"this artist is already well represented in our collection"
1981 - 1982.
Elected Secretary and Member of the Board of the National Association of Professional Swedish Visual Artists - K.R.O - Konstnärernas Riks Organisation Stockholm - with over 6.000 members.
1979 - 1986.
Elected as the first Director and Chairperson of the Board, while Curator/ Administrator of the former Swedish National Artist Organisation, VIDEO-NU, Stockholm, an Art Laboratory for new electronic technology financially assisted by the Swedish Government and the Stockholm City Council ( 200 individual and 15 corporate members)
Museum of Modern Art, Stockholm, Sweden.
National Museum, Stockholm, Sweden.
Gothenburg's Art Museum, Gothenburg, Sweden.
Sundsvalls Museum, Sundvall, Sweden.
Family of Charles Chaplins private collection Switzerland.
Swedish National Television collection Stockholm, Sweden.
The Australian Embassy in Beijing, China.
The City Council of Changchun, China.
James Cooks University, North Queensland, Australia
Qingdao Municipal Museum, China. Sculptures:
'97 China Changchun City, International Invitation Exhibition of Sculpture - Permanent installation of two-of-a kind, 3 meters marble-sculptures, at the Culture Square.
Alvdalens County collection, Sweden. Stone of Alvdalskvartsit.
County Council, Falun City, Sweden. Stone of kvartsit.
Thirty public artworks in Sweden and in addition; international corporate and private
Collections in USA, Australia,Europe and China.
AWARDS AND GRANTS;
The Royal Swedish Academy of Fine Arts - Top Project Grant 1975 for pioneering elec-
tronic Artworks since 1966 and for the development of art&technology, 'video-art'.The Ministry for the Arts, Development Grant, Oueensland State Government, Australia, 1992.
The Royal Fund for Swedish Culture - Video&Television installation/experiment, 1966.
The Swedish Government Ministry for Arts, Project Grant for New Media Experiment1962.
Stockholm City Council, Department for Arts, Project Grant - experimental photo- graphics - lightpainting, 1962.
"Digitala Pionjarer", by Gary Svensson, Linkopings Studies in Arts and Science, Linkopings University, Sweden. Publisher: Carlsson Bokforlag, 2000.ISBN 91 72 03 992 2. ISSN 0282-9800.
211 pages. Sjolander pages: 64-65, 104- 113, 129.
"New Media in Late 20th-Century Art", by Dr. Michael Rush, Harward University, Thames&Hudson , Publisher 1999. Pp. 92 -93 of 224 pages. ISBN 0-500-20329-
The Collection Of The Qingdao International Art Exhibiton - China 1999. Catalogue; pp. 11, 296, 316. Published by Chinese Artist's Organisation. ISBN 7-5305-1101-7
Art and Australia ( June 1992 Winter/issue, 3 full pages ) - Fine Art Press Pty Ltd. Australia.
The Courier Mail, Queensland, Australia. Saturday, January 25, 1992; 'Artist to fine tune the relevance of art', by Sonia Ulliana.
Expanded Cinema (Book) by Gene Youngblood. Introduction by R. Buckminster Fuller.
Studio Vista Ltd. 1970. (Pp. 331 - 334).
Essere (Vol. 4 1968) by Pierrluigi Albertoni.Tribunale di Milan, 'La Mec-Art' by Pierre Restany (pp. 13, 15 17, 64, 65)
Video (Monthly Magazine - January 1979) Linkhouse Publication Group Pty Ltd. UK, 'Video Art at New Castle' by Mandy McIntyre (pp.32-33)
Konstrevy (Volume 1) 1963 'Photographic Development' by Kurt Bergengren. (Pp. 10 - 13, and original cover art: 'Ready Maid/Pop Art'. Publisher; Bonniers Bokforlag Sweden.
KONSTPERSPEKTIV March 5, 2005 One of Scandinavians largest art magazine. 4 pages.
National Swedish Encyclopaedia - ( 'Focus' ) 1967, Publisher; Bonniers Sweden. See 'S' for, Sjölander Ture.
