Jim's Room is an exhibition space primarily used to exhibit works from, or relating to, the collection of Magasin 3 Stockholm Konsthall. Exhibitions are on view for a shorter period of time than usual. To ensure a flexible working method, these exhibitions are not always announced in advance. Instead, visitors discover what is on view when they come to Magasin 3.
Currently there is now exhibition program in Jim's Room. Please review previous program below.
Keith Tyson and Ernst Josephson (Oct - Dec, 2006)
Ernst Josephson's "Gamla Telefonkontoret pĺ Malmskillnadsgatan" (The Old Telephone Exchange on Malmskillnadsgatan), 1880-82 is the oldest work in the Collection. It is presented together with two works entitled "Accelerator Drawing", 2003 by Keith Tyson.
A large and central part of the collection of Magasin 3 Stockholm Konsthall consists of drawings. The works currently exhibited were created 100 years apart. On a formal level, they have certain similarities, with rapid and intense lines across the paper, and the subject matter of both also reveals a shared fascination for technology. Ernst Josephson's drawing shows the thin telephone lines stretching over the roofs, through the air, to enable communication. Keith Tyson's interest in technical solutions and philosophical theories prompted him to create his 'Art Machine' in 1991. This contraption was programmed with data from the internet and then generated random suggestions for artistic designs that eliminate any personal input. The artists behind these works had entirely different approaches and worked in completely different contexts, and yet there is a potential dialogue here, about self-reflection and existential issues.
Keith Tyson, born 1969, lives and works in London.
Ernst Josephson, 1851 - 1906, Stockholm.
Janet Cardiff & George Bures Miller (Jan - Feb, 2007)
"Feedback", 2004
Janet Cardiff is best known for her numerous audio works and films that she often creates in collaboration with her partner George Bures Miller. In her 'walks' in which participants are led through a building or an area of a city by her voice on an audio-guide. With this tool - commonly used in museum pedagogy - Cardiff shifts between past and present, memory and fact,
engaging the visitor in the site specific route. Her narrative structure blurs reality with the participant's own experiences and history.
The installation "Feedback" (2004) is an audience-activated amplifier. When stepping on the pedal the visitor becomes a guitarist playing the American national anthem "The Star-Spangled Banner" in the style of Jimi Hendrix. He was famous for using feedback to create bizarre effects - looping his guitar sounds by altering his distance and angle to the amplifier. Just as Hendrix's version was an anti-war statement in the 1960's this piece can be linked to current political events.
Janet Cardiff (1957, Brussels, Canada)
George Bures Miller (1960, Vegreville AB, Canada)
Johan Thurfjell (Feb - March, 2007)
"Ett försök att förstĺ / An attempt to understand" (2001-2003)
In the project, Thurfjell works with two parallel processes where personal
memories from his own life are superimposed onto a process within world
history, the Palestine-Israel conflict, thus creating a joint chronological
map constructed by/with Post-it stickers. Ones own memories and experiences
are put on an equal basis with important events in world politics.
The project springs out of the simple will to try to understand and find a
context in each of these separate issues, in addition to inserting the own
persona in a politico-historical process as a way of highlighting the
importance of the personal references in history writing.
The work is exhibited in relation to the upcoming group exhibition "Fleeing away
from what bothers you most", opening March 17, 2007 at Magasin 3 Stockholm Konsthall.
Read more: http://www.johanthurfjell.com/
Siobhán Hapaska (March-May, 2007)
"Shadow", 1999
Sound work of wood, speaker cloth, audio components.
Collection Magasin 3 Stockholm Konsthall
"The work "Shadow" comes out of thoughts about large conflicts in general. I was looking
at our mental and bodily response to actual signs of conflict, be it in our immediate
surrounding or in the news. I personally had just had a quite profound experience
during a stay in North Wales. One early morning I was sitting outside with a cup of
tea. It was a rather idyllic country side setting and very calm. In the distance I heard a
rumble, which gradually grew louder. Suddenly a low flying fighter jet crossed the sky
just above where I was sitting. I was petrified. My only thought was whether the country
had gone to war and I was very scared. Then the noise disappeared and my body, in a
surprisingly short time, returned to something like a normal state. Later that day I
learned that there is an Air Force military base in the area."
(From a conversation between Siobhán Hapaska and Richard Julin in March 2007)
Siobhán Hapaska gained international recognition when she participated at the Documenta
X in Kassel 1997. In the year 2000 she was part of the group show "Siobhán
Hapaska, Charles Long, Ernesto Neto" at Magasin 3. Amongst other works a version of
the here shown "Shadow" was exhibited.
Below are excerpts from an interview with the
artist by Richard Julin, chief curator Magasin 3, published in the catalogue, 2000:
...On being a sculptor:
"I have to define myself as a sculptor because I make three-dimensional objects and I
am actually quite proud of that. With so much predominance of the two-dimensional
image it seems that we now have to extract information quite rapidly by scanning,
processing and compartmentalising, making the process of looking as economical as
possible.
