Bjørn Wangen



Such a powerful line: Remember me (Hör du mig?)
Installation. Graphite on wall 2012. Dimensions variable

at Skånes konstförening, Malmö, Sweden

My work is characterized by an interest in the transient and invisible, capabilities of the dysfunctional and how space, body and matter relate to the questions of site. I become more and more dependent on my own inability to know what I'm doing. Ignorance seems to be necessary in the everyday chores that creation is composed of.

My processes always starts with a bad idea. When the idea becomes questioned in the process it gives way to something else. Concrete matter becomes increasingly important and at the same time I seem to approach a kind of disappearance. This time the process revolved around a ”visuality of vagueness”.

A starting point was a concept about "social space". In the piece "Such a powerful line: remember me (Do you hear me?)" I picked up my robot's spastic movements into my own body and repeated in absurdum seventeen different variations of my signature on the walls. The repetition followed a script: Repeat signature until something happens! What should ”happen” was not defined, thus up to the artist at any given moment to decide that something ”happened”. The writings on the wall resulted in a space consisting of slightly abstract, cloudy structures of wide variety, all made with graphite pens of different qualities. Two of the writings were finished as performative acts on the opening evening.

Drawings on wall Drawings on wall Drawings on wall Drawings on wall Drawings on wall

Loom of the land installation

Loom of the land
Installation, organza, lamps. Dimensions variable
2012 (photo: Michel Thomas)

at Skånes konstförening, Malmö, Sweden

The title ”Loom of the land” refers to the term used at sea, a vague first appearance of land ahead seen in fog or darkness. In this work the height above the floor, the lightning and how the work took possession of the room was important, allowing visitors to enter the room in the room and thus be sighted from the outside. It consisted of a room in the room made of white organza fabric. The space between the white fabric and the white walls was lighted with lamps from above. The effect from inside was that the viewer could not optically focus on the wall, The result was a room with walls that had become vague or flexible.

Reviews (in Swedish):
Sofia Nilsson at Konstpretton