week47:

In my conversation with Anna we talked about the power of invisible structures. The influence, and the connection between visible structures and the invisible power of this structure.
An artwork is also an visible structure with invisible power.

an example: on Sunday I was in the Gothenburg Art Museum. Other than lot of paintings from the 18th, 19th and 20 century, as well as modern art from the 21st century, I saw this work, and I was really confused and fascinated at the same time. I could not decide, if my feelings should be good or bad, if I should like this artwork, or if I should not like it.
I was standing and sitting in front, beside, far away, really close just to look at the "woman", to order my thoughts about the dancer.
On the fist view I was really astound: There is this big building. From the outside it seems very epic and heroic, with his size, the big arches, included in the Götaplatsen surrounded by the other "historical" buildings, a town's landmark. In the style of the classicism, build  to demonstrate power and history of a city, to fill this building with a lot of "beautiful" art history. This building emanates inviolability for me.
On the other hand, there was this artwork, it was different like the other "modern artworks" (from 21st century) in this museum. This artwork was sooooo big, so white and so "not typical art". When I saw it I was standing on the other end of the sculpture hall, and there were a lot of other sculptures between me and her. But it was like she was talking to me, through the whole hall "look at me, come closer".
I went to the sculpture, and even than, I realised that this is a woman, dancing on a pole, with very high shoes, smooth stockings, subtly pants and shirt, naked skin. She has long hair, a ponytail, a slim figure. Her hands are very big, comparing to the rest of her gently but beefy body. I noticed that the woman has no pupils, this was a little bit scary. She was "hanging" up site down from the pole, turned around, and turned around and turned around...

On the first view I was so "shocked", because i was influenced from this buliding. My first thought was "ooo my god, how can they put a woman who is dancing on a pole, who declares with her appearance a special kind of woman to the viewer, in a very historical museum like this one. And than in this size, in this dimension"
I was in a conflict with myself, what does this woman doing here? what should I think about her?

I thought about my artworks, abou the "conflict" in my artwork. Why do I think in a special way, and why do I have to work every time "supersafe". In every artwork I have concern that people don't understand what I want to say. I have doubts that they can't comprehend and follow my thoughts. I think because of that, I always work in a way, that everyone understand my work, and that everyone can interpret the work just in one direction, in my direction. I allow the viewer no conflict in my work, every thought is precisely predefined.

This sculpture managed that I started a dialog with myself about my thoughts.
About my way of trigger out dialogs between the viewer and the artwork.  


Cajsa von Zeipel | Seconds in Ecstasy
Göteborgs Konstmuseum, 2011