{"id":18373,"date":"2017-06-15T11:03:51","date_gmt":"2017-06-15T09:03:51","guid":{"rendered":"https:\/\/artipelag.se\/en\/?post_type=cpt_exhibitions&p=18373"},"modified":"2024-12-23T13:49:56","modified_gmt":"2024-12-23T12:49:56","slug":"bard-breivik-score-for-a-longer-conversation","status":"publish","type":"cpt_exhibitions","link":"https:\/\/artipelag.se\/en\/art-museum\/previous-exhibitions\/bard-breivik-score-for-a-longer-conversation\/","title":{"rendered":"B\u00e5rd Breivik \u2013 Score for a Longer Conversation"},"content":{"rendered":"
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From July 8th<\/sup> to August 20th<\/sup>, 2017,\u00a0<\/strong>B\u00e5rd Breivik \u2013\u00a0Score for a Longer Conversation<\/strong><\/em>\u00a0was displayed in the Artipelag Artbox. The exhibition was comprised of 132 organically-shaped sculptures from a project the Norwegian artist worked on throughout his entire professional life. The sculptures, which are made using varying techniques and materials from all over the world, engage many of our senses and reflect an interest in people\u2019s relationship to nature and handicrafts.\u00a0<\/strong>B\u00e5rd Breivik\u00a0\u2013 Score for a Longer Conversation<\/strong><\/em>\u00a0complemented the <\/strong>Morandi \/ Edmund de Waal<\/strong><\/em>\u00a0exhibition, which was shown throughout Summer 2017 in the Artipelag Art Gallery.\u00a0<\/strong><\/p>\n\n<\/div>\n<\/div>\n\n

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B\u00e5rd Breivik (b.1948, d.2016) began his work on Score for a Longer Conversation<\/em> in the early 1980\u2019s and continued it throughout his entire professional life. The process was developed in collaboration between Breivik and craftsmen from dozens of countries and cultures. Together, they explored the creation of the project as a process and each tool\u2019s many different possibilities.<\/p>\n\n<\/div>\n<\/div>\n\n

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Each individual work is evidence of a true curiosity of the unknown and has been created using traditional handicraft techniques and local materials. The canoe or cocoon-like form that recurred repeatedly throughout the exhibition emphasises the materials used, but the work as a whole underlines a rich cultural diversity and is, in a way, a kind of anthropological study of how people around the world created their own distinctive aesthetics based on local traditions, tools, and techniques.<\/p>\n\n<\/div>\n<\/div>\n\n

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\u201dMany have called it a boat shape. It\u2019s a natural association, but what I wanted to convey was, in fact, the aura that surrounds a person \u2013 their energy field.
\n\u2013 B\u00e5rd Breivik<\/p>\n\n<\/div>\n<\/div>\n\n

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In the exhibition, the sculptures were displayed vertically but were not organised by year, technique, or region. Instead, they were presented as an eclectic mix, a kind of symphony of expression. The shape and size of the sculptures combine with the cultural diversity and material richness of the project in a way that implied the possibility of universal dialogue. This idea was reinforced by the sculptures being placed in old containers previously used in international shipping. The containers symbolised a truly optimistic view of the opportunities for global cooperation.<\/p>\n\n<\/div>\n<\/div>\n\n

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B\u00e5rd Breivik was born and raised in Bergen on Norway\u2019s west coast. After his studies at the Bergen Art and Design College \u2013 and later at St. Martin\u2019s School of Art in London \u2013 Breivik developed a successful artistic career and was, for a short time, a professor of sculpture at the Royal Institute of Fine Arts in Stockholm. Breivik\u2019s works have been shown at many solo and group exhibitions both in Norway and internationally. Among other notable moments, he represented Norway at the Venice Biennial in 1986 and at the S\u00e3o Paolo Biennial in 1991. Breivik also created several public works of art in the Nordic region.<\/p>\n\n<\/div>\n<\/div>\n\n

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B\u00e5rd Breivik \u2013 Score for a Longer conversation<\/em>\u00a0was shown in parallel with Morandi \/ Edmund de Waal<\/em><\/a>. Despite their differences, the three artists have several things in common \u2013 in particular, their interest in handicrafts. Both exhibits showed how repetition can serve as a fundamental force in creation and served to remind us of the history and memories that remain in all objects.<\/p>\n\n<\/div>\n<\/div>\n\n

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B\u00e5rd Breivik \u2013 Score for a Longer Conversation<\/h2>\n<\/div>\n\n
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