骑车追MM---(新锐导演作品)
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Mats Bigert & Lars Bergstrom
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Lars Bergström 1962 生于 斯德哥尔摩，瑞典
Mats Bigert 1965 生于 斯德哥尔摩，瑞典
Bigert & Bergström是两位来自斯德哥尔摩，瑞典的艺术家。他们从1990年开始合作，并成立了一家制作公司。他们的作品在近十年内收到了国际的承认，作品涉及影片，装置，网络等各个媒介。
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Lars Bergström 1962 生于 斯德哥尔摩，瑞典
Mats Bigert 1965 生于 斯德哥尔摩，瑞典
Bigert & Bergström是两位来自斯德哥尔摩，瑞典的艺术家。他们从1990年开始合作，并成立了一家制作公司。他们的作品在近十年内收到了国际的承认，作品涉及影片，装置，网络等各个媒介。
Last supper/ Last Words
最后的晚餐/最后的遗言
2006
展览“最后的晚餐/最后的遗言”，包含了以上新的装置/表演作品 “最后的晚餐”。 这个在开幕酒会墙上燃烧保险丝的作品是德克萨斯州 Huntsville State 监狱，由2001年到1991判决死刑的囚犯最后的遗言组成的。
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Galeria Noua, Bucharest, Romania
The exhibition Last Supper/Last Words juxtaposes the film Last Supper with the new installation/performance Last Words. A series of fuse drawings was burnt into the walls of the gallery during the opening night. The last words originate from inmates executed in Huntsville State Prison, Texas, between 1991 and 2001.
最后的晚餐/最后的遗言
2006
展览“最后的晚餐/最后的遗言”，包含了以上新的装置/表演作品 “最后的晚餐”。 这个在开幕酒会墙上燃烧保险丝的作品是德克萨斯州 Huntsville State 监狱，由2001年到1991判决死刑的囚犯最后的遗言组成的。
[attachment=39078] [attachment=39079] [attachment=39080] [attachment=39081] [attachment=39082] [attachment=39083] [attachment=39084] [attachment=39085] [attachment=39086]
Galeria Noua, Bucharest, Romania
The exhibition Last Supper/Last Words juxtaposes the film Last Supper with the new installation/performance Last Words. A series of fuse drawings was burnt into the walls of the gallery during the opening night. The last words originate from inmates executed in Huntsville State Prison, Texas, between 1991 and 2001.
Molecular Forest Mobile
2005
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2005
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Last Supper
最后的晚餐
为既要判决死刑的囚犯提供最后的晚餐是自有死刑以后就流转到现在的传统。最后的晚餐最大的意义在于安抚死囚死后的往生旅程，给于他们一个充实的准备。至今，我们还可以在这个可笑的惩罚里认识到这个传统。
58 min, 16mm & DV.
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The last supper has been given to prisoners facing the death penalty as long as the punishment has existed. The tradition stems from funeral rites where the deceased person was given food on his deathbed to protect him on his journey to the afterlife. Today, the ritual of giving the last supper to the condemned person has been detached from its origin, and can be perceived to be as absurd as the punishment it accompanies.
Last Supper focuses on this discrepancy between historical "meaning" and contemporary use of a tradition that has lost its connection with the past.
The film mixes documentary material with sculptural installations and animated graphics.
The main character is the former death row chef Brian Price, who reconstructs one of the 200 final meals that he prepared during his time as inmate in Huntsville State Prison, Texas, US.
The film was shot during 2004 in the US, Philippines, Thailand, Japan, Kenya, South Africa and Sweden.
Last Supper is projected in “The Blue Sky Room”, a reconstruction of a witness room for an execution chamber.
最后的晚餐
为既要判决死刑的囚犯提供最后的晚餐是自有死刑以后就流转到现在的传统。最后的晚餐最大的意义在于安抚死囚死后的往生旅程，给于他们一个充实的准备。至今，我们还可以在这个可笑的惩罚里认识到这个传统。
58 min, 16mm & DV.
[attachment=39088] [attachment=39089] [attachment=39090] [attachment=39091] [attachment=39092] [attachment=39093] [attachment=39094] [attachment=39095] [attachment=39096] [attachment=39097] [attachment=39098] [attachment=39099] [attachment=39100]
The last supper has been given to prisoners facing the death penalty as long as the punishment has existed. The tradition stems from funeral rites where the deceased person was given food on his deathbed to protect him on his journey to the afterlife. Today, the ritual of giving the last supper to the condemned person has been detached from its origin, and can be perceived to be as absurd as the punishment it accompanies.
