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Huge sculptures in spectacular places - How?
by Asbjorn Lonvig

A member of a council of commerce asked me to design a motif for plastic bags.
The intention was do promote the city.
To visualize the city.
At the same time a major motor way was under construction.
A motor way that passed by this city.
I told the member of the council of commerce that it might be a better idea to erect a huge metal sculpture close to the new motor way.
Sure it would be a much more expensive solution than the plastic bags.

I would never suggest this to the council of commerce.
But.
You yourself can have 15 minutes to tell the council about the idea at the next council meeting, the council of commerce member said.

I told the council about my idea.

I had done a photo of the spectacular place where the sculpture  was supposed to be erected.
I had made a tiny draft.
I showed a large computer image with the sculpture already erected.
I showed the tiny draft.
The sculpture was 75 feet high.
The diameter of the sculpture tubes were 21".
I told the council that 40,000 people passed by this spectacular place every day.
I told about my inspiration - and what the sculpture might symbolize.
And so on.
And so on.
I talked and talked for 15 minutes.
After 15 minutes the chairman of the council said,
We must erect this sculpture.
What's the price?
Usually potential customers do not mention these two sentences i the above order.
Usually the first sentence after a presentation of an idea is "what's the price".

Well, OK.
Peace of cake.

I started my forklift.
I found some tubes in my backyard.

I went to my studio
and welded the sculpture.

I brought the sculpture
to the spectacular place
on my lorry.

I got a brush and two bottles
of paint.
One with red paint
and one with blue.
And.
Here you are!!!
"2H"

But.
It is not that easy.
Don't believe this.
The council of commerce story is true.
But it is far more complicated and demanding to build a huge metal sculpture.

Presentation
Huge metal sculptures are expensive.
Therefore it is of the greatest importance that you can present the sculpture in an image
exactly as it will be seen in reality.
At the exact spot seen from the exact angle.
You must photograph the spectacular place.
You must do a draft of the sculpture and put it into that photo.
Here a computer is indispensable.
This is the key activity in the whole project.
If this part is not done in a proper way there is no project.

Permissions
First of all you must have permissions from a lot of authorities.
The Road Directorate
The County Council.
Nature Conservancy
Municipality Council
The Police
Etc.
This is of course dependent on in which country you want to built a huge metal sculpture.
In Chicago I once suggested a huge metal sculpture in Lake Michigan and we had to add
Civil Aviation authorities and the Military.

Calculations
It is important to consider building of a huge metal sculpture as an ordinary building project.
It is important to do the ordinary engineer calculations concerning the construction.
Of course the construction must be able to resist any storm and any hurricane.
Of course the construction must be able to resist any fall of rain, snow etc.
Of course the construction must be able to endure temperature fluctuations.
The construction must resist any force of wind.
Sounds obvious.
What is not obvious is that a wind force 1 might be dangerous to the construction - but a wind force 10 would not.
That's because high constructions might rotate at low wind forces.
This rotation can harm and destroy seemingly strong constructions.
Therefore the most important engineer calculation is concerning rotation.
It might be necessary to place some kind of stabilizer equipment in the top of the sculpture.
In the top of the "2H" sculpture there are oil bath stabilizers in both sculptures.

Construction
Don't be the entrepreneur yourself.
Sign a contract with one, one company to coordinate and to be responsible for all that has to be done.
Such as calculations, welding, painting, piling, concreting of base, erecting etc.

Painting
Don't paint yourself.
A construction like this is painted by an industrial painter, who can handle large subjects and lives up to
high quality standards.  Then you can decide how often you want to dismount the sculpture for repaint.
20 years?

Projects right now

This draft is made for a tiny city called Yding.
42 feet high and a diameter of 21".
The sculpture has been shown exactly as it
will be seen in reality.
Presentation ended in a decision to proceed.
One company to coordinate and to be responsible
for all that has to be done  has been pointed out...

Suggestions

First I went for a walk in Forum Romanum.
Then I did the painting Septimus Severus.
Inspired by the Arch of Septimus Severus
erected  A.D. 203 in Forum Romanum.
It was granted the World of Art Award 2006.