An innumerable number of articles in Europe, Australia, China and USA have been published as well as radio and television programs (e.g. catalogue text for installations/exhibitions) by writers as: Pierre Restany, Paris, Öivind Fahlström, N.Y., Kristian Romare, Belgium, Prof. Björn Hallström, Stockholm, Pontus Hulten, Bonn, etc. etc.
Available upon request.
Sundsvalls Museum, 1961, (regional Art Gallery Sweden) - Light paintings. Debut. Solo
Exhibition. Catalogue foreword by Oyvind Fahlstrom.
White Chapel Art Gallery - London, UK. 1963. Light paintings. Selected group exhibition.
Lunds Konsthall (famous Regional Fine Art Gallery in South Sweden, Lund City) 1965.
Simultaneously installation of an outdoor exhibition in Stockholm on billboard space of Monumental size. Solo installations.
The 5th Biennale of Paris, France 1967. Selected group exhibition. Catalogue foreword by Pierre Restany.
Gallerie Apollinaire - Milan, Italy 1968, Invited to exhibit with contemporary all-
Italian artists. Selected group exhibition.
Serpentine Gallery, London, UK. 1975. Selected group exhibition
The Galleries, Biddick Farm Arts Center, Washington Tyne and Wear, New Castle. UK. 1976 and 1979. Selected group exhibition/installation incl. Bill Viola, Ed Emshwiller etc.
Museum of Modern Art, Stockholm Sweden, 1981. Electronic Art, International Exhibition incl. seminars. Selected group exhibition.
International Video Art exhibition KULTURHUSET Stockholm Sweden 1982. Selected
group exhibition incl. Nam June Paik, Bill Viola, etc etc
Museum of Modern Art - Stockholm Sweden, 1985. 'Swedish Contemporary Art' - Six months exhibition. Selected group exhibition.
Ethnographic Museum, Stockholm, Sweden, 1987 and 1988. Video/multimedia installa-tion; 'Body Paintings Papua New Guinea' - 'The South Pacific Festival of Art', Solo installation.
Gallery Umbrella, North Queensland, Australia, 1991. 'Space - the Image of Wealth 1'. Solo installation.
1997 - China International Sculpture Invitation Exhibition in Changchun, Jilin province. 'Peace, Friendship and Spring'
Group exhibition. Foreign artists from 10 nations. Permanent installations of stone sculptures at the Culture Square in the City of Changchun.
1999, CHINA, Qingdao, " Trancentury China International Masterpieces Exhibition '99, August. Paintings. Qingdao Municipal Museum.
2004, April - FYLKINGEN STOCKHOLM
2004, September/October - Svenshog Gallery, Lund, Sweden.
The Artist that invented Computer Animation
Aapo Saask on the artist
On an island aptly named
Magnetic Island off the coast of Australia, a Swedish artist lives in
exile. Just like so many others in today's media-landscape, he was first
praised and then brought to dust. However, he has left a lasting imprint
on the world. As early as the 1960's, he made the first electronic
animation. Had he been an inventor, he would have been celebrated as a
genius today, but because he is a predecessor in the world of art, things
are different. In that world, the great ones often have to die before they
"the origins of video art" pages: 116, 117, 118 and 181, 182 and 183.
A HISTORY of VIDEO ART
by Chris Meigh-Andrews
During the period between 1965 and 1975, which could be considered as the defining period of video art, there was significant research activity amongst artists working with video to develop, modify or invent video imaging instruments or synthesizers.
The first generation of video artist/engineers include Ture Sjolander, Bror Wikstrom, Lars Weck, Eric Seigel, Stephen Beck, Dan Sandin, Steve Rutt, and Bill and Louise Etra, in addition to the well-documented collaborative work of Nam June Paik and Shuya Abe.
The work of these pioneers is important because, in addition to exploring the potential of video as a means of creative expression, they developed a range of relatively accessible and inexpensive image manipulation devices specifically for 'alternative' video practice.