Last Supper focuses on this discrepancy between historical "meaning" and contemporary use of a tradition that has lost its connection with the past.
The film mixes documentary material with sculptural installations and animated graphics.
The main character is the former death row chef Brian Price, who reconstructs one of the 200 final meals that he prepared during his time as inmate in Huntsville State Prison, Texas, US.
The film was shot during 2004 in the US, Philippines, Thailand, Japan, Kenya, South Africa and Sweden.
Last Supper is projected in “The Blue Sky Room”, a reconstruction of a witness room for an execution chamber.
Ecco Humour
2003
Stainless steel mirror wall
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2003
Stainless steel mirror wall
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Triviality Inverted
11min, Video installation, 2002
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11min, Video installation, 2002
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The Waitting Room
2002,Installation
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2002,Installation
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Climate Chambers II
气候室 II
1998
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EGGS
AUTUMN EGG
SUMMER EGG
SPRING EGG
winter EGG
STAIR
气候室 II
1998
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EGGS
AUTUMN EGG
SUMMER EGG
SPRING EGG
winter EGG
STAIR
真NB
插死你
黑了了能解释一下吗？
——————————黑粉
——————————黑粉
Deathwatch
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The Big Feed
.
A shop window installation during Stockholm Cultural Capital 1998 as part of the project "INSYN".
We were invited to do something for the four large shop windows in Björn Borg's "underwear palace" on Götgatan in Stockholm. At the time we had been working with the theme of the Last Supper. Well aware of the historical site of the shop (the street being used during the nineteenth century to transport prisoners to the site of their public execution), we decided to "hang out" the soiled underwear of the last 100 prisoners executed at the Huntsville State Prison in Texas. This prison executes more people on a yearly basis than the rest of the United States combined. The last supper of each executed prisoner was written in front of a pair of underwear on whose elastic band his name had been embroidered; this being the only information vaguely indicating something about the prisoner hidden behind the anonymous statistics.
The installation triggered many emotions and it was interesting to see how intense and multi-layered the public debate following the exhibition became. Even though Sweden abolished the death penalty in 1910, the topic seemed to stir a lot of feelings. Much of this was due, of course, to how the work was presented to the public. There was no gallery or museum acting like a filter. Things are usually presented in shop windows for commercial purposes and it confuses people to suddenly see something that is not meant to be there. The motives of the sender of the message were blurred and that in itself was disturbing.
More fuel was added to the fire during the exhibition when news broke that Governor Bush was about to send the first woman in 100 years to the gallows of the same Texas prison. Karla Faye Tucker became the news of the week and people begged for mercy around the world. The Swedish bureau of statistics conducted a poll asking Swedes if they thought capital punishment should be reinstated. The shock came when 54% answered "yes". For the first time in the bureau's history, it refused believe its own results and decided to redo the poll.... unfortunately with the same result.
Suddenly the national and media interest in our installation snowballed. A long line of articles and reportage followed, approaching our project from different angles ranging from sympathetic to outraged. We had to do a lot of defending, but there was also room for more profound elaboration on the project. It was a hard lesson in the artist's difficult task on how and if to explain a project when it falls under the scrutiny of a public outside the initiated art community. What started as an artistic comment on the absurd contemporary tradition of capital punishment by juxtaposing food-shit and life-death ended with a full-blown public debate around the death penalty and the use of shock as a viable artistic strategy
[attachment=39137] [attachment=39138]
The Big Feed
.
A shop window installation during Stockholm Cultural Capital 1998 as part of the project "INSYN".
We were invited to do something for the four large shop windows in Björn Borg's "underwear palace" on Götgatan in Stockholm. At the time we had been working with the theme of the Last Supper. Well aware of the historical site of the shop (the street being used during the nineteenth century to transport prisoners to the site of their public execution), we decided to "hang out" the soiled underwear of the last 100 prisoners executed at the Huntsville State Prison in Texas. This prison executes more people on a yearly basis than the rest of the United States combined. The last supper of each executed prisoner was written in front of a pair of underwear on whose elastic band his name had been embroidered; this being the only information vaguely indicating something about the prisoner hidden behind the anonymous statistics.
