"...waters rise...drown the skies...no one seems surprised... or Venice part 3

This morning I am feeling not exactly manipulated...but I can see how much of my time is directed by the changes in how I use technology each year.

I want to write a post here about our trip to Venice before too many other events happen and start to overwrite my ability to recall the trip.

Then as I go through my photos I start to realize how many I have on my computer- because of course the amount of storage keeps increasing.  But then I also think of how many photo graphs are on back up drives, or burned onto discs potentially not accessible by today's devices.  I start to get that uneasy, feeling that my time is constantly wasted.

I started this blog because when we were traveling, getting an internet connection wasn't that easy- and sending emails to multiple people with all the photos attached was hard, and the rate of responses, slow or not at all.

So, by starting a blog I had a log of where I had been, and I got to leave it to other people to see where I was.  I thought this might also alleviate the guilt some of my friends had- when they would not be in contact for a long time.

But many people used blogs as vehicles for some greater purpose and so blogs moved from blogger to other hosting sites, or people folded their blogs into webpages of their own.  Other tech changes happened that seem to impinge on the blogger sites functionality such as the ability to follow or leave comments.

I accepted this and just kept going because I am invested- and I like to see when I was in a certain place. 

My memory has never been very exact- I seem to lack the type of focus and discipline that allows people to be recite passages of text.  I have lived in many, many places which makes the situation even more difficult, so I have always kept some form of a diary.  This is why even as no one I know who had a blog maintains theirs anymore, I still use mine.  (I do have a vague sense that blogger and all its content will just disappear one day).

I am not sure why I have digressed so far from my main point-

Perhaps because we have a derby game to go to today, tomorrow ten people are coming for a late lunch early dinner, then we leave the day after.

Upon arriving to our other home, we have to deal with a broken car, and we both have more travel the same week.

We leave on a Tuesday and arrive on a Thursday.

We traverse a lot of time lines and distance while our experiences is simply the view from within a cramped and crowded space- with short breaks inside large airports with possible fresher air than the plane, but nothing that seems as if I could attach the word 'fresh' to it. A large plane, to an insanely large plane, to potentially that same plane, to what passes as a small plane- and finally into fresh air to walk across a tarmac.  Fuzzy brains, furry mouths, smelly and seemingly (to the one day work commuters) over-packed we will find ourselves in a different season, for the third time this year.

Okay- so Venice-

Five days was a good amount of time- we traversed the city on foot, and the weather was in the 90s and humid.  Our airbnb apt. was good value, and a good pick, not in the center of the center of the incredible amount of tourists, but our directions were not clear and our host was late- so we had a rough start.

The Biennale was amazing-and MONA seems to have taken their lead from this art festival.  I would go back, specifically for the festival.

Also the Opera was a bit modern for my tastes but the Fenice was gorgeous.

Venice Biennale Arte Part 2

As I sit in my kitchen in Stockholm, wearing light clothing, with the early evening light bright enough to create the illusion that summer is still happening. But, Swedish summer, with its ordinary highs of 23-25 c.  I find it hard to remember that humid, dense heat that was just last week in Venice, topping 30 each day.

I am ruminating on this fact because one of my favorite exhibits was one that we found without intention.  We were both hungry and a bit tired, and I clearly remember taking a photo of the introduction poster, and yet I can't find it now to tell myself (or anyone reading this) who it was.  

 

The Beezy / Brian Eno exhibit was almost as I imagined it, paintings along a steep staircase, in an unused, very old building.  What I hadn't imagined was that there would be a warning notice put up, as the weather that day was so hot, it was breaking records.  We did make it to the top but again, but we didn't linger more than about 5 minutes per section.

 Here is the view from the top.

A few random pieces-

This may have been from the Cindy Sherman curated area

Part of Macedonian's exhibit- a series that comprised the smoking of the whole cigarette

The Biennale Arte Festival Venice Part. 1 Fiona Hall in the Australia building

Zok and I decided (sort of randomly) to go to Venice for five days.

We didn't really go away last year because we took that road trip in the U.S. early in the year.  I did my side trip to the U.K. on my own while he was on tour.  

Venice was a marvel, and I felt pangs that I hadn't researched the city properly before going.  Zok booked tickets to the Opera weeks in advance, and I researched the Biennale Arte festival before we left but that was all the advancing we did.

 

 Possibly, no matter what research I had done, I would still have had only a limited amount of energy because we had hot, humid weather the entire trip.  I did my best but I find heat very, very taxing. Taking in all the art up for the Biennale under the bests of circumstances would have been a challenge.  I am always grateful to see even bits and pieces.

