Peter Johansson, Barbro Westling - Smålänningar Är Snåla

Smålänningar Är Snåla [Konstvärlden]



Peter Johansson, Barbro Westling
Smålänningar Är Snåla
012604510801=N
relational installation, 2007


Smålänningar Är Snåla i ett postmodernt perspektiv

Verket sammanfaller med både en extern rumsdefinition; rummet som Småland med konstobjektet som hundralappen; samt en intern rumsdefinition; rummet som konsthallen med konstobjektet som överlämnandet av hundralappen från konstnär till konstbetraktare.

Verket samkontinuerar vidare som konstobjekt med avstamp i en installation och som monetärt objekt med avstamp i ett köp- och säljförhållande.


Smålänningar Är Snåla i ett modernistiskt perspektiv

Verket blir här sammantaget med monetär assertion (konstbetraktare--konstnär(er)) som motsats till konstnärens monetära assertion från konstbetraktaren.


Smålänningar Är Snåla i ett klassicistiskt perspektiv

Verket är här samstämmigt med allmosor åt folket.



Smålänningar Är Snåla [Bidragsvärlden]



Peter Johansson, Barbro Westling
Smålänningar Är Snåla
012604510801=N
kulturbidrag, 2007


Smålänningar Är Snåla i ett postmodernt perspektiv

Verket är här samdistribuerande med bidrag åt konstskapare.


Smålänningar Är Snåla i ett modernistiskt perspektiv

Verket är här samexisterande med bidragsgivande för aktivering.


Smålänningar Är Snåla i ett klassicistiskt perspektiv

Verket är här samstämmigt med allmosor åt folket.

// Arreality ReGeography Today (Some True) (Fantasy Creature) & A(r)reality ReTrackYou Mine (Fantasy Creature)

Santa Claus i ett expressionistiskt konstperspektiv

Santa Claus i ett expressionistiskt konstperspektiv

The year is 2800 and the artworld is controlled by robotic artists coded by art pieces to exactly conviene with the man-created (and setup) artworld. Everything follows along smoothly until art pieces that recon feelings is started to be used as coding for the robots.

As part of the essence raw coding the robots of the then-world simply couldn't understand the expressionistic coding. This could have been a minor obstacle if it wasn't for the fact that the robots raw coding allowed them to be connected to institutions. As part of that a feeling had to be made corresponding to the subsequent institution.

As the robots then couldn't verify institutions for institutions Christmas started to loose its status and interference with other worlds started to erupt. The most fundane example of this was Easter mix up and undertaken as Christmas.

What was following befest of anarchy as the Easter Bunny - neither economically or by demands - could comply with the work of Santa Claus and Santa Claus couldn't comply with the work of the Easter Bunny.

Parting together with the Crane (and the worlds robot manifacturers); Santa Claus and the Easter Bunny soon found a solution to the problem by building robots mutated with chicken. The then robot chickens then took over the Easter deeds and Santa Claus continued with his holding with Christmas now that the mix-up with Easter was solved.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)

Santa Claus i ett pop art-konstperspektiv

Santa Claus i ett pop art-konstperspektiv

This will be the 2700 and Santa Claus have rebuilt his wealth in a contract with Coca-Cola. Giving this as his premier drink (w/ worldwide posing) he was in for only a few extra days of work a year (apart from Christmas Day and Christmas Eve).

Everything followed smoothly until some heritage analysis proved Santa Claus genetically linked (apart from family linked) with artist Andy Warhol. Seeing this link in the (bright) light Coca-Cola released Santa Claus from its contract when 'Campbell's Soup Cans' (1962) was relabeled Santa Claus and (then) with Campbell's Soup rehiring Santa Claus. Santa Claus revoked this idea in the beginning seeing extra days of but soon relinguished given the fact that he needed to eat Campbell's Soup practically every day.

Then came the other revelation revealing Santa Claus to proven genetically linked with Campbell (of Campbell's Soup) which once again (after aquiring monetary from Campbell) skyrocketed Santa Claus' wealth. Santa Claus could now afford the Warhol origin video work 'Eat' (1963) and soon found his way to copy it (~200 ex.). This (when sold) followed with Santa Claus ripping the Campbell's Soup contract and (instead of soup) found his new daily meal coinstate as mushrooms.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)

Pauline Smith - Adolf Hitler Fan Club

Adolf Hitler Fan Club [Konstvärlden]



Pauline Smith
Adolf Hitler Fan Club
012604510801=N
conceptual, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

Don't Mention The War.


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi gillar Hitler.



Adolf Hitler Fan Club [Komedivärlden]



Pauline Smith
Adolf Hitler Fan Club
012604510801=N
black comedy, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

Heil Honey I'm Home.


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi beseglar Hitler.



Adolf Hitler Fan Club [Psykiatrivärlden]



Pauline Smith
Adolf Hitler Fan Club
012604510801=N
delusions, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

Schizophreniac World Ruler.


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi artikulerar Hitler.



Adolf Hitler Fan Club [Klubbvärlden]



Pauline Smith
Adolf Hitler Fan Club
012604510801=N
fan club, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

What About All The Good Things Hitler Did.


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi beundrar Hitler.



Adolf Hitler Fan Club [Memorabiliavärlden]



Pauline Smith
Adolf Hitler Fan Club
world war II, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

Second World War (1939-1945).


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi tänker på Hitler.



Adolf Hitler Fan Club [Nazistvärlden]



Pauline Smith
Adolf Hitler Fan Club
012604510801=N
right-field community, 1974


Adolf Hitler Fan Club i ett postmodernt perspektiv

Juden Raus.


