Project Me

I let my mind wander and fantasise about Eugène’s Naked Youth (1907). How much can (or should) I read into the painting? The man stands in a doorway – on a threshold. This is not merely a conceit for a pose with raised arms – that could have been achieved by providing him with a barbell or similar equipment. Neither the pose nor the environment are particularly athletic. The man’s physique is muscular but perhaps not more so than any working young man’s physique would have been at the turn of the century. Is he perhaps purposely blocking the doorway – an action that at once both prevents entry and arouses curiosity as to what lies in the room that we are barred from.

Looking beyond the man we can see three of Eugène’s blue landscapes.* At the time of Eugène painting Knut – his Naked Youth – in that doorway these paintings were all unsold. From this can we deduce that the paintings were in Eugène’s studio, and that the room that we see beyond the naked youth is a part of the studio too?
Can I read the man with the raised and wide spread arms as symbolically blocking the way back to landscape painting?

• * Top left, top right, bottom right: Mille reflets [A Thousand Reflections] 1903, this canvas was unsold at the time of Eugène’s death. Motiv från Timmermansgatan/Trapparna på Timmersmansgatan [Motif from Timmermansgatan/The steps on Timmermansgatan] 1899, was purchased by the National Museum directly from the studio in 1910. Soluppgång över taken/Solnedgång [Sunrise Over the Roofs/Sunset] 1903, was given to the National Museum by a group of ’art friends’ (konstvänner) in 1915. I found different titles for the same paintings in different books/catalogues. The most intriguing is sunrise/sunset – such different times of the day. Surely sunrise is out of keeping with the Eugène’s preference for evening scenes … ?
• The painting I have been referring to as simply Naked Youth is titled Naked Youth in Doorway [Naken yngling vid dörrpost] in Nils G Wallin’s 1920 publication on Jansson’s paintings for Sweden’s Public Art Association [Sveriges Allmänna Konstförening: SAK].

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Naked Youth was exhibited at Verdandi in Uppsala. Verdandi is one of many student associations in the university town of Uppsala. The association was founded in 1882.  The association is still active and is interested in ideas around radical humanism. Have I perhaps found a group who I could involve in a discussion/event in conjunction with my show at the Artists’ Club next year?  I wonder if Verdandi is in the same building as it was in 1907?  Do they have an archive?

There appears to be an exhibition catalogue registered at the Royal Library in Stockholm.

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I was accurate in my prediction that I would not make it to the studio this week.

Sunday afternoon and while making some museli for the coming weeks’ breakfasts I find myself recalling bits of the conversation that I had with Pavel yesterday evening. He has been looking at the Following Eugène blog. With the museli baking I log in to my own blog and am soon absorbed in reading what I wrote five years ago. Chronological and geographic distance is a gift. I find it interesting to read the entries – it is almost, though not quite, as though they are written by someone else.

I did not make it to the studio last week, nor do I expect to be there this coming week. My paid employment is keeping me busy with preparations for the ’digital summer holiday programme’ – Swedish school break on Tuesday. I have four weeks holiday from late June to late July. I had intended to travel around Sweden and even though travel restrictions have been lifted here I am not so keen to be too far from home while the coronavirus continues to be rife. I imagine now that much of that time will be spent at the studio. The trial ’heraldic flag’ that I am making is almost complete. It has only just dawned on me that despite my visual references for it being the flags and insignia hanging in churches and grand halls, there is a painting by Eugène that features flags hanging in a not too dissimilar way.

Eugène Jansson, Österlånggatan, oil on canvas, 168 x 112 cm,1904, Thielska Gallery, Stockholm

Österlånggatan is acknowledged as Eugéne’s last ’blue painting’ – the last of the series that brought him (with the support of Thiel) to public prominence. It is at this point with economic security and his studio on Glasbruksgatan that Eugène immerses himself in the world of athletes and athleticism. It is three years before he exhibits the first this new body of work – Naked Youth. The naked man in question is Knut Nyman – Eugène’s lover.

