Klara Liden
29 Jun - 05 Sep 2010
Vue de l'exposition "Klara Lidén : Toujours être ailleurs"
Jeu de Paume, 29 juin - 5 septembre 2010
Photo Arno Gisinger
© Jeu de Paume
Jeu de Paume, 29 juin - 5 septembre 2010
Photo Arno Gisinger
© Jeu de Paume
KLARA LIDÉN
"Toujours être ailleurs"
Programmation Satellite 3
Curator: Elena Filipovic
from 29 June 2010 until 5 September 2010
Klara Liden often uses architectural interventions, hijacked structures and materials, and the spaces behind something else to expose some of the constructs and conventions on which society is based. For her recent Elda för kråkorna (2008), she built up a series of makeshift walls from exiting materials within a gallery to create a new invisible space to house local pigeons. Not only did it provide useless “heating for pigeons” (as its Swedish title, a local saying, is literally translated), but it made a negative space of the commercial gallery accompanied by the occasional noise of the birds.
Her project for the Jeu de Paume, entitled Always be elsewhere (or Toujours être ailleurs), will be, as with most all of her projects, a site-specific intervention, including a new installation that both fills and, invariably, comments on the architecture of the institution. She will show it with a related new video with a sound track by the music group Tvillingarna, with whom the artist has worked on several previous collaborations. Here sound and space, flicking video images and structure combine to create a haunting new interior ambiance for the lower galleries of the Jeu de Paume.
"Toujours être ailleurs"
Programmation Satellite 3
Curator: Elena Filipovic
from 29 June 2010 until 5 September 2010
Klara Liden often uses architectural interventions, hijacked structures and materials, and the spaces behind something else to expose some of the constructs and conventions on which society is based. For her recent Elda för kråkorna (2008), she built up a series of makeshift walls from exiting materials within a gallery to create a new invisible space to house local pigeons. Not only did it provide useless “heating for pigeons” (as its Swedish title, a local saying, is literally translated), but it made a negative space of the commercial gallery accompanied by the occasional noise of the birds.
Her project for the Jeu de Paume, entitled Always be elsewhere (or Toujours être ailleurs), will be, as with most all of her projects, a site-specific intervention, including a new installation that both fills and, invariably, comments on the architecture of the institution. She will show it with a related new video with a sound track by the music group Tvillingarna, with whom the artist has worked on several previous collaborations. Here sound and space, flicking video images and structure combine to create a haunting new interior ambiance for the lower galleries of the Jeu de Paume.