The installation triggered many emotions and it was interesting to see how intense and multi-layered the public debate following the exhibition became. Even though Sweden abolished the death penalty in 1910, the topic seemed to stir a lot of feelings. Much of this was due, of course, to how the work was presented to the public. There was no gallery or museum acting like a filter. Things are usually presented in shop windows for commercial purposes and it confuses people to suddenly see something that is not meant to be there. The motives of the sender of the message were blurred and that in itself was disturbing.
More fuel was added to the fire during the exhibition when news broke that Governor Bush was about to send the first woman in 100 years to the gallows of the same Texas prison. Karla Faye Tucker became the news of the week and people begged for mercy around the world. The Swedish bureau of statistics conducted a poll asking Swedes if they thought capital punishment should be reinstated. The shock came when 54% answered "yes". For the first time in the bureau's history, it refused believe its own results and decided to redo the poll.... unfortunately with the same result.
Suddenly the national and media interest in our installation snowballed. A long line of articles and reportage followed, approaching our project from different angles ranging from sympathetic to outraged. We had to do a lot of defending, but there was also room for more profound elaboration on the project. It was a hard lesson in the artist's difficult task on how and if to explain a project when it falls under the scrutiny of a public outside the initiated art community. What started as an artistic comment on the absurd contemporary tradition of capital punishment by juxtaposing food-shit and life-death ended with a full-blown public debate around the death penalty and the use of shock as a viable artistic strategy
Therapy Taxi
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This project was first shown at the exhibition "INTERPOL" at Färgfabriken in Stockholm in 1996.
During the exhibition, a taxi service was installed between the museum and the city. Visitors and ordinary citizens where able to take the Therapy Taxi and go wherever they wanted. Lying on a divan inside the large taxi, they could voice their personal thoughts and problems and receive guidance and help from the driver who also acted as a psychoanalyst.
The visitor would pay for the ride according to a normal taximeter and could also listen to "Therapy Trax", specially composed music by Johan Vävare & Christer Linder.
Receipts, signs, and posters where all designed by Björn Kusoffsky.
Taxi costumes where designed by Sparring.
The project was later shown at the Rauma Biennial in 1996, in Berlin during Performa 97, and in collaboration with Galerie Ursula Walbrol in Düsseldorf in 1997.
TT
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This project was first shown at the exhibition "INTERPOL" at Färgfabriken in Stockholm in 1996.
During the exhibition, a taxi service was installed between the museum and the city. Visitors and ordinary citizens where able to take the Therapy Taxi and go wherever they wanted. Lying on a divan inside the large taxi, they could voice their personal thoughts and problems and receive guidance and help from the driver who also acted as a psychoanalyst.
The visitor would pay for the ride according to a normal taximeter and could also listen to "Therapy Trax", specially composed music by Johan Vävare & Christer Linder.
Receipts, signs, and posters where all designed by Björn Kusoffsky.
Taxi costumes where designed by Sparring.
The project was later shown at the Rauma Biennial in 1996, in Berlin during Performa 97, and in collaboration with Galerie Ursula Walbrol in Düsseldorf in 1997.
TT
Love is in the air
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This project was first shown at the exhibition "INTERPOL" at Färgfabriken in Stockholm in 1996.
During the exhibition, a taxi service was installed between the museum and the city. Visitors and ordinary citizens where able to take the Therapy Taxi and go wherever they wanted. Lying on a divan inside the large taxi, they could voice their personal thoughts and problems and receive guidance and help from the driver who also acted as a psychoanalyst.
The visitor would pay for the ride according to a normal taximeter and could also listen to "Therapy Trax", specially composed music by Johan Vävare & Christer Linder.
Receipts, signs, and posters where all designed by Björn Kusoffsky.
Taxi costumes where designed by Sparring.
The project was later shown at the Rauma Biennial in 1996, in Berlin during Performa 97, and in collaboration with Galerie Ursula Walbrol in Düsseldorf in 1997.
[attachment=39150] [attachment=39151][attachment=39152]
[attachment=39153][attachment=39154]
This project was first shown at the exhibition "INTERPOL" at Färgfabriken in Stockholm in 1996.
