Dillan Marsh


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The Travels of The Toucher, Assembly House, Leeds 2015-12-15

The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds
The Travels of The Toucher

Dillan Marsh & Eleanor Clare

Video projection with audio played through a bass amp, 45 sec. loop
Framed digital C-print, 60x85cm
Audio, played through a mini guitar amp, 5.20min. loop
Digital photograph on 32 inch monitor
Stud wall with two poke holes cut through it
Five terracotta clay objects on different sized plinths
Framed painting, acrylic on two 21x15cm sheets of paper
Work lamp, lighting back yard
Publication, in edition of 50

The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds The Travels of The Toucher, Assembly House, Leeds

Tags: work / exhibition / recent_work / documentation / photograph / text / collaboration / loop / box / cycle / video / ritual / print / darkness / light / collection / installation / studio / time / publication / sculpture / body / Eleanor_Clare / noise / plinth / screen / creation / plastic / landscape / show / sound / 2015 / view / film / rock / connection / hole / audio / chaos / Edinburgh_Sculpture_Workshop / earth / matter / wall / nature / speaker / Yorkshire_Sculpture_Park / megalith / sound_system / nature / water / Assembly_House_Studios / shrine / acoustic / barrier / rubish / projection / site / voice / Bergen_Kommune / The_Travels_of_The_Toucher / Norsk_Kulturradet / About_Time / ceramic / feel / hands / back / Mike_Winnard / gap / winter / Ellie_MacGarry / Rufus_Newell / clay / Lester_Drake / Tigh_na_Cailleach / ancient / Matt_Wheeldon / C-print / Arthurs_Seat / New_Haven_Bay / monitor / whispering / Granton_Mound / Poke_Holes / lamp / painting / Halhjem_Helleristninger / The_Hand_and_the_Hole / bass_amp /


About Time Festival 2015-12-15


Eleanor Clare & Dillan Marsh: The Travels of The Toucher
20th-29th Nov

With cardboard boxes over their heads, and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The forms were destroyed and remodelled Ė the possibility to reform them was always there. It was a way to get to the thing.

On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for the winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they found it, they didnít know what to do next. Not there at the shrine, nor in the studio with the clay.

About Time is a satellite programme of contemporary art running from October 2015 Ė January 2016. It is curated by a consortium of Leeds-based artists and curators led by Mexico, Pavilion and SPUR with contributions from Assembly House Leeds, Basement Arts, Black Dogs, Leeds Animation Workshop, Left Bank, Pyramid of Arts, Seize, Set The Controls For The Heart of The Sun and many others. Coinciding with the launch of the British Art Show 8, this city-wide initiative features commissioned artworks, texts and events which aim to highlight the work of artists, cultural producers and curatorial projects based in Leeds, alongside their international peers. The programme takes place across a diverse set of venues including artist-led spaces, museums and heritage buildings.

About Time Festival

Tags: exhibition / text / collaboration / cycle / circle / installation / sculpture / Eleanor_Clare / costume / creation / 2015 / show / mask / rock / collage / Edinburgh_Sculpture_Workshop / helmet / poster / nature / fruit / matter / megalith / press_release / shrine / Assembly_House_Studios / festival / flyer / About_Time / pagan / suit / Norsk_Kulturradet / The_Travels_of_The_Toucher / Bergen_Kommune / Ellie_MacGarry / Rufus_Newell / Tigh_na_Cailleach / ancient / Lester_Drake / clay / Matt_Wheeldon / head / vegetable / Mike_Winnard / uniform / Avebury / Mascots_and_Stones /


The Travels of The Toucher 2015-12-14


With cardboard boxes over their heads and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The possibility to destroy and remake was always there: it was just a means of getting to the thing.

On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were hopeful that they would make their destination on time, and fearful of regret, lest they should have to turn back. It was not that time or nature were against them; it was simply that the elements continued, and would continue interminably, before them, after them and in spite of them. The night was drawing closer with every step further into the heart of the glen. Colours were changing to soft and rusty ochres, greens and bluey-greys. The form of the land was becoming gentler and more rounded. The deep, broad loch had now tapered off into a trickling stream; yet the wind raged on, and the rain beat with a stinging patter against against their faces.

