#siri aurdal

[garadinervi]

Siri Aurdal, Isaac Newton's 3rd Law of Motion. Action=Reaction, (silkscreen and collage on paper), 1974 [Nasjonalmuseet, Oslo. © Siri Aurdal / BONO. Photo: Børre Høstland]

[formlab]

Siri Aurdal installation

https://www.instagram.com/nasjonalmuseet/

[eiginleiki]

Siri Aurdal by Eline Mugaas

[victorboullet]

Privat. Offentlig. Transit. Arv. - 2014 Victor Boullet Fotogalleriet Oslo, Norway Private. Public. Transit. Inheritance. Synnøve Anker Aurdal (1908 - 2000) Victor Boullet

I photographed Synnøve Anker Aurdal on numerous occasions in the period 1995 - 96. I got to know her, I liked her, I still like her, I remember her vividly. She rang me once saying; where is my piece? Come back with it. I had promised to document one of her later, smaller tapestry works, I got delayed, she tracked me down and I was told off. She was sharp and quick.

(I found my photos in the chest of drawers) Crucial, a thank you to all the people that have made this possible. Below the thank you path to this show, plus a double warm bonus. (Important for future reference, thank the people that think they have been involved, if not, it might be mentioned in conversation later, sulk, sulk - The bigger the names the better - Danke) #Thank Thank you Per Hovdenakk #Thank Thank you Siri Anker Aurdal #Thank Thank you Helen Gulaker Hansen #Thank Thank you François Piron #Thank Thank you Mats Stjernstedt #Thank Thank you Stephanie von Spreter #Bonus Thank you Svein Kojan #Bonus Thank you Hege Nyborg That this material has surfaced and that I can rummage (contemporary conceptual rummage blah blah) and exhibit the content of that chest of drawers, is interesting in itself. This material will disappear into the abyss of a national archive and never be seen complete again. The chest of drawers will be demolished by an aesthetic controller hired and paid by the Norwegian government. Please enjoy what you see. Synnøve Anker Aurdal’s tapestry piece entitled The Bureaucrats was sold to the Norwegian government - (hahaha) - Synnøve Anker Aurdal never made the work in admiration of a bureaucrat, I do wonder if the bureaucrat that bought the tapestry thought exactly that. (?) I recall her smile that turned into a laugh when I asked her about that tapestry. The Tapestry is a trojan horse, it surveys the thoughtless bureaucrats making their daily self- important and bad decisions. (I remember the music I played that day before knocking on her door. AJFA / Track 8) (hahaha) (hahaha) (hahaha) (hahaha) A conceptual idea not supported. I hoped that Synnøve Anker Aurdal’s private photographs could have been shown on tables from The Norwegian National Museum. Photos on tables, the space from Synnøve Anker Aurdal’s photographs down to the floor could have been a social sculpture. I sent a text message, no reply, and then called the Norwegian National Museum director Audun Eckhoff, he confirmed that he had received my text. I explained my matter. He answered; please send an email to Sabrina Van der Ley regarding this very odd and unusual request. No reply No reply

No reply No reply No reply Nordenfjeldske has apparently shown sporadic interest in the content of the chest of drawers.

I understand that one cannot archive, store or save everything that is produced by an artist. The paradox; art that is lost or has no home (transit) is imbued with a negation that creates an awareness. In many cases our National heritage is not immediately understood and is quickly manhandled or destroyed. (if lucky it’s stolen, burnt down or taken by a tsunami; that creates the correct public awareness, bingo)

Biographers should show people in their undershirts. Goethe had his weakness, and Calvin was often cruel. Considerations of this kind reveal the true greatness of a man. This way of looking at things is better than false hero worship. C G. Jung 1946 I remember looking at Synnøve Anker Aurdal sitting next to Ludvig Eikass at their kitchen table, I took a picture of them, not sure I have that photo or negative today.

The chest of drawers is a temple of self obsessed material and I recognise that manic need to document work. The mixture of content in the five drawers is just marvellous. It’s very private and it can only belong to Synnøve Anker Aurdal. The photographic material should stay in the chest of drawers, remain as found. Searching through the drawers there is a hidden hope of finding an old snap shot of Ludvig Eikass and his friend Tor Hoff, together.

Synnøve Anker Aurdal descending from a landed plane in Mallorca. Synnøve Anker Aurdal lying on a bed, hot and tanned. Synnøve Anker Aurdal modelling next to her loom. Synnøve Anker Aurdal with unknown person.

Synnøve Anker Aurdal eating breakfast. Synnøve Anker Aurdal out of focus. Synnøve Anker Aurdal at a table Synnøve Anker Aurdal walking. Synnøve Anker Aurdal sitting.

I will read Synnøve’s letter from Per Aabel. The material and the chest of drawers should stay in the South of Norway, Oslo.

