Israel Museum i Jerusalem:
Tarzan i lianerne - oplevelsesskov midt i byen
JERUSALEM (07.03.2015): Et museum kan være en ødemark. Det kan også være en frugtbar oplevelsesskov, man kan udforske. Oppe i Danmark har I Louisiana. Hernede har vi Israel Museum i Jerusalem.
Skal man have børn til at holde af kunst, skal de kunne kravle rundt i det. Lege i det. Det er vel efterhånden gammel kendt viden. Det hjælper på sin vis også, hvis voksne kan tage sig en opdagelsesrejse indeni et kunstværk. Det kunne man for nylig på Israel Museum, hvor brødrene Doug og Mike Starn havde bygget en kæmpemæssig organisk bambusskov op omkring en skarp, betonskulptur skabt af selveste Pablo Picasso, som på den måde også pludselig for en tid fik et nyt og anderledes liv og perspektiv.
Tidligere ville jeg sikkert selv kun have haft et skuldertræk tilovers for et sådan en installation. Afskrevet den som et gimmick. Et ti minutters oplevelses trip, og så ikke meget mere. Men min holdning til den form for kunst, har ændret sig. Det skyldes blandt andet min gode ven, den siciliansk-langelandske kunstner Alfio Bonanno, som jeg har lært at kende, siden jeg købte et fritidshus på den skønne ø, som har åbnet mine øjne for kunstens mangfoldighed og grænseløshed.
Alfio er verdenskendt landskabskunstner, som bygger kunstværker ude i naturen. Kæmpe skulpturer af naturens egne materialer, organisk i samspil med omgivelserne. Kunstværker med sit eget liv. De bliver født, lever, har en eksistens i og sammen med omgivelserne og de besøgende, der bruger dem. De ældes, går i forfald og forsvinder.
Helt anderledes end den kunst, jeg voksede op med. Gammel kunst var bedre end noget nyt farveplaskeri. Jo ældre den var, jo mere fantastisk. Begyndte den at forvitre, blev et team af konservatorer sat på, for at stoppe forfaldet. Kunsten blev lagt i respirator. Fik ikke lov til at dø en naturlig død. Dermed fik den på sin vis heller ikke lov til at have et naturligt liv. Og på den måde var kunsten sådant set allerede døde, da den blev født, for den blev ikke skabt for at leve et naturligt liv, men for at have et evigt liv.
Alfios kunst er anderledes end brødrene Starn. Eller i hvert end den kæmpemæssige bambusskov på Israel Museum. For Alfios værker er bygget ude i naturen, der hvor råmaterialerne kommer fra, og det er der noget organisk, naturligt i. Bambusskoven i Jerusalem er opført langt fra dens naturlige habitat. Men skulle det princip have været overholdt, ville jeg for eksempel aldrig have set noget lignende, eller fået mulighed for at gå på opdagelsesrejse i Big Bambú.
Starn-brødrenes bambusskov er et stort kaotisk rod, som alligevel hænger sammen og har sin egen indre logik. På afstand ser installationen uindtageligt ud. Endog farlig. Man kan ikke indtage den. Big Bambú er næsten som en uindtagelig fæstning. Så kommer man tættere på og ser, at der er en åbning her og en indgang der. En trappe, en gyde, en hængebro og en passage. Pludselig er man inde. Indvendig i organismens krop. Kommer op. Forfærdelig højt op. Nu er man selv blevet uindtagelig. Ophøjet. Med strategisk overblik udover skulpturparken.
Rundt omkring i kunstværket er der små platforme med sofaer og borde. Små private hjørner hvor man næsten kunne bo eller i hvert fald slappe af. Balkoner med gelænder og fantastisk udsigt.
På en ultrasmal trappe kommer nogen ned, mens man selv skal op. Så trækkes maven ind, og man klemmer sig smilende og nikkende forbi hinanden. Hilser på: ”Goddag”, ”Kan I komme forbi?”, ”Sjovt kunstværk, hva?” Pludselig taler man med mennesker, man aldrig har mødt før, fordi man sammen er klemt sammen inde i et kunstværk.