Then I did this draft.
A draft of relatively thin red
and blue tubes forming
a huge sculpture.

On a trip back from Napoli to Rome I did this photo through the front screen of the bus  driving on the motor way at the entrance to Rome. Sorry for the toned windows in the bus.
The draft and this photo participated in the competition JUXTAPOSITION 2006 at Artrom Gallery in Rome this February. The sculpture is called "Entrance to Rome" and is supposed to be erected as a south and a north portal of E45, which is the number of the main motor way in Europe - connecting my home in Denmark in Northern Europe with Colosseum in Rome, Italy - and more of course.
David Genovesi Artrom Gallery, Rome:
"Your E45 Entrance to Rome proposal is great.
We know some people in high places, and we know some people who know people in high places.  We even know some people who know people who know people in high places.  We showed the image to a few and asked them for some direction as to who to send the proposal to.
We are awaiting their reply. So much money is given away for stupid reasons. I think yours has merit."

Other suggestions

Above are:
Sailing T in Lake Ontario, Toronto, Canada
Keep up the steam, Fredericia Railroad Station, Fredericia, Denmark
Sky of Navona, Piazza Navona, Rome, Italy
A Figment of the Imagination, Horsens Inlet, Horsens, Denmark

"T" stands of course for Toronto,
depending on the direction of the wind the sculpture has an indefinite number of "looks".
Keep up the steam is an oversized train or ferry chimney with the Danish Railroads (DSB) logo on it. This sculpture participated in the Artrom Gallery competition JUXTAPOSITION 2006, too. It was shown at The Artrom Gallery JUXTAPOSITION 2006 Winners' Exposition.
Sky of Navona is 4 huge tubes forming a roof over Piazza Navona.
I told the story about Tange Brook from the fairy tale "Farmer Jack". A bottle message dropped from the bridge over Tange Brook, which is a few yards from my house, would end up in New York, in Sidney or on The Galapagos Islands. My sister in law said something like A figment of the Imagination. The sculpture is a few yards from her house.

Highlights
Show the sculpture exactly as it will be seen in reality.
Calculations must be made by an engineer who knows about wind rotations.
Sign a contract with one, one company to coordinate and to be responsible for all that has to be done.
Make sure an industrial painter is hired.
Make the sculpture dismountable.
Have fun.

Photos by:
Martin Ravn, chief photographer at Danish newspaper Horsens Folkeblad, Horsens
Photographer Stephen Downes, Toronto, Ontario, Canada
Asbjorn Lonvig

  COPYRIGHT ASBJORN LONVIGsee Asbjorn Lonvig'sCopyright - Business Concept - Disclaimer

Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig
Building huge metal sculptures in spectacular places - How? - Art News Artblog by Asbjorn Lonvig

Now run in ADN World ArtNews in Tokyo, Japan.

Yesterday I visited Aros.

Who is Aros?
What is Aros?
An operating system to an Amiga computer?
The best of Scottish Music, Books, Culture and Heritage?
A golf club in V?ster?s in Sweden?
An Amsterdam based sextet playing rhythmically compelling blend of jazz, classical and new music ideas?
A Danish insurance company?
Or?
Yes, all of the above.
But.
Aros is also the ancient name of the capital of a peninsula called Jutland, which is a province of Denmark.
Today the city is called Aarhus.
And Aros is an art museum.
I live near by.
According to the chairman of the board, Neil Kzokoss, Chicago Athenaeum, Museum of Architecture and Design, who visited me once, my house is located "in the middle of nowhere".

Well, your expectations to an art museum in the middle of nowhere in a province of Denmark might not be high.
Stay tuned.

Outside

And when you look at this art museum from outside it is nothing but a huge cube.
A huge box.
A huge brick.
Ok, there are a few architectural goodies when you look closer.
A ramp from the street to the lounge.
A lift in a tube.
Huge windows.
And according to well informed sources there is some very expensive
but unfortunately invisible masonry.
But.