Adolf Hitler Fan Club i ett institutionellt perspektiv

Vi dyrkar Hitler.

// Arreality Renuansed (Repowered) Today (Fantasy Creature) & Henrik Aronsson (Fantasy Creature)

Peter Johansson - PLAST!

PLAST! [Konstvärlden]



Peter Johansson
PLAST!
012604510801=N
installation, 1994


Här blir pvc-rören inklusiva och bildar en serie av pvc-rör som fundament för en exklusiv stuga (installation).



PLAST! [Rörmokerivärlden]



PLAST!
012604510801=N
installation, 1994


Här blir pvc-rören exklusiva och bildar en installation av pvc-rör som fundament för en inklusiv stuga (serie av pvc-rör).

// Arreality Reconnecting To (The Past)

Mass Travellers

The story conveys the 'Time-Travelling Arsonist'. He is out to perform art to establish telepathic connection to his friends.

He set fire to a gardening shack and initiated telepathic connections with one universe (art/arson) and another universe (arson).

The very next day the 'Evil Twin Pyro' travelled back in time and lit fire to a gardening shack. He is apprehended. He is stopped by the 'Time-Travelling Arsonist'.

// Arreality Remastered Throughout (Fantasy Creature)

Multiple Travellers

The story starts with the Time-Travelling Arsonist. He is out to do art to get in contact with his loved ones.

He set fire to a gardening shack and started a telepathic contact with one universe (Gardening Shack=Art) and another universe (Gardening Shack=Arson).

The next day the Evil Twin Pyro time-travels back in time to lit fire to a gardening shack. He is.

// Arreality Remastered Timidness (Fantasy Creature)

A Traveller

The story starts with the protagonist. He is out to do art to get in contact with his loved ones.

He set fire to a gardening shack and started a telepathic contact with one universe and another universe.

The protagonist's evil self then sets fire to a gardening shack.

// Arreality Remastered Trivial (Fantasy Creature)

Marla Olmstead - Ode To Pollock II

Ode To Pollock II [Konstvärlden]



Marla Olmstead
Ode To Pollock II
012604510801=N
abstract, 2007


Ode To Pollock II i ett postmodernt perspektiv

My Kid Could Paint Like Pollock.


Ode To Pollock II i ett modernistiskt perspektiv

My Kid Could Paint Like An Artist.


Ode To Pollock II I ett abstrakt expressionistiskt perspektiv

My Kid Could Paint This.


Ode To Pollock II i ett romantiskt perspektiv

My Kid Could Have Painted That.


Ode To Pollock II i ett klassicistiskt perspektiv

My Kid Could Not Paint That.



Ode To Pollock II [Barnvärlden]



Marla Olmstead
Ode To Pollock II
012604510801=N
scribble fantasy, 2007


Ode To Pollock II i ett postmodernt perspektiv

My Kid Could Paint That.


Ode To Pollock II i ett modernistiskt perspektiv

My Kid Could Paint That.


Ode To Pollock II i ett abstrakt expressionistiskt perspektiv

My Kid Could Paint That.


Ode To Pollock II i ett romantiskt perspektiv

My Kid Could Paint That.


Ode To Pollock II i ett klassicistiskt perspektiv

My Kid Could Paint That.

// Arreality ReStar To (The End) (Fantasy Creature)

Santa Claus i ett modernistiskt perspektiv

Santa Claus i ett modernistiskt perspektiv


Santa Claus i ett konstperspektiv

As the world population early 2450 began to constitute with Santa Claus' wishes of well-behaving Santa Claus found it hard to comply with the demand of Christmas gifts. As that could have been enough the art world market had started to implode with inflated prices and high demands. That said - since painting once again became the perimeter - the foundain pieces of actual non-abstract or non-conceptual nature and just [standard] art pieces suitable as Christmas gifts started to dwell.


Santa Claus i ett vetenskapligt perspektiv

With the science world (2500) once again in the heyday Santa Claus' activities began to dwindle. The collected science world all held accord; Santa Claus couldn't travel faster than light; Santa Claus couldn't travel in time; Santa Claus couldn't afford the gifts for a whole planet's population; Santa Claus couldn't carry the bag of gifts; Santa Claus couldn't find his way through a chimney; Santa Claus didn't drink alcohol; Santa Claus couldn't rime.


Santa Claus i ett teologiskt perspektiv

When the teology world soon found a proof of Santa Claus' existence got smashed to pieces (2550) Santa Claus followed with a severe psychiatric crisis in which he started to question his own existence. Eventhough he might have survived - Santa Claus was fiddled down to an alcoholic loner without friends; power; might; all-knowing; elves; raindeers; money; fame.


Assimilation of worlds

With the invention (craftmaking) of the dimensional portal (ca. 2600) - as its being of conceptual machine - both an amateur psychicist view and an art piece view had been in the making. With that object you could travel - depending on the setting - in extradimensional space with the 6th dimension being granted as a paralell world (paralell universe). The new world will behold of new art pieces and differing physical laws. And - furtheron - as an object of diadec importance - an extra portal could be granted as (of stones) and beíng used to contact the Gods.


Santa Claus conquers

When Santa Claus found another dimensional portal in the North Pole (2650) - and with the action of travelling through the vast megaverse - Santa Claus soon was (once again) able to suit with the ever-growing demands. All he have to do was to travel to another universe (as in differing art pieces; that universe) and get a gift and then travel back to his home dimension to deliver the gift. That said; to comply with the laws of nature; Santa Claus yet again found the solution of travelling the megaverse finding more compelling laws of nature. Furtheron; if Santa Claus couldn't exist in one dimension he was sure to exist in one anothers.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)