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Stop for a Moment – Painting as a Place to Be is the
first of three exhibitions focusing on current Nordic
painting. The name of the exhibition itself already implies
a lot. It is a kind of plea, a shy suggestion, and even
a friendly demand. It says: please, stop – look, relate
and enjoy. Do it quietly, walking and contemplating, taking
your time. Spend it together with the paintings and within
the exhibition venues.
The series of exhibitions starts off with emphasis on
something that can be described as ‘abstract’ style, although
all the works pinpoint the impossibility of such an approach.
The first exhibition is subtitled Painting as a Place
to Be. The second exhibition, shown in April 2002 in Istanbul,
Turkey, continues with exploring figurative strategies
used within contemporary painting, this time sporting
the title Painting as Narrative. The series ends with
a take on ‘expressive’ modes, titled Painting as Presence,
in autumn 2002 in Turku, Finland.
To begin with, a word of warning is needed. The agenda
of the exhibitions is not based on some old-style conviction
of the necessity of distinguishing various styles according
to certain a priori criteria. On the contrary, our intention
has been to steal, for our own use, a chance to concentrate
and to give paintings enough room, enough space to be,
and to happen. The selections are not all-encompassing
surveys, they do not claim to present the best and the
boldest of the bunch. Each selection is a very personal
one – and that x 2 – deliberately seeking to speak with
the viewer on a level that is not general, but personal
and particular.
In this introduction, we will clarify where we are coming
from and where we are aiming with these exhibitions. This
will be done reflecting the concept as a whole, as well
as underlining the special characteristics of the first
exhibition. To begin with, we believe that the most accurate
way to articulate our point of departure is in terms of
an attitude. We are dedicatedly and passionately for something,
not against. That very special for is painting, as a medium
of expression – in all of its possibilities, shortcomings,
crises and celebrations. It is something that we, in our
activities as curators, seek to confront, relate to and
listen to.
Being for painting, the aim is to open up perspectives,
and to address wider interests and a larger audience outside
the core of the debates and discussions going on about
painting, its role and position. It is no secret that
this decision to be for is a neat way of not getting tangled
up in often weary and quite hermetic academic problematics.
This is not to deny their importance. Obviously, we are
aware of the various themes, such as the questions of
the extended field, the new formalism or the lame, recurring
fear that painting is dead. However, we choose to focus
and look elsewhere. And, let us repeat it, that is being
for.
Our aim is to make three beautiful, inviting, attentive,
sensual and exciting exhibitions with paintings - you
know, those objects on the wall. Something you can look
at, something which does not madly run away, but stays
in place, luring you, even cheating you into interaction.
It is an opportunity, something that you can make happen
here and now. We want to create a place for all of this,
open for us, open for the artists, open for all who want
to be part of it and to participate. And yes, another
reason, why we need to reserve all our energy and ability
for being for, is that achieving these aims – heaven knows,
but does not tell – is certainly hard enough.
What is it, more precisely, that we are after? Sea, sex
and sun – figuratively speaking? Then, why the big suit,
why the hanging loop earrings and why these three exhibitions?
To put it simply, it goes back to a personal need and
a wish to stop. To come to a stop, but not a dramatic
full stop - instead a cautious, slow one. Just to catch
our breath and sit down, all the time hinting at a ‘soon
to be continued’. We hope to be able to create a situation
where enough detail and attention are put into making
exhibitions that make visible certain traits in contemporary
painting in the Nordic region. The spotlight is on the
Nordic area, because that is where we come from, and it
is difficult and time-consuming enough to get a grasp
of this framework. More importantly, we believe in the
idea that can be dubbed as come closer. Following this,
convinced by our experiences, we feel that quite often
people from fairly similar backgrounds have a lot to gain
from mutual comparison and exchange.
Thus, the exhibition has grown out of a necessity to stop,
think and rethink. To hold on, not running amok to the
next exhibition, the next city and the next party. Considering
and reconsidering: what, where, why and how? And so what?
This is the oldest trick in the book. It involves asking
and wondering, who you are, where you are, where you are
from, with whom you are and where would you perhaps want
to go. All of these questions are asked within contemporary
painting, a marvellously heterogeneous arena.
In other words, we want to go back to the basics. There
will be no extra-special fireworks from slogans or super-sweet
theoretical candy. No hype, no gimmicks, no theoretical
innovations - but hopefully, three rock-solid exhibitions
of paintings.
But hold on for a second. Does not all of this sound horribly
conservative and strangely out-dated? Yes and no, depending
on what is labelled as conservative. Seriously speaking,
we are not gazing backwards, we are not longing for some
state of innocence or for attitudes when painting was
king of the hill. We are very happy that the position,
role and legacy of painting has been and is contested
and questioned. Why? Well, because that is the only way
it can stay alive, forcing it to face current demands
as well as opportunities. This also implies that it has
the courage to laugh at itself and with itself.
