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ElinStrand / Stockholm mailto:elinstrands@hotmail.com

Stockholm 30. November 2001 artgenda proposal for TetraPak >ReadyToCapture<! HafenCity - an Urban Space?<

'Urban Bernina','Would you like to try my trousers?' and 'May I ask you for a Hamburg-ride?'

Dear Malte Willms and Anke Haarmann,

My name is Elin Strand and I'm a Swedish Artist and Architect who is involved in the artgenda project in Hamburg 2002. I studied Architecture at Royal Institute of Technology in Stockholm and Fine Art at Goldsmiths College, University of London. I was invited quite late to the project by Ottilia Holmström who is coordinatior for artgenda in Stockholm. At the moment I'm just about to go to Teheran, where I'll work with an Art- and Architectureproject involving the Veil and Architecture as surface/mask. The reason why I'm writing to you is because I've got, at last, a clear idea about how I would like to participate in the artgenda project.

The TetraPak-group and your project sounds very interesting to me and I have developed a serie of projects based on a performance which I exhibited in London in Oct 2000, in combination with your HOST-vision. I would like to present the ideas to you and hopefully you are interested in having further discussions. What I would like to participate with are two collaborative performances at tetrapaks exhibition- and informationcenter + an additional activity in collaboration with Galerie Taubenstrase.

The main-performance appears as a multi-scaled urbanplanning-model including an everyday-changing/developing infrastructure with actual citizens in the scale 1:1. The basic structure of this three-station project is that interviews (made everyday) with Hamburg-citizens are continously communicated with the producers of the model + the third step citizens/exhibition-vistiors are asked for participation. The projects will be performed and produced by me in collaboration with Great Eastern Hotel (an Art- and Architecture group based in Stockholm: Lars Raattamaa, Architect/ Poet, Katarina Bonnevier Architect/ TheaterCreator, Klas Ruin, Architect and Elin Strand Artist/ Architect) and a group of Hamburg-based performers (further details see below) that are changing roles beween these three stations every day as a continous relay.

The working title for the first performace is 'Urban Bernina' (The performance has been presented as a less complex version at the Pump House Gallery, London Oct 2000):

A group of performers (9-10) are wearing the same dress/field/surface of soil/asphalt/fabric/map (1000-1200 squaremeters). They are sitting on stols with wheels and in front of them there are small tables with wheels. On the tables, coming up through the surface, stand sewingmachines. The sewingmachines functions as the tools for production, sewing, travelling, planning, designing everything from clothes in an intimate scale, drawing lines for the new plan for the HafenCity: interpretating and realizing ideas coming from the interviews with the Hamburg citizens; recording the negotiations (as stiches on the fabric) about the space between the performers/citizens when they are sewing and trying to find their way in this enourmous landscape/modell.

By using different material, colours(details from different religions), threads (Turkish, German, Swedish, Iranian thread), a Brodery-sewingmachine that can write names of streets and people who will live, work and walk there; other kinds of tools, wood, plastic,light.... etc. - the performance will work with Hamburg and HafenCity as an ongoing process involving Hamburgs history, plans for the future as well as the present situation. The modell appears as a weave; a paper that will be over-crowded; a bric-collage; a miniature-world; a surrealistic coat worn by it's producers; a dress filled with exact information about how many parking lots the politicians have planned in HafenCity and the Menu from the restaurant that was left over when they closed the petrolstation.

Who lives in Hamburg? How many nationalities? How many religions? Is it a segregated city or is it a multicultural mix? Where is HafenCity situated in relation to Hamburg as a whole? The modell that is developed during the period for the Biennale can be seen as a library, an archive for the sewn-in ambitions, aspirations, dreams that are communicated to the performers. The model becomes as a mobile organism that could move freely in the exhibitionspace, as a mobile workshop/orchestra/traffic amplifier/architecture office/the tailors shop and as a group of people living together and are trying to survive/realize the ideas of Hamburg citizens/get partners to collaborate with/ express their individuality. It will be a struggle that will create an everyday-changing sight.

The second project I suggest is quite dependent on the first, has the working-title May I ask you for a Hamburg-ride?:

Galerie Tauben Strase (Tjorg Beer) has taken an interesting initiative that would be very suitable as a complement to 'Urban Bernina': "Art Delivery Service - An Automobile art salon. On several days in specific places, artists will present their work out of cars. Artistic re-design of the problematic surfaces in Hamburg´s city landscape." What I would like to do is to use the car to invite different Hamburg-based guests everyday. The guests should represent all categories from Hamburg: children, refugees, municipal architects, teachers, office-people, unemployed, shopkeepers, tourists, politicians, doctors, priests, teenagers, racists, second generation refugees, artists, builders etc.

