Kyander portfolio 1998-2007

Pontus Kyander
Portfolio
Exhibitions
1998-2OO7
/IN PROGRESS/

Exhibitions
projects not documented marked with / --- /
Gustav Metzger, verk / Gustav Metzger, work
Lund Konsthall, Lund, Sweden 2OO6
Gustav Metzger, prace
Zacheta National Gallery of Art, Warsaw, Poland, 2OO7
Seoul: Until Now!
Charlottenborg Exhibition Hall, Copenhagen 2OO5
/EMAF 2OO4: Parallel Realities
EWHA University Campus, Seoul, Korea, 2OO4/
From Dust to Dusk
Charlottenborg Exhibition Hall, Copenhagen 2OO3
Ernesto Neto: Passing Time, Passing Space
Århus Kunstbygning, Århus, Denmark 2OO2
Overlap. Marcia Thompson, Marcelo Krasilcic
Århus Kunstbygning, Århus, Denmark 2OO2
/Dagr. Young Artists from Bergen, Norway/
Caixa Galicia, Santiago de Compostela, Spain/
sur face
Lund Konsthall, Lund, Sweden 2OO1
/Waterfront
Part of Cultural Biennial Kulturbro 2OOO, across cities
of Helsingborg, Sweden, and Elsinore, Denmark, 2OOO/
/Nature of Man
Lund Konsthall, Lund, Sweden 1998/

Gustav Metzger, verk/Gustav Metzger, work
2O May—27 August 2OO6
Lund Konsthall, Lund, Sweden
Gustav Metzger, Prace 1995-2OO7
6 March—22 May 2OO7
Zacheta National Gallery of Art, Warsaw, Poland
(co-curator in Warsaw: Hanna Wroblewska)
Lund Konsthall, May 2OO6: one of four cars for Gustav Metzger’s Karba about to
be be lifted into the inner yard of the gallery.

Gustav Metzger, First manifesto for an auto-destructive art, 1959; Auto-destructive action at
South Bank, London 1962; Metzger in conversation with Joseph Beuys, 19XX.
With his first manifesto for an auto destructive art from 1959, Gustav Metzger
set forth into one of the most uncompromising artistic careers of the post-war
period. Born 1926 into a formally Polish, orthodox jewish family in Nuremberg,
Germany, he witnessed (initially with childish admiration) the actual upmarch
of German Nazism, as it was staged on the annual Party festivities in his own
town. His parents and an older brother were all killed in the Holocaust, while
Metzger and his younger brother were rescued in the last minute to England.

Gustav Metzger, Liquid Chrystal Projection, Generali Foundation, Wienna 2OO5; Pete Townsend of
The Who smashing his guitar at a concert in 1967.
Metzger’s insistance on an auto-destructive art reflects to some extent his
early family trauma, but is also part of general developments in the late
195Os and 6Os. Metzger is a pioneer in many fields, one of the founding
members of the anti-nuclear movement (with Bertrand Russel and others), an
environmentalist already in the 194Os, working with digital art in the 196Os,
and generally influencing political art in the same period. His lectures and
manifestoes on auto-destructive art inspired the art student and guitarist
Pete Townsend to the now legendary rituals of destroying the instruments with
his band The Who after their concerts, and Metzger’s liquid chrystal
projections became part of the concert aestethics of the psychedelic music
movement. Metzger took part in the first fluxus events in the UK, and his
Destruction in Art Symposium (DIAS) was a formative event for leading artists
from Europé as well as the US.
The exhibition in Lund Konsthall, Sweden, is the largest retrospective so far,
and is part of the growing recognition of Gustav Metzger’s work starting in
the mid 199Os. The exhibition included several historical works of Metzger, as
well as almost all of his Historic Photographs of later years, (some produced
in new versions/installations for the exhibition), as well as the recent large
scale installations Eichmann and the Angel (2OO5-) and In Memoriam (2OO6-). As
the exhibition paid particular attention to Metzger’s environmental works, it
produced new versions of his projects Stockholm, June 1972 (an auto-
destructive proposal for the UN-environmental conference in Stockholm 1972,
where 12O cars were intended to over-heat and self-combust), and also realized
for the first time Metzger’s work intended for Documenta 1972, Karba. This
latter work consisted of four cars, that were craned into the inner yard of
Lund Konstall, and a large transparent cubicle which was filled every hour
with the exhaust fumes from the cars.
In spring 2OO7, the exhibition continued to the Polish National gallery of
art, Zacheta in Warsaw, where the focus was shifted to his Historic
Photographs, of which all were installed and also a new work was produced.
That version of the exhibition was curated in collaboration with Ms Hanna
Wroblewska of Zacheta Gallery.
The models for Stockholm, June that we produced were also displayed in 2OO7 on
Sculpture Project Münster’s special tribute to Gustav Metzger at Westfählishes
Landesmuseum, as well as documentary photographs from Lund Konsthall.
The catalogue (in Swedish only) was published in collaboration with the
magazine Res Publica and issued a first Swedish translation of futurist opera
libretto Victory Over the Sun (1913) by Alexei Krutchonych and artist projects
by Gaia Alessi & Richard Bradbury, Eva Weinmayr and Sture Johannesson.
In 2OO5, I produced a 25 min documentary feature on the artist for the Swedish TV (SVT) (w.
Alonso Poblete and Louise Storm). See DVD attachment.

Gustav Metzger, Karba (project for Documenta 1972, not realized). Installation and overview.
Lund Konsthall 2OO6. The cubicle was filled every hour with exhaust fumes from the cars.

Gustav Metzger, In Memoriam. Above as realized in Lund Konsthall 2OO6. Below as originally presented
in two different rooms at Kunsthalle Basel, 2OO6. The work was made in memory of Walter Benjamin and
the victims of the Holocaust. In Lund, Metzger chose to present the work as it was left by the
technicians of the gallery, prior to his arrival.

Gustav Metzger, Eichmann and the Angel, Lund Konsthall 2OO5. The installation uses a copy of the cage made
for Adolf Eichmann’s trial in Jerusalem 1961-62. A conveyor belt to the right transports sheets from
newspapers placed by visitors, piling up under a copy of Paul Klee’s painting Angelus Novus, once owned by
Walter Benjamin. Benjamin wrote his famous text about the Angel of History inspired by this painting In the
fond, a wall consisting of stacked newspapers.

Gustav Metzger, Historic Photographs, Lund Konsthall 2OO6.
Top left: To Crawl Into – Anschluss, Vienna, March 1938 (1996-98) and To Walk Into – Massacre on the Mount,
Jerusalem 8 November 199O (1996). Top right: as previous, plus Jerusalem, Jerusalem (1998) in the fond.
Bottom left: Metzger and two gallery technicians about to cover the image of To Crawl Into. Bottom middle
and right: The Ramp at Auschwitz, Summer 1944 (1998, 2OO6).

