“Plingeling”

CONTENTS:
Independent of Time an e-mail conversation between Birgitta Flensburg, director Norrköpings Konstmuseum (2003) and David Neuman, director Magasin 3 Stockholm Konsthall.
About the works – quotations by the artists and excerpts of texts about the artworks.
Folder no. 4.
23 pages, black and white, not illustrated. Texts in Swedish/English.
Published 2003 by Magasin 3 Stockholm Konsthall.

PLING SOUNDS
by Olle Bonnniér, 1949

The dots are elusive as roving flies.
Tones don’t come into existence on a dot.
Fumbling along prudently
in precarious gaps: WRONG!
The erroneous rambling
causes crashes among particles
and the sounds PLINGELING spring up.

Can the score from a distance
be perceived as an ‘unpainted monochrome’?
Rather as a brittle Chaos
and thus by mistake creating sounds.
In a reduced sense.

What is right and what is wrong?
‘Right’ one looks to be programmed.
For example, plane and solid geometrical laws.
‘Wrong’ knocks these out of position. Knocks mess up.

PLINGELING
The white, pure surface of the image represents, to me, the infinite, luminescent universe. The dots that appear can be understood as constellations according to planetary or geometrical rules, but that, however, has not been my intention. I see every dot as an isolated event, which does not create a conceptual connection to the other dots. Furthermore, I imagine that the dots revolve in irrational orbits and bump into each other by accident, thus creating the sound ‘plingeling’. I have imagined the isolated dots in a musical fashion: as separate notes with infinitely long time intervals.

Moreover, a dot represents the smallest or largest of all forms.

“Plingeling” is based on a train of thought. The idea is that the new in art has nothing to do with the outer shape. This has two implications. Firstly, the most commonly used shape can be given a new meaning – and still, in its outer appearance, it can be the same old ‘worn-out’ shape. Secondly, the ‘painterly quality’ does not become all-important. In Plingeling I have gone as far as I can imagine in abolishing ‘painterly quality’. Anyone can produce these white surfaces and dots. Consequently, it is not about an outer shape, but about a vision.

“Pling” was made after “Plingeling”. It is an end or a beginning. An inceptive occurrence in a complete void, or a completive point, a convergence of all imaginable dots. The elimination of all non-essentials means that Pling’s character of being a material image is of no consequence. It is transformed into a meditative incitement.

Olle Bonniér, 1949.
(Excerpt from the exhibition folder Plingeling, about the works, 2003.)