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{t:"POLSK | NORSK ",p:1,x:898,y:1202,w:141,h:22},
{t:"KUNSTPROSJEKT ",p:1,x:898,y:1225,w:145,h:22},
{t:"LILLEHAMMER 2008",p:1,x:898,y:1248,w:163,h:22},
{t:"POLISH | NORwEgIAN",p:1,x:898,y:1297,w:194,h:22},
{t:"ART PROJEcT",p:1,x:898,y:1320,w:108,h:22},
{t:"LILLEHAMMER 2008",p:1,x:898,y:1343,w:163,h:22},
{t:"Polsko | Norweski ",p:1,x:898,y:1391,w:188,h:24},
{t:"PleNerze artystyczNym",p:1,x:898,y:1413,w:223,h:24},
{t:"lilleHammer 2008",p:1,x:898,y:1436,w:163,h:24},
{t:"POLSK | NORSK ",p:1,x:898,y:1202,w:141,h:22},
{t:"KUNSTPROSJEKT ",p:1,x:898,y:1225,w:145,h:22},
{t:"LILLEHAMMER 2008",p:1,x:898,y:1248,w:163,h:22},
{t:"POLISH | NORwEgIAN",p:1,x:898,y:1297,w:194,h:22},
{t:"ART PROJEcT",p:1,x:898,y:1320,w:108,h:22},
{t:"LILLEHAMMER 2008",p:1,x:898,y:1343,w:163,h:22},
{t:"Polsko | Norweski ",p:1,x:898,y:1391,w:188,h:24},
{t:"PleNerze artystyczNym",p:1,x:898,y:1413,w:223,h:24},
{t:"lilleHammer 2008",p:1,x:898,y:1436,w:163,h:24},
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{t:"LILLEHAMMER 2008",p:3,x:840,y:334,w:173,h:24},
{t:"4",p:4,x:124,y:1465,w:7,h:16},
{t:"5",p:5,x:1143,y:1464,w:7,h:16},
{t:"POLSK | NORSK ",p:5,x:379,y:144,w:147,h:24},
{t:"KUNSTPROSJEKT ",p:5,x:379,y:173,w:151,h:24},
{t:"LILLEHAMMER 2008",p:5,x:379,y:202,w:173,h:24},
{t:"POLISH | NORwEgIAN",p:5,x:600,y:144,w:207,h:24},
{t:"ART PROJEcT",p:5,x:600,y:173,w:112,h:24},
{t:"LILLEHAMMER 2008",p:5,x:600,y:202,w:173,h:24},
{t:"Polsko | Norweski ",p:5,x:846,y:142,w:198,h:25},
{t:"PleNerze artystyczNym",p:5,x:846,y:171,w:234,h:25},
{t:"lilleHammer 2008",p:5,x:846,y:201,w:173,h:25},
{t:"Per Erik Fonkalsrud",p:6,x:147,y:249,w:136,h:21},
{t:"1987: NATUR – KUNST – KUNST – NATUR ",p:6,x:147,y:272,w:306,h:21},
{t:"   6",p:6,x:563,y:272,w:24,h:21},
{t:"OM PROSJEKTET ",p:6,x:147,y:295,w:125,h:21},
{t:"  8  ",p:6,x:568,y:295,w:29,h:21},
{t:"KART OvER PROSJEKTET  ",p:6,x:147,y:318,w:186,h:21},
{t:" 15 ",p:6,x:563,y:318,w:29,h:21},
{t:"KUNSTNERE",p:6,x:147,y:352,w:118,h:26},
{t:"Janusz Bałdyga  ",p:6,x:147,y:385,w:124,h:23},
{t:" 16",p:6,x:563,y:385,w:24,h:23},
{t:"FORSIKTIg – gLASS ",p:6,x:147,y:409,w:150,h:22},
{t:"  ",p:6,x:563,y:409,w:9,h:22},
{t:"Marte Aas  ",p:6,x:147,y:432,w:87,h:21},
{t:" 22",p:6,x:563,y:432,w:25,h:21},
{t:"ByTTE  ",p:6,x:147,y:457,w:49,h:19},
{t:"Hc gilje ",p:6,x:147,y:478,w:68,h:21},
{t:" 28",p:6,x:563,y:478,w:25,h:21},
{t:"wINd-UP BIRdS ",p:6,x:147,y:503,w:121,h:19},
{t:"Jan Berdyszak ",p:6,x:147,y:524,w:109,h:21},
{t:" 36",p:6,x:563,y:524,w:25,h:21},
{t:"cULTURE - NATURE - NATURE OF ART ",p:6,x:147,y:548,w:271,h:19},
{t:"Egil Martin Kurdøl ",p:6,x:147,y:570,w:137,h:21},
{t:" 42 ",p:6,x:563,y:570,w:30,h:21},
{t:"SøT gLEMSEL  ",p:6,x:147,y:594,w:108,h:19},
{t:"grim Erland Lyng Svingen  ",p:6,x:147,y:616,w:197,h:21},
{t:" 48",p:6,x:563,y:616,w:25,h:21},
{t:"NEwS cORE ",p:6,x:147,y:640,w:95,h:19},
{t:"Marit Arnekleiv ",p:6,x:147,y:662,w:116,h:21},
{t:" 54 ",p:6,x:563,y:662,w:30,h:21},
{t:"gANgAvSTANd TIL SKOLER, BUTIKKER ",p:6,x:147,y:686,w:290,h:19},
{t:"Og TUROMRådER ",p:6,x:147,y:709,w:140,h:19},
{t:"Teresa Murak ",p:6,x:147,y:730,w:104,h:21},
{t:" 62",p:6,x:563,y:730,w:25,h:21},
{t:"vERFTSKRANER LøFTER BUNNEN Av MESNA, ",p:6,x:147,y:755,w:338,h:19},
{t:"SKAPER BRO, ELvEN RENNER TIL KILdENE ",p:6,x:147,y:778,w:309,h:19},
{t:"Victoria Pihl Lind ",p:6,x:147,y:799,w:123,h:21},
{t:" 66",p:6,x:563,y:799,w:25,h:21},
{t:"vI BLE BEdT OM å LEggE OSS NEd På ",p:6,x:147,y:823,w:289,h:19},
{t:"gULvET INNTIL EN vEgg UNdER ET BORd ",p:6,x:147,y:846,w:319,h:19},
{t:"Anna widén ",p:6,x:147,y:868,w:97,h:21},
{t:" 72",p:6,x:563,y:868,w:25,h:21},
{t:"TROPHy II",p:6,x:147,y:892,w:73,h:19},
{t:"Leszek golec/Tatiana czekalska ",p:6,x:147,y:914,w:244,h:21},
{t:" 80",p:6,x:563,y:914,w:25,h:21},
{t:"gO vEg. BE gREEN. BE SMART.* ",p:6,x:147,y:938,w:243,h:19},
{t:"Oskar Dawicki ",p:6,x:147,y:959,w:112,h:21},
{t:" 86",p:6,x:564,y:959,w:25,h:21},
{t:"KUNNSKAPENS TRE ",p:6,x:147,y:984,w:151,h:19},
{t:"elżbieta Jabłońska ",p:6,x:147,y:1004,w:139,h:23},
{t:" 94",p:6,x:563,y:1004,w:25,h:23},
{t:"ER dINE TANKER FULLE Av gOdHET? ",p:6,x:147,y:1030,w:274,h:19},
{t:"Maciej Kurak/Max Skorwider ",p:6,x:147,y:1051,w:224,h:21},
{t:"100",p:6,x:563,y:1051,w:30,h:21},
{t:"STUNT ",p:6,x:147,y:1076,w:52,h:19},
{t:"SEMINAR",p:6,x:147,y:1108,w:91,h:26},
{t:"Foredrag1 • Per Bjarne Boym ",p:6,x:147,y:1143,w:223,h:21},
{t:"105",p:6,x:563,y:1143,w:30,h:21},
{t:"RELASJONER Og OBJEKTER, KUNSTMASKINEN Og ",p:6,x:147,y:1167,w:382,h:19},
{t:"UTFORdRINgENE FOR dESENTRALISERT KUNST ",p:6,x:147,y:1190,w:353,h:19},
{t:"          ",p:6,x:563,y:1190,w:41,h:19},
{t:"Foredrag 2 • Øivind Storm Bjerke ",p:6,x:147,y:1212,w:254,h:21},
{t:"114",p:6,x:563,y:1212,w:27,h:21},
{t:"EARTH – LANd – ENvIRONMENTAL ART ",p:6,x:147,y:1236,w:293,h:19},
{t:"Foredrag 3 • Jan wojciechowski ",p:6,x:147,y:1257,w:246,h:21},
{t:"128",p:6,x:563,y:1257,w:30,h:21},
{t:"TIdSSPIRALEN ",p:6,x:147,y:1282,w:108,h:19},
{t:"Foredrag 4 • Søssa Jørgensen ",p:6,x:147,y:1303,w:230,h:21},
{t:"136",p:6,x:563,y:1303,w:30,h:21},
{t:"vIRKENdE ESTETIKK – LOKAL KAMP – LyKKE ",p:6,x:147,y:1328,w:327,h:19},
{t:"          ",p:6,x:563,y:1328,w:41,h:19},
{t:"Foredrag • Marianne Heier ",p:6,x:147,y:1349,w:209,h:21},
{t:"144",p:6,x:563,y:1349,w:30,h:21},
{t:"LIvET UTENFOR ",p:6,x:147,y:1373,w:117,h:19},
{t:"LISTE OVER KUNSTNERE Og FOREDRAgSHOLDERE ",p:6,x:147,y:1405,w:357,h:19},
{t:"154",p:6,x:563,y:1403,w:30,h:21},
{t:"SPONSORER                                                                             ",p:6,x:147,y:1428,w:409,h:19},
{t:"155",p:6,x:563,y:1426,w:30,h:21},
{t:"KREDITERINgER                                                                 156",p:6,x:147,y:1449,w:446,h:21},
{t:"Per Erik Fonkalsrud",p:6,x:718,y:249,w:136,h:21},
{t:"1987: NATURE – ART – ART –NATURE ",p:6,x:718,y:273,w:271,h:19},
{t:"6",p:6,x:1172,y:272,w:10,h:21},
{t:"ABOUT THE PROJEcT                                                                         8 ",p:6,x:718,y:295,w:471,h:21},
{t:"MAP OF THE PROJEcTS ",p:6,x:718,y:319,w:172,h:19},
{t:"15  ",p:6,x:1164,y:317,w:25,h:22},
{t:"ARTISTS",p:6,x:718,y:352,w:74,h:26},
{t:"Janusz Bałdyga ",p:6,x:718,y:385,w:119,h:23},
{t:"16 ",p:6,x:1163,y:385,w:25,h:23},
{t:"BE cAREFUL gLASS  ",p:6,x:718,y:411,w:149,h:19},
{t:"Marte Aas ",p:6,x:718,y:432,w:82,h:21},
{t:"22",p:6,x:1163,y:432,w:21,h:21},
{t:"SwAP",p:6,x:718,y:457,w:44,h:19},
{t:"Hc gilje ",p:6,x:718,y:478,w:68,h:21},
{t:"28",p:6,x:1163,y:478,w:21,h:21},
{t:"wINd-UP BIRdS",p:6,x:718,y:503,w:117,h:19},
{t:"Jan Berdyszak ",p:6,x:718,y:524,w:109,h:21},
{t:" 36",p:6,x:1158,y:524,w:25,h:21},
{t:"cULTURE - NATURE - NATURE OF ART",p:6,x:718,y:548,w:267,h:19},
{t:"Egil Martin Kurdøl ",p:6,x:718,y:570,w:137,h:21},
{t:" 42 ",p:6,x:1158,y:570,w:30,h:21},
{t:"SwEET OBLIvION",p:6,x:718,y:594,w:129,h:19},
{t:"grim Erland Lyng Svingen    ",p:6,x:718,y:616,w:207,h:21},
{t:"48",p:6,x:1163,y:616,w:21,h:21},
{t:"NEwS cORE",p:6,x:718,y:640,w:91,h:19},
{t:"Marit Arnekleiv  ",p:6,x:718,y:662,w:121,h:21},
{t:"54",p:6,x:1163,y:662,w:21,h:21},
{t:"wALKINg dISTANcE TO ScHOOLS, ",p:6,x:718,y:686,w:264,h:19},
{t:"NATURE TRAILS ANd SHOPS",p:6,x:718,y:709,w:209,h:19},
{t:"Teresa Murak ",p:6,x:718,y:730,w:104,h:21},
{t:"  62",p:6,x:1154,y:730,w:30,h:21},
{t:"SHIPyARd cRANES LIFT THE BOTTOM OF MESNA, ",p:6,x:718,y:755,w:365,h:19},
{t:"cREATES A BRIdgE, THE RIvER FLOwS TO ITS SOURcES",p:6,x:718,y:778,w:401,h:19},
{t:"Victoria Pihl Lind  ",p:6,x:718,y:799,w:128,h:21},
{t:" 66",p:6,x:1158,y:799,w:25,h:21},
{t:"we were told to lie dowN oN tHe floor",p:6,x:718,y:822,w:342,h:21},
{t:"uP agaiNst a wall uNderNeatH a table",p:6,x:718,y:845,w:324,h:21},
{t:"Anna widén  ",p:6,x:718,y:868,w:102,h:21},
{t:" 72 ",p:6,x:1158,y:868,w:30,h:21},
{t:"  ",p:6,x:1243,y:868,w:9,h:21},
{t:"TROPHy II",p:6,x:718,y:892,w:73,h:19},
{t:"Leszek golec/Tatiana czekalska   ",p:6,x:718,y:914,w:253,h:21},
{t:"80",p:6,x:1163,y:914,w:21,h:21},
{t:"gO vEg. BE gREEN. BE SMART.* ",p:6,x:718,y:937,w:243,h:21},
{t:"  ",p:6,x:1184,y:937,w:9,h:21},
{t:"Oskar Dawicki ",p:6,x:718,y:959,w:112,h:21},
{t:"86 ",p:6,x:1163,y:959,w:25,h:21},
{t:"tHe tree of kNowledge ",p:6,x:718,y:983,w:198,h:21},
{t:"elżbieta Jabłońska ",p:6,x:718,y:1004,w:139,h:23},
{t:"94",p:6,x:1163,y:1005,w:21,h:21},
{t:"ARE yOUR THOUgHTS FULL OF gOOdNESS?",p:6,x:718,y:1030,w:326,h:19},
{t:"Maciej Kurak/Max Skorwider   ",p:6,x:718,y:1051,w:234,h:21},
{t:"100",p:6,x:1154,y:1051,w:30,h:21},
{t:"STUNT",p:6,x:718,y:1076,w:48,h:19},
{t:"cONFERENcE ",p:6,x:718,y:1108,w:142,h:26},
{t:"  ",p:6,x:1184,y:1112,w:9,h:21},
{t:"Lecture 1 • Per Bjarne Boym ",p:6,x:718,y:1149,w:212,h:21},
{t:"105",p:6,x:1154,y:1149,w:30,h:21},
{t:"relatioNs aNd obJects, tHe art macHiNe aNd ",p:6,x:718,y:1172,w:379,h:21},
{t:"tHe cHalleNges of deceNtralized art ",p:6,x:718,y:1195,w:316,h:22},
{t:"  ",p:6,x:1184,y:1195,w:9,h:21},
{t:"Lecture 2 • Øivind Storm Bjerke  ",p:6,x:718,y:1218,w:243,h:21},
{t:"114",p:6,x:1157,y:1218,w:27,h:21},
{t:"EARTH – LANd – ENvIRONMENTAL ART ",p:6,x:718,y:1242,w:293,h:19},
{t:"  ",p:6,x:1184,y:1241,w:9,h:21},
{t:"Lecture 3 • Jan wojciechowski ",p:6,x:718,y:1264,w:231,h:21},
{t:"128                                        ",p:6,x:1154,y:1264,w:171,h:21},
{t:"SPIRAL OF TIME ",p:6,x:718,y:1287,w:119,h:21},
{t:"  ",p:6,x:1184,y:1287,w:9,h:21},
{t:"Lecture 4 • Søssa Jørgensen  ",p:6,x:718,y:1309,w:218,h:21},
{t:"136",p:6,x:1154,y:1309,w:30,h:21},
{t:"wORKINg AESTHETIcS – LOcAL STRUggLE – HAPPINESS ",p:6,x:718,y:1332,w:408,h:22},
{t:"  ",p:6,x:1184,y:1332,w:9,h:22},
{t:"Lecture 5 • Marianne Heier  ",p:6,x:718,y:1355,w:213,h:21},
{t:"144",p:6,x:1154,y:1355,w:30,h:21},
{t:"LIFE OUTSIdE ",p:6,x:718,y:1378,w:101,h:22},
{t:"LISTS OF ARTISTS AND LEcTURERS                                                154",p:6,x:718,y:1409,w:465,h:21},
{t:"SPONSORS                                                                                     155",p:6,x:718,y:1432,w:465,h:21},
{t:"cREDITS ",p:6,x:718,y:1457,w:61,h:19},
{t:"156",p:6,x:1154,y:1455,w:30,h:21},
{t:"POLSK/NORSK KUNSTPROSJEKT ",p:6,x:145,y:176,w:307,h:24},
{t:"LILLEHAMMER 2008",p:6,x:145,y:201,w:182,h:24},
{t:"POLISH/NORwEgIAN ART PROJEcT",p:6,x:717,y:175,w:330,h:24},
{t:"LILLEHAMMER 2008",p:6,x:717,y:200,w:182,h:24},
{t:"c",p:6,x:672,y:356,w:0,h:60},
{t:"ONTENT",p:6,x:672,y:323,w:0,h:60},
{t:"I",p:6,x:98,y:353,w:0,h:60},
{t:"NNHOLD",p:6,x:98,y:340,w:0,h:60},
{t:"Per erik Fonkalsrud",p:7,x:188,y:247,w:138,h:23},
{t:"1987: NATURE – ART – ART –NATURE ",p:7,x:188,y:273,w:271,h:19},
{t:"6 ",p:7,x:690,y:270,w:14,h:23},
{t:"o ProJekcie ",p:7,x:188,y:295,w:102,h:21},
{t:"8",p:7,x:690,y:293,w:10,h:23},
{t:"maPa PleNeru  ",p:7,x:188,y:318,w:126,h:21},
{t:"15",p:7,x:681,y:317,w:21,h:21},
{t:"artyści",p:7,x:188,y:350,w:81,h:28},
{t:"Janusz Bałdyga  ",p:7,x:188,y:385,w:124,h:23},
{t:"16  ",p:7,x:680,y:385,w:30,h:23},
{t:"ostrożNie szkło",p:7,x:188,y:409,w:141,h:21},
{t:"marte aas  ",p:7,x:188,y:431,w:89,h:23},
{t:"22  ",p:7,x:680,y:431,w:30,h:23},
{t:"zamiaNa",p:7,x:188,y:455,w:76,h:21},
{t:"Hc Gilje  ",p:7,x:188,y:477,w:75,h:23},
{t:"28 ",p:7,x:679,y:477,w:26,h:23},
{t:"wINd-UP BIRdS",p:7,x:188,y:502,w:117,h:19},
{t:"Jan Berdyszak ",p:7,x:188,y:522,w:111,h:23},
{t:"36 ",p:7,x:680,y:522,w:25,h:23},
{t:"kultura – Natura– Natura sztuki",p:7,x:188,y:547,w:282,h:21},
{t:"egil martin kurdøl  ",p:7,x:188,y:568,w:145,h:23},
{t:"42  ",p:7,x:680,y:568,w:30,h:23},
{t:"słodka NiePamiĘĆ",p:7,x:188,y:593,w:149,h:21},
{t:"Grim erland lyng svingen  ",p:7,x:188,y:614,w:202,h:23},
{t:"48  ",p:7,x:680,y:614,w:30,h:23},
{t:"News core",p:7,x:188,y:639,w:91,h:21},
{t:"marit arnekleiv  ",p:7,x:188,y:660,w:124,h:23},
{t:"54   ",p:7,x:679,y:660,w:38,h:23},
{t:"bliska odległoŚĆ do szkoły, tereNÓw ",p:7,x:188,y:684,w:326,h:21},
{t:"rekreacyJNycH i sklePÓw.",p:7,x:188,y:707,w:217,h:21},
{t:"teresa murak  ",p:7,x:188,y:729,w:111,h:23},
{t:"62 ",p:7,x:679,y:729,w:26,h:23},
{t:"żurawie stoczNiowe uNoszĄ dNo mesNy,",p:7,x:188,y:753,w:360,h:21},
{t:"tworzĄ most, rzeka PłyNie do ŹrÓdeł",p:7,x:188,y:776,w:325,h:21},
{t:"Victoria Pihl lind  ",p:7,x:188,y:797,w:132,h:23},
{t:"66 ",p:7,x:679,y:797,w:26,h:23},
{t:"kazaNo Nami PołożyĆ siĘ Na Podłodze",p:7,x:188,y:822,w:334,h:21},
{t:"blisko ŚciaNy Pod stołem",p:7,x:188,y:845,w:215,h:21},
{t:"anna widén  ",p:7,x:188,y:866,w:104,h:23},
{t:"72 ",p:7,x:679,y:866,w:26,h:23},
{t:"TROFEUM II ",p:7,x:188,y:889,w:90,h:23},
{t:"  ",p:7,x:701,y:889,w:9,h:23},
{t:"leszek Golec/tatiana czekalska  ",p:7,x:188,y:912,w:254,h:23},
{t:"80 ",p:7,x:679,y:912,w:26,h:23},
{t:"go veg. be greeN. be smart",p:7,x:188,y:937,w:228,h:21},
{t:"oskar Dawicki ",p:7,x:188,y:958,w:114,h:23},
{t:" 86 ",p:7,x:674,y:958,w:31,h:23},
{t:"drzewo wiadomoŚci",p:7,x:188,y:982,w:182,h:21},
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{t:"94  ",p:7,x:680,y:1004,w:30,h:23},
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{t:"Maciej Kurak /Max Skorwider  ",p:7,x:188,y:1051,w:234,h:21},
{t:"100  ",p:7,x:670,y:1051,w:40,h:21},
{t:"SPONTANIczNy",p:7,x:188,y:1075,w:122,h:19},
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{t:" 105",p:7,x:665,y:1147,w:35,h:23},
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{t:"114",p:7,x:673,y:1216,w:28,h:23},
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{t:"Wykład 3 • Jan Wojciechowski  ",p:7,x:188,y:1262,w:247,h:23},
{t:"128",p:7,x:670,y:1262,w:30,h:23},
{t:"sPirala czasu",p:7,x:188,y:1287,w:118,h:21},
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{t:"136",p:7,x:670,y:1308,w:30,h:23},
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{t:"życie Na zewNĄtrz",p:7,x:188,y:1378,w:160,h:21},
{t:"lista artystów i PreleGeNtów                                            ",p:7,x:188,y:1410,w:425,h:20},
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{t:"sPoNsorzy                                                                                 ",p:7,x:188,y:1433,w:428,h:20},
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{t:"1",p:7,x:-85,y:1264,w:10,h:21},
{t:"28                                  ",p:7,x:-55,y:1264,w:141,h:21},
{t:"S",p:7,x:-521,y:1288,w:8,h:19},
{t:"PIRAL OF",p:7,x:-499,y:1288,w:67,h:19},
{t:"TIME",p:7,x:-414,y:1288,w:34,h:19},
{t:"  ",p:7,x:3,y:1287,w:9,h:21},
{t:"Lectur",p:7,x:-485,y:1309,w:42,h:21},
{t:"e 4 • Søssa Jør",p:7,x:-369,y:1309,w:115,h:21},
{t:"g",p:7,x:-364,y:1309,w:9,h:21},
{t:"ensen ",p:7,x:-312,y:1309,w:46,h:21},
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{t:"w",p:7,x:-521,y:1334,w:16,h:19},
{t:"ORKIN",p:7,x:-469,y:1334,w:51,h:19},
{t:"g A",p:7,x:-440,y:1334,w:28,h:19},
{t:"ES",p:7,x:-421,y:1334,w:17,h:19},
{t:"THETI",p:7,x:-379,y:1334,w:39,h:19},
{t:"cS",p:7,x:-375,y:1334,w:18,h:19},
{t:" – L",p:7,x:-341,y:1334,w:23,h:19},
{t:"Oc",p:7,x:-335,y:1334,w:23,h:19},
{t:"AL",p:7,x:-301,y:1334,w:18,h:19},
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{t:"TRU gg LE",p:7,x:-265,y:1334,w:57,h:19},
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{t:"APPINESS",p:7,x:-126,y:1334,w:72,h:19},
{t:"  ",p:7,x:3,y:1332,w:9,h:22},
{t:"Lectur",p:7,x:-485,y:1355,w:42,h:21},
{t:"e 5 • Marianne Heier ",p:7,x:-317,y:1355,w:167,h:21},
{t:"1 44",p:7,x:-85,y:1355,w:41,h:21},
{t:"L",p:7,x:-521,y:1380,w:7,h:19},
{t:"IFE",p:7,x:-502,y:1380,w:20,h:19},
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{t:"SI",p:7,x:-448,y:1380,w:13,h:19},
{t:"dE ",p:7,x:-444,y:1378,w:24,h:22},
{t:"L IS TS ",p:7,x:-521,y:1411,w:38,h:19},
{t:"OFARTIS",p:7,x:-470,y:1411,w:61,h:19},
{t:"TS ",p:7,x:-420,y:1411,w:19,h:19},
{t:"AND",p:7,x:-377,y:1411,w:33,h:19},
{t:"LE c",p:7,x:-356,y:1411,w:18,h:19},
{t:"TURERS",p:7,x:-295,y:1411,w:51,h:19},
{t:"                                                ",p:7,x:-90,y:1411,w:199,h:19},
{t:"1 54",p:7,x:-86,y:1409,w:41,h:21},
{t:"S",p:7,x:-521,y:1434,w:8,h:19},
{t:"PONSORS",p:7,x:-449,y:1434,w:72,h:19},
{t:"                                                                                     ",p:7,x:-90,y:1434,w:354,h:19},
{t:"1 55",p:7,x:-86,y:1432,w:41,h:21},
{t:"cREDIT",p:7,x:-480,y:1457,w:48,h:19},
{t:"S ",p:7,x:-464,y:1457,w:12,h:19},
{t:"1 56",p:7,x:-85,y:1455,w:41,h:21},
{t:"8",p:8,x:124,y:1465,w:7,h:16},
{t:"KUNST – NATUR",p:8,x:206,y:142,w:214,h:36},
{t:"NATUR – KUNST",p:8,x:206,y:180,w:214,h:36},
{t:"POLSK–NORSK KUNSTPROSJEKT 1987",p:8,x:206,y:225,w:367,h:26},
{t:"LILLEHAMMER",p:8,x:206,y:256,w:132,h:26},
{t:"Sommeren 1987 møttes en gruppe polske og norske billed-",p:8,x:206,y:316,w:430,h:21},
{t:"kunstnere i Lillehammer. Polakkene var Jan Berdyszak, ",p:8,x:206,y:341,w:395,h:21},
{t:"Teresa Murak, grzegorz Kowalski, Jan S. wojciechowski ",p:8,x:206,y:366,w:419,h:21},
{t:"og Danuta Mączak. Nordmennene var Egil Martin Kurdøl, ",p:8,x:206,y:390,w:431,h:23},
{t:"Marit Arnekleiv, Kai Bratbergsengen, Inghild Karlsen, ",p:8,x:206,y:416,w:389,h:21},
{t:"Arne Ingvaldsen/Eva Kun og Morten Engh. Alle kunstnerne ",p:8,x:206,y:441,w:434,h:21},
{t:"laget et arbeid i skogen på Kvitmannsberget. I tillegg ble det ",p:8,x:206,y:466,w:443,h:21},
{t:"organisert en utstilling i daværende Lillehammer Bys ",p:8,x:206,y:491,w:380,h:21},
{t:"Malerisamling. Der laget kunstnerne selvstendige installasjoner, ",p:8,x:206,y:516,w:451,h:21},
{t:"replikaer av arbeidet i skogen og/eller hadde videovisning ",p:8,x:206,y:541,w:432,h:21},
{t:"av arbeidet i skogen. Her er gjengitt i faksimile forsiden av ",p:8,x:206,y:566,w:426,h:21},
{t:"katalogen (som også var plakatmotivet) og en artikkel som ",p:8,x:206,y:591,w:428,h:21},
{t:"Per B. Boym skrev til katalogen. ",p:8,x:206,y:616,w:230,h:21},
{t:"ART – NATURE",p:8,x:702,y:142,w:185,h:36},
{t:"NATURE – ART",p:8,x:702,y:180,w:185,h:36},
{t:"POLISH–NORwEgIAN ART PROJEcT 1987",p:8,x:702,y:225,w:401,h:26},
{t:"LILLEHAMMER",p:8,x:702,y:256,w:132,h:26},
{t:"In the summer of 1987 a group of Polish and Norwegian ",p:8,x:702,y:314,w:419,h:21},
{t:"artists met in Lillehammer. The Poles were Jan Berdyszak, ",p:8,x:702,y:337,w:414,h:21},
{t:"Teresa Murak, grzegorz Kowalski, Jan S. wojciechowski and ",p:8,x:702,y:360,w:452,h:21},
{t:"Danuta Mączak. The Norwegians were Egil Martin Kurdøl, ",p:8,x:702,y:382,w:435,h:23},
{t:"Marit Arnekleiv, Kai Bratbergsengen, Inghild Karlsen, ",p:8,x:702,y:406,w:389,h:21},
{t:"Arne Ingvaldsen/Eva Kun and Morten Engh. All the artists ",p:8,x:702,y:429,w:425,h:21},
{t:"made a work of art in the forest at Kvitmannsberget. In ",p:8,x:702,y:451,w:398,h:21},
{t:"addition there was organized an exhibition in the Art ",p:8,x:702,y:474,w:387,h:21},
{t:"collection in the city. The artists there presented independent ",p:8,x:702,y:497,w:439,h:21},
{t:"installations, replicas of the work in the forest and/or videos ",p:8,x:702,y:520,w:437,h:21},
{t:"of the work in the forest. Here we present a copy of the front ",p:8,x:702,y:543,w:440,h:21},
{t:"page of the catalogue (which also was the poster) and an ",p:8,x:702,y:566,w:426,h:21},
{t:"article Per B. Boym wrote for the catalogue.",p:8,x:702,y:589,w:315,h:21},
{t:"9",p:9,x:1143,y:1464,w:7,h:16},
{t:"10",p:10,x:116,y:1465,w:15,h:16},
{t:"OM ",p:10,x:206,y:142,w:63,h:38},
{t:"PROSJEKTET",p:10,x:206,y:179,w:165,h:38},
{t:"Per Erik Fonkalsrud ",p:10,x:206,y:206,w:177,h:44},
{t:"Initiativet til prosjektet kan tidfestes ",p:10,x:206,y:292,w:252,h:21},
{t:"nøyaktig til en utstillingsåpning på ",p:10,x:206,y:315,w:250,h:21},
{t:"Norsk Vegmuseum 26. mai 2005. ",p:10,x:206,y:338,w:252,h:21},
{t:"Marit Arnekleiv var utstiller av en foto-",p:10,x:206,y:361,w:274,h:21},
{t:"serie og Per B. Boym holdt en åpnings-",p:10,x:206,y:384,w:278,h:21},
{t:"tale. Egil Martin Kurdøl og Per Erik ",p:10,x:206,y:407,w:257,h:21},
{t:"Fonkalsrud var tilhørere. Alle disse fre ",p:10,x:206,y:430,w:277,h:21},
{t:"personene var sentrale i Polsk- Norsk ",p:10,x:206,y:452,w:270,h:21},
{t:"kunstprosjekt 1987, Kurdøl og Arnekleiv ",p:10,x:206,y:475,w:295,h:21},
{t:"som kunstnere, Boym som rådgiver og ",p:10,x:206,y:498,w:278,h:21},
{t:"Fonkalsrud som arrangør. Kurdøl reiste ",p:10,x:206,y:521,w:286,h:21},
{t:"der og da spørsmålet: Skal vi lage et ",p:10,x:206,y:544,w:271,h:21},
{t:"nytt polsk-norsk prosjekt- 20 år etter? ",p:10,x:206,y:567,w:270,h:21},
{t:"Spørsmålet var først og fremst rettet ",p:10,x:206,y:590,w:261,h:21},
{t:"til undertegnede, som arrangør. ",p:10,x:206,y:613,w:235,h:21},
{t:"Etter noen dagers betenk-ningstid, sa ",p:10,x:206,y:636,w:270,h:21},
{t:"jeg ja til utfordringen, og arbeidet ",p:10,x:206,y:659,w:249,h:21},
{t:"begynte så smått. ",p:10,x:206,y:682,w:130,h:21},
{t:"ABOUT THE ",p:10,x:533,y:142,w:169,h:38},
{t:"PROJEcT",p:10,x:533,y:179,w:119,h:38},
{t:"Per Erik Fonkalsrud",p:10,x:533,y:220,w:166,h:26},
{t:"The initiative to the project can be dated",p:10,x:533,y:292,w:289,h:21},
{t:"precisely to the opening of an exhibition ",p:10,x:533,y:315,w:292,h:21},
{t:"at The Norwegian Road Museum ",p:10,x:533,y:338,w:246,h:21},
{t:"May 26th 2005. Marit Arnekleiv ",p:10,x:533,y:361,w:246,h:21},
{t:"exhibited a photo series and Per B. ",p:10,x:533,y:384,w:257,h:21},
{t:"Boym held the opening speech. ",p:10,x:533,y:407,w:230,h:21},
{t:"Egil Martin Kurdøl and Per Erik ",p:10,x:533,y:430,w:230,h:21},
{t:"Fonkalsrud were amongst the audience. ",p:10,x:533,y:452,w:291,h:21},
{t:"All these four persons were crucial in the ",p:10,x:533,y:475,w:295,h:21},
{t:"Polish- Norwegian Art Project in 1987, ",p:10,x:533,y:498,w:282,h:21},
{t:"Kurdøl and Arnekleiv as artists, Boym ",p:10,x:533,y:521,w:274,h:21},
{t:"as advisor and Fonkalsrud as organizer. ",p:10,x:533,y:544,w:294,h:21},
{t:"Kurdøl then raised the question: Shall ",p:10,x:533,y:567,w:273,h:21},
{t:"we make a new Polish- Norwegian ",p:10,x:533,y:590,w:253,h:21},
{t:"project – 20 years after? The question ",p:10,x:533,y:613,w:279,h:21},
{t:"was in reality directed to the author of ",p:10,x:533,y:636,w:277,h:21},
{t:"these lines, as an organizer. After a few ",p:10,x:533,y:659,w:289,h:21},
{t:"days of consideration, I took the ",p:10,x:533,y:682,w:235,h:21},
{t:"challenge and the work started. ",p:10,x:533,y:705,w:233,h:21},
{t:"O PROJEKcIE",p:10,x:860,y:144,w:182,h:38},
{t:"Per Erik Fonkalsrud",p:10,x:860,y:185,w:166,h:26},
{t:"Inicjatywe o przedsięwzięciu można ",p:10,x:860,y:294,w:264,h:22},
{t:"umieścić czasowo dokładnie w dniu ",p:10,x:860,y:317,w:262,h:22},
{t:"otwarcia wystawy Norweskiego ",p:10,x:860,y:340,w:234,h:22},
{t:"Muzeum Drogowego (Norsk ",p:10,x:860,y:362,w:214,h:22},
{t:"Vegmuseum) 26. maja 2005. ",p:10,x:860,y:385,w:219,h:22},
{t:"Marit Arnekleiv wystawiała serię ",p:10,x:860,y:408,w:240,h:22},
{t:"fotografczną, a Per Boym wygłaszał ",p:10,x:860,y:431,w:268,h:22},
{t:"mowę powitalną. Egil Martin Kurdøl i ",p:10,x:860,y:454,w:275,h:22},
{t:"Per Erik Fonkalsrud byli słuchaczami. ",p:10,x:860,y:477,w:269,h:22},
{t:"Wszystkie te cztery osoby odegrały ",p:10,x:860,y:500,w:260,h:22},
{t:"centralną rolę w Polsko- Norweskim ",p:10,x:860,y:523,w:261,h:22},
{t:"plenerze artystycznym 1987, Kurdøl ",p:10,x:860,y:546,w:265,h:22},
{t:"i Arnekleiv jako artyści, Boym jako ",p:10,x:860,y:569,w:251,h:22},
{t:"doradca i Fonkalsrud jako organizator. ",p:10,x:860,y:592,w:288,h:22},
{t:"Kurdøl postawił tam wtedy pytanie: ",p:10,x:860,y:615,w:259,h:22},
{t:"Zrobimy nowy polsko- norweski ",p:10,x:860,y:637,w:230,h:22},
{t:"plener – 20 lat później? Pytanie było ",p:10,x:860,y:660,w:272,h:22},
{t:"skierowane przede wszystkim do niżej ",p:10,x:860,y:683,w:279,h:22},
{t:"podpisanego, jako organizatora. Po ",p:10,x:860,y:706,w:268,h:22},
{t:"kilku dniach przemyśleń podjąłem ",p:10,x:860,y:729,w:249,h:22},
{t:"wyzwanie i praca z wolna ruszyła.",p:10,x:860,y:752,w:248,h:22},
{t:"Photos: Per Erik Fonkalsrud",p:10,x:118,y:1434,w:151,h:16},
{t:"11",p:11,x:1137,y:1464,w:15,h:16},
{t:"1987–PROSJEKTET ",p:11,x:88,y:144,w:181,h:26},
{t:"Polsk - norsk kunstprosjekt 1987 var ",p:11,x:88,y:179,w:262,h:21},
{t:"et møte mellom to tradisjoner innenfor ",p:11,x:88,y:202,w:278,h:21},
{t:"kunst utenfor galleriene. Den ene var ",p:11,x:88,y:224,w:271,h:21},
{t:"den polske skolen representert ved ",p:11,x:88,y:247,w:255,h:21},
{t:"etablerte og yngre kunstnere med solid ",p:11,x:88,y:270,w:288,h:21},
{t:"teoretisk ballast og erfaringer fra den ",p:11,x:88,y:293,w:274,h:21},
{t:"avantgardistiske polske kunstscenen fra ",p:11,x:88,y:316,w:287,h:21},
{t:"1970- og 80-årene. Den andre bestod ",p:11,x:88,y:339,w:284,h:21},
{t:"av noen unge norske kunstnere, bl.a. ",p:11,x:88,y:362,w:270,h:21},
{t:"i Lillehammerregionen. Det de stod for ",p:11,x:88,y:385,w:280,h:21},
{t:"kunne knapt kalles en tradisjon den ",p:11,x:88,y:408,w:259,h:21},
{t:"gang, men de var nysgjerrige på å ",p:11,x:88,y:431,w:253,h:21},
{t:"utforske denne retningen. Temaet i 1987 ",p:11,x:88,y:454,w:293,h:21},
{t:"var KUNST–NATUR, NATUR–KUNST. ",p:11,x:88,y:476,w:283,h:21},
{t:"Dette møtet mellom to ”skoler” var svært ",p:11,x:88,y:522,w:296,h:21},
{t:"fruktbart og det ble etablert kontakter ",p:11,x:88,y:545,w:275,h:21},
{t:"med miljøer utenfor Norge som var ",p:11,x:88,y:568,w:260,h:21},
{t:"opptatt av lignende problemstillinger. ",p:11,x:88,y:591,w:274,h:21},
{t:"Kunstnerne Egil Martin Kurdøl, ",p:11,x:88,y:614,w:226,h:21},
{t:"Marit Arnekleiv, Jan Egge, Janneche ",p:11,x:88,y:637,w:268,h:21},
{t:"Lønne christiansen m.f. deltok på ",p:11,x:88,y:660,w:248,h:21},
{t:"prosjekter i Polen og etter hvert mange ",p:11,x:88,y:683,w:284,h:21},
{t:"andre land. Og ikke minst ble disse ",p:11,x:88,y:706,w:259,h:21},
{t:"aktive i å arrangere lokale prosjekter, ",p:11,x:88,y:728,w:275,h:21},
{t:"for eksempel: ",p:11,x:88,y:751,w:101,h:21},
{t:"\"Present 1993\" (internasjonal workshop ",p:11,x:88,y:774,w:292,h:21},
{t:"under LOOcs kulturprogram)",p:11,x:88,y:797,w:212,h:21},
{t:"\"Moxtrot\", Tretten/Roåker 1995",p:11,x:88,y:820,w:231,h:21},
{t:"\"Overgang\", Skjåk/Stryn 1997",p:11,x:88,y:843,w:227,h:21},
{t:"\"8 dager i juni\", Lillehammer 2000 ",p:11,x:88,y:866,w:257,h:21},
{t:"\"Flere steder for alltid\", ",p:11,x:88,y:889,w:169,h:21},
{t:"Lillehammer 2003 ",p:11,x:88,y:912,w:137,h:21},
{t:"\"Daisy\", Opplandsutstillingen 2005",p:11,x:88,y:935,w:258,h:21},
{t:"THE 1987–PROJEcT ",p:11,x:415,y:144,w:190,h:26},
{t:"Polish - Norwegian Art Project 1987 ",p:11,x:415,y:179,w:268,h:21},
{t:"was a meeting between two traditions ",p:11,x:415,y:202,w:278,h:21},
{t:"within the genre art outside the galler-",p:11,x:415,y:224,w:273,h:21},
{t:"ies. On the one hand: the Polish school ",p:11,x:415,y:247,w:286,h:21},
{t:"represented by both well established ",p:11,x:415,y:270,w:270,h:21},
{t:"and younger artists with solid theoreti-",p:11,x:415,y:293,w:274,h:21},
{t:"cal background and experiences from ",p:11,x:415,y:316,w:281,h:21},
{t:"the avant-garde Polish art scene in the ",p:11,x:415,y:339,w:279,h:21},
{t:"1970- ties and 80-ties. On the other ",p:11,x:415,y:362,w:264,h:21},
{t:"hand: some young Norwegian artists, ",p:11,x:415,y:385,w:278,h:21},
{t:"some of them from the Lillehammer ",p:11,x:415,y:408,w:255,h:21},
{t:"region. what they represented could ",p:11,x:415,y:431,w:271,h:21},
{t:"hardly be labeled as a tradition at ",p:11,x:415,y:454,w:252,h:21},
{t:"the time, but they were curious about ",p:11,x:415,y:476,w:271,h:21},
{t:"exploring this art genre. The theme in ",p:11,x:415,y:499,w:273,h:21},
{t:"1987 was ART–NATURE, ",p:11,x:415,y:522,w:190,h:21},
{t:"NATURE–ART. ",p:11,x:415,y:545,w:110,h:21},
{t:"This meeting between two “schools” ",p:11,x:415,y:591,w:265,h:21},
{t:"was very fruitful and contact was ",p:11,x:415,y:614,w:242,h:21},
{t:"established with groups outside of ",p:11,x:415,y:637,w:250,h:21},
{t:"Norway who were engaged in similar ",p:11,x:415,y:660,w:282,h:21},
{t:"artistic problems. The artists Egil Martin ",p:11,x:415,y:683,w:288,h:21},
{t:"Kurdøl, Marit Arnekleiv, Jan Egge, ",p:11,x:415,y:706,w:253,h:21},
{t:"Janneche Lønne christiansen and others ",p:11,x:415,y:728,w:295,h:21},
{t:"participated in projects in Poland and ",p:11,x:415,y:751,w:276,h:21},
{t:"later in many other countries. And, ",p:11,x:415,y:774,w:253,h:21},
{t:"important enough, these artists became ",p:11,x:415,y:797,w:289,h:21},
{t:"very active organizers of local projects, ",p:11,x:415,y:820,w:289,h:21},
{t:"for example:",p:11,x:415,y:843,w:91,h:21},