Gustav Metzger, Historic Photographs: Fireman with Child, Oklahoma 1995 (1998, 2OO6). Left, artist and
technician at work. Right, final presentation at Lund Konsthall 2OO6. The work was originally produced
for Oxford Museum of Modern Art, but radically transformed for the exhibition in Sweden. A third
version, with the image fully visible, was produced at the second version of the exhibition at Zacheta
National Gallery of Art, Warsaw 2OO7.
Gustav Metzger, Models for Stockholm, June 1972 (new version 2OO6, previous 1972 version destroyed).
Left: Stage 1. 12O cars are placed outside a plastic covered square space, and exhaust fumes are led in.
Right:Stage 2. The cars are placed inside of the construction, with engines running. Ultimately, they
will overheat and combust, or bombs ignited from the outside to set the destruction into action.

Top: Gustav Metzger at work with Stockholm, June 1972 in Lund Konsthall, Bottom, Gustav Metzger,
Pre-Historic Photographs, Left, the artist at work. Right, installation in Lund Konsthall 2OO6.

Gustav Metzger, Prace/Work 1995-2OO7
6 March—22 May 2OO7
Zacheta National Gallery of Art, Warsaw, Poland
(co-curator in Warsaw: Hanna Wroblewska)
Gustav Metzger, Eichmann and the Angel, 2OO5- , as presented at Zacheta National
Gallery in Warsaw. It consists of a wall built from stacks of newspapers, a
conveyor belt and newspapers, a copy of the cage used for Eichmann in Jerusalem
(wood, glass and aluminium), and reading tables with reference literature. On the
left wall, the texts New York, Port Bou and Jerusalem. The dimensions of the spaces
varied dramatically from the original installation and the partly custom built
space in Lund, but provided for the first time a possibility to document the whole
work in a coherent image.

Gustav Metzger, Historic Photographs: Fireman with Child, Oklahoma 1995, 1998 (2OO7). Photograph printed
on acrylic glass, breeze blocks.
When Zacheta National Gallery in Warsaw offered to stage a second version of the
exhibition with Gustav Metzger, we (Metzger and I, in a delightful collaboration
with curator Hanna Wroblewska in Warsaw) wanted to make it different from Lund. As
the Holocaust and issues relating to the German occupation during WWII, as well as
the antisemitism in Poland, still are part of a volatile debate around national
identity and history, we decided to for the first time ever show all of Gustav
Metzger’s Historic Photographs, a project he has been working on since 1995. To
this was added the large scale installations In Memoriam and Eichmann and the
Angel, and an entirely new work by Metzger, Terror and Oppression, conceived with
the Polish history in mind.
Since several of the Historic Photographs have to be installed site specifically,
the versions here altered from the ones previuosly in Lund as well as other venues
like Oxford MoMA and Musée de l’art Moderen in Paris, where most of the works were
originally presented in the mid 9Os. For instance was the Fireman with Child
displayed in full view (and not hidden, as in Lund and Oxford), and Till We Have
Built Jerusalem was surrounded by tractor tyres instead of the original steel
caterpillar treads, too heavy to be installed in the 19th century building of
Zacheta Gallery.
The version in Warsaw was coherent, although the visionary aspects of Metzger’s
environmental works we showed in Lund somehow lacked here, and since all
photographic installations had to be brought into the exhibition, it was a bit
over-crowded with works in some places, but apart from that it was an interesting
display. It got quite massive attention in media – including radio and TV, and was
very well received critically.

Left, Gustav Metzger, Historic Photographs No 1: Liquidation of the Warsaw Ghetto, April 19-28 1943,
1995. Right, the photo of people and soldiers in the Warsaw ghetto that is hidden behind the heavy
boards in Metzger’s work.
Historic Photographs: Hitler-Youth, Eingechweisst, 1997-98. Photograph, two welded cold
rolled steel sheets.

Above, Historic Photographs: Till We Have Built Jerusalem in England’s Green and Pleasant Land, 1998
(2OO7). Colour photograph, tractor tyres. Below, viw of main hall, and Historic Photographs: The Ramp at
Auschwitz, Summer 1944, 1998. Enlarged photograph, printed on paper and pasted on custom built wall.

Gustav Metzger, Historic Photographs: Terror and Oppression, 2OO7. Two large photographs on vinyl facing
each other. The upper depicts German troops marching in to Warsaw, and the lower prisoners of the kz
camp Auchwitz-Birkenau standing for inspection.

Seoul: Until Now!
Charlottenborg, Copenhagen
June 1- August 21, 2OO5
(co-curator Jiyoon Lee)
Participating artists: CHANG Jia, CHO Duck-Hyun, CHOI Jeong-Hwa,
CHUNG Seoyoung, FlyingCity, Gimhongsok, Emil GOH, GWON O-Sang, HAM
Kyungah, JUNG Yeondoo, KIM Beom, KIM Sora, KIM Youngjin, LEE
SooKyung, NAM Zie, NOH Sang-Kyoon, OH Inhwan, PARK Chan-Kyong, PARK
June Bum, PARK MeeNa, PARK Yong-Seok, RHII Jewyo with JIN Mi-Hyun &
KANG Sung-Eun, thisisnotaloveletter (cur. CHOI Binna), YOO Hyunmi,
YOUNG-HAE CHANG HEAVY INDUSTRIES
(family names in capital letters)
Choi Jeong-Hwa, Installation with inflated plastic flowers on the outer yard of
Charlottenborg, Copenhagen 2OO6.

