{"id":10696,"date":"2023-11-27T11:05:19","date_gmt":"2023-11-27T09:05:19","guid":{"rendered":"https:\/\/avan.fi\/?p=10696"},"modified":"2023-11-27T11:06:14","modified_gmt":"2023-11-27T09:06:14","slug":"alvar-gullichsen-kosmos","status":"publish","type":"post","link":"https:\/\/avan.fi\/sv\/alvar-gullichsen-kosmos","title":{"rendered":"Alvar Gullichsen: KOSMOS"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”5%” bottom_padding=”3%” constrain_group_2=”yes” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_custom_heading text=”Alvar Gullichsen: KOSMOS 8.12.2023\u201319.5.2024″ font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”8%” constrain_group_2=”yes” right_padding_desktop=”8%” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Pressmeddelande 27.11.2023<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

Alvar Gullichsen: KOSMOS
\n<\/em><\/strong>8.12.2023\u201319.5.2024
\n<\/strong>Ars Nova v\u00e5n. 1 och 2<\/strong><\/p>\n

 <\/p>\n

Alvar Gullichsen<\/strong> (f. 1961, Helsingfors) \u00e4r en etablerad bildkonstn\u00e4r, musiker och producent. Under de senaste tio \u00e5ren har han m\u00e5lat geometriska rumsliga m\u00e5lningar. Gullichsens konst \u00f6vergick gradvis i det abstrakta fr\u00e5n och med vistelsen i konstn\u00e4rsresidenset Villa Karo i Benin, V\u00e4stafrika \u00e5r 2002.<\/p>\n

Gullichsen sp\u00e5rar transkulturella och universella m\u00f6nster. Han ser m\u00e5nga likheter mellan olika kulturer och epoker. Han har ett vision\u00e4rt grepp om modernismen, med ett f\u00f6rdomsfritt intresse f\u00f6r esoterik, transcendental filosofi, mystik och andliga traditioner.<\/p>\n

Gullichsens verk \u00e4r en forts\u00e4ttning p\u00e5 den modernistiska abstrakta konsten, vars standard \u00e4r den ideala formen. Han intresserar sig f\u00f6r m\u00f6nster som upprepar sig globalt. Inom bildkonsten har man n\u00e4rmat sig dylika bilder ur flera perspektiv; exempelvis har bilderna refererat till jungianska arketyper, med en kollektiv undermedveten betydelse. I den abstrakta konsten bildar basfigurerna och kompositionen ofta ett slags symboliskt spr\u00e5k.<\/p>\n

Uppfattningen om konstn\u00e4rens individualism utmanas starkt i b\u00e5de popkonsten och den abstrakta konsten. Gullichsens f\u00f6rh\u00e5llningss\u00e4tt \u00e4r extatiskt<\/em>; han kanaliserar eller mixar former och samtidigt filtrerar han sin egen och den kollektiva kulturella bakgrunden. \u201dM\u00e5lningens utg\u00e5ngspunkt \u00e4r en vision om ett arketypiskt formspr\u00e5k d\u00e4r det verkar finnas ett budskap eller en l\u00e4rdom, n\u00e5got slags estetiskt ideal\u201d, belyser Gullichsen. Visionerna som f\u00f6rverkligats med hyperprecision \u00e4r ocks\u00e5 utmanande f\u00f6r bes\u00f6karen. Inf\u00f6r dem m\u00e5ste man kapitulera som inf\u00f6r en oundviklig sanning.<\/p>\n

Med id\u00e9n om kosmos efterstr\u00e4vas en bild av den allm\u00e4nna och individuella samtiden, en union. F\u00f6rh\u00e5llandet mellan det universella och det unika \u00e4r i m\u00e5nga avseenden problematiskt, om man t\u00e4nker att man kunde g\u00f6ra anspr\u00e5k p\u00e5 former och figurer. \u00a0I Gullichsens m\u00e5lningar kanske det \u00e4r s\u00e5 att figurerna snarast vandrar i och genom bilderna.<\/p>\n