Sært.
Anderledes.
Sådan her beskrives brødrene Starn i et af de kataloger, jeg har: “Concerned largely with interconnection and interdependence, chaos, time, organic systems and structures. They continue defying categorization, effectively combining traditionally separate disciplines such as photography, sculpture, architecture.”
Brødrene Doug og Mike Starn begyndte egentlig med konceptuel kunstfotografi, legede med lys og bevægede sig over i skulpturer og installationer. Primært bambus. Tit kunstværker, som bliver ved med at udvikle sig i udstillingsperioden, og nogle gange samtidig er kulisse for happenings. Så stopper det. Pludselig er det borte. Pillet ned. Ikke bare flyttet. Det eksisterer ikke mere.
Ingen konservator fik lov til at røre ved det. Holde det kunstigt i live.
Dermed bliver oplevelsen af at have været inde i bambusværket unik. Det kan ikke gentages. Specielt. Nu er den en erindring. Kun billederne fastholder mindet.
Israel har en lang række museer, gallerier og aktive samlinger, som absolut er et besøg værd. Her er udfordrende, provokerende teater. Engagerede og involverede forfattere, der tager del i debatten. Kunst der tager etisk og moralsk stilling i en mellemøstlig virkelighed, der er fuld af udfordringer og traumer.
Kunst og kultur i det her land er virkelig en udflugt værd. Samfundet her har et engagerende og udfordrende kulturliv, de fleste lande ville misunde.
* * *
Interessante links:
Fordi jeg trak Alfio Bonanno ind i den her fortælling, får I lige et Langeland-link, hvor I indledningsvist kan se enkelte billeder af Alfio og hans kunstværk – ”Mellem blodbøg og eg” – i TICKON-parken bag Tranekær Slot på Langeland.
Senere på foråret skal jeg forhåbentlig til Sicilien og fotografere Alfio, der er ved at opføre en række nye værker nede på sin fødeø.
Fra museets eget website: Big Bambú på Israel Museum.
Den israelske avis Haaretz’ omtale af Big Bambó på Israel Museum.
About the Artists:
Doug and Mike Starn, American artists, identical twins, born 1961. First having received international attention at the 1987 Whitney Biennial, for more than 20 years the Starns were primarily known for working conceptually with photography, and are concerned largely with chaos, interconnection and interdependence. Over the past two and half decades, they have continued to defy categorization, effectively combining traditionally separate disciplines such as photography, sculpture, architecture-most notably their series Big Bambú.
The 5th public installment of Big Bambú titled Big Bambú: 5,000 Arms to Hold You, transforms the landscape of the Israel Museum's Billy Rose Art Garden in Jerusalem with a monumental installation towering 53 ft high and covering an area of more than 7,500 square feet features a permanent "double helix tower" and an "ephemeral" chaotic bambú sculpture throughout September 2014. Commissioned for Soichiro Fukutake's Naoshima Museum (July 2013) for the Setouchi Triennial on the small island of Teshima-Japan-, the fifth installment in the Big Bambú series utilizes and comprises an entire bamboo forest is created from several hundred living poles in the rhizomatic root of this ecosystem (new poles sprout daily, encroaching the elevated pathway). A beautiful path through the forest ultimately leads to a Bambú walkway tied with climber's cord directly to the living stalks and winds its way up through the forest, higher and higher, until ultimately breaking through the surface of the canopy of bamboo leaves. Only the visitor's upper body emerges and the elevated pathway face the Starns' vision of a large fishing boat- over 60' long-but made entirely of Bambú - floating on the canopy sea of bamboo leaves at over 60 feet high. The visitors (8 to 10 at a time) approach the boat on the path as if swimming through the canopy, then climb aboard the boat. Entering the cabin of the boat- they descend below deck into the hull to see the interdependent structure creating the being of the boat, a catwalk through the crawl space inside the hull leads them to the bow to the observation bubble which was thought up in a dream actually.