Inside

At the moment you enter the lounge, your breath is taken away.
Where am I?
I'm totally confused.
Suddenly I am indeed not in the middle of nowhere.
I'm in New York.
And the architect is renowned Frank Lloyd Wright.
I'm at 1071 Fifth Avenue at 89th Street in New York.
1071 Fifth Avenue at 89th Street in New York is of course
the address of Guggenheim Museum.
Frank Lloyd Wright's masterpiece on Fifth Avenue was built in 1959.
Amazing how Frank Lloyd Wright's architecture is contemporary.
In Chicago I saw several of his houses that looked as if they were built yesterday.
One was from 1909.
Frank Lloyd Wright had a rare gift, sure.
Divinity?
If you did not know that Frank Lloyd Wright had passed away
and if you did not know that the architects of Aros were Morten Schmidt, Bjarne Hammer og John Lassen
you surely had any reason to assume that Aros was a Frank Lloyd Wright creation.

_______________________________________________________________________________________

Advertisement

In my memory, Guggenheim Museum New York is white.
And the sky above is blue, blue, blue.
That's how I remember it from my visits there.
But I saw a picture of the museum recently.
It was sadly yellowish and the sky
above was smoggy.

To the left: "blue sky" by Asbjorn Lonvig
Acrylic on canvas
79.2 x 54.8 inches
US$ 12,000

_______________________________________________________________________________________

Who is Bill...?

Bill is not the most successful police drama on British television.
Bill is not he who is known from Microsoft with the sirname Gates.
Bill is not Bill of Rights. Amendment I.
Bill is not the former president of the United States.

Bill is Bill Viola.
Bill is a video artist.
Bill was born in New York.
He studied at the College of Visual and Performing Arts of Syracuse University, Syracuse, New York, graduating with a B.F.A.
After that he worked with various projects.
For example he worked with an avant-garde music group.
The National Endowment for the Arts awarded Bill a Visual Artist Fellowship for his work in video. He received a Video Artist Fellowship from the Rockefeller Foundation. The John Simon Guggenheim Memorial Foundation presented Bill with a video stipend........And his biography goes on like this.........of course he has exhibited at the Museum of Modern Art in New York and Guggenheim Museum in New York, Berlin and Bilbao have shown his works.

This world artist exhibits at Aros.
The exhibition is called Bill Viola's Visions and it takes place right now at
ARoS Aarhus Kunstmuseum in collaboration with Guggenheim Bilbao,
Solomon R. Guggenheim Museum New York and Deutsche Guggenheim Berlin.
On beforehand I read this in the catalog (....which actually is a book):

The five pieces comprising Bill Violas Visions strike
up certain fundamental themes that characterize
Viola's art, such as his fascination with birth, life,
death an rebirth. Inspired particularly by Buddhism's
concept of reincarnation, Viola treats existence as
a cycle where the human being is born, lives, dies,
and is born anew............................................
The next sentence I did not quit understand
but it might be explained here...........................
Bill Viola generates visions. He does so with visually
intense images, that wager our physically concrete
reality with an underlying metaphysical world.......

Or in short deep Bill.

I was ready to see deep Bill's art.
I too had seen an interview with a curator from Aros
in TV, she was fascinated by the technical aspects
of Bill's exhibition: Huge screens, high stereo sounds etc.

1. - Crossing

I entered the room.
No light at all.
With a screen in the middle of the room.
A screen that was not as huge as I was told
in TV.
I forgot everything about technical aspects as
a man began walking in slow motion far away.
Slow, slow motion.
I just stirred - totally forgetting how long the man's
crossing lasted.
As the man came close he stood still.
A tiny flame appeared.
It grew and grew and grew.
High sounds of thundering fire.
The man burns.
To ashes.
Silence.
Nothing left.

2. - Going Forth by Day

Five huge projections in one room each showing a video film.
Stereo sounds from the 5 video films.
Watching 5 deep Bill video films in one time is a tremendous challenge.

The deluge
At the wall facing you as you enter the room.
The projections are shown on the wall, like e fresco.
A door and 4 windows.
A beggar.
Furniture are removed from the house.
Pedestrians walk faster and faster.
Noise from the street.
Panic. People hurry out of the door.
Some do not manage to get out before cascades
of water catch them and rush them out in the street, dead.
Cascades of water from the windows.
High sounds of water.