...On the titles:
"I almost give them these titles because I don't want to leave them untitled, I wish I
didn't have to use words at all. They are not trying to be catchy or clever. Someone
once said that my objects seemed to fill the space where a sentence ends and a new
sentence starts, which I thought was quite beautiful."
...On materials:
I like to use extremes, like very hard surfaces with soft ones, water, sound, smell and
anything I can pack into creating a controlled explosion in order to counter a sensory
deprivation."
Read more about the exhibition >
Siobhán Hapaska b. 1963, Belfast, Ireland, lives and works in London.
Ronald Jones (May-June, 2007)
"Untitled (peace conference table design by North Vietnam and the National Liberation Front of South Vietnam, 1969)", 1987
a table made of American cherry wood
"Untitled (peace conference tables
design by the United States and South Vietnam, 1969)", 1987
6 tables made of American cherry wood, the tables can be installed standing
on legs or hanging
vertically on the wall.
Collection Magasin 3 Stockholm Konsthall
In 1968, in the midst of the Vietnam War, peace negotiations were begun in Paris between North Vietnam, the NLF (The National Liberation Front), South
Vietnam, and the United States. The shape of the table to be used at the negotiations was the result of several months of discussion. Seven proposals for the design of the table were made. The United States and South Vietnam were responsible for six of the proposals, where in each case the table was bifurcated down the center. The form in these six suggestions emphasized the two sides of the conflict. The proposal made by North Vietnam and the NLF was for a round table, which highlighted all the
participants' equal importance. The different political views present were evident in these design proposals.
In this work from 1987, Ronald Jones reminds us of the existence of these tables, and how design can be loaded and function as a historical document. Even the very choice of materials has a specific meaning. The United States expressed their wish for cherry wood to be used, making reference to an anecdote from George Washington's childhood regarding the importance of honesty associated with cherry trees. Jones has created these tables in a small scale. They are about the right size for more intimate conversations and for use in home environments. The American curator Richard Flood comments the scale in a catalogue text; "There is something both comforting and revolting in the scale of his seven tables... there is a disingenuous insinuation that very
dangerous games are being played in the corners of all our living rooms".
The war began in 1957. In 1973 the Paris Peace Accords were signed and ended direct U.S. military involvement. In the same year, Henry Kissinger, then United States National Security Advisor and Le Duc Tho, Vietnamese politburo member were awarded the Nobel Peace Prize for their efforts as main negotiators. Le Duc Tho refused to accept the award. In 1975, the war in Vietnam officially came to an end. None of the proposed table designs were ever used.
Ronald Jones (1952), Falls Church, Virginia USA. Lives and works in Stockholm.
The work was previously installed at Magasin 3 in conjunction with the exhibition
"Ronald Jones, Alfredo Jaar" (1989). Read more >
Stina Nordenstam (Jan 26 – March 2, 2008)
"Tänk dig en människa", 2005
Stina Nordenstam is best known for her music – she has released six full-length albums since 1991. She has also been active in photography, film and radio.
The sound installation ”Tänk dig en människa” was originally created for Magasin 3 Projects and was shown there in the summer of 2005. The work is part of the Magasin 3 Stockholm Konsthall collection. It is a work that deals with catastrophe, trauma, UFOs, love and life in general. Documentary narration is mixed with fiction and newly-produced music. We hear people tell their life stories – but how much of what they say is really true? The unique ability that people have to recover from traumatic experiences is a central point in the piece. Forgetting plays an important roll as well as fantasy, poetic license and lies. It is a study of the human condition. Stina Nordenstam has chosen to use a measure of fiction in her approach, mirroring the way people function. Brains and memories are creative, not just factual. An example is the occurrence of UFO abduction stories where the people involved are able to give detailed descriptions of how they (in some cases for many years) were submitted to abuse.
The music in the piece was produced parallel to the text. Both have a similar atmosphere that Nordenstam expresses as “the bittersweet pleasure of being alive and accepting that it is not forever. Like the nature and time around high school graduation at the start of summer: blindingly beautiful but wilted and over almost before you can blink.”
The documentary as a contrast to the fictional is a central theme in Stina Nordenstams oeuvre. She is poised between these two fields, of which “Tänk dig en människa” is an excellent example. Her album “People are Strange” is a previous example of the autobiographical. Here she questions the notion that her “own” story would create a more personal and truer form of art. For the album she re-worked several well-known melodies until she had made them her own. Her theory is that irrespective of our point of departure we must work our way through layers of recognition in order to reach the authentic and personal. She could be said to be working with the hardest thing an artist can attempt: to challenge the notion of taste by constantly demanding that the viewer or listener reassess that which they already seem to know.
Stina Nordenstam was born in 1969 and lives and works in Stockholm.
