1:1

1:1-projekterne er (indtil videre) to projekter der handler om indfoldet information, forsøg pÃ¥ at favne alt for store strukturer i for smÃ¥ rum, perception af størrelsesforhold, informationstab, dekonstruktion, meditation, kaosteori, utopier og storhedsvandvid…

Tegning/skabelon af Ã…rhus Domkirke i 1:1
(Overgaden, København 2001)

Tegning af Ã…rhus Domkirkes sydfacade i fuld størrelse, dvs. et papirobjekt bestÃ¥ende af flere store ark med et samlet areal pÃ¥ ca. 3600 m2 og en samlet vægt omkring 700 kg. Tegningen, der er udført med sort tusch pÃ¥ store, sammenlimede baner af papir, er grundet sin størrelse umulig at eksponere som udfoldet tegning.Tegningen er derfor foldet sammen og dermed transformeres den fra et to-dimensionelt værk, der virker i fladen, til et objekt af rumlig karakter, en skulptur af papirbunker pÃ¥ gulvet. Projektet rummer selvsagt en vis irrationalitet i og med at det meste af tegningens præcise og omhyggeligt udarbejdede information (domkirken) er foldet ind papirbunkerne og kun i et meget lille omfang er visuelt tilgængelig. PÃ¥ sammenfoldningernes yderside ses hist og her en kvart rundbue, lidt murværk, en halv vejrhane osv…, resten er skjult eller blot meningsløse streger. Papirbunkerne sammenholdes med en tegning af domkirken i 1:100 (serigrafi pÃ¥ gummi) der ophænges ved bunkerne, sÃ¥ledes at man kan fÃ¥ et begreb om tegningens absolutte størrelse og omfang. Objektet kan udstilles pÃ¥ mange mÃ¥der, enten i mange smÃ¥ bunker, hvor evt. nogle er mere udfoldede end andre, eller helt ultimativt det hele samlet i én stor og meget indfoldet bunke.

1:1

The 1:1 projects are (so far) two projects about folded information, attempts to embrace much too big structures inside far too small rooms, the perception of dimensions, loss of information, deconstruction, meditation, chaos theory, utopian ideas, and megalomania…

Drawing/shape of the Cathedral of Aarhus on the scale of 1:1
(Overgaden, Copenhagen, 2001)

A full sized drawing of the southern front of the Cathedral of Aarhus, that is a paper object consisting of several very large sheets with a total area of about 3.600 square metres and with a total weight of about 700 kg. The drawing, that is done in black Indian ink on large webs that are glued together, is owing to its size impossible to show as a unfolded drawing. It is therefore folded and with that it is transformed from a two-dimensional work of art to a spatial object, a sculpture of piles of paper on the floor. Obviously the project holds a certain irrationality because the most of the precise and carefully executed information (the drawing of the cathedral) is folded, and one only have visual acces to a very little part of this. On the outside of the foldings here and there one can see a quarter of round arch, some brickwork, a half weathercock etc…, the rest is hidden or just meaningless lines and strokes. The piles of paper on the floor are shown together with a drawing of the cathedral on a scale of 1:100 (serigraphy on rubber) hanging on the wall, so that one can form an idea of the absolute size and magnitude of the large drawing. The object can be exhibited in many ways, either as many small piles, where eventually some are more unfolded than others, or quite ultimate with everything assembled as one huge and very folded pile.

Stregtegning/struktur af Statens Museum for Kunst i 1:1
(Overgaden, København 2001)

Stregtegning/struktur af Statens Museum for Kunsts facade (valgt på grund af bygningens frontale monumentalitet). Tegningen – eller mere teknisk korrekt: strukturen – er ikke på noget medie (som fx. papir), men forsøger at etablere stregen som et selvstændigt objekt og består udelukkende af tynde, sorte pvc-strimler af ca 2-3 cm bredde der er limet sammen. Strukturen gengiver præcist og korrekt bygningens væsentligste facadelinjer i fuld størrelse ned til en vis detaljeringsgrad. Facadestrukturen er delt op i flere sektioner og fag og til hele strukturen er der anvendt ca. 7 km pvc-strimmel. Kun i selve tilblivelsesøjeblikket hvor strukturen blev lagt ud på et stort gulv og sat sammen var den intakt og præcis i forhold til forlægget. Allerede ved sammenfoldningen og da den skulle rulles op for at blive transporteret væk, blev den udsat for et stort informationstab, strukturen mere eller mindre kollapsede og en stor del af den kan ikke længere betragtes som andet en masse kaotiske pvc-strimler der er filtret ind mellem hinanden. Mellem de filtrede strimler kan man dog skimte de løsrevne fragmenter af et system med søjlehoveder, vinduesprosser, tagkonstruktion osv. Men det generelle indtryk er flyttet fra en meget nøgtern og stringent struktur til et næsten dekorativt, ekspressionistisk kaos af sorte streger på kryds og tværs. Værket har et processuelt forløb idet man må forvente at informationstabet vil øges markant for hver gang man flytter værket, således at det allerede 4. eller 5. gang det udstilles måske vil være reduceret til sin ultimative tilstand af kaos: én stor, sammenfiltret bunke sorte strimler. I forbindelse med strukturen vises en tegning af bygningsfacaden i 1:100, som man kan relatere de tilstedeværende pvc-strimler til.

Line drawing/structure of Statens Museum for Kunst (the Danish national gallery) on the scale of 1:1
(Overgaden, Copenhagen, 2001)

Line drawing/structure of the front of the Danish national Gallery (which is chosen because of its frontal monumentality). The drawing – or more technical correct: the structure – is not on any media (like paper for instance), but attempts to establish the line itself as a separate object and it consists only of thin, black pvc stripes at about 2-3 cm width, which are glued together. The structure represents precisely and correctly all the essential façade lines in full size down to a certain degree of detail. This façade structure is divided in several sections, and for the total structure more than 7 km pvc strip has been used. Only at the moment of the making, where the structure was laid out on a large floor and assembled, it was precise and intact according to the original building. Already at the folding and when the structure had to be winded up for transportation, it was exposed to huge loss of information, the structure more or less collapsed, and a major part of it could no longer be looked on as anyhing else than a lot of chaotic pvc stripes that are tangled up. Among the tangled stripes one can still find and catch a glimpse of the detached fragments of a system with capitals of columns, crossbars, roof construction etc. But the general impression has changed from a very sober and strictly logical structure to an almost decorative and expressionistic chaos of black lines in all directions. This work of art will take a processual course, because one can expect the loss of information will increase every time the structure is moved, so that already after the fourth or fifth exhibition it will be reduced to its ultimate state of chaos: one huge crowd together of entangled, black strips. In connection with the structure a drawing of the front of the Danish national gallery on a scale of 1:100 is shown, to which one can relate the present pvc stripes.