YOO Hyunmi, Big Red Puzzle, 2003. Glassfibre, car paint. Installed outside entrance of Charlottenborg
exhibition space, Copenhagen 2OO5.
Few art scenes in the world have developed with as much speed and diversity as the
South Korean. Seoul: Until Now! is the most extensive overview to this date on
contemporary art in the South Korean capital. Curated in close collaboration with
london-based free-lance curator Jiyoon LEE, it combined two different perspectives
on contemporary art in Korea, hers being as a Korean with the privileged
information and also limitations this gives, and mine as an outsider who has been
too Korea numerous times, and having a long term committment to the developments of
the Korean art scene.
The selection was based on artists currently working in Seoul, but also on
reflecting the different generations that have emerged since the democratization
and opening of South Korea in the late 198Os. Seoul: Until Now! included leading
artists from the early 199Os, several artists that made their international careers
around 2OOO, up to the recent wave of young Korean art (and included also a project
with art students from a university in Seoul). We wanted to avoid getting entangled
in issues of nationality and ethnicity, and thus focused on the actual art scene in
Seoul only, and on how the city itself and the society was reflected through the
works of artists. The exhibition also included some artists of other nationality,
currently active in Seoul (although the exhibition also illustrates the fact, that
the Korean society still is very ethnicly homogenous). Our ambition was also to

CHOI Jeong-Hwa, Banner-project on the façade of Charlottenborg, June 2OO5.
integrate the exhibition with the city of Copenhagen, through site specific works
made in the exhibition spaces and publicly in the city.
Seoul: Until Now! involved a great number of site specifically produced works, also
in public spaces, ranging from CHOI Jeong Hwa’s covering of the façade of the
exhibition space with (illegal) commercial banners, to Emil GOH’s Umbrella Taxi
project in the city centre of Copenhagen. It involved a great variety of media,
from painting, sculpture and photography to video, installation with burning
incense, socially interactive projects, and a newspaper flyer project.
Architecture and urbanization in Seoul was debated and displayed through works by
flyingCity, RHII Jewyo and others. Body and gender politics were reflected in many
different ways, from OH Inhwan’s examination of issues relating to homosexuality,
to Jang Jia’s violent rendering of female subordination in Korean society.
Apart from our previous acquaintance with the art scene in Korea, we spent a month
for research in Seoul during autumn 2OO4.
Seoul: Until Now! was funded by Charlottenborg Kunsthal, with a generous support
from Korea Foundation. Charlottenborg is the largest art space of its kind in
Copenhagen, with 1 4OO m2 distributed over more than 2O rooms and two storeys with a
mezzanine.

CHOI Jeong-Hwa, Left: Mori Flowers, inflated plastic flowers. Installation on the outer yard of
Charlottenborg. Right: Crown. Inflating and deflating plastic object, Installation on inner yard.
Copenhagen 2OO6.
Emil GOH, Umbrella Taxi. Umbrella drivers, t-shirts, umbrellas (pictures as realized the first time in
Seoul 2OO5).

KIM Sora, Orbit Lounge, 2005. A ”Recycling Project” where Kim Sora used furniture and objects already
present in the exhibition building. These objects where moved daily in accordance with instructions
speciefied on each object.

Top: flyingCity, Looking Down, 2004. Photograph.
Middle: flyingCity, Cheonggyecheon Constructivism, 2OO4. Computer generated images, printed on paper.
Bottom: PARK Junebum, Stills from Building, 2OO1-2OO4. Video, 6’42 min.

PARK Yong Seok, Left: Seoul Modernism, 2OO1. C-print and drawing. Right: Busan Modernism 2001. C-print
and drawing. Bottom: Green Drawing Project, 2OO5. Installation and performance.

PARK Chan-Kyong, SETS 2OOO. 35 mm slide photographs in automated slide projection. The images are all
from a military training camp, where mock-ups of North Korean cities and places are used.

CHO Duck Hyun, Seoul 196O, 2OO5. Graphite & charcoal on canvas, 194 x 26Ocm.
KIM Youngjin, Swing 2OOO. Four channel video installation, projectors metal chain, motor, wood and
aluminium. Four woman of different generations, all from thw artist’s family (his niece, sister mother
and 90 years old grandmother) are projected on each wall, while the motorized swing keeps the vide
images in a slow rythmic flux.

OH Inhwan, Where a Man Meets Man in Copenhagen, 2OO6. Site specific installation with slowly burning
insence. The writing lists meeting places for gay men in Copenhagen.

Jung Yeondoo, Borame Dance Hall, 2OO6. Printed wallpaper, with dancing Korean couples pasted on top,
music and musicplayer. Social dancing was prohibited in Korea until the 198Os, and is still considered
by many Koreans as immoral. Jung Yeondoo’s work invite the visitors to spontaneos dancing by the catchy
and dance friendly music in the huge space at Charlottenborg.

CHOI Binna, Thisisnotaloveletter, 2OO4-2OO5. Korean newspapers, stickers and flyers designed by young
artists and designers in a project originally produced in Seoul. The visitors can pick newspapers,
stickers and flyers and make their own version of this media art work.

YOUNG-HAE CHANG HEAVY INDUSTRIES, Stills from Lotus Blossom, 2OOO-2OO5. Flash animation, 5’34 min.

Top: Installation view of LEE Sookyung, USO (unidentified Seoul object), 2004, and YOUNG-HAE CHANG
HEAVY INDUSTRIES, Lotus Blossom, 2OOO-2OO5. Bottom: JANG Jia, Requirement for being an Artist,
2OOO. Video, 7 min.

Emil GOH, ”MyCy” series, 2OO5. C-prints. Right, installation view.

RHII Jewyo (with art students JIN Mi-Hyun & KANG Sung-Eun), Project relating to small scale urbanism and
everyday living conditions in a working class area in Seoul.

PARK MeeNa, Gråbrødretorv, 2OO5. Site specifik work with wall paint and black plastic adhesive. The
colour scheme was based on the colours of the buildings and permanent objects around a public square in
Copenhagen. These were picked by the help of a standard colour map. The diagrams of furniture were based
on objects at her hotel in Copenhagen. This is an ongoing project. Lower right is an older painting by
Park MeeNa in the same series.

From Dust to Dusk
Charlottenborg, Copenhagen
October 3O - December 7, 2OO3
Participating artists: Gaia Alessi/Richard Bradbury (Ita/GB),
Christine Borland (GB), Peter Callesen (DK), Nina Fischer/Maroan El
Sani (Ger), Rodney Graham (Can), Shirazeh Houshiary (Iran/GB),
Avish Khebrehzadeh (Iran/US), Henrietta Lehtonen (Fin), Ernesto
Neto (Bra), Mariele Neudecker (Ger/GB), Rivane Neuenschwander
(Bra), Cornelia Parker (GB), Libia Perez de Siles de Castro/Olafur
Arni Olafsson (Sp/Isl/NL), Anna Nordquist Andersson (Swe), Bill
Viola (US), Marko Vuokola (Fin), Haegue Yang (Kor/Ger), Carey Young
(GB)
Bill Viola, Chott el-Djerid. A Portrait in Light and Heat. 1979. Video on Beta
tape. Colour, mono sound. 3O min.