The voyage
A dollhouse like house at the top of a hill.
A dying man is in a bed.
Two relatives are mourning.
A watch sits outside.
Removers and a bargeman are loading a barge.
The barge is at the lake shore.
The lake is calm. No wind. It seams artificial.
The two relative leave the dollhouse.
The watch leaves the hose.
The relatives return back to the hose.
The door is locked. The man in the hose has died.
Two elderly people say good by to each other on the lake shore.
And they both enters the barge and sail across the lake.

First light
Rocks and a pond.
Exhausted rescuers load an ambulance with stuff.
The ambulance leaves.
(I have forgotten the chronology)
It rains cats and dogs.
A woman is offered a blanket.
Three men and a woman go to sleep.
A woman comes out of the pond and flies into the sky.

The path
People are passing by.
In slow motion, all of them in the same direction.
Going to or coming from a picnic. Bringing things. This goes on and on.
The image is huge, it is on the long side of the room, from one end to another.

Fire Birth
The 5th screen was on fire every time I looked.
Contours of a figure emerged now and then.
A baby?
But only to fade away.

By the way - Bill was inspired by the renaissance master Luca Signorelli's Judgment Day frescoes
in Orvieto in Italy. Giotto has been of great inspiration to Bill, too. Giotto's greatest masterpiece is a giant 3-dimentional image, which you phisically enter - like Going Forth by Day.
Going Forth by Day lasted for half an hour.
Afterwards I had a feeling that I had to watch every single video film for half an hour,
but sure that's not Bill Viola's intention.
One half hour, period.
I had to take break.
Why?
It was too much.
Of what?
Can't say.
Alertness maybe.
Emotional bombardment probably.
I went to the nice Italian like Art Caf? and had a salad and two bread, a mineral water and a cup of coffee.

3. - Surrender

A single screen work.
A man in red.
His face is distorted with pain.
A woman in blue.
Her face is distorted with pain.
The man and the woman are reflected in the surface of a pool of water.
Now and then they bend forward and plunge.
The water runs off their faces.
Tears?
Their expressions become more and more painful.
And.
They dissolve.

4. - The Messenger

More water.
A naked man in the water.
He is submerged in water.
He comes to the surface.
Again.
And again.
And again.
Bill has told us about a boyhood incident in which he nearly drowned.
Bill recalls the episode as a peace filled, poetic experience.
To suggest itself as a metaphor for human existence?
Messenger?
The man assumes the role of a messenger between the concrete reality and a reality beyond?

5. - Five Angels for the Millennium

Aros?s own installation.
5 projections.
Water, water, water, water and water.
Things, humans descend and ascend.
I can't say so much about these 5 works.
Mentally closed down.
No more emotional bombardment for this day.
Some other day maybe.

After exhibition

I was tired.
Totally exhausted from concentration and impressions.
I went to to the information desk and introduced myself:
I have an appointment - I want to talk to the Communication Manager.
We had a cup of coffee in the Italian like Art Caf?.
We talked about Bill's exhibition.
About Bill's exhibition being exhausting.
We talked about Aros.
About Aros being a wonderful place.

People call it Aros.
I call it "Little Guggenheim".

Boy

Before I finish this story about Aros and Bill, I want to
show you something you will not see anywhere else.
It's the ARoS Aarhus Kunstmuseum landmark
"boy" by Ron Mueck
Height: 5 meters, that's 16.4 feet
A fantastic idea.

photos by Poul Ib Henriksen and ARoS Aarhus Kunstmuseum in collaboration with Guggenheim Bilbao, Solomon R. Guggenheim Museum New York and Deutsche Guggenheim Berlin.

This article has been read 5696 times. | Rating: 8.78 | Votes: 9.

Asbjorn Lonvig, artist from Denmark has debuted as correspondent for the art magazine Croquis, Buenos Aires.

Tomo 1
182 páginas
14,5 x 20,5 cms.
26$ el ejemplarTomo 2
180 páginas
14,5 x 20,5 cms.
26$ el ejemplarTomo 3 
194 páginas
14,5 x 20,5 cms. 26$ el ejemplar

"To moms, to dads, to grannies...". Take a tour in fairy tale land with your children or grandchildren.

