| Archives > Early work > tarGET (1995-1998) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| PHOTOGRAPHIC WORK BRYNHILD BYE-TILLER | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nordic Art project & Painting & Photo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
ICELAND: What happens when seven artists live and work together in an abandond pig-farm in Iceland for a limited period of time? How does the situation of working so closely to each other influence the art? tarGET was a self organized art cooperation and a project made by seven artists from Iceland, Sweden, Denmark and Norway. The artists stayed in Iceland for two and a half months with the aim to investigate a situation where artists work, live and exhibit together during a limited period of time. All the works in the exhibitions were made during this working period. The artists were working mostly on individual pieces, but there was a lot of contact, discussion, practical and art cooperation going on.The artists influenced each other’s work due to the situation of working so closely to each other. The communication was done by car, telephone, fax and Internet. The group was highly dependent on each other both for everyday tasks such as cooking but also for working with art. The project was a social experiment and dinner was a regular meating place in the old kitchen at Straumur Art Commune in Hafnarfjordur. 20 km outside Reykjavik. The artists: Maria Friberg (SE), Birgitta Silfverhielm (SE), Brynhild Bye (NO), Torbjørn Skårild (NO), John Øivind Eggesbø (NO), Magnea Asmundsdottir (IS) and Solveig Birna Stefansdottir (IS). Three quite different guests were invited; a group psychologist, an art curator and a spiritual teacher. Each one represented very different angles to group relations and the sessions were done as an experiment. What was said during these sessions was later developed into a textbook. As outside observers and dialogue partners, the group invited two art theorists/curators. Monika Nickels from Moderna Museet in Stockholm and Halldor Bjorn Runolfsson from Iceland previously associated with Sveaborg in Helsinki. They followed the group and each one produced an article in the exhibition catalog.
tarGET – Critics – Verd ad setja "målverk" Brynhildar Bye i gæsalappir, pvi mun frekar
er um samklippur ad ræda, collage, i blandadri tækni. – Inmutningar i såval synliga som osynliga rum gør också norskan Brynhild
Bye i sina målningar som med sitt abstrakta språk søker øversattningar
av visuella och psykologiske upplevelser. I hvilken mån målet att finna nya innfallsvinklar infriats undandrar sig
bedømning, då flertallet konstnærer ar obekanta før den svenska publiken.
Men att resultatet blev en inspirerande och seværd utstællning kan varje
besøkare på Fargfabrikken sjalv konstatera. – Av de syv er det kun norske Brynhild Bye som holder fast ved maleriet.
Men selv hun benytter seg av foto i sine svakt litterære arbeider. – Jakten på det personlige og autentiske kunstprosjektet kan være nådeløs
og hard. I tarGET`s tilfelle blir deltagelsen i gruppens personlige, selvutleverende
og selvgranskende tanker bare til en pinlig og tom erfaring.
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The project was supported by Stockholm Culture Capital of Europe 98, Nordisk Kulturfond, Norsk Kulturråd and Norsk Vederlagsfond, Bildkonstnarsfonden (SE), Längmanska kulturfonden and Trondheim municipality.