{t:"\"Present\" 1993 (International workshop",p:11,x:415,y:866,w:285,h:21},
{t:"under the Olympic cultural Program)",p:11,x:415,y:889,w:268,h:21},
{t:"\"Moxtrot\", Tretten/Roåker 1995 ",p:11,x:415,y:912,w:236,h:21},
{t:"\"Overgang\", Skjåk/Stryn 1997",p:11,x:415,y:935,w:227,h:21},
{t:"\"8 dager i juni\", Lillehammer 2000",p:11,x:415,y:958,w:252,h:21},
{t:"\"Flere steder for alltid\" (More places ",p:11,x:415,y:981,w:261,h:21},
{t:"forever), Lillehammer 2003",p:11,x:415,y:1003,w:196,h:21},
{t:"\"Daisy\", The Oppland Exhibition 2005 ",p:11,x:415,y:1026,w:286,h:21},
{t:"PleNer–1987 ",p:11,x:742,y:142,w:137,h:28},
{t:"Polsko - norweski plener 1987 był ",p:11,x:742,y:177,w:250,h:23},
{t:"spotkaniem między dwiema tradycjami ",p:11,x:742,y:200,w:287,h:23},
{t:"w obrębie sztuki poza przestrzenią ",p:11,x:742,y:223,w:260,h:23},
{t:"galerii. z jednej strony polska szkoła ",p:11,x:742,y:246,w:268,h:23},
{t:"reprezentowana przez uznanych ",p:11,x:742,y:269,w:244,h:23},
{t:"i młodszych artystów z solidnym ",p:11,x:742,y:292,w:237,h:23},
{t:"balastem i doświadczeniem polskiej ",p:11,x:742,y:315,w:265,h:23},
{t:"sceny awangardowej lat 1970-80. z ",p:11,x:742,y:337,w:272,h:23},
{t:"drugiej – młodzi norwescy artyści, m.in. ",p:11,x:742,y:360,w:291,h:23},
{t:"z regionu lillehammer. to co wtedy ",p:11,x:742,y:383,w:260,h:23},
{t:"sobą reprazentowali trudno by nazwać ",p:11,x:742,y:406,w:291,h:23},
{t:"jakąś tradycją, lecz byli ciekawi ",p:11,x:742,y:429,w:235,h:23},
{t:"zbadania tych tendencji. tematem w ",p:11,x:742,y:452,w:270,h:23},
{t:"1987 była sztUka–NatUra,",p:11,x:742,y:475,w:225,h:23},
{t:"NatUra–sztUka.",p:11,x:742,y:500,w:142,h:23},
{t:"spotkanie między tymi dwiema” ",p:11,x:742,y:546,w:238,h:23},
{t:"szkołami” było bardzo owocne, został ",p:11,x:742,y:569,w:283,h:23},
{t:"nawiązany kontakt ze środowiskami ",p:11,x:742,y:592,w:266,h:23},
{t:"poza Norwegią, które zajmowały ",p:11,x:742,y:614,w:251,h:23},
{t:"się podobnymi kwestiami. artyści egil ",p:11,x:742,y:637,w:275,h:23},
{t:"martin kurdøl, marit arnekleiv, Jan ",p:11,x:742,y:660,w:259,h:23},
{t:"egge, Janneche lønne christiansen i.in. ",p:11,x:742,y:683,w:290,h:23},
{t:"wzięli udział w plenerach w Polsce, ",p:11,x:742,y:706,w:262,h:23},
{t:"a z czasem w wielu innych krajach. ",p:11,x:742,y:729,w:261,h:23},
{t:"i co nie mniej ważne byli aktywni w ",p:11,x:742,y:752,w:263,h:23},
{t:"organizowaniu lokalnych plenerów, ",p:11,x:742,y:775,w:263,h:23},
{t:"jak na przyklad:",p:11,x:742,y:798,w:117,h:23},
{t:"\"Present\" 1993 (międzynarodowe ",p:11,x:742,y:821,w:251,h:23},
{t:"warsztaty podczas programu ",p:11,x:742,y:844,w:217,h:23},
{t:"kulturalnego looc)",p:11,x:742,y:867,w:147,h:23},
{t:"\"moxtrot\", tretten / roåker 1995",p:11,x:742,y:889,w:240,h:23},
{t:"\"overgang\", skjåk- stryn, 1997",p:11,x:742,y:912,w:231,h:23},
{t:"\"8 dager i juni\", lillehammer 2000",p:11,x:742,y:935,w:252,h:23},
{t:"\"Flere steder for alltid\" , ",p:11,x:742,y:958,w:164,h:23},
{t:"lillehammer 2003",p:11,x:742,y:981,w:133,h:23},
{t:"\"Daisy\", opplandsutstillingen 2005",p:11,x:742,y:1004,w:257,h:23},
{t:"12",p:12,x:116,y:1465,w:15,h:16},
{t:"THE cONcEPT OF UT-21",p:12,x:533,y:478,w:230,h:26},
{t:"The initiative to the project in 2008, ",p:12,x:533,y:513,w:262,h:21},
{t:"21 years after 1987, comes from the ",p:12,x:533,y:536,w:268,h:21},
{t:"same persons who were crucial in ",p:12,x:533,y:559,w:250,h:21},
{t:"1987. The starting point is simple: what ",p:12,x:533,y:582,w:292,h:21},
{t:"has happened during the 21 years ",p:12,x:533,y:605,w:255,h:21},
{t:"that have passed by? How do artists ",p:12,x:533,y:628,w:268,h:21},
{t:"within this tradition work now and what ",p:12,x:533,y:651,w:288,h:21},
{t:"is the relationship between this art ",p:12,x:533,y:674,w:249,h:21},
{t:"and the institutions now? This was the ",p:12,x:533,y:697,w:273,h:21},
{t:"background for the initiative behind a ",p:12,x:533,y:719,w:276,h:21},
{t:"new symposium and for presenting new ",p:12,x:533,y:742,w:291,h:21},
{t:"works of art. ",p:12,x:533,y:765,w:94,h:21},
{t:"In the preliminary project dated March ",p:12,x:533,y:811,w:286,h:21},
{t:"2007 it is stated: \"UT-21 presents ",p:12,x:533,y:834,w:245,h:21},
{t:"interventionistic art which comprises ",p:12,x:533,y:857,w:263,h:21},
{t:"land art, urban interventions etc. ",p:12,x:533,y:880,w:237,h:21},
{t:"Interventionistic art means art projects ",p:12,x:533,y:903,w:277,h:21},
{t:"which in one way or another include ",p:12,x:533,y:926,w:270,h:21},
{t:"or refect the physic, social or mental ",p:12,x:533,y:949,w:269,h:21},
{t:"structures associated to a special place. ",p:12,x:533,y:971,w:292,h:21},
{t:"The works are often characterized ",p:12,x:533,y:994,w:252,h:21},
{t:"by being temporary and procedural. ",p:12,x:533,y:1017,w:270,h:21},
{t:"Points of contact with daily life and the ",p:12,x:533,y:1040,w:283,h:21},
{t:"surroundings we all relate to in a close ",p:12,x:533,y:1063,w:283,h:21},
{t:"and natural way, the landscape and ",p:12,x:533,y:1086,w:267,h:21},
{t:"the urban environment, may enable the ",p:12,x:533,y:1109,w:288,h:21},
{t:"communication between the work of ",p:12,x:533,y:1132,w:266,h:21},
{t:"art and the observer to become both ",p:12,x:533,y:1155,w:271,h:21},
{t:"more unpredictable and immediate than ",p:12,x:533,y:1178,w:295,h:21},
{t:"an encounter with art in a traditional ",p:12,x:533,y:1201,w:268,h:21},
{t:"setting.”",p:12,x:533,y:1224,w:58,h:21},
{t:"TANKEN BAK UT-21",p:12,x:206,y:478,w:185,h:26},
{t:"Initiativet til prosjektet i 2008, 21 år etter ",p:12,x:206,y:513,w:291,h:21},
{t:"1987, er tatt av de samme personer ",p:12,x:206,y:536,w:263,h:21},
{t:"som var sentrale i 1987 . Utgangspunktet ",p:12,x:206,y:559,w:289,h:21},
{t:"er enkelt: Hva er skjedd i løpet av de ",p:12,x:206,y:582,w:272,h:21},
{t:"21 årene som er gått? Hvordan arbeider ",p:12,x:206,y:605,w:293,h:21},
{t:"kunstnere i denne tradisjonen nå og ",p:12,x:206,y:628,w:263,h:21},
{t:"hvordan er forholdet mellom denne ",p:12,x:206,y:651,w:260,h:21},
{t:"kunsten og institusjonene nå? Dette ",p:12,x:206,y:674,w:257,h:21},
{t:"var utgangspunktet for å ta initiativ til ",p:12,x:206,y:697,w:271,h:21},
{t:"et nytt symposium og å presentere nye ",p:12,x:206,y:719,w:281,h:21},
{t:"kunstverk. ",p:12,x:206,y:742,w:75,h:21},
{t:"I forprosjektet fra mars 2007 står det: ",p:12,x:206,y:788,w:276,h:21},
{t:"\"UT-21 presenterer intervensjonistisk ",p:12,x:206,y:811,w:263,h:21},
{t:"kunst som omfatter land art, byinterven-",p:12,x:206,y:834,w:282,h:21},
{t:"sjoner m.m. Intervensjonistisk kunst vil si ",p:12,x:206,y:857,w:287,h:21},
{t:"kunstprosjekter som på en eller annen ",p:12,x:206,y:880,w:278,h:21},
{t:"måte integrerer eller refekterer over de ",p:12,x:206,y:903,w:288,h:21},
{t:"fysiske, sosiale eller mentale strukturer ",p:12,x:206,y:926,w:277,h:21},
{t:"knyttet til et bestemt sted. Verkene har ",p:12,x:206,y:949,w:275,h:21},
{t:"ofte karakter av å være temporære og ",p:12,x:206,y:971,w:282,h:21},
{t:"prosessuelle. Berøringspunktene med ",p:12,x:206,y:994,w:273,h:21},
{t:"hverdagslivet og de omgivelsene vi alle ",p:12,x:206,y:1017,w:290,h:21},
{t:"har et nært og selvfølgelig forhold til, ",p:12,x:206,y:1040,w:273,h:21},
{t:"landskapet og bymiljøet, kan gjøre ",p:12,x:206,y:1063,w:257,h:21},
{t:"kommunikasjonen kunstner–verk–",p:12,x:206,y:1086,w:241,h:21},
{t:"betrakter både mer uforutsigbar og ",p:12,x:206,y:1109,w:260,h:21},
{t:"umiddelbar enn møtet med kunst i en ",p:12,x:206,y:1132,w:272,h:21},
{t:"mer tradisjonell setting. ",p:12,x:206,y:1155,w:170,h:21},
{t:"myśl PrzewoDNia Ut-21",p:12,x:860,y:476,w:252,h:28},
{t:"inicjatywę zorganizowania pleneru w ",p:12,x:860,y:512,w:278,h:23},
{t:"2008, 21 lat po 1987, podjęły te same ",p:12,x:860,y:535,w:290,h:23},
{t:"osoby, które odegrały główną rolę w ",p:12,x:860,y:558,w:273,h:23},
{t:"1987. Punkt wyjścia był prosty: co się ",p:12,x:860,y:580,w:279,h:23},
{t:"zdarzylo w ciągu minionych 21 lat? ",p:12,x:860,y:603,w:264,h:23},
{t:"Jak teraz pracują artyści tej tradycji ",p:12,x:860,y:626,w:261,h:23},
{t:"i jaki jest teraz stosunek miedzy tą ",p:12,x:860,y:649,w:250,h:23},
{t:"sztuką a instytucjami? to było punktem ",p:12,x:860,y:672,w:284,h:23},
{t:"wyjścia do podjęcia inicjatywy nowego ",p:12,x:860,y:695,w:292,h:23},
{t:"sympozjum i zaprezentowania nowych ",p:12,x:860,y:718,w:287,h:23},
{t:"dzieł.",p:12,x:860,y:741,w:39,h:23},
{t:"we wstępnym projekcie z marca ",p:12,x:860,y:787,w:242,h:23},
{t:"2007 napisano: Ut-21 prezentuje ",p:12,x:860,y:810,w:252,h:23},
{t:"sztukę interwencyjną obejmującą land ",p:12,x:860,y:832,w:283,h:23},
{t:"art, interwencje miejskie i.in. sztuka ",p:12,x:860,y:855,w:261,h:23},
{t:"interwencyjna czyli przedsięwziecia ",p:12,x:860,y:878,w:267,h:23},
{t:"artystyczne, które w taki czy inny ",p:12,x:860,y:901,w:243,h:23},
{t:"sposób integrują lub odzwierciedlają ",p:12,x:860,y:924,w:274,h:23},
{t:"fzyczne, socjalne lub mentalne ",p:12,x:860,y:947,w:231,h:23},
{t:"struktury związane z określonym ",p:12,x:860,y:970,w:241,h:23},
{t:"miejscem. Dzieła mają często charakter ",p:12,x:860,y:993,w:291,h:23},
{t:"tymczasowych i trwających w czasie. ",p:12,x:860,y:1016,w:276,h:23},
{t:"Punkt styczności z codziennym życiem ",p:12,x:860,y:1039,w:281,h:23},
{t:"i otoczeniem, do którego mamy bliski ",p:12,x:860,y:1062,w:274,h:23},
{t:"i oczywisty stosunek, krajobraz i ",p:12,x:860,y:1085,w:238,h:23},
{t:"środowisko miejskie, mogą stworzyc ",p:12,x:860,y:1107,w:266,h:23},
{t:"porozumienie sztuka-dzieło-odbiorca ",p:12,x:860,y:1130,w:272,h:23},
{t:"zarówno bardziej nieprzewidywalnym ",p:12,x:860,y:1153,w:285,h:23},
{t:"i natychmiastowym niż spotkanie ze ",p:12,x:860,y:1176,w:264,h:23},
{t:"sztuką widzianą bardziej tradycyjnie. ",p:12,x:860,y:1199,w:276,h:23},
{t:"13",p:13,x:1136,y:1464,w:15,h:16},
{t:"PROSJEKTET  ",p:13,x:88,y:478,w:125,h:26},
{t:"Prosjektet som ble presentert i ",p:13,x:88,y:513,w:218,h:21},
{t:"forprosjektet i mars 2007 omfattet:",p:13,x:88,y:536,w:251,h:21},
{t:"• Arbeider i landskapsrommet på ",p:13,x:88,y:582,w:249,h:21},
{t:"Kvitmannsberget med 4 norske og ",p:13,x:88,y:605,w:252,h:21},
{t:"4 polske kunstnere. Blant disse var ",p:13,x:88,y:628,w:253,h:21},
{t:"de veteranene Marit Arnekleiv, ",p:13,x:88,y:651,w:228,h:21},
{t:"Jan Berdyszak, Egil Martin Kurdøl og ",p:13,x:88,y:674,w:275,h:21},
{t:"Teresa Murak. ",p:13,x:88,y:697,w:108,h:21},
{t:"• Arbeider i Byrommet i Lillehammer ",p:13,x:88,y:742,w:270,h:21},
{t:"sentrum med 4 norske og 4 polske ",p:13,x:88,y:765,w:254,h:21},
{t:"kunstnere.",p:13,x:88,y:788,w:72,h:21},
{t:"• Et seminar på samme tid som ",p:13,x:88,y:834,w:232,h:21},
{t:"utstillingsåpningen i samarbeid med ",p:13,x:88,y:857,w:264,h:21},
{t:"Lillehammer Kunstmuseum. Senere ble ",p:13,x:88,y:880,w:279,h:21},
{t:"antall kunstnere redusert til 7 polske og ",p:13,x:88,y:903,w:288,h:21},
{t:"7 norske, da to av de inviterte ",p:13,x:88,y:926,w:221,h:21},
{t:"kunstnerne ikke ville/kunne delta. Det ",p:13,x:88,y:949,w:275,h:21},
{t:"ble også åpnet for at kunstnerne selv ",p:13,x:88,y:971,w:271,h:21},
{t:"kunne velge hvor de ville arbeide. ",p:13,x:88,y:994,w:251,h:21},
{t:"Det ble avholdt samlinger for kunst-",p:13,x:88,y:1040,w:254,h:21},
{t:"nerne på Lillehammer i oktober 2007 ",p:13,x:88,y:1063,w:277,h:21},
{t:"og i februar 2008, før produksjonsperi-",p:13,x:88,y:1086,w:285,h:21},
{t:"oden i august 2008. I 1987- prosjektet ",p:13,x:88,y:1109,w:287,h:21},
{t:"var kontakten mellom kunstnerne under-",p:13,x:88,y:1132,w:286,h:21},
{t:"vegs svært viktig. De feste var tilstede ",p:13,x:88,y:1155,w:277,h:21},
{t:"i Lillehammer i 3 uker og det oppstod ",p:13,x:88,y:1178,w:274,h:21},
{t:"mange diskusjoner om kunst. Dette ",p:13,x:88,y:1201,w:255,h:21},
{t:"ønsket prosjektledelsen å få til en gang ",p:13,x:88,y:1224,w:287,h:21},
{t:"til, og de to samlingene på forhånd var ",p:13,x:88,y:1246,w:287,h:21},
{t:"et ledd i dette. ",p:13,x:88,y:1269,w:108,h:21},
{t:"THE PROJEcT",p:13,x:415,y:478,w:124,h:26},
{t:"The project that was presented in the ",p:13,x:415,y:513,w:270,h:21},
{t:"preliminary project in March 2007 ",p:13,x:415,y:536,w:258,h:21},
{t:"included:",p:13,x:415,y:559,w:66,h:21},
{t:"• works in the landscape at Kvitmanns-",p:13,x:415,y:605,w:288,h:21},
{t:"berget (the site of the 1987-project) ",p:13,x:415,y:628,w:262,h:21},
{t:"with 4 Norwegian and 4 Polish artists. ",p:13,x:415,y:651,w:282,h:21},
{t:"Amongst these were the four veterans ",p:13,x:415,y:674,w:275,h:21},
{t:"Marit Arnekleiv, Jan Berdyszak, ",p:13,x:415,y:697,w:233,h:21},
{t:"Egil Martin Kurdøl and Teresa Murak. ",p:13,x:415,y:719,w:279,h:21},
{t:"• works in the city centre in ",p:13,x:415,y:765,w:208,h:21},
{t:"Lillehammer with 4 Norwegian and ",p:13,x:415,y:788,w:262,h:21},
{t:"4 Polish artists.",p:13,x:415,y:811,w:106,h:21},
{t:"• A conference coinciding with the ",p:13,x:415,y:857,w:259,h:21},
{t:"opening of the exhibition in cooperation ",p:13,x:415,y:880,w:295,h:21},
{t:"with Lillehammer Art Museum. ",p:13,x:415,y:903,w:222,h:21},
{t:"Later the number of artists was reduced ",p:13,x:415,y:949,w:288,h:21},
{t:"to 7 Poles and 7 Norwegians, because ",p:13,x:415,y:971,w:289,h:21},
{t:"two of the invited artists could not / ",p:13,x:415,y:994,w:260,h:21},
{t:"would not participate. The decision ",p:13,x:415,y:1017,w:259,h:21},
{t:"where to work, in the city or at ",p:13,x:415,y:1040,w:224,h:21},
{t:"Kvitmannsberget, was left to the artists. ",p:13,x:415,y:1063,w:284,h:21},
{t:"There were held encounters for the ",p:13,x:415,y:1109,w:255,h:21},
{t:"artists at Lillehammer in October 2007 ",p:13,x:415,y:1132,w:285,h:21},
{t:"and in February 2008, before the ",p:13,x:415,y:1155,w:251,h:21},
{t:"production period in August 2008. ",p:13,x:415,y:1178,w:258,h:21},
{t:"In 1987 the contact between the artists ",p:13,x:415,y:1201,w:287,h:21},
{t:"during the work was very important. ",p:13,x:415,y:1224,w:266,h:21},
{t:"Most of them were present in Lilleham-",p:13,x:415,y:1246,w:277,h:21},
{t:"mer for 3 weeks and this sparked many ",p:13,x:415,y:1269,w:289,h:21},
{t:"discussions about art. As organizers we ",p:13,x:415,y:1292,w:290,h:21},
{t:"wanted this to happen again, and the ",p:13,x:415,y:1315,w:277,h:21},
{t:"two encounters in advance were ",p:13,x:415,y:1338,w:239,h:21},
{t:"a part of this. ",p:13,x:415,y:1361,w:100,h:21},
{t:"ProJekt",p:13,x:742,y:476,w:81,h:28},
{t:"Projekt zaprezentowany w pracach ",p:13,x:742,y:512,w:261,h:23},
{t:"przygotowawczych w marcu 2007 ",p:13,x:742,y:535,w:261,h:23},
{t:"obejmował: ",p:13,x:742,y:558,w:89,h:23},
{t:"• Prace 4 norweskich i 4 polskich ",p:13,x:742,y:603,w:251,h:23},
{t:"artystów w przestrzeni krajobrazowej ",p:13,x:742,y:626,w:277,h:23},
{t:"w kvitmannsberget. między nimi bylo ",p:13,x:742,y:649,w:277,h:23},
{t:"czworo weteranów: marit arnekleiv, ",p:13,x:742,y:672,w:268,h:23},
{t:"Jan Berdyszak, egil martin kurdøl i ",p:13,x:742,y:695,w:259,h:23},
{t:"teresa murak.",p:13,x:742,y:718,w:103,h:23},
{t:"• Prace 4 norweskich i 4 polskich ",p:13,x:742,y:764,w:251,h:23},
{t:"artstów w przestrzeni miejskiej w ",p:13,x:742,y:787,w:242,h:23},
{t:"centrum lillehammer.",p:13,x:742,y:810,w:151,h:23},
{t:"• Seminarium w tym samym czasie co ",p:13,x:742,y:855,w:282,h:23},
{t:"otwarcie wystawy we współpracy z ",p:13,x:742,y:878,w:263,h:23},
{t:"muzeum sztuki lillehammer.",p:13,x:742,y:901,w:205,h:23},
{t:"Pozniej liczba artystów została ",p:13,x:742,y:947,w:228,h:23},
{t:"zredukowana do 7 Polaków i 7 ",p:13,x:742,y:970,w:234,h:23},
{t:"Norwegów, gdy dwoje z zaproszonych ",p:13,x:742,y:993,w:295,h:23},
{t:"artystw nie chciało lub nie mogło ",p:13,x:742,y:1016,w:244,h:23},
{t:"wziąć udziału. artyści otrzymali ",p:13,x:742,y:1039,w:235,h:23},
{t:"wolnoś wyboru miejsca, w ktrym chcieli ",p:13,x:742,y:1062,w:291,h:23},
{t:"pracować.",p:13,x:742,y:1085,w:77,h:23},
{t:"okres realizacji w sierpniu 2008 został ",p:13,x:742,y:1130,w:292,h:23},
{t:"poprzedzony zjazdami artystów w ",p:13,x:742,y:1153,w:258,h:23},
{t:"lillehammer w październiku 2007 i w ",p:13,x:742,y:1176,w:280,h:23},
{t:"lutym 2008. w plenerze-1987 bardzo ",p:13,x:742,y:1199,w:286,h:23},
{t:"ważne były bieżące kontakty między ",p:13,x:742,y:1222,w:274,h:23},
{t:"artystami. większość była obecna w ",p:13,x:742,y:1245,w:271,h:23},
{t:"lillehammer przez 3 tygodnie, gdzie ",p:13,x:742,y:1268,w:271,h:23},
{t:"miało miejsce wiele dyskusji o sztuce. ",p:13,x:742,y:1291,w:275,h:23},
{t:"intencją organizatorow było aby ",p:13,x:742,y:1314,w:242,h:23},
{t:"osiągnać to ponownie, więc te dwa ",p:13,x:742,y:1337,w:264,h:23},
{t:"rolę ogniwa łaczącego.",p:13,x:742,y:1359,w:173,h:23},
{t:"Photos: Per Erik Fonkalsrud",p:13,x:1015,y:397,w:151,h:16},
{t:"14",p:14,x:116,y:1465,w:15,h:16},
{t:"The project contains 14 works. These ",p:14,x:533,y:144,w:271,h:21},
{t:"were taken down in the end of ",p:14,x:533,y:167,w:225,h:21},
{t:"September 2008 except for two works ",p:14,x:533,y:190,w:285,h:21},
{t:"in the forest which will stay for the time ",p:14,x:533,y:213,w:284,h:21},
{t:"being. There were 3 works in the forest, ",p:14,x:533,y:236,w:290,h:21},
{t:"one project with one part in the forest ",p:14,x:533,y:259,w:276,h:21},
{t:"and one part in the city (Arnekleiv) ",p:14,x:533,y:282,w:256,h:21},
{t:"and 10 works in the city. Of these 10, ",p:14,x:533,y:305,w:277,h:21},
{t:"three works were indoors and three ",p:14,x:533,y:328,w:261,h:21},
{t:"works were visible in the public space ",p:14,x:533,y:350,w:278,h:21},
{t:"outdoors. There were two performances ",p:14,x:533,y:373,w:293,h:21},
{t:"outdoors and one music set. And fnally ",p:14,x:533,y:396,w:290,h:21},
{t:"one conceptual work with a visual ",p:14,x:533,y:419,w:251,h:21},
{t:"reminder on a facade (Jabłońska). ",p:14,x:533,y:441,w:254,h:23},
{t:"All in all a very widespread project ",p:14,x:533,y:465,w:259,h:21},
{t:"with numerous expressions. Those ",p:14,x:533,y:488,w:248,h:21},
{t:"who attended the entire opening day, ",p:14,x:533,y:511,w:277,h:21},
{t:"Saturday August 30th, got the whole ",p:14,x:533,y:534,w:272,h:21},
{t:"package.",p:14,x:533,y:557,w:68,h:21},
{t:"In October 2008 two of the works ",p:14,x:533,y:602,w:254,h:21},
{t:"were hired out to Oslo Airport at ",p:14,x:533,y:625,w:241,h:21},
{t:"gardermoen in connection with the ",p:14,x:533,y:648,w:261,h:21},
{t:"airports 10 year anniversary (Aas ",p:14,x:533,y:671,w:249,h:21},
{t:"and gilje). ",p:14,x:533,y:694,w:82,h:21},
{t:"A conference based on the project con-",p:14,x:533,y:740,w:286,h:21},
{t:"cept and the concrete works was held ",p:14,x:533,y:763,w:279,h:21},
{t:"Monday September 1st in Lillehammer ",p:14,x:533,y:786,w:285,h:21},
{t:"Art Museum. Director Ingrid Blekastad ",p:14,x:533,y:809,w:282,h:21},
{t:"at Kunstbanken in Hamar helped us ",p:14,x:533,y:832,w:262,h:21},
{t:"with the selection of lecturers and ",p:14,x:533,y:854,w:245,h:21},
{t:"acted as moderator. The fve lecturers ",p:14,x:533,y:877,w:275,h:21},
{t:"were asked to talk about the theme ",p:14,x:533,y:900,w:258,h:21},
{t:"“Art outside the institutions” and it was ",p:14,x:533,y:923,w:281,h:21},
{t:"a precondition that the lectures were ",p:14,x:533,y:946,w:268,h:21},
{t:"to be printed in the catalogue. These ",p:14,x:533,y:969,w:269,h:21},
{t:"are reproduced here with the authors ",p:14,x:533,y:992,w:274,h:21},
{t:"consent. ",p:14,x:533,y:1015,w:64,h:21},
{t:"Plener zaowocował 14 pracami. ",p:14,x:860,y:141,w:241,h:23},
{t:"zostały one zdemontowane w końcu ",p:14,x:860,y:163,w:271,h:23},
{t:"wrzesnia, z wyjątkiem dwóch prac ",p:14,x:860,y:186,w:256,h:23},
{t:"w lesie, które zostały tam na czas ",p:14,x:860,y:209,w:247,h:23},
{t:"nieokreślony. zrealizowano 3 prace ",p:14,x:860,y:232,w:266,h:23},
{t:"w lesie, jedną składajacą się z ",p:14,x:860,y:255,w:226,h:23},
{t:"części leśnej i miejskiej (arnekleiv) i ",p:14,x:860,y:278,w:260,h:23},
{t:"dziesięć prac w przestrzeni miejskiej. ",p:14,x:860,y:301,w:272,h:23},
{t:"spośród nich trzy prace były do ",p:14,x:860,y:324,w:237,h:23},
{t:"oglądania w przestrzeni zamkniętej i ",p:14,x:860,y:347,w:272,h:23},
{t:"trzy w przestrzeni otwartej. Ponadto ",p:14,x:860,y:370,w:265,h:23},
{t:"dwa performance i jeden utwór ",p:14,x:860,y:393,w:234,h:23},
{t:"muzyczny. i na koniec jedna praca ",p:14,x:860,y:415,w:258,h:23},
{t:"konceptualna zawierająca w swoim ",p:14,x:860,y:438,w:266,h:23},
{t:"charakterze wizualne przypomnienie ",p:14,x:860,y:461,w:274,h:23},
{t:"na ścianie budynku (Jabłońska). tak ",p:14,x:860,y:484,w:266,h:23},
{t:"więc był to szeroko zakrojony projekt ",p:14,x:860,y:507,w:275,h:23},
{t:"o różnorodnych środkach wyrazu. ",p:14,x:860,y:530,w:253,h:23},
{t:"ci, którzy wytrwali przez cały dzień ",p:14,x:860,y:553,w:266,h:23},
{t:"otwarcia w sobotę 30.sierpnia mieli ",p:14,x:860,y:576,w:264,h:23},
{t:"możność zobaczyć to wszystko.",p:14,x:860,y:599,w:232,h:23},
{t:"Dwie z prac zostały w październiku ",p:14,x:860,y:645,w:266,h:23},
{t:"wypożyczone do Gardermoen,Portu ",p:14,x:860,y:668,w:270,h:23},
{t:"lotniczego oslo w związku z 10-leciem ",p:14,x:860,y:690,w:293,h:23},
{t:"lotniska (aas i Gilje).",p:14,x:860,y:713,w:150,h:23},
{t:"koncept i konkretne dzieła plenerowe ",p:14,x:860,y:759,w:278,h:23},
{t:"stały się punktem wyjścia do ",p:14,x:860,y:782,w:210,h:23},
{t:"seminarium, które odbyło się w ",p:14,x:860,y:805,w:229,h:23},
{t:"poniedziałek 1. sierpnia w muzeum ",p:14,x:860,y:828,w:265,h:23},
{t:"sztuki lillehammer. Dyrektor ",p:14,x:860,y:851,w:208,h:23},
{t:"kunstbanken w Hamar ingrid Blekastad ",p:14,x:860,y:874,w:291,h:23},
{t:"przyczyniła się znacząco do wyboru ",p:14,x:860,y:897,w:273,h:23},
{t:"uczestników dyskusji plenerowej i ",p:14,x:860,y:920,w:247,h:23},
{t:"poprowadzila seminarium. Poproszono ",p:14,x:860,y:942,w:288,h:23},
{t:"owych pięciu prelegentów by mówili ",p:14,x:860,y:965,w:270,h:23},
{t:"na temat sztuki poza instytucjami; ",p:14,x:860,y:988,w:246,h:23},
{t:"intencją było, że z czasem wydrukuje ",p:14,x:860,y:1011,w:276,h:23},
{t:"się te wypowiedzi w katalogu. zostały ",p:14,x:860,y:1034,w:282,h:23},
{t:"one zamieszczone za pozwoleniem ",p:14,x:860,y:1057,w:266,h:23},
{t:"autorów.",p:14,x:860,y:1080,w:63,h:23},
{t:"Prosjektet inneholder 14 arbeider. Disse ",p:14,x:206,y:144,w:292,h:21},
{t:"ble demontert i slutten av september ",p:14,x:206,y:167,w:266,h:21},
{t:"med unntak av to arbeider i skogen ",p:14,x:206,y:190,w:261,h:21},
{t:"som blir stående inntil videre. Det var 3 ",p:14,x:206,y:213,w:288,h:21},
{t:"arbeider i skogen, ett arbeid som hadde ",p:14,x:206,y:236,w:296,h:21},
{t:"en del i skogen og en i byen (Arnekleiv) ",p:14,x:206,y:258,w:293,h:21},
{t:"og ti arbeider i byrommet. Av disse var ",p:14,x:206,y:281,w:285,h:21},
{t:"tre arbeider innendørs og tre arbeider ",p:14,x:206,y:304,w:280,h:21},
{t:"synlige ute i byrommet. Det var videre ",p:14,x:206,y:327,w:278,h:21},
{t:"to performancer og ett musikksett. Og ",p:14,x:206,y:350,w:277,h:21},
{t:"til slutt ett arbeid som er konseptuelt i ",p:14,x:206,y:373,w:270,h:21},
{t:"sin karakter og som hadde en visuell ",p:14,x:206,y:396,w:268,h:21},
{t:"påminnelse på en husvegg (Jabłońska). ",p:14,x:206,y:418,w:290,h:23},
{t:"Altså et meget vidtfavnende prosjekt ",p:14,x:206,y:442,w:266,h:21},
{t:"med mangfoldige uttrykk. De som holdt ",p:14,x:206,y:465,w:289,h:21},
{t:"ut hele åpningsdagen lørdag ",p:14,x:206,y:488,w:216,h:21},
{t:"30. august fkk med seg alt dette. ",p:14,x:206,y:510,w:245,h:21},
{t:"To av arbeidene ble i oktober leid ut til ",p:14,x:206,y:556,w:285,h:21},
{t:"Oslo Lufthavn gardermoen i forbind-",p:14,x:206,y:579,w:267,h:21},
{t:"else med 10 års-jubileet for fyplassen ",p:14,x:206,y:602,w:277,h:21},
{t:"(Aas og gilje).",p:14,x:206,y:625,w:107,h:21},
{t:"Et seminar med utgangspunkt i ",p:14,x:206,y:671,w:225,h:21},
{t:"prosjektets konsept og konkrete verk ",p:14,x:206,y:694,w:265,h:21},
{t:"ble avholdt mandag 1. september i ",p:14,x:206,y:717,w:259,h:21},
{t:"Lillehammer Kunstmuseum. Direktør ",p:14,x:206,y:740,w:259,h:21},
{t:"Ingrid Blekastad ved Kunstbanken i ",p:14,x:206,y:763,w:259,h:21},
{t:"Hamar bidro sterkt til valg av innledere ",p:14,x:206,y:785,w:287,h:21},
{t:"og ledet seminaret. De fem innlederne ",p:14,x:206,y:808,w:280,h:21},
{t:"ble bedt om å snakke om temaet kunst ",p:14,x:206,y:831,w:282,h:21},
{t:"utenfor institusjonene og det var forutset-",p:14,x:206,y:854,w:290,h:21},
{t:"ningen at innledningene skulle trykkes ",p:14,x:206,y:877,w:278,h:21},
{t:"i katalogen i ettertid. Disse er gjengitt ",p:14,x:206,y:900,w:273,h:21},
{t:"med tillatelse fra forfatterne. ",p:14,x:206,y:923,w:207,h:21},
{t:"Photos: Per Erik Fonkalsrud",p:14,x:978,y:1439,w:151,h:16},
{t:"15",p:15,x:1136,y:1464,w:15,h:16},
{t:"ORgANISERINgEN AV UT-21",p:15,x:88,y:144,w:277,h:26},
{t:"UT-21 er organisert som et privat ",p:15,x:88,y:179,w:242,h:21},
{t:"prosjekt og er ikke registrert som ",p:15,x:88,y:201,w:239,h:21},
{t:"organisasjon eller stiftelse osv. ",p:15,x:88,y:224,w:222,h:21},
{t:"Disse tre personene har vært med ",p:15,x:88,y:247,w:248,h:21},
{t:"i prosjektledelsen:",p:15,x:88,y:270,w:129,h:21},
{t:"Prosjektleder: ",p:15,x:88,y:316,w:101,h:21},
{t:"Per Erik Fonkalsrud,",p:15,x:88,y:339,w:158,h:22},
{t:"sivilarkitekt, Lillehammer",p:15,x:88,y:362,w:173,h:21},
{t:"Assisterende pr.leder: ",p:15,x:88,y:385,w:160,h:21},
{t:"Arne Olav Moen, ",p:15,x:88,y:407,w:143,h:22},
{t:"landskapsarkitekt, Biristrand",p:15,x:88,y:431,w:201,h:21},
{t:"Medlem prosjektgruppa:",p:15,x:88,y:454,w:179,h:21},
{t:"John Anders Røislien, ",p:15,x:88,y:476,w:175,h:22},
{t:"sivilarkitekt, Lillehammer ",p:15,x:88,y:499,w:178,h:21},
{t:"Røislien trådte ut av prosjektledelsen ",p:15,x:88,y:545,w:267,h:21},
{t:"forsommeren 2008 pga. habilitets-",p:15,x:88,y:568,w:251,h:21},
{t:"konfikt.",p:15,x:88,y:591,w:54,h:21},
{t:"Prosjektet har vært idealistisk drevet ",p:15,x:88,y:637,w:261,h:21},
{t:"ved at ingen i prosjektledelsen (eller ",p:15,x:88,y:660,w:265,h:21},
{t:"andre frivillige) har mottatt honorar for ",p:15,x:88,y:683,w:282,h:21},
{t:"arbeidet. ",p:15,x:88,y:706,w:69,h:21},
{t:"Kurator i det første forprosjektet UT-20 ",p:15,x:88,y:751,w:282,h:21},
{t:"fra 2006 var Per Bjarne Boym, med ",p:15,x:88,y:774,w:264,h:21},
{t:"Janeke Meyer Utne og Heidi Eriksen ",p:15,x:88,y:797,w:268,h:21},
{t:"som kokuratorer. På polsk side var ",p:15,x:88,y:820,w:251,h:21},
{t:"Jan S. wojciechowski kurator. I det ",p:15,x:88,y:843,w:257,h:21},
{t:"reviderte forprosjektet fra 2007 var ",p:15,x:88,y:866,w:261,h:21},
{t:"Boym kunstnerisk rådgiver mens ",p:15,x:88,y:889,w:235,h:21},
{t:"wojciechowski fortsatte som kurator og ",p:15,x:88,y:912,w:290,h:21},
{t:"kontaktperson mot de polske kunst-",p:15,x:88,y:935,w:251,h:21},
{t:"nerne.",p:15,x:88,y:958,w:45,h:21},
{t:"Andre viktige parter har vært Kunstner--",p:15,x:88,y:1003,w:283,h:21},
{t:"senteret i Oppland ved Heidi Eriksen ",p:15,x:88,y:1026,w:270,h:21},
{t:"som har hatt ansvaret for informasjon ",p:15,x:88,y:1049,w:272,h:21},
{t:"og formidling og Lillehammer Kunstmu-",p:15,x:88,y:1072,w:280,h:21},
{t:"seum som har vært medarrangør for ",p:15,x:88,y:1095,w:267,h:21},
{t:"seminaret.",p:15,x:88,y:1118,w:73,h:21},
{t:"Prosjektet er fnansiert av Lillehammer ",p:15,x:88,y:1164,w:275,h:21},
{t:"kommune, Oppland fylkeskommune, ",p:15,x:88,y:1187,w:267,h:21},
{t:"den polske Ambassaden i Oslo, ",p:15,x:88,y:1210,w:235,h:21},
{t:"Det polske institutt i Stockholm, KORO, ",p:15,x:88,y:1233,w:283,h:21},
{t:"Norsk Kulturråd, Stiftelsen Fritt Ord, ",p:15,x:88,y:1255,w:261,h:21},
{t:"Hedmark og Oppland arkitektforen-",p:15,x:88,y:1278,w:260,h:21},
{t:"ing og fere private sponsorer. Mange ",p:15,x:88,y:1301,w:280,h:21},
{t:"frivillige i Lillehammer har bidratt med ",p:15,x:88,y:1324,w:276,h:21},
{t:"innsats i organisering og produksjon og ",p:15,x:88,y:1347,w:290,h:21},
{t:"prosjektet hadde ikke vært mulig uten ",p:15,x:88,y:1370,w:274,h:21},
{t:"dem! En særlig takk til Bodil Lundsten ",p:15,x:88,y:1393,w:273,h:21},
{t:"THE ORgANIZATION OF UT-21",p:15,x:415,y:144,w:289,h:26},
{t:"UT-21 is organized as a private project ",p:15,x:415,y:179,w:287,h:21},
{t:"and is not registered as an organization ",p:15,x:415,y:201,w:293,h:21},
{t:"or foundation etc. These three persons ",p:15,x:415,y:224,w:280,h:21},
{t:"have been participating in the manage-",p:15,x:415,y:247,w:285,h:21},
