Lars-Andreas Tovey Kristiansen www.toveykristiansen.com mail@toveykristiansen.com NO: 0047 - 957 82 042 DE: 0049 - (0)176 6852 4711
CV Lars-Andreas Tovey Kristiansen *Halden, Norway , 1983 Lives and works in Braunschweig and Malmö EDUCATION 2006 - 11 Master of Fine Art, Malmö Art Academy, Malmö, Sweden 2009 Braunschweig University of Art (Prof. Candice Breitz), Braunschweig, Germany 2005 - 06 Prosjektskolen Art School, Oslo, Norway EXHIBITIONS 2010 “Leinen Los! 85. Herbstaustellung” , Kunstverein Hannover, Hannover, Germany “Malmö goes Oslo” , ONE NIGHT ONLY Gallery, Oslo, Norway curated by Tiril Hasselknippe “The Art of Speculation” , Kunstverein Wolfsburg, Wolfsburg, Germany curated be Justin Hofgmann 2009 MHH-kestnerschau 03|2009 - “weiß weißer nichts” Kestnergesellschaft, Hannover, Germany curated by the Kestnerlabor “Information Wants to Be Free” , Platform One Gallery, London, England curated by Fatima Hellberg “Rundgang - Klasse Breitz” , Braunschweig University of Art, Braunschweig, Germany “I Folkets Park” , Folkets Park, Malmö, Sweden (organized by Annika Eriksson) 2008 “A Public Afgair” , Galleri 21, Malmö, Sweden “Botnik Space Ofg “, Botnik Studios, Gerlesborg, Sweden “Annual exhibition” , Malmö Art Academy, Malmö, Sweden OTHER Co-founder and co-director of Landings project space, Vestfossen, Norway www.landings-projectspace.com GRANTS 2009 International Support, OCA - Offjce for Contemporary Art Norway
You Don’t Need a Weatherman to Know which Way the Wind Blows, 2009 C-print on aluminium, 140 x 60 cm, and home-made wind generator. Abandoned building with lights powered by a wind generator.
You Don’t Need a Weatherman to Know which Way the Wind Blows #1, 2009 C-print on aluminium, 140 x 60 cm, and home-made wind generator. Abandoned building with lights powered by a wind generator. An installation consisting of a photo and a home-made wind generator built by the artist from various parts bought from an ordinary hardware store. The abandoned building seen in the photo becomes a post-apocalypse-like setting in which the home-made wind generator has produced the electricity to power the lightbulbes placed inside the building. The work combines ideas of self-suffjciency and alterna- tive energy with a glimse of a world in post-apocalypse, and can be seen as a comment on the continuous issue of climate change and threat of a climate disaster. The title is taken from the lyrics of Bob Dylan’s Subterranean Homesick Blues, also used as a slogan by the amarican activist group the Weathermen (Weather Underground Organization). The abandoned building Home-made wind generator
You Don’t Need a Weatherman to Know which Way the Wind Blows, 2010 C-prints, 42 x 29,7 cm, and home-made wind generator. Abandoned buildings with lights powered by a wind generator.
You Don’t Need a Weatherman to Know Which Way the Wind Blows #2,#3,#4, 2010 Abandoned buildings with lights powered by wind generator.
Terrorism, samhällsfara, attentat, mord! (Amalthea) / Terrorism, danger to society, attack, murder! (Amalthea) , 2009 Tar painted oak wood and steel, 400 x 150 cm
Terrorism, samhällsfara, attentat, mord! (Amalthea) / Terrorism, danger to society, attack, murder! (Amalthea), 2009 Tar painted oak wood and steel, 400 x 150 cm A public site specifjc sculpture in Folkets park in Malmö, which resemble the shape of the hole which was blown out in the hull of the ship Amalthea after the young socialist Anton Nilsson attached a bomb to its loading hatch in Malmö harbour in 1908. The purpose was to scare english strikebrakers out of Sweden. The incident is a violent part of the swedish labour movement’s history, which usually is refgered to only in anecdotes, but can be seen as marking a turning point in the establishment of social democracy in Sweden. Folkets park, where the sculpture is placed, was originally built on an ideal bases by the labour movement in the late 1800s. Today, the park holds a mixture of activities among others such as a fun fair, concert scene, restaurants and clubs. The restaurant just behind the sculpture is called Far i Hatten and was one of Anton Nilsson’s regular hang out places. Anton Nilsson was convicted and sentenced to death as the last person to recieve the death penalty in Sweden. However, the death sentence was pardoned by the king and reduced to 10 years, after much pressure from the Swedish labour movement and even international labour movements. This theme becoms important yet today with the continuing expansion of the EU and workers being able to move freely between european countries, and also how we view terrorist actions and violence as a political last resort. Amalthea in Malmö harbour in 1908 with the blown out hole in its hull.