The guest will take the responsibilty for the map-reading and then they will tell the performer/driver about their Hamburg. What is important to them, where their everyday life is lived and all that in relation to the development of Hamburg in total and HafenCity in particular. Old personal stories, that Heinz got his first kiss at Karlsruher Strasse 1954, will appear on the modell side by side with the Iranian Arsalan Moghaddams dream about a Mosque side by side with a church in the HafenCity, with the green-party member Eva Knuphausens logic reason why is has to be one more park in Hamburg and why HafenCity would be the right place. The discussions are recorded and later delivered to the performaces working on the modell. They are listening to the tapes in freestyles (but it would also be interesting for the visitors to hear the stories) while they work.

The Third project that I suggest is a quite independent project but side by side with 'Urban Bernina', workingtitle: 'Would you like to try my trousers?' I have collaborated with the Australien dancer/ choreographer/ artist who is based in Hamburg. Paul Gazzola is in contact with the group of Hamburg-based dancers/performers who are interested in participating in this project. We collaborated in a Parasite-performance called 'Would you like to try his trousers?' at Modern Museum in Stockholm in Mars 2001 ('I'll never let you go', Pancea Festivals, curated by Mårten Spångberg). A developed version of the performace 'Would you like to try my trousers?' would be the last project that I suggest.

A mobile clothes-rack, with a small dressing room on wheels attached, is primarily based around the entrance area. A few people are working around the clothes-rack and are serving the visitors. People are asked if they would like to change their clothes, for an hour or so, with someone elses clothes? They can change mask/ identity/ gender/ religious belonging by just using the clothes on the clothes rack. We will provide the clothes-rack with certain dresses from many of the biggest nationality-groups in Hamburg: djallaba, chador, poncho etc. The clothes on display - on vistiors as well as on the rack - will make the individuals that Urban Planning involves, visible. The performance questions identity, surface and signs as a creator of space.

What connects 'Urban Bernina' and 'Would you like to try my trousers?' are the concentration on the surface; the mask.

The 19th century architect Gottfried Semper argues that the origin of architecture is to be found in the weaving of fabric, the enclosure of domestic space. In "The four Elements of Architecture" Semper makes an analysis of the wall-paintings and the sculptural wall-ornaments of classical Greek and Hellenistic Architecture. In opposition to previous interpretations he sees the origin of wall-painting not as a separate autonomous element attached to the walls but rather as "... panel paintings (even though not in their nature and factual). More correctly, they were painted wall-dressings." (Gottfried Semper, The Four Elements of Architecture and other Writings >§59<, translated by Harry Francis Malgrave and Wolfgang Herman, Cambridge Univerity Press.) In the same manner the ornaments have stepped out from the exteriour facade rather then having stepped in from the tradition of sculpture. "In Greek Architecture, both the art-form and decoration are so intimately bound together by this influence of the principle of surface-dressing that an isolated look at either is impossible." The surface; textiles, colour, texture, material quality becomes, according to Semper, the most important in the production of Architecture.

Through deconstructing the scale of Urban Planning (through personal interviews) and by looking at the specific details of the Surface that creates the city (the citizens clothes/masks) and to reconstruct all these details (words as well as a zips, wallpaper as well as lead) as an actual physical body/modell - it might be possible to reach closer to a (mis)understanding of the complexity that a City as big as Hamburg constitutes of.

I hope that you, even though I'm contacting very near the deadline the 7 December 2001, are interested in discussing my ideas.

I will be back in Stockholm by the 22 December although I've access to internet while I'm in Teheran, I hope.

Yours sincerely - Elin Strand

JohanWaerndt?/ Stockholm mailto:waerndt@hotmail.com

> I believe that we might have a common interest in mapping society as well as investigating the infrastructures of yesterday, today and tomorrow. I´m also interested in merging and mutating apart systems and in several levels stage scenarys of systems parasiting or effecting eachoter. I often use metaphores as a method so my "gestaltung" might use different scales, politics, inhabitants etc from what you might be interested in exposing. I have played a lot with my alter ego, usually called: "The City Planner from something else". The social psycological term "the social animal" is vital in my project "Structures For Social Animals". The first part of this two year old project was actually erected as a permantent installtion "Underground Structure For Social Animals" near a mental hospital (it´s still called that in Finland) outside Helsinki. I like your idea of the over all city planing model but I´m not sure to this state if there will be any possibility for me to assist you in that process before I have actually arrived and also erected my installation in late may or early june.

> Mabye we could establish some kind of cooperation but in that case you have to be aware what you are dealing with. With all respect, as an professional I would also like to know that.

TetraPak: We maybe don't quite understand what you are trying to communicate by that... sorry?

> I admit that it was a bad formulation. If you please explain to me what you were thinking of when you contacted me we could hopefully start that communication. (Below I´ll try to describe why I believe that we could possible have a interesting co-operation). Do you concider yourself beeing a part of the artgenda-administration? Please specify what you mean with your role as "at the same time moderators and a group of cultural producers"… Who is who in your organisation of, as you describe it "cultural producers based on different disciplines as fine art, philosophy, cultural sciences, graphic design and political work/ activism". What have you produced before? What´s your professions? Have you got any CVs or personal/ professional homepages? Who are your co-operation partners so far in artgenda?

