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Lars-Andreas Tovey Kristiansen www.toveykristiansen.com - - PDF document
Lars-Andreas Tovey Kristiansen www.toveykristiansen.com - - PDF document
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 Malm
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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.
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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
- f 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).
Home-made wind generator The abandoned building
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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.
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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.
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Terrorism, samhällsfara, attentat, mord! (Amalthea) / Terrorism, danger to society, attack, murder! (Amalthea), 2009
Tar painted oak wood and steel, 400 x 150 cm
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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
- ut 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.
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Unrealized Ruins, 2008
Stones from Skärholmen quarry, wood, text/foto, map.
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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
- rder 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.
Unrealized Ruins, 2008
Stones from Skärholmen quarry, wood, text/foto, map.
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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.
Records on Möllevången, 2008
2 LED displays, 108 cm LED display #1: placed in the window of Bodoni Restaurant & Club (Möllevången, Malmö)
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Detail - Bodoni LED display #2: placed in the window of Mascot Restaurant & Pub Detail - Mascot
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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.
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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
- thers 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.
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Video still. Six scenes from around the city of Malmö
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Guilty Until Proven Innocent, 2009
Ultraviolet paint on canvas, UV lamp 50 x 60 cm
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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.
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Guilty Until Proven Innocent (Fritz Moen), 2009
Ultraviolet paint on canvas, UV lamp 50 x 60 cm
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Guilty Until Proven Innocent (Fritz Moen), 2009
Ultraviolet paint on canvas, UV lamp 50 x 60 cm
Fritz Moen, almost completely deaf, with very poor speech abilities and a lame right arm, was convicted of two violent murders in 1978 and 1981 in Trondheim, Norway. He was sentenced to 21 years in prison, 18 of which he served. In 2004, after a major commitment from a private inves- tigator during the late 90s, Moen was acquitted for one of the murders. In 2006, one year after his death, Moen was acquitted also for the second murder, after the real perpetrator had confessed on his own death bed that he was the one responsible. Moen´s case has been referred to as the worst scandal in Norwegian justice system ever. “Guilty Until Proven Innocent (Arne Treholt)”
Ultraviolet paint on canvas, UV lamp 50 x 60 cm
Arne Treholt was arrested at Oslo Airport in January 1984 suspected of espionage for the Soviet Union and later convicted and sentenced to 20 years in prison. The court determined that it was likely he had revealed political and military secrets to the Soviet Security Agancy KGB. In 1992 he was pardoned by the King of Norway and released. Treholt has plead innocent from the start and has continuously tried to get his case reopened. This was denied each time; in 1988, 1992 and lastly in 2008. “Guilty Until Proven Innocent (Joy Rahman)”
Ultraviolet paint on canvas, UV lamp 50 x 60 cm
Joy Rahman was convicted in 1994 to life imprisonment for murdering a 72-year-old woman for whom he was working as a personal-care aid in Stockholm. After serving 8 years in prison he was exonerated by the supreme court in 2002 after a reopening of his case. He was awarded a record high compensation of 10 million swedish kroner, half of which he used to start the Rahman Welfare Foundation in Bangladesh. In March 2008 Rahman was arrested in Bangladesh suspected of mur- dering the treasurer working in his foundation. The case was later closed due to lack of evidence.
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Landings is an artist run project space for contemporary art situated in Vestfossen, Norway, founded in 2008. With 5 individual rooms of a total of 230 square meters, run on an ideal basis, Landings ofgers artists, curators and writers an independant space for research and discourse. Landings also consists of Landings Journal, published three times a year, and Landings Editions, a project in which the exhibiting artists along with curators and writers involved in Landings also creates a signed and numbered work exclusive for the project space. Landings is run by Lars-Andreas Tovey Kristiansen and Fredrik Værslev. Editors of Landings Journal is Geir Haraldseth and Benjamin Lobko. For more information visit www.landings-projectspace.com.
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