OLA STAHL : MONUMENTS
Monuments (1999) is a series of installations bringing together a wide range of visual and textual material related to specific historical moments, such as the hostage situation at the Olympic Games in Munich 1972 or Ulrike Meinhof's suicide in the prison in Stuttgart-Stammheim in 1976. Assemblages of research material, media images, pieces of writing, photographs and documentation from journeys and city walks, the installations become nexus of trajectories and tangents, spaces or environments of ambiguous, uncertain points of reflection where narratives, myths, idiosyncracies and points of identification are simultaneously displaced and established. The Monuments where shown at Bloc Arts' temporary project space at Speedwell Works, Sheffield, UK.
Monuments (1999) is a series of installations bringing together a wide range of visual and textual material related to specific historical moments, such as the hostage situation at the Olympic Games in Munich 1972 or Ulrike Meinhof's suicide in the prison in Stuttgart-Stammheim in 1976. Assemblages of research material, media images, pieces of writing, photographs and documentation from journeys and city walks, the installations become nexus of trajectories and tangents, spaces or environments of ambiguous, uncertain points of reflection where narratives, myths, idiosyncracies and points of identification are simultaneously displaced and established. The Monuments where shown at Bloc Arts' temporary project space at Speedwell Works, Sheffield, UK.
OLA STAHL : BETWEEN THOUGHT AND DERELICTION
Between Thought and Dereliction (1998-1999) is the common name for a series of interventions into derelict, post-industrial sites around Sheffield throughout 1998-1999. Using everyday materials and objects such as ceramic tiles, plants, mirrors, gaffer tape, etc., small, near imperceptible, modifications were made to a number of sites around the city, sparking of processes causing the course of dereliction to shift microscopically. Ranging from mirrors placed in the dust beneath the huge windows of an abandoned metal workshop, to plants positioned in equal distance from one another in parts of an old steel mill, to traces of line drawings across concrete floors and walls, to pieces of cardboard and canvas positioned as rubbish along brick walls, to portions of fruit, vegetables and meat left on empty shelves, trays and tables in an old canteen - these modifications constitute micro-interventions into the complex historical, socio-political, cultural and economical texture of derelict property in general and the post-industrial landscape in Sheffield in particular. A modified version of the project was exhibited at Blauhaus Gallery, in Xanten, Germany, in 1999.
Between Thought and Dereliction (1998-1999) is the common name for a series of interventions into derelict, post-industrial sites around Sheffield throughout 1998-1999. Using everyday materials and objects such as ceramic tiles, plants, mirrors, gaffer tape, etc., small, near imperceptible, modifications were made to a number of sites around the city, sparking of processes causing the course of dereliction to shift microscopically. Ranging from mirrors placed in the dust beneath the huge windows of an abandoned metal workshop, to plants positioned in equal distance from one another in parts of an old steel mill, to traces of line drawings across concrete floors and walls, to pieces of cardboard and canvas positioned as rubbish along brick walls, to portions of fruit, vegetables and meat left on empty shelves, trays and tables in an old canteen - these modifications constitute micro-interventions into the complex historical, socio-political, cultural and economical texture of derelict property in general and the post-industrial landscape in Sheffield in particular. A modified version of the project was exhibited at Blauhaus Gallery, in Xanten, Germany, in 1999.
OLA STAHL : DE'FACE
De’Face (1999-2000; with Carl Lindh) is the common name for a series of mapping projects developed and exhibited at Studiefrämjandet, Hässleholm (Sweden), Haus Ennepetal, Ennepetal (Germany), Industriemuseum Heinrichshütte, Hattingen (Germany), Protoacademy, Edinburgh (Scotland), and The National Centre for Popular Music, Sheffield (UK). Taking as a point of departure various cartographical and architectural material, abstract maps are generated by layering processes and superimpositions highlighting the town or city as a complex texture where socio-political and cultural power structures are continuously being (re)articulated and (re)negotiated. The complex, partly abstract maps resulting from this process are used as the basis for the installations that make up the De'Face project. Ranging from layered overhead projections to simple wall- and floor drawings in chalk or using tape, gravel, sand or stone, these installations open up to a thinking through of the complex layers of meaning that remain invested in the urban terrain: its dominant cultural, financial and political institutions; its schools, prisons and military barracks; its suburbs and its empty lots, derelict buildings and abandoned warehouses.
De’Face (1999-2000; with Carl Lindh) is the common name for a series of mapping projects developed and exhibited at Studiefrämjandet, Hässleholm (Sweden), Haus Ennepetal, Ennepetal (Germany), Industriemuseum Heinrichshütte, Hattingen (Germany), Protoacademy, Edinburgh (Scotland), and The National Centre for Popular Music, Sheffield (UK). Taking as a point of departure various cartographical and architectural material, abstract maps are generated by layering processes and superimpositions highlighting the town or city as a complex texture where socio-political and cultural power structures are continuously being (re)articulated and (re)negotiated. The complex, partly abstract maps resulting from this process are used as the basis for the installations that make up the De'Face project. Ranging from layered overhead projections to simple wall- and floor drawings in chalk or using tape, gravel, sand or stone, these installations open up to a thinking through of the complex layers of meaning that remain invested in the urban terrain: its dominant cultural, financial and political institutions; its schools, prisons and military barracks; its suburbs and its empty lots, derelict buildings and abandoned warehouses.