> "Structures For Social Animals" is my main project (so far dealt with in approximately ten different projects) during the past two or three years. This is also what´s described as "Insides" in the newley arrived Stockholmportfolio. I´m not interested in your concept as an alibi for participation. I´m interested in your project as it is not so very far from what I could accept as a overall concept for my piece. What my work could possible consist within and still survive, not losing anything vital. Several of the participating Stockholm artists has reacted on some of your expressions like "activism" and "terrorism" though. It might be a good idea to more clearly specify your political agenda if this is important for a co-operation. What are you interested in my art? Why did you choose to contact me? How do you think that we could co-operate? What can you offer me and my art? What can I offer your project?

> I could co-operate on your conditions only as well. If your project turns out exciting enough I could make an adapted new piece for it. What do you specifically mean with "the members of tetrapak are more interested in open processes than in a product". I heard that during the year as the cultural capital there´s a huge risk that the artgenda-projects just disappear and won´t get noticed. Eventhough I also like processes and "underground" perspectives I believe that it´s also important to leave some kind of mark in the city. Why should the hamburgians go visiting an art project in a construction site when they´re served a lot of interesting stuff in more convenient spaces? I think that it´s important to consider the "market" of potential visitors/ beholders.

> I understand that one of the ideas with the model is "dealing with the possibilities of form and content of a model". I don´t really understand the other purposes you consider for the model. Therefore I have only some formal questions on the model. What will the model (basically) consist of? I understand that the participating artists will use whatever technics and tools but you must have an idea of how big it´s supposed to be and what materials you´re starting the process with. And the process of building it is what´s most important? Could the model be spread out geografically? What is the aim with your archive of harbour projects? What kind of information will this archive consist of (Personally I believe this is the part that I´m less interested in)? What´s the main difference to the model?

> How will the "discussions" refering to the "sketches, models and documentations of projects" that you want to recieve look? How will you present that material? In that archive of yours? Is the archive itself also one of the subjects fore these discussions? How will you choose what projects is going to be presented in the "bigger scale model"?

> In october you wrote to me: "… we do like to develop a model (physically and conceptually) that is dealing with the politics of HafenCity this not only, but also meant as an architectual model it can also be taken AS SCULPTURAL WORK but IN AN OPEN SENSE…" This suits me perfectly. But I would like to not tie my "model" to HafenCity particulary and also to, in one way, make it more like an "apendix" to your model. This in the sence that it´ll be placed somewhere else, due to: A). It might EITHER need a suitable enviorment -a specific suitable infrastructure to connect my own parasiting structures to AND / OR to… B). …become a permanent (?) dug down installation at an suitable place covered with concrete.

> I hope to examine the insides of both my own "arranged" strucutres as well as the existing systems that are parasited by my structures with a particular kind of sonds (rebuilt wire controlled remote robotics usually used for sewer inspections). These images could become broadcasted (local tv or I-net live or as recordings) or just screened in various contents. A third part (C) of the piece could be installed in some of your "big scale model" indoor areas or any "white cube" as a transfered or broadcasted projection of the investigations / expolorations of the insides of the above mentioned strucures. An environment is set up to inhabit the (remote) controlroom for the explorations. This controlroom could as well be situated at any or both of the two (A + B) sites.

> In the same letter you also wrote the following lines pointing out different wanted forms of co-operations: "… we want collaboration in generall on the level of 1. content and / or 2. form / method… 1. Dealing with such a phenomenon like the HafenCity (means: urbanism, modeling social and public space…masterplanning… waste land phantasies…)2. Working in co-operative methods (menas you deal with other artists, you work with the public, you invite events, you intervene in social structures, you understand your work… as something that is embedded in your environment)…" My project "Structures For Social Animals" has so far been dealing with (and will also in this future ArtGENDA? case deal with) a mixture of landart,performance inclucing robotics and interactive art, inside vs outside, video art, various broadcasting, incorporating and transforming of existing infrastructuresystems into giant "extended field" (social) sculptures and various society and labyrinth (Orwell-ish) metaphores.

TetraPak/ Appendix

We understand. We see our concept as a kind of proposal, a basic platform, where all people we asked could bring in their interests and focus points to develop a project together. As a form of processing, we hope to develop a way of collaborating and exchange that all participants could find useful and that allows to interact and interchange between us. Therefore we expect a collaboration that perhaps extends normal relations between hosts and artists. This way could bring benefits but some efforts too.

Therefore the problems, you might have in mind, are clear: Concreteness is not the notion we could fulfill in this moment. Please understand also, that the concept of artgenda and the current "phase of matching" doesn't support (in our view) a satisfactory way of communication.

Besides the model, that will be used as a vehicle for communication about models, utopian ideas cityplaning, the prospective habour city and so forth, we do also think of doing social interventions or want to encourage other artists to do that in hamburg.

See Brigitte Kristensen and others at QuestionsAndAnswers

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