What this translates to is that our desire and task has
been to focus on contemporary painting that happens right
here and right now. And this brings us to the question
of the actuality of painting, which is not to be confused
with the question of what is the general role of painting
in contemporary art. To put it simply: what is going on?
Not in general, but with and within the medium itself.
Consequently, we soon realize the need to narrow our reference
and to focus on certain actualities within painting and
on painters.
One way to address this question is in fact somewhat conservative,
because on the level of sentiment and ethical consideration
we are back at square one, with the very basic questions
of human interaction and values. A sensation strongly
emphasised by many of the artists we have spoken with.
And we are not making this up. One fine example is the
Swedish artist Cecilia Aaro, who emphatically stresses
the centrality of these basic feelings in her works: feelings
of care, of worry, of missing something – and the follow-up
task of coping with them. The very point, and the demand
and opportunity, which Aaro well acknowledges, is that
the artist then has to take these sentiments somewhere
else. To propose and provide individual, special and particular,
let us say, situated versions of them – and all the time
using the medium of painting.
There is also another route, for focusing on the actuality
of painting, which characteristically is far from being
conservative. It is a critical but constructive attitude
and stance, which does not side affirmatively with what
is going on, but which, on purpose, puts its finger where
it itches and where it annoys, even hurts. We get clashes
and collisions. However, one of the qualities of painting
is the ability to be critical, by not shouting and not
screaming. Painting does things slowly but surely, demanding
time from all participants, in order for anything to happen
at all.
To state our themes clearly, we are interested in paintings
that reflect and radiate a vivid awareness of where they
are and how they are. These are paintings that are conscious
of the traditions in painting, its histories. Paintings
that also are aware of current contexts, and thus choose
the one that feels most meaningful and fruitful, for each
given artist to keep on working with. They are also aware
of the venues and the whole vast baggage of complications
– the relationships that surface in these interactions.
But for now, we will pick out three aspects of the actuality
of painting that we feel are in great need of being considered
and thought through. They are by no means the only ones
available, nor even the most important ones, but we will
use them as a waving flag or like a wall to bounce off.
They are pleasure, communication and respect.
So, what are we talking about when we talk about pleasure
and painting? This can be answered and understood only
from a very personal viewpoint. It is about personal relations,
confrontations and happenings - locations and relocations.
It is about pleasure in being and in seeing, in feeling
that being together is worthwhile. Getting something out
of it. It is not pure entertainment, and it is definitely
far from the concept of spectacle. It is quiet pleasure,
the enjoyment of being able to relax, to stop and to wonder.
To sail away, daydream.
What about communication? This is a phenomenon that is
the inverse of painting, stressing its contrariness vis-à-vis
the other available means of communication. Of all these
means, it is evident that in terms of direct communication
painting is a huge and tragicomic failure. If you want
to say something directly, please write, take a photograph
or make a video. These media are faster and more easily
distributed. However, the question emerges: what kind
of communication are we after? Something significant surfaces
here, something you are bound to stumble across. Painting
stays in place, it waits. By waiting it implies that deeper
and more nuanced communication is not possible if you
too do not stay in place and wait.
To put it differently, painting as a means of communicating
feelings stresses the fact that enormous effort is required
for that interaction to be possible. An interaction called
dialogue, which is only possible if a common ground can
be created between the participants. Step by step this
leads towards trust and deepening interaction. It cannot
happen without a huge amount of time and other resources
– of which the wish to be together is one of the strongest.
Not so surprisingly, we come to the word respect – or
to the 1960’s soul hit by Aretha Franklin, spelling out
R.E.S.P.E.C.T. In other words, painting exists and happens
only when it is respected. You first have to get down
and listen, be open to what is said and how it is said
– on the terms of the painting and the painter. You have
to show respect. Do not scream around and switch to the
next channel, but stop, and think. Respect.
When brought together and summarised, our starting points
and aims – also our wishes – add up to an aching for occasions
to be present, to be together, to create those opportunities.
These opportunities are shaped by the means possessed
and demonstrated by painting.
Let us just take a brief glimpse at one of them. Take
a look at the catalogue, and then at the actual work on
the wall. When looking at the reproductions of the paintings
by Ulf Verner Carlsson, it is almost impossible to see
why and how these fantastically precise works of art could
move you. It is not a trick of the light, or rather bad
photography. It is a question of presence, of being there
– being together. The sensuality, the materiality, the
absorbent and inviting elements of his paintings are there
– if you are there too. So please, please be – there –
somewhere here, somewhere near.
Mika Hannula Kari Immonen
Catalogues:
Each of the three exhibitions will be accompanied by a
catalogue with introductory essay, artists interviews
and illustrations highlighting the multifaceted ways of
working with 'painting proper'. Catalogues from Painting
as Presence and Painting as Narrative are available and
the third publication Painting as Presence is forthcoming
in September.
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