OOO
 

 
The Baby Carriage
and
Sleep-Sheep

by Asbjorn Lonvig, artist
Translation by Ann Watson, Boca Raton, Florida

This baby carriage has been placed  at Piazza della Rotondo in Rome.
The baby doesn't cry.
Not a sound.

In 1950 Pablo Picasso made the She-Goat in bronze.
She passed by and looked into the baby carriage.
The She-Goat laughed.
What might be in the baby carriage when it was not a baby?

Might it be one of the happy ghosts from the
huge Pantheon Church?
No, they could not stay that calm.

A Bedouin from Arabia
was sure it was a snake.

The Bedouin's camel and dromedary
talked about it, and they were sure
it was a snake, too.

However, a snake would have made some noise.
Rattling or so.

The Bedouin took a closer look.
A pair of legs?
He laughed.

A pair of sheep-legs.
Sleep-Sheep put on his coat.

Great blog....would that we all communicated with each other and our work...or through each other and through our art.

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Wouldn't any of us like to know how?
An artist try to communicate.
Through writing.
Through music.
Through movies.
Through pictures.
Through.....
Sometimes he succeeds. Sometimes he does not.
When his expectation are high - he might not communicate at all.
When his expectations are low - he might communicate excellently.
Every artist has his own recipe.
Mine - for example - is simple shapes and bright colors.
Even when I write.
Even when I .......

You can't always believe what is written in newspapers.
But if it is written in a book, you have to believe it.
Or?

I would like to tell you about a new book.
It is written by the French author Alain Joannes, who lives in Paris.
It is called "Communiqu?s par l'image" - that's French and means
"how to communicate through pictures".
It was presented at the prestigious "Salon du Livre" in Paris in March this year.

To me it sounds like it's the new bible to artists, designers etc.
You can buy this new bible at Dunod.

Believe it or not,
one of the chapters in this new book is about my painting "soul hurting still".
I'll just show the draft of the painting and quote what the author writes:

The jubilation feelings given by forms and colors of Asbjorn Lonvig
By Alain Joannes

"soul hurting still"
Acrylic on canvas
201 x 139 cm, that is 79.2 x 54.8 inches.
Edition 5
Sold in Marcia in Spain
Inspired by Christmas 2002, North Jutland Art Museum where I saw Marc Chagall and Max Ernst, and by Native Art, American Native Art.

...the art of the Danish painter Asbjorn Lonvig communicates at the first glance euphoria in a rough state. A so intense euphoria that the glance can not move away from the piece of his art. Of course, the saturated colours are decisive in this very great glowing. The coloured dazzling and the feeling of pleasure which prolongs it have multiple causes. As adequacy between artistic creation and the constraints of communication, the art of Asbjorn Lonvig illustrates an assumption of neurocognitives sciences: the neurons in charge of visual perception are first activated by patterns recognition, then by colors recognition, then by recognition of textures and movements recognition. In a piece of art like "Soul hurting still ", the sensory impacts of the forms and the colors are very strong and equal. The pleasure comes from what the eye and the brain receive from the red, the yellow, the green and blue at the same time as they recognize the squares, the rectangles, the circles, the triangles, the straight and broken lines and even the letter ?A?. The glance thus filled by a profusion of feelings founds a generating mental state of pleasure. After and beyond the primary emotion, in a second phase of contemplation, the spirit endeavours to confer an overall significance on the table. It calls upon its repertory of already memorized forms. Then, the pleasure becomes ludic. Functioning like a rebus, the chart of an unknown territory, a coded language or a mysterious diagram, the piece of art asks to the witness: " What am I ?" The many possible answers are mental resonances which give to the artistic communication a richness higher than all the other ways to communicate. This communication is intersubjective. It organizes the meeting between the subjectivity of the artist and the subjectivity of the witness. The witness of the piece of art is free to refer to tropical sensory prints: association of a dominating solar yellow, sky blue, deep vegetal green. He can also associate the table with an intimate collection of primitive art. He shall perhaps remember the geometrical abstractions of Kandinsky and Mondrian. Surely, the piece of art will be kept in the long memory space into the brain with all its resonances sensory, emotional, ludic and cultural. It is may be interesting to know that the joyfull impact piece of art by Asbjorn Lonvig is closely related to its is canvassed artistic. High level data processing specialist then head of a software company, the painter found serenity in a pictorial creation which starts with digital drafts and finds its completion on a support ? frame and fabric - entirely conceived and manufactured by the artist.

