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Permanens 2009 – art in the University park.

Big hippie tippee by Jim Thorell

Big hippie tippee by Jim Thorell

The opening of the fourth bi-annual art exhibition in the University park took place on Thursday 20 August with displaying art works created around the theme of permanence.

The aim is to show installations built with modern techniques and ideas but with a lasting physical permanence.

Every other year Akademiska Hus invites the five art colleges in Sweden to select two of their most promising final year students to partake in the exhibition. Akademiska Hus, together with the art consultants KiWi then selects one installation where the artist receives a SEK 50,000 grant.

This year four of the art colleges chose to participate: The Royal University College of Fine Arts, University College of Arts, Craft and Design, Valand School of Fine Arts and Malmö Art Academy.

“We would love to purchase some of the more permanent works of art, each year we try to select a few. Our ambition is to constantly improve the park and add pieces of interest. We want to add value to the Campus as a whole. The little cottage for example, which has become a natural part of the park now, was an installation at the 2003 exhibition”, says Malin Ingesson, from Akademiska Hus Öst.

Among the installations were the hospital records of Anna Odell, who received much publicity by documenting a false mental breakdown. She explained why she chose to put her hospital records in such a public place. “The hospital records are seen as the absolute truth but having gone through the events of emergency psychiatric care whilst being unaffected by illness I was able to see that a hospital journal is only really the doctor’s version of events. Who owns the right to define what the truth is?” She went on to say that she chose to put the text on a transparent background to show the contrast with the closed and hidden world of psychiatric care.

Cajsa von Zeipel Segerberg also chose a serious topic as basis for her giant sculpture F-ble dimensions variable. Her large but very thin Styrofoam figure seeks to draw parallels between the myth of Narcissus who was only able to love himself and the modern phenomenon of Pro-ana, a sub-culture that views anorexia as a lifestyle rather than an illness. The sculpture symbolises the thin line between creativity and destructivity.

Carl Palm’s wallpaper made of an aerial photo of stripes mowed into the lawn in the park, was an homage to the French artist Daniel Buren, famed for his 8,7 cm wide stripes. Thale Vangen invites the viewer to awaken her installation by using a pump to lift a small patch of the grass, symbolising how pumping is central to life.

Hans Egede Scherer chose to let colourful aluminium shapes collide with the wall of the Sports Centre in an installation called Peter Can’t Dance, letting the art ask the question if a natural movement can be blocked by fear. Eliana Ivarsdotter Haddad found her inspiration in language and more specifically in one sentence, used in a government document, which tries to capture the aim of communication, be it in images or language. The sentence also encapsulates her vision of artistic creation.

Daniel Andersson’s picnic table in the middle of the pond is the result of a nostalgic trip down memory lane to his childhood where every motorway picnic area had one of these but also invokes the inaccessibility of a distant memory.

Near the pond is Jim Thorell’s wooden tippee housing his wooden sculptures, the choice of wood was made to soften the installation whilst balancing this choice with the awareness of the inevitable damage that will occur.

The exhibition has become a recurrent event after the first exhibition in 2003 was a success and this year’s theme of permanence, which originally hinted at the durability of the installations, could possibly be expanded to include that the bi-annual exhibition is here to stay.

Therese Winder 2009-08-21

Page manager: therese.winder@liu.se
Last updated: 2009-09-17