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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.11 / technical data)

NOVEMBER 2005

 

Light control unitAn automatic dimmer control unit is connected to the circuit of the chosen row / rows of lamp posts.

Eventual change of light sourcesIf almost are fitted with metal halogen lamps or similar the light sources need to be changed to light bulbs, emitting similar light strength and light temperature, as metal halogen lamps cant be dimmed in desired cyclic mode.

VERSION IPulsing the light of all lamp posts along a whole street's or lane's lengthChange all light sources to dimmable ones (light bulbs).

VERSION IIPulsing the light of lamp post sectionChange chosen light sources to dimmable ones (light bulbs). If light bulbs doesn't emit exact light strength and light temperature as original light source two lamp posts on either side of chosen segment should also be changed but not connected to dimmer unit, to make the lighttransition point less obvious.

Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

 

 

 

 

 

 

 

 

 

 

 

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2006. ARTISTS / INTERVENTIONS / LINKS

Arnoud SchuurmanTranslucid View        www.arnoud.is.dreaming.org

Chus García FrailePost it        www.chusgarciafraile.com

Virginia Corda + Maria Paula DobertiAccidentes urbanos        www.virginiacorda.com.ar www.mariapauladoberti.com.ar

Gustav HellbergPulsing Path: una visión ambigua        www.gustavhellberg.com

Lorma MartiBlend Out    Stefano de Martino+ Karen Lohrmann    www.lormamarti.com

Nicole Cousino + Chris VecchioSpeakhere!        www.ncousino.comwww.noisemantra.com

Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian    Locutorio Colón        www.tadanori.desorde.net/www.studio-kg.com/studio-kg.com

Tao G. Vrhovec    Reality Soundtrack    www.realitysoundtrack.org    www.taogvs.org

Tere Recarens    Remolino        www.tererecarens.com    Wilfredo Prieto    Ouroboros        www.wilfredo-prieto.com

 

 

 

 

 

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2006. DISCUSSION PANELS / 2 feb (video)

 Thursday, February 2nd 6pm to 9pmPRESENTATION OF THE MADRID ABIERTO 06 PROJECTS

Place: La Casa Encendida (Ronda de Valencia nº2)Selection carried out by Eva González-Sancho, director of FRAC Bourgogne.Moderates: Ramon Parramon

1Ramon Paramon (presentation)00:00 – 03:00

Virginia Corda y Maria Paula Doberti. Accidentes Urbanos.03:00 – 19:00

Nicole Cousino en colaboración con Chris Vecchio. Speakhere¡ 19:00 – 29:50

Gustav Hellberg. Pulsing Path-ambiguous vision. 29:50 – 43:08

Colectivo Lorma Marti. Blend out. 43:08 – 53:30

Tere Recarens. Remolino. 53:30 – 56:06

Arnoud Schuurman. Translucid View56:06 – 1:01:02

    

 

2Arnoud Schuurman. Translucid View00.0    – 01:30

 

 

3Tao G.Vrhovec. Reality Soundtrack. 00:15 – 09:00

Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi y Ali Ganjavian. Locutorio Colón.09:00 – 26:36

Wilfredo Prieto. Ouroboros. 26: 36 – 29:28

TALKS AND ROUND TABLES

Ramon Paramon (presentation of the interventions by Jorge Díez, El Perro and Javier Avila)32:35 - 34:48

Jorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).34:48 – 47:44

El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 47:44 – 1:01:03

 

4El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 - 01:39

 

5El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 – 13:30

Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.d de Gijón.13:30 – 28:00

Round table28:00 – 48:36

 

 

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (location)

Pº del Prado, central boulevard central between Plaza de Cánovas del Castillo and fuente de Apolo

 

 

 

 

 

 

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2006. Gustav Hellberg (Cv)

ESTOCOLMO, 1967LIVES AND WORKS IN BERLÍNWWW.GUSTAVHELLBERG.COMWORK EXPOSED IN MADRID ABIERTO: PULSING PATH / UNA VISIÓN AMBIGUA

EDUCATION2000 ·    Philosophical Aesthetics, University of Stockholm

1993-98 ·    Kungl. Konsthögskolan, Stockholm (MFA)

