Dalsbruk Center Map


1: Bio Pony movie theater
2: The garden of the book shop Kojan
3: Park next to the Dals Inn
4: The Fountain in the park
5: Glashytta museum building
6: The parking lot
7: One of the old kilns
8: Factory area / D-Marin


A Sea Views Google Map is also available.

Anna Fríða Jónsdóttir

Blue of the Distance

Posters, 50x70cm, a set of 5
2019

 

Blue is the light that got lost. A light that scatters and can never fully be obtained. The blue of the distance. The purer the water, the deeper the blue.  Our quest for the deepest purest blue is a futile one but yet we never seem to stop seeking. Like reaching into the depths of our soul only to find it is infinite, like blue scattered atoms of light. Our desires lead the way, empowering us to live fully but at they same time they constantly get manipulated by the dichotomy of need vs. want. Our waters are tainted by our confused quest. Virtue is the only deepest purest blue, keeping the water pure.

 

安娜.佛利薩.楊恩斯德提爾

<遠方的藍色>

海報,50x70cm, 一組五件
2019

藍色是迷失的光線。一道散射的光線永遠無法被收束。遠方的藍色。海水越澄澈,藍色越深沉。我們對於最深沈、最純淨的藍的索求是無用的,但卻似乎從未停止追尋。就像走進我們靈魂的深處發現它是無限的,如同藍色散射的光原子。我們的欲望指引方向,賦予我們充實的生活,但同時它們總是不斷地被需要與渴望的二分法操控。人類困惑的追求使得水域受到污染。唯有美德是最深沈純淨的藍色,保持水的純淨。

Chih-Chung Chang

Fabricating Mandarin Duck

Video installation
2019

This artwork interweaves 2 narratives of both the military history of an isolated island Wangan in Taiwan, as a Japanese naval base during the World War II, and a ridiculous misuse of a famous waterfowl name “mandarin duck” which led to a totally false official history in Chinese literature. While the naval base was named after “Mandarin Duck”, it seems to also go through the same fate nowadays.


REWILD

Digital printing on printer paper, 456x456cm & 334x264cm
2019

By collecting a great number of rubbings from the natural and artificial landscapes and objects which reflect the eventful and complex historical background of Örö. Those rubbings are turned into patterns and constituted to create 2 images of butterfly and weapon known as features of this island, in a similar form of Rorschach inkdot test. The symbolic form not only represents the perfect symmetry out of both nature and artificial engineering, but also indicates the ambiguous, multifaceted facts of this former fortress island where nature and civilization keep on invading each other for centuries.

 

張致中

<作鴛鴦>

錄像裝置,尺寸可變
2019

這件作品交織一個台灣孤島-望安嶼的軍事歷史的兩種敘事,包含望安嶼在二次世界大戰時期是日本海軍基地,以及可笑地濫用著名水禽的名字“鴛鴦”,並且徹底引導致在中國文學歷史的謬誤。這個海軍基地也以“鴛鴦”命名,如今似乎也經歷了相同的命運。

<REWILD>

數位列印於列印紙,456x456cm, 334x264cm
2019

透過收集大量的自然、人為景觀、以及物件的拓印,這些拓印反映了Örö島重要和複雜的歷史背景。採集的拓印們轉化為圖樣並且以羅夏克墨漬測驗的形式構成了島上最重要的兩個圖像:蝴蝶與機關槍。這個象徵形式不僅只是代表自然和人造工程的完美對稱性,同時也指出在這個軍事島嶼上模稜兩可的事實,幾個世紀以來自然和文明一直在相互入侵。

Jen-Pei Cheng

One____story on the table

Inkjet print on synthetic poster paper, 65x95cm each
2019

 

A___story on the table is an art project initiated when Cheng Jen-Pei was invited to host a participatory workshop by Hong-gah Museum in Taiwan in February 2019. During the workshop, the local participants created personal food sculptures by assembling the memories of the meal and dishes on the table. The artist then photographed of the food sculpture. In August, Cheng continued this workshop in Dalsbruk (Taalintehdas), Finland. She invited three local Finnish people from community to be part of the creative process. They talked about the meals in their daily life and the artist created three different food sculptures based on their memory of the dishes they made, life experience and connection to Dalsbruk.