Unrealized Ruins , 2008 Stones from Skärholmen quarry, wood, text/foto, map.
Unrealized Ruins , 2008 Stones from Skärholmen quarry, wood, text/foto, map. Unrealized Ruins is a seating sculpture made out of stones transported from a nearby quarry to the exhibition space Botnik Studios where the sculpture was placed. The stones are partially carved and were left at the quarry since when it was shut down decades ago. Stones from several quarries in Bohus- län, on the west coast of Sweden, were part of a large scale order from the German architect Albert Speer just before WWII. There were not enough stone in Germany to fulfjll the plans of Hitler’s Third Reich, so it had to be ordered from abroad. Hitler wanted gran- ite because it had what he called a “ruin quality” meaning that as the buildings in time became ruins you would still see that they were once huge and magnifjcent, unlike concrete that would crumble long before. However, as Hitlers plan failed, huge amount of stone were left at these quarries. Some of it was resold, but some of it is still left at the quarries and are known as “Hitlerstone” . The signes behind each stone shows a drawing or model of some of the buildings that were planned for the Third Reich. Included in the installation is an old map on which the ship- ping route for the stones is marked in.
LED display #1: placed in the window of Bodoni Restaurant & Club (Möllevången, Malmö) Records on Möllevången , 2008 2 LED displays, 108 cm Records on Möllevången is a public work where two LED displays with “rolling” text were put up in the windows of two restaurants/bars in Möllevången, a city part of Malmö, Sweden. The project deals with the ambiguity of Möllevången as a unique and diverse urban area in Scandinavia, which has been widely debated by the police, city and the area’s residents in terms of high crime rates, public safety, surveillance etc. The work weaves together information obtained from opposing sources such as police reports on various inci- dents in the area released daily by the police and opinions from the area’s diverse residents. Examples of what the text reads (translated from Swedish): 03:54 Malmö. A taxi driver calls in and says that his car has been shot at on Monbijougatan with a broken windshield as a result. No personal injuries are reported. - My grandmother thinks that if you cross the square in Möllevången at night, you’ll get a knife in your back. 06:41 Malmö. Report of a fjre in a garbage room at Bergsgatan. The staircase is reported to be fjlled with smoke. - But, please spread that it is so dangerous to live here so I can afgord to stay.
LED display #2: placed in the window of Mascot Restaurant & Pub Detail - Bodoni Detail - Mascot
The research material of the project, such as: police reports, statistics, inquiries and newspaper articles, were presented at Malmö Art Academy during the annual exhibition in May 2008. Presented along with the resarch ma- terial and a map of where to fjnd the two LED displays at Möllevången, was also a 23 minute video loop of a burn- ing car fjlmed by the artist with a cell phone at Möllevången in an angle such as used by surveillance cameras.. The LED displays were placed at the two restaurants/bars during the summer 2008.
Viewpoint , 2007 Six channel video, Police radio receiving live transmissions from the Malmö police’s radio frequencies. Viewpoint is an installation consisting of a six channel video showing scenes from around the city of Malmö. Each scene is fjlmed in an angle such as used by surveillance cameras and shows a staged scene with one or more ac- tors acting out “stories” that you would normally be seen in a large city. Every video loops independently from the others and all of them are without sound. The police radio receives live and random transmissions from the Malmö police’s radio frequencies adding sound to the video.
Video still. Six scenes from around the city of Malmö
Guilty Until Proven Innocent, 2009 Ultraviolet paint on canvas, UV lamp 50 x 60 cm
Guilty Until Proven Innocent is an ongoing series of portrait paintings where the subjects are either wrongfully convicted persons, or has or have had a case in which the question of guilt is or was very ambiguous. The viewer of the paintings has to use a UV lamp, such used in forensic science, to make the images visible.
Guilty Until Proven Innocent (Fritz Moen), 2009 Ultraviolet paint on canvas, UV lamp 50 x 60 cm
Recommend
More recommend
