Nicht Realisiert
Stacky shopping carts, tired consumers and fantasies concerning the use, the reuse and recycling are conveyed with a light stroke and humour.
Else Haavik
I was invited to propose an outdoor sculpture for Smestad Gjenbruksstasjon (recycling facility) by curator Yngvild Færøy. The proposal was part of a competition and I did not reach through with my suggestion;
To assemble 52 discarded shopping carts into a dragon like / ski jumping facility form. To plant Red Virginia Creeper around the sculpture and let the nature crawl into the structure, so that by time would appear as a ruin, a monument of over consumption in this particular site. They were close to accept it, but did not trust the structure to be solid / safe enough for public space. Another problem was that Red Virginia Creeper is banned by the local authorities due to its dominating nature.
However, they felt intrigued by the project and bought 14 sketches that were installed in the employees area in the building.
To bad it never happened, I still get images of the fabulous ruin-like sculpture every time I pass the Facilities at Smestad in Oslo.
Oslo Kommune (english below):
Terje Nicolaisen er en særegen og allsidig kunstner som arbeider i flere medier som tekst, tegning, maleri og skulptur, men også med artist-books og musikk. Nicolaisen er medlem av kunstnergruppa Tegneklubben, hvis kunstneriske mål er å sloss mot kunst-byråkratiets makt og instrumentalisering av mening. De ønsker å viske ut linjene mellom tegning som medium og tegne-redskapene.
Kunstutvalget for Smestad gjenbruksstajon valgte å kjøpe inn 14 forslag til skulptur til Smestad som bokstavelig talt var skissene til et skulpturforslag for gjenbruksstasjonen. I følge Nicolaisen har ideen til en skulptur vært å sveise sammen handlevogner til en gigantisk drake-lignende skulptur, beplantet med rød villvin. Nicolaisens skisser er utført i blekk, blyant, utklipp og tape på papir.
Skissene er uhøytidelige og sprelske kommentarer til bruk og gjenbruk, kjøpekultur og forbrukersamfunnet. Kvitt deg med kunsten ingen vil ha! Få ny energi og kraft! Kunstavfallsordingen 2015, ironiserer Terje Nicolaisen i et av skisseforslagene. Det konseptuell er kjernen og han nøler ikke med spark til kunstnernes egne roller i samfunnet.
Stappfulle handlevogner, trøtte forbrukere og fabulering rundt bruk, ombruk og gjenvinning formidles med lette strøk og tegneglede. Merkevarelogoene som illustreres trenger ikke skrives fullt ut, de har allerede brent seg inn i våre markedstilpassede hjerner. Alle kan fylle ut navnet på merkevarene automatisk - som automatiserte kapitalistiske symboler på forbruk. Uendelighetssymbolet er selvsagt med som et tegn i tiden. Handlevognen kan tolkes som selve symbolet på hamstring og forbruk. Skissen som viser før og etter A.C, med en dynge som skisserer 1950, stiller et åpent spørsmål om hva komposten i 2150 inneholder. Evig eies kun det tapte, kommenterer Nicolaisen.
Else Haavik
Terje Nicolaisen is a distinctive and versatile artist who works in several media such as text, drawing, painting and sculpture, but also with artist-books and music. Nicolaisen is a member of the artist group The Drawing Club, whose artistic goal is to fight against art bureaucracy and instrumentalization of meaning. They want to blur the lines between drawing as a medium and the actual drawing tools.
The Art Committee for Smestad Recycling Facility chose to purchase 14 sculpture proposals for Smestad, which were literally the sketches of a sculpture proposal for the facility. According to Nicolaisen, the idea of a sculpture was to weld together shopping carts for a giant dragon-like sculpture, planted with red wild creeper. Nicolaisen's sketches are done in ink, pencil, papercuts and tape on paper.
The sketches are unpretentious and playful comments on use and reuse, buying culture and the consumer society. Get rid of the art no one wants! Get new energy and power! The Art Waste Scheme 2015, Terje Nicolaisen ironizes in one of the sketches. The conceptual is at the core and he does not hesitate to bully the artist's own roles in society.
Stacky shopping carts, tired consumers and fantasies concerning the use, the reuse and recycling are conveyed with a light stroke and humour. The branded logos illustrated do not need to be fully outlined, they are already burned into our market-adapted brains. Anyone can fill in the brand names automatically - like automated capitalist symbols of consumption. The infinity symbol is, of course, a sign of time. The shopping cart can be interpreted as the very symbol of hoarding and consumption. The sketch showing before and after A.C., with a heap outlining 1950, asks an open question about what the compost in 2150 contains. Only the lost is eternally owned, comments Nicolaisen.
Else Haavik
KUNSTNER:
Terje Nicolaisen
KUNSTKONSULENT: Yngvild Færøy
RÅDGIVER KULTURETATEN: Else Haavik
BYGGHERRE: Renovasjonsetaten
ARKITEKT: Longva Arkitekter AS
KUNSTBUDSJETT: 1 743 750 NOK
Fun Fact;
I was already for years totally in love with this dominatrix beautiful plants. On my way to band practice with the sisters, I got an ephiphany seing the burning wild red plant devouring on of the buildings at the Botanical Garden and I remembered a painting by Edvard Munch that had this house/plant relationship so eloquently painted. It came to my mind that some days previous to this, a woman tried to get me in trouble (doesn't happen a lot).
So on the way to see the Sisters I wrote a song in my head, that we actually rehearsed that same evening; it's called Red Virginia Creeper and is not about the plant:
RED VIRGINIA CREEPER
(She was a) Red Virginia Creeper, Crawling around my house,
Asking me for favors, making me her cause
She wanted me, to save me, protect me from what I want
To heal me with her tenderness, But I don't need no help!
I wanted peace and love, I wanted smiles
I wanted to be left alone, (at least) for a while.
Thats the way I saw it, when one day she took my hand,
dragged me to the nearest place, touched me up and down.
I felt the warm and tender «ness», I felt I wanted to cry,
She'd opened up some hidden space, and I had lived a lie.
I wanted peace and love, I wanted smiles
I wanted to be left alone, (at least) for a while
I wanted peace and love, I wanted smiles
I wanted to be left alone, (at least) for a while
Here it is as I played it for this purpose