View of the main dark space of From Dust to Dusk, where most film and video works and works
requiring relative darkness were displayed. In the foreground: Mariele Neudecker, I Don’t Know How I
Resisted the Urge to Run, 1998. Mixed media sculpture, water, pigments. 55 x 66 x 58 cm.
From Dust to Dusk was an exhibition based on two aspects of (non)materiality and
(non)visibility: the pure light – which in religious tradition is considered
divine – and dust or dirt, base materials regarded as useless and impure. Still
both have played crucial roles in 2Oth century art, and continue to do so. It is
enough to mention art movements like arte povera, land art and minimalism, or
individual artists like Piero Manzoni, Dan Flavin, Eva Hesse, Robert Smithson or
James Turrell and their frequent use of light as well as dust/earth/dirt to
realise how central both dust/dirt and light have become as artistic means.
From Dust to Dusk dealt with the basic physical qualities of both light and
dirt/dust, but unavoidably also ended up reflecting on their symbolic values. It
involved a number of internationally acknowledged artists, Like Bill Viola,
Rodney Graham and Ernesto Neto, but also young artists in the beginning of their
careers.
The title combines the settings “from dust to dust” (a phrase used at burials
refering to the transitional nature of the human body), and “from dusk to dawn”,
thus focusing on the opposite of light, i.e. darkness. The slightly romantic
ring about the title was not a coincidence, but the exhibition developed the
theme in a variety of directions, also touching on economy, environmental
issues, violence, intimacy etc, and contained heavily material works as well as
almost non material, conceptual and relational approaches.

Christine Borland, Supported. 199O-2OO3. Laminated glass sheet with dust traces of human spine,
spotlight, wooden bracket, MDF-boards. Installation dimensions variable).
tarting from a rather direct and material relationship to the issues of dust and
dirt, From Dust to Dusk dived into more metaphorical and conceptual aspects of
the theme during the process of preparation. The relationships to light and dirt
proves to be surprisingly common and strong in contemporary art, while at the
same time very little has been written so far about this aspect of
(im)materiality.
The catalogue/book for the exhibition was conceived as a continuation of the
exhibition, involving essays, prose texts, poetry and artist’s projects. Writers
included in the catalogue were Charles Esche (curator, director of Van Abbe
Museum, Eindhoven), Anders Piltz (professor in Medieval Latin and Dominican
Pater), Inger Christensen (Danish poet and long time Nobel Prize candidate), the
curator and also a some historical writing in prose and poetry – Swedish
dramatist August Strindberg, Persian poet Djalalludin Rumi, and the classical
Greek poet Sappho (in Anne Carsons beautiful new English translations as well as
in original Greek).
Also in regards of spatial solutions, From Dust to Dusk reflected on its theme.
Since most of Charlottenborg’s South wing can be utilised without dividing
walls, this was used to create a coherent semi-dark space for all video and film
works, and a couple of works requiring relative darkness (these were instead lit
with spots). Most of the large windows were not blackened out, instead sheets of
plastic filters were used, thus allowing a view out to the city from the space
while still providing the necessary amount of darkness. No paint was used on the
plinths (except for one, pre-existing, as in image on previous page), and in the
dark space, all dividing walls were left with wooden structures bare towards the
dark side, while being painted only on sides facing the white spaces outside.
With few exceptions, the artists personally or their representatives where
present for the installing of the works and for the opening.

Avish Khebrehzadeh, Distant Memory II, 2OO3. Animation film, projected on drawing. Duration 4:34
min. Mixed media on paper.
A brief presentations of artists and works:
Gaia Alessi and Richard Bradbury have worked with a range of interventions
in architectural, public and social spaces (including television). Their
particular interest in pyrotechnics resulted in the opening performance
Cargo/Host, a firework piece (in collaboration with the firework master of
Tivoli, Copenhagen) executed inside a cargo container on the courtyard of
Charlottenborg. D.I.S.C.O.S. (2OO3) is a 8-channel surround-sound installation
produced for the exhibition, with a narrative based on reports about satellites
colliding in space.
The works of Christine Borland have focused on issues of life and death,
human value, eugenics and the social institutions that define these concepts.
Her work Supported (199O- ) with the silhuette of a skeleton created on a
horisontal glass pane with what looks like ashes (in reality, ordinary flour is
used) proved to be an extremely difficult work to install, but turned out as one
of the best versions of the piece.
The performances and video works of Peter Callesen are characterised by a
seeming simplicity. The artist turns himself a mock superhero, a person putting
all his energy into projects that have little or no possibility to succeed. For
From Dust to Dusk he made a performance, Shooting Star, where a star of folded
paper was sent up into the sky with a weather baloon. He provided three new
sculptures/installations made from ordinary copy paper.
Nina Fisher/Maroan El Sani’s work Palast der Republik (2OO2) examines the
architecture of the former parlament’s building in East Berlin. A building with
close to mythical status, built as an optimistic and proud manifestation of the
DDR, but at the time of the project an empty shell, under asbestos sanitation
and with an unclear future. The project in our version consisted of a large
model of the building (sonically ”converted” into a dance club), a double video
projection filmed inside of the building, architectural drawings etched on
plywood, and a film. Two other video works were also included.
Rodney Graham’s Coruscating Cinnamon Granules, is a black and white film
showing how powdered cinnamon glow and burn in the darkness on an hot electric
stove. Although to the viewer, the impression seems at first to be an image of a
nebulosa or something else, far away in the Universe. The work is projected from
a 16mm projector with a ”infinity”-reel and visible from inside of a small
custom built cinema saloon.

Ólafur Árni Ólafsson and Libia Pérez de Siles de Castro, Æla / Vómito, 2OO3. Site related work for
the upper foyer in Charlottenborg.
Avish Khebrehzadeh’s work originate from a subtle and poetic imagery, where
semitransparent layers of paper and plastic are combined with figurative motives
drawn with pencil, and with light hues of pigments and olive oil. Her large-scale
drawings have a both impure and beautiful appeal. In her animations, the basic
technique is more or less the same, with low key narratives of an almost archaic
beauty. Often the animations are projected on the surface of large drawings.
Henrietta Lehtonen has often worked in direct relation to light and to dust –
with household dust on glass panes, informal sculptures with hair, ”dirty”
porcelain etc. But to avoid becoming too illustrative, we chose to display her
huge floor painting/installation Sky of Tampere, and her playful sculptural
installation Nest. Reconstruction of a nest I built five years old. At the age
of eighteen I started to study architecture, 1995, based on a childhood memory.
Ernesto Neto works basically with transparency and gravity. Most of his
sculptures involve semi-transparent, elastic textiles in opposition to materials
like led, styrofoam, spices and sand. His work is sensual bordering to a tactile
eroticism, with frail materiality. His sculpture in From Dust to Dusk was
specially made for the exhibition.
Mariele Neudecker has worked with issues relating to history and geography, to
time and memory. A series of works have referred to art history, particularly