...and for the French in France, the Canadians in Quebec and Montreal etc.:
Formes et couleurs jubilatoires d?Asbjorn Lonvig.
Par Alain Joannes

...ce que l?art du peintre danois Asbjorn Lonvig communique d?s le premier coup d??il, c?est de l?euphorie ? l??tat brut. Une euphorie tellement intense que le regard s?en d?tache ? regret. Bien s?r, les teintes satur?es jouent un grand r?le dans cette jouissive rutilance. L??blouissement color? et la sensation de plaisir qui le prolonge ont des causes multiples. S?agissant de l?ad?quation entre la cr?ation artistique et les contraintes de la communication, l??uvre d?Asbjorn Lonvig illustre une hypoth?se des sciences neurocognitives, selon laquelle les neurones en charge de la perception visuelle s?activent d?abord sur la reconnaissance des formes, puis sur celle des couleurs, celle des textures et des mouvements. Dans une ?uvre comme ? Soul hurting still ?, les impacts sensoriels des formes et des couleurs s??quilibrent. Le plaisir vient de ce que l??il et le cerveau re?oivent du rouge, du jaune, du vert et du bleu en m?me temps qu?ils reconnaissent les carr?s, les rectangles, les cercles, les triangles, les lignes droites et bris?es et m?me la lettre A. Le regard ainsi combl? par une profusion de sensations instaure un ?tat mental g?n?rateur de plaisir. Au-del? de l??motion primaire, dans une seconde phase de la contemplation, l?esprit s?applique ? conf?rer une signification d?ensemble au tableau. Il fait appel ? son r?pertoire de formes d?j? m?moris?es. Le plaisir devient alors ludique. Fonctionnant comme un r?bus, la carte d?un territoire inconnu, un langage cod? ou un myst?rieux diagramme, l??uvre questionne le spectateur: ? Que suis-je ? ? Les nombreuses r?ponses possibles sont les r?sonances mentales qui donnent ? la communication artistique une richesse sup?rieure ? toutes les autres formes de communication. Cette communication est intersubjective. Elle organise la rencontre entre la subjectivit? de l?artiste et la subjectivit? du spectateur. Ce dernier est libre de se r?f?rer ? des empreintes sensorielles tropicales: association d?un jaune solaire dominant, bleu qui ?voque le ciel, vert qui renvoie ? une v?g?tation luxuriante. Il peut aussi associer le tableau ? sa collection intime d?art primitif. Rien ne l?emp?che d?invoquer les abstractions g?om?triques de Kandinsky et de Mondrian. Une chose est s?re: l??uvre sera rang?e dans la m?moire longue avec toutes ses r?sonances sensorielles, ?motionnelles, ludiques et culturelles.Il est int?ressant de savoir que l?impact jubilatoire de l??uvre d?Asbjorn Lonvig est ?troitement li? ? sa d?march? artistique. Informaticien de haut niveau puis chef d?entreprise, le peintre a trouv? la s?r?nit? dans une cr?ation picturale qui commence avec des esquisses num?riques sur ordinateur et trouve son ach?vement sur un support ? ch?ssis et toile ? enti?rement con?u et fabriqu? par le signataire de l??uvre.