Curated by Francesco Bonami, the first semi-permanent Big Bambú installation opened in late 2012, and is in the collection of the Museo MACRO Testaccio, Rome. Over 40 meters tall, a habitable sculpture enveloping up to 60 people within an elevated performance space, double helix stair and labyrinth paths leading up to over 20 meters high to multiple lounging spaces giving views over the banks of the Tiber and Trastevere to Monte Testaccio. In 2011 at the 54th Venice Biennale Big Bambú spiraled over 22 meters high behind the Peggy Guggenheim Collection on the Grand Canal. The acclaimed institutional premiere Big Bambú: You Can't, You Don't, and You Won't Stop, at The Metropolitan Museum of Art in 2010 was the 9th most attended exhibition in the museum's history with 3,913 visitors per day- with a total of 631,000. Throughout the 6-month exhibit, the Starns and their crew of 12 rock climbers continuously lashed together over 7,000 bamboo poles, a performative architecture of randomly interconnected vectors forming a section of a seascape with a 20-meter cresting wave above Central Park. Big Bambú suggests the complexity and energy of an ever-growing and changing living organism. Several new iterations of the series are being developed internationally.
Gravity of Light, a solo exhibition by the Starn brothers featuring eight monumental photographs illuminated by a single, blindingly bright carbon arc lamp, originally commissioned by the Färgfabriken Kunsthalle, Stockholm, Sweden, took its third incarnation with the Cincinnati Art Museum in the fall of 2012 at a cavernous deconsecrated church and was dovetailed by an eponymous monograph, which offers a comprehensive approach on the artists' Absorption of Light concept, published by Rizzoli, 2012.
In the spring of 2009, the Starns completed their first permanently installed public commission for the New York City Metropolitan Transit Authority. See it split, see it change, a 250-foot long artwork, up to 14 feet in height, presents the artists' iconic tree photographs and a leaf transposed into fused glass, marble mosaics and a water jet cut stainless steel fence punctuate the South Ferry subway terminal. It is the recipient of the 2009 Brendan Gill Prize.
At their mammoth laboratory studio in Beacon, New York, the former Tallix foundry, the Starns continue to build the first Big Bambú, a constantly evolving construction, formed by a network of more than 2,500 bamboo poles lashed together. This enormous studio allows Doug and Mike to work in dialogue between Big Bambú and their many concurrent series: most recently The No Mind Not Thinks No Things and other Buddhist explorations- the Absorption of Light concept, alleverythingthatisyou- their photomicrographs of snow crystals, and their re-exploration of the late 19th century color carbon printing process. Through their carbon-prints, the Starns mingle gilding techniques to the painterly photo-process, and further advance their metaphorical lexicon on light with photographs of Buddhist statuary.
Attracted to Light, To Find God, not the Devil's Insides and alleverythingthatisyou are some of the Starns' monographic publications. The brothers are currently preparing a new artist book based on their iconic photograph of Ganjin and Big Bambú.
The Starns were represented by Leo Castelli from 1989 until his death in 1999. Their art has been the object of numerous solo and group exhibitions in museums and galleries worldwide. The Starns have received many honors including two National Endowment for the Arts Grants in 1987 and 1995; The International Center for Photography's Infinity Award for Fine Art Photography in 1992; and, artists in residency at NASA in the mid-nineties. They have received critical acclaim in The New York Times, Dagens Nyheter, Corriere della Sera, Le Figaro, The Times (London), Art in America, and Artforum amongst many other notable media. Major artworks by the Starns are represented in public and private collections including: The Museum of Modern Art (NYC); San Francisco Museum of Modern Art (SF); Solomon R. Guggenheim Museum, (NYC); The Jewish Museum, (NYC); The Metropolitan Museum of Art (NYC); Moderna Museet (Stockholm); The National Gallery of Victoria (Melbourne); Whitney Museum of American Art (NYC); Yokohama Museum of Art (Japan); La Bibliotèque Nationale (Paris); La Maison Européenne de la Photographie (Paris); Los Angeles County Museum of Art, amongst many others.