During the exhibition, a taxi service was installed between the museum and the city. Visitors and ordinary citizens where able to take the Therapy Taxi and go wherever they wanted. Lying on a divan inside the large taxi, they could voice their personal thoughts and problems and receive guidance and help from the driver who also acted as a psychoanalyst.
The visitor would pay for the ride according to a normal taximeter and could also listen to "Therapy Trax", specially composed music by Johan Vävare & Christer Linder.
Receipts, signs, and posters where all designed by Björn Kusoffsky.
Taxi costumes where designed by Sparring.
The project was later shown at the Rauma Biennial in 1996, in Berlin during Performa 97, and in collaboration with Galerie Ursula Walbrol in Düsseldorf in 1997.
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The term "bubblegum pink" was coined by American prisons that use the color in special cells. The color is supposed to calm and soothe aggressive prisoners.
In the installation "Bubblegum Pink" by Bigert & Bergström, the public was confronted by three different "mental climates". The first part was a pink carpet, "Mental Well", with a worn-down, circular pattern caused by pacing on it for a long time while trying to solve a difficult problem. The carpet was flanked by two fuse wall drawings, "Short Circuits 5 and 6".
The second part was a video installation with five monitors showing different parrots repeating short phrases. Together they created a cackle that would drive the most resistant viewer to the verge of a nervous breakdown.
The third part was an enclosed pink chamber with soft anti-static walls. On the ceiling a pink fan slowly moves the air. Here visitors could finally relax from the hysteria they had just experienced.
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The term "bubblegum pink" was coined by American prisons that use the color in special cells. The color is supposed to calm and soothe aggressive prisoners.
In the installation "Bubblegum Pink" by Bigert & Bergström, the public was confronted by three different "mental climates". The first part was a pink carpet, "Mental Well", with a worn-down, circular pattern caused by pacing on it for a long time while trying to solve a difficult problem. The carpet was flanked by two fuse wall drawings, "Short Circuits 5 and 6".
The second part was a video installation with five monitors showing different parrots repeating short phrases. Together they created a cackle that would drive the most resistant viewer to the verge of a nervous breakdown.
The third part was an enclosed pink chamber with soft anti-static walls. On the ceiling a pink fan slowly moves the air. Here visitors could finally relax from the hysteria they had just experienced.
Loop "looped Incubator"
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这是一个表演装置，一个套着塑料袋子不断旋转移动的罗盘。艺术家每天4个小时不停的在罗盘上往不同方向走动。
罗盘在这里复发了艺术家对于“完美天气”项目的联系。一个为了提供另一种环境可能性的而设计的项目。
装置的另一边安排的是一个小型的LCD屏幕，播放的是一个万圣节南瓜头不停的往上挪动，碰见屏幕的上段的框架后压碎。
A performance installation where Bigert & Bergström walked on a revolving floor inside an inflated incubator. They walked four hours every day in opposite directions while maintaining the same distance from one another.
The incubator is a recurring theme in Bigert & Bergström's art and addresses the idea of the "perfect climate," a climate designed to provide something with the best of all possible conditions.
The other part of the installation was a transit chamber in the form of a train wagon with metal padded walls. The buttons of the walls were replaced with small LCD screens showing a looped video of a Halloween pumpkin being slowly crushed against the upper part of the screen. Here the public was invited to sit on stools and take part in an activity opposite to the performers' in the incubator
[attachment=39220] [attachment=39221] [attachment=39222] [attachment=39223] [attachment=39224]
这是一个表演装置，一个套着塑料袋子不断旋转移动的罗盘。艺术家每天4个小时不停的在罗盘上往不同方向走动。
罗盘在这里复发了艺术家对于“完美天气”项目的联系。一个为了提供另一种环境可能性的而设计的项目。
装置的另一边安排的是一个小型的LCD屏幕，播放的是一个万圣节南瓜头不停的往上挪动，碰见屏幕的上段的框架后压碎。
A performance installation where Bigert & Bergström walked on a revolving floor inside an inflated incubator. They walked four hours every day in opposite directions while maintaining the same distance from one another.
The incubator is a recurring theme in Bigert & Bergström's art and addresses the idea of the "perfect climate," a climate designed to provide something with the best of all possible conditions.