1995 ·    Hochschule der Künste, Berlin Prof. Lothar Baumgarten

SOLO EXHIBITIONS 2005 ·    Arnstedt & Kullgren, Båstad, Sweden2003 ·    Hood Gallery, Los Angeles, USA2002 ·    Blinka Malmö stadsbibliotek, Malmö, Sweden2000 ·    Mors Mössa, Gothenburg, Sweden1997 ·    Galleri Mejan, Stockholm, Sweden

GROUP EXHIBITIONS (selected) 2005 ·    Projekt 0047, Berlin, Germany·    Fused Space, Strom, The Hague, Netherlands·    Evolutionäre Zellen Archive NGBK, Berlin, Germany

2004 ·    Arnstedt & Kullgren, Båstad, Sweden·    Momentum 4, Moss, Netherlands·    Zwischen Wasser, Bad Aibling, Germany·    Armory Show, New York, USA

2003 ·    Contemporary Art Cultural Heritage, Antalya, Turkey·    Evolutionäre Zellen, Historisches Museum, Frankfurt, Germany·    LA-International, Raid Projects, Los Angeles, USA·    Arnstedt & Kullgren, Båstad, Sweden·    Evolutionäre Zellen, Freiraum / Transeuropa MQ, Wien, Austria·    Southbound, Leipzigerstrasse 54, Berlin, Germany

2002 ·    Evolutionäre Zellen, NGBK, Berlin, Germany·    Urban Drift, Berlin, Germany·    Reactions, The Library of Congress, Washington DC., USA·    Reactions, The Williamson Gallery,Pasadena               ·    Reactions, Exit Art, New York, USA

2001 ·    Midsummer Night Extravaganza, Kaffee-Burger, Berlin, Germany

2000·    Cave, Konstakuten, Stockholm, Sweden·    1 Maj 2000, Svenska Dagbladet’ Internet-Gallery, Sweden

1999 ·    San Francisco Pin Up Gallery, Stockholm, Sweden·    Galleri Bäckalyckan, Jönköping, Sweden

PUBLICATIONS2003 ·    SITE, Stockholm2002 ·    Publikation (70), Malmö2002 ·    Birthday Paper, New York2001 ·    Publikation (5), Malmö

COMMISSIONS2005·    Com.Öresundskraft, Helsingborg, Sweden

2004 ·    Repr. Region Skåne, Sweden

2002 ·    Repr. The Library of Congress, Washington DC

1999 ·    Repr. Jönköpings kommun, Sweden

1998 ·    Com. Akademiska sjukhuset Uppsala, Sweden·    Com. Studentpalatset, Stockholm, Sweden

1997 ·    Repr. Modern Museum, Cilje, Slovenia

GRANTS AND AWARDS (selection)2003 ·    IASPIS, international exhibition support

2002 ·    Swedish Art Grants Committée, 2 year working grant

2000 ·    Swedish Art Grants Committée

1999 ·    Royal Academy of Arts, Emil Bergh’s Grant

1998 ·    Helge Ax:son Johnson Foundation ·    Royal Academy of Arts, Gustaf Cederström’s Foundation ·    Royal Academy of Arts, Ragnar och Hilma Svensson’s Foundation

1997 ·    Helge Ax:son Johnson Foundation

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (technical data)

 TECHNICAL FACTS

- A chosen segment of street lamps is altered so that the light pulses in a slow cycle.

- If halogen bulbs are used in existing street lamps they have to be changed to normal light bulbs. Lamp bulb effect (watts) depends on effect on existing lamps. Light bulbs need a higher effect number, around 300-400 W to create the same light effect.

- Dimmer control unit connected to the street lamps circuit series.

INSTALLATION

- Connect dimmer control unit to the selected row of lamps, needs to be done with official electrician. The dimmer unit is a common unit with European safety standards, has its on fuses to eliminate all safety risks.

- Change of light bulbs.

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (proposed location)

 

 A chosen segment of street lamps is altered so that the light pulses in a slow cycle. As both Paseo de la Castellana and Paseo del Prado boulevards are lined with trees on some locations a stretch of these streets with trees can be chosen. It is important that chosen location is normally occupied with pedestrians in the evenings, when it is dark. A stretch dislocated from areas where people move is not suitable as the interaction between artwork and people is crucial.

