och teaterscenen på 60-talet.

Dokumentationer av söndagens performancekväll med Carson Brainstorm visas som utställning hela veckan på Hey, it’s Enrico Pallazzo.

The Swimmer

Skup palet — Thu, 14 May 2009 20:20:38 +0000

Pär Fridén (SWE), Anna Ganslandt (SWE)

Hey, it’s Enrico Pallazzo, april 2009

p Det börjar i någon sorts skog. Med fotstegen. Minns du Alan Clarkes Elephant? Med simbassängen i början och stolarna? Hela första delen (av Elephant) handlar om att gå (eller om att döda, beroende på hur man ser på det). a Jag föredrar död. p Och så naturen, rådjuret. Död eller liv. Oskuld. a En flirt med det vilda och ociviliserade, som det okorrumperade tillståndet.

a Ned i sina blå badbyxor vid poolkanten, smäktande musik, civilisationen som privatägt och avgränsat semesterparadis. p Men han är inte en del av det, ah bassängen, vattnet, han drömmer om oceanen, tror på bilden av den som lika sann. a Dry Martini. Martinis till dramatisk musik vid poolkanten. De ska bara sträckas in i bild, precis som här. p have you ever seen such a glorious day? Den lycklige mannen. look at that sky! a Det är ont om hyllningar till den åldrade manskroppen, den är mustig nog, förstår inte alls varför den valdes bort. p Detta jättestora barn. En man som är ett barn. Och en man. a En man som lyfter upp kvinnofötter i ljusblå plastsandaler ur vilstolar.

p Nu försvinner han. En egen värld. En idé. a Uppdraget, det självuppfyllande. p Märkte du hur han ignorerade hennes kommentar, den lilla krisen? Hon var rädd. Eller försiktig. a Jag talar hellre om hennes dräkt här, hon står i detta dubbelknäppta kornblå. Kinesiska? Med en drinkvagn. p Drinkvagnarna, de återkommer senare. Drinkvagnarna är viktiga. a Som en slags motpol till hans köttighet i sammanhanget. Hon har peruk. p Tillbakadragenhet. Och här James Stewart. Den lilla tröjan och hatten, och den motordrivna gräsklipparen. En man av värld, överklass och dekadens. a Men Ned, han fixar så klart genast med gräsklipparen. p Ned är så väldigt mycket man. John Wayne. a Jacques Mayol, barnet i mannen som du var inne på. Eller föreställningen om det.

a Han är absolut en stor förvuxen pojke, han talar men kan inte hålla sig, han måste till vattnet. Så fort han är obevakad måste han till vattnet. p the light green water a Han ger efter för impulsen. p Impulsen, kroppen, mannen, barnet. Kroppen. Han måste fortsätta tro på vattnet. Det höll på att gå illa där en stund. Men nu, hästen! a Det här är jävligt fint. p Lyckan! Kroppen. a Springandet, friheten, den enda lyckan i kroppens uthållighet. p Berättandet, sagan drömmen. Den unga kvinnan.

a Det här är väldigt snuskigt. Hennes oskyldiga berättelse om hur hon stal hans skjorta och bar den ensam i sin kammare, Åh… jag var ju bara ett barn. Du redan man. Hon talar om hans elegans och hans blick, om tryggheten, men beskriver sin första erotiska fantasi. p Hon utmanar honom men han kan inte handla efter det, han vill att hon ska vara ett barn. För att han måste vara ett barn. a Hon kommer att bli skitsur snart.

p Poolparty, en bild av social konvention, de är belevade och uttråkade, sofistikerad yta på sönderfallet. a Och alla är påklädda. De är inte där för att bada. p Ned är naken, han är bara kropp. Simmandet, musiken. Här i slow motion. Och nu blir de hästar. a Hoppande hästar. Hans styrka och uthållighet, hon ser den och beundrar den. p Hur kroppen rör sig när han hoppar och tar mark. a Han visar upp sig, som en unghäst. Han glömmer bort henne helt. p Han är en häst. Han tror på det. Han tror på allt han gör.

p Han respekterar dem genom att ta av sig sina byxor. Sina små fantastiska blå byxor. a Han är bekymrad över trädet. Vill veta varför det blivit sjukt. p Han tror att han har krafter, som en superhjälte. a Han lämnar besvikelser efter sig.

a Jag tror att det är en drinkvagn du ska ha faktiskt. p Kanske, bara den inte är av trä. a Nej fan, men den ska ha en liten glasskål med oliver och en sån där rostfri bytta med is. Citron i skivor. p here’s to sugar on the strawberrys. a Men jag älskar parasollet med rosor i blått och gult. De är ett slags poolsidelevande folkslag. p Är det förresten inte lite som klätterbaronen, fast med pooler istället för träd? Fick just ett sms om klätterbaronen… a Klätterbaronen, jo. Han vill inte komma ner. p ”träd är det bästa som finns” står det i mitt sms. Och hästar hade kanske Ned lagt till. a Hästar bland träd.

a Suburban stud. Underbart tillmäle. p Han försöker hela tiden få kvinnorna att minnas en tid då allt fortfarande satt ihop. Den lidande kroppen. a Den brutna mannen. p Så mycket kropp. a Så mycket lidande. I det tysta så klart. Jag förstår din iver att klippa bort allt det här. Möjlighet istället för brist. Ingen dom, inget förflutet, bara framåt. I galopp. Jag gillar att han bara simmar. Vattnet. Det gröna vattnet. Kroppen. Brun, torkad hud som inte riktigt blir fuktig av vattnet. Barkbit. p Blå byxor. Jag ser dem som små men de är i alla fall åtsittande. a Härdad och skogsaktig. Kvinnornas välmanikyrerade fötter, med eller utan plastskor, som han lyfter mot sitt ansikte. Han springer mellan dem på barr och murkna grenar. De ligger på vilstolar. Han, vattnet, kaklet. Små cypresser mellan drinkvagnarna. Detta är inte längre rekreation. p Det är överlevnad. Rekreationen som överlevnad. Hur får man isen att inte smälta? Eller byter man varje dag? a Jag tycker allt kan vara av plast, oliverna och citronerna också.

Till vem som helst, till vad som helst

Skup palet — Wed, 15 Apr 2009 20:23:11 +0000

In one of the corners of the space, just behind the bardisk, a piece of art has been attached to the concrete wall. This piece was removed from a park-installation made by the swedish artist Annika Eriksson, early 2008. The art piece was after its removal stored in the private collection of Hanna Lindgren. To our surprise it was offered to us as a gift on the opening night of the house, Hey, it’s Enrico Pallazzo. The art piece or sculpture display the words, translated from swedish; ”To whomever, for whatever”.

Annika Eriksson was shortly after contacted and informed on our acceptance and installment of the piece.