The other part of the installation was a transit chamber in the form of a train wagon with metal padded walls. The buttons of the walls were replaced with small LCD screens showing a looped video of a Halloween pumpkin being slowly crushed against the upper part of the screen. Here the public was invited to sit on stools and take part in an activity opposite to the performers' in the incubator
Climate Chambers
天气室
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制作了3年（1991-94 年），“天气室”最后在和政府合作帮助下，终于在瑞士Riksutställningar的巡回展上展出了。
这个展览包扩5个不同天气的房间和一个恒温箱。
这个作品的基础在于联合艺术中所有的感知，创造一个雕塑式的环境并式图展示出除了材料以外的另一种特性。
The Climate Chambers was developed during a three-year period (1991-94) and were finally completed in collaboration with the government-sponsored Riksutställningar Touring Exhibitions in Sweden.
The exhibition consisted of five chambers with different climatic extremes and an incubator with a climatic equilibrium.
The basic concept of this project was to engage all the senses in the experience of art. It was also an attempt to create sculptural environments that would "perform" something more than just their material features.
The exhibition toured in Scandinavia in 1994-1995 and was shown in Stockholm, Helsinki, Drammen, Umea and Luleå.
A series of glass-sketches were produced and shown in connection with the exhibition at Galleri Lars Bohman (Stockholm), Galleri Annhava (Helsinki), Galleri Riis (Oslo), and Galleri Stefan Andersson (Umeå).
天气室
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制作了3年（1991-94 年），“天气室”最后在和政府合作帮助下，终于在瑞士Riksutställningar的巡回展上展出了。
这个展览包扩5个不同天气的房间和一个恒温箱。
这个作品的基础在于联合艺术中所有的感知，创造一个雕塑式的环境并式图展示出除了材料以外的另一种特性。
The Climate Chambers was developed during a three-year period (1991-94) and were finally completed in collaboration with the government-sponsored Riksutställningar Touring Exhibitions in Sweden.
The exhibition consisted of five chambers with different climatic extremes and an incubator with a climatic equilibrium.
The basic concept of this project was to engage all the senses in the experience of art. It was also an attempt to create sculptural environments that would "perform" something more than just their material features.
The exhibition toured in Scandinavia in 1994-1995 and was shown in Stockholm, Helsinki, Drammen, Umea and Luleå.
A series of glass-sketches were produced and shown in connection with the exhibition at Galleri Lars Bohman (Stockholm), Galleri Annhava (Helsinki), Galleri Riis (Oslo), and Galleri Stefan Andersson (Umeå).
Adrenaline Dream
12集的连戏剧 "Dallas"里 Bobby Ewing 这角色死了。但是结局却出乎意料的是，他的死只存在于他妻子Pamela的梦里，而Bobby在最后却像没事发生一样的“复活”了。
在电视剧的世界里，所有的事件好像都很自然的发生了，Bobby的复活不单单是一个骗局也是为了提高收视率的一个手段。
In twelve episodes of "Dallas", Bobby Ewing was dead. As it turned out, his death was only a dream had by his wife Pamela and Bobby was resurrected as if nothing had ever happened.
In the world of the television series, everything passes as if it is the natural course of eventsŸbut Bobby's resurrection cannot only be seen as a trick used to increase the number of viewers.
The event can also be interpreted as a symptom of our zeitgeist.. Bigert - Bergström's installations are often reminiscent of incubators or kinds of bio-spheres, artificial stagings designed to save lives. Incubators and biospheres provide protection in a world that can no longer keep people and animals alive or make nature flourish and grow. A profoundly tragic picture is developed: mankind can no longer survive by "natural means. She is in a coma, attached to a respirator, an artificial lung. She no longer has control over her own life but is at the mercy of technology, her own creation. On the other hand, what are her choices? Can't the incubator also be seen as a greenhouse, a laboratory, in which something new grows and takes shape? The body twiches, not in a convulsion of death, but on the contrary is filled with biotechnically simulated adrenaline and - wow! - just like Bobby in "Dallas" is resurrected as if from a dreamŸ Bigert - Bergström's installations are doubly coded. On one side appears an unreal hallucinatory dream state, a world where previosly concrete conceptions have collapsed and converged in strange mutations. There exist an immediate threat. On the other side the threat produces a shock, which awakens slumbering feelings.