TURE SJOLANDER AND MONUMENT
In September 1966 Swedish artists Ture Sjolander ( 1937-, Sweden) and Bror Wikstrom broadcast Time, a 30-minute transmission of electronically manipulated paintings on National Swedish Television. Sjolander and Wikstrom had worked with TV broadcast engineer Bengt Modin to construct a temporary video image synthesizer which was used to distort and transform video line-scan rasters by applying tones from waveform generators. The basic process involved applying electronic distortions during the process of transfer of photographic transparencies and film clips. According to Modin they introduced the electronic transformations using two approaches. The geometric distortion of the scanning raster of the video signal by feeding various waveforms to the scanning coil, and video distortion by the application of various electronic filters to the luminance signal.
Sjolander had begun working with broadcast television with the production of his first multimedia experiment The Role of Photography, commissioned by the National Swedish Television in 1964, which was broadcast the following year. With the broadcasting of Time, his second project for Swedish television, Sjolander was well aware of the significance of his work and importance of the artistic statement he was making:
Time is the very first video art work televised at that point in time for the reason to produce an historical record as well as an evidence of original visual free art, made with the electronic medium - manipulation of the electronic signal - and exhibited/installed through the television, televised.
In 1967, Sjolander teamed up with Lars Weck and, using a similar technological process, produced Monument, a programme of electronically manipulated monochrome images of famous people and cultural icons including the Mona Lisa, Charlie Chaplin, the Beatles, Adolf Hitler and Pablo Picasso. (Separate text of this work as below)
This programme was broadcast to a potential audience of over 150 million people in France, Italy Sweden, Germany and Switzerland in 1968, as well later in the USA. Subsequently, Sjolander produced a Space in the Brain (1969) based on images provided by NASA, extending his pioneering electronic imaging television work to include the manipulation and distortion of colour video imagery. A Space in the Brain was an attempt to deal with notions of space, both the inner worldof the brain and the new televisual space created by electronic imaging.
Sjolander, originally a painter and photographer, had become increasingly dissatisfied with conventional representation as a language of communication and began experimenting with the manipulation of photographic images using graphic and chemical means. For Sjolander, broadcast television represented truly contemporary communication medium that should be adopted as soon as possible by artists - a fluid transformation and constant stream of ideas within the reach of millions.
The televised electronic images Sjolander and his collaborators produced with Time, Monument and Space in the Brain were further extended via other means. The television system was exploited as a generator of imagery for further distribution processes including silkscreen printing, posters, record covers, books and paintings that were widely distributed and reproduced, although ironically signed and numbered as if in limited editions.
It seems likely that these pioneering broadcast experiments were influential on the subsequent work of Nam June Paik and others. According to Ture Sjolander, Paik visited Stockholm in the summer of 1966 and was shown still images from Time while on a visit to the Elektron Musik Studion (EMS). Additionally, Sjolander is in possession of a copy of a letter dated 12 March 1974 from Sherman Price of Rutt Electrophysics in New York, acknowledging the significance of Monument to the history of 'video animation', and requesting detailed information about the circuitry employed to obtain the manipulated imagery. In reply, Bengt Modin, the engineer who had worked with Sjolander, provided Price with a circuit diagram and an explanation of their technical approach to the project, claiming he 'no longer knew the whereabouts of the artists involved'.
THE PAIK-ABE SYNTHESIZER
The Paik-Abe Synthesizer, built in 1969 is one of the earliest examples of a self-contained video image-processing device. As we have seen, Ture Sjolander and his collaborators had brought together video processing technology in temporary configuration to produce their early broadcast experiments, Paik's synthesizer was a self-contained unit built expressly and exclusively for the purpose. The instrument, or video synthesizer, as it came to be known, enabled the artist to add colour to a monochrome video image, and to distort the conventional TV camera image. -.......