{t:"ment:",p:15,x:415,y:270,w:38,h:21},
{t:"Project manager: ",p:15,x:415,y:316,w:127,h:21},
{t:"Per Erik Fonkalsrud, ",p:15,x:415,y:339,w:163,h:22},
{t:"architect, Lillehammer",p:15,x:415,y:362,w:156,h:21},
{t:"Deputy project manager: ",p:15,x:415,y:385,w:186,h:21},
{t:"Arne Olav Moen, ",p:15,x:415,y:407,w:143,h:22},
{t:"landscape architect, Biristrand",p:15,x:415,y:431,w:218,h:21},
{t:"Member of the management: ",p:15,x:415,y:454,w:216,h:21},
{t:"John Anders Røislien, ",p:15,x:415,y:476,w:175,h:22},
{t:"architect, Lillehammer ",p:15,x:415,y:499,w:161,h:21},
{t:"Røislien left the management early in ",p:15,x:415,y:545,w:272,h:21},
{t:"the summer 2008 because of confict of ",p:15,x:415,y:568,w:293,h:21},
{t:"legal competence.",p:15,x:415,y:591,w:134,h:21},
{t:"The project has been administered on ",p:15,x:415,y:637,w:277,h:21},
{t:"a purely idealistic level as none of the ",p:15,x:415,y:660,w:278,h:21},
{t:"managers (or other volunteers) have ",p:15,x:415,y:683,w:267,h:21},
{t:"received any payment for their efforts. ",p:15,x:415,y:706,w:280,h:21},
{t:"curator in the frst preliminary project ",p:15,x:415,y:751,w:274,h:21},
{t:"UT-20 in 2006 was Per Bjarne Boym, ",p:15,x:415,y:774,w:276,h:21},
{t:"with Janeke Meyer Utne and ",p:15,x:415,y:797,w:213,h:21},
{t:"Heidi Eriksen as cocurators. On the ",p:15,x:415,y:820,w:259,h:21},
{t:"Polish side Jan S. wojciechowski acted ",p:15,x:415,y:843,w:286,h:21},
{t:"as curator. In the revised preliminary ",p:15,x:415,y:866,w:268,h:21},
{t:"project in 2007 Boym was artistic ",p:15,x:415,y:889,w:249,h:21},
{t:"advisor, whereas wojciechowski kept ",p:15,x:415,y:912,w:276,h:21},
{t:"on as curator and contact person ",p:15,x:415,y:935,w:245,h:21},
{t:"towards the Polish artists. ",p:15,x:415,y:958,w:184,h:21},
{t:"Important partners have been the Artists ",p:15,x:415,y:1003,w:294,h:21},
{t:"centre in Oppland county (KIO) repre-",p:15,x:415,y:1026,w:282,h:21},
{t:"sented by Heidi Eriksen, who has had ",p:15,x:415,y:1049,w:277,h:21},
{t:"the responsibility for information and ",p:15,x:415,y:1072,w:269,h:21},
{t:"public relations, and Lillehammer Art ",p:15,x:415,y:1095,w:269,h:21},
{t:"Museum which has been coorganizer ",p:15,x:415,y:1118,w:278,h:21},
{t:"of the conference. ",p:15,x:415,y:1141,w:135,h:21},
{t:"The project has been fnanced by Lille-",p:15,x:415,y:1187,w:277,h:21},
{t:"hammer municipality, Oppland county, ",p:15,x:415,y:1210,w:289,h:21},
{t:"The Polish Embassy in Oslo, The Polish ",p:15,x:415,y:1233,w:281,h:21},
{t:"Institute in Stockholm, Public Art ",p:15,x:415,y:1255,w:234,h:21},
{t:"Norway, Arts council Norway, the ",p:15,x:415,y:1278,w:258,h:21},
{t:"Freedom of Expression Foundation, ",p:15,x:415,y:1301,w:259,h:21},
{t:"Hedmark and Oppland architects ",p:15,x:415,y:1324,w:249,h:21},
{t:"union, and several private sponsors. ",p:15,x:415,y:1347,w:264,h:21},
{t:"Many volunteers in Lillehammer have ",p:15,x:415,y:1370,w:273,h:21},
{t:"contributed with their efforts in the or-",p:15,x:415,y:1393,w:269,h:21},
{t:"orGaNizacJa Ut-21",p:15,x:742,y:142,w:204,h:28},
{t:"Ut-21 jest zorganizowane ",p:15,x:742,y:177,w:191,h:23},
{t:"jako prywatny projekt i nie jest ",p:15,x:742,y:200,w:225,h:23},
{t:"zarejestrowane jako organizacja lub ",p:15,x:742,y:223,w:270,h:23},
{t:"fundacja itp. oto trzy osoby które ",p:15,x:742,y:246,w:249,h:23},
{t:"weszły w skład kierownictwa pleneru:",p:15,x:742,y:269,w:273,h:23},
{t:"kierujący plenerem: ",p:15,x:742,y:315,w:149,h:23},
{t:"Per erik fonkalsrud, ",p:15,x:742,y:337,w:163,h:24},
{t:"architekt, lillehammer",p:15,x:742,y:360,w:155,h:23},
{t:"asystent do spraw mediow: ",p:15,x:742,y:383,w:203,h:23},
{t:"arne olav moen, ",p:15,x:742,y:406,w:143,h:24},
{t:"architekt pejzazu, Biristrand",p:15,x:742,y:429,w:200,h:23},
{t:"członkowie grupy projektowej: ",p:15,x:742,y:452,w:230,h:23},
{t:"John anders røislien, ",p:15,x:742,y:474,w:176,h:24},
{t:"architekt, lillehammer",p:15,x:742,y:498,w:155,h:23},
{t:"røislien wycofał się z projektu ",p:15,x:742,y:544,w:223,h:23},
{t:"wczesnym latem 2008 z powodu ",p:15,x:742,y:567,w:248,h:23},
{t:"sprzeczności interesów.",p:15,x:742,y:589,w:170,h:23},
{t:"Prace związane z projektem były ",p:15,x:742,y:635,w:246,h:23},
{t:"prowadzone „idealistycznie”, ",p:15,x:742,y:658,w:219,h:23},
{t:"nikt z organizatorów (lub innych ",p:15,x:742,y:681,w:238,h:23},
{t:"społeczników) nie otrzymał honorarium ",p:15,x:742,y:704,w:291,h:23},
{t:"za swoją pracę.",p:15,x:742,y:727,w:116,h:23},
{t:"kuratorem wstępnego projektu Ut-21 ",p:15,x:742,y:773,w:274,h:23},
{t:"od 2006 był Per Bjarne Boym, a ",p:15,x:742,y:796,w:241,h:23},
{t:"kuratorami wspomagającymi Janeke ",p:15,x:742,y:819,w:269,h:23},
{t:"meyer Utne i Heidi eriksen. ",p:15,x:742,y:842,w:203,h:23},
{t:"z polskiej strony kuratorem był Jan s. ",p:15,x:742,y:864,w:273,h:23},
{t:"wojciechowski. w zrewidowanym ",p:15,x:742,y:887,w:255,h:23},
{t:"wstępnym projekcie z 2007 Boym ",p:15,x:742,y:910,w:253,h:23},
{t:"był doradcą artystycznym, natomiast ",p:15,x:742,y:933,w:270,h:23},
{t:"wojciechowski kontynuował jako ",p:15,x:742,y:956,w:245,h:23},
{t:"kurator oraz osoba kontaktowa polskich ",p:15,x:742,y:979,w:296,h:23},
{t:"artystów. ",p:15,x:742,y:1002,w:69,h:23},
{t:"innymi ważnymi partnerami było ",p:15,x:742,y:1048,w:241,h:23},
{t:"centrum sztuki w oppland pod ",p:15,x:742,y:1071,w:236,h:23},
{t:"kierownictwem Heidi eriksen, ",p:15,x:742,y:1094,w:215,h:23},
{t:"odpowiedzialnej za informację i ",p:15,x:742,y:1116,w:239,h:23},
{t:"upowszechnianie oraz muzeum ",p:15,x:742,y:1139,w:237,h:23},
{t:"sztuki lillehammer będące ",p:15,x:742,y:1162,w:198,h:23},
{t:"współorganizatorem seminarium.",p:15,x:742,y:1185,w:240,h:23},
{t:"Projekt jest fnansowany przez ",p:15,x:742,y:1231,w:223,h:23},
{t:"gminę lillehammer, województwo ",p:15,x:742,y:1254,w:250,h:23},
{t:"oppland, Polską ambasadę w oslo, ",p:15,x:742,y:1277,w:271,h:23},
{t:"Polski instytut w sztokholmie, koro, ",p:15,x:742,y:1300,w:271,h:23},
{t:"Norweską radę kultury, Fundację ",p:15,x:742,y:1323,w:252,h:23},
{t:"wolne słowo, związek architektów ",p:15,x:742,y:1346,w:263,h:23},
{t:"Hedmark i oppland oraz wielu ",p:15,x:742,y:1369,w:233,h:23},
{t:"sponsorów prywatnych. wiele osób ",p:15,x:742,y:1391,w:266,h:23},
{t:"16",p:16,x:116,y:1465,w:15,h:16},
{t:"Buchacz som har bistått som tolk for ",p:16,x:206,y:144,w:265,h:21},
{t:"polakkene og som har bistått Elżbieta ",p:16,x:206,y:166,w:277,h:23},
{t:"Jabłonska med hennes prosjekt. Også ",p:16,x:206,y:189,w:279,h:23},
{t:"en stor takk til Morten Engh som bidro ",p:16,x:206,y:213,w:280,h:21},
{t:"vesentlig med bevertningen under sam-",p:16,x:206,y:236,w:281,h:21},
{t:"ling 1 og 2 og senere under realiserin-",p:16,x:206,y:259,w:278,h:21},
{t:"gen av prosjektene i skogen.",p:16,x:206,y:282,w:207,h:21},
{t:"SPIN-OFF PROSJEKT I POLEN",p:16,x:206,y:328,w:220,h:21},
{t:"Spin-off prosjekt i Polen I februar 2008 ",p:16,x:206,y:359,w:287,h:21},
{t:"ble det lansert et Kulturutvekslingsfond ",p:16,x:206,y:382,w:280,h:21},
{t:"som skal støtte kulturell utveksling i form ",p:16,x:206,y:405,w:289,h:21},
{t:"av samarbeidsprosjekter mellom polske ",p:16,x:206,y:428,w:289,h:21},
{t:"søkere og deres partnere fra Norge, ",p:16,x:206,y:450,w:269,h:21},
{t:"Island eller Liechtenstein. Våren 2008 ",p:16,x:206,y:473,w:272,h:21},
{t:"ble det inngått en avtale om et part-",p:16,x:206,y:496,w:258,h:21},
{t:"nerskap mellom det statlige polske ",p:16,x:206,y:519,w:253,h:21},
{t:"skulptursenteret i Orońsko og Kunstner-",p:16,x:206,y:541,w:280,h:23},
{t:"senteret i Oppland med sikte på å ",p:16,x:206,y:565,w:251,h:21},
{t:"søke om midler fra Kulturutvekslings-",p:16,x:206,y:588,w:260,h:21},
{t:"fondet til et oppfølgingsprosjekt i Polen ",p:16,x:206,y:611,w:285,h:21},
{t:"i 2008-09. Per B. Boym skulle være ",p:16,x:206,y:634,w:262,h:21},
{t:"kurator på norsk side og alle kunstnerne ",p:16,x:206,y:657,w:294,h:21},
{t:"i UT-21 skulle inviteres. ",p:16,x:206,y:680,w:168,h:21},
{t:"I juni 2009 ser det ut til at oppfølgings-",p:16,x:206,y:725,w:282,h:21},
{t:"prosjektet i Polen blir fnansier t, med ",p:16,x:206,y:748,w:251,h:21},
{t:"gjennomføring i 2009–2010. ",p:16,x:206,y:771,w:220,h:21},
{t:"Oppland fylkeskommune blir partner ",p:16,x:206,y:794,w:271,h:21},
{t:"på norsk side.",p:16,x:206,y:817,w:101,h:21},
{t:"Lillehammer, juni 2009",p:16,x:206,y:863,w:167,h:21},
{t:"Per Erik Fonkalsrud",p:16,x:206,y:886,w:137,h:21},
{t:"Prosjektleder",p:16,x:206,y:909,w:93,h:21},
{t:"ganizing and production of the project, ",p:16,x:533,y:144,w:288,h:21},
{t:"and the project had not been possible ",p:16,x:533,y:167,w:280,h:21},
{t:"without them! A special thanks to Bodil ",p:16,x:533,y:190,w:284,h:21},
{t:"Lundsten Buchacz who has been an ",p:16,x:533,y:213,w:264,h:21},
{t:"interpreter for the Poles and who has ",p:16,x:533,y:236,w:270,h:21},
{t:"helped Elżbieta Jabłonska with her ",p:16,x:533,y:258,w:256,h:23},
{t:"project. And a big thanks to Morten ",p:16,x:533,y:282,w:264,h:21},
{t:"Engh who took responsibility for the ",p:16,x:533,y:304,w:263,h:21},
{t:"catering during the two early encoun-",p:16,x:533,y:327,w:271,h:21},
{t:"ters and later during the realization of ",p:16,x:533,y:350,w:278,h:21},
{t:"the projects in the forest. ",p:16,x:533,y:373,w:180,h:21},
{t:"SPIN-OFF PROJEcT IN POLAND",p:16,x:533,y:419,w:241,h:21},
{t:"In February 2008 a cultural Exchange ",p:16,x:533,y:450,w:287,h:21},
{t:"Fund was launched, which is meant ",p:16,x:533,y:473,w:261,h:21},
{t:"to support cultural exchange through ",p:16,x:533,y:496,w:271,h:21},
{t:"partnership projects between Polish ap-",p:16,x:533,y:519,w:283,h:21},
{t:"plicants and their partners in Norway, ",p:16,x:533,y:542,w:280,h:21},
{t:"Iceland or Lichtenstein. In spring 2008 ",p:16,x:533,y:565,w:284,h:21},
{t:"a partnership agreement was signed ",p:16,x:533,y:588,w:269,h:21},
{t:"between the National Polish Sculpture ",p:16,x:533,y:611,w:280,h:21},
{t:"centre in Orońsko and the Artists centre ",p:16,x:533,y:633,w:293,h:23},
{t:"in Oppland county. The intention was ",p:16,x:533,y:656,w:278,h:21},
{t:"to make an application to the cultural ",p:16,x:533,y:679,w:278,h:21},
{t:"Exchange Fund for a spin-off project in ",p:16,x:533,y:702,w:283,h:21},
{t:"Poland in 2008-09. Per B. Boym would ",p:16,x:533,y:725,w:289,h:21},
{t:"be curator on the Norwegian side and ",p:16,x:533,y:748,w:285,h:21},
{t:"all the artists in UT-21 would be invited. ",p:16,x:533,y:771,w:289,h:21},
{t:"In June 2009 it looks like the spin-off ",p:16,x:533,y:817,w:269,h:21},
{t:"project in Poland will be fnanced, ",p:16,x:533,y:840,w:251,h:21},
{t:"for implementation in 2009–2010. ",p:16,x:533,y:863,w:257,h:21},
{t:"Oppland county Authority will be the ",p:16,x:533,y:886,w:277,h:21},
{t:"Norwegian partner.",p:16,x:533,y:909,w:145,h:21},
{t:"Lillehammer, June 2009 ",p:16,x:533,y:963,w:179,h:21},
{t:"Per Erik Fonkalsrud",p:16,x:533,y:986,w:137,h:21},
{t:"Project manager ",p:16,x:533,y:1009,w:123,h:21},
{t:"w lillehammer zaangażowało się ",p:16,x:860,y:143,w:247,h:23},
{t:"społecznie wkładając dużo wysiłków w ",p:16,x:860,y:165,w:292,h:23},
{t:"organizację, bez nich przedsięwzięcie ",p:16,x:860,y:188,w:284,h:23},
{t:"byłoby niemożliwe. szczególne ",p:16,x:860,y:211,w:235,h:23},
{t:"podziękowanie należy się Bodil ",p:16,x:860,y:234,w:236,h:23},
{t:"lundsten Buchacz, która pomagała ",p:16,x:860,y:257,w:260,h:23},
{t:"Polakom jako tłumacz, a elżbiecie ",p:16,x:860,y:280,w:251,h:23},
{t:"Jabłońskiej w jej projekcie. ogromne ",p:16,x:860,y:303,w:273,h:23},
{t:"podziękowanie również dla morten ",p:16,x:860,y:326,w:266,h:23},
{t:"engh, który znacząco przysłużyl się ",p:16,x:860,y:349,w:264,h:23},
{t:"do ugoszczenia 1 i 2 zjazdu, a także ",p:16,x:860,y:372,w:277,h:23},
{t:"później podczas realizacji projektu w ",p:16,x:860,y:395,w:277,h:23},
{t:"lesie.",p:16,x:860,y:417,w:36,h:23},
{t:"sPiN-oFF ProJekt w Polsce",p:16,x:860,y:463,w:231,h:23},
{t:"w lutym 2008 wylansowano Fundusz ",p:16,x:860,y:495,w:281,h:23},
{t:"wymiany kulturalnej, który ma ",p:16,x:860,y:517,w:228,h:23},
{t:"wesprzeć wymianę kulturalną w formie ",p:16,x:860,y:540,w:287,h:23},
{t:"projektów współpracy między polskimi ",p:16,x:860,y:563,w:286,h:23},
{t:"wnioskodawcami i ich partnerami z ",p:16,x:860,y:586,w:261,h:23},
{t:"Norwegii, islandii czy lichtenstein.",p:16,x:860,y:609,w:250,h:23},
{t:"wiosną 2008 została zawarta ",p:16,x:860,y:632,w:231,h:23},
{t:"umowa o partnerstwie między polskim ",p:16,x:860,y:655,w:283,h:23},
{t:"państwowym centrum rzeźby w ",p:16,x:860,y:678,w:241,h:23},
{t:"orońsku a centrum sztuki w oppland ",p:16,x:860,y:701,w:283,h:23},
{t:"w celu uzyskania środków z Funduszu ",p:16,x:860,y:724,w:281,h:23},
{t:"wymiany kulturalnej dla kontynuacji ",p:16,x:860,y:747,w:270,h:23},
{t:"projektu w Polsce w 2008-9. ",p:16,x:860,y:769,w:213,h:23},
{t:"Per B. Boym byłby kuratorem ze strony ",p:16,x:860,y:792,w:283,h:23},
{t:"norweskiej,  wszyscy artyści z Ut-21 ",p:16,x:860,y:815,w:268,h:23},
{t:"byliby zaproszeni.",p:16,x:860,y:838,w:133,h:23},
{t:"w czerwcu 2009 wygląda na ",p:16,x:860,y:884,w:228,h:23},
{t:"to, że zostanie sfnansowana ",p:16,x:860,y:907,w:214,h:23},
{t:"kontynuacja projektu w Polsce. Projekt ",p:16,x:860,y:930,w:280,h:23},
{t:"zostanie przeprowadzony w latach ",p:16,x:860,y:953,w:261,h:23},
{t:"2009–2010. Partnerem ze strony ",p:16,x:860,y:976,w:248,h:23},
{t:"norweskiej będzie Urząd wojewódzki ",p:16,x:860,y:999,w:284,h:23},
{t:"oppland. ",p:16,x:860,y:1022,w:75,h:23},
{t:"Lillehammer, Czerwiec 2009 r.",p:16,x:860,y:1068,w:224,h:22},
{t:"Per Erik Fonkalsrud",p:16,x:860,y:1091,w:137,h:22},
{t:"Kierujący plenerem ",p:16,x:860,y:1114,w:143,h:22},
{t:"17",p:17,x:1136,y:1464,w:15,h:16},
{t:"   Janusz bałdyga",p:17,x:112,y:1137,w:141,h:24},
{t:"   elzbieta Jabłońska",p:17,x:112,y:1174,w:163,h:24},
{t:"   teresa murak",p:17,x:112,y:1211,w:124,h:24},
{t:"   victoria Pihl Lind",p:17,x:110,y:1236,w:151,h:42},
{t:"   Maciej Kurak|Max Skorwider",p:17,x:112,y:1287,w:255,h:22},
{t:"1",p:17,x:95,y:1132,w:10,h:22},
{t:"2",p:17,x:95,y:1169,w:10,h:22},
{t:"3",p:17,x:95,y:1206,w:10,h:22},
{t:"4",p:17,x:93,y:1244,w:10,h:22},
{t:"   Marte Aas",p:17,x:112,y:1323,w:98,h:22},
{t:"       Egil  Martin Kurdøl  ",p:17,x:418,y:1286,w:192,h:22},
{t:"       Marit Arnekleiv",p:17,x:418,y:1323,w:157,h:22},
{t:"       Hc gilje",p:17,x:415,y:1360,w:98,h:22},
{t:"   Leszek golec|Tatiana czekalska",p:17,x:112,y:1360,w:274,h:22},
{t:"   Oskar dawicki",p:17,x:438,y:1138,w:132,h:22},
{t:"   Marit Arnekleiv",p:17,x:112,y:1396,w:138,h:22},
{t:"   Jan Berdyszak",p:17,x:438,y:1174,w:131,h:22},
{t:"       grim Erland Lyng Svingen",p:17,x:420,y:1201,w:241,h:22},
{t:"Anna widén",p:17,x:452,y:1250,w:101,h:22},
{t:"6",p:17,x:95,y:1317,w:10,h:22},
{t:"B",p:17,x:421,y:1287,w:10,h:22},
{t:"c",p:17,x:421,y:1323,w:11,h:22},
{t:"d",p:17,x:420,y:1360,w:12,h:22},
{t:"7",p:17,x:95,y:1354,w:10,h:22},
{t:"9",p:17,x:421,y:1132,w:10,h:22},
{t:"8",p:17,x:95,y:1390,w:10,h:22},
{t:"10",p:17,x:416,y:1168,w:21,h:22},
{t:"A ",p:17,x:420,y:1251,w:17,h:22},
{t:"5",p:17,x:95,y:1281,w:10,h:22},
{t:"d",p:17,x:724,y:443,w:25,h:44},
{t:"18",p:18,x:116,y:1465,w:15,h:16},
{t:"JaNusz bałdyga",p:18,x:206,y:429,w:434,h:71},
{t:"19",p:19,x:1136,y:1464,w:15,h:16},
{t:"ostroŻNie szkŁo  ",p:19,x:742,y:707,w:267,h:38},
{t:"Napięcie tej rzeźby tworzy się na styku ",p:19,x:742,y:765,w:290,h:23},
{t:"jej rewersu i awersu. Przeciwstawione ",p:19,x:742,y:788,w:277,h:23},
{t:"formalnie obrazy budują sens siłą ",p:19,x:742,y:810,w:249,h:23},
{t:"wzajemnej opozycji. czarna tablica ",p:19,x:742,y:833,w:267,h:23},
{t:"opatrzona napisem ostroŻNie ",p:19,x:742,y:856,w:245,h:23},
{t:"szkŁo jest drugą stroną naszpikowanej ",p:19,x:742,y:879,w:295,h:23},
{t:"czterometrowymi strzałami tarczy.",p:19,x:742,y:902,w:245,h:23},
{t:"Belki – strzały kierowane ku tarczy ",p:19,x:742,y:925,w:255,h:23},
{t:"tworzą znaki rzutów chybionych, ",p:19,x:742,y:948,w:244,h:23},
{t:"omijających cel jakim jest niewidoczna ",p:19,x:742,y:971,w:286,h:23},
{t:"sylweta drapieżnego ptaka.",p:19,x:742,y:994,w:202,h:23},
{t:"chybione minimalnie sytuują się na ",p:19,x:742,y:1017,w:259,h:23},
{t:"granicy niejako opisując znak – sygnał ",p:19,x:742,y:1040,w:287,h:23},
{t:"zagrożenia. znak zostaje odkryty ",p:19,x:742,y:1063,w:249,h:23},
{t:"dzięki serii pięćdziesięciu agresywnych ",p:19,x:742,y:1085,w:289,h:23},
{t:"rzutów . rzuty ch ybione kr eują gr anice/ ",p:19,x:742,y:1108,w:270,h:23},
{t:"kontur przedmiotu ataku. Polem ",p:19,x:742,y:1131,w:232,h:23},
{t:"poszukiwanego sensu staje się realność ",p:19,x:742,y:1154,w:292,h:23},
{t:"poza naszym zasięgiem. odkrywanie ",p:19,x:742,y:1177,w:281,h:23},
{t:"tego pola kojarzone ze spektakularną ",p:19,x:742,y:1200,w:281,h:23},
{t:"atrakcyjnością rzutu prawie – celnego ",p:19,x:742,y:1223,w:282,h:23},
{t:"stawia pytanie o miejsce zagrożonego ",p:19,x:742,y:1246,w:286,h:23},
{t:"niezidentyfkowanego szkŁa.",p:19,x:742,y:1269,w:217,h:23},
{t:"BE cAREFUL – gLASS  ",p:19,x:415,y:709,w:295,h:36},
{t:"The tension of this sculpture originates ",p:19,x:415,y:766,w:278,h:21},
{t:"at the contact point of its averse and ",p:19,x:415,y:789,w:267,h:21},
{t:"reverse. The formally contrasted images ",p:19,x:415,y:812,w:291,h:21},
{t:"build up the meaning by a force of ",p:19,x:415,y:835,w:256,h:21},
{t:"mutual opposition.",p:19,x:415,y:858,w:132,h:21},
{t:"The blackboard bearing the inscription ",p:19,x:415,y:881,w:285,h:21},
{t:"BE cAREFUL – gLASS is the other side ",p:19,x:415,y:904,w:287,h:21},
{t:"of the target stuffed with arrows which ",p:19,x:415,y:927,w:280,h:21},
{t:"are four meters long. The beams – ",p:19,x:415,y:950,w:252,h:21},
{t:"arrows aiming at the target form a ",p:19,x:415,y:973,w:251,h:21},
{t:"record of the missed throws, which did ",p:19,x:415,y:995,w:282,h:21},
{t:"not reach the aim constituted by an ",p:19,x:415,y:1018,w:258,h:21},
{t:"invisible but felt silhouette of a bird of ",p:19,x:415,y:1041,w:274,h:21},
{t:"prey. Having been minimally missed, ",p:19,x:415,y:1064,w:269,h:21},
{t:"they situate themselves on the border; ",p:19,x:415,y:1087,w:276,h:21},
{t:"describe the sign – the signal of a ",p:19,x:415,y:1110,w:248,h:21},
{t:"danger. The sign gets discovered as a ",p:19,x:415,y:1133,w:278,h:21},
{t:"result of a series of ffty aggressive and ",p:19,x:415,y:1156,w:286,h:21},
{t:"missed throws. The minimally missed ",p:19,x:415,y:1179,w:265,h:21},
{t:"throws form the boundaries; defne the ",p:19,x:415,y:1202,w:282,h:21},
{t:"contour of an object of attack.",p:19,x:415,y:1225,w:218,h:21},
{t:"The reality beyond the reach of our ",p:19,x:415,y:1248,w:259,h:21},
{t:"imperfect instruments becomes an area ",p:19,x:415,y:1270,w:287,h:21},
{t:"of the investigated meaning.",p:19,x:415,y:1293,w:204,h:21},
{t:"Discovering this area, associated with ",p:19,x:415,y:1316,w:277,h:21},
{t:"the spectacular attractiveness of the ",p:19,x:415,y:1339,w:262,h:21},
{t:"almost well-aimed throws, leads to a ",p:19,x:415,y:1362,w:266,h:21},
{t:"question on a place of the endangered ",p:19,x:415,y:1385,w:288,h:21},
{t:"unidentifed gLASS.",p:19,x:415,y:1408,w:145,h:21},
{t:"FORSIKTIg – gLASS  ",p:19,x:88,y:709,w:281,h:36},
{t:"Spenningen i denne skulpturen ligger ",p:19,x:88,y:766,w:274,h:21},
{t:"i møtet mellom fronten og baksiden. ",p:19,x:88,y:789,w:263,h:21},
{t:"De formelt kontrasterende bildene ",p:19,x:88,y:812,w:250,h:21},
{t:"konstituerer mening gjennom kreftene i ",p:19,x:88,y:835,w:283,h:21},
{t:"gjensidig opposisjon. ",p:19,x:88,y:858,w:157,h:21},
{t:"Den svarte tavla som bærer skriften ",p:19,x:88,y:881,w:260,h:21},
{t:"BE cAREFUL – gLASS er den andre ",p:19,x:88,y:904,w:268,h:21},
{t:"siden av blinken som er pepret med fre ",p:19,x:88,y:927,w:289,h:21},
{t:"meter lange piler. Lektene – pilene – ",p:19,x:88,y:950,w:268,h:21},
{t:"rettet mot blinken, danner en opptegn-",p:19,x:88,y:973,w:275,h:21},
{t:"ing av de kastene som bommet, de ",p:19,x:88,y:995,w:257,h:21},
{t:"som unngikk målet, som dannes av en ",p:19,x:88,y:1018,w:278,h:21},
{t:"usynlig silhuett av en rovfugl. ",p:19,x:88,y:1041,w:212,h:21},
{t:"Med sine nesten-treff plasserer de seg ",p:19,x:88,y:1064,w:278,h:21},
{t:"på grensen, beskriver tegnet – ikonet for ",p:19,x:88,y:1087,w:295,h:21},
{t:"fare. Tegnet oppdages takket være en ",p:19,x:88,y:1110,w:280,h:21},
{t:"serie aggressive bomkast. Bomkastene ",p:19,x:88,y:1133,w:282,h:21},
{t:"tegner grensene; defnerer konturen av ",p:19,x:88,y:1156,w:284,h:21},
{t:"objektet for angrep. Realiteten utenfor ",p:19,x:88,y:1179,w:278,h:21},
{t:"rekkevidden av våre mangelfulle ",p:19,x:88,y:1202,w:240,h:21},
{t:"redskaper blir et område for den utfor-",p:19,x:88,y:1225,w:276,h:21},
{t:"skede mening. Når vi oppdager dette ",p:19,x:88,y:1248,w:278,h:21},
{t:"området, som assosieres med attraktiv-",p:19,x:88,y:1270,w:277,h:21},
{t:"iteten til de nesten vellykkede kastene, ",p:19,x:88,y:1293,w:279,h:21},
{t:"ledes vi til spørsmålet om en plass for ",p:19,x:88,y:1316,w:274,h:21},
{t:"det truede, uidentifserte gLASSET.",p:19,x:88,y:1339,w:252,h:21},
{t:"20",p:20,x:115,y:1465,w:15,h:16},
{t:"21",p:21,x:1136,y:1464,w:15,h:16},
{t:"oszukaNy – ocaloNy  2008",p:21,x:742,y:143,w:256,h:24},
{t:"sylwetę drapieżnego ptaka ",p:21,x:742,y:189,w:205,h:23},
{t:"umieszczoną na płaszczyźnie kruchego ",p:21,x:742,y:212,w:294,h:23},
{t:"szkła traktuję jako ikonę zagrożenia.",p:21,x:742,y:235,w:265,h:23},
{t:"ostrzeżenie przed rozbiciem ",p:21,x:742,y:281,w:216,h:23},
{t:"się o niewidzialną przeszkodę ",p:21,x:742,y:304,w:225,h:23},
{t:"zastąpiono ikoną fałszywego ",p:21,x:742,y:326,w:217,h:23},
{t:"zagrożenia, odpowiedzialność za ",p:21,x:742,y:349,w:254,h:23},
{t:"niebezpieczeństwo ulokowano w ",p:21,x:742,y:372,w:246,h:23},
{t:"obszarze fkcji.",p:21,x:742,y:395,w:108,h:23},
{t:"konsekwencją mistyfkacji jest ocale-",p:21,x:742,y:418,w:263,h:23},
{t:"nie. odczytanie iluzorycznego znaku ",p:21,x:742,y:441,w:277,h:23},
{t:"i wpisanie go w realność życia daje ",p:21,x:742,y:464,w:266,h:23},
{t:"gwarancję  ratunku.",p:21,x:742,y:487,w:144,h:23},
{t:"zrównanie nieruchomego, płaskiego ",p:21,x:742,y:510,w:271,h:23},
{t:"wizerunku z dynamiczną, przestrzenną ",p:21,x:742,y:533,w:288,h:23},
{t:"realnością wolnego, dzikiego ptaka to ",p:21,x:742,y:556,w:283,h:23},
{t:"w rzeczywistości udział w powszechnej ",p:21,x:742,y:578,w:292,h:23},
{t:"mistyfkacji. zapewne usprawiedliwia ją ",p:21,x:742,y:601,w:293,h:23},
{t:"intencja uniknięcia katastrofy.",p:21,x:742,y:624,w:211,h:23},
{t:"oszukany unika śmiertelnej kolizji – ",p:21,x:742,y:647,w:263,h:23},
{t:"ceną jest fałszywa świadomość.",p:21,x:742,y:670,w:231,h:23},
{t:"oszukany ptak nie rozbija się twardą ",p:21,x:742,y:693,w:276,h:23},
{t:"szybę.",p:21,x:742,y:716,w:46,h:23},
{t:"cHEATEd – REScUEd 2008",p:21,x:415,y:144,w:218,h:22},
{t:"  ",p:21,x:415,y:167,w:9,h:21},
{t:"I treat the silhouette of a bird of pray ",p:21,x:415,y:190,w:269,h:21},
{t:"positioned on the surface of a fragile ",p:21,x:415,y:213,w:272,h:21},
{t:"glass as an icon of danger.",p:21,x:415,y:236,w:196,h:21},
{t:"A warning against crashing into an ",p:21,x:415,y:282,w:258,h:21},
{t:"invisible obstacle has been replaced by ",p:21,x:415,y:304,w:291,h:21},
{t:"an icon of a false danger, the responsi-",p:21,x:415,y:327,w:281,h:21},
{t:"bility for the danger has been placed in ",p:21,x:415,y:350,w:291,h:21},
{t:"the sphere of fction. ",p:21,x:415,y:373,w:150,h:21},
{t:"The consequence of the mystifcation ",p:21,x:415,y:396,w:269,h:21},
{t:"is salvation. The reading of the illusory ",p:21,x:415,y:419,w:281,h:21},
{t:"sign and implementing it into the reality ",p:21,x:415,y:442,w:287,h:21},
{t:"of life guarantees a rescue.",p:21,x:415,y:465,w:196,h:21},
{t:"Through putting a sign of equality ",p:21,x:415,y:488,w:247,h:21},
{t:"between the still, fat image and the ",p:21,x:415,y:511,w:261,h:21},
{t:"dynamic spatial reality of the wild bird, ",p:21,x:415,y:534,w:286,h:21},
{t:"is in reality taking part in a common ",p:21,x:415,y:557,w:263,h:21},
{t:"mystifcation. Probably the intention of ",p:21,x:415,y:579,w:278,h:21},
{t:"avoiding a catastrophe justifes it.",p:21,x:415,y:602,w:240,h:21},
{t:"The cheated avoids a deathly collision ",p:21,x:415,y:625,w:282,h:21},
{t:"– the price is a false consciousness.",p:21,x:415,y:648,w:255,h:21},
{t:"A cheated bird does not crash into the ",p:21,x:415,y:671,w:281,h:21},
{t:"hard glass.",p:21,x:415,y:694,w:79,h:21},
{t:"LURT – REddET 2008",p:21,x:88,y:144,w:168,h:22},
{t:"Jeg behandler silhuetten av en rovfugl, ",p:21,x:88,y:190,w:283,h:21},
{t:"plassert på en skjør glassplate, som et ",p:21,x:88,y:213,w:280,h:21},
{t:"ikon for fare. ",p:21,x:88,y:236,w:96,h:21},
{t:"En advarsel mot å kollidere med en ",p:21,x:88,y:281,w:260,h:21},
{t:"usynlig hindring er blitt erstattet av et ",p:21,x:88,y:304,w:269,h:21},
{t:"tegn for falsk fare, ansvaret for faren ",p:21,x:88,y:327,w:268,h:21},
{t:"er havnet innenfor en fksjon. Konse-",p:21,x:88,y:350,w:260,h:21},
{t:"kvensen av denne mystifseringen er ",p:21,x:88,y:373,w:264,h:21},
{t:"redning. Å begripe det illusoriske tegnet ",p:21,x:88,y:396,w:293,h:21},
{t:"og implementeringen av dette i det ",p:21,x:88,y:419,w:257,h:21},
{t:"virkelige liv garanterer en redning. ",p:21,x:88,y:442,w:253,h:21},
{t:"gjennom å likestille det ubevegelige, ",p:21,x:88,y:465,w:272,h:21},
{t:"fate tegnet og den dynamiske, romlige ",p:21,x:88,y:488,w:286,h:21},
{t:"virkeligheten til en vill fugl, deltar man i ",p:21,x:88,y:511,w:286,h:21},
{t:"praksis i en felles mystifsering. Muligens ",p:21,x:88,y:534,w:295,h:21},
{t:"kan intensjonen med å unngå en ",p:21,x:88,y:556,w:240,h:21},
{t:"katastrofe rettferdiggjøre dette. ",p:21,x:88,y:579,w:228,h:21},
{t:"Den som er lurt unngår en dødelig ",p:21,x:88,y:602,w:254,h:21},
{t:"kollisjon – prisen er en falsk bevissthet. ",p:21,x:88,y:625,w:282,h:21},
{t:"En lurt fugl kolliderer ikke med det ",p:21,x:88,y:648,w:250,h:21},
{t:"harde glasset.",p:21,x:88,y:671,w:101,h:21},
{t:"22",p:22,x:115,y:1465,w:15,h:16},
{t:"23",p:23,x:1135,y:1464,w:15,h:16},
{t:"24",p:24,x:115,y:1465,w:15,h:16},
{t:"MARTE AAS",p:24,x:206,y:436,w:287,h:63},
{t:"25",p:25,x:1135,y:1464,w:15,h:16},
{t:"ByTTE",p:25,x:88,y:1010,w:73,h:36},
{t:"workshop ",p:25,x:88,y:1067,w:79,h:21},
{t:"I januar 2008 or ganiserte og gjennom-",p:25,x:88,y:1099,w:276,h:21},
{t:"førte Marte Aas en workshop for ",p:25,x:88,y:1121,w:243,h:21},
{t:"en gruppe på ni elever fra medie-",p:25,x:88,y:1144,w:242,h:21},
{t:"kunnskapslinja ved Lillehammer ",p:25,x:88,y:1167,w:231,h:21},
{t:"videregående skole. Tina, Stine, ",p:25,x:88,y:1190,w:235,h:21},
{t:"Tormod, Sebastian, christian, Tommy, ",p:25,x:88,y:1213,w:275,h:21},
{t:"Hedda, Harald og Henriette hadde ",p:25,x:88,y:1236,w:262,h:21},
{t:"alle valgt å delta i workshopen fordi ",p:25,x:88,y:1259,w:266,h:21},
{t:"de var spesielt interesserte i fotomediet. ",p:25,x:88,y:1282,w:288,h:21},
{t:"I tillegg var også Jon Benjamin Tallerås ",p:25,x:88,y:1305,w:287,h:21},
{t:"med som Martes assistent. ",p:25,x:88,y:1328,w:194,h:21},
{t:"SwAP",p:25,x:415,y:1010,w:78,h:36},
{t:"workshop",p:25,x:415,y:1067,w:74,h:21},
{t:"In January 2008 Marte Aas organized ",p:25,x:415,y:1099,w:289,h:21},
{t:"and carried out a workshop for a group ",p:25,x:415,y:1121,w:293,h:21},
{t:"of nine students attending the Media ",p:25,x:415,y:1144,w:269,h:21},
{t:"class at Lillehammer high school (17-18 ",p:25,x:415,y:1167,w:289,h:21},
{t:"year old students). Tina, Stine, Tormod, ",p:25,x:415,y:1190,w:285,h:21},
{t:"Sebastian, christian, Tommy, Hedda, ",p:25,x:415,y:1213,w:271,h:21},
{t:"Harald and Henriette had all chosen ",p:25,x:415,y:1236,w:270,h:21},
{t:"to participate in the workshop because ",p:25,x:415,y:1259,w:286,h:21},
{t:"they were especially interested in the ",p:25,x:415,y:1282,w:271,h:21},
{t:"photographic medium. In addition Jon ",p:25,x:415,y:1305,w:280,h:21},
{t:"Benjamin Tallerås participated as ",p:25,x:415,y:1328,w:245,h:21},
{t:"Marte ‘s assistant. ",p:25,x:415,y:1351,w:135,h:21},
{t:"zamiaNa",p:25,x:742,y:1008,w:133,h:38},
{t:"workshop",p:25,x:742,y:1066,w:75,h:23},
{t:"w styczniu 2008 marte aas ",p:25,x:742,y:1097,w:214,h:23},
{t:"zorganizowała i przeprowadziła ",p:25,x:742,y:1120,w:243,h:23},
{t:"warsztaty dla grupy 9 uczniów z ",p:25,x:742,y:1143,w:243,h:23},