Achtung Adrenaline!
Life saving.
John Peter Nilsson, from catalogue Aperto 93 Emergency, XLV Biennale Di Venezia.
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12集的连戏剧 "Dallas"里 Bobby Ewing 这角色死了。但是结局却出乎意料的是，他的死只存在于他妻子Pamela的梦里，而Bobby在最后却像没事发生一样的“复活”了。
在电视剧的世界里，所有的事件好像都很自然的发生了，Bobby的复活不单单是一个骗局也是为了提高收视率的一个手段。
In twelve episodes of "Dallas", Bobby Ewing was dead. As it turned out, his death was only a dream had by his wife Pamela and Bobby was resurrected as if nothing had ever happened.
In the world of the television series, everything passes as if it is the natural course of eventsŸbut Bobby's resurrection cannot only be seen as a trick used to increase the number of viewers.
The event can also be interpreted as a symptom of our zeitgeist.. Bigert - Bergström's installations are often reminiscent of incubators or kinds of bio-spheres, artificial stagings designed to save lives. Incubators and biospheres provide protection in a world that can no longer keep people and animals alive or make nature flourish and grow. A profoundly tragic picture is developed: mankind can no longer survive by "natural means. She is in a coma, attached to a respirator, an artificial lung. She no longer has control over her own life but is at the mercy of technology, her own creation. On the other hand, what are her choices? Can't the incubator also be seen as a greenhouse, a laboratory, in which something new grows and takes shape? The body twiches, not in a convulsion of death, but on the contrary is filled with biotechnically simulated adrenaline and - wow! - just like Bobby in "Dallas" is resurrected as if from a dreamŸ Bigert - Bergström's installations are doubly coded. On one side appears an unreal hallucinatory dream state, a world where previosly concrete conceptions have collapsed and converged in strange mutations. There exist an immediate threat. On the other side the threat produces a shock, which awakens slumbering feelings.
Achtung Adrenaline!
Life saving.
John Peter Nilsson, from catalogue Aperto 93 Emergency, XLV Biennale Di Venezia.
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Circuitboard
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由电流绘制出的根部的图形。
This contribution to a group show in 1994 at Moderna Museet in Stockholm consisted of a series of electrical circuit boards based on root structures gone awry.
The series "»1-»10" was purchased by the museum and is now part of its collection.
[attachment=39249] [attachment=39250] [attachment=39251] [attachment=39252] [attachment=39253] [attachment=39254] [attachment=39255] [attachment=39256] [attachment=39257]
由电流绘制出的根部的图形。
This contribution to a group show in 1994 at Moderna Museet in Stockholm consisted of a series of electrical circuit boards based on root structures gone awry.
The series "»1-»10" was purchased by the museum and is now part of its collection.
Incubator of Earthquake
透明的棚子内是一个晚餐时用的餐座和餐具，突然间整个装置在猛烈的晃动，坐上的白瓷碟子敲在白色桌布上的声音非常刺耳。这个作品是一个表现地震的试验。
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Inside a transparent tent a dinner table stands set for a celebration. Suddenly, the whole thing bigins to shake violently, the fine, goldrimmed porcelain rattling loudly on the white cloth. The work is aptly entitled An Incubator for Earthquakes.
Bigert and Bergström's exhibition is like some distorted yet spectacular scientific experiment. The artists have used a variety of techniques to produce three vibrant installations representing the natural elements - earth, water, and air. We are presented with a "picture" of our ambivalent relationship with nature. The indomitability of Mother Earth is impressive, but at the same time, we are afraid of the disruption she can cause.
In a separate gallery space the visitor is subjected to a sweaty experience; in the center of the floor stands a large, albino rhinoceros, noisily exuding steam. This colorless mutant has neither eyes nor ears - senseless science fiction on a lifelike scale. The viewer is constantly forced into making decisions about the works. The gallery is no longer discreet - no longer quiet, well tempered, and colorless. At one point, the neutral white wall has simply been replaced by a pulsating rubber sheet. The wall breathes heavily and urgently, driven by a concealed fan. Six stuffed figures in emergency gear peer nervously at the devastation. Scientific revelations have undoubtedly had a crucial influence on modern civilization, and in this context, Bigert and Bergström's exhibition is definitely not neutral. One might conclude that science is a spectacle - not an absolute, "genuine" occupation, but a way of using representation to create meaning from and control over nature.
