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Namísto tradičních témat spojovaných se severským uměním, jakými jsou světlo, příroda, melancholie či šílenství, se proto kurátorky rozhodly jako společný základ jednotlivých - více než třiceti - představených uměleckých pozic zdůraznit moment narativity.
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Sabine Folie and Brigitte Kölle, the curators of the show, were very much aware of the issues associated with territorial determination as a key to constructing a representative, contemporary exhibition of visual art. Instead of traditional themes typical for Nordic art, such as light, nature, melancholy and madness, they chose a moment of narration as the basis for all of the more than thirty presented artistic positions. This moment does not only stem from demographic regional specialties, like low population density, but most of all from the external geographical isolation that originally pushed the Nordic countries out to the periphery. Furthermore, the exhibition suggests that narration and the need for communication—both of which have been steadily developing in the Nordic scene since the local artists came into lively contact with members of Fluxus—anticipated in a certain way the rehabilitation of art perceived as social action. The elite group of artists working in this field ranges from Maurizio Cattelan, to Liam Gillick, Carsten Höller, Gabriel Orozco, Jorge Pardo, and Rirkrit Tiravanija. It’s no accident that these artists come from the periphery, from towns in Italy, Belgium, Mexico, Cuba, Argentina, and Aylesbury and Glasgow in Britain. With parasitical tenacity they have managed to work their way into the global scene with their incommunicable language, which their original local dialects are distinctly incorporated into.
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Sabine Folie and Brigitte Kölle, the curators of the show, were very much aware of the issues associated with territorial determination as a key to constructing a representative, contemporary exhibition of visual art. Instead of traditional themes typical for Nordic art, such as light, nature, melancholy and madness, they chose a moment of narration as the basis for all of the more than thirty presented artistic positions. This moment does not only stem from demographic regional specialties, like low population density, but most of all from the external geographical isolation that originally pushed the Nordic countries out to the periphery. Furthermore, the exhibition suggests that narration and the need for communication—both of which have been steadily developing in the Nordic scene since the local artists came into lively contact with members of Fluxus—anticipated in a certain way the rehabilitation of art perceived as social action. The elite group of artists working in this field ranges from Maurizio Cattelan, to Liam Gillick, Carsten Höller, Gabriel Orozco, Jorge Pardo, and Rirkrit Tiravanija. It’s no accident that these artists come from the periphery, from towns in Italy, Belgium, Mexico, Cuba, Argentina, and Aylesbury and Glasgow in Britain. With parasitical tenacity they have managed to work their way into the global scene with their incommunicable language, which their original local dialects are distinctly incorporated into.
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