Photo: Pavel Plekhanov
“Hyperstate” is part of the “Guestbook” project, aimed at research of relationship between the contemporary artist and the audience.
Hyperstate – a joint exhibition by the young Norwegian artists Lars Brekke and Simon Daniel Tegnander Wenzel. They have spent two weeks in residence in Murmansk for the preparation of the show.
Lars Brekke, was born in Tromsø in 1983. Brekke studied art at The Art academy in Oslo and at Piet Zwart institute in Rotterdam, Netherlands. His art is based in performance and video, but can occasionally also take the form of sculpture, painting and photography. Brekke currently lives and works in Oslo.
A main focus in Brekke’s works is the distinction between nature and culture, and the moral and emotional consequences of seeing nature as distinct from human society.
Brekke participated in the video art exhibition “Induction” in Murmansk in 2015.
Simon Daniel Tegnander Wenzel, was born in Hamburg, studied Fine Art at the Art Academy in Tromsø, where he lives and works. Wenzel’s practice includes performance, installation, sound- and video-art. He is trained as classical pianist, now – one of the founders of the experimental label “Animals” and part of the multi-media duet “Tokyo twins”. In the frames of the exhibition “Hyperstate” Wenzel is presenting abstract sculptures and installations dealing with different experiences of time measurement.
Photo: Pavel Plekhanov
Lars Brekke is presenting a new work with the title “Wildfire” for the exhibition. Perception of wildfires are dualistic. They can cause destruction and suffering, they can be deliberately started and put out, with or without an aim or purpose. Common human reactions to a fire in human consciousness is feelings of horror, guilt, responsibility and anger. But at the same time, some wildfires happen without involvement of the humans. It is reasonable to assume that wildfires has existed longer than human reason, and forests has adapted to them. A wildfire plays a positive role in the natural cycle of life, a renewal of nature, and the negative associations of humans attached to this phenomenon – are only primitive emotions. Brekke’s performance is dedicated to this dualistic perception of wildfires. Natural phenomenona that are directly affecting human lives are treated solely on a negative basis, while those which are out of reach of morality and ethics, can be studied in safety and even admired. Thus, by changing the perspective, a wildfire can give no less aesthetical satisfaction than, say, Aurora Borealis.
In his performance, Brekke, is showing us a possibility to take on all possible perspectives of how to experience a wildfire and other similar natural disasters. By allowing a broader view, the human point of view can be lifted to a hyperstate, freed from moral assessment.
In the frames of the “Guestbook” project, it can be translated into following; if a work of art seems alien and even scary – it’s only private emotions. If looked upon from different views, it can be beautiful. At this point, we can better understand the wildfire in Brekke’s performance, admiring itself and it’s beauty.
Simon Wenzel is presenting a project under the title “Book of trees” which also deals with events in nature and how it is perceived in a human mind. The works in the series are united by the different spectrum of green, using materials where the color is impermanent and change according to the angle of the light. This use of color points to nature’s multitudes, and the ongoing thought process of the human mind.
Human perception of time struggles with grasping the slow changing processes of nature. Like the deterioration of a mountain, it is hard for us to imagine the very long process of decolorization of a fluorite crystal (Book of trees no.4 (Memory Archive).
But human mind can still take on different interpretations of time. The transfusing turbid liquid in the tank – the constant fleeting thoughts of the mind, which cannot be stopped, that which is happening here and now. The glass box filled with iridescent threads of green color – a whirlpool of human memory, from which you cannot get something separate, for one memory inevitably clings to another, and the bottom of the mirror only confirms the infinite process. Patterns and tangles in these objects remind us of their relationship with the phenomena of nature – the threads as the growing grass, an aquarium – like ocean water.
However, the lack of time to disengage and escape from the continuous flickering thoughts, associations and images does not allow us to fully understand the nature of the crumbling mountain, the fading fluorite and other extra-human phenomena. The difference in the perception is the hyperspace which the artist is trying to approach.
Simon Daniel Wenzel Tegnander
Book of trees no.1 (Emanation)
Acrylic, gouache, ink, water, water pump, wood
Book of trees no.2 (Fading fluorite. Time.Lapse)
Fluorite crystal, light, lens
Book of trees no.4 (Memory Archive)
Glass, synthetic fabric, mirror
performance, video, sculpture
Curators: Glafira Severyanova and Ivan Galuzin
Gallery Ч9, Murmansk