Not Red But Green / Per Kristian Nygård

Green grass mound in the room

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艺术家Per Kristian Nygård给gooood分享了自己2014年8月在挪威奥斯陆No Place画廊安装的“非红即绿”装置作品,将大自然的起伏草丘带入室内。艺术家将草种预先发芽,这些草种在潮湿的房间中成长,长势极好。装置的内部是木材搭起的地形架子,中层铺上厚厚的泥土与种子,外层是茂密的绿草。更多请至:Per Kristian Nygård on gooood 

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form the artist: Per Kristian Nygård, Not Red But Green, at No Place Gallery, Oslo, Norway

During Not Red But Green, Per Kristian Nygård constructed and grew a hilly landscape of grassy mounds, receding into an interior room. The grass sculpture was grown from seeds that had been planted a couple of weeks earlier during the extremely hot but short Norwegian summer. This meant that the already damp room created the optimal growing conditions for the sculpture.

Per Kristian Nygård works with installations and sculptures as a kind of explorations of both the capabilities and limitations of the spatial- space and object. Methodologically based on relatively simple assemblies or collage techniques but implementation often very laborious.

This sculpture had a basic but comprehensive wooden construction supporting it’s 4500 liters thick layer of soil and seeds, and in order for the grass to grow the installation needed daily watering and maintenance.

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艺术家告诉gooood,自己以十分个性的方式将这些看似毫无意义的混乱空间介入我们的城市环境,用不和谐的错置让访客在意外之余领略到诗意。“艺术的形式是诗意的,而我也试图让创造出不同日常体验的感知,从内容到形式,都焕发诗意。”艺术家继续说道:“我最喜欢的一个例句讲的是-当诗意出现在结尾,开头是什么已不在重要。我的这个作品就是创造出一个不寻常的房间,引领访客走出日常生活,即便是片刻,却深刻”

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Above all Per Kristian Nygård is interested in creating a space for the seemingly meaningless and confusing – as a contrast to the all-encompassing meaningful and personalized we surround ourselves with. For example the programmed urban environment, the functional objects and architecture.

In ‘Not Red But Green’ Per Kristian Nygård is trying to make something that doesn’t make sense. But in stead by searching for the poetic potential in the potentially destructive, visitors are confronted with their own intuitive and physical response to the experience of entering a space where everything’s wrong but feels right.

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“I think of art as a form of poetry, and I’m trying to make works and experiences that can detach you and me from familiar categories such as profitability and efficiency.

I think the word poetry is the most adequate since it is about both content and form, as well as the unbound form.

There are several good attempts to define the poetic, but my favorite is, and I do not remember who said it, that poetry is when at the end of a sentence you have forgotten the beginning. It can open a room for confusion and create a kind of state that takes you out of the world for a little while. The meaningless in the effective sense, as both expression and experience.”

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