German Romanticism, by re-interpreting motives from landscape painting in three-
dimensional models inside of glass vitrines, using water and pigments to create
illusions of transparence and atmosphere. I Don’t Know How I Resisted the Urge
to Run (1998) belongs to that body of works, while Another Day (2OOO) is a
double projection simultaneously recording the sun rising and setting in two
opposite locations on the globe – South East Australia and West Azores.
Rivane Neuenschwander is one of Brasil’s most acknowledged artists, belonging
to the same generation as Ernesto Neto and somehow the same tradition of sensual
conceptualism, but works in a radically different way. Very often, her work has
been made from scrap material and even dust. For the exhibition we chose two
works, Still-Life Calendar (2OO2) consisting of 31 paintings with motives of
tropical fruits, bought from street markets and partly over-painted with black
pepper so that only the fruits were visible, and Inventory of Small Deaths
(blow) from 2OOO, a loop from an 8 mm black and white film transfered to video,
showing large soap bubbles flying and bursting in a landscape.
Ólafur Árni Ólafsson and Libia Pérez de Siles de Castro were invited to
Copenhagen for a month to produce a site specific work. Ultimately, it proved to
be tha massively messy and material installation Æla / Vómito (2OO3) that filled
not only the huge upper floor lobby of Charlottenbirg, but also the adjacent
staircase. Contrasting to the mostly quiet and disciplined expressions, it
proved to be an interesting ”sabotage”, while working on issues of waste,
recirculation and narrative and also inviting the viewer to read in their
reading room and to watch a number of videos. Isn their eemingly informal way,
Ólafsson and Pérez also adressed formal aspects of sculpture.
Cornelia Parker has produced a number of works relating to spoils, waste and
dirt, from a conceptual basis that reflect on ideology, history and materiality.
Many of them have involved explosives, turning destruction into a research on
space and memory. She has also created “waste” objects, that reflect on their
origin (Rohrschach-images made from the magnetic dust of pornographic tapes,
“drawing” made with two wedding rings drawn into a thin golden wire). We
provided a large room (and one smaller) for her, to install a separate show
inside of the exhibition, contrasting the light and order in her space to the
informal organisation of the adjacent dark video spaces.
Pioneering video art, Bill Viola has gone far beyond the technical novelties of
the time-based media, and instead used it for the examination of timeless issues
of human existence. Viola has created a discourse on the relationship between
body and spirit, mind and matter, often using non-linear approaches to time. His
Chott el-Djerid. A Portrait in Light and Heat (1979) is an early video piece,
filmed in the north African desert as well as in Illinois and Northern Canada.
The images flow slowly, mirages in the desert are interchangeable with mirages
in the Arctic mist, just as time and place are interchangeable in this work.
Marko Vuokola works with notions of time and the tiniest fractions of
narrative. His series of digital and photographic diptychs operate with very
subtle differences and developments, shooting the same framed landscape in a
small interval, or juxtaposing the photographic and digital rendering of
tecnically the same colour surfaces. These works are extremelyy controled, while
submitting themselves to a random variation.
Haegue Yang has worked with architectural as well as social structures. For
From Dust to Dusk, she provided two site specific installations, one for
transmitting the same empty fax pages back and forth with different recipients,
the other involving a space with a slowly changing light, where visitors could
bring pebbles, and by this slowly creating a miniature landscape in the room.

Gaia Alessi & Richard Bradbury, Cargo/Host, 2003. Firework inside cargo container. Performance for
the opening night of From Dust to Dusk, and two channel video installation documenting the firework
from inside and outside the container.

Avish Khebrehzadeh, Untitled drawings, 2OO3. Drawing and pigment on paper. Below, Ernesto Neto,
Sculpture, 2OO3. Lycra and styrofoam. Produced for the exhibition.

Rodney Graham, Coruscating Cinnamon Granules, 1996. 16 mm film in 4 min loop, projector, transparent
case for film, purpose built cinema with seats. 324 x 374 x 374 cm.

Above: Rivane Neuenschwander, Inventory of small deaths (blow), 2OOO. Super 8 transfered to video.
Duration 5’12 min. Continous loop.
Below: Rivane Neuenschwander, Still-Life Calendar. 2OO2. Paintings from street market, partly over-
painted with black pepper. 31 panels. Overall dimensions 94 x 792 cm.

Top: Carey Young, I am a Revolutionary, 2OO1. Video, 4’O8 min in loop. Bottom: Marko Vuokola, The
Seventh Wave #3, 2OO2. Photograph on aluminium, 125 x 265 cm.

Above: Shirazeh Houshiary, Warp and weft, 2OOO. White Aquacryl with silverpoint and graphite on
canvas, and Memory, 2OOO. White Aquacryl on canvas. Below: Anna Nordquist-Andersson, Constant
Farewells, 2OO3. Wood, MDF-board, doors, and Peter Callesen, Paper Ladder, 2OO3. Copy paper, glue.

Haegue Yang, Relational Irrelevance, Copenhagen Version, 2OO3. Inflatable theatre Lamp, mixer. The
light varied with a slow pulse. The visitors could bring stones into the work from a pile outside
the entrance of Charlottenborg.
Henrietta Lehtonen, Nest. Reconstruction of a nest I built five years old. At the age of eighteen I
started to study architecture, 1995. Two sofas, tables, cushions, carpets. On the wall: Henrietta
Lehtonen, The Infant. 1995. Video installation. On the floor: Peter Callesen, Walking on Snow, 2OO3.
Cut-out paper.

Above: Gaia Alessi & Richard Bradbury, D.I.S.C.O.S., 2OO3. Sound piece, CD, 8 speakers, 8 channel
recorder. Dimensions variable. In the background: Marko Vuokola, Pictured-Light I-II. 2OO2. Two
diptychs. C-print in dia-sec.
Below: Marko Vuokola, The Sevent Wave # b2, 2OO2. Diptych..B/w print in dia-sec.

Nina Fischer and Maroan El-Sani, Palast der Republik. 2OO2. Four stills from a videoprojection,
Below, model of building the building, sound system (club musik was played with a subwoofer only,
muddled as if sounding from a basement or from behind a closed door). The istallation also included
other video works and architectural drawings on plywood.

Mariele Neudecker, Another Day, 2OOO. Simultaneous record of the sun rising and setting in two
opposite locations on the globe – South East Australia and West Azores. Two DVD projections.
Duration 19 min.
Mariele Neudecker’s Another Day (2OOO) is a record of the simultaneous rising and setting of the sun
on opposite sides of the globe. Filmed over a period of four days in May 2OOO, the work required a
series of logistical calculations, using sun calculators from the US Naval Observatory and HM
Nautical Almanac Office, as well as satellite phones. These enabled direct communication between the
remote locations of Ponta Negra, most westerly point of the Azores archipelago and Wilson's
Promontory, where the most southerly lighthouse in Australia is located.

