Never underestimate the power of bullshit
This made me want to cry.
No piece of art has done this to me in a while.
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Artist: Gardar Eide Einarsson
WHOOMP THERE IT IS (WITH MATIAS FALDBAKKEN), 2002
Photo shows work installed in Bjørvika, Oslo When invited to do a show taking place in the dock area of Oslo organized by the National Museum of Contemporary Art in Norway we wanted to do a work that would problematize the gentrification going that was picking up speed in that area and that was being further moved along by the series of cultural events scheduled to take place there (including the exhibition we were to take part in). The work visually builds on the cool club furniture so popular in gallery and museum contexts in the early to mid nineties but is installed underneath a highway overpass that is used by local heroinists to shoot up. The intention behind the work was to intentionally naively misunderstand the unspoken agreement of cultural projects in areas undergoing heavy gentrification - i.e. that a certain group of users are to be excluded. Our project, a large circular couch, was made so that one could sit comfortably or nod off while high and had a lowered part in the middle that would be filled up with fresh Litago (a sweet milk product for children that is very popular with Norwegian heroinists) every morning.
Détail d'un travail installé à Oslo en norvège lorsque l'artiste fut invité à faire un show sur la zone des docks pour le musée d'art contemporain de Norvège.
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Taken from http://www.loevenbruck.com/
No piece of art has done this to me in a while.
__________________
Artist: Gardar Eide Einarsson
WHOOMP THERE IT IS (WITH MATIAS FALDBAKKEN), 2002
Photo shows work installed in Bjørvika, Oslo When invited to do a show taking place in the dock area of Oslo organized by the National Museum of Contemporary Art in Norway we wanted to do a work that would problematize the gentrification going that was picking up speed in that area and that was being further moved along by the series of cultural events scheduled to take place there (including the exhibition we were to take part in). The work visually builds on the cool club furniture so popular in gallery and museum contexts in the early to mid nineties but is installed underneath a highway overpass that is used by local heroinists to shoot up. The intention behind the work was to intentionally naively misunderstand the unspoken agreement of cultural projects in areas undergoing heavy gentrification - i.e. that a certain group of users are to be excluded. Our project, a large circular couch, was made so that one could sit comfortably or nod off while high and had a lowered part in the middle that would be filled up with fresh Litago (a sweet milk product for children that is very popular with Norwegian heroinists) every morning.
Détail d'un travail installé à Oslo en norvège lorsque l'artiste fut invité à faire un show sur la zone des docks pour le musée d'art contemporain de Norvège.
__________________
Taken from http://www.loevenbruck.com/