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ART-e-FACT, STRATEGIES OF RESISTANCE issue01: ILLEGAL IMMIGRATION issue02: UTOPIA [you are here] issue03: TECHNOMYTHOLOGIES issue04: GLOCALOGUE
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TRANSMEDIALE.04
PARTNER EVENT
TRANSMEDIALE: FLY UTOPIA!
A conference, exhibition and workspace - opens January 31st in Berlin.


TRAVELOG

The City in the Age of Touristic Reproduction
Boris Groys
The tourist and the city dweller become identical.

Can the art world really do Hollywood better than Hollywood?
Steven Rand
The hypnotism
of technology: where is the end?

Mobile Utopia
Charles Esche
A utopian day-trip through two views of humanity 400 years apart.

FEATURE AND WRITINGS
LOOKING FOR A HUSBAND WITH AN EU PASSPORT BY TANJA OSTOJIC
ONLINE
Light Type Writer
Constantin Luser


THEORY

Utopia with Lara Croft and some other monsters and Aliens
Marina Gržinić
The re-direction of desires, facts & bodies in the global world.

THE EMPIRE AND ITS UTOPIAS
Žarko Paić
How to envision utopia, and not run away from society’s real repression / depression into a ghetto or exile for fantastic outsiders?


ZERZAN VON TARZAN UND TAXIS - FASCISM OF DESIRE OR FASCISM OF OBJECTS
Zoran Roško
The rejection of human will, civilisation, & the search for what we have left.




ART WORK
PASSPORT
     
MADRID
  PARIS   RIGA

 
     
SKOPJE   STOCKHOLM   TOKYO


 
CLICK TO LAUNCH SLIDESHOW
City Paintings
Plastic folders collected from cities around the world and displayed as a series of abstract paintings
Magnus Bärtås
     


City Paintings
Magnus Bärtås

In every new city I visit I try to find A4 plastic folders. The coloured plastic folders can be bought almost everywhere. So far I haven't been to any larger city in Europe, Africa or Asia (Japan) where they cannot be found. Generally there is nothing dramatic about them, no specific values, even though they might belong to a middleclass or bourgeoisie sphere in some countries, considered being the "not most needed" items.

The use of colours oscillate between function and aesthetic. There is something childish about the bright colours (I sometimes feel naive when I have to ask for "more colours" in the stationary shops and bookshops where they normally are found), but of course the colours have a function of separating categories of stored information. I try to find as many colours as possible, and when I organize the collages into cityscape-like structures I try to maximize the number of colours created. Since they are transparent and double folded, every overlapping of colours creates new colours. Through the possibilities to choose orders of layers of the folders one ends up in complex decisions, formally speaking.
 
With these objects ­ the plastic folders ­ arranged in "documentary paintings" I want to discuss a global situation where the same objects can be found everywhere, and where one size (A4) express unity. But also the possibility that the transformation of the everyday objects can make the viewer aware of an unexpected beauty. They seem to be "universal" and thereby, with a metonymic appearance, fulfil the modernist utopian idea of a universal art. But it¹s not true. Actually, I¹ve never found the same colours or combination of colours in any city (not even within the same country). The plastic folders move, back and forth, between the general and the particular, between the global and the local.


Magnus Bärtås (SE)
Artist based in Stockholm, Sweden.




CONTENTS








ART WORK
Homeless  Ideas
VIEW
FILM
y-seduce-machine (detail)
Yvonne Trapp

MICRO-UTOPIAS

Y-seduce-
machine
&
JUNK
Yvonne
Trapp

Sun_stop
(working
title)
Vadim Fishkin

City Paintings
Magnus Bärtås


TOPIC AREAS
SYSTEMS

SYSTEMS
 
TRANS.MISSION
 
PERSONAL
 
MECHANIZED
 
MICRO-UTOPIAS
 

CONTENTS




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