The idea of “transitstation” exhibition as an event, started with the image of a German “Rummelplatz” (a “fun-fair” in English). From there, it developed into a multiplicity of images and small event places – huts, wagons, platforms – all within the confines of the Gallery Space and beyond its doors.
The fun-fair offers a huge and overwhelming impact of different activities that challenge the visitor. The Gallery Space was envisioned with different temporary structures. Artists could temporarily occupy places to counter-act with the idea of entertainment. Like in a mirror maze, the viewer and artist alike were imagined to partake, share and search ways through the different positions and places, walking up and down, through doors, climbing ladders, standing on platforms. …Imagine Rumpelstilzchen on the Rummelplatz after all the people have left, he is dancing alone, talking to himself: “hi hi hi, no one knows where I hid the art!”
The traveling fun-fair or even a traveling circus have the fact that they are nomadic and transient in common. Their “home” is indeterminate and temporary. People working and living with the circus or fun-fair are in a binary position in regards to the idea of “home”. They are traveling and establishing an alien temporary position.
Apart from the initial images of “staging” an exhibition like that, it became more important to experiment and research the idea of transience and to engage with the notion of “the nomadic artist”. Artists on the road, artists transporting their work, artists searching for destinations and places.
The idea arose between stations en route; there is a train moving between destinations and different cultures. The station became the transitstation. The work and exhibition concept developed in the process of production on a transient route.
Kabakov, “the Palace of Projects” ( 1995-1998)
“In principle, such a Palace can … be disassembled and assembled in any other place, similar to a traveling circus.“
Kabakov’s work consisted of 65 staged, themed and constructed projects, known, created and invented by the author. (reference: http://www.artangel.org.uk/projects/1998/the_palace_of_projects/introduction_to_the_palace_of_projects/page_3)
Over the years, since 2003, it seems that the process of moving is governed by networking with new artists, regional artists’ organizations, host-city partners, host spaces and the organization of funding for each event. The procedures embrace the methods of synchronized encounters, snow-balling, idealism and a systematic sensitivity to meet with interested audiences and people from everyday and professional lives.
transitstation stop Copenhagen 2010 has a total of 62 participating artists performing and exhibiting individual work, during the 24 hour weekend. 22 regional Scandinavian and Danish artists are greeting and hosting 40 visiting artists. They are coming together uniquely to present their art work within the week-end of April 17-19 in 2010. The work of transitstation is seen as “Gesamtkunstwerk”, it begins to shape itself only in the duration of a 24-hour non-stop action of art in action.
The process of nomadic moves between host cities, their partners and foreign spaces, foreign languages require several visits and negotiations. Three production teams conquer language difficulties in a slow process until they are able to communicate a language which is foreign to society but familiar to artists.
The invention of transitstation is dealing with the kind of mastery of chains of situations. Situations occur during the transitstation weekend with a privilege to devoid rules and boundaries of assumed categories. If the attempt is made to capture a definition or a category of genre or conventional differentiation, the moment of experiencing Live Action is lost.
Where is the art? In a place with situations that change according to perception and interaction. Presence, endurance and witnesship provides the chance to capture a total image of transitstation as “Gesamtkunstwerk”.
Artist next to artist next to artist next to viewer next to viewer next to object next to object next to viewer next to artist.
The gravitational code of artistic genre within continuous, overlapping actions has been redefined and apparently the center of assumed genre is off-balance. The project is everywhere, the places are everywhere and the “author” is visiting with its foreign “bundle” moving between strange locations. Though the structures are clear and the margins are lit on the outskirts of the transitstation space suggested by the scaffolding, the space with continuous Actions of the moment remains in the constant state of change.
A world within a world defines itself through the live experience, audience and artists alike: the transformation of ideas, re-directing the expectation level for completeness into the permissiveness of curiosity and surprise. Artists and viewers alike are amenable to possibilities of dis-categorization between performing art and fine art, between classical music and fashion, between film and theatre, between projection and speech. The experience itself offers change.
During the transitstation week-end the idea of freedom and the expansion of social or personal opportunity in a mixed inter-disciplinary and inter-active context opens the door to a live experience. The audience –artist relationship neglects the untouchable distance between work and artist and creates a platform of immediacy and intimacy in unpredictable situations.
The viewer’s position is one of discovery.
Follow transitstation train to the next stop Copenhagen 2010 at the Royal Danish Academy of Fine Art.