They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didnít know what to do. Not there at the shrine, nor in the studio with the clay.

This work has been kindly supported by: Assembly House Studios, About Time, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, Bergen Kommune, Norsk Kulturradet (Arts Council Norway)

The Travels of The Toucher

The Travels of The Toucher



Dillan Marsh & Eleanor Clare
Assembly House Studios 20-29 Nov. 2015
Sat. & Sun. 1-4pm or by appointment




Tags: work / exhibition / recent_work / documentation / photograph / text / collaboration / cycle / video / drive / ritual / darkness / light / installation / time / publication / sculpture / Eleanor_Clare / religion / creation / edition / landscape / 2015 / sound / catalogue / archetype / rock / audio / chaos / Edinburgh_Sculpture_Workshop / future / wall / Yorkshire_Sculpture_Park / megalith / sound_system / seek / water / creativity / press_release / nature / touch / Assembly_House_Studios / shrine / cardboard / pagan / The_Travels_of_The_Toucher / Norsk_Kulturradet / About_Time / ceramic / site / Bergen_Kommune / Mike_Winnard / storm / Matt_Wheeldon / Tigh_na_Cailleach / Lester_Drake / winter / ancient / Rufus_Newell / Ellie_MacGarry / Arthurs_Seat / weather / travel / Face /


MOLAF, Vancouver Art Gallery 2015-10-20


The Museum of Longing and Failure is a collecting entity that seeks to reveal the visual terrain of its thematic concern.
Installment No. 16 appeared at the Vancouver Art/Book Fair in the courtrooms of the Vancouver Art Gallery in Vancouver, Canada, from October 16th to 18th, 2015.

MOLAF

MOLAF, No. 16, Oct. 16 - 18. 2015

Nadia Belerique (CA)
Jacob Glesson (CA)
Josefine Lyche (NO)
Dillan Marsh (NO/UK)


DILLAN MARSH Trophy
Marble, dumbbell spanner, chocolate wrapper, 13x6x6 cm, 2015

MOLAF, Vancouver Art Gallery MOLAF, Vancouver Art Gallery

Tags: exhibition / documentation / fair / collection / sculpture / podium / plinth / 2015 / gallery / fail / platform / court / Trophy / press_release / longing / failure / Jacob_Glesson / MOLAF / Josefine_Lyche / Andrew_Taggart / Nadia_Belerique / Chloe_Lewis / Vancouver_Art_Gallery /


untitled collection, Skjoenne Sjeler 2014-09-09

untitled collection, Skjoenne Sjeler


- collage with Francois Hugo dans son atelier and a stamp from the Album Nestle, Series 22
- role playing dice with the numbers removed and in the forms of the 5 Platonic Solids
- collage with Bulgari advertisement Eternal Values and bookmark with Vanitas by Jan van Huysum
- RUSH, Yikes and Power Promotions (1992) on a small white stool
- Collage with Odyssey, a Journey into Dance and postcard Urnascher Sylvesterchause
- Trophy, marble base, universal imperial spanner and chocolate wrapper
- Tomorrow is Born, Acidica Productions (Shepton Mallet, 1992)
- postcard of Arosa 1800m, Innerarosa, Alpentobel, Erzhorn
- digital machine timer Red Lion 202/95EC (counting the time in milliseconds)
- NEW AGE (Milton Keynes)
- a toy Halloween pumpkin
- mono-print on paper Mayhem in 1990 printed with an empty black ink cartridge


untitled collection, Skjoenne Sjeler untitled collection, Skjoenne Sjeler

Tags: work / exhibition / commerce / recent_work / documentation / fair / cycle / energy / production / ritual / print / space / collection / installation / Norway / time / sculpture / New_Age / noise / black / costume / white / death / scenery / plastic / creation / orange / landscape / music / geometry / cube / carnival / dance / mask / pyramid / 2014 / new / motion / advetisement / collage / presentation / summer / future / poster / Trophy / cosmos / club / chair / postcard / wall / riot / nature / cruise / rave / rainbow / still_life / constellation / solar_system / Francois_Hugo / band / tool / festival / colour / Rush / Seljord / Skjoenne_Sjeler / flyer / triangle / free-party / gold / Nestle / Ellen_H_Suhrke / M25 / vegetable / Hugo_and_the_Cosmos / utopia / Anond_Versto / Oystein_Wyller_Odden / odyssey / mono-print / polygon / hour_meter / timer / Vanitas / Kohler / eternal / Dodecahedron / stripes / Infernal_Eternal / platonic_solids / Sunderland / Mayhem / 1990 / hexagon / Jan_van_Huysum / mountain / Bulgari / stool / Piramid Stage / Out_of_Key / Tomorrow_is_Born / Arosa / Urnascher_Sylvesterchause / pumpkin / spanner / Milton_Keynes / marble / Shepton_Mallet / Odyssey_and_Sylvesterchlause / 1992 / Halloween / chocolate /


