Tag Archives: Bonnier konsthall

Peter Liversidge–Exhibition and Record Cover Art.

Bonniers Konsthall in Stockholm shows a wide variety of art exhibitions. I saw Turner Prize winner Susan Phillipz “Lost in Space” exhibition there a couple of years ago and I went to see the gallery’s latest exhibition by British artist Peter Liversidge. I hadn’t heard of him before seeing the exhibition. Liversidge’s preferred medium is providing “proposals”–he types suggestions for art happenings on A4 paper on his Olivetti portable typewriter. The proposals range from simple orders to suggestions that are complex and possibly impossible to realise. The exhibition at Bonniers konsthall has 45 of Liversidge’s “proposals” as its starting point. These 45 proposals are neatly framed A4 papers with his suggestions for projects arranged on one wall in three rows of fifteen frames. On the floor in front of the frames is a pile of A2 papers each printed with “Let’s take a walk together”. Visitors to the exhibition are invited to take one or more of these posters home. There  is a shelf on the wall opposite the framed proposals with various implements standing on it, each covered in postage stamps. Apparently Liversidge often uses the postal service to send articles to his exhibitions. Bonniers konsthall allows the postman/postwoman to arrange the item that is being delivered on the shelf. Thus the postal service acts as  sort of exhibition curator.

One suspects that some objects might possibly get lost in the post–nobody knows which, if any, don’t make to their destination, adding mystery to the exhibition.The idea of sending repeated missives through the post reminded me immediately of Japanese -American artist On Kawara (1932-2014), who throughout his career sent postcards to friends and institutions with stamped messages. One series stated “I got up at—-o’clock”, and another simply stated “I am still alive”.

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One of On Kawara’s postcards from the “I got up at…” series.

The gallery shows a film of another of Liversidge’s projects. He asked a class at an east London school to make a protest about any subject they felt strongly about. It had to be the children’s project–not one suggested by teachers of adults. The film I saw was a protest about dogs fouling pavements with placards saying things like “clean up after your dog”. This protest was stages at the Whitechapel Gallery in 2014.

Another of Liversidge’s ongoing projects is collecting artifacts that look like faces and one room of the exhibition is devoted to found objects that resemble faces and masks that Liversidge has produced from such objects.

A day or two after I seen the Liversidge exhibition, I got an email about the best record cover designs of 2018 and was surprised when I saw a cover bearing one of Liversidge’s masks among the nominated covers. The album is “Double Negative” by the American band Low (released in September 2018). Liversidge has also designed the cover for the band’s 2015 album “Ones and Sixes”, and it transpires that he has designed at least two other record sleeves: one for High Plains’ album “Cinderland” (2017) and another “Find the Ways” (2017) by Allred & Broderick.

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Low’s “Double Negative” with cover art by Peter Liversidge.

I always find it interesting when “fine” artists design record covers. There’s a long list of them ranging from Sir Peter Blake to Damien Hirst via Andy Warhol. I’m looking forward to seeing all Peter Liversidge’s record covers.

 

Records by Turner Prize Winner Susan Philipsz.

In my last post I started researching record cover art by winners of the prestigious Turner Prize awarded annually by the Tate Gallery to an artist under the age of 50 for an exhibition. Susan Philipsz won the prize in 2010. When I started writing the previous post, I had no idea that I would have the chance to meet one of the Turner Prize winners so soon.

Philipsz (born 1965 in Glasgow, Scotland) began her artistic career as a sculptor. She was fascinated by sound and moved on to sound installations. in 2001 she recorded an a capella version of David Bowie‘s “Ziggy Stardust” album at Stockholm’s Bonnier konsthall. The recording was released on a limited edition (500 copies) Digipak CD in 2004.

Philipsz had an exhibition at the Gallician Centre of Contemporary Art (CGAC) in Santiago de Compostela, Spain, in 2008, called “There Is Nothing Left Here“. There was a book published by the CGAC together with an LP which features sound from the exhibition in a cover showing Philipsz and one of her sisters sitting looking out over a mountain.

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Susan Philipsz’ “There Is Nothing Left Here” 2008 LP.

In 2005, Malmö konsthall allowed Philipsz to use their exhibition space for an installation entitled “Stay With Me“. The hardcover exhibition catalogue also contained a CD of the sound installation.

Susan Philipsz has again been chosen to be Bonnier konsthalls artist in residence for the first part of 2017. This time she presents a four-work exhibition called “Lost in Space“. The main work is a 23 minute film of violinist Leila Akhmetova playing a single note from the opening of Karl-Birger Blomdahl‘s opera “Aniara“. Philipsz deconstructed the music and required Akhmetova to only play each note of C. Philipsz filmed the process with a camera constantly circling Akhmetova catching her concentration on following the score while a computer screen beside indicates how the performance is progressing. Apart from a 24-page catalogue, Philipsz has produced a limited edition picture disc LP (300 copies) in a box set with a 300 page book.

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The picture disc LP and book of Susan Philipsz’ “Lost in Space” installation.

At the opening of the “Lost in Space” exhibition, Susan Philipsz introduced the works in a 45.minute talk during which she explained her methods and showed films of various projects she has been involved in, including her Tate Britain installation of tones produced from wind instruments damaged in various wars from the Battle of Waterloo, The Crimea and WWI. After the talk I had the opportunity to talk with her and get the “Ziggy Stardust” CD and “Stay With Me” book signed.