Skal man have børn til at holde af kunst, skal de kunne kravle rundt i det. Lege i det. Det er vel efterhånden gammel kendt viden. Det hjælper på sin vis også, hvis voksne kan tage sig en opdagelsesrejse indeni et kunstværk. Det kunne man for nylig på Israel Museum, hvor brødrene Doug og Mike Starn havde bygget en kæmpemæssig organisk bambusskov op omkring en skarp, betonskulptur skabt af selveste Pablo Picasso, som på den måde også pludselig for en tid fik et nyt og anderledes liv og perspektiv.
Tidligere ville jeg sikkert selv kun have haft et skuldertræk tilovers for et sådan en installation. Afskrevet den som et gimmick. Et ti minutters oplevelses trip, og så ikke meget mere. Men min holdning til den form for kunst, har ændret sig. Det skyldes blandt andet min gode ven, den siciliansk-langelandske kunstner Alfio Bonanno, som jeg har lært at kende, siden jeg købte et fritidshus på den skønne ø, som har åbnet mine øjne for kunstens mangfoldighed og grænseløshed.
Alfio er verdenskendt landskabskunstner, som bygger kunstværker ude i naturen. Kæmpe skulpturer af naturens egne materialer, organisk i samspil med omgivelserne. Kunstværker med sit eget liv. De bliver født, lever, har en eksistens i og sammen med omgivelserne og de besøgende, der bruger dem. De ældes, går i forfald og forsvinder.
Helt anderledes end den kunst, jeg voksede op med. Gammel kunst var bedre end noget nyt farveplaskeri. Jo ældre den var, jo mere fantastisk. Begyndte den at forvitre, blev et team af konservatorer sat på, for at stoppe forfaldet. Kunsten blev lagt i respirator. Fik ikke lov til at dø en naturlig død. Dermed fik den på sin vis heller ikke lov til at have et naturligt liv. Og på den måde var kunsten sådant set allerede døde, da den blev født, for den blev ikke skabt for at leve et naturligt liv, men for at have et evigt liv.
Alfios kunst er anderledes end brødrene Starn. Eller i hvert end den kæmpemæssige bambusskov på Israel Museum. For Alfios værker er bygget ude i naturen, der hvor råmaterialerne kommer fra, og det er der noget organisk, naturligt i. Bambusskoven i Jerusalem er opført langt fra dens naturlige habitat. Men skulle det princip have været overholdt, ville jeg for eksempel aldrig have set noget lignende, eller fået mulighed for at gå på opdagelsesrejse i Big Bambú.
Starn-brødrenes bambusskov er et stort kaotisk rod, som alligevel hænger sammen og har sin egen indre logik. På afstand ser installationen uindtageligt ud. Endog farlig. Man kan ikke indtage den. Big Bambú er næsten som en uindtagelig fæstning. Så kommer man tættere på og ser, at der er en åbning her og en indgang der. En trappe, en gyde, en hængebro og en passage. Pludselig er man inde. Indvendig i organismens krop. Kommer op. Forfærdelig højt op. Nu er man selv blevet uindtagelig. Ophøjet. Med strategisk overblik udover skulpturparken.
Rundt omkring i kunstværket er der små platforme med sofaer og borde. Små private hjørner hvor man næsten kunne bo eller i hvert fald slappe af. Balkoner med gelænder og fantastisk udsigt.
På en ultrasmal trappe kommer nogen ned, mens man selv skal op. Så trækkes maven ind, og man klemmer sig smilende og nikkende forbi hinanden. Hilser på: ”Goddag”, ”Kan I komme forbi?”, ”Sjovt kunstværk, hva?” Pludselig taler man med mennesker, man aldrig har mødt før, fordi man sammen er klemt sammen inde i et kunstværk.
Sært.
Anderledes.