透明的棚子内是一个晚餐时用的餐座和餐具，突然间整个装置在猛烈的晃动，坐上的白瓷碟子敲在白色桌布上的声音非常刺耳。这个作品是一个表现地震的试验。
[attachment=39258] [attachment=39259] [attachment=39260]
Inside a transparent tent a dinner table stands set for a celebration. Suddenly, the whole thing bigins to shake violently, the fine, goldrimmed porcelain rattling loudly on the white cloth. The work is aptly entitled An Incubator for Earthquakes.
Bigert and Bergström's exhibition is like some distorted yet spectacular scientific experiment. The artists have used a variety of techniques to produce three vibrant installations representing the natural elements - earth, water, and air. We are presented with a "picture" of our ambivalent relationship with nature. The indomitability of Mother Earth is impressive, but at the same time, we are afraid of the disruption she can cause.
In a separate gallery space the visitor is subjected to a sweaty experience; in the center of the floor stands a large, albino rhinoceros, noisily exuding steam. This colorless mutant has neither eyes nor ears - senseless science fiction on a lifelike scale. The viewer is constantly forced into making decisions about the works. The gallery is no longer discreet - no longer quiet, well tempered, and colorless. At one point, the neutral white wall has simply been replaced by a pulsating rubber sheet. The wall breathes heavily and urgently, driven by a concealed fan. Six stuffed figures in emergency gear peer nervously at the devastation. Scientific revelations have undoubtedly had a crucial influence on modern civilization, and in this context, Bigert and Bergström's exhibition is definitely not neutral. One might conclude that science is a spectacle - not an absolute, "genuine" occupation, but a way of using representation to create meaning from and control over nature.
Biosphere lll
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BBBIII – Bigert & Bergström, Biosphere III. Performed and constructed in collaboration with Gallerie RIIS in Oslo 1990.
Biosphere III was a large-scale performance / installation that took place in an old turbine factory. It was inspired by the pseudoscientifical project Biosphere II that was developed during that time in the Sonora desert outside Tuscon in Arizona, USA. In this replica of the earth (Biosphere I), eight "Biospherians" was about to get sealed into a gigantic greenhouse where they were supposed to stay and survive for two years. The utopian idea was that the Biosphere would create a self-supporting ecosystem that would generate its own oxygen and food.
In a long perspective this "Noas arch" would thus be able to carry human species to other planets where they could settle and constitute intergalactic colonies.
Between 1991 and 1994 the Biosphere were in use. It was also one of Arizona's biggest tourist goals with tours around the plant with possibility to spend a night at the Hotel which included champagne breakfast as the sun went up over Biosphere II.
Since 95 the Biosphere has been retooled into an atmospheric nightmare where the Tuscon University stages different ecological armageddons to see what happens when everything goes "totally wrong" in nature.
[attachment=39261] [attachment=39262] [attachment=39263] [attachment=39264] [attachment=39265] [attachment=39266] [attachment=39267] [attachment=39268] [attachment=39269] [attachment=39270] [attachment=39271] [attachment=39275] [attachment=39276] [attachment=39277] [attachment=39278]
BBBIII – Bigert & Bergström, Biosphere III. Performed and constructed in collaboration with Gallerie RIIS in Oslo 1990.
Biosphere III was a large-scale performance / installation that took place in an old turbine factory. It was inspired by the pseudoscientifical project Biosphere II that was developed during that time in the Sonora desert outside Tuscon in Arizona, USA. In this replica of the earth (Biosphere I), eight "Biospherians" was about to get sealed into a gigantic greenhouse where they were supposed to stay and survive for two years. The utopian idea was that the Biosphere would create a self-supporting ecosystem that would generate its own oxygen and food.
In a long perspective this "Noas arch" would thus be able to carry human species to other planets where they could settle and constitute intergalactic colonies.
Between 1991 and 1994 the Biosphere were in use. It was also one of Arizona's biggest tourist goals with tours around the plant with possibility to spend a night at the Hotel which included champagne breakfast as the sun went up over Biosphere II.
Since 95 the Biosphere has been retooled into an atmospheric nightmare where the Tuscon University stages different ecological armageddons to see what happens when everything goes "totally wrong" in nature.
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