After carefully assembling the precious personal collection of food and objects from daily life the artist took a photographic portrait of each creation. Each food portrait is closely connected with a personal life story. The participant’s food-staging and imaginative choices illustrate a straight forward perspective and highlights the social importance of communal eating. Through the semiotics of food and seductive colour choices, the artist offers a visual feast that has been meticulously prepared to remind the viewer of the taste and aroma of food and to recreate the memories of the dining table.

Project participants:
Taiwan: CHEN DAI Yu-Feng, HUANG ZHANG You-Mei, YE A-Xue
Finland: Kristina Hakola-Wass, Jarl Hohenthal, Holmbergs Fisk & Café Four C

 

程仁珮

<一個在餐桌上____的故事>

噴墨輸出於防水海報紙,65x95cm,一組6件
2019

「一個在餐桌上____的故事」藝術計劃中,開始於2019年2月藝術家程仁珮受邀台灣北投鳳甲美術館的邀請,從參與式藝術計畫中,與當地居民透過工作坊形式找回過去在餐桌上曾經發生的回憶,以回憶中的故事為基本素材,重新拼裝為食物雕塑。同年8月,藝術家再次將此創作計畫帶到芬蘭Dalsbruk,邀請了當地三位芬蘭受訪者,提供他們日常生活中的料理,藝術家在此將自身對於三組不同受訪者的生活軌跡觀察與對於當地Dalsbruk的踏查印象,所創作出三幅不同的食物雕塑攝影。

這些食物構成畫面,緊扣著某段受訪者們的經驗與故事,將個人物件與日用飲食,拼裝成新樣貌,操作手法與擺盤想像,成為攝影畫面中樸質的敘事手法。以食物符號學的角度,回味記憶中的味道。

計劃參與者:
台灣:CHEN DAI Yu-Feng, HUANG ZHANG You-Mei, YE A-Xue
芬蘭:Kristina Hakola-Wass, Jarl Hohenthal, Holmbergs Fisk & Café Four C

Jo Kjaergaard &
Leydi Giney Uyaban

La Casa de Carbon, Amazonia, en llamas
(The house of the rising sun)

Six channel sound installation
2019

 

The work is a comment to the current forest fires in the Amazon, incended for expanding mining and agricultural interests. The world and it’s ecosystems are all connected, from Amazonas to Örö, suffering from the pressure of consumerism and neoliberal mode of production. The unique houses in Dalsbruk represent pre-industrial coal production, and this dark room with it’s strong scent of tar, sharpens the senses for the sounds of field recordings from Örö mixed with the sounds of fire, peoples and species. The call from nature, for urgent reconsideration of our lifestyle and connection to nature, as our house the lungs of the planet are burning.

Technique & materials:
The work is a Site specific Sound installation with 6 speakers, 5.1 ambisonics. The sound montage is composed with field recordings from Örö, Taalintehdas, Helsinki and Bogota. The sound montage will be spatialized using multichannel ambisonics and Impulse response from Örös bunkers.

 

尤佳和蕾蒂.幾內.烏雅班

<芬蘭·煤炭·窯 亞馬遜·燃燒>

六頻道聲音裝置
2019

這件作品回應現正發生的亞馬遜發森林大火,旨在評論擴張的礦業和農業利益。整個世界和生態系統是連結的,從亞馬遜到Örö島,都正在受到消費主義和新自由主義生產方式的威脅。在Dalsbruk獨特的屋子,象徵前工業化的煤炭生產方式。這個黑暗的房間中散發著濃郁的焦油氣味,使聲音裝置中Örö島的現場錄音、火種燃燒的聲音和人類和物種之間的混聲更加鮮明。大自然的呼籲迫切使我們重新思考我們的生活方式以及人類和自然的關係,就像這個房子一樣,地球之肺也正在燃燒。

技術與媒材:

本作品是現地製作的聲音裝置,使用了6個喇叭、5.1立體混聲。一場聲音蒙太奇混和在芬蘭的Örö、Taalintehdas、赫爾辛基以及哥倫比亞波哥大等地的現場錄音。聲音蒙太奇將使用多聲道混聲和Örö島內防空洞的脈衝回聲進行空間化處理。

Kuen-Lin Tsai

Keelung Harbour Stage

Video, 4’45”
2019

 

Stage is a series of video work and aims to focus on the frame, also “frame” as regulation and ethics in the human society. People normally observe and understand the sourrounding through eyes and the interactions between their own memories and experiences. But memories always create a picture of the world prior the world which we experience at present. In the comparison, the environment at present seems past. Therefore, Kuen-Lin Tsai intens to present a new viewing frame through the work in order to break the stereotype of ways of viewing and how people conceive about the environment. Through the work, people experice new method of viewing and may proactively change the environment and themselves.