Sådan her beskrives brødrene Starn i et af de kataloger, jeg har: “Concerned largely with interconnection and interdependence, chaos, time, organic systems and structures. They continue defying categorization, effectively combining traditionally separate disciplines such as photography, sculpture, architecture.”
Brødrene Doug og Mike Starn begyndte egentlig med konceptuel kunstfotografi, legede med lys og bevægede sig over i skulpturer og installationer. Primært bambus. Tit kunstværker, som bliver ved med at udvikle sig i udstillingsperioden, og nogle gange samtidig er kulisse for happenings. Så stopper det. Pludselig er det borte. Pillet ned. Ikke bare flyttet. Det eksisterer ikke mere.
Ingen konservator fik lov til at røre ved det. Holde det kunstigt i live.
Dermed bliver oplevelsen af at have været inde i bambusværket unik. Det kan ikke gentages. Specielt. Nu er den en erindring. Kun billederne fastholder mindet.
Israel har en lang række museer, gallerier og aktive samlinger, som absolut er et besøg værd. Her er udfordrende, provokerende teater. Engagerede og involverede forfattere, der tager del i debatten. Kunst der tager etisk og moralsk stilling i en mellemøstlig virkelighed, der er fuld af udfordringer og traumer.
Kunst og kultur i det her land er virkelig en udflugt værd. Samfundet her har et engagerende og udfordrende kulturliv, de fleste lande ville misunde.
* * *
Interessante links:
Fordi jeg trak Alfio Bonanno ind i den her fortælling, får I lige et Langeland-link, hvor I indledningsvist kan se enkelte billeder af Alfio og hans kunstværk – ”Mellem blodbøg og eg” – i TICKON-parken bag Tranekær Slot på Langeland.
Senere på foråret skal jeg forhåbentlig til Sicilien og fotografere Alfio, der er ved at opføre en række nye værker nede på sin fødeø.
Fra museets eget website: Big Bambú på Israel Museum.
Den israelske avis Haaretz’ omtale af Big Bambó på Israel Museum.
About the Artists:
Doug + Mike Starn
Career NarrativeDoug and Mike Starn, American artists, identical twins, born 1961. First having received international attention at the 1987 Whitney Biennial, for more than 20 years the Starns were primarily known for working conceptually with photography, and are concerned largely with chaos, interconnection and interdependence. Over the past two and half decades, they have continued to defy categorization, effectively combining traditionally separate disciplines such as photography, sculpture, architecture-most notably their series Big Bambú.
The 5th public installment of Big Bambú titled Big Bambú: 5,000 Arms to Hold You, transforms the landscape of the Israel Museum's Billy Rose Art Garden in Jerusalem with a monumental installation towering 53 ft high and covering an area of more than 7,500 square feet features a permanent "double helix tower" and an "ephemeral" chaotic bambú sculpture throughout September 2014. Commissioned for Soichiro Fukutake's Naoshima Museum (July 2013) for the Setouchi Triennial on the small island of Teshima-Japan-, the fifth installment in the Big Bambú series utilizes and comprises an entire bamboo forest is created from several hundred living poles in the rhizomatic root of this ecosystem (new poles sprout daily, encroaching the elevated pathway). A beautiful path through the forest ultimately leads to a Bambú walkway tied with climber's cord directly to the living stalks and winds its way up through the forest, higher and higher, until ultimately breaking through the surface of the canopy of bamboo leaves. Only the visitor's upper body emerges and the elevated pathway face the Starns' vision of a large fishing boat- over 60' long-but made entirely of Bambú - floating on the canopy sea of bamboo leaves at over 60 feet high. The visitors (8 to 10 at a time) approach the boat on the path as if swimming through the canopy, then climb aboard the boat. Entering the cabin of the boat- they descend below deck into the hull to see the interdependent structure creating the being of the boat, a catwalk through the crawl space inside the hull leads them to the bow to the observation bubble which was thought up in a dream actually.
