Diary.

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1 year.
Living in Stockholm.
221 days.
Drawing my time.
7 colors.
Gazing out through the painting.
1 glass.
Taking care of fragility.
1 place.
Showing the life.


Glass, 40x50cms
(It will look very different in the Exhibition)

Exhibition in mellanrummet.

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Dokumentation from my exhibition : Flyttas innan 1 december / Jacob.
Translated : transported before 1 of December / Jacob.

My intention was to make a wall painting in the space, this was an early decision in the process.
You who have seen my earlier works might recognize the logic behind this piece, I’ve made paintings relating to to the space and the wall that has been holding the painting. I should mention that as well in the making process as when I’m installing my paintings I have reconstructed the composition of the paintings over and over again.
The outcome of all these arrangements came to be lines or edges separating color fields. Read striped since the movements has been only horizontal.
In this work of wall painting the same composing process is used as in my earlier paintings, the difference is the limitation of color. White as the wall and grey as the floor.
This painting is binary. Like 1 and 0.
While making the painting on the wall and the floor an thought about how the viewer would move and feel inside the binary painting made me to bring an earlier photo piece into the show.
The photograph is a print screen from Google earth, and it represent an car cross with an asphalt painting. The painting is made to inform drivers to not stop inside a specific area.
Walking through my exhibition I don’t want to stop inside the floor and wall painting, exactly as in the car crossing.
The third piece in the show is cutted MDF pieces and one glass sheet placed in one of many possible cut.
I could admit that the safety is a big part of how this work is installed, same principe is used as in the car crossing again (repetition). The glass would have been invisible without the MDF and the risk that somebody would walk into the glass much bigger.

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Www.jacobholmberg.se

 

Notes from our last meeting at KKH

Hi KUVA students and teachers!

Last week we had a meeting at KKH regarding our upcoming trip to Helsinki and the exhibition i January. Here is what we talked about:

 

– Collaboration. Some are interested and some are not. Maby something to talk about when we meet i December? Should it be one student from  KUVA and one from KKH or could it be KKH-KKH and KUVA-KUVA?

-Should there be some sort of text? And if so, do we want one for the whole exhibition or one for each student or in some other way?

-We have played with some different ideas of how the exhibition could be done. One idea was that we KKH students could do all our work on location. But it’s not very likely that we will do that..

-We were talking about on what date we should arrive in January and for how long we will stay? How does the works get back to Sweden? Will we be there to take them down and pack everything?

-We think that it would be great to have a model of the galley space when we show up in December so we can play with the hanging of the exhibition. Does someone at KUVA want to make one?

-An exercise we could do in Helsinki is: divide our selfs into groups of ca 3 persons and then have all the groups make an example of how the exhibition could be done.

 

 

I think this was it. See you soon!

Inspiration: Lohse’s drawings

Painting. Color. Light. Life.

Richard Paul Lohse.
“Drawings. 1935-1985″
Rizzoli. New York, 1986

Today in a meeting in Kuva/Tila..

(The others who were present, correct me if you don’t agree with my sum up, the ones who weren’t, just comment!) …we talked a bit about what exhibiting means apart from considering how the piece(s) work in space: what happens when a work is moved from the studio to e. g. a gallery? It means a certain loss of privacy, but also letting go of the work.

That lead us to discussing what we wish from the exhibition process. That we’d like to open up the situation for a playful spirit, where the works can communicate with each other, looking at the whole instead of just the best possible way to present one’s own work. However, we seemed to agree to a diversity of approaches, enabling both the more collaborational way of working and the more individual approach in case that suits the work better. This is a quick formulation and perhaps a wrong juxtaposition. Sounds also a bit obvious but maybe obvious things are good to start with.

One thing in the discussion was the lack of theme in the exhibition, or it being quite broad, and the confusion of relating it to our own working. What is an exhibition about exhibiting about..? What is supposed to be my contribution? At least some of us may have found themselves secretly (or not) thinking of having to make certain kind of work for this exhibition, but what..?

And the personal note of this post: I don’t have much experience in exhibiting yet and have been so far mostly hiding safely inside the private walls of the studio. I really like how Tuuli said today that exhibiting is letting go of the work. You let go of something to be able to move on. Shanti shanti, have a nice weekend!

ps. i’ve got my copy of Studio talks: Thinking through painting! Yey!

Only nature and more…

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I find a way to work usually when i am into woods….Like Kristina Bength said it in the book, ”studio talks:Thinking Through Painting” …thinking about something else other than painting through painting is to think of the other of painting. Also same book, there is Hanneline Rogeberg, who thinking like ”making-while-unmaking”…to be continued..

Work in progress…

 

Gallery

Readings

Course Reading list:

The antology Painting, ed. Terry Myers
– Terry R. Myers Introduction / What has Already been said about painting is still not enough, 2011
– Douglas Crimp The Death of Painting, 1981
– Gerhard Richter in conversation with Benjamin HD Buchloh, 1986
– Svetlana Alpers and Mathew Collin, The Painter, 2007
– Philip Tinari, Original Copies On Dafen Oil Painting Village, 2007
– David Joselit, Painting Beside Itself, 2009

Studio Talks, Thinking Through Painting, 2014, edited by  Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström

Donald Judd – Specific Objects,  (pdf)

Mark Godfrey, Statement of Intent/ the art of jacqueline humphries, laura owens, amy sillman, and charline von heyl, artforum, (pdf)

Rosalind Krauss, Sculpture in the expanded field (pdf) eller http://www.onedaysculpture.org.nz/assets/images/reading/Krauss.pdf

Helen Molesworth , How to install art as a feminist, Modern Women (pdf)

Helen Molesworth, Painting with ambivalence ( pdf)

Brian O’Dorothy, Inside the White Cube, (pdf)

Jerry Saltz, Why Does So Much New Abstraction Look the Same? Vulture (pdf)

Eva Maria Stadler, Why Painting Now? http://curatedby.at/en/concept-2013.html

Marcia Tucker, “Bad” Painting, catalogue essay, in Albertson, James, et al, “Bad” Painting, New Museum of Contemporary Art, New York, 1978 ( only available for use for this course not to be copied or shared outside of our community)

Jan Verwoert, Why Are Conceptual Artists Painting Again? Because They Think It’s a Good Idea pdf-fil

Sven-Olov Wallenstein, Måleri-det utvidgade fältet, Painting-the extended field, Stockholm : Malmö : Magasin 3 Stockholm konsthall ; Rooseum, [1996] ; 1996 Magasin 3 Stockholm konsthalls utställningskatalog

“Studio Talks: Thinking Thorugh Painting” should be on its way to the KUVA and KKH libraries now.

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Other readings for the course:

These are the texts from Terry R. Myers’ book “Painting”:

– Terry R. Myers Introduction/ What has already been said about painting is still not enough, 2011
– Douglas Crimp The Death of Painting, 1981
– Gerhard Richter In conversation with Benjamin HD Buchloh, 1986
– Svetlana Alpers and Mathew Collin, The Painter, 2007
– Philip Tinari, Original Copies: On Dafen Oil Painting Village, 2007
– David Joselit, Painting Beside Itself, 2009

We also talked about the documentary “Painters Painting”