The jury’s assessment and conclusion

Kilden Performing Arts Centre, Southern Norway

Open submission: art projects for three arrival areas

 

Introduction

By the deadline of 10 September 2008, the jury had received 56 proposals for art projects relating to Kilden’s arrival areas. The competition was open to artists living in or with a connection to Norway. Out of the 56 proposals, 19 were submitted by artists from other countries without any stated connection to Norway.

 

The art selection committee have developed a plan, which contains different strategies for acquiring art. This art plan has been approved and serves as a plan of action. The open competition was, in this respect, part of a bigger picture and constituted the first targeted effort that has given results to indicate future courses of action.

 

The open competition was intended to encourage local, regional and national participation, and welcomed younger, less established artists whom the committee may not have found otherwise. It has also been important to engage the surrounding region in relation to Kilden’s art projects. It was desirable to show different artistic approaches and expressions, and works of art that would highlight Kilden as a meeting place that provides a broad spectrum of aesthetic experiences.

 

The aim of the competition

The competition aimed at gathering good ideas for art projects that could be realised in or in relation to the access roads, the rock face and the entrance area.

 

A. The access roads: an art project was envisaged to cover the car and pedestrian bridges over the canal, so as to provide an introduction to Kilden in the town centre.

 

B. The rock face: the rock face is visible at the entrance of Kilden and provides a landscaped backdrop to the building.

 

C. The entrance area: the triangular area between the access roads and the building.   

 

The jury

The jury was identical to the art selection committee and was made up of:

Per Hess , art consultant and head of the jury

Anne Aanerud, art consultant

Samuli Woolston, architect

Torhild Runden, member of the board of Kilden IKS

Dagny Anker Gevelt, chosen by the board of Kilden IKS

Arild Strømsvåg, user representative

 

All submissions were considered anonymously by the jury, and none of the participants were known to the jury until the official announcement.

 

Overall assessment of the submitted proposals

The jury appreciated the interest and effort shown by all participants, but were unable, for reasons of fairness, to consider proposals that did not comply with the competition rules. The jury would have liked more submissions, but were satisfied with the result.

 

The premise of the jury’s work was to locate high quality art projects. From the submitted proposal we have found three Norwegian projects that we would like to award. Following the competition rules and the overall aims of the jury, we have selected proposals that we believe would contribute to a clear artistic identity for audiences and for the city. The jury has emphasised works of art that carry meaning and promote associative reflection over the multi-faceted nature of Kilden’s activities, without being confined to mere direct illustration of these.

 

Awarded proposals

 

Title: The Dancer
Location : The entrance area

A sculpture, moved by wind, with a slim form that constitutes an unobtrusive, yet obvious sign. The sculpture has a pattern of movement that creates wonderment and elicits a broad spectrum of associations. The movements are activated by wind, even a gentle breeze. New combinations and shapes are created as if the cylinder itself was bending.

 

Assessment

An exiting and fascinating sculpture that conveys action and movement in a poetic and experiential way. The concept and the plan for the development of the project are convincing. The sculpture evokes theatre, dance and music, developing the experience of these into an independent and original expression. The Dancer’s movements are gracious and elegant, and its shiny surface reflects the sunlight and nocturnal sources of light.

 

The jury are open to finding an alternative location for this sculpture.

 

Title: Everyday Stars
Location : the entrance area

A cylindrical screen that uses LED technology to show an endless loop of video portraits of people connected with Kilden is placed the middle of the entrance area. The video portraits include everyone: architects, ticket inspectors, builders, constructors, stagehands, lighting technicians etc. People who usually work behind the scenes step into the limelight in this work of art. The portraits slowly glide round the cylinder in the same direction as the approaching traffic before gently fading out and being replaced by new ones on a background reminiscent of a red stage curtain.

 

Assessment

This is a sculptural light piece that manages to activate the entrance area and enliven it to the extent that is necessary to reflect its importance. Movement and light in the shape of a cylinder convey city culture and urban life. The colours and lights reflected in the surface of the water surrounding the sculpture have an evocative presence. The idea of video portraits is profound and publicly-minded, includes lesser known parts of the theatre and concert milieu at Kilden, and highlights how many people are actually involved in the cultural experiences that are prepared and realised in the building.

 

Title: Javel
Location : the rock face

The word ‘Javel’ welcomes visitors as they move towards Odderøya and Kilden. The whole of the rock face is used as a backdrop. Javel will be spelled out in a three-dimensional form and constructed in reflective steel. It has a movement of 1 – 2 meter in depth and will create a guiding gesture towards Kilden. At a fixed point the word can be understood; as people move away from this point the work will change character and will gain new qualities, as the intelligible word transforms into an abstract shape. 

 

The artist wanted to personify Kilden by giving it his tag or sign. He explains his own experience of the term: “for those of us who don’t come from Kristiansand or its surrounding areas, it is strange to be met with ‘Javel’ when you may have expected a ‘hi’, ‘hello’ or ‘good day’. ‘Javel’ is more ambiguous – is something wrong, is something expected of me now? After a while we saw that ‘Javel’ was met with ‘Javel’ and were relieved to conclude that it was a local greeting without any further implications. If we deconstruct the word, we can see that it consist of two positive parts: ‘ja’ and ‘vel’, which both represent Kilden in an ideal way.”

 

Assessment
Javel is a convincing proposal; a work of art with a sound concept accompanied by a powerful form, beautifully executed in shiny, reflective steel.  The rock face is utilised to its fullest potential by adding qualities that provide an exiting contrast to Kilden’s rough and brutal traces and involve the surroundings as a vital part of the space.  Javel creates a clear contrast – in relation to both form and material – to the sculptural qualities of the architecture. The work will reflect the surrounding landscape and multi-coloured lighting, and will create a positive atmosphere for expectant visitors. Javel communicates in an interesting and intimate way without being intrusive or ending up as a simple assertion. The Southern Norwegian phrase ‘Javel’ evokes the universal desire for expression while simultaneously pointing out the need to listen and to seek to understand things that appear alien and provocative, thus referring to Kilden’s activities. At the same time, the jury is aware of the less positive interpretation of the term ‘ Javel’, and will consider asking the artist to come up with other suggestions for words.

Pre-project

The jury wants to ask the artists behind the three selected proposals to submit pre-projects, which will allow the jury to assess how the works will be realised.