{t:"kierunku medialnego przy szkole ",p:25,x:742,y:1166,w:243,h:23},
{t:"średniej w lillehammer. tina, stine, ",p:25,x:742,y:1189,w:256,h:23},
{t:"tormod, sebastian, christian, tommy, ",p:25,x:742,y:1212,w:275,h:23},
{t:"Hedda, Harald i Henriette - wszyscy ",p:25,x:742,y:1235,w:266,h:23},
{t:"oni zdecydowali się wziąć udział w ",p:25,x:742,y:1258,w:264,h:23},
{t:"warsztatach, ponieważ szczególnie ",p:25,x:742,y:1281,w:264,h:23},
{t:"interesowali się medium fotografcznym. ",p:25,x:742,y:1304,w:293,h:23},
{t:"Dodatkowo Jon Benjamin tallerås ",p:25,x:742,y:1326,w:250,h:23},
{t:"uczestniczył jako asystent marty. ",p:25,x:742,y:1349,w:242,h:23},
{t:"Photo: The Artist",p:25,x:1073,y:922,w:91,h:16},
{t:"26",p:26,x:115,y:1465,w:15,h:16},
{t:"Målet med workshopen var å aktualisere ",p:26,x:206,y:965,w:294,h:21},
{t:"noen spørsmål rundt mediekultur og ",p:26,x:206,y:988,w:264,h:21},
{t:"kjønnsstereotypier, samt å lære elevene ",p:26,x:206,y:1011,w:290,h:21},
{t:"om fotografet som uttrykksmiddel, både ",p:26,x:206,y:1034,w:295,h:21},
{t:"teoretisk og praktisk. Vi forsøkte å disku-",p:26,x:206,y:1057,w:288,h:21},
{t:"tere hva det betyr å være deltager i en ",p:26,x:206,y:1080,w:284,h:21},
{t:"fotografsk kultur hvor både vurderinger, ",p:26,x:206,y:1103,w:295,h:21},
{t:"identiteter, idealer og makt artikuleres ",p:26,x:206,y:1125,w:277,h:21},
{t:"og utøves gjennom og med fotografer. ",p:26,x:206,y:1148,w:287,h:21},
{t:"Og vi var interessert i å fnne ut av ",p:26,x:206,y:1171,w:253,h:21},
{t:"hvordan mening skapes i fotografet og ",p:26,x:206,y:1194,w:288,h:21},
{t:"hvordan vi selv kan skaffe oss redskaper ",p:26,x:206,y:1217,w:295,h:21},
{t:"til å konstruere historier om oss selv og ",p:26,x:206,y:1240,w:283,h:21},
{t:"vår egen identitet. ",p:26,x:206,y:1263,w:134,h:21},
{t:"The aim of the workshop was to pinpoint ",p:26,x:533,y:965,w:290,h:21},
{t:"some questions about the media culture ",p:26,x:533,y:988,w:290,h:21},
{t:"and stereotypes of gender, in addition ",p:26,x:533,y:1011,w:281,h:21},
{t:"to teach the students about photogra-",p:26,x:533,y:1034,w:269,h:21},
{t:"phy as a means of expression, both ",p:26,x:533,y:1057,w:261,h:21},
{t:"theoretically and practically. we tried ",p:26,x:533,y:1080,w:277,h:21},
{t:"to discuss what it means to participate ",p:26,x:533,y:1103,w:279,h:21},
{t:"in a photographic culture where as-",p:26,x:533,y:1125,w:256,h:21},
{t:"sessments, identities, ideals and power ",p:26,x:533,y:1148,w:282,h:21},
{t:"are being articulated and performed ",p:26,x:533,y:1171,w:271,h:21},
{t:"through and with photos. And we were ",p:26,x:533,y:1194,w:287,h:21},
{t:"interested in fnding out how meaning ",p:26,x:533,y:1217,w:276,h:21},
{t:"is created in photography and how ",p:26,x:533,y:1240,w:260,h:21},
{t:"we can obtain tools to construct stories ",p:26,x:533,y:1263,w:284,h:21},
{t:"about ourselves and our own identity.",p:26,x:533,y:1286,w:271,h:21},
{t:"celem warsztatów było uaktualnienie ",p:26,x:860,y:964,w:277,h:23},
{t:"pewnych kwestii związanych z kulturą ",p:26,x:860,y:986,w:280,h:23},
{t:"medialną i stereotypami dotyczącymi ",p:26,x:860,y:1009,w:275,h:23},
{t:"kwestii płci, oraz nauka o fotografi ",p:26,x:860,y:1032,w:259,h:23},
{t:"jako środku wyrazu, zarówno w ",p:26,x:860,y:1055,w:238,h:23},
{t:"teorii jak i w praktyce. staraliśmy ",p:26,x:860,y:1078,w:243,h:23},
{t:"się dyskutować co oznacza bycie ",p:26,x:860,y:1101,w:248,h:23},
{t:"uczestnikiem kultury fotografcznej, ",p:26,x:860,y:1124,w:257,h:23},
{t:"gdzie zarówno oceny, tożsamości, ",p:26,x:860,y:1147,w:256,h:23},
{t:"ideały jak i władzę artykułuje się i ",p:26,x:860,y:1170,w:251,h:23},
{t:"realizuje w fotografi i poprzez nią. ",p:26,x:860,y:1193,w:260,h:23},
{t:"interesowało nas dociekanie w jaki ",p:26,x:860,y:1216,w:259,h:23},
{t:"sposób tworzy się opinie w fotografi i ",p:26,x:860,y:1238,w:280,h:23},
{t:"jak sami możemy zdobyć narzędzia do ",p:26,x:860,y:1261,w:292,h:23},
{t:"konstruowania historii o nas samych i ",p:26,x:860,y:1284,w:272,h:23},
{t:"naszej tożsamości.",p:26,x:860,y:1307,w:135,h:23},
{t:"Photos: The Artist",p:26,x:118,y:868,w:96,h:16},
{t:"27",p:27,x:1135,y:1464,w:15,h:16},
{t:"The students were energetic and made ",p:27,x:415,y:966,w:284,h:21},
{t:"several fne answers during the week ",p:27,x:415,y:989,w:271,h:21},
{t:"the workshop lasted. According to ",p:27,x:415,y:1012,w:252,h:21},
{t:"an idea from the students the group ",p:27,x:415,y:1034,w:261,h:21},
{t:"ultimately produced the photo series ",p:27,x:415,y:1057,w:267,h:21},
{t:"“Swap”, which consisted of 14 portraits/ ",p:27,x:415,y:1080,w:286,h:21},
{t:"self portraits printed on fabric. The ",p:27,x:415,y:1103,w:252,h:21},
{t:"photos were exhibited in the windows ",p:27,x:415,y:1126,w:278,h:21},
{t:"of the café at Lillehammer Art Museum ",p:27,x:415,y:1149,w:284,h:21},
{t:"during UT-21. A poster was produced ",p:27,x:415,y:1172,w:277,h:21},
{t:"and hung around in the city during the ",p:27,x:415,y:1195,w:282,h:21},
{t:"exhibition.",p:27,x:415,y:1218,w:74,h:21},
{t:"Elevene jobbet iherdig og laget mange ",p:27,x:88,y:965,w:287,h:21},
{t:"gode oppgaveløsninger i løpet av ",p:27,x:88,y:988,w:253,h:21},
{t:"workshop-uka. Etter idé fra elevene ",p:27,x:88,y:1011,w:257,h:21},
{t:"produserte gruppa til slutt fotoserien ",p:27,x:88,y:1034,w:265,h:21},
{t:"ByTTE som besto av 14 portretter/",p:27,x:88,y:1057,w:244,h:21},
{t:"selvportretter printet på tekstil. Foto-",p:27,x:88,y:1080,w:253,h:21},
{t:"grafene ble utstilt i vinduene i kafeen ",p:27,x:88,y:1103,w:273,h:21},
{t:"på Lillehammer kunstmuseum under ",p:27,x:88,y:1125,w:261,h:21},
{t:"UT-21. En plakat ble også produsert ",p:27,x:88,y:1148,w:265,h:21},
{t:"og hengt opp ulike steder i byrommet ",p:27,x:88,y:1171,w:275,h:21},
{t:"i Lillehammer under utstillingen.",p:27,x:88,y:1194,w:225,h:21},
{t:"Uczniowie pracowali wytrwale ",p:27,x:742,y:964,w:230,h:23},
{t:"i w ciągu tygodnia warsztatów ",p:27,x:742,y:986,w:228,h:23},
{t:"przedstawili wiele ciekawych ",p:27,x:742,y:1009,w:216,h:23},
{t:"rozwiązań na postawione zadania. ",p:27,x:742,y:1032,w:263,h:23},
{t:"według pomysłu uczniów grupa ",p:27,x:742,y:1055,w:241,h:23},
{t:"stworzyła na koniec serię fotografczną ",p:27,x:742,y:1078,w:289,h:23},
{t:"”Bytte” ( „zamiana”), składającą ",p:27,x:742,y:1101,w:253,h:23},
{t:"się z 14 portretów/autoportretów ",p:27,x:742,y:1124,w:249,h:23},
{t:"wydrukowanych na tkaninie. Fotografe ",p:27,x:742,y:1147,w:289,h:23},
{t:"zostały wystawione w oknach kawiarni ",p:27,x:742,y:1170,w:288,h:23},
{t:"muzealnej w lillehammer podczas ",p:27,x:742,y:1193,w:254,h:23},
{t:"Ut- 21. wykonano też plakat i ",p:27,x:742,y:1216,w:225,h:23},
{t:"rozwieszono go na czas wystawy w ",p:27,x:742,y:1239,w:268,h:23},
{t:"różnych miejscach przestrzeni miejskiej ",p:27,x:742,y:1261,w:287,h:23},
{t:"lillehammer.  ",p:27,x:742,y:1284,w:99,h:23},
{t:"28",p:28,x:115,y:1465,w:15,h:16},
{t:"29",p:29,x:1135,y:1464,w:15,h:16},
{t:"30",p:30,x:115,y:1465,w:15,h:16},
{t:"Hc gILJE",p:30,x:206,y:399,w:217,h:63},
{t:"31",p:31,x:1136,y:1464,w:15,h:16},
{t:"wIND-UP BIRDS",p:31,x:88,y:742,w:207,h:36},
{t:"Introduksjon av en ny art, ",p:31,x:88,y:784,w:188,h:21},
{t:"the wind-up birds.",p:31,x:88,y:807,w:128,h:21},
{t:"The wind-up birds er en fokk med ",p:31,x:88,y:853,w:249,h:21},
{t:"mekaniske hakkespetter. Nå og da ",p:31,x:88,y:876,w:256,h:21},
{t:"begynner en hakkespett å hakke og de ",p:31,x:88,y:899,w:287,h:21},
{t:"andre svarer.  ",p:31,x:88,y:922,w:104,h:21},
{t:"Hver hakkespett består av en reson-",p:31,x:88,y:968,w:257,h:21},
{t:"anskasse i tre og en trykkmagnet, en ",p:31,x:88,y:990,w:267,h:21},
{t:"spesialkonstruert elektronisk krets og et ",p:31,x:88,y:1013,w:284,h:21},
{t:"radiomodem. Alle fuglene er forbundet ",p:31,x:88,y:1036,w:287,h:21},
{t:"i et trådløst nettverk slik at de kan ",p:31,x:88,y:1059,w:245,h:21},
{t:"kommunisere med hverandre. ",p:31,x:88,y:1082,w:217,h:21},
{t:"Lyden av wind-up birds kan lett lure det ",p:31,x:88,y:1128,w:286,h:21},
{t:"menneskelige øre. Den første reak-",p:31,x:88,y:1151,w:251,h:21},
{t:"sjonen er overraskelse, så forvirring, ",p:31,x:88,y:1174,w:264,h:21},
{t:"ettersom det synes å være en hel fokk ",p:31,x:88,y:1197,w:280,h:21},
{t:"med fugler som kommuniserer. Så ",p:31,x:88,y:1220,w:248,h:21},
{t:"følger nysgjerrigheten og forsøk på å ",p:31,x:88,y:1243,w:275,h:21},
{t:"oppspore dem, å lokalisere hvor lyden ",p:31,x:88,y:1265,w:284,h:21},
{t:"kommer fra, å bli mer oppmerksom på ",p:31,x:88,y:1288,w:281,h:21},
{t:"omgivelsene, å skjerpe sansene. ",p:31,x:88,y:1311,w:237,h:21},
{t:"wIND-UP BIRDS",p:31,x:415,y:742,w:207,h:36},
{t:"Introducing a new species, ",p:31,x:415,y:784,w:197,h:21},
{t:"the wind-up birds.",p:31,x:415,y:807,w:128,h:21},
{t:"The wind-up birds is a fock of mechani-",p:31,x:415,y:853,w:284,h:21},
{t:"cal woodpeckers. Every now and then ",p:31,x:415,y:876,w:282,h:21},
{t:"one woodpecker starts pecking and the ",p:31,x:415,y:899,w:292,h:21},
{t:"others respond.",p:31,x:415,y:922,w:111,h:21},
{t:"Each woodpecker consists of a wood-",p:31,x:415,y:968,w:274,h:21},
{t:"block and pushmagnet, a custom-made ",p:31,x:415,y:990,w:288,h:21},
{t:"electronic circuit and a radio modem. ",p:31,x:415,y:1013,w:275,h:21},
{t:"All the birds are connected together ",p:31,x:415,y:1036,w:265,h:21},
{t:"in a wireless network so they can com-",p:31,x:415,y:1059,w:277,h:21},
{t:"municate with each other.",p:31,x:415,y:1082,w:185,h:21},
{t:"The sound of the wind-up birds eas-",p:31,x:415,y:1128,w:255,h:21},
{t:"ily fool humans. The initial reaction is ",p:31,x:415,y:1151,w:270,h:21},
{t:"surprise, and then bewilderment, as ",p:31,x:415,y:1174,w:261,h:21},
{t:"there seems to be a whole fock of birds ",p:31,x:415,y:1197,w:293,h:21},
{t:"communicating. Then the curiosity of ",p:31,x:415,y:1220,w:267,h:21},
{t:"trying to track them down, to localize ",p:31,x:415,y:1243,w:274,h:21},
{t:"the sound, becoming more aware of the ",p:31,x:415,y:1265,w:294,h:21},
{t:"surroundings, sharpening the senses.",p:31,x:415,y:1288,w:264,h:21},
{t:"wIND-UP BIRDS",p:31,x:742,y:742,w:207,h:36},
{t:"Prezentacja nowego gatunku, ",p:31,x:742,y:783,w:220,h:23},
{t:"the wind-up birds.",p:31,x:742,y:806,w:128,h:23},
{t:"the wind-up birds są stadem ",p:31,x:742,y:852,w:210,h:23},
{t:"mechanicznych dzięciołów. Gdy jeden ",p:31,x:742,y:875,w:286,h:23},
{t:"dzięcioł zaczyna dziobać to inne mu ",p:31,x:742,y:898,w:273,h:23},
{t:"odpowiadają.",p:31,x:742,y:921,w:102,h:23},
{t:"każdy dzięcioł składa się z ",p:31,x:742,y:967,w:203,h:23},
{t:"drewnianego pudła rezonansowego ",p:31,x:742,y:989,w:269,h:23},
{t:"i magnetycznego przełącznika, ",p:31,x:742,y:1012,w:232,h:23},
{t:"specjalnie skonstruowanego ",p:31,x:742,y:1035,w:208,h:23},
{t:"elektronicznego obwodu i modemu ",p:31,x:742,y:1058,w:261,h:23},
{t:"radiowego. wszystkie ptaki połączone ",p:31,x:742,y:1081,w:288,h:23},
{t:"są bezprzewodową siecią w taki ",p:31,x:742,y:1104,w:243,h:23},
{t:"sposób, że mogą się ze sobą ",p:31,x:742,y:1127,w:217,h:23},
{t:"komunikować.  ",p:31,x:742,y:1150,w:112,h:23},
{t:"odgłosy wind-up birds mogą łatwo ",p:31,x:742,y:1196,w:261,h:23},
{t:"zwieść ludzkie ucho. Pierwszą ",p:31,x:742,y:1219,w:224,h:23},
{t:"reakcją bywa zaskoczenie, potem ",p:31,x:742,y:1241,w:252,h:23},
{t:"zakłopotanie, jako że wydaje się, ",p:31,x:742,y:1264,w:249,h:23},
{t:"iż słychać stado ptaków, które się ",p:31,x:742,y:1287,w:247,h:23},
{t:"porozumiewają. z kolei następuje ",p:31,x:742,y:1310,w:250,h:23},
{t:"ciekawość i próba wyśledzenia ich, ",p:31,x:742,y:1333,w:263,h:23},
{t:"usiłowanie lokalzacji skąd dochodzi ",p:31,x:742,y:1356,w:267,h:23},
{t:"dźwięk, większe skupienie uwagi na ",p:31,x:742,y:1379,w:268,h:23},
{t:"otoczeniu, wyostrzenie zmysłów.",p:31,x:742,y:1402,w:236,h:23},
{t:"Photo: The Artist",p:31,x:1033,y:712,w:91,h:16},
{t:"32",p:32,x:115,y:1465,w:15,h:16},
{t:"Dette var den opprinnelige motivas-",p:32,x:206,y:755,w:257,h:21},
{t:"jonen for meg, bevegelsen av lyden i ",p:32,x:206,y:778,w:273,h:21},
{t:"rommet, og bestrebelsene for å fnne ",p:32,x:206,y:801,w:270,h:21},
{t:"kilden til lydene, som igjen leder til en ",p:32,x:206,y:824,w:277,h:21},
{t:"stimulering av vårt sanseapparat. ",p:32,x:206,y:847,w:244,h:21},
{t:"Ved å introdusere et element eller lag ",p:32,x:206,y:870,w:275,h:21},
{t:"som på en måte forholder seg til ",p:32,x:206,y:893,w:238,h:21},
{t:"naturen, men som lik evel er noe fr emmed-",p:32,x:206,y:916,w:286,h:21},
{t:"artet (det er svært usannsynlig å høre ",p:32,x:206,y:939,w:269,h:21},
{t:"en fokk med hakkespetter som trommer ",p:32,x:206,y:962,w:290,h:21},
{t:"samtidig, og dette er vanligvis beg-",p:32,x:206,y:985,w:252,h:21},
{t:"renset til parringssesongen om våren), ",p:32,x:206,y:1007,w:279,h:21},
{t:"oppfatter du virkeligheten annerledes. ",p:32,x:206,y:1030,w:279,h:21},
{t:"Dette kan kalles en dyrisk årvåkenhet, ",p:32,x:206,y:1053,w:277,h:21},
{t:"en av de tre lyttemoduser beskrevet av ",p:32,x:206,y:1076,w:283,h:21},
{t:"Barthes (Listening). ",p:32,x:206,y:1099,w:140,h:21},
{t:"Hvordan vil naturen behandle dem, ",p:32,x:206,y:1145,w:261,h:21},
{t:"med fendtlighet eller aksept? Hvordan ",p:32,x:206,y:1168,w:284,h:21},
{t:"vil de mekaniske hakkespettene tilpasse ",p:32,x:206,y:1191,w:289,h:21},
{t:"seg varme/kulde våte/tørre betingel-",p:32,x:206,y:1214,w:268,h:21},
{t:"ser? Vil små insekter krype inni kretsene ",p:32,x:206,y:1237,w:290,h:21},
{t:"og forårsake mulige kortslutninger, vil ",p:32,x:206,y:1260,w:274,h:21},
{t:"biller spise opp treverket, ekorn bruke ",p:32,x:206,y:1282,w:275,h:21},
{t:"trekassen som nøttelager (eller taket ",p:32,x:206,y:1305,w:264,h:21},
{t:"som en sklie), vil fugler bruke den som ",p:32,x:206,y:1328,w:280,h:21},
{t:"et skjul, etc.? Vil de bli betraktet som ",p:32,x:206,y:1351,w:266,h:21},
{t:"fremmede objekter eller akseptert i det ",p:32,x:206,y:1374,w:283,h:21},
{t:"lokale økosystemet? ",p:32,x:206,y:1397,w:149,h:21},
{t:"This was the initial motivation for me, the ",p:32,x:533,y:752,w:296,h:21},
{t:"movement of sound in a space, and the ",p:32,x:533,y:775,w:289,h:21},
{t:"effort involved in trying to localize the ",p:32,x:533,y:798,w:278,h:21},
{t:"source of the sounds which lead to a ",p:32,x:533,y:821,w:270,h:21},
{t:"stimulation of our perceptive apparatus.",p:32,x:533,y:844,w:286,h:21},
{t:"By introducing an element or layer ",p:32,x:533,y:867,w:254,h:21},
{t:"which somehow relates to the envi-",p:32,x:533,y:890,w:251,h:21},
{t:"ronment, but still is a bit off (It is very ",p:32,x:533,y:913,w:267,h:21},
{t:"unlikely to hear a fock of woodpeckers ",p:32,x:533,y:936,w:289,h:21},
{t:"drumming at the same time, and it is ",p:32,x:533,y:959,w:264,h:21},
{t:"usually restricted to the mating season ",p:32,x:533,y:981,w:279,h:21},
{t:"in the spring), you perceive the reality ",p:32,x:533,y:1004,w:277,h:21},
{t:"differently. This could be called an ",p:32,x:533,y:1027,w:253,h:21},
{t:"animalistic alertness, one of the three ",p:32,x:533,y:1050,w:272,h:21},
{t:"listening modes described by Barthes ",p:32,x:533,y:1073,w:274,h:21},
{t:"(Listening).",p:32,x:533,y:1096,w:77,h:21},
{t:"How will nature treat them, with hostility ",p:32,x:533,y:1142,w:292,h:21},
{t:"or acceptance? How will the wind-up ",p:32,x:533,y:1165,w:274,h:21},
{t:"birds adapt to heat/cold wet/dry condi-",p:32,x:533,y:1188,w:291,h:21},
{t:"tions? will small insects creep inside the ",p:32,x:533,y:1211,w:292,h:21},
{t:"circuitry creating possible short circuits, ",p:32,x:533,y:1234,w:286,h:21},
{t:"beetles eat the wood, squirrels use the ",p:32,x:533,y:1256,w:280,h:21},
{t:"wood slit as nut storage (or the roof as ",p:32,x:533,y:1279,w:283,h:21},
{t:"a slide?), birds use it as a shelter, etc.? ",p:32,x:533,y:1302,w:281,h:21},
{t:"will they be treated as foreign objects ",p:32,x:533,y:1325,w:281,h:21},
{t:"or accepted into the local eco-system?",p:32,x:533,y:1348,w:276,h:21},
{t:"How do real woodpeckers react? ",p:32,x:533,y:1371,w:247,h:21},
{t:"Are they threatened, attracted, or not ",p:32,x:533,y:1394,w:272,h:21},
{t:"moją pierwotną inspiracją było prze-",p:32,x:860,y:751,w:270,h:23},
{t:"mieszczanie się dźwięku w przestrzeni i ",p:32,x:860,y:774,w:293,h:23},
{t:"usiłowania znalezienia jego źródła, co ",p:32,x:860,y:797,w:287,h:23},
{t:"z kolei prowadzi do stymulacji naszego ",p:32,x:860,y:820,w:292,h:23},
{t:"aparatu zmysłu słuchu. wprowadzajac ",p:32,x:860,y:842,w:288,h:23},
{t:"jakiś element lub substancję, które w ",p:32,x:860,y:865,w:267,h:23},
{t:"jakiś sposób odnoszą się do natury, ",p:32,x:860,y:888,w:264,h:23},
{t:"będąc mimo to obce ( jest mało praw-",p:32,x:860,y:911,w:276,h:23},
{t:"dopodobne usłyszeć stado dzęciołów ",p:32,x:860,y:934,w:280,h:23},
{t:"bębniących jednocześnie, jest to zwykle ",p:32,x:860,y:957,w:295,h:23},
{t:"ograniczone do wiosennego okresu ",p:32,x:860,y:980,w:265,h:23},
{t:"godowego),  odbieramy rzeczywistość ",p:32,x:860,y:1003,w:287,h:23},
{t:"w inny sposób. można to nazwać ",p:32,x:860,y:1026,w:251,h:23},
{t:"zwierzęcą czujnością, jednym z trzech ",p:32,x:860,y:1049,w:284,h:23},
{t:"sposobów słyszenia opisanych przez ",p:32,x:860,y:1072,w:274,h:23},
{t:"Barthes (listening).",p:32,x:860,y:1094,w:135,h:23},
{t:"Jak potraktuje je natura, z wrogością ",p:32,x:860,y:1140,w:272,h:23},
{t:"czy akceptacją? Jak mechaniczne ",p:32,x:860,y:1163,w:252,h:23},
{t:"dzięcioły dopasują się do ciepła/",p:32,x:860,y:1186,w:245,h:23},
{t:"zimna, mokrych/suchych warunków? ",p:32,x:860,y:1209,w:274,h:23},
{t:"czy małe owady wpełzną do ",p:32,x:860,y:1232,w:220,h:23},
{t:"obwodów i spowodują spięcia, czy ",p:32,x:860,y:1255,w:262,h:23},
{t:"chrząszcze zjedzą drewno, wiewiórki ",p:32,x:860,y:1278,w:279,h:23},
{t:"użyją drewnianych pudełek jako ",p:32,x:860,y:1301,w:240,h:23},
{t:"magazynu orzechów ( albo daszka ",p:32,x:860,y:1324,w:263,h:23},
{t:"jako ślizgawki), ptaki wykorzystają ",p:32,x:860,y:1347,w:257,h:23},
{t:"je jako kryjówki, itd.? czy zostaną ",p:32,x:860,y:1369,w:254,h:23},
{t:"potraktowane jako obce obiekty czy ",p:32,x:860,y:1392,w:269,h:23},
{t:"Photo: The Artist",p:32,x:218,y:674,w:91,h:16},
{t:"33",p:33,x:1135,y:1464,w:15,h:16},
{t:"Hvordan vil ekte hakkespetter reagere? ",p:33,x:88,y:144,w:289,h:21},
{t:"Er de truet, tiltrukket, eller bryr de seg ",p:33,x:88,y:167,w:275,h:21},
{t:"ikke? Vil de bruke taket som en tromme? ",p:33,x:88,y:190,w:294,h:21},
{t:"Innledende forsøk indikerte en attrak-",p:33,x:88,y:213,w:268,h:21},
{t:"sjon: det tok 15 minutter for en ekte ",p:33,x:88,y:236,w:259,h:21},
{t:"hakkespett å slutte seg til en wind-up ",p:33,x:88,y:259,w:267,h:21},
{t:"bird i det samme treet.",p:33,x:88,y:282,w:160,h:21},
{t:"Det første hjemmet til the wind-up birds ",p:33,x:88,y:350,w:284,h:21},
{t:"var i en skog på Lillehammer, nær ",p:33,x:88,y:373,w:249,h:21},
{t:"Marcello Haugens hjem Svarga, ",p:33,x:88,y:396,w:240,h:21},
{t:"Lysgårdsbakkene hopparena og en ",p:33,x:88,y:419,w:261,h:21},
{t:"foss. Det er et mye brukt område for ",p:33,x:88,y:442,w:263,h:21},
{t:"turgåere, syklister og skiløpere, og ",p:33,x:88,y:465,w:254,h:21},
{t:"allerede godt brukt av de lokale ",p:33,x:88,y:488,w:237,h:21},
{t:"hakkespetter.",p:33,x:88,y:511,w:94,h:21},
{t:"The wind-up birds slo seg ikke ned ",p:33,x:88,y:557,w:252,h:21},
{t:"i skogen på Lillehammer. Etter en ",p:33,x:88,y:580,w:242,h:21},
{t:"måned føy noen av dem til Oslo ",p:33,x:88,y:602,w:242,h:21},
{t:"Lufthavn, noen av dem til en park i ",p:33,x:88,y:625,w:254,h:21},
{t:"Rabat, Marokko. På mange måter to ",p:33,x:88,y:648,w:268,h:21},
{t:"svært ulike kontekster: Oslo Lufthavn ",p:33,x:88,y:671,w:266,h:21},
{t:"gardermoen feiret 10-årsjubileum, og ",p:33,x:88,y:694,w:278,h:21},
{t:"jeg ble invitert som ett av to prosjekter ",p:33,x:88,y:717,w:279,h:21},
{t:"fra UT-21 til å bli en del av dette ",p:33,x:88,y:740,w:238,h:21},
{t:"jubileet. Verket ble plassert utendørs ",p:33,x:88,y:763,w:265,h:21},
{t:"ved en gangvei mellom parkerings-",p:33,x:88,y:786,w:253,h:21},
{t:"området og terminalbygningen, en ",p:33,x:88,y:809,w:256,h:21},
{t:"svært trafkkert gangvei. Det var iskaldt, ",p:33,x:88,y:832,w:289,h:21},
{t:"trekkfullt og vått den helga det ble ",p:33,x:88,y:855,w:251,h:21},
{t:"montert. Selvfølgelig så involverer all ",p:33,x:88,y:877,w:272,h:21},
{t:"virksomhet på en fyplass et sikkerhets-",p:33,x:88,y:900,w:275,h:21},
{t:"opplegg, så jeg hadde et spesielt ",p:33,x:88,y:923,w:246,h:21},
{t:"adgangskort for ikke å uroe passasjerer ",p:33,x:88,y:946,w:292,h:21},
{t:"(skjeggete mann som klatrer i trær med ",p:33,x:88,y:969,w:287,h:21},
{t:"elektrisk utstyr, ledninger og batterier). ",p:33,x:88,y:992,w:281,h:21},
{t:"Jeg fkk mange rare spørsmål, folk lurte ",p:33,x:88,y:1015,w:288,h:21},
{t:"på hva disse greiene var for eller mot, ",p:33,x:88,y:1038,w:279,h:21},
{t:"var det for å jage vekk hakkespetter? ",p:33,x:88,y:1061,w:272,h:21},
{t:"Når jeg forklarte at det var mekaniske ",p:33,x:88,y:1084,w:280,h:21},
{t:"hakkespetter, fkk jeg mange tomme ",p:33,x:88,y:1107,w:263,h:21},
{t:"blikk. ",p:33,x:88,y:1129,w:42,h:21},
{t:"Ei uke etter fyplassinstallasjonen dro ",p:33,x:88,y:1175,w:269,h:21},
{t:"jeg av gårde til Marokko: 25 grader og ",p:33,x:88,y:1198,w:294,h:21},
{t:"sol i Rabat, hovedstaden. Det var et lite ",p:33,x:88,y:1221,w:287,h:21},
{t:"kunstgalleri der som het lappartement ",p:33,x:88,y:1244,w:277,h:21},
{t:"22, drevet av Abdellah Kharoum, som ",p:33,x:88,y:1267,w:281,h:21},
{t:"var invitert til å presentere arbeider på ",p:33,x:88,y:1290,w:283,h:21},
{t:"den første Brüssel biennalen. Kharoum ",p:33,x:88,y:1313,w:283,h:21},
{t:"bestemte seg for å invitere Anne Szefer ",p:33,x:88,y:1336,w:288,h:21},
{t:"Karlsen fra HKS i Norge for å kuratere ",p:33,x:88,y:1359,w:284,h:21},
{t:"noen prosjekter i Marokko, så hun ",p:33,x:88,y:1382,w:252,h:21},
{t:"bothered? will they use the roof as a ",p:33,x:415,y:144,w:273,h:21},
{t:"pecking drum? Initial tests indicate an ",p:33,x:415,y:167,w:276,h:21},
{t:"attraction: it took 15 minutes for a real ",p:33,x:415,y:190,w:279,h:21},
{t:"woodpecker to join a wind-up bird on ",p:33,x:415,y:213,w:278,h:21},
{t:"the same tree.",p:33,x:415,y:236,w:101,h:21},
{t:"The frst home of the wind-up birds ",p:33,x:415,y:304,w:252,h:21},
{t:"was in a forest in Lillehammer, close ",p:33,x:415,y:327,w:263,h:21},
{t:"to Marcello Haugens home Svarga, ",p:33,x:415,y:350,w:265,h:21},
{t:"the Lysgårdsbakken skijump and a ",p:33,x:415,y:373,w:252,h:21},
{t:"waterfall. It is a very popular area for ",p:33,x:415,y:396,w:276,h:21},
{t:"walking, biking and skiing, and already ",p:33,x:415,y:419,w:291,h:21},
{t:"well used by the native woodpeckers.",p:33,x:415,y:442,w:271,h:21},
{t:"The wind-up birds didn´t settle in the for-",p:33,x:415,y:488,w:291,h:21},
{t:"est of Lillehammer. After a month some ",p:33,x:415,y:511,w:284,h:21},
{t:"of them few to the airport in Oslo, some ",p:33,x:415,y:534,w:295,h:21},
{t:"of them to a park in Rabat, Morocco.",p:33,x:415,y:556,w:269,h:21},
{t:"Two very different contexts in many ",p:33,x:415,y:579,w:259,h:21},
{t:"ways: Oslo Airport gardermoen ",p:33,x:415,y:602,w:240,h:21},
{t:"celebrated its 10 year anniversary, and ",p:33,x:415,y:625,w:290,h:21},
{t:"I was invited as one of two projects ",p:33,x:415,y:648,w:259,h:21},
{t:"from the UT-21 exhibition to be part of ",p:33,x:415,y:671,w:282,h:21},
{t:"this anniversary. The work was placed ",p:33,x:415,y:694,w:280,h:21},
{t:"outside in a passage between the ",p:33,x:415,y:717,w:248,h:21},
{t:"parking area and the terminal building, ",p:33,x:415,y:740,w:289,h:21},
{t:"a very busy pathway. It was freezing, ",p:33,x:415,y:763,w:275,h:21},
{t:"windy and wet the weekend it was ",p:33,x:415,y:786,w:255,h:21},
{t:"installed. Of course everything at an ",p:33,x:415,y:808,w:267,h:21},
{t:"airport involves heavy security, so I had ",p:33,x:415,y:831,w:290,h:21},
{t:"a special permission card which I wore ",p:33,x:415,y:854,w:287,h:21},
{t:"to avoid frightening passengers (beardy ",p:33,x:415,y:877,w:294,h:21},
{t:"man climbing trees with electronics, ",p:33,x:415,y:900,w:260,h:21},
{t:"wires and batteries). I got a lot of ",p:33,x:415,y:923,w:245,h:21},
{t:"strange questions, people wondering ",p:33,x:415,y:946,w:273,h:21},
{t:"what these devices were against or ",p:33,x:415,y:969,w:259,h:21},
{t:"for, was it to chase off the woodpeck-",p:33,x:415,y:992,w:270,h:21},
{t:"ers? when I explained that they were ",p:33,x:415,y:1015,w:276,h:21},
{t:"mechanical woodpeckers I got a lot of ",p:33,x:415,y:1038,w:283,h:21},
{t:"blank stares.",p:33,x:415,y:1061,w:90,h:21},
{t:"A week after the airport installation ",p:33,x:415,y:1106,w:260,h:21},
{t:"I was off to Morocco: 25 degrees ",p:33,x:415,y:1129,w:250,h:21},
{t:"and sunny in Rabat, the capital. There ",p:33,x:415,y:1152,w:277,h:21},
{t:"is a small art space there called ",p:33,x:415,y:1175,w:234,h:21},
{t:"l´appartement 22, run by Abdellah ",p:33,x:415,y:1198,w:251,h:21},
{t:"Kharoum, which had been invited to ",p:33,x:415,y:1221,w:254,h:21},
{t:"present work at the frst Brussels biennale.",p:33,x:415,y:1244,w:290,h:21},
{t:"Kharoum decided t o invite Anne Szef er ",p:33,x:415,y:1267,w:276,h:21},
{t:"Karlsen from HKS in Norway to curate ",p:33,x:415,y:1290,w:271,h:21},
{t:"some projects in Morocco, so she invited ",p:33,x:415,y:1313,w:284,h:21},
{t:"Pedro gomez Enza and myself to do ",p:33,x:415,y:1335,w:259,h:21},
{t:"projects in t he frame of the Brussels Bien",p:33,x:415,y:1358,w:278,h:21},
{t:"-",p:33,x:689,y:1358,w:3,h:21},
{t:"nale, but in Morocco. It gets weirder.",p:33,x:415,y:1381,w:257,h:21},
{t:"zostaną zaakceptowane w lokalnym ",p:33,x:742,y:142,w:270,h:23},
{t:"ekosystemie? Jak zareagują prawdziwe ",p:33,x:742,y:165,w:293,h:23},
{t:"dzięcioły? Poczują się zagrożone, ",p:33,x:742,y:188,w:252,h:23},
{t:"wabione czy obojętne? czy użyją ",p:33,x:742,y:211,w:253,h:23},
{t:"daszka jako bębna? wstępna próba ",p:33,x:742,y:234,w:272,h:23},
{t:"wywołała atrakcję: po 15 minutach ",p:33,x:742,y:257,w:261,h:23},
{t:"prawdziwy dzięcioł przyłączył się do ",p:33,x:742,y:280,w:276,h:23},
{t:"jednego wind-up bird na tym samym ",p:33,x:742,y:303,w:268,h:23},
{t:"drzewie.",p:33,x:742,y:326,w:62,h:23},
{t:"Pierwszy dom dla  the wind-up birds ",p:33,x:742,y:394,w:267,h:23},
{t:"znalazł się w lesie w lillehammer, ",p:33,x:742,y:417,w:248,h:23},
{t:"niedaleko svarga, domu marcello ",p:33,x:742,y:440,w:253,h:23},
{t:"Haugen, skoczni lysgårdsbakkene i ",p:33,x:742,y:463,w:262,h:23},
{t:"wodospadu. teren jest często używany ",p:33,x:742,y:486,w:288,h:23},
{t:"przez spacerowiczów, rowerzystów i ",p:33,x:742,y:509,w:273,h:23},
{t:"biegających na nartach, i często już ",p:33,x:742,y:532,w:267,h:23},
{t:"używany przez miejscowe dzięcioły.",p:33,x:742,y:555,w:265,h:23},
{t:"the wind-up birds  nie osiedliły się ",p:33,x:742,y:601,w:251,h:23},
{t:"w lesie w lillehammer. Po miesiącu ",p:33,x:742,y:624,w:256,h:23},
{t:"niektóre z nich poleciały na lotnisko w ",p:33,x:742,y:646,w:281,h:23},
{t:"oslo, niektóre do parku w rabacie, w ",p:33,x:742,y:669,w:280,h:23},
{t:"maroku. Na wiele spsobów dwa różne ",p:33,x:742,y:692,w:291,h:23},
{t:"konteksty: Port lotniczy Gardermoen ",p:33,x:742,y:715,w:266,h:23},
{t:"w oslo obchodził 10-lecie, a ja ",p:33,x:742,y:738,w:233,h:23},
{t:"zostałem zaproszony jako jeden z ",p:33,x:742,y:761,w:253,h:23},
{t:"dwóch uczestników Ut-21 by stać ",p:33,x:742,y:784,w:250,h:23},
{t:"się częścią tego jubileuszu. Praca ",p:33,x:742,y:807,w:247,h:23},
{t:"została umieszczona na zewnątrz ",p:33,x:742,y:830,w:251,h:23},
{t:"przy bardzo ruchliwym przejściu ",p:33,x:742,y:853,w:241,h:23},
{t:"między terenem parkingu a budynkiem ",p:33,x:742,y:876,w:287,h:23},
{t:"terminalu,  w ten weekend gdy była ",p:33,x:742,y:898,w:268,h:23},
{t:"montowana, było lodowate zimno, ",p:33,x:742,y:921,w:256,h:23},
{t:"wietrznie i mokro. oczywiście każda ",p:33,x:742,y:944,w:272,h:23},
{t:"działalność na lotnisku angażuje ",p:33,x:742,y:967,w:242,h:23},
{t:"system bezpieczeństwa, więc musiałem ",p:33,x:742,y:990,w:289,h:23},
{t:"mieć specjalną kartę wstępu by ",p:33,x:742,y:1013,w:232,h:23},
{t:"nie niepokoić pasażerów (brodaty ",p:33,x:742,y:1036,w:255,h:23},
{t:"mężczyzna z elektronicznym sprzętem, ",p:33,x:742,y:1059,w:288,h:23},