untitled sculpture, Skjoenne Sjeler 2014-08-10

untitled sculpture, Skjoenne Sjeler Incomplete pyramid structure built from powder coated steel tube provisionally fastened together with brightly coloured cable ties and weighted with a pile of used tires. The sculpture is placed outside the exhibition entrance, in a circular arena and opposite the unofficial meeting place for young, local car enthusiasts. untitled sculpture, Skjoenne Sjeler untitled sculpture, Skjoenne Sjeler

Tags: work / exhibition / documentation / fair / arena / temporary / car / movement / driving / drive / ritual / architecture / circle / modular / installation / Norway / sculpture / tube / incomplete / scaffold / custom / pyramid / dysfunctional / camp / 2014 / tire / presentation / summer / accumulator / Burnout / roundabout / cruise / festival / Skjoenne_Sjeler / Seljord / site / cruising /


Appendix 3 (text by Eleanor Clare) 2013-08-14



Appendix 3: Miscellaneous

As cosmic man or the personification of the intelligence in the tree of life, the Green Man is
the point at which the truth is manifested in creation, whether as life, light, song, words or
other figurative forms of art. He is the medium through which divine inspiration guides the works
of time in the fullness of space. He is the point of entry of eternity into time. Space is the
medium of sound, and therefore the music of praise.

W. Anderson, Green Man: The Archetype of our Oneness with the Earth.

...

Such circles designate, like the spirals, the paths of entry between worlds, and the pacing or
dancing of such designs in imitation of the journeys of the Gods, offers a perfect explanation of
these structures.

The Avebury henge was not a sculpture in the sense of being a finite, completed object.
Instead, it was brought to completion at the right time by human participation.

M. Dames The Avebury Cycle

...

In the extraordinary madness which periodically invaded Europe from the fourteenth to the
seventeenth century, people danced until they dropped.

At Liege in 1374, after certain possessed folk had come dancing half naked into the town
with garlands on their heads, dancing in the name of St John, we are told that many persons
seemingly sound in mind and body were suddenly possessed by devils and joined the dancers.

E.R. Dodds The Greeks and the Irrational





Tags: work / recent_work / text / collaboration / belief / cycle / energy / ritual / desire / circle / time / publication / action / sculpture / Eleanor_Clare / New_Age / death / creation / June_Twenty_First / music / archetype / dance / cosmos / megalith / true / god / pagan / Appendix / spiral / 1978 / green_man / Avebury / M._Dames / 1374 / W._Anderson / Liege / E.R._Dodds /


Camilla Brochs-Haukedal, Kunstforum Review 2013-07-12

KUNSTforum

Fart, glede og kosmiske referanser

Camilla Brochs-Haukedal - 12.07.2013

Med utstillingen June Twenty-First pa entree i Bergen, byr Dillan Marsh pa flere assosiasjoner, fra pop art til motorsykkellop, fra midtsommerfeiring til reklameskilt.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Slagverk, motorsykkel og reklame

Gjennom en stor skjelettlignende stalkonstruksjon trer vi inn i Dillan Marshs (f. 1980, UK) romdekkende installasjon, June Twenty-First, laget spesielt for entree. Utstillingen bestar av flere komponenter som hver for seg fungerer som selvstendige verk, men utstillingen har en tittel og ingen verksliste, det er derfor naturlig a lese den som en installasjon.