Entering from the dark main hall of the exhibition, the two rooms with works by Cornelia Parker
formed a ”Wunderkammer” of perplexing works. Top: My Soul Afire, 1997 (Hymnal retrieved from a
church struck by lightning in Lytle, Texas), Middle, left: Blue Shift, 2OO1 (light box w. night gown
of Mia Farrow from Polanski’s film Rosemary’s Baby). Bottom, right: Embryo Firearms, 1995.

Parallel Realities
EMAF
EWHA University Campus, Seoul, South Korea
May 21-22, 2OO4
Participating artists: Elisabet Apelmo (Swe), Maria Borgström
(Swe), Lilibeth Cuenca Rasmussen (Den), Nathalie Djurberg (Swe),
A. K. Dolven (Nor/UK), Jenny Grönvall (Swe), Astrid L Johannessen
(Nor), Raakkel Kuukka (Fin), Marit Lindberg (Swe), Anna Ling
(Swe), Liisa Lounila (Fin), Elena Näsänen (Fin), Anu Pennanen
(Fin), Pia Rönicke (Den), Ene-Liis Semper (Est), Gitte Villesen
(Den), Ylva Westerlund (Swe)
EMAF 2OO4, Parallel Realities. An open-air screening of new Nordic Video art at
EWHA University campus. One out of five venues (on the screen: Marit Lindberg,
Flamenco in Taipei, 2OO3.

A screen displaying Nathaile Djurberg’s animation The Wolf, during installation of EMAF 2OO4.
EMAF is an annual ”E-media Art Festival” (from 2OO5 called EMAP) at EWHA
University in central Seoul, South Korea. EWHA is one of Korea’s largest and most
powerful universities, and the festival is arranged by their Fine Arts department.
As EWHA is strictly a women’s university, my idea when invited to arrange the main
part of the outdoor festival was to work with other female artists, mostly just
slightly older than the students at the university. This way, the works would
reflect on themes and topics familiar to these Korean women, but seen from the
perspective of Nordic female artists. I wanted this quite extensive presentation
of Nordic video art (27 works by 17 artists, displayed on five screens around the
campus) to form a ”Parallel Reality”, in some way going parallel in time to their
own lives. The main themes were the forming of an identity, modernisation and how
to relate to it on a personal level, and how we also build ambiguous relations to
our own bodies and the roles we play. This is of course a grossly simplified
description of one possible way to approach these different video works.
Two of the screens showed individual works by the special guest, the Norwegian
artist A. K. Dolven, films with very little and slow development in time, that
formed visual points of departure, placed at venues where anyone entering the
campus would pass. The festival took some weeks to prepare at the location and was
up for only two nights, and was seen probably by some 1O OOO people. The event was
administered and produced with a fantastic crew of students mostly from the Fine
Arts Department, who literally worked around the hour to get everything ready in
time.

Special Guest (two works on separate screens)
A.K. Dolven (Nor/UK), The Meal, 2OO4. 16 mm film transferred to video, 8 min in
loop; Between the Morning and the Handbag, 2OO3. Video, 6’3O min.
A K Dolven, Between the Morning and the Handbag, 2OO3, and The Meal, 2OO4.
London based Norwegian artist Anne Katrine Dolven works primarily with painting,
photography, 16mm film and video. She creates intense scenes where strong
existential dramas are read out from a minimum of events. I am not alone in
considering her one of the finest media artists in the world today, she is well
recognized but still deserves more attention. She was presented with two works
displayed on separate screens, and special attention was paid to her work in the
open lecture I gave at the university.

Top: Lilibeth Cuenca Rasmussen, Family Sha-La-La, 1998. Bottom: Bottom, Marit Lindberg, Flamenco in
Taipei, 2OO3, and Maria Borgström, Inside the Gates, 2OO3.
Parallel Identities
Lilibeth Cuenca Rasmussen, Family Sha-La-La, 1998. Video, 8 min, Shout, 2OO2.
Video, 3 min.
Maria Borgström, Inside the Gates, 2OO3. Animation on video, 4’2O min.
Nathalie Djurberg, My Name is Mud, 2OO3. B/w animation on video, 5’5O min; The
Wolf, 2OO3. Colour animation, 3 min.
Marit Lindberg, A Lesson in Finnish Grammar, 2OO1. Video, O’5O min; Practical
Chinese, 2OO2. Video, 1’15 min. Flamenco in Taipei, 2OO3. Video, 7 min.

Works by Liisa Lounila, Anu Pennanen, Raakel Kuukka and Gitte Villesen.
Contemporary Realities
Anu Pennanen, High – 3OO Meters, 2OO4; Video, 2’37 min. Heavy Snowflakes, 2OO3.
Video, 5’15 min.
Raakel Kuukka, Drummer, 2OO3. Video, 3’3O.
Anna Ling, Antennas, 2OO3. B/w animation (sequence of stills), 3 min.
Gitte Villesen, Katrin Makes Them and Bent Collects them, 2OOO. Video, 9 min.
Pia Rönicke, Outside the Livingroom, 2OOO. Video and animation, 9’1O.
Liisa Lounila, Play>>, 2OO3. Digitally animated sequence of stills, 5’45 min.
Ylva Westerlund, Exercises in Triangulation, 2OO3. Flash animation transferred to
video, 4 min.

Works by Ene-Liis Semper, Elisabet Apelmo and Elena Näsänen.
Ambiguous Realities
Elisabet Apelmo, University, 2OO3. Video, 1’3O; You Can't Kill the Bogy Man, 1998.
Video, 1’O5; I'm Not Naked, 1998. Video, 4 min.
Ene-Liis Semper, FF/REW, 1998. Video, 7’11 min; Seven, 2OO2. Video, 3’4O.
Astrid L Johannessen, ARCADIA. Four Portraits, 2OO4. Video (Sugnu troppu
Malandrinu, 3’5O min; Catarine Cin Cin, 2 min; Ou sont tous mes amants, 3’3O min;
Cinderella, 9’4O min).
Jenny Grönvall, Peggy Sue Heartsong, 2OO2. Video, 2’22 min.
Elena Näsänen, Photograph of the Sea, 2OO2. 16 mm film, transferred to video, 4’2O
min.

ERNESTO NETO:
PASSING TIME,
PASSING SPACE

Cover of catalogue, Ernesto Neto: Passing Time, Passing Space, Århus 2OO2.