Curated by Francesco Bonami, the first semi-permanent Big Bambú installation opened in late 2012, and is in the collection of the Museo MACRO Testaccio, Rome. Over 40 meters tall, a habitable sculpture enveloping up to 60 people within an elevated performance space, double helix stair and labyrinth paths leading up to over 20 meters high to multiple lounging spaces giving views over the banks of the Tiber and Trastevere to Monte Testaccio. In 2011 at the 54th Venice Biennale Big Bambú spiraled over 22 meters high behind the Peggy Guggenheim Collection on the Grand Canal. The acclaimed institutional premiere Big Bambú: You Can't, You Don't, and You Won't Stop, at The Metropolitan Museum of Art in 2010 was the 9th most attended exhibition in the museum's history with 3,913 visitors per day- with a total of 631,000. Throughout the 6-month exhibit, the Starns and their crew of 12 rock climbers continuously lashed together over 7,000 bamboo poles, a performative architecture of randomly interconnected vectors forming a section of a seascape with a 20-meter cresting wave above Central Park. Big Bambú suggests the complexity and energy of an ever-growing and changing living organism. Several new iterations of the series are being developed internationally.
Gravity of Light, a solo exhibition by the Starn brothers featuring eight monumental photographs illuminated by a single, blindingly bright carbon arc lamp, originally commissioned by the Färgfabriken Kunsthalle, Stockholm, Sweden, took its third incarnation with the Cincinnati Art Museum in the fall of 2012 at a cavernous deconsecrated church and was dovetailed by an eponymous monograph, which offers a comprehensive approach on the artists' Absorption of Light concept, published by Rizzoli, 2012.
In the spring of 2009, the Starns completed their first permanently installed public commission for the New York City Metropolitan Transit Authority. See it split, see it change, a 250-foot long artwork, up to 14 feet in height, presents the artists' iconic tree photographs and a leaf transposed into fused glass, marble mosaics and a water jet cut stainless steel fence punctuate the South Ferry subway terminal. It is the recipient of the 2009 Brendan Gill Prize.
At their mammoth laboratory studio in Beacon, New York, the former Tallix foundry, the Starns continue to build the first Big Bambú, a constantly evolving construction, formed by a network of more than 2,500 bamboo poles lashed together. This enormous studio allows Doug and Mike to work in dialogue between Big Bambú and their many concurrent series: most recently The No Mind Not Thinks No Things and other Buddhist explorations- the Absorption of Light concept, alleverythingthatisyou- their photomicrographs of snow crystals, and their re-exploration of the late 19th century color carbon printing process. Through their carbon-prints, the Starns mingle gilding techniques to the painterly photo-process, and further advance their metaphorical lexicon on light with photographs of Buddhist statuary.
Attracted to Light, To Find God, not the Devil's Insides and alleverythingthatisyou are some of the Starns' monographic publications. The brothers are currently preparing a new artist book based on their iconic photograph of Ganjin and Big Bambú.
The Starns were represented by Leo Castelli from 1989 until his death in 1999. Their art has been the object of numerous solo and group exhibitions in museums and galleries worldwide. The Starns have received many honors including two National Endowment for the Arts Grants in 1987 and 1995; The International Center for Photography's Infinity Award for Fine Art Photography in 1992; and, artists in residency at NASA in the mid-nineties. They have received critical acclaim in The New York Times, Dagens Nyheter, Corriere della Sera, Le Figaro, The Times (London), Art in America, and Artforum amongst many other notable media. Major artworks by the Starns are represented in public and private collections including: The Museum of Modern Art (NYC); San Francisco Museum of Modern Art (SF); Solomon R. Guggenheim Museum, (NYC); The Jewish Museum, (NYC); The Metropolitan Museum of Art (NYC); Moderna Museet (Stockholm); The National Gallery of Victoria (Melbourne); Whitney Museum of American Art (NYC); Yokohama Museum of Art (Japan); La Bibliotèque Nationale (Paris); La Maison Européenne de la Photographie (Paris); Los Angeles County Museum of Art, amongst many others.
FLERE BILLEDER AF BIG BAMBÚ
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