...and for the Danes, in Danish as a service to my own folks:
Abj?rn L?nvigs jubelkor af former og farver.
Af Alain Joannes

...det, som den danske maler Asbj?rn L?nvigs kunst formidler fra det allerf?rste ?jekast, er rendyrket eufori. En eufori, der er s? intens, at ?jet har sv?rt ved at give slip. De m?ttede farvenuancer spiller selvf?lgelig en stor rolle i denne gl?dens brillans. Den flamboyante farverigdom og den f?lelse af gl?de, der kommer i forl?ngelse heraf, har mange ?rsager. Hvad ang?r overensstemmelsen mellem skabelsen af kunst og kravene til formidling, illustrerer Asbj?rn L?nvigs v?rk en hypotese fra de neurokognitive videnskaber, if?lge hvilken de neuroner, der er ansvarlige for synsopfattelsen, f?rst aktiveres i forhold til genkendelsen af former, dern?st i forhold til genkendelsen af farver, strukturer og bev?gelser. I et v?rk som ?Soul hurting still? indfinder der sig en balance mellem sansep?virkningerne fra former og fra farver. Gl?den kommer af, at ?jet og hjernen modtager r?dt, gult, gr?nt og bl?t, samtidig med at der sker genkendelse af firkanter, rektangler, cirkler, trekanter, lige linjer og brudte linjer og s?gar bogstavet A. ?jet, der s?ledes fyldes af en overd?dighed af sanseindtryk, fremmaner en mental tilstand, der genererer gl?de. Hinsides urf?lelsen bestr?ber sindet sig i iagttagelsens anden fase p? at give maleriet en samlet mening. Her l?ner sindet sig op ad det repertoire af former, der allerede har indprentet sig. Gl?den f?r et anstr?g af leg. V?rket, der fungerer som en rebus, et kort over et ukendt territorium, et kodet sprog eller et mystisk diagram, sp?rger iagttageren: ?Hvad er jeg?? De mange mulige svar er de mentale resonanser, der forlener kunstens formidling med en rigdom, der er alle andre formidlingsformer overlegen. Denne formidling er intersubjektiv. Den foranlediger m?det mellem kunstnerens subjektivitet og iagttagerens subjektivitet. Iagttageren kan frit referere til f.eks. tropeinspirerede sanseindtryk: associationerne fra en dominerende solgul farve, en bl? der f?r ham til at t?nke p? himlen, en gr?n der minder ham om frodig vegetation. Maleriet kan ogs? f? ham til at associere til sin private samling af primitiv kunst. Og der er intet, der forhindrer ham i at komme til at t?nke p? Kandinskys og Mondrians geometriske abstraktioner. En ting er sikker: V?rket bliver lagret i langtidshukommelsen med alle dets sanse-, f?lelses-, legeimpuls- og kulturresonanser. Det er interessant at vide, at gl?desp?virkningen fra Asbj?rn L?nvigs v?rk er t?t forbundet med hans kunstneriske fremgangsm?de. Maleren (datalog p? h?jt niveau og siden virksomhedsleder) har fundet ro i en billedskabelse, der begynder med digitale skitser p? computeren og f?rdigg?res p? et fysisk underlag - ramme og l?rred - der designes og fremstilles helt fra bunden af maleren selv.

AWESOME!!!
Don't you think.
I ought to buy all the impression of this book.

Thanks to....

Alain Jaonnes
Author
Paris
France

Replies: 6 Comments

on Sunday, April 24th, Frank Maguire said

I have looked at the painting and read the blog and quite frankly the painting made my balls hurt and the blog must have been written as the author gazed adoringly at himself in a mirror. But then paintings like that rarely touch me. I like humanity not math. You cant separate the two but you can give it a better try.
Frank Maguire.

on Tuesday, April 12th, Ellen Fisch said

There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art.

on Tuesday, April 12th, Ellen Fisch said

There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art.

on Monday, April 11th, Ellen Fisch said

There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art.

on Sunday, April 10th, Paul said

There comes a time in the life of every artist when chasing rainbows round corners, thinking everyone has the answer but oneself,searching for mor answers comes to an end and one can get on with the work in a more or less self contained state of mind,we never really stop enquiring but that enquiry goes on within the dialouge of your own work.Also I feel that the repeating of the above blog into 3 different languages is a bit over the top,and an art reveiw of ones own work as well,sureley this page is meant to be more than blowing your own trumpet about how great you are,or how good your work is,anyway thats subjective,and often artists who do sing this tune do so at the expense of usually the very work they are going on about.

on Saturday, April 9th, Writing said

Yes communication is a wonderful thing. Too bad the writing in the above blog has run-on paragraphs that scew the descriptions. Writing with that much meaning, and has that much to say, should be broken into smaller paragraphs to yield higher cognition.