 

蔡坤霖

<雨港舞台>

Full HD 彩色有聲錄像,4分45秒
2019

舞台(Stage)系列以錄像作為表現的形式,作品所關注的是景框(Frame)或稱為框架之於人的關係。我們透過眼睛並根據記憶與經驗的交互作用來觀察並且理解生活周遭,但記憶總是主動的製造我們經驗到的世界,於是所謂的「環境」就會因為「記憶」而顯得老舊。因此,藝術家希望透過作品來呈現新的觀看景框,藉此新的觀看方式來改變人們對於環境的既定印象,並且因獲得新的觀看經驗進而主動嘗試改變那個習以為常、看似老舊的環境(自己)。

Lesley-Anne Cao

Golds (Arrangement)

Installation
2019

 

By the time Spanish colonizers arrived in 1521 in the archipelago they would name the Philippines, my ancestors had already been wearing and trading gold for more than 500 years. “Oro” means “gold” in Spanish; unfamiliar with its Swedish meaning, “Örö” reminded me of the element when I first read its name.

I learned there is gold in the ocean, suspended, diluted in seawater, 13 billionths of a gram per liter, only a grain per hundred million metric tons, but it is there, an estimated 20 million pounds in total, and so many have tried to mine it since the 1872 discovery, but we can’t, it’s still far beyond our capabilities, like an absurd joke, except it’s really just nature indifferent, and beautiful, beautiful. There and nowhere.

Materials:
Found frames, tarpaulin, eyelets, framed poster borrowed from the Dalsbruks bibliotek /Taalintehtaan kirjasto, work glove, round bells, dragon egg by Lisa Roberts, book (“Gold” by Susan La Niece, The British Museum Press, 2009), video (“Golds”, 11 minutes 44 seconds, no audio)

Special Thanks to Eija Sjöblom, Paula Puikko-Laakso and Susanna Aarva

 

萊斯里-安.趙

<黃金(安排)>

多媒體裝置,尺寸可變
2019

截至1521年西班牙殖民者來到群島命名了菲律賓,我的先祖早已開始穿戴並且交易黃金將近500年。”Oro”此一詞彙在西班牙語是“黃金”之意;在未熟悉瑞典語意義之前,當第一次讀起這個地名讓我想到這個元素。

我得知在海洋中蘊涵著黃金,懸浮、稀釋在海水之中,每公升130億分之一克,每億噸僅有一粒穀物般大小,但它就在那裡。以地球海水的總量估算共有2000萬磅,而且自從1872年被發現之後有無數的人試圖想要出海水裡的金子,但是我們不能,它仍舊在人類能力所及之外,就像一個荒誕的笑話,除了它實際上只是大自然的漠然,和美麗,美麗。 那裡和沒有任何一處。

媒材:二手相框、防水布、銅釦、裝裱海報(Dalsbruks bibliotek圖書館借出)、工作手套、圓形鈴鐺、龍蛋(Lisa Roberts作品)、書(黃金,Susan La Niece,大英博物館出版,2009)、錄像(黃金,11分44秒,無聲)

特別感謝: Eija Sjöblom,Paula Puikko-Laakso以及Susanna Aarva

Mauritz Tistelö


I can see the sea from here

poetry, sculpture, text, installation
2019

Two pair of boots on two different roofs in Dalsbruk meet two stories – one from Keelung in Taiwan and the other from Umeå in Sweden. Mauritz Tistelö in a collaboration with the glass artist Jarl Hohenthal from Dalsbruk.

With a fantasy wheel between the parking area and the sea

Poetry performance
2019

We meet two different spaces through a wheel of fantasy. The story meet the action meet the sea.

