If the universe
has unlimited time at its disposal, that not only means that anything
can happen. It means that everything will happen.(i)
Jacob Dahlgren
collects stripes. In his unceasing Signs of abstraction he
photographs all the striped patterns he can find in his surroundings.
His collection of photographs contains pictures of awnings, caps,
t-shirts, building façades, buses, staircases, and window shades.
Every time I meet Jacob he is wearing a striped t-shirt. He buys
practically all the striped shirts that he sees and at home there
are 400 of them stored away waiting to be worn. In addition to the
everyday wear and use of the clothes, their patterns also provide
a starting point in his current series of stripe paintings, where
shirt patterns define the form of the painting. Close-ups of the
patterns produce abstract paintings. Those taking a fundamental
view of concepts would perhaps prefer to call the works shirt portraits
rather than abstract paintings. But in this context this is of no
importance. What is interesting is how the procedure gives randomness,
mass production and play precedence over the highbrowed views of
modernism regarding the forces of the spirit and the special nature
of artistic thinking. And no difference is seen in the finished
product.
One certainly
cannot predict future events exactly if one cannot even measure
the present state of the universe precisely! (ii)
For some perhaps
the thought process stops at the fact that the procedure is reminiscent
of Daniel Buren's city stripes. But today it is mostly original
thinking modernists who passionately hang themselves up on the genealogists'
raison d'être. Who cares about the beginning or end? The dispute
about who came upon the idea first is no longer newsworthy. A more
rewarding association with Dahlgren's art is to see it as a historic
nomadology - a medley of conceptual art, abstract art, concretism,
minimalism, pop art and neomodernism. A product of the post-modernist's
sampling and multiplication of impressions.
There are no
parallel universes in Dahlgren's art. There is no obvious hierarchical
border between art and life. All is part of the same reality. Coffee
cups, clothes hangers, building material, reels of thread, yoghurt
cartons are used as natural raw material. The search for new material
is carried out in various discount stores. What he is fascinated
by is the aesthetification of the everyday, which means that products
- although not required by their function - are designed. The wet
room insulation that is to be hidden in the wall is produced in
a light purple colour and clothes hangers that are to hang in a
dark closet are made in all colours of the rainbow.
In Hamburg
1982 thousands of small colourful yoghurt cartons are piled
on top of each other. They are organized in a line pattern in which
the colours shift a little bit all the time. In Geneve (year?),
however, they are placed in straight lines. As all dictators know,
control disappears over the individual in the masses. When the yoghurt
cartons are experienced in their thousands they loose their individuality
and together they are united in something that looks like a colourful
abstract painting. The traditional painting hierarchy is broken
down and the cheap is transformed into something exclusive. Despite
everything, a diamond is nothing more than compressed carbon.
Where the material
can be seen as a way to demystify the abstract art, the titles strive
towards another direction. Their role is not to seal the interpretation,
but to transport thoughts even further away from the original material.
Instead of quite simply calling the work 10,000 yoghurt cartons
they are given titles in which, for example, a city is combined
with a year. When you hear Hamburg 1982 you automatically start
to think about what happened in Hamburg in 1982. You start to go
through your personal historical reference material and the final
interpretation is dependent on the observer's subjective memory.
Another series
of work is named after different Munch paintings: Despair, Self-portrait.
Between the Clock and the Bed and Girls on a Bridge
are a few of the titles. The tone is desperate, melancholic and
unexpected. Perhaps some think that it locks the work. I see it
however as an opportunity for generous confusion promising both
an end and a continuation. That the titles are stolen from Munch,
is furthermore nothing to attach yourself to. What is interesting
is the meeting between the abstract works and the graphic titles.
It is this that opens up for the experience's unpredictable future.
When an abstract sculpture is given such a personal title like The
Sick Girl or Puberty the onlooker is activated. There
are certainly very few who do not look for answers in the forms
after having read the title. In this searching lies not only the
possibility to see the art in another, less routine way, but also
the possibility that art widens our relation to language. The gap
or connection between form and words that Dahlgren consistently
makes use of, opens up his different works for the observer's individual
comprehension, something the artist does not have access to. With
the titles, Dahlgren releases control of his works. He throws the
art out of the nest and in the end it becomes a way for him to renounce
the preferential right of interpretation.
Several of Dahlgren's
works contain references to other artists. In Title? Malevich is
written in carved out material? - letters lying in stacks on the
ground. It is also hard to ignore that the form of the sculpture
Puberty is reminiscent of something Olle Bærtling could have been
behind. But honestly speaking, Bærtling would never have thought
of using glitter as material. In Despair it is as if Mondrian's
two dimensional wood studies had taken on a three dimensional shape.
The sculpture is done in Styrofoam, a material that probably would
not have been Mondrian's first-hand choice. But these changes have
in common that you sense a love and respect for the precursor. No
taunt is intended. Just the opposite. It is as if the works turn
to their soul mates, as a continuation of the old masters' work,
done in a new time, with new material, contexts and stories to tell.
Third Uncle
was a giant installation that Dahlgren built at Millesgården in
Stockholm. In short, it was an enormous labyrinth of colour, in
which the monochrome walls in shifting height and colour interplayed
with a thousand mirrors. Children in striped t-shirts had been invited.
They ate ice-cream and ran around, high on sugar, and played in
the labyrinth. The mirrors, children, rooms, observers and painting
interacted alternately in an unruly entity. A simple interpretation
would have been to dismiss this as painting in the extended room,
but while there you understood that it was about a here-and-now
experience and not about the material's possible two or three dimensionality.
Like Third Uncle, several of Dahlgren's giant works are interplays
between the room, time, art and visitors to the gallery. I, the
world, things, life was an installation at Norrköping's Konstmuseum,
which was made up of thousands of black and white dartboards hung
one after the other until the wall was chock-a-block. At the side
there was a box full of darts, which the public was encouraged to
throw at the throng of dartboards. The hypnotic effect that arose
in the multitude of all the circles and stripes made it hard to
focus on a specific goal. The visitors height, arm strength, concentration,
chance and perhaps in a few cases skill, determined where the darts
landed and how the work appeared.
In the exhibition
The possibility of eternal conceptual misunderstandings a
hundred or so shirt paintings hung at regular intervals on the walls
of Galerie Anhavas. There were stripes everywhere. I could not help
but wonder which painting I thought was best. Only snobs think that
evaluations of shirts and art differ from each other in some way.
In the middle of the room stood a group of mirror covered towers.
While some were no larger than mushrooms, other reached up to the
ceiling. Their staggered contours made them look like skyscrapers.
Manhattan no doubt misses them. In the adjacent darkened room stood
a solitary tower, covered in a florescent membrane radiating a yellow-green
glow. It was like a negative of what was taking place outside. A
night club version of Malevich's tower.
The myriad of
mirrors join the visitors, paintings and sculpture make up a psychedelic
whole. A confirmed pragmatic might only see the mirrors as a good
opportunity to fix her lipstick. Others probably noticed that the
reflections put the installation in a constant state of change.
It broke up the whole and gave a glimpse into a potential infinity,
where entrances and exits alternate. To try to position a centre
point was impossible. The parts are not greater than the whole and
the whole is not greater than the parts. In fact, this is no harder
than Einstein's Theory of Relativity. Time is not absolute. The
past, the present and the future co-exist side by side. The movements
of the observer dictate what is space and what is time.
Stina Högkvist
(i) Erlend Loe,
Naiv Super, Albert Bonniers Förlag, 1998 (1996), page 84. ii Stephen
Hawking, A brief history of time, Bantham Books, 1988, page 59.
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