Kjell Askildsen wrote in 1953; Have you ever seen a one day old child with blue marks on it’s neck and eyes wide open, dead eyes. I visited Carl Nesjar the other day, he took my hand and looked me into the eyes and said; It’s soon over I will die. Carl Nesjar invited me to Paris in 1995, we got food poisoned. Destroy. Destroy. Destroy. Destroy. Please do not demolish, touch or move parts of the Y building. (Y Blokka, Oslo)

One thing that comes to mind is a fragment from a poem of the late Norwegian poet Tor Ulven; The fall is falling. (I would add even; even the fall is falling) (Fall as in tumble) Should a Museum Director speculate in art? The inside of an empty room, a room that stored something of importance. The content of the room is destroyed, but not missed. I walk down the basement corridor. I recognise nothing. Synnøve Wer nie sein Brot mit Tränen aß, Wer nie die kummervollen Nächte Auf seinem Bette weinend saß, Der kennt euch nicht, ihr himmlischen Mächte. Ihr führt ins Leben uns hinein, Ihr laßt den Armen schuldig werden, Dann überlaßt ihr ihn der Pein: Denn alle Schuld rächt sich auf Erden. Wilhelm Meister's Apprenticeship Johann Wolfgang von Goethe (1749- 1832) Tesla Motor Nation? Starting price 641 000 NKR. EUSales@teslamotors.com / www. teslamotors.com / Tel: + 47 21 06 19 29. Stange Chicken. Norwegian corruption? - ! Artist on artist And a blurred photo that might indicate that what was in that room, is of importance?

Loophole rubbish. rubbish. rubbish.

Entertainment Any dilatory bureaucrats with his ego blinkers on is always unpunctual Ilford If that empty room is consequential to me and not the content, does that mean that the chest of drawers, empty A conceptual cavity of irritation. Oslo, June 2014 Victor Press Release by Stian Gabrielsen - WELCOME_TO_THE_BATHTUB.pdf Song by Victor Boullet - TheBureaucratsSong.pdf Invitation for the show (as seen above) - PRIVATE.PUBLIC.TRANSIT.INHERITANCE.pdf POTA - Check List - FG_PRIVATOFFENTLIGTRANSITARV_VERKSLISTE_140814_FINAL.pdf

[svartrutan]

Interview, Siri Aurdal 

[johnroeluna]

Siri Aurdal, Conversation, 2019

[angelo-aldo-filippin]

2017 Venezia, 57. Esposizione Internazionale d'Arte performer Siri Aurdal da angelo aldo filippin Tramite Flickr: 57. Biennale d'Arte di Venezia 2017 Siri Aurdal, è nata nel 1937 a Oslo in Norvegia. Siri Aurdal crea i propri ambiti artistici e propone un'esplorazione urbana di materiali industriali. L'opera presentata è composta da una sequenza di tubi aperti in poliestere e fibra di vetro: "Onda Volante" il titolo, è un’opera di grandi dimensioni che dialoga in modo affascinante con l’ architettura del padiglione, un edificio che il progettista, Sverre Fehn, concepì nei primi anni Sessanta come: “altrettanto paesaggio e luogo all’aperto quanto spazio racchiuso”, come nota il curatore della mostra. L’opera, che ricorda un rotolo di tessuto caduto dallo scaffale di una merceria e poi solidificato, si dispiega nello spazio creando una forma che, proprio come il padiglione, è sia interno che esterno, una superficie ondosa che al contempo avvolge e mette in mostra chi la percorre dall’interno. Questa natura duale è anche espressa dal materiale scelto dalla Aurdal, che fa apparire la scultura talora lucida e metallica, talora traslucida e vellutata. Il concetto alla base di Onda Volante è un evoluzione delle opere pionieristiche che la Aurdal creò nei tardi anni Sessanta, come l’installazione Onde Oceaniche (Havbølger), oggi purtroppo perduta, realizzata tra il 1969 ed il 1972 per una scuola elementare nel quartiere di Trosterud a Oslo.

[nullallele-blog]

Siri Aurdal

[daydec]

the nordic pavilion at the venice biennale shows siri aurdal

centro de ideas daydec (design) six artists from different generations exhibit their work in the space, ranging from sculptural works, moving image and montage work. The post the nordic pavilion at the venice biennale shows siri aurdal appeared first on designboom | architecture & design magazine. desde designboom | architecture & design magazinedesignboom | architecture […] from the nordic pavilion at the venice biennale shows siri aurdal

[ella-qut-spatial-art]

Siri Aurdal Flying Wave (2017)

Siri Aurdal’s Flying Wave (2017) is a large-scale, fiberglass-coated polyester shape that flows through the gallery, altering the space around it. The silver sculpture is organic and almost fabric-like, with folded and tubular sections that curve amongst, and rest above, each other. It uses its own twisted appendages to provide balance, creating a large sculptural wave that spreads and curls over the gallery floor. The work is exploring the curvature of its plane and the way in which the folds balance on one another and onto the ground itself.