Extending a dialogue that they had begun in Tokyo in 1964, electronic engineer Shuya Abe and Nam June Paik began building a video synthesizer in 1969 at WGBH-TV in Boston, possibly spurred on by the work of Sjolander in Sweden.
from Chris Meigh-Andrews book,
A HISTORY OF VIDEO ART, Publisher BERG, Oxford-New York. First Edition October 2006
representative video art works
pages 181, 182 and 183
MONUMENT, TURE SJOLANDER AND LARS WECK (WITH BENGT MODIN), 1967
( BLACK AND WHITE, SOUND, 10 MINUTES. COMMISSIONED AND BROADCAST BY NATIONAL SWEDISH TV, 1968)
Monument, characterized by Ture Sjolander as a series of 'electronic paintings' is a free flowing colage of electronically distorted and transformed icoic media images. Set to a similarly improvised jazz and sound effects track, images of pop stars, political and historical celebrities and media personalities, culled from archive film footage and photographic stills have been electronically manipulated - stretched, skewed, exploded, rippled and rotated. The relentless flow of semi-abstracted monochromatic faces and associated sounds seems to both celebrate and satirize the contemporary visual culture of the time. In its fluid mix of visual information it generalizes the television medium, draining it of its specific content and momentary significance. It creates a kind of 'monument' to the ephemeral - all this will pass, as it is passing before you now.
Archive film footage and photographic stills of familiar faces and people, such as Lennon and McCartney, Chaplin, Hitler, the Mona Lisa - the 'monument' of the world culture - flicker and flash, stretch and ooze across the television screen. In some moments the television medium is itself directly referenced, the familiar screen shape presented and rescanned, images of video feedback and, at one point, its vertical roll out of adjustment, anticipate Joan Jonas's seminal tape, although for very different purposes. The work anticipated a number of later videotapes, particularly the distorted iconic images of Nam June Paik.
Gene Youngblood described the psychological power and effect of these transformations i his influential and visionary book Expanded Cinema (Youngblood 1970):
Images undergo transformations at first subtle, like respiration, then increasingly violent until little remains of the original icon. In this process, the images pass through thousands of stages of semi-cohesion, making the viewer constantly aware of his orientation to the picture. The transformations accur slowly and with great speed, erasing perspectives, crossing psycological barriers. A figure might stretch like a silly putty or become rippled in liquid universe. Harsh basrelief effects accentuate physical dimensions with great subtlety, so that one eye or ear might appear slightly unnatural. And finally the image disintegrates into a constellation of shimmering video phosphores.
Sjolander and his collaborators at Sveriges Radio (the Swedish Broadcasting Company) in Stockholm had worked together on a number of related projects since the mid-1960s, beginning with The Role of Photography, Sjolander's first experiment with electronic manipulations of the broadcast image in 1965. This project was followed with the broadcast of Time (1966), a thirty-minute transmission of 'electronic paintings' produced using the same temporarily configured video image synthesizer that was later used to create Monument.
The system that Sjolander and his colleagues used involved the transfer of photographic images (film footage and transparencies) to videotape using a 'flying-spot' telecine machine. This process produced electronic images which they transformed and manipulated by applying square and sine signals with a waveform generator during the transfer stage, often using this process repeatedly to apply greater levels of transformation.
For Sjolander and his collaborator Lars Weck, the broadcasting of Monument was the epicentre of an extended communication experiment in electronic image-making reaching out to an audience of millions.
Kristian Romare, writing in a book published as part of an extended series of artworks which included publishing, posters, record covers and paintings after the broadcasting of Monument, describes the scope of Sjolander and Weck,s vision and aspirations for the new image-generating technique they had pioneered:
see separate article Sjolander,s CV on the Internet. www.monumentintime.homestead.com/
In this process images are produced using a television camera rescanning an oscilloscope or CRT screen. The display images are manipulated (squeezed, stretched, rotated, etc.) using magnetic or electronic modulation. The manipulated images, rescanned by a second camera are then fed through an image processor. This type of instrument was also used without an input camera feed, the resultant images produced by manipulation of the raster. Examples of this type of instrument include Ture Sjolander,s ' Temporary " Video Synthesizer (1966-69), the Paik/Abe Synthesizer, and the Rutt/Etra Scan Processor (1973).