Utst\u00e4llningen som breder ut sig p\u00e5 tv\u00e5 v\u00e5ningar i museet Aboa Vetus Ars Nova \u00e4r en exceptionellt omfattande \u00f6versikt \u00f6ver Gullichsens produktion, och omfattar mer \u00e4n 70 verk. I utst\u00e4llningen visas tidiga m\u00e5lningar med seriemotiv och skulpturer av glasfiber samt skissartade gouacher fr\u00e5n konstn\u00e4rens Villa Karo -residens i b\u00f6rjan av 2000-talet. 2010-talets stora geometriska m\u00e5lningar samt GNARS*-skulpturerna bildar en omfattande helhet. I utst\u00e4llningen j\u00e4mst\u00e4lls humoristiska och allvarligare arbeten p\u00e5 ett eklektiskt s\u00e4tt. I centrum f\u00f6r de senaste m\u00e5lningarna i serien Dissolving Patterns <\/em>st\u00e5r den oundvikliga f\u00f6r\u00e4ndringen. I dessa m\u00e5lningar dekonstruerar konstn\u00e4ren sin stil och l\u00e5ter skarpa geometriska former l\u00f6sas upp i landskapet.<\/p>\n

Gullichsens konstn\u00e4rliga genombrott var hans f\u00f6rsta utst\u00e4llning Raba Hiff Show 89<\/em> som visade upp det fiktiva bolaget Bonk Business Inc:s maskiner. Under det f\u00f6ljande decenniet drev han Bonk tillsammans med sin arbetsgrupp** och m\u00e5lade humoristiska m\u00e5lningar med seriemotiv. Monumentalskulpturen Posankka<\/em> (1999) fr\u00e5n slutet av Bonk-perioden \u00e4r hans \u00f6verl\u00e4gset mest k\u00e4nda och \u00e4lskade verk. Vid millennieskiftet ansl\u00f6t sig Gullichsen till konstn\u00e4rsgruppen ROR (Revolutions on Request), och inom dess ramar deltog han i f\u00f6rverkligandet av utst\u00e4llningen Utopia, som h\u00f6lls i Kiasma \u00e5r 2021. ROR var rock- och popkultur, hantverk och psykedeli och stod tv\u00e4rt emot den r\u00e5dande teknologiska och ekonomiska framtidstron.<\/p>\n

Gullichsen utexaminerades fr\u00e5n Bildkonstakademin 1988. Han har varit verksam i flera olika konstn\u00e4rliga och musikaliska kollektiv, ROR – Revolutions on Request<\/em> (1999\u2013), GNARS Gullichsen-Nyqvist Art Systems<\/em> (2013\u2013) Groovy Eldorado Ensemble <\/em>(2002\u20132009), Afrojazz Club<\/em> (2013\u2013) och Afrojazz Quintet<\/em> (2015\u2013).<\/p>\n

Hans verk finns i m\u00e5nga museers och stiftelsers kollektioner; bland dessa finns exempelvis Nationallgalleriet Kiasma, Amos Andersons konstmuseum, Saastamoisen S\u00e4\u00e4ti\u00f6, Heinon taides\u00e4\u00e4ti\u00f6, Svenska Kulturfonden och Stiftelsen Pro Artibus. Dessutom finns hans verk i flera olika st\u00e4ders samlingar, till exempel HAM Helsingfors stad, Esbo, Ule\u00e5borg, \u00c5bo, Bj\u00f6rneborg och Salo. Gullichsens konst finns \u00e4ven i privata samlingar, d\u00e5 det finns passionerade samlare av den.<\/p>\n

Dynamokeskus Bonk (nuvarande Bonkmuseet) grundades i Nystad 1994. Offentliga konstverk har f\u00f6rverkligats bland annat i Helsingfors (LeBonk Music Machine<\/em>, 2010 och muralen i Underbar, nuvarande Pata\u00e4ss\u00e4, Yeah Baby Yeah<\/em>, 2006), i Norrmark (Ukk\u2019ram<\/em>, 2015) och i \u00c5bo (Posankka<\/em>, 1999).<\/p>\n

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*GNARS (Gullichsen-Nyqvist Art Systems<\/em>) \u00e4r Gullichsens och Klaus Nyqvists gemensamma projekt inom vilket de skapade geometriska skulpturer och offentliga verk.<\/p>\n

**I Bonk-projektet deltog Richard Stanley, Henrik Helpi\u00f6, Magnus Weckstr\u00f6m, Magnus Scharmanoff och Olli Lehtinen.<\/p>\n

*** Bjarne \u00d6lander (Fibresin) utformade Posankkan och de \u00f6vriga skulpturerna av glasfiber. Den estniska skulpt\u00f6ren Matti Varik skapade originalen i lera utifr\u00e5n Gullichsens ritningar.<\/p>\n

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Till\u00e4ggsinformation<\/strong><\/p>\n

Niina Tanskanen
\nutst\u00e4llningsamanuens
\n040 585 4499
\nniina.tanskanen@avan.fi<\/a><\/p>\n

 <\/p>\n

Alvar Gullichsen
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