[garadinervi]

Siri Aurdal, Wave (Blue), (silkscreen and collage on paper), early-1970s [Nasjonalmuseet, Oslo. © Siri Aurdal / BONO. © Børre Høstland]

[formlab]

Siri Aurdal, Bølgelengder

[mattsmithco]

I've always loved this building. Great to see the Nordic Pavilion in real life. Featuring Flying Wave by Siri Aurdal. . . #nordicpavilion #flyingwave #siriaurdal #venicebiennale #giardini #labiennale #art #sculpture (at Giardini della Biennale)

[citizen-grey-blog]

This sleek, visually seductive piece by Norwegian artist Siri Aurdal (born 1937) is the star of the Nordic Pavilion at the Venice Biennale. Aurdal achieved prominence in Norway during the 1960s and 1970s with her large-scale sinusoidal sculptures made of industrial materials that were prefabricated for the developing Norwegian oil industry, allowing them to be destroyed and potential he recreated at a later date. _________________ #VeniceBiennale2017 #NordicPavilion #BiennaleArte2017 #siriaurdul (at Giardini della Biennale)

[doyoufashion-blog]

La Biennale di Venezia✨57th International Art Exhibition @labiennale ✨@reverie_erv at the Nordic Pavilion✨"Mirrored”, a group exhibition curated by Mats Stjernstedt ✨Artists: Siri Aurdal, Nina Canell, Charlotte Johannesson, Jumana Manna, Pasi "Sleeping” Myllymäki e Mika Taanila✨Pic by @cdzph

[nofomoartworld]

Art F City: The Venice Biennale, Viva Arte Viva: The Pavilions, Part One

A view of the Giardini. All photos by Marsha Owett.

Today we spent the majority of our time looking at the Pavilions and we’ll be spending much of tomorrow similarly. Overall, there seem to be fewer people visiting the pavilions and Biennale this year—as evidenced by shortened bathroom cues and the ability to get a cup of coffee in less than hour. It’s hard, though, to discern the reasons for this. It’s not like anyone knows in advance what the shows (or weather) will be like. Still, I wondered if the poor quality of this year’s biennale might have depressed some enough that they took the day off. And perhaps the Americans here are too worried about the President’s recent firing of FBI Chief James Comey to focus on art? I know it’s an issue for me as well as many others I’ve seen over the last two days.

As for the pavilions, it’s a mixed bag—some good, some bad, and some stinky. I mean that literally. At least three pavilions this year need stench warning signs for those with allergies.

I’ll be discussing a lot of the work in greater depth in a separate post. In the meantime, here’s a sampling of what we saw this afternoon.

SWITZERLAND

Carol Bove, Teresa Hubbard/Alexander Birchler

RUSSIA

Grisha Bruskin, “Scene Change”

Grisha Bruskin, “Scene Change”

Grisha Bruskin, “Scene Change”

THE NORDIC PAVILION (FINLAND, NORWAY, SWEDEN)

Installation view of “Mirrored”, an exhibition including Siri Aurdal, Nina Canell, Charlotte Johannesson, Jumana Manna, Pasi “Sleeping” Myllymäki, and Mika Taanila.

THE UNITED STATES

Mark Bradford, “Tomorrow is Another Day”

Mark Bradford, “Tomorrow is Another Day”

Mark Bradford, “Tomorrow is Another Day”

Mark Bradford, “Tomorrow is Another Day”

Mark Bradford, “Tomorrow is Another Day”

GERMANY

Anne Imhof, “Faust”, 2017

CANADA

Geoffrey Farmer

GREAT BRITAIN

Phyllida Barlow, “Folly”

Phyllida Barlow, “Folly”

Phyllida Barlow, “Folly”

FRANCE

Xavier Veilhan, “Studio Venezia”

Xavier Veilhan, “Studio Venezia”

Xavier Veilhan, “Studio Venezia”

AUSTRALIA

Tracy Moffett,

Tracy Moffett

Tracy Moffet

CZECH REPUBLIC AND SLOVAK REPUBLIC

Jana Zelibska, “Swan Song”

ISRAEL

Gal Weinstein, “Sun Stand Still”

Gal Weinstein, “Sun Stand Still”

BELGIUM

Dirk Braeckman,

SPAIN

Jordi Colomer, “Unete! Join Us!”

ALVAR AALTO PAVILION OF FINLAND

Nathaniel Mellors and Erkka Nissinen, “Natives”

Nathaniel Mellors and Erkka Nissinen, “Natives”

Nathaniel Mellors and Erkka Nissinen, “Natives”

Nathaniel Mellors and Erkka Nissinen, “Natives”

Nathaniel Mellors and Erkka Nissinen, “Natives”

GREECE

George Drivas, “Laboratory of Dilemmas”

George Drivas, “Laboratory of Dilemmas”

George Drivas, “Laboratory of Dilemmas”

VENICE PAVILION

Beatrice Moscas, “Luxus”: Note—Moscas is described as the “artistic director” not the participant/artist, which makes sense for this pavilion. It reeked of perfume and with the exception of this room, looked like the inside of an airport boutique. This just looks like props for a stage play.

EGYPT

Moataz Nasr, “The Mountain”

SERBIA

Milena Dragicevic, “Enclavia—Painting a Consequence of This Kind of Life”

AUSTRIA

Erwin Wurm

All photos Marsha Owett

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