Death Valley, everywhere we looked, gently waving stands of desert gold
blossoms danced in the wind, their daisy-like faces punctuated with vibrant
installation by Motherboard/Per Platou og Amanda Steggell for Galleri
F15's 40 year jubilee exhibition "Prosjektrommet
Moss Bryggeri Utstillingshallen, Moss, Norway.
13.05 - 11.06
Sound: Geir Jenssen/Biosphere.
Flower construction: Aslak Nygren.
Thanks to: Håkon Lindbäck, Jana Winderen, Greg Pope, Finn-Olaf
Jones/NY Times, Amargosa Opera House, Dale Air UK, F15 crew, HC Gilje
and Bodil Furu.
MP4 movie [640 x 480, 20.57 MB, 3.25 min] here
[Source file: http://www.liveart.org/motherboard/mov02/In_Death_Valley640.mp4]
[320 x 240, 9.6 MB, 3.25 min] here
[Source file: http://www.liveart.org/motherboard/mov02/In_Death_Valley_320.mov]
Galleri F15, Moss Bryggeri Utstillingshall
Erlend Hammer, Billedkunst 04.06
(extract translated from Norwegian)
If I was to be totally honest I have to acknowledge a touch of artist
distain. When I see exhibitions, theatre performances and concerts it
is always with a feeling that the artist stands in the way of the experience
of the work. I therefore generally give little thought to who has made
the artworks I see. However, in this exhibition the apparent absence of
the artists seems almost intrusive. It is very rare to see exhibitions
where 80 artists are represented, and as there is very little supplementary
information beyond the list of works, the job of matching the map to the
terrain, so to speak, quickly becomes irritating ......
... There are moments when being an art critic feels like a burden, and
the act of describing and expressing opinions feels almost perverse in
that it is hard to do so without violating the actual experience. Per
Platou and Amanda Steggell have created a work that I am so intensely
in love with that I am actually a bit embarrassed to talk about it. It
is as though the work is custom-made for my private feelings and longings,
however I can't put my finger on exactly what or how. At the same time,
it seems to be the exhibition's most universally accessible work - because
it is so instantaneously sensuous. Particularly the use of aroma is so
effective that several hours later I could still sense it on me as an
aftertouch of a lover's caress. To experience the work feels like being
wrapped in swaddling clothes and laid in a cradle, and the memory of the
experience is almost stronger then the experience itself. The installation
has become a friend and it is the only artwork that I have ever attempted
to hug. It feels sad to have to have to say goodbye, but friends come
and go. The parting is endurable because there is hope that we may meet
again and everything that has happened in the meantime will generate new
things to talk about. It is through moments like these that the art circus
proves itself worthwhile after all.
Full review in Norwegian HERE
(Death Valley resource)
(Centre for Land Use Interpretation)