THE HARROW THE SPARROW THE SORROW BY VICTOR BOULLET / 2014 (Installation view tradisional style to come, and as always Mr Boullet is on time)sober fuck) this that page is archive disco that is web blah blah project blah blah. archive disco archive disco archive disco THE HARROW THE SPARROW THE SORROW morgenbladettrerrr |
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In These Great Times Repetition is a provocation, it is offensive, it is stupid. The virtue of provocation, as sociologist Pierre Bourdieu has noted, is that it allows to anticipate, only by intuition, how the ordinary subjections and conformisms to ordinary situations lead to the extraordinary subjections and conformisms in extraordinary situations. “If we see ourselves in Karl Kraus, it is because, for the most part, the same causes produce the same effects. And what Kraus observed in his times has its equivalent today,” says Bourdieu. In These Great Times is an exhibition of attitudes, a celebration of the evil spirit, a claim for the idiosyncrasy and the negativity of the artistic discourse, and its ability to take part in the Real, not in reality. Do not expect any words of their own from them. In These Great Times is a documentary theater, in tribute to Karl Kraus. In the words of Erving Goffmann: ”To be awkward or unkempt, to talk or move wrongly, is to be a dangerous giant, a destroyer of worlds. As every psychotic and comic ought to know, any accurately improper move can poke through the thin sleeve of immediate reality.” poster by He is an Idiot.com (did not get used by KH, too bad for them, better then the real thing!) |
SSTRANGLING FFROZEN FFLAMINGO + 47 22 15 12 24! a study by Victor Boullet! by among others Svein Kojan! ! Wood & Sons Enoch Wood ́s English scenery (blue) h13 w18cm! ! Soup dishes, Egersund, ø 22cm 27pcs! Bread side plates, Villeroy and Boch 14x9cm, 19pcs! White bucket (Farmosa margarine) 36x31cm, filled with soil from Sømveien 23! ! 1 Plaster bust, self portrait by Aase Boullet, 1995. Stored at Kjelsås. In dark blue plastic milk crate, stolen by Victor Boullet.! |
Catalogue for In These Great Times by F Piron - more more more. Kurator F Piron was a bad boy! BONUS WORK by BOULLET WOW clever boullet!screenphotoss film from small canon to DVD 01:24:39 By Victor Boullet edition (no sure yet) unfinished writting on Tor Hoff (very unfinished) (thought it looked nice, hahaha) D Hockney from Liverpool. |
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THIS IS AN EMAIL My contribution to the exhibition work title The Harrow The Sparrow The Sorrow Dear Siri and Helene, This is not a project description, but rather thoughts and notes that I hope can help. You should only feel confident. The institutions that we are working with are professional and take responsibility. For the period between the sale of Helene's apartment and the opening at Kunstnernes Hus we will find a good temporary solution for the works and objects belonging to Synnøve Anker Audal. The Harrow The Sparrow The Sorrow (HSS) is a work that highlights the problems associated with art storage over time, increasing value and an inherent institutional critique that underpins the work's future. HSS will represent a beautiful but lonely work left in a isolated room. You cannot physically walk into the HSS installation. This is to indicate distance and to show the value of its fragile and independent content. My mother had to move out of her childhood home of 70 years because of an inheritance dispute. This caused an advance of my own inheritance. I now own over 1,000 objects that are located in a rented garage in Oslo. The responsibility weighs heavily already, but with time I will be able to speak from experience as a manager, guardian and protector. There is no doubt that Synnøve Anker Aurdal’s preparatory works / studies, of which Helene is now the keeper, are of great importance. I want to show this as the complete and collected works they are today, along with furniture and other belongings of Aurdal as well. I can say with certainty that this will be good, but the message is my practice, my work and future hope of highlighting what a cultural responsibility implies. Below: two short excerpts from an unfinished essay to highlight HSS’s starting point as well as its independence and that certain parts of the work cannot link their provenance to the art world. While simultaneously gathering and focusing on inheritance, time and our cultural responsibility. Finn Nilssen’s self-interested initiative was to plough down Edvard Munch’s villa so that he himself could possess the coveted studio in the artists' housing project Ekely, Oslo ... In contrast, Marcel Provence who in 1921 bought Paul Cezanne's studio, where he locked door to the studio and lived in the apartment below... this is why this art treasure still exists today. Andy Warhol collected kitsch porcelain cookie jars shaped like animals and other things. His flea market collection of 175 cookie jars sold for an astronomical sum after his death. If one puts two such identical cookie jars side by side to judge without knowing who the owner is, one is confronted with two totally different prices... How can one understand such contradicting values? Alongside Synnøve Ander Aurdal’s work and personal objects I will place part of my own inheritance in order to show one's preconceived notion of value. But also as an artistic expression. HSS will contain a plethora of objects where the final piece is formed by the addition of personal references and impressions. To administer a legacy of Synnøve’s dimension leads only to financial outlays and unpaid effort. I see several similarities with Marcel Provence's property purchase, where an entire floor stood unused for several years. The French government did nothing, but on account of U.S. interest Marcel could safely relinquish his responsibility. Must we go to such lengths for the Norwegian bureaucracy to wake up? Any inheritance attracts unfamiliar faces with sticky fingers if profits are high enough. A family inheritance and its history is a heavy charge that is imposed upon the next generation. If one’s affection is confronted with today’s understanding of value, then things of great worth can be brutally and inconsiderately thrown away. But what about the legacy that does not reflect an immediate value? The legacy lugged around on weak shoulders that already carry their own history and time is what HSS expresses and manifests. Should a protector of art only imagine the future and not the present? The present can stifle the hope of the future, but not if the present’s relationship with the future of the inheritance is well-intended and just. I have a photograph that I took of Synnøve Anker Aurdal in Madserud Allé, 1995. There were two original photographs made onto fibre-based paper. The photograph is 100cm X 100cm and were shown at Galleri Haaken in 1997, today one of them belongs to the National Museum. I took a portrait of Synnøve Anker Audal in a black jacket with two royal medals that I think she put on for the occasion. To my great pleasure I saw this jacket again at Helene’s house, with the medals attached on the left, as in 1995. The function of this photograph is to show that I am not using Synnøve as a springboard for my own career, but that there is a rooted and true story between us. The jacket must hang in the space as a physical reminder of her absence. (Do her glasses still exist?) I will show Spill i Tråder, the film has two functions. One is show the young / unaware the position that Synnøve has in Norwegian art history, but also the personal initiative from the public sector employee, Svein Kojan, who fought within the institution to get this film funded and made. Yet again, an example of how important a single person is for our common culture and art history. The film is unique and very valuable. HSS will not define our times, it should only ask questions about our times. Therefore I have added a quote by M. Heidegger which is relevant to HSS and its future plundering. Each answer remains in force as an answer only as long as it is rooted in questioning. |
The Harrow The Sparrow The Sorrow / Victor Boullet 2014 |