Eugène Jansson, Naken yngling, oil on canvas, 1907, 143 x 89, Prins Eugens Waldemarsudde, Stockholm

The painting is exhibited in Uppsala (1907). Five years ago I am sure that I did not pay so much attention to where the painting was shown. Today as I develop my own artistic relation with the city it feels vital that I find where the work was exhibited. And I want to know more about what the exhibition was. I assume it was a group show, perhaps something mounted by the opponents groups to which he belonged (the group formed by artists in opposition to the authority and dominance of the Fine Arts Academy).

In discussing ways to mark the opening of the Uppsala Artists’ Club’s new premises one of the committee members suggested that artists not only bear an artwork over the threshold before installing it in a group show but that we walk through the city bearing the piece. It immediately seemed an ideal way for me to re-engage with the performative Mr Dandy Blue and to create an event that brings together various strands of my current practice in a specific historic and geographic context. It would be a very real intersection.

Exciting news – I will be taking over as Meetings Coordinator for Supermarket – Stockholm’s Independent Art Fair! Katarina is stepping down after seven very successful years of bringing together artists, curators, activists and producers. The meetings programme is a core component of the fair as it provides a structure for the exhibitors and ’professional network participants’ to discuss pertinent issues and ideas in smaller more focussed clusters away from the hustle and bustle of the exhibition halls. Over the years Katarina has built up a programme that has spawned a great many connections and collaborations between artist-run initiatives in Europe and around the world, as well as facilitating lively debate and the sharing of stories during the fair itself.

The postponement the fair scuppered Katarina’s plan to finish after the events in April which while disappointing for her is perfect for me. I am incredibly grateful that I am able to ’hop on a rolling train’ (as the Swedes say). Rather than starting from zero I inherit a good schedule of meetings, a host of meeting coordinators/leaders, and a list of exhibitors’ preferences. Unfortunately it is not yet possible to reschedule the fair as gatherings of more than fifty people are still prohibited in Sweden. The ambition is to hold the fair in late summer or early autumn, though this obviously depends on significant changes in the health authorities guidelines.

I am looking forward to being more actively engaged with the fair’s exhibitors and participants. I was very pleased to hear that Alice, Andreas and Pontus, the fair’s creative directors, all support me taking on the role – that means a huge amount to me. For the time being I will continue with the proofreading and language editing too, though it is perhaps time for me to keep my eyes open for another native English speaker to join the publication team.

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Three years ago – I was working for the parks department at the time so it must be 2017 – three old sewing machines arrived at the studio. Two were (separate) flea-market finds, I think that they were £2.00 each. The third I got from a man at the recycling centre, I thought he was throw away just the carry-case, which I wanted for one of the other machines, but as soon as he handed it over I realised that there was a sewing machine still in the case. Don’t ask why I bought two identical machines – I reasoned that it would be good to have spare parts but honestly I think I just liked the symmetry! Yesterday I finally got around to testing all three – two needed new plugs fitting as their old Bakelite ones no longer fit electrical sockets (and no longer comply with health and safety regulations). The freebie and one of the flea-market machines work perfectly, they produce nice well tensioned stitches and hum along smoothly, even the lights work. The third produced a worrisome groaning noise staining to raise the needle that I had manually wound down in to the fabric. I decided not to test it further for fear of something snapping, igniting, or exploding. That machine though has now provided the other bought one with the removable arm extension that it was missing.

In the internal pocket of the freebie machine’s carry-case I found the original instruction manual. I eagerly flipped through it hoping to establish what a mysterious third button was for. The manual however proved to be in Finnish. So I have now added the manual for the Husqvarna Automatic CL21 (or CL21A) to my flea-market shopping list, along with the range of feet. (I realise now that I know they are called ’pressarfötter’ in Swedish but I am not sure what they are called in English.)

The machines are wonderful, with a very ’vintage’ shade of green on their sturdy metal bodies. The controls feel solid and are easy to use. Stitch options are straight or zig-zag with the facility to control stitch length and breadth (for the zig-zag). There is also the option to zig-zag to the left or right of the needle’s centre position – which I assume is for making button holes. Their simplicity and durability really appeals to me.