The military, the butterflies and the sea

Video, 12’00”
2019

How do our bodies become soldiers, butterflies, sea creatures? Performance actions on Örö are mixed with poems that are based on my next book “Fejk poesi” and “Peace on earth” with John Coltrane .

“Peace is a constant struggle to find the conditions where the uniforms fade down so that liberation, chaos, and freedom becomes possible.”

 

莫里茨.提斯特樂爾

<我可以從這裡看到海>

詩、雕塑、文字、裝置,尺寸可變
2019

兩雙雨靴在在兩個不同的屋頂在Dalsbruk遇見兩個故事:一個在台灣的基隆,另一個在瑞典的Umeå。此作品由莫里茨.提斯特樂爾和Dalsbruk的玻璃藝術家Jarl Hohenthal合作。

<和奇幻之輪一起在停車處以及海之間>

詩作表演
2019

我們透過奇幻之輪遇見兩個不同的地方。故事遇見了行動遇見了海。

<軍隊,蝴蝶和海>

錄像,12分00秒
2019

我們的身體如何變成士兵,蝴蝶和海洋生物?

在Örö島上的表演動作與詩作混合在一起,這些詩作是根據我的下一本書《 偽詩》和約翰科川的《地球上的和平》。和平是一個持續不斷的奮鬥,尋找使得制服褪色的條件,以使解放、混亂和自由皆成為可能。

Nayab Ikram

Whoa Whoa The Waves Said

Sound Installation
2019, ongoing

Listen to the sound of the waves from Örö Island and their hidden messages that has been translated into English in the sound installation ‘Whoa whoa The Waves Said’. The sound installation is an ongoing project created by Nayab Ikram in collaboration with developer Benji.

 

娜亞博.伊克朗姆

<Whoa Whoa The Waves Said>

聲音裝置
2019 – 進行中

聆聽來自Örö島的海潮之聲以及在底下所蘊含的訊息,這些海潮之聲被轉譯成英語在聲音裝置<Whoa Whoa The Waves Said>之中。此一聲音裝置是一個正在進行中的計畫,由娜亞博.伊克朗姆和工程師班傑共同合作。

Nuutti Koskinen

Granular

Video, 12’30”
2019

Granular is a fictional video work, a reconstructed travel documentary. Footage and local stories from the archipelagos in Finland and Taiwan are intertwined with other semantic granules of the contemporary world. In the work a visit into a post-human island world is haunted by broken memories of the past. Beyond the fragmented stories, many of which seem to be universal, the work deals with the onthology of language, memories and consciousness.

 

努提.科斯基寧

<粒狀>

錄像,12分30秒
2019

<粒狀>是一個虛構小說式的錄像作品,一個重新建構的旅遊紀錄片。在芬蘭以及台灣的群島的紀錄的影像和當地的故事與當代世界的其他語義的顆粒交織在一起。在錄像作品之中,一場探訪一個後人類島嶼的世界被破碎的過往記憶所追擊。在零散的故事之外,其中許多故事似乎是普遍的,作品也涉及了語言、記憶和意識的本體論。

Rain Wu

The Sea Rises and Totally Still

Fabric, boiled seawater, salt, chalk, 79x700cm
2019

 

Maps, as cultural artefacts, consist of ever-shifting sediments deposited by human desire, imagination and expectation. Their deceptive air of stability rests, for the most part, on the specific language of map making.

Positioning itself on the expanse of Finnish archipelagos, The Sea Rises and Totally Still reflects on the idea that when the world is ‘fully codified and collated… a sense of loss arises.’ (Alistair Bonnett) and allows the precise representation- a trick of the trade- to dissolve and to reconcile with its surroundings.

 

吳雅筑

<海升之地.海止之處>

布料,煮沸海水,鹽,粉筆,79x700cm
2019

地圖,作為文化的文物,由人類的慾望、想像和期待等等各種不斷變化的沈積物組成。這些虛幻的穩定性沉降在大部份特定的製圖語彙之上。

置身於遼闊的芬蘭群島之間,作品<海升之地.海止之處>反映了一個概念,當世界「完整地被編纂和校對…隨之而起的是失落感」 (阿拉史泰爾.邦尼特,2014)並且允許精確的標示法–一種職業技巧–­­­­去溶解並與它所身處的環境調和。