One also has to consider that the chosen area is not only lit by 'pulsing street lights' as that might create an unsafe feeling with some pedestrians. The main goal with the installation is to create a strange happening rather than to create a scary situation. However, both boulevards street lights for the car traffic will leak light into chosen area.

Lights from nearby shops, cafes and other lit paths surrounding chosen area/stretch of lamps also helps up when the light is in its dark phase.

Just to disconnect a row of six lamp post and make them pulse will create the strangeness that is the foundation for this project and complete darkness is not the main goal.

Version I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (theoretical data)

 Controlling the street lamps along a path to make its light into a pulsing effect.

A chosen segment of street lamps is altered so that the light pulses in a slow cycle. The normal light is slowly dimmed until the lamps don’t light up the path. After a short while the light rises back to full light effect, thus creating an unexpected situation for passers by, altering the normal function of street lamps.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ streets; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

Verison I:A stretch of between six and ten lamp posts is given the pulsing effect.

Version II:Lamp posts surrounding a smaller space, a statue or a fountain will be used.

Version III:If possible, a long stretch of lamp posts (between two crossing streets) is given thepulsing effect.

 

ELEMENTES OF THE PROJETS

Light - The light makes things visible in the darkLight can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, only creating an image?

Path - A path leads somewhere, it stretches from point A to point BThe path can suddenly become vague and hard to find and it can split into two or more forking paths leaving you to choose which route to take.

 

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (visual data)

 

Oscillating sequence (continuous cycle)Light - dark, dark - light, approximately 30 seconds

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (published text: newspaper)

 

Controlling the street-lamps along a street or lane means the light takes on a pulsing effect. The light is dimmed in a slow sequence, slowly disappearing and reappearing in an ongoing cycle.

The oscillating light of the lamp-posts in Pulsing Path – ambiguous vision activates a park lane and gives it a behaviour separating it from ‘normal’ lanes. Its expression is transformed and becomes displaced, thus raising questions about states of normality, and the uncertainty surrounding human existence.

 Man tries to master the world by structuring it. Societies are created through various power structures, which are never, however, either complete or solid. Because the characteristics of every individual creating a society differ, imperfection becomes the (disregarded) nature of these imposed social structures. The inertia of change, combined with ongoing human life-cycles and developments in society, makes it difficult to trace its course or even to be aware of it. Pulsing Path – ambiguous vision deals with awareness of our environment, our perception of this environment, and the memory of its appearance. A lighted street may not be what you perceive it to be on first sight. Are we always sure where a path is leading? Is seeing an object evidence of its existence?

 

 CREATING AN UNUSUAL SITUATION - CONTRADICTING "NORMALITY"

 The project Pulsing Path - ambiguous vision operates by changing an everyday situation, with a focus on vision. It plays with reality as we are accustomed to seeing it. Vision can be defined simply as what we take in with our eyes: the physical phenomenon that occurs when light is transformed, through seeing, into comprehensible mental images. But vision can also be what is ‘seen’ with our imagination: that is, an immaterial and completely abstract occurrence. And this can lead to new ways of thinking and planning for the future; in this way vision becomes a lingual element.

Once clear thoughts blur and assumed descriptions are thrown into doubt, our already complex world becomes more so. Yet because this is the world in which we must function day-to-day, we must necessarily simplify it in order to make sense of it. We are able to choose which fraction of our ‘world factors’ to use and which to leave out; many are left out because they have not been registered by our minds, or have simply been forgotten. Most of this reality is abstract and locked in our minds as thoughts or images. Some of these become realised as societal constructions or  political agendas, deriving from the diffuse images in our minds – or the ambiguous visions.

The images we have of our surroundings are an intricate mixture of images we see directly and those stored in our memory.  It is not a matter of course that the two correspond: some of our mental images are able to be modified, perhaps being built up into a picture of how we would prefer our surroundings to look, or alternatively distorted images of how we don’t want them to be. Different people see different things; depending on what is registered by the individual, the same thing can be seen in a multitude of ways. Thus following a path, and seeing a clear direction, can become something uncertain. Manipulated by the Pulsing Path - ambiguous vision project, a path normally lit by street lamps slides out of visual focus and then returns as brightly as ever, just like the Cheshire Cat in Lewis Carroll’s Alice’s Adventures in Wonderland. Your mind begins to query what it knows as ‘normality’: what if light assumed to be there suddenly disappears, or if that light, instead of illuminating, creates a visual effect that tricks your mind and conjures up different visions?