----Original Message Follows----
From: Christopher Meigh Andrews <firstname.lastname@example.org>
To: turesjolander <email@example.com>
Subject: RE: Monument
Date: Wed, 01 Jun 2005 12:14:19 +0100
As you rightly say, there is a sense in which the American artists have
written everybody else out of the history of video art. I would like to
put some people (such as yourself) back in! I would like to use an image
or two from the stills of Monument that I have found on the web, but
they are very low resolution. Would you be willing to e-mail an image of
greater resolution? (300dpi would be best- jpeg or tiff, if possible)
also, i attach a little form so that you grant me the rights to
reproduce the image in the book. Is this OK? if so, please fill it in
and send it back to me.
I would like to do more than simply paraphrase what Gene (Youngblood)
has written in Expanded Cinema, which as you say is what M. Rush has
done. Any chance that you can tell me a little bit more about your ideas
with Monument and how it began? I will of course piece togther what I
can from the web site, and from what Aapo Saask has written. I also will
talk to Brian Hoey and Peter Donebauer. i also have the Biddick Farm
catalogue from the exhibtion at Tyne & Wear, which has a little info.
All best wishes to you- and i will certainly send your regards to Brian
Paris - France
October 31, 1968
Catalogue text for Ture Sjolander
MONUMENT: UN NOUVEL HUMANISME
" Je ne connais pasTure Sjolander. En automne 1967 un long voyage en Amerique du Sud ne m'a permis de visiter la 5 `eme Biennale de Paris, ou il exposait, qu'a l'extreme fin de la manifestation. Mieux vaut tard que jamais. J'ai ete frappe par les oeuvres de Sjolander. Par leur esprit vraiment moderne. Par soon instinct sur, son usage poetigue des donnees technologiques des mass media: une liberation iconographique au niveau de la technologie de l'information, du langage de la communication de masse
Elle nous concerne tous, elle est plus historique que l'histoire, plus sexuelle que le sexe, plus criminelle que le crime, plus objective que n'importe quel processus d'objectivation. On atteint la notion d'une super-
Expressivite de synthese, liee aux phenomenes d'alteration et de transformation des structures visuelles initiales. Cette alchimie de la vision a trouve sa pierre philosophale. Le plomb des definitions theorigues et standard de l'image animee s'est mue en vif-argent: le mercure des distorsion libres.
En creant une distance optique par rapport au phenomene mental
d'enregistrement de l'image, l'enterprise deTure Sjolander apparait comme un magistrature, le cure d'hygiene de la vision. Elle bouleverse nos habitudes de perception reflexe, elle stimule notre conscience et notre gout, elle nous associe au destin structurel de l'image animee.
Dans une societe en plein mutation, ou le peril majeur consiste sans doute dans la mecanisation des esprits et la generalisation d'une passivite sensorielle, d'un modernisme-reflexe saturant l'individu, l'enterprise collective deTure Sjolander, associant l'art et la technique dans le but d'assurer la survie poetique de notre vision, est une enterprise pleinement humaine, que dis-je, humaniste au sens le plus moderne du terme "
In the short history of video animation the Swedish artists TURE SJOLANDER and BROR WIKSTROM are the pioneers. Their television art programme ' TIME ' (1965 - 1966) seems to be the first distortion of video-scan-line rasters achieved by applying tones from wave form generators.
For almost ten years they have been using electronic image-making equipment for a non-traditional statement. It must be kept in mind, however that SJOLANDER and WIKSTROM have a traditional and solid artistic background. Howard Klein likens the relationship between the video artist and his hardware to that between Ingres and the graphite pencil. It should be added that real artists like SJOLANDER and WIKSTROM have a natural relationship to any image-making equipment. In that respect they differ from most cameramen and tape makers and they may come back some day as pioneers in other fields of art.
In fact they have already surpassed the limits of video and TV using the electronic hardware to produce pictures which can be applied as prints, wall paintings and tapestries.
They have generously provided new possibilities to other artists, they are not working alone on a monument of their own.
It is significant that the Royal Swedish Academy of Fine Arts has decided to support SJOLANDER and WIKSTROM financially.
Royal Swedish Academy of Fine Art.