{t:"kablami i bateriami wspinający się ",p:33,x:742,y:1082,w:254,h:23},
{t:"po drzewach). otrzymywałem dużo ",p:33,x:742,y:1105,w:267,h:23},
{t:"dziwnych pytań, ludzie zastanawiali ",p:33,x:742,y:1128,w:268,h:23},
{t:"się do czego lub przeciw czemu ",p:33,x:742,y:1151,w:240,h:23},
{t:"są te rzeczy, może do odpędzania ",p:33,x:742,y:1173,w:258,h:23},
{t:"dzięciołów? kiedy tłumaczyłem, że są ",p:33,x:742,y:1196,w:281,h:23},
{t:"to mechaniczne dzięcioły, spotykałem ",p:33,x:742,y:1219,w:279,h:23},
{t:"wiele zdziwionych spojrzeń.",p:33,x:742,y:1242,w:205,h:23},
{t:"tydzień po instalacji na lotnisku ",p:33,x:742,y:1288,w:233,h:23},
{t:"pojechałem do maroka: 25 stopni ",p:33,x:742,y:1311,w:254,h:23},
{t:"i słońce w stolicy, rabacie. Była ",p:33,x:742,y:1334,w:235,h:23},
{t:"tam mała galeria, lappartement ",p:33,x:742,y:1357,w:237,h:23},
{t:"22, prowadzona przez abdellaha ",p:33,x:742,y:1380,w:256,h:23},
{t:"34",p:34,x:116,y:1465,w:15,h:16},
{t:"inviterte Pedro gomez Enza og meg til ",p:34,x:206,y:144,w:285,h:21},
{t:"å gjøre prosjekter innenfor rammen av ",p:34,x:206,y:167,w:282,h:21},
{t:"Brüssel biennalen, men i Marokko. Det ",p:34,x:206,y:190,w:284,h:21},
{t:"blir enda rarere. ",p:34,x:206,y:213,w:122,h:21},
{t:"I motsetning til det svært velorganiserte ",p:34,x:206,y:259,w:286,h:21},
{t:"fyplassprosjektet, var sakene litt løsere ",p:34,x:206,y:282,w:284,h:21},
{t:"her. Først måtte vi fnne et sted, og etter ",p:34,x:206,y:305,w:288,h:21},
{t:"noe søking forelsket jeg meg i en vakker ",p:34,x:206,y:328,w:295,h:21},
{t:"og merkelig park, i utkanten av sentrum, ",p:34,x:206,y:350,w:293,h:21},
{t:"le parc sportif, med masse eukalyptus-",p:34,x:206,y:373,w:274,h:21},
{t:"trær, søte, lodne furutrær, myntete-hus ",p:34,x:206,y:396,w:276,h:21},
{t:"og folk som trente på de underligste ",p:34,x:206,y:419,w:265,h:21},
{t:"måter.",p:34,x:206,y:442,w:44,h:21},
{t:"Offentlig kunst er ikke vanlig i Marokko, ",p:34,x:206,y:488,w:293,h:21},
{t:"og det hadde pågått mange diskus-",p:34,x:206,y:511,w:257,h:21},
{t:"joner før min ankomst med hensyn til ",p:34,x:206,y:534,w:269,h:21},
{t:"hvordan tillatelser skulle ordnes osv. Vi ",p:34,x:206,y:557,w:282,h:21},
{t:"endte opp med å gjøre det hele uten ",p:34,x:206,y:580,w:271,h:21},
{t:"tillatelser, og således uten en stige for ",p:34,x:206,y:602,w:276,h:21},
{t:"ikke å tiltrekke oss oppmerksomhet, og ",p:34,x:206,y:625,w:282,h:21},
{t:"det utviklet seg til en pussig, hemmelig ",p:34,x:206,y:648,w:279,h:21},
{t:"operasjon der mekaniske hakkespetter ",p:34,x:206,y:671,w:281,h:21},
{t:"ble montert mens vi lot som vi gjorde ",p:34,x:206,y:694,w:269,h:21},
{t:"andre ting. Vi kjørte til og med rundt ",p:34,x:206,y:717,w:266,h:21},
{t:"i en bil mens jeg programmerte i ",p:34,x:206,y:740,w:239,h:21},
{t:"baksetet. Jeg bygde en spesialutgave ",p:34,x:206,y:763,w:275,h:21},
{t:"av hakkespettene for denne aksjonistin-",p:34,x:206,y:786,w:282,h:21},
{t:"stallasjonen. I korthet erstattet jeg ",p:34,x:206,y:809,w:245,h:21},
{t:"radiomodemene med en parasitthjerne ",p:34,x:206,y:832,w:286,h:21},
{t:"(en timer og en lyssensor), dette gjorde ",p:34,x:206,y:855,w:287,h:21},
{t:"fuglene mer selvstendige og kanskje en ",p:34,x:206,y:877,w:288,h:21},
{t:"anelse mer intelligente. Dette samsvarer ",p:34,x:206,y:900,w:291,h:21},
{t:"bra med naturlige hakkespetters egen-",p:34,x:206,y:923,w:276,h:21},
{t:"skaper, noen foretrekker selskap av sine ",p:34,x:206,y:946,w:292,h:21},
{t:"artsfrender, mens andre insisterer på å ",p:34,x:206,y:969,w:282,h:21},
{t:"være alene.",p:34,x:206,y:992,w:85,h:21},
{t:"Dessverre så forsvant the wind-up birds i ",p:34,x:206,y:1038,w:294,h:21},
{t:"Marokko uten forhåndsvarsel og de har ",p:34,x:206,y:1061,w:293,h:21},
{t:"siden ikke blitt sett. ",p:34,x:206,y:1084,w:138,h:21},
{t:"Unlike the very organised airport proj-",p:34,x:533,y:144,w:276,h:21},
{t:"ect, things were a bit looser here. First ",p:34,x:533,y:167,w:277,h:21},
{t:"we needed to fnd a location, and after ",p:34,x:533,y:190,w:289,h:21},
{t:"some scouting I fell in love with a beau-",p:34,x:533,y:213,w:284,h:21},
{t:"tiful and strange park, on the outskirts ",p:34,x:533,y:236,w:275,h:21},
{t:"of the center, le parc sportif, with lots of ",p:34,x:533,y:259,w:289,h:21},
{t:"eucalyptus trees, cute fuzzy pine trees, ",p:34,x:533,y:282,w:282,h:21},
{t:"mint tea houses and people exercising ",p:34,x:533,y:304,w:282,h:21},
{t:"in the strangest ways.",p:34,x:533,y:327,w:154,h:21},
{t:"Public art in Morocco isnt common and ",p:34,x:533,y:373,w:289,h:21},
{t:"there had been quite a lot of discussion ",p:34,x:533,y:396,w:289,h:21},
{t:"before my arrival as of what to do with ",p:34,x:533,y:419,w:286,h:21},
{t:"permissions etc. we ended up doing it ",p:34,x:533,y:442,w:282,h:21},
{t:"without permissions, and therefore with-",p:34,x:533,y:465,w:285,h:21},
{t:"out a ladder to not draw attention on ",p:34,x:533,y:488,w:272,h:21},
{t:"ourselves, and it turned into a strange ",p:34,x:533,y:511,w:275,h:21},
{t:"undercover operation trying to set up ",p:34,x:533,y:534,w:273,h:21},
{t:"the mechanical woodpeckers in trees ",p:34,x:533,y:556,w:272,h:21},
{t:"while pretending to do other things. ",p:34,x:533,y:579,w:262,h:21},
{t:"we even drove around in a car while ",p:34,x:533,y:602,w:275,h:21},
{t:"I was programming in the back seat.",p:34,x:533,y:625,w:263,h:21},
{t:"I built a special version of the wind-",p:34,x:533,y:648,w:254,h:21},
{t:"up birds for this actionist installation. ",p:34,x:533,y:671,w:266,h:21},
{t:"Basically I replaced the radio modems ",p:34,x:533,y:694,w:283,h:21},
{t:"with a parasite brain (a timer and a ",p:34,x:533,y:717,w:261,h:21},
{t:"light sensor), this made the birds more ",p:34,x:533,y:740,w:278,h:21},
{t:"independent and maybe slightly more ",p:34,x:533,y:763,w:279,h:21},
{t:"intelligent. This actually corresponds ",p:34,x:533,y:786,w:265,h:21},
{t:"quite well with the natural woodpeck-",p:34,x:533,y:809,w:270,h:21},
{t:"ers, some enjoy the company of its ",p:34,x:533,y:831,w:254,h:21},
{t:"fellow creatures, while others insist on ",p:34,x:533,y:854,w:276,h:21},
{t:"being alone.",p:34,x:533,y:877,w:91,h:21},
{t:"Sadly the wind-up birds in Morocco ",p:34,x:533,y:923,w:264,h:21},
{t:"disappeared without a warning and ",p:34,x:533,y:946,w:265,h:21},
{t:"have never been seen again.",p:34,x:533,y:969,w:210,h:21},
{t:"kharoum, którego zaproszono by ",p:34,x:860,y:142,w:249,h:23},
{t:"prezentował prace na pierwszym ",p:34,x:860,y:165,w:247,h:23},
{t:"biennale w Brukseli. kharoum ",p:34,x:860,y:188,w:220,h:23},
{t:"zdecydował zaprosić anne szefer ",p:34,x:860,y:211,w:254,h:23},
{t:"karlsen z Hks z Norwegii jako ",p:34,x:860,y:234,w:232,h:23},
{t:"kuratora pewnych przedsięwzięć w ",p:34,x:860,y:257,w:262,h:23},
{t:"maroku, ona natomiast poprosiła mnie ",p:34,x:860,y:280,w:286,h:23},
{t:"i Pedro Gomez enza o wykonanie ",p:34,x:860,y:303,w:253,h:23},
{t:"projektów w ramach biennale w ",p:34,x:860,y:326,w:238,h:23},
{t:"Brukseli, ale w maroku. w ten sposób ",p:34,x:860,y:349,w:281,h:23},
{t:"staje się to jeszcze bardziej dziwne.",p:34,x:860,y:372,w:261,h:23},
{t:"w przeciwieństwie do świetnie ",p:34,x:860,y:417,w:230,h:23},
{t:"zorganizowanego projektu na lotnisku, ",p:34,x:860,y:440,w:287,h:23},
{t:"tu sprawy się trochę rozluźniły. ",p:34,x:860,y:463,w:227,h:23},
{t:"Najpierw musieliśmy znaleźć miejsce. ",p:34,x:860,y:486,w:279,h:23},
{t:"Po pewnym czasie poszukiwań ",p:34,x:860,y:509,w:230,h:23},
{t:"zachwyciłem się pięknym i dziwnym ",p:34,x:860,y:532,w:266,h:23},
{t:"parkiem na obrzeżach centrum; le ",p:34,x:860,y:555,w:253,h:23},
{t:"parc sportif, z mnóstwem drzew ",p:34,x:860,y:578,w:235,h:23},
{t:"eukaliptusowych, słodkimi mechatymi ",p:34,x:860,y:601,w:274,h:23},
{t:"sosnami, herbaciarniami i ludźmi ",p:34,x:860,y:624,w:242,h:23},
{t:"trenującymi na najdziwniejsze sposoby.",p:34,x:860,y:647,w:287,h:23},
{t:"sztuka publiczna nie jest powszechnym ",p:34,x:860,y:669,w:291,h:23},
{t:"zjawiskiem w maroku. Przed moim ",p:34,x:860,y:692,w:258,h:23},
{t:"przybyciem odbyło się wiele dyskusji ",p:34,x:860,y:715,w:272,h:23},
{t:"nad załatwieniem pozwoleń itp. ",p:34,x:860,y:738,w:237,h:23},
{t:"stanęło na tym, że zrobimy wszystko ",p:34,x:860,y:761,w:271,h:23},
{t:"bez pozwoleń, a zatem i bez ",p:34,x:860,y:784,w:217,h:23},
{t:"drabiny żeby nie przyciągać uwagi. ",p:34,x:860,y:807,w:267,h:23},
{t:"rozwinęło się to w zabawną tajną ",p:34,x:860,y:830,w:255,h:23},
{t:"operację, podczas której mechaniczne ",p:34,x:860,y:853,w:286,h:23},
{t:"dzięcioły były montowane, gdy my ",p:34,x:860,y:876,w:258,h:23},
{t:"udawaliśmy, że robimy inne rzeczy. ",p:34,x:860,y:899,w:262,h:23},
{t:"Jeździliśmy dookoła samochodem, a ja ",p:34,x:860,y:921,w:289,h:23},
{t:"programowałem na tylnym siedzeniu. ",p:34,x:860,y:944,w:276,h:23},
{t:"zbudowałem dla tej akcji instalacyjnej ",p:34,x:860,y:967,w:282,h:23},
{t:"specjalne wydanie dzięciołów. krótko ",p:34,x:860,y:990,w:280,h:23},
{t:"mówiąc zastąpiłem modemy radiowe ",p:34,x:860,y:1013,w:276,h:23},
{t:"pasożytniczym mózgiem (czasomierz ",p:34,x:860,y:1036,w:277,h:23},
{t:"i czujnik świetlny), co uczyniło ptaki ",p:34,x:860,y:1059,w:262,h:23},
{t:"bardziej samodzielnymi i może ",p:34,x:860,y:1082,w:230,h:23},
{t:"odrobinę bardziej inteligentnymi. ",p:34,x:860,y:1105,w:243,h:23},
{t:"to odpowiada naturalnym cechom ",p:34,x:860,y:1128,w:257,h:23},
{t:"dzięciołów; niektóre preferują ",p:34,x:860,y:1151,w:221,h:23},
{t:"towarzystwo swoich współplemieńców, ",p:34,x:860,y:1174,w:288,h:23},
{t:"natomiast inne preferują życie w ",p:34,x:860,y:1196,w:239,h:23},
{t:"samotności.",p:34,x:860,y:1219,w:84,h:23},
{t:"Niestety the wind-up birds zniknęły bez ",p:34,x:860,y:1265,w:289,h:23},
{t:"ostrzeżenia i nie były odtąd widziane.",p:34,x:860,y:1288,w:277,h:23},
{t:"35",p:35,x:1135,y:1464,w:15,h:16},
{t:"Photos: The Artist",p:35,x:88,y:1424,w:96,h:16},
{t:"36",p:36,x:115,y:1465,w:15,h:16},
{t:"37",p:37,x:1136,y:1464,w:15,h:16},
{t:"Photo: The Artist",p:37,x:88,y:1438,w:91,h:16},
{t:"38",p:38,x:115,y:1465,w:15,h:16},
{t:"JAN BERdySzAK",p:38,x:206,y:436,w:401,h:63},
{t:"39",p:39,x:1135,y:1464,w:15,h:16},
{t:"KULTUR – NATUR",p:39,x:88,y:1020,w:223,h:36},
{t:"KUNSTENS NATUR",p:39,x:88,y:1058,w:249,h:36},
{t:"Vi opplever et allestedsnærværende, ",p:39,x:88,y:1115,w:270,h:21},
{t:"påtvunget, levende mediabasert (vir-",p:39,x:88,y:1138,w:264,h:21},
{t:"tuelt- medialt) møte med verden. ",p:39,x:88,y:1161,w:237,h:21},
{t:"Verden selv består objektivt av meta-",p:39,x:88,y:1184,w:264,h:21},
{t:"fysikk, opplevelser av ulike situasjoner, ",p:39,x:88,y:1207,w:281,h:21},
{t:"vår egen sanselighet, vår interaktive ",p:39,x:88,y:1229,w:264,h:21},
{t:"sanselighet og enestående levende (vir-",p:39,x:88,y:1252,w:285,h:21},
{t:"tuelle) indre prosesser i hvert menneske.",p:39,x:88,y:1275,w:287,h:21},
{t:"Samtidig innholder media ulike virke-",p:39,x:88,y:1298,w:266,h:21},
{t:"ligheter, vår tilstedeværelse i media, vår ",p:39,x:88,y:1321,w:291,h:21},
{t:"tilstedeværelse overfor media i tillegg ",p:39,x:88,y:1344,w:275,h:21},
{t:"til potensielle refeksjoner. Alt dette ",p:39,x:88,y:1367,w:255,h:21},
{t:"makter/takler kunstens natur.",p:39,x:88,y:1390,w:208,h:21},
{t:"cULTURE – NATURE ",p:39,x:415,y:1020,w:260,h:36},
{t:"NATURE OF ART",p:39,x:415,y:1058,w:208,h:36},
{t:"we experience an omnipresent, living ",p:39,x:415,y:1115,w:279,h:21},
{t:"media based meeting with the world, ",p:39,x:415,y:1138,w:273,h:21},
{t:"forced upon us. The world consists of ",p:39,x:415,y:1161,w:271,h:21},
{t:"metaphysics, experiences of differ-",p:39,x:415,y:1184,w:248,h:21},
{t:"ent situations, our own sensuality, our ",p:39,x:415,y:1207,w:272,h:21},
{t:"interactive sensuality and exceptional ",p:39,x:415,y:1229,w:275,h:21},
{t:"living (virtual) processes within each ",p:39,x:415,y:1252,w:266,h:21},
{t:"human being. At the same time media ",p:39,x:415,y:1275,w:278,h:21},
{t:"contains different realities, our presence ",p:39,x:415,y:1298,w:292,h:21},
{t:"in media, and our presence towards the ",p:39,x:415,y:1321,w:292,h:21},
{t:"media in addition to potential refexions. ",p:39,x:415,y:1344,w:296,h:21},
{t:"Art´s nature can cope with all of this. ",p:39,x:415,y:1367,w:273,h:21},
{t:"kUltUra – NatUra",p:39,x:742,y:1018,w:260,h:38},
{t:"NatUra sztUki",p:39,x:742,y:1055,w:211,h:38},
{t:"istnieje wszechobecnie narzucane wirtu-",p:39,x:742,y:1113,w:291,h:23},
{t:"alno – medialne spotkanie ze światem. ",p:39,x:742,y:1136,w:286,h:23},
{t:"Jest świat sam z jego metafzyką ",p:39,x:742,y:1159,w:239,h:23},
{t:"przedmiotowości, sytuacyjności, naszą ",p:39,x:742,y:1182,w:285,h:23},
{t:"zmysłowością między zmysłowością ",p:39,x:742,y:1205,w:266,h:23},
{t:"i niepowtarzalnymi wirtualnymi proc-",p:39,x:742,y:1228,w:266,h:23},
{t:"esami wewnętrznymi każdego...",p:39,x:742,y:1251,w:232,h:23},
{t:"Jednoczesność mediów zawiera różne ",p:39,x:742,y:1274,w:286,h:23},
{t:"rzeczywistości, naszą w nich obecność ",p:39,x:742,y:1296,w:288,h:23},
{t:"i obecność wobec nich oraz potencje ",p:39,x:742,y:1319,w:276,h:23},
{t:"dla refeksji. to wszystko tworzy naturę ",p:39,x:742,y:1342,w:285,h:23},
{t:"sztuki. ",p:39,x:742,y:1365,w:48,h:23},
{t:"40",p:40,x:115,y:1465,w:15,h:16},
{t:"41",p:41,x:1135,y:1464,w:15,h:16},
{t:"42",p:42,x:115,y:1465,w:15,h:16},
{t:"43",p:43,x:1135,y:1464,w:15,h:16},
{t:"44",p:44,x:115,y:1465,w:15,h:16},
{t:"EgIL MARTIN KURdøL",p:44,x:206,y:401,w:544,h:63},
{t:"45",p:45,x:1135,y:1464,w:15,h:16},
{t:"SwEET OBLIVION",p:45,x:415,y:700,w:215,h:33},
{t:"I remember these rocks from the time ",p:45,x:415,y:755,w:269,h:21},
{t:"before my sense of direction was good ",p:45,x:415,y:778,w:286,h:21},
{t:"enough for walking in the forest on my ",p:45,x:415,y:801,w:282,h:21},
{t:"own. I thought we always came to the ",p:45,x:415,y:824,w:279,h:21},
{t:"same rock, (that I often climbed), and ",p:45,x:415,y:847,w:275,h:21},
{t:"that the landscape was in perpetual ",p:45,x:415,y:870,w:263,h:21},
{t:"motion. So that the rock just changed a ",p:45,x:415,y:892,w:288,h:21},
{t:"bit to adapt to the alternating environ-",p:45,x:415,y:915,w:273,h:21},
{t:"ment. Later I understood that there were ",p:45,x:415,y:938,w:292,h:21},
{t:"many rocks. But still, the envision of ",p:45,x:415,y:961,w:258,h:21},
{t:"The One Rock is strong in my mind.",p:45,x:415,y:984,w:254,h:21},
{t:"or",p:45,x:415,y:1029,w:17,h:22},
{t:"Meticulously he hung his photographs ",p:45,x:415,y:1076,w:280,h:21},
{t:"up on the white walls in the big spaces. ",p:45,x:415,y:1099,w:289,h:21},
{t:"After that, rather casual it seemed, ",p:45,x:415,y:1122,w:252,h:21},
{t:"he hung mirrors between them and ",p:45,x:415,y:1144,w:256,h:21},
{t:"over and beside the photos. Then he ",p:45,x:415,y:1167,w:268,h:21},
{t:"photographed the images refected in ",p:45,x:415,y:1190,w:277,h:21},
{t:"the mirrors, again, I thought, from rather ",p:45,x:415,y:1213,w:293,h:21},
{t:"casual angles. In the end he removed ",p:45,x:415,y:1236,w:276,h:21},
{t:"all the photos that had apparently ",p:45,x:415,y:1259,w:250,h:21},
{t:"formed the exhibition in the frst place, ",p:45,x:415,y:1282,w:281,h:21},
{t:"took down all the mirrors and hung the ",p:45,x:415,y:1305,w:285,h:21},
{t:"photos of the refected image where the ",p:45,x:415,y:1328,w:293,h:21},
{t:"mirrors had been. Each picture where it ",p:45,x:415,y:1351,w:289,h:21},
{t:"belonged.",p:45,x:415,y:1374,w:74,h:21},
{t:"sŁoDka NiePamięĆ",p:45,x:742,y:698,w:265,h:38},
{t:"Pamiętam te kamienie z czasu zanim ",p:45,x:742,y:756,w:270,h:23},
{t:"mój zmysł orientacji stał się na tyle ",p:45,x:742,y:779,w:253,h:23},
{t:"dobry, że mogłem chodzić sam po ",p:45,x:742,y:802,w:257,h:23},
{t:"lesie. wydaje mi się, że to zawsze był ",p:45,x:742,y:825,w:282,h:23},
{t:"ten sam kamień, do którego chodziliśmy ",p:45,x:742,y:848,w:294,h:23},
{t:"(i na który często się wspinałem), że ",p:45,x:742,y:871,w:267,h:23},
{t:"krajobraz był w ciągłym ruchu tak, że ",p:45,x:742,y:894,w:278,h:23},
{t:"kamień odmieniał się żeby dopasować ",p:45,x:742,y:917,w:287,h:23},
{t:"się do zmian w otoczeniu. Później ",p:45,x:742,y:939,w:251,h:23},
{t:"uświadomiłem sobie, że było więcej ",p:45,x:742,y:962,w:266,h:23},
{t:"kamieni, lecz w dalszym ciągu wizja ",p:45,x:742,y:985,w:270,h:23},
{t:"Jednego kamienia jest najsilniejsza.",p:45,x:742,y:1008,w:259,h:23},
{t:"albo",p:45,x:742,y:1054,w:36,h:24},
{t:"Powiesił starannie swoje fotografe ",p:45,x:742,y:1100,w:254,h:23},
{t:"na białych ścianach w dużych ",p:45,x:742,y:1123,w:223,h:23},
{t:"pomieszczeniach. Poczym, niejako ",p:45,x:742,y:1146,w:256,h:23},
{t:"przypadkowo powiesił lustra między ",p:45,x:742,y:1169,w:270,h:23},
{t:"nimi, obok fotografi i nad nimi. ",p:45,x:742,y:1192,w:230,h:23},
{t:"Nastepnie fotografował obrazy, które ",p:45,x:742,y:1214,w:278,h:23},
{t:"odbijały się w lustrach, jak sądzę pod ",p:45,x:742,y:1237,w:279,h:23},
{t:"przypadkowymi kątami.",p:45,x:742,y:1260,w:174,h:23},
{t:"Na koniec zabrał wszystkie fotografe, ",p:45,x:742,y:1283,w:284,h:23},
{t:"które pozornie stanowiły wystawę, ",p:45,x:742,y:1306,w:255,h:23},
{t:"usunął wszystkie lustra i powiesił ",p:45,x:742,y:1329,w:239,h:23},
{t:"fotografe odbić lustrzanych tam, gdzie ",p:45,x:742,y:1352,w:288,h:23},
{t:"znajdowały się lustra. każdy obraz na ",p:45,x:742,y:1375,w:284,h:23},
{t:"miejscu, do którego należal. ",p:45,x:742,y:1398,w:209,h:23},
{t:"SØT gLEMSEL",p:45,x:88,y:699,w:180,h:36},
{t:"Jeg husker disse steinene fra tiden før ",p:45,x:88,y:757,w:274,h:21},
{t:"jeg kunne orientere meg godt nok til ",p:45,x:88,y:779,w:266,h:21},
{t:"å gå aleine i skogen. Jeg tenkte at det ",p:45,x:88,y:802,w:280,h:21},
{t:"alltid var den samme steinen vi kom til, ",p:45,x:88,y:825,w:282,h:21},
{t:"(og som jeg ofte klatret opp på), og at ",p:45,x:88,y:848,w:283,h:21},
{t:"landskapet var i kontinuerlig bevegelse ",p:45,x:88,y:871,w:286,h:21},
{t:"slik at steinen bare forandret seg for å ",p:45,x:88,y:894,w:279,h:21},
{t:"tilpasse seg skiftningene i omgivelsene. ",p:45,x:88,y:917,w:286,h:21},
{t:"Seinere ble jeg klar over at det var fere ",p:45,x:88,y:940,w:292,h:21},
{t:"steiner, men fremdeles er det forestillingen ",p:45,x:88,y:963,w:291,h:21},
{t:"om En Stein som står sterkest. ",p:45,x:88,y:986,w:216,h:21},
{t:"eller",p:45,x:88,y:1031,w:35,h:22},
{t:"Han hang fotografene sine sirlig opp ",p:45,x:88,y:1077,w:276,h:21},
{t:"på de hvite veggene i de store rom-",p:45,x:88,y:1100,w:257,h:21},
{t:"mene. Dernest, ganske tilfeldig virket det ",p:45,x:88,y:1123,w:296,h:21},
{t:"som, hang han opp speil mellom dem ",p:45,x:88,y:1146,w:277,h:21},
{t:"og over og på siden av fotografene. ",p:45,x:88,y:1169,w:271,h:21},
{t:"Han fotograferte så bildene som ble ",p:45,x:88,y:1192,w:267,h:21},
{t:"refektert i speilene, igjen, tenkte jeg, ut ",p:45,x:88,y:1215,w:286,h:21},
{t:"fra ganske vilkårlige vinkler. Til slutt tok ",p:45,x:88,y:1238,w:284,h:21},
{t:"han vekk alle fotografene som tilsynela-",p:45,x:88,y:1261,w:289,h:21},
{t:"tende hadde utgjort utstillingen, fjernet ",p:45,x:88,y:1283,w:282,h:21},
{t:"alle speilene og hang opp fotografene ",p:45,x:88,y:1306,w:289,h:21},
{t:"av speilbildene der speilene hadde ",p:45,x:88,y:1329,w:260,h:21},
{t:"vært. Hvert bilde der det hørte til.",p:45,x:88,y:1352,w:241,h:21},
{t:"46",p:46,x:115,y:1465,w:15,h:16},
{t:"47",p:47,x:1135,y:1464,w:15,h:16},
{t:"48",p:48,x:115,y:1465,w:15,h:16},
{t:"49",p:49,x:1135,y:1464,w:15,h:16},
{t:"Photo: Jan Egge",p:49,x:86,y:747,w:91,h:16},
{t:"Photo: Jan Egge",p:49,x:90,y:1476,w:91,h:16},
{t:"50",p:50,x:115,y:1465,w:15,h:16},
{t:"gRIM ERLANd LyNg SvINgEN",p:50,x:206,y:433,w:751,h:63},
{t:"51",p:51,x:1136,y:1464,w:15,h:16},
{t:"THREE SETS OF ",p:51,x:415,y:1004,w:205,h:36},
{t:"ORIgINAL POLISH ",p:51,x:415,y:1042,w:249,h:36},
{t:"RELEASES ",p:51,x:415,y:1079,w:133,h:36},
{t:"1968-1989 ",p:51,x:415,y:1117,w:151,h:36},
{t:"SHOwcASED IN ",p:51,x:415,y:1154,w:231,h:36},
{t:"LILLEHAMMER",p:51,x:415,y:1192,w:181,h:36},
{t:"TRE SETT MED ",p:51,x:88,y:1004,w:190,h:36},
{t:"ORIgINALE POLSKE ",p:51,x:88,y:1042,w:268,h:36},
{t:"PLATELANSERINgER ",p:51,x:88,y:1079,w:274,h:36},
{t:"1968-1989 ",p:51,x:88,y:1117,w:151,h:36},
{t:"PRESENTERT PÅ ",p:51,x:88,y:1154,w:208,h:36},
{t:"LILLEHAMMER",p:51,x:88,y:1192,w:181,h:36},
{t:"NEwS cORE",p:51,x:88,y:882,w:169,h:36},
{t:"NEwS cORE",p:51,x:415,y:882,w:169,h:36},
{t:"NEwS cORE",p:51,x:742,y:882,w:169,h:36},
{t:"trzy zestawy ",p:51,x:742,y:1002,w:202,h:38},
{t:"oryGiNalNycH ",p:51,x:742,y:1040,w:230,h:38},
{t:"PolskicH PromocJi ",p:51,x:742,y:1077,w:292,h:38},
{t:"1968 – 1989 ",p:51,x:742,y:1115,w:176,h:38},
{t:"zaPrezeNtowaNe ",p:51,x:742,y:1152,w:267,h:38},
{t:"w lilleHammer",p:51,x:742,y:1190,w:218,h:38},
{t:"1: opening day",p:51,x:16,y:463,w:117,h:23},
{t:"2: opening day",p:51,x:405,y:460,w:117,h:23},
{t:"after release ",p:51,x:405,y:483,w:95,h:23},
{t:"party",p:51,x:405,y:506,w:38,h:23},
{t:"3: 04.09.08",p:51,x:826,y:458,w:91,h:23},
{t:"Haakons pub, lillhammer",p:51,x:826,y:481,w:183,h:23},
{t:"52",p:52,x:115,y:1465,w:15,h:16},
{t:"En samling originale ",p:52,x:118,y:144,w:151,h:21},
{t:"platelanseringer fra Muza, ",p:52,x:118,y:167,w:199,h:21},
{t:"Polskie Nagrania ",p:52,x:118,y:190,w:129,h:21},
{t:"and Pronit labels. ",p:52,x:118,y:213,w:130,h:21},
{t:"Urbaniak ensemble",p:52,x:118,y:236,w:141,h:21},
{t:"ble lansert i Vest Tyskland ",p:52,x:118,y:259,w:189,h:21},
{t:"og i USA",p:52,x:118,y:282,w:65,h:21},
{t:"A selection of original ",p:52,x:118,y:339,w:161,h:21},
{t:"relaeses from the Muza, ",p:52,x:118,y:360,w:179,h:21},
{t:"Polskie Nagrania ",p:52,x:118,y:381,w:129,h:21},
{t:"and Pronit labels. ",p:52,x:118,y:402,w:130,h:21},
{t:"Urbaniak ensemble ",p:52,x:118,y:423,w:145,h:21},
{t:"released in West Germany ",p:52,x:118,y:443,w:196,h:21},
{t:"and the U.S.",p:52,x:118,y:464,w:89,h:21},
{t:"Zbiór oryginalnych ",p:52,x:118,y:519,w:141,h:22},
{t:"płyt Muzy, Polskich Nagrań ",p:52,x:118,y:542,w:205,h:22},
{t:"i Pronit Labels. ",p:52,x:118,y:565,w:109,h:22},
{t:"Zespół Urbaniaka był ",p:52,x:118,y:588,w:162,h:22},
{t:"lansowany w Zachodnich ",p:52,x:118,y:611,w:187,h:22},
{t:"Niemczech i USA.",p:52,x:118,y:634,w:131,h:22},
{t:"53",p:53,x:1135,y:1464,w:15,h:16},
{t:"LIST coNTENT:",p:53,x:874,y:264,w:116,h:21},
{t:"Band/Artists name",p:53,x:874,y:287,w:133,h:21},
{t:"Release title",p:53,x:874,y:309,w:85,h:21},
{t:"original release year",p:53,x:874,y:332,w:154,h:21},
{t:"ZAWArtość:",p:53,x:874,y:380,w:105,h:22},
{t:"Nazwisko artysty/",p:53,x:874,y:403,w:130,h:22},
{t:"nazwa zespołu",p:53,x:874,y:426,w:108,h:22},
{t:"tytuł albumu",p:53,x:874,y:449,w:90,h:22},
{t:"rok promocji",p:53,x:874,y:472,w:94,h:22},
{t:"INNhoLd:",p:53,x:872,y:144,w:83,h:21},
{t:"Band/Artist navn",p:53,x:872,y:167,w:121,h:21},
{t:"Albums-tittel",p:53,x:872,y:190,w:86,h:21},
{t:"opprinnelig lanseringsår",p:53,x:872,y:213,w:181,h:21},
{t:"czeslaw Niemen",p:53,x:114,y:219,w:136,h:22},
{t:"Enigmatic ",p:53,x:143,y:244,w:82,h:22},
{t:"1969",p:53,x:161,y:269,w:41,h:22},
{t:"Marek grechuta",p:53,x:301,y:218,w:133,h:22},
{t:"and Anawa",p:53,x:320,y:239,w:95,h:22},
{t:"Korowod ",p:53,x:330,y:260,w:79,h:22},
{t:"1971",p:53,x:347,y:281,w:41,h:22},
{t:"Breakout",p:53,x:518,y:219,w:73,h:22},
{t:"zOL ",p:53,x:537,y:240,w:38,h:22},
{t:"1979",p:53,x:533,y:260,w:41,h:22},
{t:"zbigniew ",p:53,x:708,y:219,w:80,h:22},
{t:"Namysłowski",p:53,x:691,y:241,w:108,h:24},
{t:"Air condition ",p:53,x:693,y:262,w:111,h:22},
{t:"1982",p:53,x:725,y:283,w:41,h:22},
{t:"Krzystof",p:53,x:711,y:397,w:66,h:22},
{t:"cugowski",p:53,x:705,y:418,w:78,h:22},
{t:"wokol cisza Trwa",p:53,x:672,y:438,w:146,h:22},
{t:"1979",p:53,x:724,y:459,w:41,h:22},
{t:"Michal Urbaniak",p:53,x:488,y:397,w:134,h:22},
{t:"constellation",p:53,x:503,y:418,w:104,h:22},
{t:"1973",p:53,x:534,y:439,w:41,h:22},
{t:"Superconstellation",p:53,x:481,y:459,w:148,h:22},
{t:"1973",p:53,x:534,y:480,w:41,h:22},
{t:"Novi Singers",p:53,x:131,y:586,w:103,h:22},
{t:"Rien ne va Plus",p:53,x:121,y:607,w:121,h:22},
{t:"1973",p:53,x:161,y:627,w:41,h:22},
{t:"Laboratorium",p:53,x:313,y:585,w:109,h:22},
{t:"Modern Peniathlon",p:53,x:291,y:606,w:154,h:22},
{t:"1976",p:53,x:348,y:627,w:41,h:22},
{t:"Ossian",p:53,x:527,y:584,w:55,h:22},
{t:"Ossian",p:53,x:527,y:605,w:55,h:22},
{t:"1975",p:53,x:533,y:626,w:41,h:22},
{t:"Breakout",p:53,x:520,y:774,w:73,h:22},
{t:"Bluesbreakout",p:53,x:498,y:795,w:115,h:22},
{t:"1971",p:53,x:536,y:815,w:41,h:22},
{t:"czeslaw Niemen",p:53,x:677,y:775,w:136,h:22},
{t:"Postscriptum",p:53,x:695,y:796,w:100,h:22},
{t:"1980",p:53,x:725,y:816,w:41,h:22},
{t:"czeslaw Niemen",p:53,x:114,y:774,w:136,h:22},
{t:"dziwny Jest ",p:53,x:134,y:795,w:100,h:22},
{t:"Ten Swiot",p:53,x:143,y:815,w:76,h:22},
{t:"1967",p:53,x:161,y:836,w:41,h:22},
{t:"czerwone gitary",p:53,x:112,y:975,w:139,h:22},
{t:"Rytm ziemi ",p:53,x:137,y:995,w:95,h:22},
{t:"1974",p:53,x:162,y:1016,w:41,h:22},
{t:"Katowice Big band",p:53,x:106,y:1155,w:151,h:22},
{t:"Music for My Friends ",p:53,x:98,y:1176,w:173,h:22},
{t:"1977",p:53,x:161,y:1197,w:41,h:22},
{t:"wojciech Karolak",p:53,x:299,y:1156,w:142,h:22},
{t:"Easy ",p:53,x:351,y:1177,w:42,h:22},
{t:"1974",p:53,x:350,y:1198,w:41,h:22},
{t:"czeslaw Niemen",p:53,x:488,y:1156,w:136,h:22},
{t:"Katharsis",p:53,x:519,y:1177,w:74,h:22},
{t:"1976",p:53,x:537,y:1198,w:41,h:22},
{t:"Michal Urbaniak ",p:53,x:678,y:1157,w:140,h:22},
{t:"group",p:53,x:720,y:1178,w:52,h:22},
{t:"The Beginning",p:53,x:689,y:1199,w:113,h:22},
{t:"1976",p:53,x:726,y:1220,w:41,h:22},
{t:"Breakout",p:53,x:335,y:1351,w:73,h:22},
{t:"Na drugin ",p:53,x:329,y:1372,w:89,h:22},
{t:"brzegt leczy",p:53,x:322,y:1393,w:97,h:22},
{t:"1969",p:53,x:350,y:1414,w:41,h:22},
{t:"String connection ",p:53,x:298,y:975,w:147,h:22},
{t:"workoholic",p:53,x:323,y:995,w:92,h:22},
{t:"1982",p:53,x:349,y:1016,w:41,h:22},
{t:"Breakout",p:53,x:520,y:975,w:73,h:22},
{t:"Kamienie",p:53,x:519,y:995,w:75,h:22},
{t:"1974",p:53,x:537,y:1016,w:41,h:22},
{t:"Slawomir Kulpowicz",p:53,x:664,y:975,w:164,h:22},
{t:"Sadhana",p:53,x:710,y:996,w:72,h:22},
{t:"1989",p:53,x:726,y:1017,w:41,h:22},
{t:"SBB",p:53,x:730,y:584,w:31,h:22},
{t:"Nowy Horyzont",p:53,x:680,y:605,w:130,h:22},
{t:"1975",p:53,x:725,y:626,w:41,h:22},
{t:"SBB",p:53,x:353,y:774,w:31,h:22},
{t:"welcome",p:53,x:331,y:795,w:74,h:22},
{t:"1976",p:53,x:348,y:815,w:41,h:22},
{t:"Bemibem",p:53,x:330,y:397,w:74,h:22},
{t:"Bemove Frazy ",p:53,x:311,y:418,w:119,h:22},
{t:"1974",p:53,x:348,y:439,w:41,h:22},
{t:"Ursula dudziak",p:53,x:119,y:397,w:124,h:22},
{t:"Midnight Rain ",p:53,x:125,y:418,w:117,h:22},
{t:"1977",p:53,x:161,y:439,w:41,h:22},
{t:"54",p:54,x:116,y:1465,w:15,h:16},
{t:"55",p:55,x:1135,y:1464,w:15,h:16},
{t:"Motsatt side: ",p:55,x:88,y:144,w:98,h:21},
{t:"håkons Pub publicity material.",p:55,x:88,y:167,w:219,h:21},
{t:"design adoptert fra",p:55,x:88,y:190,w:141,h:21},
{t:"\"Breakout: Na drugim brzegu teczy\" ",p:55,x:88,y:213,w:267,h:21},
{t:"platecover, Pronit 1969",p:55,x:88,y:236,w:171,h:21},
{t:"opposite: ",p:55,x:88,y:279,w:76,h:21},
{t:"haakons Pub publicity material.",p:55,x:88,y:302,w:229,h:21},
{t:"design adopted from ",p:55,x:88,y:325,w:158,h:21},
{t:"\"Breakout: Na drugim brzegn teczy\"",p:55,x:88,y:348,w:262,h:21},
{t:"cover, Pronit 1969.",p:55,x:88,y:370,w:139,h:21},
{t:"News core: ",p:55,x:88,y:680,w:90,h:21},
{t:"Ten track instrumental record ",p:55,x:88,y:703,w:212,h:21},
{t:"based on Polish originals",p:55,x:88,y:726,w:185,h:21},
{t:"News core: ",p:55,x:88,y:592,w:90,h:21},
{t:"Ti spor instrumentalplate ",p:55,x:88,y:615,w:180,h:21},
{t:"basert på polske originaler",p:55,x:88,y:638,w:195,h:21},
{t:"Front - cover",p:55,x:551,y:753,w:78,h:19},
{t:"Back - cover",p:55,x:88,y:1370,w:77,h:19},
{t:"News core: ",p:55,x:88,y:763,w:80,h:19},
{t:"Płyta z dziesięcioma utworami ",p:55,x:88,y:783,w:222,h:22},
{t:"instrumentalnymi podłud polskich ",p:55,x:88,y:806,w:243,h:22},
{t:"oryginałów.",p:55,x:88,y:829,w:85,h:22},
{t:"Strona przeciwległa:",p:55,x:88,y:407,w:148,h:22},
{t:"Håkons Pub publicity material.",p:55,x:88,y:430,w:219,h:22},
{t:"Projekt adaptowany od ",p:55,x:88,y:453,w:174,h:22},
{t:"„Breakout: Na drugim brzegu tęczy”",p:55,x:88,y:476,w:265,h:22},
{t:"okładka: Pronit 1969.",p:55,x:88,y:499,w:164,h:22},
{t:"Label",p:55,x:1081,y:889,w:35,h:19},