Langs veggene, innenfor porten, er det snekret opp benker, eller temporaere tribuner, umalte og ubehandlede. Med en skranende fremside er de litt ubehagelige a sitte pa, og uten a ha bli invitert til det, hadde jeg nok ansett dem som en ramme rundt resten av utstillingen, en ramme som for ovrig fint knytter de enkelte verkene sammen til en helhet i rommet.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

I midten av hesteskoen av tribuner troner fire soyler i forskjellig hoyde, bygget opp av gummidekk, trommer, flerkantede esker og motorsport-hjelmer. alle komponentene ser ut til a vaere godt brukt og baerer preg av a ha levd et liv for de som object trouve; ble deler av Marshs kunstverk.

Bak soylene pa motsatt vegg, vis a vis inngangsdoren, er to flagg i kryss i rod og gult. Fargene og monstrene gar igjen i den store stripen som dominerer hele vindusveggen til entree, og pa skjermene som apenbarer seg i sideblikket idet man gar inn i rommet. Denne skulpturen er satt sammen av tre skjermer, stroppet sammen i en stabel. Bildene pa skjermene varierer i hastighet og virker bade forstyrrende og samtidig levende og livlig, mye takket vaere fargene og de raske, repetetive bevegelsene.

a day at the races

Dekkene, flaggene, materialene og ikke minst hjelmene, sammen med en sterkt tilstedevaerende lukt av gummi fra dekkene og de sterke fargene gult og rodt, gjor; det vanskelig a losrive seg fra assosiasjoner til motorsykkellop. Jeg innrommer et tidligere flerarig fan-forhold til eurosport, MotoGP, alex Barros og Valentino Rossi, men selv uten dette er assosiasjonen svaert naerliggende.

Med gult og rodt som dominante farger i utstillingen, er assosiasjoner til store reklameskilt for bensinstasjoner som Shell heller ikke langt unna. Marsh har tidligere brukt grep fra reklameskilt og merkevarebygging i sine verk. I utstillingen June Twenty-First er det selve virkemidlene i den kommersielle markedsforingen Marsh tar i bruk: de sterke fargene, brandingen av entrees store vindu og det repetetive monsteret pa skjermene.

Med utstillingen gjor Marsh galleriet til en storre del av sin utstilling enn bare et rom a vise kunsten i. entrees egen logo er fjernet fra vinduet, i stedet er vinduene dominert av to store, rode linjer som motes i en spiss i midten og som gjor entree svaert synlig fra utsiden, et blikkfang i gaten pa samme mate som de store Shell-skiltene er langs motorveiene. Som entree skriver pa sin nettside: 'entree finds itself re-branded and built into the concept of the work on show'.

Med disse grepene er referansene til pop art ogsa sterkt tilstedevaerende, i bade bade form og innhold. De sterke fargene og det repetetive monsteret samt Marshs bevisste bruk av kommersiell markedsforingsvirkemidler kan ikke annet enn a gjenkalle andy Warhol.

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

a samles rundt balet

Apningsdagen til Marshs utstilling falt pa 21. juni, som er sommersolverv, arets lengste dag. Fest og feiring er assosiert med tiden rett etter denne dagen i aret med flest soltimer. Her i Norge er det Sankthans som gjelder, med feiring, bal og fest, men det a feire midtsommer har tradisjoner mye eldre enn kristendommen. Ved a kalle utstillingen, eller installasjonen, June Twenty-First, pakaller Marsh en positiv stemning assosiert med sommer, sol, fest og ritualer. Tittelen har tilsynelatende ikke noe umiddelbar sammenheng med verkene utstilt, annet enn at apningen falt pa denne fredagen. Sammenhengen ma vi derfor reflektere rundt selv, hjulpet av introduksjonen pa entrees nettsider, ogsa de for anledningen rod- og gulrutet lik monsteret pa skjermene og ett av flaggene i visningsrommet.

Gjennom tittelens referanse til sommersolverv soker utstillingen, ifolge nettsiden, a vise hvordan vi gjennom deltakelse i storre eller mindre feiringer, tilstelninger og ritualer ogsa er del av et storre system, faktisk et kosmisk system. Denne forbindelsen synes svaert subtil i opplevelsen av installasjonen, det er ikke lett a fa fatt i hvordan kunstnerens overordnede budskap skal overfores. Men den nye publikasjonen av apis Press, lansert samme dag og i forbindelse med utstillingen, med tekster av eleanor Clare, kan kaste lys over Marshs inspirasjonskilder, og hvordan vi kan tolke tittelen og verkene utstilt.