In this way, the Pulsing Path project radically alters an ordinary situation. As the light dims and temporarily disappears, our usual apprehension of an environment also slides away. One question is raised: does the lack of light create doubt and fear, or does it free our dulled perceptions by changing a norm or an assumed condition?

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (images)

 

     

              

          

 

                                                        

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (texto publicado)

 Controlling the street lamps along a street to make its light into a pulsing effect.

The oscillating light of the street lamps in Pulsing Path activates the lane and gives it a behaviour separating it from ‘normal’ lanes; its expression is transformed and becomes displaced. This raises questions about states of normality and the uncertainty surrounding human existence, even if we have always tried to master the world by structuring it.

The inertia of change, the aging of humans and changes in society, makes it difficult to discover its course or even to be aware of it. Pulsing Path is playing with the awareness of the surroundings, the perception of it and the memory of its appearance. A street and its lighting might not be what you think. Are we always sure where a path is leading? Is seeing an object an evidence of its existence?

LIGHT MAKES THINGS VISIBLE IN THE DARK

Light can be bright, dim or totally absent. In our contemporary world we are used to artificial light reducing darkness. We somewhat rely on it to always be there. What if it suddenly disappears or if it instead of illuminating creates a visual effect fooling your mind, creating different visions?

VISION

Following the path and seeing a clear direction can become uncertain. Like the Cheshire Cat from Lewis Carroll’s novel Alice’s Adventures in Wonderland the path normaly lit up by street lamps slides out of visual focus just to get back as bright as ever. “`In THAT direction,- the Cat said, waving its right paw round- lives a Hatter: and in THAT direction- waving the other paw- lives a March Hare. Visit either you like: they're both mad.”

 

 

 

 

 

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2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

2006. Gustav Hellberg. PULSING PATH: AMBIGUOUS VISION (2005.12 / proposed locations)

DECEMBER 2005

 

Site for Pulsing Path - ambiguous vision (Madrid 2006) Gustav Hellberg

I would like to use the path that runs in the park like area in the middle of Paseo del Prado between Plaza de Canovas del Castillo and Plaza de Cibeles. I am giving two alternatives as I am not sure about how the lampposts are connected.

I've chosen this area because its park like feeling, where the idea of the path is in focus, also suggested by the title. This area's lampposts' old fashion design make them suitable as generic lamp posts. This is also the type of lamp posts I had in mind during the development of the work.

The area is interesting as it is not only a passage way for pedestrians but also a recreational area with benches for people to rest and playgrounds for children. It is an urban site with activity and stillness always surrounded by heavy traffic. In that surrounding the effect of a strange behaving set of lampposts will get its best impact.

I would suggest A before B if no technical or other problem favours B.

Version A:

Using the nine first lampposts along the middle path, counting from Pza. de Canovas del Castillo towards Fuenta de Apolo, for pulsing. The following lampposts, continuing northwards, need to be fitted with the same light bulbs as the pulsing ones if the light is not the same.

The northern part of this path gets to much light from the street which make me want that part to be 'normal', lights always on.

This part of the path is the darkest and the best effect will be able to reach here. It is also the most 'path like' stretch. The quieter part of this area could make it less visible.

Version B:

Using the 8 northern lampposts along the east path north of Fuente de Apolo .The 5 lights on the east side (play ground side) need to be fitted with the same light bulbs as the pulsing ones.

The playground area south of Fuente de Apolo is more used by children, also has more play equipment and should be left as it is. It is probably no use to change light bulbs.

This part is closer to the busier part of the street and the work might be seen by more people, even by people that are not waling down the Paseo del Prado. I am a little bit concerned that the 'playgroundarea' will disturb the path feeling.

 

Note, concerning both version A and B:If there's a too obvious difference in light strength and light temperature from the original lamps to the pulsing ones, it might be necessary to considering changing the closest ones.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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