{t:"56",p:56,x:115,y:1465,w:15,h:16},
{t:"MARIT ARNEKLEIv",p:56,x:206,y:401,w:446,h:63},
{t:"Phot",p:56,x:1257,y:939,w:0,h:16},
{t:"os: The Ar",p:56,x:1257,y:964,w:0,h:16},
{t:"tist",p:56,x:1257,y:1021,w:0,h:16},
{t:"57",p:57,x:1135,y:1464,w:15,h:16},
{t:"Phot",p:57,x:17,y:939,w:0,h:16},
{t:"os: The Ar",p:57,x:17,y:964,w:0,h:16},
{t:"tist",p:57,x:17,y:1021,w:0,h:16},
{t:"58",p:58,x:115,y:1465,w:15,h:16},
{t:"wALKINg DISTANcE ",p:58,x:533,y:290,w:282,h:36},
{t:"TO ScHOOLS, ",p:58,x:533,y:327,w:194,h:36},
{t:"NATURE TRAILS AND ",p:58,x:533,y:365,w:277,h:36},
{t:"SHOPS",p:58,x:533,y:402,w:92,h:36},
{t:"Parts 1 and 2 of the installation consist ",p:58,x:533,y:503,w:283,h:21},
{t:"of greenhouses situated in Storgata and ",p:58,x:533,y:526,w:293,h:21},
{t:"at Kvitmannsberget in Lillehammer. ",p:58,x:533,y:549,w:255,h:21},
{t:"The title of the work is taken from an ",p:58,x:533,y:595,w:265,h:21},
{t:"estate agents prospectus. The title holds ",p:58,x:533,y:618,w:290,h:21},
{t:"true for both Part 1 in the city and ",p:58,x:533,y:641,w:248,h:21},
{t:"Part 2 in the forest. Nevertheless, the ",p:58,x:533,y:664,w:270,h:21},
{t:"houses will appear to contrast with their ",p:58,x:533,y:687,w:292,h:21},
{t:"surroundings and seem out of place. ",p:58,x:533,y:710,w:268,h:21},
{t:"Initailly, they are intended to raise ques-",p:58,x:533,y:732,w:286,h:21},
{t:"tions about the function of greenhouses ",p:58,x:533,y:755,w:287,h:21},
{t:"placed in an urban setting and in a ",p:58,x:533,y:778,w:259,h:21},
{t:"peaceful forest. ",p:58,x:533,y:801,w:115,h:21},
{t:"For both the sites I have chosen to situ-",p:58,x:533,y:847,w:277,h:21},
{t:"ate the greenhouses near a busy artery ",p:58,x:533,y:870,w:289,h:21},
{t:"for walkers: in gågata, the main pedes-",p:58,x:533,y:893,w:286,h:21},
{t:"trianised street, and in Blåløypa, which ",p:58,x:533,y:916,w:285,h:21},
{t:"is the main descent trail from the most",p:58,x:533,y:939,w:270,h:21},
{t:"popular rambling area, in the winter as ",p:58,x:533,y:962,w:287,h:21},
{t:"well as in the summer. Both sites have ",p:58,x:533,y:984,w:275,h:21},
{t:"defned purposes and are regulated ",p:58,x:533,y:1007,w:266,h:21},
{t:"according to particular needs. ",p:58,x:533,y:1030,w:223,h:21},
{t:"By placing the houses so that they ",p:58,x:533,y:1076,w:250,h:21},
{t:"partly veer into the street and trail, I ",p:58,x:533,y:1099,w:261,h:21},
{t:"will be creating a new scenario. The ",p:58,x:533,y:1122,w:266,h:21},
{t:"expected pattern of behaviour is altered ",p:58,x:533,y:1145,w:295,h:21},
{t:"Bliska oDleGŁośĆ ",p:58,x:860,y:287,w:271,h:38},
{t:"Do szkoŁy, ",p:58,x:860,y:325,w:167,h:38},
{t:"tereNów ",p:58,x:860,y:362,w:144,h:38},
{t:"rekreacyJNycH i ",p:58,x:860,y:400,w:249,h:38},
{t:"sklePów.",p:58,x:860,y:437,w:133,h:38},
{t:"część 1 i 2 instalacji składa się z ",p:58,x:860,y:500,w:245,h:23},
{t:"jednej szklarni zamontowanej na ",p:58,x:860,y:522,w:244,h:23},
{t:"storgata i drugiej na kvitmannsberget, ",p:58,x:860,y:545,w:283,h:23},
{t:"lillehammer.",p:58,x:860,y:568,w:89,h:23},
{t:"tytuł jest wzięty z prospektu od ",p:58,x:860,y:614,w:230,h:23},
{t:"pośrednika nieruchomości.",p:58,x:860,y:637,w:193,h:23},
{t:"zarówno dla części 1 w mieście,  jak i ",p:58,x:860,y:660,w:283,h:23},
{t:"2 w lesie tytuł jest rzeczywisty.",p:58,x:860,y:683,w:219,h:23},
{t:"mimo to domki mogą stanowić kontrast ",p:58,x:860,y:706,w:290,h:23},
{t:"z otoczeniem i być odbierane jako ",p:58,x:860,y:729,w:256,h:23},
{t:"postawione na niewłasciwym miejscu.",p:58,x:860,y:752,w:274,h:23},
{t:"w pierwszym skojarzeniu stawiają ",p:58,x:860,y:774,w:257,h:23},
{t:"pytanie o funkcję przypisywaną szklarni ",p:58,x:860,y:797,w:295,h:23},
{t:"umieszczonej w miejskim środowisku i ",p:58,x:860,y:820,w:279,h:23},
{t:"w zacisznym środowisku leśnym.",p:58,x:860,y:843,w:236,h:23},
{t:"w obu miejscach umieściłam szklarnie ",p:58,x:860,y:889,w:284,h:23},
{t:"tuż obok bardzo ruchliwego ciągu ",p:58,x:860,y:912,w:255,h:23},
{t:"komunikacyjnego: deptaku, ulicy ",p:58,x:860,y:935,w:241,h:23},
{t:"handowej i „Blåløypa”- zjazdu z ",p:58,x:860,y:958,w:242,h:23},
{t:"najbardziej uczęszczanego w mieście ",p:58,x:860,y:981,w:281,h:23},
{t:"terenu wycieczkowego zarówno latem ",p:58,x:860,y:1004,w:285,h:23},
{t:"jak i zimą. ",p:58,x:860,y:1026,w:78,h:23},
{t:"oba miejsca podporządkowane są ",p:58,x:860,y:1072,w:263,h:23},
{t:"określonemu przeznaczeniu, gdzie ",p:58,x:860,y:1095,w:258,h:23},
{t:"zdefniowane jest użytkowanie.",p:58,x:860,y:1118,w:226,h:23},
{t:"Umieszczając szklarnie jako częściowo ",p:58,x:860,y:1141,w:291,h:23},
{t:"gANgAVSTAND ",p:58,x:206,y:290,w:226,h:36},
{t:"TIL SKOLER, ",p:58,x:206,y:327,w:157,h:36},
{t:"TUROMRÅDER Og ",p:58,x:206,y:365,w:255,h:36},
{t:"BUTIKKER ",p:58,x:206,y:402,w:134,h:36},
{t:"Installasjon Del 1 og 2 består av et ",p:58,x:206,y:505,w:259,h:21},
{t:"veksthus montert i Storgata og et på ",p:58,x:206,y:528,w:265,h:21},
{t:"Kvitmannsberget, Lillehammer.  ",p:58,x:206,y:551,w:228,h:21},
{t:"Tittelen er hentet fra et prospekt hos ",p:58,x:206,y:597,w:261,h:21},
{t:"en eiendomsmegler. For både del 1 ",p:58,x:206,y:620,w:264,h:21},
{t:"i byen, og del 2 i skogen, er tittelen ",p:58,x:206,y:643,w:259,h:21},
{t:"sann. Likevel vil husene kunne framstå ",p:58,x:206,y:666,w:276,h:21},
{t:"i kontrast til omgivelsene og oppleves ",p:58,x:206,y:689,w:274,h:21},
{t:"som misplasserte. I første omgang stiller ",p:58,x:206,y:712,w:292,h:21},
{t:"de spørsmål om funksjonen et veksthus ",p:58,x:206,y:735,w:283,h:21},
{t:"plassert i et urbant miljø og i et fredelig ",p:58,x:206,y:757,w:288,h:21},
{t:"skogsmiljø, er tiltenkt.  ",p:58,x:206,y:780,w:162,h:21},
{t:"På begge steder har jeg plassert ",p:58,x:206,y:826,w:240,h:21},
{t:"veksthusene tett inntil en sterkt trafkkert ",p:58,x:206,y:849,w:285,h:21},
{t:"ferdselsåre; gågata, byens handlegate, ",p:58,x:206,y:872,w:293,h:21},
{t:"og «Blåløypa», nedfartsløypa fra byens ",p:58,x:206,y:895,w:291,h:21},
{t:"mest brukte turområde, sommer som ",p:58,x:206,y:918,w:265,h:21},
{t:"vinter. Begge stedene er regulerte til ",p:58,x:206,y:941,w:266,h:21},
{t:"bestemte formål der bruken er defnert.  ",p:58,x:206,y:964,w:289,h:21},
{t:"Ved å plassere husene delvis stikkende ",p:58,x:206,y:1009,w:285,h:21},
{t:"ut i gata og stien/løypa, vil jeg skape ",p:58,x:206,y:1032,w:276,h:21},
{t:"en ny situasjon. Et forventet handlings-",p:58,x:206,y:1055,w:273,h:21},
{t:"mønster brytes ved at publikum inviteres ",p:58,x:206,y:1078,w:294,h:21},
{t:"inn. Rommet består av delvis transpar-",p:58,x:206,y:1101,w:273,h:21},
{t:"ente plater og med et begrenset innsyn/",p:58,x:206,y:1124,w:291,h:21},
{t:"utsyn, mens gavlen og et hjørne ut mot ",p:58,x:206,y:1147,w:283,h:21},
{t:"59",p:59,x:1135,y:1464,w:15,h:16},
{t:"Phot",p:59,x:21,y:1017,w:0,h:16},
{t:"os: The Ar",p:59,x:21,y:1042,w:0,h:16},
{t:"tist",p:59,x:21,y:1098,w:0,h:16},
{t:"60",p:60,x:115,y:1465,w:15,h:16},
{t:"by inviting people inside. The houses ",p:60,x:533,y:292,w:270,h:21},
{t:"are built with semi-opaque sections, ",p:60,x:533,y:315,w:261,h:21},
{t:"which allow a limited view in/out, while ",p:60,x:533,y:338,w:292,h:21},
{t:"the gable and the corner facing these ",p:60,x:533,y:361,w:277,h:21},
{t:"pedestrian arteries consist of completely ",p:60,x:533,y:384,w:295,h:21},
{t:"transparent sections. ",p:60,x:533,y:406,w:151,h:21},
{t:"The foundations have been created on-",p:60,x:533,y:452,w:282,h:21},
{t:"site by using the materials that are most ",p:60,x:533,y:475,w:288,h:21},
{t:"readily available. In the city, planks ",p:60,x:533,y:498,w:260,h:21},
{t:"have been bought, while in the forest, ",p:60,x:533,y:521,w:276,h:21},
{t:"trees have been felled to provide the ",p:60,x:533,y:544,w:269,h:21},
{t:"material. Each foundation is adapted ",p:60,x:533,y:567,w:273,h:21},
{t:"to its site, while the identical houses ",p:60,x:533,y:590,w:260,h:21},
{t:"are bought ready-made and have ",p:60,x:533,y:613,w:250,h:21},
{t:"been placed on top. The construction ",p:60,x:533,y:636,w:273,h:21},
{t:"methods for the foundations are carried ",p:60,x:533,y:658,w:291,h:21},
{t:"on in the form of small benches in the ",p:60,x:533,y:681,w:274,h:21},
{t:"middle of the greenhouses. There are ",p:60,x:533,y:704,w:273,h:21},
{t:"doors in each gable, which have been ",p:60,x:533,y:727,w:284,h:21},
{t:"placed diagonally opposite each other. ",p:60,x:533,y:750,w:291,h:21},
{t:"A sentence has been fxed to the wall, ",p:60,x:533,y:773,w:280,h:21},
{t:"and repeated throughout the interior. ",p:60,x:533,y:796,w:271,h:21},
{t:"In 2003, as part of the art project ",p:60,x:533,y:842,w:249,h:21},
{t:"Flere Steder for Alltid (Several Places ",p:60,x:533,y:865,w:273,h:21},
{t:"Forever), I created the installation ",p:60,x:533,y:888,w:246,h:21},
{t:"Balansegang (Balancing Act), which ",p:60,x:533,y:910,w:269,h:21},
{t:"consisted of fve concrete benches ",p:60,x:533,y:933,w:252,h:21},
{t:"situated on the south and north sides ",p:60,x:533,y:956,w:269,h:21},
{t:"of the pedestrianised area of gågata. ",p:60,x:533,y:979,w:280,h:21},
{t:"These were intended to appeal to the ",p:60,x:533,y:1002,w:275,h:21},
{t:"spontaneity of the audience. By jump-",p:60,x:533,y:1025,w:271,h:21},
{t:"ing onto the benches and balancing ",p:60,x:533,y:1048,w:266,h:21},
{t:"along them, you could hear your own ",p:60,x:533,y:1071,w:277,h:21},
{t:"footsteps, while some benches played ",p:60,x:533,y:1094,w:279,h:21},
{t:"sampled recordings of footsteps. It ",p:60,x:533,y:1117,w:253,h:21},
{t:"was diffcult to distinguish the authentic ",p:60,x:533,y:1140,w:284,h:21},
{t:"sound from that of the recordings, and ",p:60,x:533,y:1163,w:281,h:21},
{t:"the sampled sound could actually seem ",p:60,x:533,y:1185,w:290,h:21},
{t:"more real than the sound of your own ",p:60,x:533,y:1208,w:277,h:21},
{t:"footsteps.  ",p:60,x:533,y:1231,w:77,h:21},
{t:"In this way, your attention veered ",p:60,x:533,y:1273,w:243,h:21},
{t:"between concentrating on your own ac-",p:60,x:533,y:1294,w:287,h:21},
{t:"tivity and perceiving the general sounds ",p:60,x:533,y:1315,w:292,h:21},
{t:"of the surroundings. ",p:60,x:533,y:1335,w:147,h:21},
{t:"wystające na ulicę i na scieżkę, chcę ",p:60,x:860,y:290,w:271,h:23},
{t:"stworzyć nową sytuację. oczekiwne ",p:60,x:860,y:313,w:269,h:23},
{t:"wzory zachowań załamują się, gdy ",p:60,x:860,y:336,w:264,h:23},
{t:"publiczność zostaje zaproszona do ",p:60,x:860,y:359,w:263,h:23},
{t:"środka.",p:60,x:860,y:382,w:52,h:23},
{t:"Pomieszczenie składa się z częściowo ",p:60,x:860,y:428,w:281,h:23},
{t:"przezroczystych płyt z ograniczoną ",p:60,x:860,y:451,w:263,h:23},
{t:"mozliwością zaglądania/wyglądania ",p:60,x:860,y:474,w:279,h:23},
{t:"przez nie, natomiast szczyt i róg ",p:60,x:860,y:496,w:238,h:23},
{t:"skierowane na ciąg komunikacyjny ",p:60,x:860,y:519,w:257,h:23},
{t:"- składają się z całkowicie ",p:60,x:860,y:542,w:192,h:23},
{t:"przezroczystych płyt. Fundamenty",p:60,x:860,y:565,w:245,h:23},
{t:"zostały wykonane na miejscu przy ",p:60,x:860,y:588,w:254,h:23},
{t:"użyciu najbardziej dostępnych ",p:60,x:860,y:611,w:225,h:23},
{t:"materiałów. w mieście zakupiono ",p:60,x:860,y:634,w:251,h:23},
{t:"przycięte deski, w lesie porąbano ",p:60,x:860,y:657,w:249,h:23},
{t:"pnie na surowiec. każdy fundament ",p:60,x:860,y:680,w:264,h:23},
{t:"dopasowany został do swego miejsca, ",p:60,x:860,y:703,w:286,h:23},
{t:"natomiast identyczne szklarnie ",p:60,x:860,y:726,w:225,h:23},
{t:"zakupiono jako gotowe i umieszczono ",p:60,x:860,y:748,w:284,h:23},
{t:"na fundamentach. konstrukcję ",p:60,x:860,y:771,w:222,h:23},
{t:"fundamentu przenosi się na ławkę ",p:60,x:860,y:794,w:251,h:23},
{t:"postawioną w środku pomieszczenia. ",p:60,x:860,y:817,w:277,h:23},
{t:"w każdym szczycie są drzwi ",p:60,x:860,y:840,w:216,h:23},
{t:"umieszczone diagonalnie nad sobą. ",p:60,x:860,y:863,w:268,h:23},
{t:"Na scianach zamontowane jest zdanie, ",p:60,x:860,y:886,w:292,h:23},
{t:"powtarzne w wielu miejscach",p:60,x:860,y:909,w:214,h:23},
{t:"tego pomieszczenia. ",p:60,x:860,y:932,w:155,h:23},
{t:"w roku 2003, w związku z ",p:60,x:860,y:978,w:206,h:23},
{t:"przedsięwzięciem artystycznym ",p:60,x:860,y:1001,w:233,h:23},
{t:"„Flere steder for alltid” (wiele miejsc ",p:60,x:860,y:1023,w:276,h:23},
{t:"na zawsze), zrobiłam  instalację ",p:60,x:860,y:1046,w:238,h:23},
{t:"„Balansegang” („Balansowanie”), która ",p:60,x:860,y:1069,w:295,h:23},
{t:"znalazła się na deptaku, na południu i ",p:60,x:860,y:1092,w:283,h:23},
{t:"północy lillehammer. Pięć betonowych ",p:60,x:860,y:1115,w:285,h:23},
{t:"ławek na każdym miejscu. intencją ",p:60,x:860,y:1138,w:256,h:23},
{t:"było odwołanie się do spontaniczności  ",p:60,x:860,y:1161,w:291,h:23},
{t:"przechodniów. ",p:60,x:860,y:1184,w:112,h:23},
{t:"wskakując na ławki i balansując po ",p:60,x:860,y:1230,w:268,h:23},
{t:"nich, słyszało się odtwarzany dzwięk ",p:60,x:860,y:1253,w:273,h:23},
{t:"własnych kroków, podczas gdy na ",p:60,x:860,y:1275,w:256,h:23},
{t:"niektórych ławkach odtwarzane były ",p:60,x:860,y:1298,w:272,h:23},
{t:"zmiksowane wcześniej dźwięki. trudno ",p:60,x:860,y:1321,w:288,h:23},
{t:"było rozróznić autentyczny dzwięk ",p:60,x:860,y:1344,w:257,h:23},
{t:"od nagrania; składankę dzwiekową ",p:60,x:860,y:1367,w:265,h:23},
{t:"odbierało się jako bardziej rzeczywistą ",p:60,x:860,y:1390,w:290,h:23},
{t:"ferdselsåra består av helt klare plater.  ",p:60,x:206,y:291,w:282,h:21},
{t:"Fundamentene er tilvirket på stedet ved ",p:60,x:206,y:337,w:287,h:21},
{t:"å bruke de materialene som er lettest ",p:60,x:206,y:360,w:272,h:21},
{t:"tilgjengelig.  I byen er det kjøpt skåret ",p:60,x:206,y:383,w:277,h:21},
{t:"plank, i skogen er det hogd tømmer til ",p:60,x:206,y:406,w:279,h:21},
{t:"virke. Hvert fundament er tilpasset sitt ",p:60,x:206,y:429,w:272,h:21},
{t:"sted mens de identisk like husene er ",p:60,x:206,y:452,w:262,h:21},
{t:"ferdigkjøpt og plassert oppå. ",p:60,x:206,y:475,w:216,h:21},
{t:"Konstruksjonen av fundamentet ",p:60,x:206,y:498,w:229,h:21},
{t:"videreføres til en sittebenk midtstilt i ",p:60,x:206,y:521,w:258,h:21},
{t:"rommet. Det er dører i hver gavl ",p:60,x:206,y:544,w:236,h:21},
{t:"plassert diagonalt overfor hverandre. ",p:60,x:206,y:566,w:273,h:21},
{t:"På veggene er det montert en setning ",p:60,x:206,y:589,w:274,h:21},
{t:"som gjentas fere steder i rommet.  ",p:60,x:206,y:612,w:251,h:21},
{t:"I 2003, i forbindelse med kunstprosjek-",p:60,x:206,y:658,w:282,h:21},
{t:"tet Flere Steder for Alltid, lagde jeg ",p:60,x:206,y:681,w:258,h:21},
{t:"installasjonen «Balansegang» som ",p:60,x:206,y:704,w:253,h:21},
{t:"befant seg i gågata sør og nord på ",p:60,x:206,y:727,w:261,h:21},
{t:"Lillehammer, fem betongbenker på ",p:60,x:206,y:750,w:255,h:21},
{t:"hvert sted. De var ment å appellere ",p:60,x:206,y:773,w:260,h:21},
{t:"til en spontanitet hos publikum. Ved å ",p:60,x:206,y:796,w:274,h:21},
{t:"hoppe opp på benkene og balansere ",p:60,x:206,y:818,w:278,h:21},
{t:"bortover, fkk man avspilt lyden av egne ",p:60,x:206,y:841,w:293,h:21},
{t:"fottrinn mens det på enkelte benker ",p:60,x:206,y:864,w:257,h:21},
{t:"ble avspilt sampla fottrinn. Det var ",p:60,x:206,y:887,w:251,h:21},
{t:"vanskelig å skille den autentiske lyden ",p:60,x:206,y:910,w:279,h:21},
{t:"fra lydopptakene, og den sampla lyden ",p:60,x:206,y:933,w:292,h:21},
{t:"kunne oppleves mer virkelig enn lyden ",p:60,x:206,y:956,w:282,h:21},
{t:"av egne fottrinn. ",p:60,x:206,y:979,w:122,h:21},
{t:"Slik ble oppmerksomheten dradd mel-",p:60,x:206,y:1025,w:273,h:21},
{t:"lom konsentrasjon om egen aktivitet og ",p:60,x:206,y:1048,w:286,h:21},
{t:"inntak av et generelt lydbilde fra verden ",p:60,x:206,y:1070,w:293,h:21},
{t:"omkring.  ",p:60,x:206,y:1093,w:72,h:21},
{t:"61",p:61,x:1136,y:1464,w:15,h:16},
{t:"Phot",p:61,x:103,y:884,w:0,h:16},
{t:"os: The Ar",p:61,x:103,y:908,w:0,h:16},
{t:"tist",p:61,x:103,y:965,w:0,h:16},
{t:"62",p:62,x:115,y:1465,w:15,h:16},
{t:"In \"walking Distance\", viewers are ",p:62,x:533,y:766,w:255,h:21},
{t:"invited into a house where it is possible ",p:62,x:533,y:787,w:286,h:21},
{t:"to sit down and refect over its expressed ",p:62,x:533,y:808,w:291,h:21},
{t:"sentence and life outside. How does it ",p:62,x:533,y:828,w:279,h:21},
{t:"feel to occupy this semi-public space; ",p:62,x:533,y:849,w:272,h:21},
{t:"how are we affected by being situated ",p:62,x:533,y:870,w:284,h:21},
{t:"at the intersection between collective ",p:62,x:533,y:891,w:270,h:21},
{t:"and individual conceptions of reality?",p:62,x:533,y:912,w:271,h:21},
{t:"niż dzwięk własnych kroków.",p:62,x:860,y:764,w:210,h:23},
{t:"w ten sposób uwaga podzielona była ",p:62,x:860,y:787,w:285,h:23},
{t:"między skupieniem się nad własnym ",p:62,x:860,y:810,w:267,h:23},
{t:"ruchem a odbiorem ogólnego obrazu ",p:62,x:860,y:833,w:279,h:23},
{t:"dzwiękowego z otaczającego świata.",p:62,x:860,y:856,w:276,h:23},
{t:"w „ Gangavstand”(„Bliska odległość”) ",p:62,x:860,y:902,w:290,h:23},
{t:"zaprasza się publiczność do wnętrza ",p:62,x:860,y:925,w:275,h:23},
{t:"domu, gdzie można usiąść i zastanowić ",p:62,x:860,y:948,w:293,h:23},
{t:"się nad zdaniem przypisanym temu ",p:62,x:860,y:971,w:261,h:23},
{t:"domowi i życiem na zewnątrz. Jak ",p:62,x:860,y:993,w:254,h:23},
{t:"odczuwa się przebywanie w tej ",p:62,x:860,y:1016,w:235,h:23},
{t:"pseudopublicznej przestrzeni, w ",p:62,x:860,y:1039,w:238,h:23},
{t:"jaki sposób oddziałuje na nas punkt ",p:62,x:860,y:1062,w:266,h:23},
{t:"przecięcia pomiędzy indywidualnym ",p:62,x:860,y:1085,w:272,h:23},
{t:"a zbiorowym pojmowaniem/",p:62,x:860,y:1108,w:211,h:23},
{t:"uświadamianiem sobie rzeczywistości? ",p:62,x:860,y:1131,w:287,h:23},
{t:"I «gangavstand» inviteres publikum inn ",p:62,x:206,y:765,w:289,h:21},
{t:"i et hus hvor det er mulig å sitte ned og ",p:62,x:206,y:788,w:285,h:21},
{t:"refektere over husets setning og livet ",p:62,x:206,y:811,w:269,h:21},
{t:"utenfor. Hvordan oppleves det å være ",p:62,x:206,y:834,w:280,h:21},
{t:"i dette halvoffentlige rommet, hvordan ",p:62,x:206,y:857,w:278,h:21},
{t:"påvirkes vi i skjæringspunktet mellom ",p:62,x:206,y:880,w:271,h:21},
{t:"den kollektive og individuelle virke-",p:62,x:206,y:902,w:252,h:21},
{t:"lighetsoppfatning /bevissthet?I ",p:62,x:206,y:925,w:226,h:21},
{t:"63",p:63,x:1135,y:1464,w:15,h:16},
{t:"64",p:64,x:115,y:1465,w:15,h:16},
{t:"teresa murak",p:64,x:206,y:429,w:370,h:71},
{t:"65",p:65,x:1135,y:1464,w:15,h:16},
{t:"66",p:66,x:115,y:1465,w:15,h:16},
{t:"VERFTSKRANER ",p:66,x:206,y:955,w:207,h:36},
{t:"LØFTER BUNNEN AV ",p:66,x:206,y:993,w:275,h:36},
{t:"MESNA, SKAPER BRO, ",p:66,x:206,y:1030,w:294,h:36},
{t:"ELVEN RENNER TIL ",p:66,x:206,y:1068,w:246,h:36},
{t:"KILDENE",p:66,x:206,y:1105,w:110,h:36},
{t:"Det fnnes en kjerne av menneskenatur ",p:66,x:206,y:1200,w:282,h:21},
{t:"som allerede Platon (en urhukommelse), ",p:66,x:206,y:1223,w:293,h:21},
{t:"Descartes (ideen om uendelighet), ",p:66,x:206,y:1246,w:253,h:21},
{t:"Pascal peker på. Denne kjernen av ",p:66,x:206,y:1269,w:257,h:21},
{t:"hukommelsen, viljen og livet forener ",p:66,x:206,y:1292,w:262,h:21},
{t:"verdener. Den danner strømmen av ",p:66,x:206,y:1314,w:260,h:21},
{t:"bevissthet og tar noen ganger form av ",p:66,x:206,y:1337,w:281,h:21},
{t:"skulptur, klopp, passasje.",p:66,x:206,y:1360,w:179,h:21},
{t:"ŻUrawie stoczNio-",p:66,x:860,y:953,w:284,h:38},
{t:"we UNoszĄ DNo ",p:66,x:860,y:990,w:258,h:38},
{t:"mesNy, tworzĄ ",p:66,x:860,y:1028,w:238,h:38},
{t:"most, rzeka PŁyNie ",p:66,x:860,y:1065,w:284,h:38},
{t:"Do ŹróDeŁ",p:66,x:860,y:1103,w:155,h:38},
{t:"istnieje rdzeń natury ludzkiej, na który ",p:66,x:860,y:1198,w:280,h:23},
{t:"już wskazuje Platon (piewotna pamięć), ",p:66,x:860,y:1221,w:292,h:23},
{t:"kartezjusz (idea nieskończoności), ",p:66,x:860,y:1244,w:255,h:23},
{t:"Pascal. ten rdzeń pamięci, woli i ",p:66,x:860,y:1267,w:240,h:23},
{t:"życia łączy światy. tworzy strumień ",p:66,x:860,y:1290,w:261,h:23},
{t:"świadomości, czasami przyjmuje formę ",p:66,x:860,y:1313,w:288,h:23},
{t:"rzezby, kładki, przejścia.",p:66,x:860,y:1335,w:179,h:23},
{t:"SHIPyARD cRANES ",p:66,x:533,y:955,w:255,h:36},
{t:"LIFT THE BOTTOM ",p:66,x:533,y:993,w:235,h:36},
{t:"OF MESNA, ",p:66,x:533,y:1030,w:162,h:36},
{t:"cREATES A BRIDgE, ",p:66,x:533,y:1068,w:261,h:36},
{t:"THE RIVER FLOwS TO ",p:66,x:533,y:1105,w:282,h:36},
{t:"ITS SOURcES",p:66,x:533,y:1143,w:172,h:36},
{t:"There exists a core of human nature ",p:66,x:533,y:1200,w:262,h:21},
{t:"which already Plato (an ancient ",p:66,x:533,y:1223,w:235,h:21},
{t:"memory), Descartes (the idea of ",p:66,x:533,y:1245,w:237,h:21},
{t:"eternity), Pascal point at. This core of ",p:66,x:533,y:1268,w:270,h:21},
{t:"memory, will and life unites worlds. ",p:66,x:533,y:1291,w:258,h:21},
{t:"It constitutes the stream of consciousness ",p:66,x:533,y:1314,w:295,h:21},
{t:"and sometimes takes the shape of a ",p:66,x:533,y:1337,w:262,h:21},
{t:"sculpture, a footbridge, a passageway.",p:66,x:533,y:1360,w:282,h:21},
{t:"67",p:67,x:1136,y:1464,w:15,h:16},
{t:"Photo: The Artist",p:67,x:88,y:767,w:91,h:16},
{t:"Photo: The Artist",p:67,x:86,y:1477,w:91,h:16},
{t:"68",p:68,x:115,y:1465,w:15,h:16},
{t:"vIcTORIA PIHL LINd",p:68,x:206,y:434,w:490,h:63},
{t:"69",p:69,x:1135,y:1464,w:15,h:16},
{t:"VI BLE BEDT OM Å ",p:69,x:88,y:878,w:246,h:36},
{t:"LEggE OSS NED ",p:69,x:88,y:915,w:231,h:36},
{t:"PÅ gULVET ",p:69,x:88,y:953,w:149,h:36},
{t:"INNTIL EN VEgg ",p:69,x:88,y:990,w:234,h:36},
{t:"UNDER ET BORD",p:69,x:88,y:1028,w:218,h:36},
{t:"Utenriksminister ",p:69,x:88,y:1070,w:117,h:21},
{t:"Jonas Gahr Støre 2008",p:69,x:88,y:1093,w:174,h:21},
{t:"Installasjon i Lillehammer bibliotek",p:69,x:88,y:1139,w:246,h:21},
{t:"Torget er bibliotekets hjerte. En åpen ",p:69,x:88,y:1185,w:269,h:21},
{t:"møteplass midt i bygget der du har ",p:69,x:88,y:1208,w:258,h:21},
{t:"tilgang til bibliotekets ulike avdelinger. ",p:69,x:88,y:1230,w:280,h:21},
{t:"Det er meningen at Torget skal være et ",p:69,x:88,y:1253,w:284,h:21},
{t:"sted der du kan holde deg orientert ",p:69,x:88,y:1276,w:261,h:21},
{t:"og treffe andre mennesker. Her har ",p:69,x:88,y:1299,w:259,h:21},
{t:"biblioteket sin samling av 200 tidsskrifter ",p:69,x:88,y:1322,w:291,h:21},
{t:"og 30 daglige aviser.",p:69,x:88,y:1345,w:157,h:21},
{t:"wE wERE TOLD TO ",p:69,x:415,y:878,w:261,h:36},
{t:"LIE DOwN ON ",p:69,x:415,y:915,w:207,h:36},
{t:"THE FLOOR",p:69,x:415,y:953,w:147,h:36},
{t:"UP AgAINST A wALL ",p:69,x:415,y:990,w:282,h:36},
{t:"UNDERNEATH A TABLE",p:69,x:415,y:1028,w:290,h:36},
{t:"Minister of Foreign Affairs",p:69,x:415,y:1070,w:187,h:21},
{t:"Jonas Gahr Støre 2008",p:69,x:415,y:1093,w:174,h:21},
{t:"Installation in Lillehammer Public Library    ",p:69,x:415,y:1139,w:295,h:21},
{t:"The Square is the heart of the library. ",p:69,x:415,y:1185,w:273,h:21},
{t:"An open meetingplace in the centre of ",p:69,x:415,y:1208,w:282,h:21},
{t:"the building where you have access ",p:69,x:415,y:1230,w:264,h:21},
{t:"to the different parts of the library. It is ",p:69,x:415,y:1253,w:280,h:21},
{t:"based on the idea of the public square, ",p:69,x:415,y:1276,w:289,h:21},
{t:"a place where you can keep yourself ",p:69,x:415,y:1299,w:273,h:21},
{t:"updated and meet other people. Here ",p:69,x:415,y:1322,w:281,h:21},
{t:"you will fnd the librarys collection of ",p:69,x:415,y:1345,w:270,h:21},
{t:"200 periodicals and 30 daily news-",p:69,x:415,y:1368,w:261,h:21},
{t:"papers.",p:69,x:415,y:1391,w:54,h:21},
{t:"kazaNo Nami ",p:69,x:742,y:875,w:215,h:38},
{t:"PoŁoŻyĆ się Na ",p:69,x:742,y:913,w:234,h:38},
{t:"PoDŁoDze",p:69,x:742,y:950,w:146,h:38},
{t:"Blisko ściaNy PoD ",p:69,x:742,y:988,w:279,h:38},
{t:"stoŁem",p:69,x:742,y:1025,w:106,h:38},
{t:"Minister Spraw Zagranicznych ",p:69,x:742,y:1069,w:225,h:22},
{t:"Jonas Gahr Støre 2008",p:69,x:742,y:1092,w:174,h:22},
{t:"Instalacja w bibliotece w Lillehammer",p:69,x:742,y:1138,w:271,h:21},
{t:"torget (rynek) jest sercem biblioteki. ",p:69,x:742,y:1183,w:267,h:23},
{t:"otwarty plac spotkań w środku bu-",p:69,x:742,y:1206,w:254,h:23},
{t:"dynku, gdzie masz dostęp do różnych ",p:69,x:742,y:1229,w:281,h:23},
{t:"bibliotecznych sektorów. zamysłem ",p:69,x:742,y:1252,w:260,h:23},
{t:"było, że torget ma być miejscem, gdzie ",p:69,x:742,y:1275,w:291,h:23},
{t:"możesz uzyskać informacje i spotkać ",p:69,x:742,y:1298,w:272,h:23},
{t:"innych ludzi. znajdują się tu bibliotec-",p:69,x:742,y:1320,w:271,h:23},
{t:"zne zbiory 200-tu czasopism i 30-tu ",p:69,x:742,y:1343,w:266,h:23},
{t:"codziennych gazet.",p:69,x:742,y:1366,w:142,h:23},
{t:"Phot",p:69,x:1049,y:435,w:0,h:16},
{t:"o: Marianne ",p:69,x:1049,y:459,w:0,h:16},
{t:"h",p:69,x:1049,y:534,w:0,h:16},
{t:"ur",p:69,x:1049,y:543,w:0,h:16},
{t:"um",p:69,x:1049,y:554,w:0,h:16},
{t:"70",p:70,x:115,y:1465,w:15,h:16},
{t:"71",p:71,x:1136,y:1464,w:15,h:16},
{t:"Phot",p:71,x:1140,y:133,w:0,h:16},
{t:"o: Marianne ",p:71,x:1140,y:158,w:0,h:16},
{t:"h",p:71,x:1140,y:232,w:0,h:16},
{t:"ur",p:71,x:1140,y:242,w:0,h:16},
{t:"um",p:71,x:1140,y:253,w:0,h:16},
{t:"72",p:72,x:115,y:1465,w:15,h:16},
{t:"Phot",p:72,x:191,y:201,w:0,h:16},
{t:"o: Marianne ",p:72,x:191,y:177,w:0,h:16},
{t:"h",p:72,x:191,y:102,w:0,h:16},
{t:"ur",p:72,x:191,y:93,w:0,h:16},
{t:"um",p:72,x:191,y:81,w:0,h:16},
{t:"73",p:73,x:1135,y:1464,w:15,h:16},
{t:"Man kan tenke seg Torget som et møte ",p:73,x:88,y:534,w:285,h:21},
{t:"mellom bøkenes fortellinger og virke-",p:73,x:88,y:557,w:267,h:21},
{t:"ligheten slik den fremstår i disse avisene ",p:73,x:88,y:580,w:292,h:21},
{t:"og tidsskriftene.",p:73,x:88,y:603,w:112,h:21},
{t:"Teppet som ligger på Torget i biblioteket ",p:73,x:88,y:649,w:296,h:21},
{t:"er en gulvmatte av den typen som ",p:73,x:88,y:672,w:250,h:21},
{t:"brukes for å samle opp støv og smuss i ",p:73,x:88,y:694,w:283,h:21},
{t:"offentlige bygg.",p:73,x:88,y:717,w:114,h:21},
{t:"Teksten er et sitat av Utenriksminister ",p:73,x:88,y:763,w:266,h:21},
{t:"Jonas gahr Støre, uttalt etter angrepet ",p:73,x:88,y:786,w:282,h:21},
{t:"på Serena Hotel i Kabul, Afghanistan ",p:73,x:88,y:809,w:275,h:21},
{t:"14. januar 2008. ",p:73,x:88,y:832,w:131,h:21},
{t:"Denne installasjonen tar opp tråden fra ",p:73,x:88,y:878,w:288,h:21},
{t:"tidligere arbeider som tematiserer de ",p:73,x:88,y:901,w:271,h:21},
{t:"nære båndene mellom Utenriksdeparte-",p:73,x:88,y:924,w:287,h:21},
{t:"mentet og kultursektoren. Kunst og kultur ",p:73,x:88,y:947,w:295,h:21},
{t:"spiller etter hvert en viktig rolle i Norges ",p:73,x:88,y:969,w:293,h:21},
{t:"utenriks- og sikkerhetspolitikk.",p:73,x:88,y:992,w:210,h:21},
{t:"Ved å synliggjøre et bruddstykke av ",p:73,x:88,y:1038,w:264,h:21},
{t:"Norges utenrikspolitiske erfaring, og ",p:73,x:88,y:1061,w:267,h:21},
{t:"plassere dette i en tradisjonsrik kultur-",p:73,x:88,y:1084,w:269,h:21},
{t:"institusjon som biblioteket, imøtekommer ",p:73,x:88,y:1107,w:293,h:21},
{t:"og aktualiserer dette verket kunstnernes ",p:73,x:88,y:1130,w:289,h:21},
{t:"og kulturarbeidernes aktive rolle i uten-",p:73,x:88,y:1153,w:280,h:21},
{t:"rikspolitikken.",p:73,x:88,y:1176,w:96,h:21},
{t:"One can imagine the Square as an ",p:73,x:415,y:534,w:259,h:21},
{t:"encounter between the stories in the ",p:73,x:415,y:557,w:264,h:21},
{t:"books and reality as it manifests itself in ",p:73,x:415,y:580,w:289,h:21},
{t:"these papers and periodicals.",p:73,x:415,y:603,w:215,h:21},
{t:"The carpet that lies on the Square is the ",p:73,x:415,y:648,w:290,h:21},
{t:"kind of carpet typically used for collect-",p:73,x:415,y:671,w:284,h:21},
{t:"ing dust and dirt in public buildings.",p:73,x:415,y:694,w:258,h:21},
{t:"The text is a citation from the Norwe-",p:73,x:415,y:740,w:266,h:21},
{t:"gian Minister of Foreign Affairs Jonas ",p:73,x:415,y:763,w:274,h:21},
{t:"gahr Støre, pronounced right after he ",p:73,x:415,y:786,w:280,h:21},
{t:"experienced the attack on Serena Hotel ",p:73,x:415,y:809,w:294,h:21},
{t:"in Kabul, Afghanistan January 14th ",p:73,x:415,y:832,w:260,h:21},
{t:"2008. ",p:73,x:415,y:855,w:51,h:21},
{t:"This installation is a continuation of pre-",p:73,x:415,y:900,w:283,h:21},
{t:"vious works which refect upon the close ",p:73,x:415,y:923,w:294,h:21},
{t:"ties between the Ministry of Foreign ",p:73,x:415,y:946,w:262,h:21},
{t:"Affairs and the culture sphere. Art and ",p:73,x:415,y:969,w:280,h:21},