Stockholm - 1976
Fahlstrom about Sjolander - 1961
We live at a time when borders between the art forms are constantly being redrawn or abolished. Poets arrange their poems as pictorial compositions or record spoken sequences of sound which can hardly be distinguished from musique concrète. Composers are able to build a complete composition around the manipulation of a spoken voice. Artists sometimes create pictures by striking off newspaper photographs or mixing conglomerates of discarded objects and painted areas into something which is neither picture nor sculpture. Puppet theatre is performed by setting mobiles in motion in the constantly changing light effects on a stage.
The border between photography and painting is no longer clear, either, and it is easy to understand why this is so. Tinguély, the creator of mobiles, started out by making a form of reliefs with moving parts, powered by a machine placed at the back of them. After a while Tinguély began to wonder why he could not equally well show the play of cog wheels and driving belts at the rear and let "machine" and "shapes" become a united whole.
Similarly, some photographers have asked themselves why the action of light on photo paper and the development baths could not become a creative process comparable with the exposure of a motif why camera work and darkroom work could not become one.
Among those photographers we find Ture Sjölander. Among those photo graphic artists, as he calls them, who feel dissatisfied with the dialectic of the traditional photographers relationship to his motif: when he searches for his motif, he is the sovereign master of it, choosing and rejecting it . At the very moment that he touches the trigger, he has become enslaved to the motif, without any possibility (other than in terms of light gradation) to do what a painter does reshape, exclude, and emphasize in the motif.
This subjection to the motif does not have to be disrupted by eliminating the motif. The photographer simply needs to remove the limits to what is permitted and what is not allowed. To let the copy of a photo remain in the water bath for an hour is allowed (if you want to keep the motif). But leaving it there for a couple of days is the right thing as well (if you want to let the motif diffuse into deformations soft and silky as fur). Scratching with a needle or a razor blade is making accidents with scratches into a virtue and so on.
In addition, there is the chance of manipulating a figurative or non-figurative motif by copying different pictorial elements into it, by enlargements which elevate previously imperceptible structures to the visible level, even up to monumental dimensions. The tension between scratching lines of light into a developed (black) negative the size of a matchbox and enlarging it on the Agfa papers the size of a bed sheet. This is where the photographer has at his command tricks of his art which the painter lacks, or at any rate seldom uses.
But on the other hand, is the photographer able freely to experiment with the colour? Yes, he is if he brushes paint on to the negative and makes a colour copy.
He may also, like Ture Sjölander, brush, pour, draw etc. on a photo paper possibly with a background copied on to it with water, developing or fixing sodium thiosulphite solutions, ferrocyanide of potassium and other liquids. In that case the result is a single, once-only, art work. In this way he is able to achieve a tempered and melting colour scale of white, sepia, ochre, thunder cloud grey, verdigris, silver and possibly also certain blue and red tones.
In this area, however, it seems everything still remains to be done but one single photographers resources are not enough for the experiments to be conducted widely and in depth. Sweden has recently inaugurated its first studio of electronic music. When will photographers and painters be given the opportunity to explore this no-mans-land between their time-honoured frontlines?
But can photography, in principle, be equal to painting? Is not the glossy, non-handmade character of the photo an obstacle? People have argued in a similar way about enamel work, but that technique is now recognised as totally and completely of a kind with the painted picture. If we adjust the focus of the "conventional painting concept" when we are looking at photo painting, we will perchance discover that in its singular immaterial quality it can possess new and suggestive value.
Translation from Swedish by Birgitta Sharpe
"VIDEOART" ELECTRONIC PAINTINGS - TELEVISED 1966 - 1967 - 1969.
Gene Youngbloods book "Expanded Cinema". 1970.
"Man at the Moon". is the name of the LP Record.
RUTT ELECTROPHYSICS, NY, USA.
Letter from: RUTT ELECTROPHYSICS, 21-29 West 4th Street, New Yourk,N.Y., 10012. March 12, 1974.
Signed by Sherman Price.
To: International Section of Swedish National Television, Stockholm, Sweden.
"I am writing a detailed magazine article about the history of video animation.
From literature avaiable I gather that a videofilm program, "MONUMENT", broadcast in Stockholm in January, 1968, was the first distortion of video scan-line rasters achieved by applying tones from wave form generators.
This is of such great importance - historically - that I would like to obtain more detailed documentation of the program and of the electronic circuitry employed to manipulate the video images.