Ernesto Neto: Passing Time, Passing Space
Århus Kunstbygning, Århus, Denmark
August 3O - October 6, 2OO2
First solo exhibition in Scandinavia of Brazilian artist
Ernesto Neto
Ernesto Neto, We Stopped Just Here at the Time, 2OO2. Detail. Textile, cloves,
tumeric, cumin and pepper. Århus Kunstbygning 2OO2.

Ernesto Neto, The Embryonic Temple, 2OO2. Textile, styrofoam, sand, stones and rice.
Invited by the Århus Kunstbygning in Århus, Denmark, to make an exhibition
relating to their upcoming Brazilian culture festival in 2OO2, I made a proposal
with two different exhibitions to be staged parallel to each other, with a small
catalogue each.
The main exhibition was a first individual exhibition in Denmark and Scandinavia
with Brazil’s currently most famous artist, Ernesto Neto. The title Ernesto
Neto: Passing Time, Passing Space placed its emphasis on the cosmic, almost sci-
fi character of Neto’s huge organic sculptures, that he himself also has
referred to as ”ships” (Portuguese ’Navi’), while at the same time implying an
aspect of time travel as well as voyaging to Earth’s geological past.
Our discussions about the exhibition turned out crucial for the exhibition and
for the little book, which we both are quite happy about. Neto’s interest in
physics provided a way of linking his works to Denmark and their physicist Niels
Bohr, The essay I wrote has elements of poetry and fiction, based on these talks
we had on science, science fiction, and the organic as wellas physical aspect of
his works.
The exhibition consisted of two brand new works, neither of them previously
shown, and one of them made on commission for the exhibition. The Embryonic
Temple is a vast, cave-like space (consisting of two small ”chambers”) inside
walls of elastic and semi-transparent textile (lycra, the same as in ladies
stockings). It can be entered by the visitors, who with their shoes off will
wade through a soft, snow-like cushion (about 7O cm high) filled with

Ernesto Neto, preparatory drawing for We Stopped Just Here at the Time, 2OO2.
granules of styrofoam, also contained inside of lycra. When lying down, you
experience a feeling of floating. Big ”sacks” are hanging down from the
”ceiling” of the work, also filled with styrofoam granules. But while the
styrofoam on the floor gives a sensory experience of defying gravity, the
hanging styrofoam is instead surprisingly heavy. The effects of gravity are
constantly examined in Ernesto Neto’s work, while at the same time tactile
qualities and a sensory communication on a very basic human level is taking
place. You are placed inside of a space that emmidiately reminds you of a womb
or a cave, giving associations to geology, birth and sexuality. From outside,
the work is like a huge organic being, something between plant and animal. As
most of Ernesto Neto’s sculptures, the whole structure is in suspense between
the weight of the work itself and counterbalancing weights (sand and pebbles in
lycra) placed in the”extremities” of the structure, and everything hanging
freely from hooks placed high up on the walls.
The work Ernesto Neto made on commission for the exhibition is We Stopped Just
Here at the Time, 2OO2. It consists of a canopy suspended from above, with a
great number of ”stalactites” of elastic lycra in, filled with various grinded
spices. Partly due to the aromatic character of the spices, this is an immensely
sensual and sensoric work. It was also an extremely difficult work to install,
hanging directly under a glass ceiling that could not carry much weight. Most of

the weight is actually being suspended from the walls (again with neto’s system
of counter-weights. It looks very light, but the wieght of the spices is
actually some hundred kilos. And lycra is a fragile material… It was later
purchased by Centre Culturel Georges Pompidou in Paris and is placed in their
permanent collection.
Ernesto Neto, We Stopped Just Here at the Time, 2OO2. Textile, cloves, tumeric, cumin and pepper.
Århus Kunstbygning 2OO2.

From the catalogue of Ernesto Neto: Passing Time, Passing Space, Århus Kunstbygning 2OO2.

OVERLAP:
MARCIA THOMPSON
MARCELO KRASILCIC

Cover of catalogue for exhibition, Overlap: Marcia Thompson, Marcelo Krasilcic.

Overlap: Marcia Thompson, Marcelo Krasilcic
Århus Kunstbygning, Århus, Denmark
August 3O - October 6, 2OO2
/apologies for poor quality scans/
Marcia Thompson, Untitled. Silicone varnish, beewax, plastic and wood (detail), and
Marcelo Krasilcic, Hraphilda Kneeling Down, 2002. C-print. Catalogue page.

Marcelo Krasilcic, Apartment in Guaruja I, Brazil 2OOO. C-print.
The exhibition Overlap: Marcia Thompson, Marcelo Krasilcic conjoined with
Ernesto Neto: Passing Time, Passing Spaces at Århus Kunstbygning during the
Barazilian cultural festival in Århus, Denmark, in 2OO2.
With Overlap, I wanted to bring in two less known artists from Brazil, that
still would take on aspects present in the exhibition with the mega-star Ernesto
Neto. Both Marcia Thompson and Marcelo Krasilcic belong to a diaspora of
Brazilian artists working abroad, Thompson in London, Krasilcic in New York.
Despite all differences in their techniques and even fields of activity –
Krasilcic works as a photographer/filmmaker with fashion and music videos as
well as art, and he also has a foot in the world of gay pornography, while
Thompson has placed herself placed firmly right between painting and sculpture.
She sculpts with paint, and he actually sculpts with bodies in his works, like
Rodin who tended to bend and stretch the bodies of his models to the extreme.
Butt hese twisted bodies are depicted on a flat photographic surface.
But both have a very bodily approach to their genres. All Marcia Thompson’s work
are physical, they have a tactile appeal, a play with transparence, gravity,
touch, whiteness (and dirt) – an impure mix which tells about her roots in the
peculiar Brazilian minimalist/concretist tradition, where examination of the
body and its limits have been crucial aspects, at least since the days of Lygia
Clark and Helio Oiticica. This is also present in the works of Ernesto Neto,
The photographs of Marcelo Krasilcic in the show were either nudes or from his
series of depictions of a huge apartment in a seaside resort in Brazil, an
apartment fully furnished but where the owners hardly ever stay. The interiors

Marcelo Krasilcic, Apartment in Guaruja IV, Brazil 2OOO. C-print.
are strangely impersonal, with furnuture, plants and decorative objects, but no
sense of anyone leaving traces of a presence. Despite all the naked skin and
obvious sensuality, also his nudes have a peculiar chill. He is an artist
observing bodies, using bodies, taking advantage of them. It is of interest to
know, that much of the poses struck by the models, are inspired by the positions
in yoga, of which Krasilcic is very influenced.
The combination of these two radically different artists worked almost
chockingly well. Marcia Thompson’s bodies of paint and Marcelo Krasilcic’s
sculpted bodies somehow got a family resemblance, an eerie tactility, the
temtation to touch, but also the impulse of retracting due to something uncanny
with all this physicality.
While the catalogue for Ernesto Neto’s show was printed with text on opaque
images, on a soft yellowish paper, the catalogue for Overlap was intended to
resemble a slightly sleazy magazine, printed in full colour on glossy paper.
Identical in size, the catalogues were intended to have a small dialogue about
differences and communalities between these three artists.