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Thursday late afternoon I was sitting with some other artists in the studio/workshop in the new (artists’) club-house in Uppsala having just helped with the move from the old club-house when my telephone rang. It is unusual that I had the volume switched on and at first I did not think that it was my phone – a process of elimination performed by the others quickly identified that it was my phone, and the screen told me that a London number was calling. It was Michael Petry, of MOCA London, he had an almost last minute problem to resolve – one of the artists booked for MOCA’s first online private view had been forced to drop out – did I have a short film or performance that I could present on Saturday afternoon? It just so happens that I do as I recently made my first digital film piece to enter this year’s online Enköping Open. So this afternoon at 5pm UK time, or 18:00 Swedish time, I will one of six international artists presenting work to an audience from the UK, Europe and America. I am excited to take part and delighted that Michael and Roberto thought of me. We tested the technology yesterday afternoon and the piece looks good. I had to adjust the sound levels as neither Michael nor Roberto could hear the ambient sound track. Now that is fixed and almost everything is in place for the presentation. Having seen the Zoom view of my apartment I have decided to turn my desk ninety-degrees anticlockwise to so the background is bookshelves rather than the unattractive and dated beige wallpaper that I saw behind me yesterday – I have yet to decorate the living room!

On my run this morning I found myself thinking about the large street-facing window of the gallery where I will be showing later this year. The gallery is at a traffic-light controlled crossing, the pavement is particularly narrow in front of the gallery, and the window is relatively low: these factors together with Sweden’s dark winter days and poor weather have made me wonder about temporarily boxing in the window. This would prevent my show being illuminated by the traffic lights and car headlights, and reduced the visual noise in the gallery.

If I do box in the window – make it a ’display window’ rather than a window into the gallery – what do I put on display?

Within the space of a few strides ideas shifted from a glittery homage to one of Eugène Jansson’s blue paintings to a photo-homage to one of his ’athlete’ paintings. Last autumn I was developing a performance which took inspiration from both Eugène’s paintings and my own experience of fitness training. Looking at a reproduction of a particular painting (that I had recently seen again whilst in Stockholm for Pride that summer) I noticed the similarity between the interior in the painting and the interior of the Glitter Ball showroom. I took some test photo’s but when the performance was postponed due to illness the image(s) got put on ice. That photograph could be something for the window.

Running back I had the fun thought to wear my Aviator sunglasses, leather cap and boots in the photo. It would be a nod to Tom of Finland – not that I have such a muscular physique! The idea of adding another gay reference – still historical, but more recent – is appealing and hopefully playful. If I can pull it off then the image would be great for the poster!

Showering after my run my thoughts turned to the proposed title of the show – Transformer*. Of course I should look at, and listen to, Lou Reed’s album of the same name. It is already a favourite of mine. And that’s when it struck me that ’Walk on the Wild Side’ is one of the tracks. Walk on the Wild Side was also Peter Lang’s research course** that I took at the Royal Institute of Art in 2014/15– the course where I started ’Following Eugène’. It seems as though everything is starting to come together.

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* I chose this as the title thinking about the artist and the athlete transforming materials and bodies from one thing to another. As well as for it’s potential ’Swenglish’ interpretation. In Swedish ’former’ is the plural of ’form’ (anything with shape) and trans inferring between or ’en-route’. I see myself as a ’transformer’ (English definition) that is I see myself as someone making transformations to materials. And in Swedish I see the things that I make as ’transformer’ – that is shapes/objects that are neither one thing nor another, they are something in between. Listening to an online conversation about how the American food and beverage industry might recover and re-shape itself the correspondents spoke of intersectionality.