{t:"culture plays a gradually more impor-",p:73,x:415,y:992,w:271,h:21},
{t:"tant part in the Norwegian foreign and ",p:73,x:415,y:1015,w:287,h:21},
{t:"security policy.",p:73,x:415,y:1038,w:106,h:21},
{t:"By visualizing a fragment of Norways ",p:73,x:415,y:1084,w:278,h:21},
{t:"experience in Foreign Affairs, and plac-",p:73,x:415,y:1107,w:286,h:21},
{t:"ing this particular quote in a long-estab-",p:73,x:415,y:1130,w:286,h:21},
{t:"lished cultural institution like the library, ",p:73,x:415,y:1153,w:286,h:21},
{t:"the work complies with and highlights ",p:73,x:415,y:1175,w:276,h:21},
{t:"artists and cultural workers active role in ",p:73,x:415,y:1198,w:294,h:21},
{t:"Foreign Affairs.",p:73,x:415,y:1221,w:110,h:21},
{t:"można spojrzeć na torget jako na spot-",p:73,x:742,y:532,w:289,h:23},
{t:"kaniem między książkowymi opowiada-",p:73,x:742,y:555,w:288,h:23},
{t:"niami a rzeczywistością, taką jak jest ",p:73,x:742,y:578,w:272,h:23},
{t:"ona przedstawiana w tych gazetach i ",p:73,x:742,y:601,w:278,h:23},
{t:"czasopismach.",p:73,x:742,y:624,w:107,h:23},
{t:"Dywan leżący na torget w bibliotece ",p:73,x:742,y:670,w:275,h:23},
{t:"jest typem maty podłogowej służącej ",p:73,x:742,y:693,w:272,h:23},
{t:"do pochłaniania nieczystości i kurzu w ",p:73,x:742,y:716,w:285,h:23},
{t:"budynkach publicznych.",p:73,x:742,y:739,w:175,h:23},
{t:"tekst jest cytatem wypowiedzi ministra ",p:73,x:742,y:784,w:285,h:23},
{t:"spraw zagranicznych Jonas Gahr støre ",p:73,x:742,y:807,w:296,h:23},
{t:"po napaści na Hotel serena w kabulu, ",p:73,x:742,y:830,w:286,h:23},
{t:"w afganistanie 2008 roku. ",p:73,x:742,y:853,w:200,h:23},
{t:"instalacja ta kontynuuje wątek z ",p:73,x:742,y:899,w:236,h:23},
{t:"wcześniejszych prac, które podejmują ",p:73,x:742,y:922,w:280,h:23},
{t:"temat bliskich więzi między  min-",p:73,x:742,y:945,w:239,h:23},
{t:"isterstwem spraw zagranicznych ",p:73,x:742,y:968,w:243,h:23},
{t:"a sektorem kultury. sztuka i kultura ",p:73,x:742,y:991,w:254,h:23},
{t:"odgrywają stopniowo ważną rolę ",p:73,x:742,y:1013,w:250,h:23},
{t:"w polityce zagranicznej i polityce ",p:73,x:742,y:1036,w:248,h:23},
{t:"bezpieczeństwa Norwegii.",p:73,x:742,y:1059,w:196,h:23},
{t:"Ujawniając fragment doświadczeń ",p:73,x:742,y:1105,w:258,h:23},
{t:"w polityce zagranicznej Norwegii i ",p:73,x:742,y:1128,w:261,h:23},
{t:"umieszczając je w bogatej w tradycje ",p:73,x:742,y:1151,w:279,h:23},
{t:"instytucji kulturalnej jaką jest bib-",p:73,x:742,y:1174,w:235,h:23},
{t:"lioteka, dzieło to wychodzi naprzeciw ",p:73,x:742,y:1197,w:280,h:23},
{t:"i aktualizuje aktywną rolę artystów i ",p:73,x:742,y:1220,w:265,h:23},
{t:"pracowników kultury w polityce zagran-",p:73,x:742,y:1243,w:290,h:23},
{t:"icznej. ",p:73,x:742,y:1265,w:51,h:23},
{t:"den norske utenriksministeren Jonas Gahr Støre besøker installasjonen i Lillehammer bibliotek.",p:73,x:88,y:70,w:603,h:19},
{t:"The Norwegian Foreign Minister Jonas Gahr Støre visits the installation in Lillehammer library.",p:73,x:88,y:93,w:601,h:19},
{t:"Norweski minister spraw zagranicznych Jonas Gahr Støre zwiedzainstalację  w bibliotece w Lillehammer.",p:73,x:88,y:112,w:674,h:23},
{t:"74",p:74,x:117,y:1465,w:15,h:16},
{t:"ANNA wIdéN",p:74,x:206,y:401,w:349,h:63},
{t:"Phot",p:74,x:1261,y:593,w:0,h:16},
{t:"os: The Ar",p:74,x:1261,y:617,w:0,h:16},
{t:"tist",p:74,x:1261,y:674,w:0,h:16},
{t:"75",p:75,x:1135,y:1464,w:15,h:16},
{t:"TROPHy II",p:75,x:88,y:780,w:129,h:36},
{t:"Mitt kunstneriske arbeid springer i all ",p:75,x:88,y:860,w:271,h:21},
{t:"hovedsak ut fra det landskapet der ",p:75,x:88,y:883,w:255,h:21},
{t:"jeg til enhver tid bor eller arbeider. ",p:75,x:88,y:905,w:256,h:21},
{t:"De visuelle strukturene og rytmene som ",p:75,x:88,y:928,w:286,h:21},
{t:"landskapet byr på, er en sterk inspiras-",p:75,x:88,y:951,w:278,h:21},
{t:"jon og et premiss, enten det dreier ",p:75,x:88,y:974,w:251,h:21},
{t:"seg om kulturlandskap eller vill natur. ",p:75,x:88,y:997,w:272,h:21},
{t:"Når jeg arbeider med kunst-i-natur, ",p:75,x:88,y:1020,w:257,h:21},
{t:"er jeg spesielt nøye med materialvalg ",p:75,x:88,y:1043,w:276,h:21},
{t:"og miljøvennlige metoder av hensyn ",p:75,x:88,y:1066,w:266,h:21},
{t:"til stedet. Mine idéer utvikles organisk ",p:75,x:88,y:1089,w:275,h:21},
{t:"gjennom praktisk arbeid og kunst-",p:75,x:88,y:1112,w:243,h:21},
{t:"neriske vurderinger på plassen, snarere ",p:75,x:88,y:1135,w:289,h:21},
{t:"enn ved en forutgående teori. Noen ",p:75,x:88,y:1157,w:266,h:21},
{t:"av mine stedsspesifkke verk oppstår ",p:75,x:88,y:1180,w:266,h:21},
{t:"direkte på plassen uten forberedelse - ",p:75,x:88,y:1203,w:276,h:21},
{t:"andre arbeider forgreiner seg over tid ",p:75,x:88,y:1226,w:279,h:21},
{t:"og manifesteres som serier gjennom ",p:75,x:88,y:1249,w:264,h:21},
{t:"fere faser.  ",p:75,x:88,y:1272,w:84,h:21},
{t:"Under forberedelsene til UT-21 var jeg ",p:75,x:88,y:1318,w:283,h:21},
{t:"på fere befaringer til Kvitmannsberget, ",p:75,x:88,y:1341,w:287,h:21},
{t:"og arbeidet parallellt med modeller ",p:75,x:88,y:1364,w:262,h:21},
{t:"der jeg prøvde å få fram et uttrykk ",p:75,x:88,y:1387,w:253,h:21},
{t:"“Trophy II” Kvitmannsberget September 16th 2008.",p:75,x:876,y:734,w:290,h:16},
{t:"TROPHy II",p:75,x:415,y:780,w:129,h:36},
{t:"The main thread that runs through my ",p:75,x:415,y:860,w:273,h:21},
{t:"art work originates more or less directly ",p:75,x:415,y:883,w:290,h:21},
{t:"from the landscape found in the area ",p:75,x:415,y:906,w:273,h:21},
{t:"where I currently live and work. I am ",p:75,x:415,y:929,w:269,h:21},
{t:"deeply inspired by visual structures and ",p:75,x:415,y:951,w:289,h:21},
{t:"rhythms found in both raw and cultured ",p:75,x:415,y:974,w:288,h:21},
{t:"landscapes. when creating art-in-na-",p:75,x:415,y:997,w:265,h:21},
{t:"ture, I am particularly preoccupied with ",p:75,x:415,y:1020,w:290,h:21},
{t:"my choice of materials and ecological ",p:75,x:415,y:1043,w:281,h:21},
{t:"methods for working the site.",p:75,x:415,y:1066,w:207,h:21},
{t:"while some of my site-specifc works ",p:75,x:415,y:1089,w:268,h:21},
{t:"are instant, others represent a series of ",p:75,x:415,y:1112,w:282,h:21},
{t:"steps carried out over a longer period ",p:75,x:415,y:1135,w:279,h:21},
{t:"of time. In this way, my ideas can be ",p:75,x:415,y:1158,w:267,h:21},
{t:"said to evolve organically through ",p:75,x:415,y:1181,w:251,h:21},
{t:"“hands-on” work, rather than as a result ",p:75,x:415,y:1203,w:291,h:21},
{t:"of preconceived theory. while some of ",p:75,x:415,y:1226,w:286,h:21},
{t:"my site-specifc works are instant, others ",p:75,x:415,y:1249,w:290,h:21},
{t:"represent a series of steps carried out ",p:75,x:415,y:1272,w:274,h:21},
{t:"over a longer period of time.",p:75,x:415,y:1295,w:207,h:21},
{t:"In preparation for UT-21, I went on ",p:75,x:415,y:1341,w:255,h:21},
{t:"several excursions in the Kvitmanns-",p:75,x:415,y:1364,w:256,h:21},
{t:"berget-area. I also worked on a series ",p:75,x:415,y:1387,w:279,h:21},
{t:"troFeUm ii",p:75,x:742,y:776,w:152,h:38},
{t:"Przewodnia myśl mojej artystycznej ",p:75,x:742,y:856,w:261,h:23},
{t:"pracy ma swoje mniej lub bardziej ",p:75,x:742,y:879,w:255,h:23},
{t:"bezpośrednie źródło w krajobrazie, ",p:75,x:742,y:902,w:265,h:23},
{t:"w którym obecnie żyję i pracuję. ",p:75,x:742,y:925,w:241,h:23},
{t:"mocno inspirują mnie wizualne ",p:75,x:742,y:948,w:232,h:23},
{t:"struktury i rytmy, które znajduje się ",p:75,x:742,y:971,w:253,h:23},
{t:"zarówno w naturalnym jak i kulturowym ",p:75,x:742,y:994,w:293,h:23},
{t:"krajobrazie. kiedy tworzę sztukę–w–",p:75,x:742,y:1017,w:269,h:23},
{t:"naturze, szczególnie interesuje mnie ",p:75,x:742,y:1040,w:266,h:23},
{t:"wybór materiału i ekologiczne metody ",p:75,x:742,y:1063,w:283,h:23},
{t:"pracy w danym miejscu.",p:75,x:742,y:1086,w:175,h:23},
{t:"Niektóre z moich prac związanych ",p:75,x:742,y:1108,w:259,h:23},
{t:"ze specyfką miejsca to samodzielne ",p:75,x:742,y:1131,w:269,h:23},
{t:"prace, inne wchodzą w skład serii ",p:75,x:742,y:1154,w:252,h:23},
{t:"stworzonej w dłuższym czasie. można ",p:75,x:742,y:1177,w:285,h:23},
{t:"powiedzieć, że moje pomysły rozwijają ",p:75,x:742,y:1200,w:292,h:23},
{t:"sie organicznie poprzez „ręczną ",p:75,x:742,y:1223,w:242,h:23},
{t:"pracę” jako rezultat wyprzedzającej ",p:75,x:742,y:1246,w:270,h:23},
{t:"je teorii. ",p:75,x:742,y:1269,w:62,h:23},
{t:"w czasie przygotowań do ",p:75,x:742,y:1315,w:199,h:23},
{t:"Ut-21 dokonałam wielu oględzin ",p:75,x:742,y:1338,w:245,h:23},
{t:"kvitmannsberget. Pracowałam też ",p:75,x:742,y:1361,w:250,h:23},
{t:"nad serią modeli poszukując formy, ",p:75,x:742,y:1383,w:262,h:23},
{t:"Phot",p:75,x:21,y:593,w:0,h:16},
{t:"os: The Ar",p:75,x:21,y:617,w:0,h:16},
{t:"tist",p:75,x:21,y:674,w:0,h:16},
{t:"76",p:76,x:117,y:1465,w:15,h:16},
{t:"som kunne resultere i en arbeidsskisse. ",p:76,x:206,y:495,w:282,h:21},
{t:"Figurasjonen hadde på det tidspunktet ",p:76,x:206,y:518,w:282,h:21},
{t:"form av et hestehode beslektet med det ",p:76,x:206,y:540,w:289,h:21},
{t:"tidligere arbeidet \"Trofé\". Det skulle vise ",p:76,x:206,y:563,w:292,h:21},
{t:"seg at mine idéer om skulpturen ikke ",p:76,x:206,y:586,w:267,h:21},
{t:"fungerte hverken med rom eller materi-",p:76,x:206,y:609,w:279,h:21},
{t:"ale. \"Trofe II\" fant sin form på stedet.",p:76,x:206,y:632,w:262,h:21},
{t:"\"Trophy II\" ble skapt på Kvitmanns-",p:76,x:206,y:655,w:250,h:21},
{t:"berget, i samme område som 20 år ",p:76,x:206,y:678,w:261,h:21},
{t:"tidligere var kunstner Marit Arnekleivs ",p:76,x:206,y:701,w:278,h:21},
{t:"arbeidsplass i prosjektet \"Natur Kunst ",p:76,x:206,y:724,w:274,h:21},
{t:"- Kunst Natur\", (forløperen for UT-21). ",p:76,x:206,y:747,w:277,h:21},
{t:"For meg står det klart at denne plassen ",p:76,x:206,y:770,w:286,h:21},
{t:"har en helt egen atmosfære. Dette ",p:76,x:206,y:792,w:251,h:21},
{t:"dreier seg ikke bare om de synlige ",p:76,x:206,y:815,w:255,h:21},
{t:"kvalitetene i landskapet, men også ",p:76,x:206,y:838,w:254,h:21},
{t:"om en konsentrert metafysisk energi. ",p:76,x:206,y:861,w:266,h:21},
{t:"Skulpturens utgangspunkt i landskapet ",p:76,x:206,y:884,w:281,h:21},
{t:"er en stein som trolig har preget stedet ",p:76,x:206,y:907,w:282,h:21},
{t:"i uminnelige tider. Med steinen som en ",p:76,x:206,y:930,w:283,h:21},
{t:"indre kjerne har skulpturen fått sin form ",p:76,x:206,y:953,w:285,h:21},
{t:"i direkte dialog med materialet og plas-",p:76,x:206,y:976,w:284,h:21},
{t:"sens tydelige karakter.",p:76,x:206,y:999,w:161,h:21},
{t:"Det tok 19 dager å lage skulpturen på ",p:76,x:206,y:1022,w:282,h:21},
{t:"Kvitmannsberget. Vi var et arbeidslag ",p:76,x:206,y:1045,w:276,h:21},
{t:"på tre personer - meg selv og to as-",p:76,x:206,y:1067,w:255,h:21},
{t:"sistenter: Sara, som bidro til fettingen ",p:76,x:206,y:1090,w:274,h:21},
{t:"av grunnformen, og Astrid, som deltok i ",p:76,x:206,y:1113,w:290,h:21},
{t:"overfatebehandlingen.",p:76,x:206,y:1136,w:168,h:21},
{t:"I denne perioden bodde vi like ved ar-",p:76,x:206,y:1159,w:278,h:21},
{t:"beidsplassen. Med unntak av noen få, ",p:76,x:206,y:1182,w:281,h:21},
{t:"raske turer til matbutikken, var vi totalt ",p:76,x:206,y:1205,w:276,h:21},
{t:"oppslukt av oppgaven og stemningen ",p:76,x:206,y:1228,w:277,h:21},
{t:"på stedet. Valget om å jobbe konsen-",p:76,x:206,y:1251,w:269,h:21},
{t:"trert kan sees som en metode for å få ",p:76,x:206,y:1274,w:273,h:21},
{t:"opp effektiviteten, men viktigere var det ",p:76,x:206,y:1297,w:289,h:21},
{t:"at vi kom intenst inn i prosessen - ikke ",p:76,x:206,y:1319,w:271,h:21},
{t:"bare tankemessig, men også fysisk.",p:76,x:206,y:1342,w:253,h:21},
{t:"Underveis i arbeidet fant \"Trofé II\" ",p:76,x:206,y:1365,w:250,h:21},
{t:"gradvis sin form, som en direkte kon-",p:76,x:206,y:1388,w:262,h:21},
{t:"of models in an attempt to fnd a form ",p:76,x:533,y:495,w:276,h:21},
{t:"which could function as a working ",p:76,x:533,y:518,w:252,h:21},
{t:"sketch. At that time, the fguration had ",p:76,x:533,y:540,w:276,h:21},
{t:"the shape of a horse’s head. It became ",p:76,x:533,y:563,w:287,h:21},
{t:"clear during the work process that my ",p:76,x:533,y:586,w:276,h:21},
{t:"preconceived notions about the fgura-",p:76,x:533,y:609,w:278,h:21},
{t:"tive form did not suit the materials or the ",p:76,x:533,y:632,w:293,h:21},
{t:"site - a new form began to evolve.",p:76,x:533,y:655,w:244,h:21},
{t:"The site where “Trophy II ” was created ",p:76,x:533,y:678,w:289,h:21},
{t:"lies close to the spot where artist Marit ",p:76,x:533,y:701,w:283,h:21},
{t:"Arnekleiv’s artwork as a part of “Nature ",p:76,x:533,y:724,w:295,h:21},
{t:"Art - Art Nature” (a precursor to UT-21) ",p:76,x:533,y:747,w:289,h:21},
{t:"took shape twenty years earlier.",p:76,x:533,y:770,w:230,h:21},
{t:"As I worked there, I had a strong sense ",p:76,x:533,y:792,w:286,h:21},
{t:"that the site had an atmosphere of its ",p:76,x:533,y:815,w:270,h:21},
{t:"own - a concentrated metaphysical ",p:76,x:533,y:838,w:257,h:21},
{t:"energy above and beyond the physical ",p:76,x:533,y:861,w:289,h:21},
{t:"characteristics of the landscape. The ",p:76,x:533,y:884,w:267,h:21},
{t:"sculpture’s starting point in the land-",p:76,x:533,y:907,w:258,h:21},
{t:"scape is a rock which in all likelihood ",p:76,x:533,y:930,w:275,h:21},
{t:"has inhabited that very spot since time ",p:76,x:533,y:953,w:280,h:21},
{t:"immemorial. with the rock as a physical ",p:76,x:533,y:976,w:294,h:21},
{t:"core, the sculpture’s fguration arose ",p:76,x:533,y:999,w:266,h:21},
{t:"in direct dialogue with the indigenous ",p:76,x:533,y:1022,w:276,h:21},
{t:"materials and energy of the area.",p:76,x:533,y:1045,w:242,h:21},
{t:"It took 19 days to create the sculpture ",p:76,x:533,y:1067,w:277,h:21},
{t:"at Kvitmannsberget. we were a crew ",p:76,x:533,y:1090,w:273,h:21},
{t:"of three - me and two assistants. Sara ",p:76,x:533,y:1113,w:273,h:21},
{t:"assisted in braiding the form and Astrid ",p:76,x:533,y:1136,w:287,h:21},
{t:"helped with the outer treatment. ",p:76,x:533,y:1159,w:233,h:21},
{t:"During this period we lived at Kvit-",p:76,x:533,y:1182,w:247,h:21},
{t:"mannsberget. with the exception of a ",p:76,x:533,y:1205,w:277,h:21},
{t:"few quick errands, we became totally ",p:76,x:533,y:1228,w:276,h:21},
{t:"immersed in the site. The decision to ",p:76,x:533,y:1251,w:264,h:21},
{t:"concentrate the work increased our ",p:76,x:533,y:1274,w:260,h:21},
{t:"effciency, but more importantly it ",p:76,x:533,y:1297,w:244,h:21},
{t:"enabled us to experience the process ",p:76,x:533,y:1319,w:275,h:21},
{t:"more intensely - not just mentally, but ",p:76,x:533,y:1342,w:268,h:21},
{t:"also physically. As we worked, “Trophy ",p:76,x:533,y:1365,w:287,h:21},
{t:"II” gradually took shape. It emerged as ",p:76,x:533,y:1388,w:289,h:21},
{t:"która posłużyłaby jako szkic roboczy. ",p:76,x:860,y:493,w:277,h:23},
{t:"Figura miała w tym czasie formę ",p:76,x:860,y:516,w:239,h:23},
{t:"końskiej głowy. w procesie pracy ",p:76,x:860,y:539,w:249,h:23},
{t:"stało się jasne, że moje wstępne ",p:76,x:860,y:562,w:236,h:23},
{t:"założenia co do formy nie pasują ",p:76,x:860,y:585,w:249,h:23},
{t:"do materiałów ani miejsca – więc ",p:76,x:860,y:608,w:248,h:23},
{t:"została wypracowana nowa forma.",p:76,x:860,y:630,w:258,h:23},
{t:"miejsce, na którym stworzone zostało ",p:76,x:860,y:653,w:279,h:23},
{t:"„trofeum ii” leży w pobliżu miejsca, ",p:76,x:860,y:676,w:265,h:23},
{t:"gdzie znajdowała się praca artystki ",p:76,x:860,y:699,w:264,h:23},
{t:"marit arnekleiv dwadzieścia lat temu. ",p:76,x:860,y:722,w:278,h:23},
{t:"Pracując tam miałam silne wrażenie, że ",p:76,x:860,y:745,w:291,h:23},
{t:"miejsce posiada szczególną atmosferę, ",p:76,x:860,y:768,w:289,h:23},
{t:"skoncentrowaną metafzyczną ",p:76,x:860,y:791,w:223,h:23},
{t:"energię wokół fzycznych właściwości ",p:76,x:860,y:814,w:279,h:23},
{t:"krajobrazu. Na tym miejscu punktem ",p:76,x:860,y:837,w:270,h:23},
{t:"wyjścia dla rzeźby jest kamień, który ",p:76,x:860,y:860,w:271,h:23},
{t:"ponad wszelką wątpliwość stoi tam od ",p:76,x:860,y:883,w:286,h:23},
{t:"niepamiętnych czasów.  Forma rzeźby ",p:76,x:860,y:905,w:282,h:23},
{t:"powstała w bezpośrednim dialogu ",p:76,x:860,y:928,w:256,h:23},
{t:"z materiałem i energią miejsca oraz ",p:76,x:860,y:951,w:264,h:23},
{t:"kamieniem jako fzyczną esencją.",p:76,x:860,y:974,w:242,h:23},
{t:"wykonanie rzeźby na kvitmannsberget ",p:76,x:860,y:997,w:291,h:23},
{t:"zajęło 19 dni. stanowiłyśmy ",p:76,x:860,y:1020,w:208,h:23},
{t:"trzyosobowy zespół – ja i dwie ",p:76,x:860,y:1043,w:231,h:23},
{t:"asystentki. sara pomagała przy ",p:76,x:860,y:1066,w:234,h:23},
{t:"kształtowaniu formy, a astrid przy ",p:76,x:860,y:1089,w:249,h:23},
{t:"opracowaniu zewnętrznej faktury.",p:76,x:860,y:1112,w:246,h:23},
{t:"mieszkałyśmy w tym czasie na ",p:76,x:860,y:1135,w:228,h:23},
{t:"kvitmannsberget. z wyjątkiem kilku ",p:76,x:860,y:1157,w:258,h:23},
{t:"drobnych spraw byłyśmy totalnie ",p:76,x:860,y:1180,w:242,h:23},
{t:"zaabsorbowane pracą na miejscu. ",p:76,x:860,y:1203,w:256,h:23},
{t:"Decyzja o skoncentrowanej pracy ",p:76,x:860,y:1226,w:251,h:23},
{t:"zwiększała naszą efektywność, ale ",p:76,x:860,y:1249,w:259,h:23},
{t:"ważniejsze było to, że  doprowadziła ",p:76,x:860,y:1272,w:278,h:23},
{t:"do odczucia procesu bardziej ",p:76,x:860,y:1295,w:222,h:23},
{t:"intensywnie, nie tylko mentalnie, ale i ",p:76,x:860,y:1318,w:272,h:23},
{t:"fzycznie. Podczas gdy pracowałyśmy, ",p:76,x:860,y:1341,w:284,h:23},
{t:"Phot",p:76,x:1165,y:61,w:0,h:16},
{t:"os: ",p:76,x:1165,y:85,w:0,h:16},
{t:"The Ar",p:76,x:1165,y:105,w:0,h:16},
{t:"tist",p:76,x:1165,y:143,w:0,h:16},
{t:"77",p:77,x:1135,y:1464,w:15,h:16},
{t:"sekvens av kvalitetene i råmaterialet og ",p:77,x:88,y:495,w:289,h:21},
{t:"impulsene som stedet ga. grankvistene ",p:77,x:88,y:518,w:287,h:21},
{t:"som vi samlet inn et par kilometer fra ",p:77,x:88,y:540,w:269,h:21},
{t:"Kvitmannsberget var utvalgt hogstavfall ",p:77,x:88,y:563,w:289,h:21},
{t:"fra det samme området som tjener som ",p:77,x:88,y:586,w:285,h:21},
{t:"beiteområde for melkekyrne som bidro ",p:77,x:88,y:609,w:285,h:21},
{t:"med kumøkk.",p:77,x:88,y:632,w:96,h:21},
{t:"Mitt valg av råmaterialer er knyttet til en ",p:77,x:88,y:655,w:293,h:21},
{t:"økologisk tankegang der den materielle ",p:77,x:88,y:678,w:293,h:21},
{t:"verden er deler av et ufravikelig kret-",p:77,x:88,y:701,w:264,h:21},
{t:"sløp. Prinsippet om at alt er midlertidig ",p:77,x:88,y:724,w:283,h:21},
{t:"og under forandring, er anvendt først ",p:77,x:88,y:747,w:273,h:21},
{t:"og fremst for å oppnå en ønsket visuell ",p:77,x:88,y:770,w:285,h:21},
{t:"egenskap. Skulpturen ble skapt over ",p:77,x:88,y:792,w:266,h:21},
{t:"en relativt kort periode og preger nå ",p:77,x:88,y:815,w:269,h:21},
{t:"rommet i høy grad. Etter hvert som tiden ",p:77,x:88,y:838,w:293,h:21},
{t:"går vil skulpturens innvirkning på stedet ",p:77,x:88,y:861,w:288,h:21},
{t:"minske, inntil den til slutt blir en ubetyde-",p:77,x:88,y:884,w:288,h:21},
{t:"lig del av omgivelsene.",p:77,x:88,y:907,w:166,h:21},
{t:"\"Trofé II\" er direkte knyttet til to ",p:77,x:88,y:953,w:225,h:21},
{t:"stedsspesifkke arbeider fra min tidligere ",p:77,x:88,y:976,w:294,h:21},
{t:"produksjon: \"gulden skog\" og \"Trofé\".",p:77,x:88,y:999,w:275,h:21},
{t:"Prosjektet \"gulden skog\" fokuserer på ",p:77,x:88,y:1022,w:277,h:21},
{t:"de visuelle kvalitetene i en plantet skog. ",p:77,x:88,y:1045,w:290,h:21},
{t:"Hogstavfall (tretopper, greiner og fis), ",p:77,x:88,y:1067,w:281,h:21},
{t:"som opprinnelig dekket området, ble ",p:77,x:88,y:1090,w:270,h:21},
{t:"fjernet. Det som kom fram var et rom ",p:77,x:88,y:1113,w:266,h:21},
{t:"som tydeliggjorde skogens iboende ",p:77,x:88,y:1136,w:262,h:21},
{t:"arkitektur. Skulpturens enkle, organiske ",p:77,x:88,y:1159,w:284,h:21},
{t:"form står i kontrast til en systematisk, ",p:77,x:88,y:1182,w:264,h:21},
{t:"nesten klinisk behandling av landskapet. ",p:77,x:88,y:1205,w:296,h:21},
{t:"Skulpturen besto av fettede grankvister ",p:77,x:88,y:1228,w:288,h:21},
{t:"med en overfatebehandling av tjære. ",p:77,x:88,y:1251,w:277,h:21},
{t:"I kraft av sin ubestembare framtoning ",p:77,x:88,y:1274,w:273,h:21},
{t:"skapte den en særegen stemning.",p:77,x:88,y:1297,w:242,h:21},
{t:"\"Trofé\" ble til som en materialtest. Jeg ",p:77,x:88,y:1319,w:273,h:21},
{t:"ville undersøke om kumøkk hadde gode ",p:77,x:88,y:1342,w:295,h:21},
{t:"plastiske egenskaper, og ønsket også ",p:77,x:88,y:1365,w:275,h:21},
{t:"å se hva som hendte dersom jeg ikke ",p:77,x:88,y:1388,w:272,h:21},
{t:"Working progress, Kvitmannsberget august 2008",p:77,x:860,y:436,w:278,h:16},
{t:"„trofeum ii” powoli lecz zdecydowanie ",p:77,x:742,y:493,w:291,h:23},
{t:"nabierało formy. Przedstawiała się ",p:77,x:742,y:516,w:254,h:23},
{t:"ono jako bezpośrednia konsekwencja ",p:77,x:742,y:539,w:279,h:23},
{t:"właściwości  materiałów i impulsów, ",p:77,x:742,y:562,w:266,h:23},
{t:"jakie generowało to miejsce. Gałązki ",p:77,x:742,y:585,w:274,h:23},
{t:"świerkowe, które zebrałyśmy kilka ",p:77,x:742,y:608,w:250,h:23},
{t:"kilometrów od kvitmannsberget, były to ",p:77,x:742,y:631,w:291,h:23},
{t:"przebrane odpady wyrębu z tej okolicy, ",p:77,x:742,y:654,w:296,h:23},
{t:"która służy jako pastwisko dla krów, ",p:77,x:742,y:676,w:265,h:23},
{t:"od których wzięłyśmy łajno na fakturę. ",p:77,x:742,y:699,w:283,h:23},
{t:"mój wybór surowców związany jest ",p:77,x:742,y:722,w:267,h:23},
{t:"z ekologicznym myśleniem, według ",p:77,x:742,y:745,w:260,h:23},
{t:"którego świat materialny jest częścią ",p:77,x:742,y:768,w:269,h:23},
{t:"nieskończonego cyklu. założenie, że ",p:77,x:742,y:791,w:273,h:23},
{t:"wszystko jest tymczasowe i w trakcie ",p:77,x:742,y:814,w:269,h:23},
{t:"rozwoju, przynajmniej wizualnie, dało ",p:77,x:742,y:837,w:281,h:23},
{t:"rzeźbie dosłownie mówiąc własne ",p:77,x:742,y:860,w:255,h:23},
{t:"fzyczne życie. rzeźba powstała w ",p:77,x:742,y:883,w:259,h:23},
{t:"dość krótkim okresie i miała znaczący ",p:77,x:742,y:906,w:280,h:23},
{t:"wpływ na otoczenie. z upływem czasu ",p:77,x:742,y:929,w:287,h:23},
{t:"oddziaływanie rzeźby na miejsce ",p:77,x:742,y:951,w:248,h:23},
{t:"będzie malało, aż w końcu stanie się ",p:77,x:742,y:974,w:272,h:23},
{t:"nieistotną częścią otoczenia.  ",p:77,x:742,y:997,w:217,h:23},
{t:"rzeźba „trofeum ii”, ulokowana ",p:77,x:742,y:1020,w:240,h:23},
{t:"na kvitmannsberget w lillehammer, ",p:77,x:742,y:1043,w:260,h:23},
{t:"łączy się ściśle z dwiema moimi ",p:77,x:742,y:1066,w:234,h:23},
{t:"wcześniejszymi pracami związanymi ",p:77,x:742,y:1089,w:271,h:23},
{t:"ze specyfką miejsca: „las Gulden” ",p:77,x:742,y:1112,w:260,h:23},
{t:"i „trofeum”. Projekt ”las Gulden” ",p:77,x:742,y:1135,w:245,h:23},
{t:"skupia się na wizualnych cechach ",p:77,x:742,y:1158,w:250,h:23},
{t:"sadzonego lasu. odpady z wyrębu ",p:77,x:742,y:1181,w:264,h:23},
{t:"(czubki drzew, gałązki i wióry), które ",p:77,x:742,y:1203,w:274,h:23},
{t:"pierwotnie cechowały otoczenie, ",p:77,x:742,y:1226,w:244,h:23},
{t:"zostały usunięte. to co pozostało, to ",p:77,x:742,y:1249,w:267,h:23},
{t:"fzyczna przestrzeń podkreślająca ",p:77,x:742,y:1272,w:253,h:23},
{t:"tkwiącą w lesie architekturę. Proste, ",p:77,x:742,y:1295,w:260,h:23},
{t:"organiczne formy rzeźby stanowią ",p:77,x:742,y:1318,w:256,h:23},
{t:"kontrast do systemowego, prawie ",p:77,x:742,y:1341,w:246,h:23},
{t:"klinicznego potraktowania krajobrazu. ",p:77,x:742,y:1364,w:284,h:23},
{t:"Niezdecydowana konfguracja rzeźby ",p:77,x:742,y:1387,w:285,h:23},
{t:"a direct consequence of the qualities ",p:77,x:415,y:495,w:270,h:21},
{t:"of the raw materials and the impulses ",p:77,x:415,y:518,w:274,h:21},
{t:"generated by its location. The spruce ",p:77,x:415,y:540,w:271,h:21},
{t:"twigs we collected a few kilometers ",p:77,x:415,y:563,w:260,h:21},
{t:"from Kvitmannsberget were chosen from ",p:77,x:415,y:586,w:295,h:21},
{t:"select logging debris from the same ",p:77,x:415,y:609,w:261,h:21},
{t:"area, an area that serves as grazing ",p:77,x:415,y:632,w:267,h:21},
{t:"land for the dairy cows which provided ",p:77,x:415,y:655,w:289,h:21},
{t:"the dung.",p:77,x:415,y:678,w:68,h:21},
{t:"My choice of raw materials is linked ",p:77,x:415,y:701,w:266,h:21},
{t:"to ecological thinking which views the ",p:77,x:415,y:724,w:278,h:21},
{t:"material world as part of an inevitable ",p:77,x:415,y:747,w:281,h:21},
{t:"cycle. The principle that everything is ",p:77,x:415,y:770,w:271,h:21},
{t:"temporary and everything evolves, at ",p:77,x:415,y:792,w:274,h:21},
{t:"least visually, literally gave the sculpture ",p:77,x:415,y:815,w:293,h:21},
{t:"a physical life of its own. The sculpture ",p:77,x:415,y:838,w:281,h:21},
{t:"was created in a relatively short time ",p:77,x:415,y:861,w:269,h:21},
{t:"span and made a considerable impact ",p:77,x:415,y:884,w:285,h:21},
{t:"on its surroundings. As time goes by, the ",p:77,x:415,y:907,w:293,h:21},
{t:"sculpture’s infuence on the space will ",p:77,x:415,y:930,w:276,h:21},
{t:"diminish until it eventually becomes an ",p:77,x:415,y:953,w:280,h:21},
{t:"insignifcant part of its surroundings.",p:77,x:415,y:976,w:258,h:21},
{t:"“Trophy II” is directly linked to two site-",p:77,x:415,y:1022,w:279,h:21},
{t:"specifc works from my previous produc-",p:77,x:415,y:1045,w:288,h:21},
{t:"tion; “gulden Skog” and “Trofé”.",p:77,x:415,y:1067,w:239,h:21},
{t:"The “gulden Skog” project focuses on ",p:77,x:415,y:1090,w:282,h:21},
{t:"the visual qualities of a planted forest. ",p:77,x:415,y:1113,w:278,h:21},
{t:"Loggings slash (treetops, branches and ",p:77,x:415,y:1136,w:286,h:21},
{t:"chips), which originally characterized ",p:77,x:415,y:1159,w:276,h:21},
{t:"the area, is removed. what remains is ",p:77,x:415,y:1182,w:277,h:21},
{t:"a physical space which accentuates the ",p:77,x:415,y:1205,w:291,h:21},
{t:"forests’ intrinsic architecture. The sculp-",p:77,x:415,y:1228,w:277,h:21},
{t:"ture’s simple, organic form represents ",p:77,x:415,y:1251,w:273,h:21},
{t:"a contrast to this systematic, almost ",p:77,x:415,y:1274,w:256,h:21},
{t:"clinical treatment of landscape. The ",p:77,x:415,y:1297,w:260,h:21},
{t:"indeterminate fguration of the sculpture ",p:77,x:415,y:1319,w:291,h:21},
{t:"infuences the atmosphere of the space. ",p:77,x:415,y:1342,w:290,h:21},
{t:"The sculpture consists of braided spruce ",p:77,x:415,y:1365,w:292,h:21},
{t:"twigs with a surface treatment of tar. ",p:77,x:415,y:1388,w:266,h:21},
{t:"Phot",p:77,x:66,y:61,w:0,h:16},
{t:"os: ",p:77,x:66,y:85,w:0,h:16},
{t:"The Ar",p:77,x:66,y:105,w:0,h:16},
{t:"tist",p:77,x:66,y:143,w:0,h:16},
{t:"78",p:78,x:115,y:1465,w:15,h:16},
{t:"behandlet overfaten. Kunne arbeidet ",p:78,x:205,y:825,w:274,h:21},
{t:"motstå ytre krefter, slik som vær og vind ",p:78,x:205,y:848,w:290,h:21},
{t:"og temperaturendringer? Ett år etter ",p:78,x:205,y:871,w:263,h:21},
{t:"testen hadde verket forandret seg og ",p:78,x:205,y:894,w:271,h:21},
{t:"framsto som enda mer interessant. Pros-",p:78,x:205,y:917,w:283,h:21},
{t:"esser som lå utenfor min kontroll hadde ",p:78,x:205,y:940,w:288,h:21},
{t:"endret uttrykket. Under UT-21 bestemte ",p:78,x:205,y:963,w:286,h:21},
{t:"jeg meg derfor til å gjenta metoden, ",p:78,x:205,y:986,w:266,h:21},
{t:"men denne gangen i et betydelig større ",p:78,x:205,y:1009,w:291,h:21},
{t:"format.",p:78,x:205,y:1032,w:50,h:21},
{t:"The sculpture “Trofé” emerged as a test ",p:78,x:531,y:825,w:288,h:21},
{t:"of materials. I wanted to test the plastic-",p:78,x:531,y:848,w:284,h:21},
{t:"ity of cow dung. I also wanted to see ",p:78,x:531,y:871,w:271,h:21},
{t:"what would happen if I didn’t treat the ",p:78,x:531,y:894,w:281,h:21},
{t:"surface. could it resist external forces ",p:78,x:531,y:917,w:274,h:21},
{t:"such as weather, wind and temperature ",p:78,x:531,y:940,w:290,h:21},
{t:"changes? A year after the test, the ",p:78,x:531,y:963,w:252,h:21},
{t:"sculpture had evolved and gained char-",p:78,x:531,y:986,w:288,h:21},
{t:"acter. Processes beyond my control had ",p:78,x:531,y:1009,w:292,h:21},
{t:"altered the sculpture’s expression. For ",p:78,x:531,y:1032,w:276,h:21},
{t:"UT-21 I decided to repeat the method, ",p:78,x:531,y:1054,w:281,h:21},
{t:"but this time in a far larger format.",p:78,x:531,y:1077,w:245,h:21},
{t:"odbija się na atmosferze miejsca. ",p:78,x:858,y:824,w:246,h:23},
