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Borealis 4


Som namnet Borealis 4 antyder har det funnits fler Borealis. Borealis 4 ägde rum på Louisiana 24/6 - 13/8 1989. Denna såväl som övriga har genomförts med hjälp av Nordiskt Konstcentrum och deltagande artister har framför allt kommit från Norden.

På Borealis 4 deltog åtta artister och bortsett från Pontus Kjerrman var dessa:

Var och en av dessa konstnärer fick varsitt rum att sätta sin egen prägel på. Man vill därmed involvera de besökande så att upplevelsen berör dem på flera plan.

Pontus Kjerrman delade av rummet i två delar med ett mycket glest nät. Den ena delen av rummet är dessutom upphöjd. På de vita väggarna är det målat en del olika motiv som agerar bakgurn för det spel som skulpturerna ger. Figurerna i rummet är typiskt Kjerrmanska.

I utställningskatalogen skrev Gertrud Sandqvist:

In an interview Pontus Kjerrman expresses concern that, like Islamic artists, on the Last Day he might have to blow life into his sculptures to be able to go to heaven. How would he react if his sculptures were percieved as real beings? On the wide arch that spans the distance between Torben Ebbesen's spiritual ridiculing of the galloping metaphors of learned interpreters, and Pontus Kjerrman's profound speculation on the truth of art, each of the Nordic participants in Borealis 4 has left his mark. (...)

In the Greece where Hephaestus made his divine statue and married Aphrodite, desire or Eros was the power that blew life into what was man-made, so that sculptures could become so much alive that they were literally perceived as sexual acts. Such concretion is also found in Pontus Kjerrman's peculiar world. He creates situations where mythical figures enter the story, where each installation is part of a long tale, and as we all know tales have both beginnings and endings, although Pontus Kjerrman is still in the middle. In tales animals talk, and Pontus Kjerrman's way of conveying his strong emotions goes via horses, donkeys and lionesses in a world also populated by golden, somewhat over-sized humans - or gods in human shapes. Pontus Kjerrman retains a classical naivety: he treats sculpture as were it a being in its own right. And the long span of the arch has been completed: it took us back into antiquity, the cradle of ilussion, and at the same time it insisted that art may mainfest itself anywhere in reality. But which reality?

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