** Professor Peter Lang used song titles for his Theory and History of Architecture courses

2020-05-17

Although there is no lockdown in Sweden it still feels a bit strange to be going to an actual meeting this afternoon. Uppsala Artists’ Club committee has a planning day. Under normal circumstances I would be looking forward to such an event – a chance to discuss things, explore ideas, and dream up new and exciting ways of doing things. I am sure that it will still be all of that but it feels a bit wrong – perhaps a bit ’careless’ – to be getting in the car and going somewhere to meet people that I do not know. I have baked a cake to take with me, should I be encouraging/tempting people to share food? Will we have to wash the knife between taking each slice?

Our discussions include a revised autumn schedule. I was disappointed to read the proposal and see that my own show has been bumped from early November to December. It feels completely meaningless to have a show in December here – everyone is far too busy with Christmas in one way or another. Perhaps I would feel different if I made more easily commercial work, people might pop along to buy a present. However I do not make work that anyone buys, and the pieces that I am planning to make and show are far from commercial. I hope that I can swap my exhibition period with an artist who wants to tap in to the Christmas market!

After the last committee meeting and agreeing today’s planning day, the Arts Association in Enköping sent out a call to an extra committee meeting scheduled for exactly the same time. I hope that this is just a fluke and not a sign of things to come – I really want to be active on both committees. It feels important to stay on the committee in Enköping even though I have to be honest and say that I find it intimidating (?) to suggest news ways of doing things when I have neither the time nor the connections to push developments that I think need to be made for the long-term survival of the association. Our committee meetings there are rarely discursive – they follow a typically Swedish fixed agenda of re-viewing the previous meeting’s minutes and re-iterating monthly fixtures that almost inevitably precludes any possibility of forward planning or long-term thinking. I am not sure that my Swedish language skills are up to suggesting a radical overall of our meetings but I might have to try!

2020-05-22

The Artists’ Club meeting was very good, also very long – six hours! I have a lot to learn about the club and its history – both distant and more recent. It seems that I am part of a committee that has been challenged to find new ways of doing things and make the club more relevant and contemporary. This coincides with, or is perhaps part of, the club relocating its premises from one side of courtyard to another. Uppsala city council, which owns the whole ’historic quarter’ has recently refurbished and relocated the artists’ club, the writers’ association, and their own activities and everyone is now settling in to their new homes after weeks of delays.

I together with another artist (who has been on the committee for at least a year) are the ’education and public programme’ team. It is the first time that the club has assigned committee members different areas of responsibility. I am looking forward getting on with this, first I am going to find out what is already planned – I know there are some children’s workshops scheduled – and then I want to find out what has been tried in the past – there’s no point in repeating past mistakes! Of the committees that I am on this certainly feels to be the most active and engaging, and that is exciting.

During the week I spoke with an artist friend in London. She too works with education programmes and we spoke about distance and digital ways of working. She finds it impossible to imagine a future delivering workshops remotely, her long career has always focused on the immediacy and intimacy of materials, making, talking, sharing. While I am intrigued by the potential to engage people via videos, web-chats, and on-line projects I understand her concerns and recognise that mediated experiences are very different from what we are both used to.
As our discussion unfolded and expanded I found myself edging around an existential question concerning my own practice. If openings and artists’ talks and workshops cannot be the crowded buzzy events that they once were, if people are less likely to visit galleries and museums, if people remain anxious about making new connections, then I am interested in still being an artist?

On Tuesday evening I sent in my entry for this year’s digital Enköping Open exhibition. While it was quite good fun making a short film from footage of Lek (an installation made for the exhibition at Källör last year) it is not a way of working that I find artistically satisfying. My practice is about the encounter with material. I love working with material(s) in the studio and I love presenting material(s) in exhibition. I love being in a room full of people all chattering away, I love hugging old friends and I love shaking hands with new acquaintances. If these things are no longer viable what does it mean for me?

Are my turning up at the studio and making things acts of resistance or denial? Are they fool-hardiness or comforting. For the time being they feel necessary, they are probably a mix of resistance, denial, fool-hardiness and comfort, and perhaps none the worse for that. I am aware though that it feels that I am doing these things more for myself than for any imagined audience.