IMG_0422

Dillan Marsh June Twenty-First, 2013. Foto: Randi Grov Berger

I tillegg til a havne pa arets lengste dag, markerte apningen av June Twenty-First lanseringen av nevnte publikasjon, og lanseringen av forste utgave av Utstillingsguide for Bergen (utstillingsguide.no). Vernissagen markerte altsa flere begivenheter og gjorde installasjonen i seg selv til en arena for festligheter og feiring. Og det er en positiv opplevelse a vaere i rommet med de bevegelige skjermbildene og soylene av dekk og trommer og hjelmer, de sterke fargene og den litt skarpe lukten. Som installasjon har Marsh fatt mye ut av entrees lokaler, det er en vellykket bruk av rommet.

Installasjonen kan leses og tolkes pa mange mater, det er mye a ta av bade i referansene og i opplevelsen av rommet, og er vel verd et besok.  Men pa tross av at jeg aner noen interessante assosiasjonene rundt ritualer, systemer og var alles soken etter tilhorighet og plass i den store sammenhengen, ma jeg innromme at jeg fremdeles finner det litt vanskelig a losrive meg fra inntrykket av a vaere pa et MotorGP-lop.




Tags: work / exhibition / commerce / competition / stage / red / text / repeat / loop / box / arena / race / structure / cycle / driving / drive / circle / Norway / 2013 / action / sculpture / Entree / New_Age / noise / yellow / solar / process / June_Twenty_First / gallery / connection / new / midsummer / solstice / summer / Randi_Grov_Berger / march / arch / review / motorcycle / Camilla _Brochs-Haukedal / Kunstforum /


Horizon Publication 2012-10-20

Horizon Publication Horizon Publication Horizon Publication

Tags: work / exhibition / recent_work / stage / documentation / collaboration / stand / structure / architecture / elevation / Norway / publication / sculpture / podium / plinth / scenery / landscape / scaffold / scale / dioramas / view / platform / museum / panoramic / stair / viewpoint / Bergen / Mathijs_van_Geest / international / interchange / nordic / perspective / Moderna_Museet / Baldvin_Einarsson / Helene_Norseth / Michelle_Teran / Werner_Nekes / Reykjavik / symposium / Kari_Stefansson / Emma_Houlihan / Bryndis_Bjornsdottir / Hulda_Stefansdottir / Stockholm / Lina_Zaveckyte / Pella_Kagerman / Domas_Rukas / Karen_Kipphoff / Olav_Westphalen / Vilnius / Asta_Ostrovskaja / Gabriele_Edlbauer / Marjolijn_Dijkman / Sindri_Snaer_Sveinbjargar_Leifsson / Irma_Stanaityte /


untitled 2012-10-01

untitled untitled untitled untitled

Tags: work / commerce / recent_work / sign / stage / documentation / 2012 / stand / temporary / function / production / light / modular / Norway / collapse / studio / board / sculpture / plinth / black / retail / scenery / incomplete / lights / shelving / dysfunctional / vinyl / aluminium / set / postcard / florescent / glass / soma /


E Clare Review 2012-08-15

Millrace Gallery / Bergen Kjott

These objects were something like old fashioned projection screens, and something like gondolas; not of the Venetian type, rather the wheeled display stands used in retail (even though the wheels were rather too large to be seen on the shop floor - they were more reminiscent of something that could belong in a workshop - somehow 'masculine').

One was much taller than the other, on high legs. A square frame, glossy and blue, contained an LCD screen. The smaller one was painted in red gloss, and also held an LCD screen. The larger was somewhat mesmerizing as blue letters in italic capitals glided across the screen, spelling out 'TOTAL.' As I watched, I realised that the word seemed to glitch, to come apart - severed by a horizontal line through the middle; sometimes partially slipping from vision. TOTAL: this word as an entity, as a thing, as a visual object: I felt some pathos for it. It had fallen short, it was fading, it was uncertain. Words fail me...

Upon the screen of the smaller object, to the bottom right, almost slipping out, was the word SUPER in italic capitals. It was flashing - like brand names in lights at Piccadilly Circus, or how I would imagine it to be in Las Vegas. Yet once again there was a sense of pathos pertaining to the one who is desperate to be noticed, but just seen in the peripheral vision, at the edge, about to become obsolete.