Marcia Thompson, (top left) Untitled, 1999. Oilpaint and acrylic box; (top right) Untitled, 1997.
Silicone, net and wood.
Marcelo Krasilcic, (bottom) Ben Back Bending, New York 2OO2. C-print.

Marcelo Krasilcic, (top left) Ben Lifting His Arm, New York 2OO2. C-print; (top right) Apartment in
Guaruja V, Brazil 2OOO. C-print; (bottom) Adi and Renata Lying Down II, New York 2OO2. C-print.

Marcia Thompson, Untitled, 2OO2. Paper, acrylic box, and Untitled, 2OO2. Crayons, acrylic box.
Marcelo Krasilcic, Apartment in Guaruja III and II, Brazil 2OOO. C-prints.

sur face
Lund Konsthall, Lund, Sweden
June 1 - August 26, 2OO1
Participating artists:
Chris Cunningham (UK), Gary Hume (UK), Yayoi Kusama(Jpn), Ernesto
Neto (Bra), Fanni Niemi-Junkola (Fin), Pipilotti Rist (Swz), Blaise
Reuterswärd (Swe), Nina Roos (Fin), David Svensson (Swe), Marcia
Thompson (Bra/UK), Laureana Toledo (Mex), Francesco Vezzoli (Ita),
Per Wizén (Swe), Miyon Yoon (Kor).
/apologies for poor quality scans/
Chris Cunningham, Flex, 2OOO. Still from video.

Yayoi Kusama, Love Forever buttons, 1966.
Invited to make a second show at Lund Konsthall in Sweden, I
decided to play around with the concept of surfaces (and the
literal French, ”on (your) face). I wanted to see what happens if
you start to think of surfaces as for instance the interface of a
computer screen, or the skin and mucuous membranes of the body,
where information and materia is allowed to pass. I started to
think of the almost dumb, glossy surfaces of Gary Hume’s big
paintings on aluminium, and then on the soft, light transmitting
paintings of Finnish Nina Roos. They represent surfaces in
different and in some sense radical ways. And then there were
Ernesto Neto’s transparent textile sculptures, that really have a
lot to do with skin texture. His fellow ”Carioca” Marcia Thompson
shares this interest in transparency and permeability, though
working in a tradition of minimalist painting. The Mexican
photographer Laureana Toledo brought several works, among them her
conceptual installation Fixed Points (1993-1999) with approx. 4OOO
slides, all the artist’s production during 7 years. The idea of sur
face was definitely not to primarily examine tactile values, but
more to work on ideas of transparency, and a physicality dealing

with exchange (like sensorial experiences by means of sight,
hearing, touch, smell, all transmitted via various membranes) and,
of course, all the different ways the body exchanges air and fluids
etc. with the its environment. Fanni Niemi Junkola’s Pauliina
(1998) and Pipilotti Rist’s Flatten (2OOO) were both works dealing
with the body and the screen, while Chris Cunningham’s big and
spectacular film Flex (2OOO) showcased physical violence and actual
sex in a dramatized setting of light and darkness – and it has to
be stressed, that sur face opened before Chris Cunningham’s work
got such immense attention at the Venice Biennale the same year.
The same goes for Francesco Vezzoli, whose works with embroidery on
the faces of divas and film star were generously presented here.
The young artists David Svensson, Per Wizén, Miyeon Yoon and
Fashion photographer Blaise Reuterswärd represented various ways of
dealing with surface phenomena, while also being part of my still
valid policy to always work across generations (and mix the famous
names with artists I personally believe in) in my exhibitions.
The main venue was supplemented with the exhibition space Aura in
the oldest equestrian building in Lund, a three storey, small
Medieval brick building just a few steps from the city gallery.
sur face invalidated the popular claim, that contemporary art is
less attractive to a general audience than ”traditional” shows:
45 OOO visitors during three summer months (in a city of
approximately 1OO OOO) was a pleasant surprise to us all, since
there was very little marketing for the exhibition.
Cover of catalogue for sur face, with Pipilotti Rist’s Flatten, 2OOO. Video still.

Fanni Niemi-Junkola, Pauliina, 1998. Still from video.
Nina Roos, Untitled, both 1995. Acrylic paint on acrylic glass.

Top, Main hall: Part of David Svensson, Big Cushion, 2OO1; on the walls Gary Hume, Birds-eye, 1999,
and Blackbird, 1998. Gloss paint on aluminium.
Bottom: Gary Hume, Blackbird, 1998, and Scared, 1998. Gloss paint on aluminium.

Top left: Main hall, overview. Gary Hume, Snow Man (2OOO), bronze sculpture w. car paint, paintings
She (1999) and Scared (1999), gloss paint on aluminium; David Svensson, Large Cushion, 2OO1.
Sculpture commissioned for the exhibition, and (back wall) Lightcatcher, 2OO1.
Bottom: David Svensson, Lightcatcher, 2OO1. Oil on canvas, and David Svensson, Glow Ball, 1999. Not
in exhibition.

Francesco Vezzoli, actual hanging of works (both walls), and two individual works from the series
Audrey Hepburn Was an Embroiderer (2OOO) and Joan Crawford embroidered Bleeding Tears to Gloria
Swanson (2OO1). B/w laserprints on canvas with metallic embroidery.

Per Wizén, From the series Spin, 2OOO-2OO1. Collages from books, transferred digitally to
laserchrome prints, on aluminium.

Second hall, Ernesto Neto, Broto Nave (Sprout Nave), 1997. Lycra, polyamide, styrofoam granule,
powdered clove and sand. Blaise Reuterwärd, Nudes, 2OO1. Colour photos. Bottom right, Laureana
Toledo, Fixed points, 1993-1999. Approx. 4OOO slides, all the artist’s production during 7 years.

Left: Pipilotti Rist, Flatten, 2OOO. Stills from
video.
Right: Marcia Thompson, Untitled works. Solicone
on plastic and wood, and acrylic box with oil
paste bars.

Kyander portfolio 1998-2007

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Kyander portfolio 1998-2007