The Biennale had exhibits all over the city as well as a main concentration of exhibits at 'Arsenale' and 'Giardini' the Giardini has the permanent structures for participating countries. The buildings are purpose built by each country. I had read that Australia opened their building in time for the festival (the first 21st century building added to Giardini).  Although the impression I had from the article was that the building (a modern cube) was inside a derelict shell ala 'grand designs) But instead, you walk along and each country has a unique building, along a sort of boulevard. This boulevard was how we noticed that we had only been in the floating part of Venice, which meant very little vegetation.  Whereas, here there were trees, and small parks.

   I really liked the exhibit there, by Fiona Hall-

I do not like taking too many photos within a museum or installation so here is a link:

Fiona Hall 

I thought (incorrectly) that we would pass exhibits as we wandered around Venice, but they were actually a bit hard to find, more like a treasure hunt.

The island were Arsenale is located, did have installations all over the island- 

like this- piece hanging in a dry dock

 

 

Konst på Svedmyra (del två) Barbro Johansson

I love this tile work on the elevator.  I am always impressed when some object that has to be present like an elevator is made beautiful.  The tiles reminded me of a peacocks feathers.

The artist that covered the elevator, also did the tiled mural down in the ticket hall. As I mentioned in the other post, there was only a short line about who made these.  While the other art was meant to remind there was forestland nearby, there was nothing written about these pieces.  But I liked them best.

Konst på Svedmyra Tbana (Del ett) Torgny Larsson

Art behind the tracks is fairly common, on these outdoor, platform style stations.  Surprising to me, I haven't seen any that have anything to do with the trains movement.  I am thinking of graffiti in NYC that I have seen where when the train passes, the art looks in motion, like flip book.

I was surprised when I translated the artist plaque at this station that all but two lines were about these leaves.  Apparently at the right time of day (although there is that house quite close) the shine will shine through these leaves and be as intricate as when you hold a leaf up to the sunlight so you can see all the veins.

  My attention was taken by the tile on the elevator which I am putting in the next post.

 

Konst på Enkede Gård Tbana

Often, the artist plaque has almost no information, but every once in awhile, the artist plaque has a very long explanation.

This one did, stating that the design you see on the wall and on the statues is meant to represent the cornea of the human eye, or the corneal nerves to be exact.

 It states that the artist wants the viewer to look inward, look back, and to look at the here and now.

 I had thought, before looking at the plaque that the statues had something to do with sport or the Olympics.

This station is definitely one of the coolest on the Hagsätra line.

Not my favorite but close.  Sadly I doubt the artist expected so many to simply ignore the art, at this station the plaque was down the stairwell, and as I stood there to take a photo, I noticed a woman, noticing my actions, and she came back and read it, and started to look around.  On her face at least by my reckoning, it seemed she noticed the statues for the first time.

I get this reaction a lot when I drag people along with me to see a station.

Zok also believes I am the only person we know who has been to each station.  Is it my desire to be alone? to be in motion? to know what lies at the end of the line?  I don't know, but I have always ridden on trains and buses, just to see where they went.

Konst på Fruängen, Gubbängen och Skarpnäck T bana

I like to think of myself as organized.  I make lists, I use technology to back up those lists, I give myself a talking to whenever I catch myself being scatter brained and yet truthfully I forget both the lists and most of my own advice.

In action, the most I can say of myself is that I aspire to be organized.

I know that the only way to make sure and see all of the potential art in a Stockholm subway station, is to walk the length of the station, inside and outside. By outside, I mean by exiting through all exits and looking at the station from the street side.

If per chance you find yourself with just a spare six minutes during a transfer, the most likely scenario is that something will be missed.

I was at this end station (Fruängen) where I saw this piece by Fredrik Landergren

I even walked out with the crowd to look at the ticket hall- yet still I missed these-

faces Fruängen 

because I did not completely exit the station.

But sometimes there is only a sculpture (or in this case two, like sentinels one on each end of the platform).

 Sometimes the artist is famous and has a lot of information on the web, sometimes I can find nothing at all.

This artist has pieces in the modern museum as well

Ragnhild Alexandersson

This last artist Richard Nonas is an American with art sculptures all around the world, I still do not know how the artists are picked for the stations, but the range of artists is impressive.

I think as with most of my aspirations I am as equally determined as I am ready to give up if another offer comes my way.