According to the perfectionist Sæthre, an additional two weeks would have been needed in order to get everything just right. The exhibition consisted of a hyper-real installation where one wandered through a kind of high-tech landscape that suggested films like Kubrick’s 2001, or the spaceship Enterprise. After having passed through corridors, soundless sliding doors, rooms with monitors showing films in slow-motion with silent gas explosions, surrounded by a high frequency sound that makes its way into the brain, one entered a giant blue room. At the end of the room, a declining white (stuffed) unicorn was preening itself in the most voluptuous way. It was a slightly surreal experience, and the enormous installation gave the visitor an impression of a totality, something that is quite uncommon.
Excerpt from "Børre Sæthre, A Warped World" a Talk with Power Ekroth.
Børre Sæthre, A Warped World a Talk with Power Ekroth
Intellectual Montage and the Twilight of the Gods
By Håkan Lövgren
The Dream of Being Able to Fly
By Leif Magne Tangen
To Devour a World
By Miriam Tai
Some Reflections on the Body, the Corpse, and its Representation
By Lucas Margarit
By Trond Lundemo
Everyone Who is Here is From Here
By Jeff Kinkle
Notes on “Notes on the Creation of a Total Art”
By Staffan Lundgren
By Rodrigo Mallea Lira
Introduction: The Gesamtkunstwerk Today?
By Kim West
Gesamtkunstwerk as Modern Concept of Art
By Anders V. Munch
Surface and Inscription: Mallarmé, Greenberg, and the Unity of the Medium
By Sven-Olov Wallenstein
Notes on Sputniks
By Maria Lind
An Ear’s Knot – Conjectures About the Concept of Gesamtkunstwerk
By Marcia Sá Cavalcante Schuback
Tim Anstey, Brian Manning Delaney, Power Ekroth, Jeff Kinkle, Trond Lundemo, Staffan Lundgren, Karl Lydén, Helena Mattsson, Meike Schalk, Susan Schuppli, Kim West.
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