| dc.date.accessioned | 2020-02-04T09:11:22Z | |
| dc.date.available | 2020-02-04T09:11:22Z | |
| dc.date.issued | 2019-06-26 | |
| dc.identifier.uri | http://hdl.handle.net/2077/63227 | |
| dc.language.iso | other | sv |
| dc.subject | Public enquiry | sv |
| dc.subject | durational relational intervention | sv |
| dc.subject | New Carlsberg Foundation | sv |
| dc.subject | Ikast-Brande | sv |
| dc.subject | Kunst Hjertet | sv |
| dc.title | ”Man lånte jo ikke nåle i Herning” | sv |
| dc.title.alternative | (And one did not borrow any needles in Herning) | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Bergendal, Kerstin | |
| art.typeOfWork | Commissioned artwork for a semi-public square, realized with point of departure in a public enquiry and collaborative strategies, with the aim to generate a wider self-reflective local public discourse. | sv |
| art.relation.publishedIn | The work exists in two parallel versions: 1) The physical artwork - Cultural House Hjertet, Vestergade, Ikast-Brande, Denmark. 2) The app: Kunst til Hjertet, found where you usually download apps. 3) The work is published in the home pages of Tekstil Museet and of New Carlsberg Foundation. | sv |
| art.description.project | This two-sided work responds to an invitation from the New Carlsberg Foundation concerning a public artwork for the city of Ikast Brande, in Denmark.
Context:
The invitation was extended in 2017 to three artists - Cai Ulrich von Platen, Jørgen Carlo Larsen and Kerstin Bergendal – each asked to elaborate additions to a complex building, the new Cultural House of Ikast-Brande, designed by architects C F Møller (DK). From 1991 – 2005, these three artists constituted the core of an artist run platform, called TAPKO, pioneering site specific art in Denmark, by realizing more than 20 exhibitions in in-and outside of the exhibitionary complex, including works of participating colleagues from Denmark and abroad. Thus, as a point of departure, the invitation was linked to site-specificity.
Ikast is a minor town in the region of Jutland. It is famous for its booming textile industry during the 1900s. This boom grew in harsh competition with a similar boom in the neighboring town, Herning – hence the title of the project.
The work consists of two versions of the same content - a selection of recorded enquiries among locals and local agents of the town of Ikast. From these dialogues, the artist chose 176 quotes, subsequently used in two different ways:
As parts of a physical artwork on site: Individual and subjective quotes from the taped dialogues were adapted to and engraved 4-6 mm deep into the slabs both of the indoor and outdoor “floor” of the new Cultural House.
Indoors, the black ceramic tiles are rectangular. On the outside, the large white slabs, chosen by the architects, are five-cornered and irregular, in order to make up a complex pattern. Each quote was adapted, to fit the format of a chosen slab.
By giving each quote a specific font and font size, it acts a singular “voice”. When grouped, a sort of dialogue or a poetic meaning through association can be generated between the different statements. The text fragments thus appear on site as a stream of subtle and variated sum of “voices”, spread irregularly over the entire surface of the large new square and meanders in through the interior of the imposing building.
As text fragments pronounce surprising, odd, funny and melancholic opinions on life in the town of Ikast, they mechanically incite inhabitants to self-reflective dialogues, through which the semi-private square over time can be reclaimed as a commons, and open to a local publicness.
The subtle nature of the engravings adds an ever changeable aspect of the work; In mid-day sunshine, concrete goes light and dry. The texts then almost disappear. On a rainy day, the inside of the text in the concrete becomes evident and black. On windy days, most of the texts are covered by sand, trash or leaves. Indoors, the text fragments are placed right in the middle of areas used for activities. They will therefore gradually be erased. Traces of life are added on with time – rust spots, wine spots, chewing gum and car tracks - the will transform the square into a Book of Life.
As an app: In order for visitors on site to identify the individual and subjective quotes, Bergendal has created an app, which includes a GPS function. For the visitor at home, the quotes are also listed alphabetically. Clicking on a quote, connects you to a short poetic text by the artist and an image connected to its meaning.
These texts ponder upon the essence of the quote in question, and/ or relates it to historical events of the local area, going back as far as 10 000 years. This part of the project is elaborated in collaboration with professionals at the Textile Museum of Herning, local archives of the region and the local paper Herning Folkeblad. The mixture of old and new, imaginary and factual, as well as the highs and lows of the quotes themselves, proposes a redefinition of the role of artist in contemporary society. It claims the artist as a transitory figure or ultra-attentive listener, calling for others to gather on a surface of contact, to engage in actually hearing and seeing each other again. “Know yourself”, as a strategy of resilience. | sv |
| art.description.summary | The work consists of two versions of the same content - a selection of 176 quotes from a recorded public enquiry, performed by the artist in 2017. Locals and local agents of the small town of Ikast in Denmark, was invited to reflect upon the everyday and social life of their home town.
The quotes are included as elements of a physical artwork on site,: Engraved at 4-6 mm deep into the slabs of both the indoor and outdoor “floor” of a new Cultural House, the text fragments appear as subtle and variated “voices”, spread irregularly over the entire surface of the large new semi-private square and streaming right through the interior of the imposing building. As the fragments pronounce sarcastic, odd, funny or melancholic opinions on life in the town of Ikast, they mechanically incite inhabitants to self-reflective dialogues opening for the privatized square over time to be claimed as a commons, open to publicness.
The quotes are also included in an app: In order for visitors on site to identify each quote, Bergendal has created an app, including both a GPS function and an alphabetical list. Clicking on a quote in the app, you are connected to a short poetic text, written by the artist, and an image related to its essence, connecting the individual, subjective statement to the factual history of Ikast. A short video finally introduces the entire concept and method, for the app user. | sv |
| art.description.supportedBy | The project was fully funded by the commission from the New Carlsberg Foundation.
It was realized in collaboration with a broad range of supportive agents
Ikast-Brande Kommune;
CF Møller Architects
Valand Academy
Marie Rosenkilde Lindberg
Ikast Stenhuggeri
Midt-Jyllands Museum and Tekstilmuseet in Herning
Herning Folkeblad
Ikast Lokalhistorik Arkiv
Omslev Kolt Lokalhistorisk arkiv
Lokalhistorisk arkiv Herning
CMP Company / Hanna Bergman | sv |
| art.relation.uri | https://drive.google.com/file/d/1X6x0T3jH5SlnlLZ8fM1rhv8k03buPNpQ/view | sv |
| art.relation.uri | https://drive.google.com/file/d/1rJVZ1ddnst8kb096cMrl9PIOMfSP3K5W/view | sv |
| art.relation.uri | https://www.youtube.com/watch?v=zcvoTIH0-KE&feature=youtu.be | sv |
| art.relation.uri | https://www.ny-carlsbergfondet.dk/en/node/26992 | sv |
| art.relation.uri | https://museummidtjylland.dk/kunst-i-hjertet-i-ikast/ | sv |
