| dc.date.accessioned | 2017-12-14T06:33:02Z | |
| dc.date.available | 2017-12-14T06:33:02Z | |
| dc.date.issued | 2017 | |
| dc.identifier.uri | http://hdl.handle.net/2077/54687 | |
| dc.subject | resonance | sv |
| dc.subject | friction | sv |
| dc.subject | craft | sv |
| dc.subject | jewellery | sv |
| dc.subject | elastic identity | sv |
| dc.subject | door stopper | sv |
| dc.subject | Inclusion | sv |
| dc.subject | exclusion | sv |
| dc.title | FRICTION, RESONANCE, solo exhibition | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Cheng, Nicolas | |
| art.typeOfWork | solo exhibition and artist talk on 25th April | sv |
| art.relation.publishedIn | 01 - 26 April, 2017 | sv |
| art.relation.publishedIn | Konsthantverkarna, Stockholm, Sweden | sv |
| art.description.workIncluded | The artist talk on April 25th. | sv |
| art.description.workIncluded | Last day of the show "Resonance, Friction" is Wednesday April 26th. | sv |
| art.description.workIncluded | During the artist talk, I have been discussing subjects and dynamics that became evident in and progressively more important in my individual as well as collaborative practice, such as the elastic identity of the maker, the contamination among craft-based practices and other disciplines. | sv |
| art.description.project | An installation of floor tiles titled From Landscape to Timescape – The Floor (2017) was exhibited at Konsthantverkarna, Stockholm. My intention for the installation of floor tiles laid out in the gallery space was to draw the viewer’s body into the art work. In order to see and experience the works closely, the audience needed to walk on the fragile and delicate surface of the foam floor piece. This particular setting invited visitors’ participation in order to create an act of destruction, or even a
sense of guilt, which ultimately shifts the expectation that we usually associate
with gallery and institutional space: that of stability and physical respect. Normally we expect the floor to be stable, resilient, a surface that would be strong enough to hold bodies and architecture. What is revealed when the floor does not meet this expectations and misbehaves? Time after time, exposure after exposure, the new wood pattern will be
carefully re-engraved on top of the destroyed wood pattern for the next occasion.
The trompe l’oeil patterns of woods near and far, local and exotic, inexpensive or luxurious, tend to blur the identity of materials, and their origins, thus blurring the notion of distance and aesthetic value. The near and the far raises the question: how do our material and cultural perspectives change and respond to issues such as history of trade, economic turmoil,
(mis)use of resources, instability, the dichotomies between global and local, material and virtual? | sv |
| art.description.summary | The exhibition FRICTION, RESONANCE, invited the viewer into a space at once familiar and offbeat. Despite their subtle appearance, the works and objects encountered were imbued with complex material narratives and fabulations. | sv |
| art.description.supportedBy | Konsthantverkarna, Stockholm, Sweden | sv |
| art.relation.uri | http://konsthantverkarna.se | sv |