Below the screens as I looked down, I noticed that the wires and connections at the back of the DVD player were left open, hanging out, and that surrounding the glossy blue frame was grey foam, cushioning the LCD screen and protecting it from damage. The Bride Stripped Bare By Her Bachelors, Even. Or this time perhaps we may infer that the Bachelor himself has been disrobed, robbed, even. The edifice that would give this work a sense of sheeny, hermetic closure as an object has been cast to one side. It appears to be suspended - in a state of display in its most commercial aspect (as a product/object/work of art), and also in the sense that it has been left bare: in a state that could be either not quite complete or abandoned in the process of dismantling.

Laurie Edson writes about 'The Large Glass,'

'The verbal clues provided in the title suggest that we are witnessing the ongoing process of the stripping and all that goes with it, a dynamic situation has been 'caught in the act', temporarily frozen in glass and delayed (delay, of course, promises completion at some later time).

Duchamp uses techniques that function to delay the spectator's response, and this very delay (and the subsequent heightening of the spectator's desire to comprehend, to solve, to figure out, read) produces desire in the sense which Barthes has used the term.'

It seems that in Marsh's work too, there is the undeniable sense of delay, and to use Edson's terminology, of being 'caught in the act.' In the seductive promise of a shiny, glossy exterior, and in the promise of the words 'super' & 'total' the viewer seeks at once to understand what is missing - to understand why this object is left as it is, apparently undone, to know exactly what it is, or what it is for. I (the spectator) am caught between a state of mesmerized fascination with the brightly lit words on the LCD screen, a sensuous appreciation of the physical potential of the clean, glossy structure, and a feeling of frustration in terms of knowing: I cannot name this thing before me; I cannot define it. And as such, both the physical object and meaning are left un-ended.


Tags: work / commerce / sign / red / facade / blue / text / 2012 / stand / repeat / loop / function / video / desire / super / board / portable / sculpture / total / Eleanor_Clare / retail / screen / gallery / fail / circus / dvd / bergen_kjott / Proverommet / review / layer / glass / delay / undone / gondolas / Laurie_Edson / pathos / Las_Vegas / Duchamp /


super total plan diagramme 2012-08-15

super total plan diagramme super total plan diagramme

Tags: work / exhibition / commerce / recent_work / sign / documentation / red / equipment / blue / design / collaboration / 2012 / component / box / transport / function / production / elevation / super / package / sculpture / total / diagramme / plan / drawing / cabinate / process / gallery / double / mill_race_gallery / museum / crate / Proverommet / gondolas /


shelves chairs boilersuits 2012-08-14

photo bjorn mortensen shelves chairs boilersuits

Tags: work / recent_work / documentation / blue / 2012 / collaboration / function / production / modular / installation / model / sculpture / furniture / catalogue / shelving / Bjorn_Mortensen / poster / presentation / chair / boilersuits / mdf / Bernat_Daviu / Tollbodallmeninngen_39 / overalls / ceramic /


museum 2012-08-12

museum

Tags: research / exhibition / stage / photograph / collection / model / sculpture / podium / plinth / gallery / dioramas / museum / arch / bust /


documentation (Bergen Kunsthall) 2011-06-01

documentation (Bergen Kunsthall) photo Jonas IB Jensen documentation (Bergen Kunsthall) documentation (Bergen Kunsthall)

Tags: work / exhibition / commerce / competition / recent_work / stage / trade / documentation / red / facade / stand / fair / arena / temporary / architecture / modular / empty / booth / Norway / sculpture / 2011 / white / vinyl / kunsthall / aluminium / Bergen_Kunsthall / mdf / florescent / carpet / Jonas_Jensen /


Documentation (untitled sculpture) 2010-09-20

Documentation (untitled sculpture)

Tags: work / exhibition / recent_work / stage / documentation / facade / fair / arena / game / architecture / elevation / fake / model / empty / escape / sculpture / podium / 2010 / furniture / plinth / scenery / course / scaffold / landscape / scale / view / dioramas / steps / platform / circus / panoramic / obstacle / perspective / Stockholm /


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