I understand from your New York office that there may have been a brochure or booklet published about the program.
I will be happy to pay any expense for publications, photcopies or other documents about the program and its production -particulary with regard to the method of modulating the deflection voltage in the flying-spot telecine used.
"Video synthesis" is becoming a prominent technique in TV production here in the United States, and I think it will be interesting to give credit to your broadcasting system and personal for achieving this historic innovation."
( A number of authentic documents/letters from this communications is avaliable)
No "detailed article" or even magazine was never reported or later presented after receiving the vitalinformation from the Swedish Broadcating Company, by Rutt Electrophysics)
Letter from the Manager of
THE PINK FLOYD.
Stockholm, Septembre 11th 1967.
Dear Messrs Sjolander & Weck,
Having seen your interesting Stockholm exhibition of portraits of the King of Sweden made with advanced electronic techniques I have been struck by the connection between this new type of image creating and the music-and-light art presented by The Pink Floyd.
I think that your work could and should be linked with the music of The Pink Floyd in a television production, and I would like to suggest that we start arranging the practical details for such a production immedialtely. With all his experiences from filming in the USA and elsewhere I also feel that Mr. Lars Swanberg is the ideal man tp help us made the film.
Please get in touch as soon as possible.
The following text was written by the Swedish Art Writer KRISTIAN ROMARE 1968.
electronic painting 1968
TURE SJOLANDER/LARS WECK
We create pictures. We form conceptions of all the objects of our experience. When talking to each other our conversation emerges in the form of descriptions. In that way we understand one another.
Instantaneous communication in all directions. Our world in television! The world in image and the image in the world: at the same moment, in the consciousness and in the eyes of millions.
The true multi-images is not substance but process-interplay between people.
"Photography freed us from old concepts", said the artist Matisse. For the first time it showed us the object freed from emotion.
Likewise satellites showed us for the first time the image of the earth from the outside. Art abandoned representation for the transformational and constructional process of depiction, and Marcel Duchamp shifted our attention to the image-observer relation.
That, too, was perhaps like viewing a planet from the outside. Meta-art: observing art from the outside. That awareness has been driben further. The function of an artist is more and more becoming like that of a creative revisor, investigator and transformer of communication and our awareness of them.
Multi-art was an attempt to widen the circulation of artist's individual pictures. But a radical multi-art should not, of course, stop the mass production of works of art: it should proceed towards an artistic development of the mass-image.
MONUMENT is such a step. What has compelled TURE SJOLANDER and LARS WECK is not so much a technical curiosity as a need to develop a widened, pictorially communicative awareness.
They can advance the effort further in other directions. But here they have manipulated the electronic transformations of the telecine and the identifications triggered in us by well-known faces, our monuments. They are focal points. Every translation influences our perception. In our vision the optical image is rectified by inversion. The electronic translation represented by the television image contains numerous deformations, which the technicians with their instruments and the viewers by adjusting their sets usually collaborate in rendering unnoticeable.
MONUMENT makes these visible, uses them as instruments, renders the television image itself visible in a new way. And suddenly there is an image-generator, which - fully exploited - would be able to fill galleries and supply entire pattern factories with fantastic visual abstractions and ornaments.
Utterly beyond human imagination.
SJOLANDER and WECK have made silkscreen pictures from film frames. These stills are visual. But with television, screen images move and effect us as mimics, gestures, convultions. With remarkable pleasure we sense pulse and breathing in the electronic movement. The images become irradiated reliefs and contours, ever changing as they are traced by the electronic finger of the telecine.
With their production, MONUMENT, SJOLANDER and WECK have demonstrated what has also been main-tained by Marshall McLuhan: that the medium of television is tactile and sculptural.
The Foundation for MONUMENT was the fact that television, as no other medium, draws the viewers into an intimate co-creativity. A maximum of identification - the Swedish King, The Beatles, Chaplin, Picasso, Hitler etc, - and a maximum of deformation.
A language that engages our total instinct for abstraction and recognition.
Vital and new graphic communication. A television Art.
Kristian Romare, Sweden 1968