New Article: "A whole playground of playhouses..."

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A whole playground of playhouses... Last time I wrote to you it was about a playhouse inspired by Gaudi.
I asked why not build a Picasso playhouse?
A Miro playhouse?
A Matisse playhouse?
Do you know the Austrian painter Hunderdwasser?
A Hundredwasser playhouse would be great fun.
And a Salvador Dali playhouse?

Ed Baron from Baron Conservancy in Wonder Valley near desert oasis city of Twenty Nine Palms,  a few miles east of Los Angeles wrote:
"Can't you just see a whole playground of Playhouses? What a wonderful art project. It would certainly tie in with our purpose of preserving Art and Human Nature. Perhaps volunteers will agree to come erect them at the Baron Conservancy?"

First I asked Ed Baron if he was serious?
He answered: OF COURSE I AM SERIOUS.

In order to describe this project to sponsors I have designed a number of new playhouses inspired by the great masters.

Pablo Picasso
I do love very many of Picasso's works.
Once I visited New York I was at MOMA.
In my photo album there is this amazing photo of one of my sons and the Picasso She Goat.
The She Goat is a fairy tale character in the fairy tale "The Baby Carriage and the Sleep Sheep", too.
A staircase up to the door and two windows.
The playhouse you can see to the left.

Leonardo da Vinci

Everybody knows Leonardo da Vinci. Everybody knows da Vinci's masterpiece at le Louvre in Paris.
I have been in Paris a couple of times, last time to see Biblioteque Forney, where they have a collection of my posters.
But I have to visit Mona each time.
This time you were allowed to photo her.
As I returned home I made the Colorful Mona Collection.
You can have Mona in a canvas, in a paper cut-out and now in a playhouse version.
The height is supposed to be 15 feet.

Andy Warhol
I have seen Andy Warhol's Campbell's Soup Cans here and there. At AROS Museum of modern art in Aarhus, Denmark I saw an original.
The height is supposed to be 18 feet.

Michelangelo

I saw his renaissance fresco "Creation of Adam" (1508-1512), which is a part of the Sistine Chapel ceiling decoration in the Vatican Museums in Rome. In my opinion God's right hand and Adam's left hand are the essentials of the fresco motif.
I have worked with these two hands in various contexts.
Now these two hands have become a playhouse design.
The height is supposed to be 15 feet.

Salvador Dali
Since I saw Dali's soft watches for the first time I have been fascinated by them.
He was crazy. Really crazy.
I met his son in Rome, we exhibited at the same place, he was a nice, humorous fellow painting nice aqua color motifs from his home city Venice, Italy.
"Like father like son" proved wrong.
The soft watch became the roof of a playhouse.
Height 9 feet.

Christo

Christo Javacheff and Jeanne-Claude de Guillebon are famous for wrapping buildings.
Here a playhouse is wrapped in green and with a blue string.
Height: 10 feet.

Vincent van Gogh
Playhouse inspired by Vincent's chair.
Height: 21 feet.

Joan Miró
I sent all the above designs and a design of a Miró playhouse to Copy-Dan to clear intellectual rights (Copyrights).
All the above have been cleared, but my Miró playhouse was made with a gable painting that was too close to Miró. 

______________________________________________________

A question to the blog readers about something else:
Editorial Croquis, which is a printed art magazine and a publishing company in Buenos Aires has run some of my articles about art museums in Spanish.
The director and editor of Editorial Croquis Martin Enriques Gil has asked me to write a book "The Museums of the World by Asbjorn Lonvig", published by Editorial Croquis in Danish, Portuguese, Spanish and English.
And I have answered: I'll do it, I'll find out how.
We need a sponsor for this project.
Do you have any suggestions??
_____________________________________________________________________ 

A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.
A whole playground of playhouses - Art News Artblog by Asbjorn Lonvig.