{t:"rzeźba składa się ze splecionych ",p:78,x:858,y:847,w:248,h:23},
{t:"gałązek świerkowych, których ",p:78,x:858,y:870,w:222,h:23},
{t:"powierzchnię posmarowano smołą.",p:78,x:858,y:893,w:258,h:23},
{t:"rzeźba „trofeum” powstała w wyniku ",p:78,x:858,y:938,w:280,h:23},
{t:"testowania materiałów. chciałam ",p:78,x:858,y:961,w:245,h:23},
{t:"wypróbować właściwości modelarskie ",p:78,x:858,y:984,w:284,h:23},
{t:"krowiego łajna. chciałam też zobaczyć ",p:78,x:858,y:1007,w:294,h:23},
{t:"co się stanie jeśli nie opracuję ",p:78,x:858,y:1030,w:221,h:23},
{t:"powierzchni. czy będzie odporna na ",p:78,x:858,y:1053,w:277,h:23},
{t:"czynniki zewnętrzne jak pogoda i wiatr ",p:78,x:858,y:1076,w:291,h:23},
{t:"i zmiany temperatury? rok po teście ",p:78,x:858,y:1099,w:266,h:23},
{t:"rzeźba ukształtowała się i nabrała ",p:78,x:858,y:1122,w:254,h:23},
{t:"charakteru. Procesy, które leżały poza ",p:78,x:858,y:1145,w:282,h:23},
{t:"moją kontrolą zmieniły ekspresję ",p:78,x:858,y:1168,w:240,h:23},
{t:"rzeźby. Dlatego zdecydowałam się na ",p:78,x:858,y:1190,w:285,h:23},
{t:"użycie surowych materiałów, lecz tym ",p:78,x:858,y:1213,w:278,h:23},
{t:"razem w większym formacie.   ",p:78,x:858,y:1236,w:224,h:23},
{t:"Phot",p:78,x:1200,y:60,w:0,h:16},
{t:"os: The Ar",p:78,x:1200,y:85,w:0,h:16},
{t:"tist",p:78,x:1200,y:142,w:0,h:16},
{t:"”Gulden skog” hadeland, Norge 2005: En plantet skog som er rensket for ",p:78,x:196,y:532,w:423,h:16},
{t:"hogstavfall, med en skulptur av grankvister behandlet med tjære.",p:78,x:253,y:551,w:363,h:16},
{t:"“Gulden skog” hadeland, Norway 2005: a planted forest cleaned ",p:78,x:239,y:582,w:381,h:16},
{t:"of logging slash with a sculpture of spruce twigs treated with tar.",p:78,x:257,y:603,w:358,h:16},
{t:"”Las Gulden” Hadeland, Norwegia 2005: Posadzony las, oczyszczony z ",p:78,x:204,y:634,w:415,h:17},
{t:"resztek po wyrębie, ze znajdującą się w nim rzeźbą zrobioną z ",p:78,x:261,y:652,w:359,h:17},
{t:"gałązek sosnowych, pokrytych smołą.",p:78,x:405,y:671,w:210,h:17},
{t:"”Trofé” Biristrand, Norge 2007 og 2008: ",p:78,x:949,y:536,w:239,h:16},
{t:"Skulptur laget av greiner av gran og kumøkk.",p:78,x:929,y:555,w:255,h:16},
{t:"“Trofé” Biristrand, Norway 2007 and 2008: ",p:78,x:933,y:586,w:255,h:16},
{t:"sculpture made from spruce branches and cowdung. ",p:78,x:890,y:605,w:297,h:18},
{t:"”trofeum” Biristrand, Norwegia 2007 i 2008: ",p:78,x:924,y:635,w:264,h:17},
{t:"rzeźba wykonana z gałęzi sosnowych i krowiego łajna.",p:78,x:871,y:654,w:313,h:17},
{t:"79",p:79,x:1135,y:1464,w:15,h:16},
{t:"The opening day, Kvitmannsberget August 30th 2008",p:79,x:88,y:1259,w:304,h:16},
{t:"80",p:80,x:115,y:1465,w:15,h:16},
{t:"81",p:81,x:1136,y:1464,w:15,h:16},
{t:"The frst snow. ",p:81,x:896,y:1367,w:81,h:16},
{t:"Kvitmannsberget ",p:81,x:896,y:1385,w:97,h:16},
{t:"November 17th, 2008",p:81,x:896,y:1402,w:128,h:16},
{t:"Photo: The Artist",p:81,x:710,y:1390,w:105,h:19},
{t:"Phot",p:81,x:840,y:158,w:0,h:16},
{t:"os: The Ar",p:81,x:840,y:182,w:0,h:16},
{t:"tist",p:81,x:840,y:239,w:0,h:16},
{t:"82",p:82,x:115,y:1465,w:15,h:16},
{t:"leszek golec | tatiaNa czekalska",p:82,x:206,y:398,w:900,h:71},
{t:"83",p:83,x:1135,y:1464,w:15,h:16},
{t:"A United Nations report on the natural ",p:83,x:415,y:792,w:284,h:21},
{t:"disasters in 2007 says nine of the ten ",p:83,x:415,y:815,w:274,h:21},
{t:"worst resulted from climatic disturbances",p:83,x:415,y:838,w:291,h:21},
{t:"„Dont eat meat, ride a bike, and be ",p:83,x:415,y:883,w:262,h:21},
{t:"a frugal shopper…",p:83,x:415,y:906,w:134,h:21},
{t:"thats how you can help brake global ",p:83,x:415,y:929,w:270,h:21},
{t:"warming.”",p:83,x:415,y:952,w:75,h:21},
{t:"“…and if you eat less meat, you will ",p:83,x:415,y:975,w:262,h:21},
{t:"be healthier and so will the planet!”",p:83,x:415,y:998,w:259,h:21},
{t:"dr. Rajendra Pachauri,",p:83,x:415,y:1044,w:163,h:21},
{t:"chief of the UNs Intergovernmental ",p:83,x:415,y:1067,w:255,h:21},
{t:"Panel on climate change",p:83,x:415,y:1090,w:185,h:21},
{t:"“we have passed tipping points.",p:83,x:415,y:1136,w:236,h:21},
{t:"we have not passed a point of no ",p:83,x:415,y:1158,w:251,h:21},
{t:"return. we can still roll things back, ",p:83,x:415,y:1181,w:258,h:21},
{t:"but it is going to require a quick turn ",p:83,x:415,y:1204,w:265,h:21},
{t:"in direction.”",p:83,x:415,y:1227,w:91,h:21},
{t:"dr. James hansen, ",p:83,x:415,y:1273,w:139,h:21},
{t:"top climate scientist for NASA",p:83,x:415,y:1296,w:213,h:21},
{t:"En FN-rapport om naturkatastrofer ",p:83,x:88,y:794,w:252,h:21},
{t:"i 2007 sier at ni av de ti verste ",p:83,x:88,y:817,w:226,h:21},
{t:"katastrofene er et resultat av klimatiske ",p:83,x:88,y:840,w:282,h:21},
{t:"forstyrrelser.",p:83,x:88,y:862,w:87,h:21},
{t:"”Ikke spis kjøtt, bruk sykkel, og vær ",p:83,x:88,y:908,w:257,h:21},
{t:"sparsommelig når du handler….",p:83,x:88,y:931,w:230,h:21},
{t:"Det er hvordan du kan bidra til ",p:83,x:88,y:954,w:227,h:21},
{t:"å bremse den globale oppvarmingen.” ",p:83,x:88,y:977,w:287,h:21},
{t:"”…og hvis du spiser mindre kjøtt, ",p:83,x:88,y:1000,w:240,h:21},
{t:"vil du bli sunnere og det samme ",p:83,x:88,y:1023,w:234,h:21},
{t:"gjelder planeten!”",p:83,x:88,y:1046,w:131,h:21},
{t:"dr. Rajendra Pachauri",p:83,x:88,y:1092,w:159,h:21},
{t:"Leder av FNs internasjonale klimapanel",p:83,x:88,y:1115,w:285,h:21},
{t:"”Vi har passert kritiske punkter.",p:83,x:88,y:1160,w:222,h:21},
{t:"Vi har ikke passert et punkt hvor det er ",p:83,x:88,y:1183,w:282,h:21},
{t:"for sent å snu. Vi kan ennå reversere ",p:83,x:88,y:1206,w:266,h:21},
{t:"utviklingen, men det vil kreve en rask ",p:83,x:88,y:1229,w:268,h:21},
{t:"kursendring.” ",p:83,x:88,y:1252,w:100,h:21},
{t:"dr. James hansen, ",p:83,x:88,y:1298,w:139,h:21},
{t:"senior klimaforsker i NASA",p:83,x:88,y:1321,w:193,h:21},
{t:"raport oNz o klęskach żywiołowych ",p:83,x:742,y:790,w:277,h:23},
{t:"w 2007 roku mówi, że dziewięć z ",p:83,x:742,y:813,w:254,h:23},
{t:"dziesięciu najgorszych katastrof jest ",p:83,x:742,y:836,w:263,h:23},
{t:"rezultatem zaburzeń klimatycznych.",p:83,x:742,y:859,w:258,h:23},
{t:"„Nie jedz mięsa, używaj roweru, bądź ",p:83,x:742,y:905,w:285,h:23},
{t:"oszczędny przy robieniu zakupów...",p:83,x:742,y:928,w:262,h:23},
{t:"w ten sposób możesz przyczynić ",p:83,x:742,y:951,w:249,h:23},
{t:"się do zahamowania globalnego ",p:83,x:742,y:974,w:246,h:23},
{t:"ocieplenia.”",p:83,x:742,y:996,w:87,h:23},
{t:"„...i jeśli będziesz jeść mniej mięsa, ",p:83,x:742,y:1019,w:257,h:23},
{t:"bedziesz zdrowszy a tym samym ",p:83,x:742,y:1042,w:243,h:23},
{t:"planeta!”",p:83,x:742,y:1065,w:68,h:23},
{t:"Dr. rajendra Pachauri,  ",p:83,x:742,y:1111,w:173,h:22},
{t:"Szef międzynarodowego zespołu do ",p:83,x:742,y:1134,w:269,h:22},
{t:"badań klimatycznych przy oNZ",p:83,x:742,y:1157,w:231,h:22},
{t:"„Przekroczyliśmy punkty krytyczne.",p:83,x:742,y:1203,w:254,h:23},
{t:"Nie przekroczyliśmy punktu, z którego ",p:83,x:742,y:1226,w:283,h:23},
{t:"za późno zawrócić.",p:83,x:742,y:1248,w:145,h:23},
{t:"możemy jeszcze cofnąć ten rozwój, ",p:83,x:742,y:1271,w:267,h:23},
{t:"ale będzie to wymagało szybkiej ",p:83,x:742,y:1294,w:245,h:23},
{t:"zmiany kursu.”",p:83,x:742,y:1317,w:106,h:23},
{t:"Dr. James Hansen, ",p:83,x:742,y:1363,w:139,h:22},
{t:"główny badacz klimatu przy NASA",p:83,x:742,y:1386,w:255,h:22},
{t:"84",p:84,x:116,y:1465,w:15,h:16},
{t:"85",p:85,x:1135,y:1464,w:15,h:16},
{t:"gO  VEg.",p:85,x:779,y:167,w:76,h:21},
{t:"BE  gREEN.",p:85,x:779,y:190,w:88,h:21},
{t:"BE  smART",p:85,x:779,y:213,w:76,h:21},
{t:"TEODOR *",p:85,x:779,y:259,w:83,h:21},
{t:"p e r f o r m a n c e",p:85,x:779,y:305,w:139,h:21},
{t:"cURATORS :",p:85,x:779,y:350,w:95,h:21},
{t:"cZEKALSKA + gOLEc",p:85,x:779,y:373,w:167,h:21},
{t:"* Norwegian Forest cat.",p:85,x:779,y:419,w:181,h:21},
{t:"gO  VEg.",p:85,x:782,y:818,w:76,h:21},
{t:"BE  gREEN.",p:85,x:782,y:841,w:88,h:21},
{t:"BE  smART",p:85,x:782,y:863,w:76,h:21},
{t:"SHAMO *",p:85,x:782,y:909,w:80,h:21},
{t:"p e r f o r m a n c e",p:85,x:782,y:955,w:139,h:21},
{t:"cURATORS :",p:85,x:782,y:1001,w:95,h:21},
{t:"cZEKALSKA + gOLEc",p:85,x:782,y:1024,w:167,h:21},
{t:"* English cocker Spaniel.",p:85,x:782,y:1070,w:187,h:21},
{t:"Photos: The Artists",p:85,x:793,y:1390,w:101,h:16},
{t:"86",p:86,x:115,y:1465,w:15,h:16},
{t:"Så jeg foreslår bare en ting: Bare bli ",p:86,x:206,y:420,w:268,h:21},
{t:"vegetarianer. Velg en vegetarisk diett. ",p:86,x:206,y:443,w:277,h:21},
{t:"Da vil alt roe seg. Alle katastrofer vil ",p:86,x:206,y:466,w:266,h:21},
{t:"forsvinne. Vi vil se hvor enkelt og ",p:86,x:206,y:489,w:240,h:21},
{t:"lykkelig livet kan være, og hvordan vi ",p:86,x:206,y:511,w:273,h:21},
{t:"vil tenke klarere, og hvordan våre ",p:86,x:206,y:534,w:248,h:21},
{t:"hjerter vil åpne seg, bli mer salige; ",p:86,x:206,y:557,w:254,h:21},
{t:"Vi vil forstå mye mer enn vi har gjort ",p:86,x:206,y:580,w:265,h:21},
{t:"til nå. Og at vi faktisk kan leve med ",p:86,x:206,y:603,w:258,h:21},
{t:"mye mindre enn vi trodde var mulig, ",p:86,x:206,y:626,w:264,h:21},
{t:"og likevel være lykkelige og overleve, ",p:86,x:206,y:649,w:277,h:21},
{t:"fornøyde og sunne.",p:86,x:206,y:672,w:141,h:21},
{t:"opphøyde mester ching-hai, ",p:86,x:206,y:718,w:217,h:21},
{t:"verdenskjent humanistisk kunstner og ",p:86,x:206,y:741,w:269,h:21},
{t:"åndelig lærer",p:86,x:206,y:764,w:97,h:21},
{t:"So I suggest only one thing: Just to ",p:86,x:533,y:420,w:253,h:21},
{t:"go veg. Be vegetarian. choose a ",p:86,x:533,y:443,w:245,h:21},
{t:"vegetarian diet. Then all will cool down. ",p:86,x:533,y:466,w:294,h:21},
{t:"All disasters will disappear. we will see ",p:86,x:533,y:488,w:291,h:21},
{t:"how simple and happy life can be, and ",p:86,x:533,y:511,w:289,h:21},
{t:"how we will think clearly, and how our ",p:86,x:533,y:534,w:283,h:21},
{t:"heart will be more open, more blissful; ",p:86,x:533,y:557,w:281,h:21},
{t:"we can understand many more things ",p:86,x:533,y:580,w:276,h:21},
{t:"than we have up to now. And that we ",p:86,x:533,y:603,w:276,h:21},
{t:"really can live with far less than what ",p:86,x:533,y:626,w:272,h:21},
{t:"we thought possible, and still be happy ",p:86,x:533,y:649,w:288,h:21},
{t:"and survive, satisfed and healthy.",p:86,x:533,y:672,w:243,h:21},
{t:"Supreme Master ching hai, ",p:86,x:533,y:718,w:207,h:21},
{t:"World-renowned humanitarian Artist ",p:86,x:533,y:741,w:270,h:21},
{t:"and Spiritual teacher ",p:86,x:533,y:764,w:155,h:21},
{t:"więc proponuję: zostań ",p:86,x:860,y:417,w:179,h:23},
{t:"wegetarianinem. wybierz jakąś ",p:86,x:860,y:440,w:236,h:23},
{t:"wegetarianską dietę. wtedy wszystko ",p:86,x:860,y:463,w:278,h:23},
{t:"się uspokoi. wszystkie katastrofy ",p:86,x:860,y:486,w:241,h:23},
{t:"znikną. Ujrzymy jak łatwe i szczęśliwe ",p:86,x:860,y:509,w:281,h:23},
{t:"może być życie i że myślimy jaśniej, ",p:86,x:860,y:532,w:265,h:23},
{t:"że nasze serca się otwierają, ogarnia ",p:86,x:860,y:555,w:276,h:23},
{t:"je błogość; możemy zrozumieć dużo ",p:86,x:860,y:578,w:271,h:23},
{t:"więcej niż dotychczas. i że faktycznie ",p:86,x:860,y:601,w:277,h:23},
{t:"możemy zadowolić się mniejszym ",p:86,x:860,y:623,w:250,h:23},
{t:"niż uważaliśmy to za możliwe, a ",p:86,x:860,y:646,w:241,h:23},
{t:"mimo to być szczęśliwi i przeżyć jako ",p:86,x:860,y:669,w:277,h:23},
{t:"zadowoleni i zdrowi.",p:86,x:860,y:692,w:152,h:23},
{t:"Najwyższy mistrz Ching-Hai, ",p:86,x:860,y:738,w:211,h:22},
{t:"światowej sławy artysta humanista i ",p:86,x:860,y:761,w:259,h:22},
{t:"duchowy nauczyciel ",p:86,x:860,y:784,w:148,h:22},
{t:"87",p:87,x:1135,y:1464,w:15,h:16},
{t:"88",p:88,x:115,y:1465,w:15,h:16},
{t:"oskar dawicki",p:88,x:206,y:432,w:402,h:71},
{t:"89",p:89,x:1135,y:1464,w:15,h:16},
{t:"90",p:90,x:115,y:1465,w:15,h:16},
{t:"91",p:91,x:1136,y:1464,w:15,h:16},
{t:"92",p:92,x:115,y:1465,w:15,h:16},
{t:"93",p:93,x:1135,y:1464,w:15,h:16},
{t:"94",p:94,x:116,y:1465,w:15,h:16},
{t:"Drzewo wiaDomości",p:94,x:789,y:843,w:326,h:38},
{t:"THE TREE OF KNOwLEDgE",p:94,x:421,y:644,w:350,h:36},
{t:"KUNNSKAPENS TRE",p:94,x:125,y:432,w:264,h:36},
{t:"95",p:95,x:1135,y:1464,w:15,h:16},
{t:"96",p:96,x:115,y:1465,w:15,h:16},
{t:"elżbieta Jabłońska",p:96,x:206,y:432,w:518,h:71},
{t:"97",p:97,x:1135,y:1464,w:15,h:16},
{t:"Photos: Anne Nilseng",p:97,x:55,y:1465,w:120,h:16},
{t:"98",p:98,x:115,y:1465,w:15,h:16},
{t:"99",p:99,x:1135,y:1464,w:15,h:16},
{t:"czy twóJ UmysŁ ",p:99,x:742,y:140,w:243,h:38},
{t:"Jest PeŁeN DoBroci?",p:99,x:742,y:177,w:291,h:38},
{t:"1000 osób w Norwegii otrzymało ",p:99,x:742,y:281,w:278,h:24},
{t:"w ostatnich tygodniach ręcznie ",p:99,x:742,y:303,w:252,h:24},
{t:"adresowany list. w kopertach ",p:99,x:742,y:326,w:244,h:24},
{t:"znajdowała się kartka z jednym ",p:99,x:742,y:349,w:261,h:24},
{t:"tylko zdaniem: \"er dine tanker fulle ",p:99,x:742,y:372,w:285,h:24},
{t:"av godhet?\" (czy twój umysł jest ",p:99,x:742,y:395,w:266,h:24},
{t:"pełen dobroci?)",p:99,x:742,y:418,w:126,h:24},
{t:"Przesyłkę otrzymało wielu mieszkańców ",p:99,x:742,y:464,w:295,h:23},
{t:"miasta lillehammer oraz rozsiane po ",p:99,x:742,y:487,w:271,h:23},
{t:"całej Norwegii osoby związane ze ",p:99,x:742,y:510,w:260,h:23},
{t:"sztuką – krytycy, artyści, pracownicy ",p:99,x:742,y:533,w:269,h:23},
{t:"muzeów i galerii. część z nich odpisała ",p:99,x:742,y:556,w:294,h:23},
{t:"nadawcy. wielu zastanawiało się, ",p:99,x:742,y:579,w:254,h:23},
{t:"kto i dlaczego rości sobie prawo do ",p:99,x:742,y:602,w:266,h:23},
{t:"zadawania takich pytań. czy to żart? ",p:99,x:742,y:625,w:278,h:23},
{t:"wybryk szaleńca? wiadomość od ",p:99,x:742,y:648,w:258,h:23},
{t:"dawnego znajomego? ",p:99,x:742,y:671,w:169,h:23},
{t:"Pisanie listow to pasjonujące zadanie, ",p:99,x:742,y:716,w:280,h:23},
{t:"oczywiście w tym konkretnym projekcie,",p:99,x:742,y:739,w:289,h:23},
{t:"najpierw piszę pytanie czyli treść listu, ",p:99,x:742,y:762,w:281,h:23},
{t:"później składam kartkę na trzy ",p:99,x:742,y:785,w:227,h:23},
{t:"części,wkładam do koperty, zakle-",p:99,x:742,y:808,w:249,h:23},
{t:"jam, piszę adres zwrotny, wówczas ",p:99,x:742,y:831,w:261,h:23},
{t:"następuje najciekawszy moment czyli ",p:99,x:742,y:854,w:275,h:23},
{t:"adresowanie...bardzo skomplikow-",p:99,x:742,y:877,w:252,h:23},
{t:"ane....wszystko...zaczynając od imienia, ",p:99,x:742,y:900,w:295,h:23},
{t:"przez egzotycznie brzmiące nazwiska i ",p:99,x:742,y:923,w:292,h:23},
{t:"nazwy ulic.",p:99,x:742,y:946,w:82,h:23},
{t:"Przy każdym kolejnym liście czuję ",p:99,x:742,y:998,w:249,h:23},
{t:"rodzaj trudnej do wytłumaczenia więzi ",p:99,x:742,y:1021,w:287,h:23},
{t:"z osobami do których list jest adreso-",p:99,x:742,y:1044,w:267,h:23},
{t:"wany, wyobrażam sobie jak mogą ",p:99,x:742,y:1067,w:256,h:23},
{t:"wyglądać, jak zareagują biorąc mój ",p:99,x:742,y:1090,w:270,h:23},
{t:"list do ręki... medytacja w trakcie ",p:99,x:742,y:1113,w:245,h:23},
{t:"pisania.... (z prywatnych notatek ",p:99,x:742,y:1136,w:241,h:23},
{t:"autorki, powstałych w trakcie pracy nad ",p:99,x:742,y:1159,w:294,h:23},
{t:"projektem)",p:99,x:742,y:1182,w:76,h:23},
{t:"wybrałam przypadkowe osoby jako ",p:99,x:742,y:1228,w:272,h:23},
{t:"adresatów pytania zaczerpniętego z ",p:99,x:742,y:1250,w:272,h:23},
{t:"flozofi wschodu. ",p:99,x:742,y:1273,w:136,h:23},
{t:"ręcznie napisany list, włożony do ",p:99,x:742,y:1296,w:250,h:23},
{t:"koperty zaadresowanej również bez ",p:99,x:742,y:1319,w:271,h:23},
{t:"pomocy elektronicznych narzędzi, stał ",p:99,x:742,y:1342,w:282,h:23},
{t:"się przez chwilę powodem zdziwienia , ",p:99,x:742,y:1365,w:292,h:23},
{t:"zaniepokojenia lub poprostu zastanow-",p:99,x:742,y:1388,w:286,h:23},
{t:"ER DINE TANKER ",p:99,x:88,y:142,w:224,h:36},
{t:"FULLE AV gODHET?",p:99,x:88,y:180,w:253,h:36},
{t:"1000 personer i Norge har i de siste ",p:99,x:88,y:282,w:294,h:22},
{t:"uker før prosjektet fått et brev hvor ",p:99,x:88,y:305,w:283,h:22},
{t:"adressen er skrevet med håndskrift. ",p:99,x:88,y:328,w:290,h:22},
{t:"I konvoluttene fantes et ark med ",p:99,x:88,y:351,w:262,h:22},
{t:"bare én setning: ”Er dine tanker ",p:99,x:88,y:374,w:259,h:22},
{t:"fulle av godhet”?",p:99,x:88,y:397,w:138,h:22},
{t:"Denne forsendelsen ble mottatt av ",p:99,x:88,y:443,w:251,h:21},
{t:"mange personer i Lillehammer og andre ",p:99,x:88,y:466,w:294,h:21},
{t:"personer knyttet til kunstlivet og som er ",p:99,x:88,y:489,w:282,h:21},
{t:"spredt over hele Norge – kunstkritikere, ",p:99,x:88,y:512,w:289,h:21},
{t:"kunstnere, museums- og galleriansatte. ",p:99,x:88,y:535,w:281,h:21},
{t:"Noen av dem har skrevet tilbake. ",p:99,x:88,y:558,w:245,h:21},
{t:"Mange lurte på hvem som kan ha rett ",p:99,x:88,y:581,w:277,h:21},
{t:"til å stille et slikt spørsmål og hvorfor. ",p:99,x:88,y:604,w:270,h:21},
{t:"Er det en spøk? En galnings påfunn? ",p:99,x:88,y:626,w:268,h:21},
{t:"Beskjed fra en gammel venn?",p:99,x:88,y:649,w:212,h:21},
{t:"Å skrive brev er selvfølgelig en ",p:99,x:88,y:695,w:227,h:21},
{t:"spennende oppgave i dette konkrete ",p:99,x:88,y:718,w:270,h:21},
{t:"prosjektet, først skriver jeg et spørsmål ",p:99,x:88,y:741,w:280,h:21},
{t:"dvs. brevets innhold, deretter bretter ",p:99,x:88,y:764,w:263,h:21},
{t:"jeg arket i tre, legger inn i konvolutten, ",p:99,x:88,y:787,w:281,h:21},
{t:"limer sammen, skriver avsenderen, så ",p:99,x:88,y:810,w:273,h:21},
{t:"kommer det mest interessante momentet, ",p:99,x:88,y:833,w:295,h:21},
{t:"altså adressering…veldig komplisert…alt ",p:99,x:88,y:856,w:295,h:21},
{t:"sammen…man starter med fornavn, går ",p:99,x:88,y:878,w:290,h:21},
{t:"gjennom eksotisk lydende etternavn og ",p:99,x:88,y:901,w:287,h:21},
{t:"gatenavn. ",p:99,x:88,y:924,w:77,h:21},
{t:"Ved hvert eneste brev føler jeg en ",p:99,x:88,y:970,w:249,h:21},
{t:"vanskelighet med å forklare forbindelse ",p:99,x:88,y:993,w:289,h:21},
{t:"med personene som brevet er adressert ",p:99,x:88,y:1016,w:290,h:21},
{t:"til. Jeg forestiller meg hvordan de kan ",p:99,x:88,y:1039,w:275,h:21},
{t:"se ut, hvordan de vil reagere når de tar ",p:99,x:88,y:1062,w:289,h:21},
{t:"brevet mitt i sine hender…",p:99,x:88,y:1085,w:184,h:21},
{t:"Meditasjon under skriving…",p:99,x:88,y:1108,w:201,h:21},
{t:"( Fra forfatterens private notater som ble ",p:99,x:88,y:1131,w:295,h:21},
{t:"laget mens hun jobbet med prosjektet)",p:99,x:88,y:1153,w:276,h:21},
{t:"Jeg valgte tilfeldige personer som ",p:99,x:88,y:1199,w:247,h:21},
{t:"mottakere av spørsmålet hentet fra ",p:99,x:88,y:1222,w:254,h:21},
{t:"Østens flosof. Håndskrevet brev, lagt ",p:99,x:88,y:1245,w:277,h:21},
{t:"inn i konvolutten, adressert også uten ",p:99,x:88,y:1268,w:272,h:21},
{t:"hjelp av elektroniske verktøy, er i løpet ",p:99,x:88,y:1291,w:282,h:21},
{t:"av en kort stund blitt årsak til forun-",p:99,x:88,y:1314,w:251,h:21},
{t:"dring, uro eller rett og slett ettertanke. ",p:99,x:88,y:1337,w:275,h:21},
{t:"Den slags intervensjon og ”verktøy” ",p:99,x:88,y:1360,w:263,h:21},
{t:"tilsvarer UT-21s prinsipper, dvs. å gå ",p:99,x:88,y:1383,w:268,h:21},
{t:"ARE yOUR THOUgHTS ",p:99,x:415,y:142,w:297,h:36},
{t:"FULL OF gOODNESS? ",p:99,x:415,y:180,w:296,h:36},
{t:"In the last few weeks before the ",p:99,x:415,y:282,w:259,h:22},
{t:"project, 1000 people in Norway ",p:99,x:415,y:305,w:262,h:22},
{t:"received letters where the address ",p:99,x:415,y:328,w:278,h:22},
{t:"was handwritten. Inside the enve-",p:99,x:415,y:351,w:268,h:22},
{t:"lope was a piece of paper with one ",p:99,x:415,y:374,w:287,h:22},
{t:"sentence: “Are your thoughts full of ",p:99,x:415,y:397,w:287,h:22},
{t:"goodness?”",p:99,x:415,y:420,w:95,h:22},
{t:"This letter was received by a number ",p:99,x:415,y:466,w:268,h:21},
{t:"of inhabitants in Lillehammer and ",p:99,x:415,y:489,w:243,h:21},
{t:"other people in the art world across ",p:99,x:415,y:512,w:263,h:21},
{t:"Norway, including art critics, artists and ",p:99,x:415,y:535,w:292,h:21},
{t:"employees of museums and galleries. ",p:99,x:415,y:558,w:274,h:21},
{t:"Some of them replied. Many people ",p:99,x:415,y:581,w:267,h:21},
{t:"wondered who had the right to ask such ",p:99,x:415,y:604,w:295,h:21},
{t:"a question and why. was it a joke? A ",p:99,x:415,y:626,w:275,h:21},
{t:"mad persons idea? A note from an old ",p:99,x:415,y:649,w:284,h:21},
{t:"friend?",p:99,x:415,y:672,w:49,h:21},
{t:"writing a letter is, of course, an exciting ",p:99,x:415,y:718,w:291,h:21},
{t:"task within this specifc project; frst I ",p:99,x:415,y:741,w:264,h:21},
{t:"pose the question – the content of the ",p:99,x:415,y:764,w:275,h:21},
{t:"letter – then I fold the piece of paper ",p:99,x:415,y:787,w:270,h:21},
{t:"three times, put it in the envelope, seal ",p:99,x:415,y:810,w:280,h:21},
{t:"it, write down the return address, then ",p:99,x:415,y:833,w:276,h:21},
{t:"comes the most interesting moment, ",p:99,x:415,y:856,w:259,h:21},
{t:"the recipients address…highly compli-",p:99,x:415,y:878,w:271,h:21},
{t:"cated…all of it…you start with the frst ",p:99,x:415,y:901,w:275,h:21},
{t:"name, then proceed with the exotic ",p:99,x:415,y:924,w:259,h:21},
{t:"sounding surname and street name. ",p:99,x:415,y:947,w:262,h:21},
{t:"For every letter I struggle to explain the ",p:99,x:415,y:993,w:288,h:21},
{t:"link to the recipients. I imagine what ",p:99,x:415,y:1016,w:263,h:21},
{t:"they look like, how they will react when ",p:99,x:415,y:1039,w:289,h:21},
{t:"they hold my letter in their hands… ",p:99,x:415,y:1062,w:253,h:21},
{t:"Meditation through writing. ",p:99,x:415,y:1085,w:201,h:21},
{t:"(From the authors private notes while ",p:99,x:415,y:1108,w:271,h:21},
{t:"she was working on the project.)",p:99,x:415,y:1131,w:235,h:21},
{t:"I selected random people to receive ",p:99,x:415,y:1176,w:265,h:21},
{t:"this question, which stems from Eastern ",p:99,x:415,y:1199,w:283,h:21},
{t:"philosophy. A handwritten letter, put in ",p:99,x:415,y:1222,w:282,h:21},
{t:"an envelope, addressed without the aid ",p:99,x:415,y:1245,w:291,h:21},
{t:"of any electronic tools has, in a short ",p:99,x:415,y:1268,w:269,h:21},
{t:"space of time, become the source of ",p:99,x:415,y:1291,w:266,h:21},
{t:"wonderment, unrest or merely refection. ",p:99,x:415,y:1314,w:294,h:21},
{t:"This kind of intervention and “tool” is in ",p:99,x:415,y:1337,w:287,h:21},
{t:"keeping with the principles of UT-21 in ",p:99,x:415,y:1360,w:282,h:21},
{t:"that it takes art “onto the streets”. The ",p:99,x:415,y:1383,w:273,h:21},
{t:"100",p:100,x:108,y:1465,w:23,h:16},
{t:"101",p:101,x:1128,y:1464,w:23,h:16},
{t:"ienia. ten rodzaj ingerencji oraz ",p:101,x:742,y:143,w:239,h:23},
{t:"\"narzędzie\" odpowiadało założeniom ",p:101,x:742,y:166,w:283,h:23},
{t:"projektu Ut-21, czyli wyjściu ze sztuką ",p:101,x:742,y:189,w:282,h:23},
{t:"\"na ulice\". Projekt zrealizowany w ",p:101,x:742,y:211,w:251,h:23},
{t:"lillehammer miał przede wszystkim ",p:101,x:742,y:234,w:258,h:23},
{t:"wytrącić nieco adresata z codzien-",p:101,x:742,y:257,w:253,h:23},
{t:"nej rutyny, skierować jego myślenie ",p:101,x:742,y:280,w:259,h:23},
{t:"w trudniejsze obszary, skłonić do ",p:101,x:742,y:303,w:245,h:23},
{t:"zatrzymania się na chwilę. wywołał ",p:101,x:742,y:326,w:268,h:23},
{t:"wiele komentarzy i różnorodnych ",p:101,x:742,y:349,w:246,h:23},
{t:"reakcji - od sympatii, przez kompletny ",p:101,x:742,y:372,w:278,h:23},
{t:"brak zrozumienia, aż do niepokoju i ",p:101,x:742,y:395,w:267,h:23},
{t:"zdenerwowania. Niewinne pytanie o ",p:101,x:742,y:418,w:274,h:23},
{t:"bardzo pozytywnym przekazie stało ",p:101,x:742,y:441,w:269,h:23},
{t:"sie powodem wielu dyskusji na temat ",p:101,x:742,y:464,w:273,h:23},
{t:"granic prywatności. ",p:101,x:742,y:486,w:147,h:23},
{t:"Pytanie bez oczekiwania na ",p:101,x:742,y:509,w:209,h:23},
{t:"odpowiedź...",p:101,x:742,y:532,w:95,h:23},
{t:"Ela Jabłońska",p:101,x:742,y:578,w:99,h:22},
{t:"project carried out in Lillehammer was ",p:101,x:415,y:144,w:280,h:21},
{t:"primarily intended to break the recipi-",p:101,x:415,y:167,w:271,h:21},
{t:"ents routine, to channel the thoughts ",p:101,x:415,y:190,w:264,h:21},
{t:"into a more complex domain, to make ",p:101,x:415,y:213,w:279,h:21},
{t:"them stop for a moment. The project ",p:101,x:415,y:236,w:264,h:21},
{t:"generated a number of comments and ",p:101,x:415,y:259,w:281,h:21},
{t:"different reactions: from sympathy via ",p:101,x:415,y:282,w:275,h:21},
{t:"a complete lack of understanding to ",p:101,x:415,y:304,w:266,h:21},
{t:"nervousness and turmoil. This innocent ",p:101,x:415,y:327,w:280,h:21},
{t:"question with a highly positive message ",p:101,x:415,y:350,w:290,h:21},
{t:"became the source of many discussions ",p:101,x:415,y:373,w:289,h:21},
{t:"concerning the limits of the right to ",p:101,x:415,y:396,w:252,h:21},
{t:"privacy. ",p:101,x:415,y:419,w:61,h:21},
{t:"Questions that do not wait for an ",p:101,x:415,y:465,w:242,h:21},
{t:"answer. ",p:101,x:415,y:488,w:60,h:21},
{t:"Ela Jabłońska",p:101,x:415,y:556,w:99,h:22},
{t:"med kunst ut ”på gaten”. Prosjektet ",p:101,x:88,y:144,w:257,h:21},
{t:"som ble realisert i Lillehammer skulle ",p:101,x:88,y:167,w:267,h:21},
{t:"først og fremst avskjære mottakeren fra ",p:101,x:88,y:190,w:285,h:21},
{t:"rutinen, rette tankene mot vanskeligere ",p:101,x:88,y:213,w:281,h:21},
{t:"områder, få en til å stanse for en stund. ",p:101,x:88,y:236,w:286,h:21},
{t:"Prosjektet fremkalte mange kommen-",p:101,x:88,y:259,w:262,h:21},
{t:"tarer og ulike reaksjoner - fra sympati, ",p:101,x:88,y:282,w:277,h:21},
{t:"via total mangel på forståelse, til uro og ",p:101,x:88,y:304,w:292,h:21},
{t:"nervøsitet. Uskyldige spørsmål med et ",p:101,x:88,y:327,w:278,h:21},
{t:"veldig positivt budskap er blitt årsaken ",p:101,x:88,y:350,w:281,h:21},
{t:"til mange diskusjoner om hvor grensene ",p:101,x:88,y:373,w:291,h:21},
{t:"for personvern går.  ",p:101,x:88,y:396,w:147,h:21},
{t:"Spørsmål uten å vente på svar…",p:101,x:88,y:442,w:233,h:21},
{t:"Ela Jabłońska",p:101,x:88,y:487,w:99,h:22},
{t:"102",p:102,x:108,y:1465,w:23,h:16},
{t:"macieJ kurak | max skorwider",p:102,x:206,y:400,w:838,h:71},
{t:"103",p:103,x:1127,y:1464,w:23,h:16},
{t:"Kunstnerne arbeidet lenge med et ",p:103,x:88,y:1034,w:249,h:21},
{t:"prosjekt som gikk ut på å lage en ",p:103,x:88,y:1057,w:245,h:21},
{t:"miniatyrutgave av Lysgårdsbakkene ",p:103,x:88,y:1080,w:262,h:21},
{t:"hoppanlegg, tilpasset bruk som en ",p:103,x:88,y:1102,w:253,h:21},
{t:"sklie for barn. Denne skulle plasseres ",p:103,x:88,y:1125,w:271,h:21},
{t:"i Olympiaparken i visuell kontakt med ",p:103,x:88,y:1148,w:277,h:21},
{t:"det Olympiske hoppanlegget. Det ble ",p:103,x:88,y:1171,w:277,h:21},
{t:"utarbeidet en 3D-modell som er gjengitt ",p:103,x:88,y:1194,w:291,h:21},
{t:"her. Det ble også tatt kontakt med en ",p:103,x:88,y:1217,w:271,h:21},
{t:"eier av et kommersielt lekeland for barn ",p:103,x:88,y:1240,w:291,h:21},
{t:"med tanke på en etterbruk av sklia. ",p:103,x:88,y:1263,w:258,h:21},
{t:"Vedkommende var interessert, men ",p:103,x:88,y:1286,w:256,h:21},
{t:"kostnadene og usikkerheten ble for stor ",p:103,x:88,y:1309,w:288,h:21},
{t:"til at prosjektet ble realisert.",p:103,x:88,y:1332,w:198,h:21},
{t:"The artists were for a long time ",p:103,x:415,y:1034,w:227,h:21},
{t:"engaged in a project for producing a ",p:103,x:415,y:1057,w:275,h:21},
{t:"miniature of the Lysgårdsbakkene Ski ",p:103,x:415,y:1080,w:271,h:21},
{t:"Jumping Arena, adjusted for use as a ",p:103,x:415,y:1102,w:273,h:21},
{t:"slide for children. This was to be placed ",p:103,x:415,y:1125,w:291,h:21},
{t:"in The Lillehammer Olympic Park in ",p:103,x:415,y:1148,w:258,h:21},
{t:"visual contact with the Olympic ski jump ",p:103,x:415,y:1171,w:293,h:21},
{t:"arena. They fnished a 3D-model which ",p:103,x:415,y:1194,w:288,h:21},
{t:"is presented here. The project manage-",p:103,x:415,y:1217,w:280,h:21},
{t:"ment was in contact with the owner ",p:103,x:415,y:1240,w:259,h:21},
{t:"of a commercial play park in order to ",p:103,x:415,y:1263,w:276,h:21},
{t:"secure a longer life for the slide. The ",p:103,x:415,y:1286,w:267,h:21},
{t:"owner was interested, but the costs and ",p:103,x:415,y:1309,w:289,h:21},
{t:"the uncertainty were too large and the ",p:103,x:415,y:1332,w:282,h:21},
{t:"project was not realized.",p:103,x:415,y:1354,w:179,h:21},
{t:"artyści długo pracowali nad ",p:103,x:742,y:1032,w:215,h:23},
{t:"projektem, który polegał na wykonaniu ",p:103,x:742,y:1055,w:295,h:23},
{t:"miniatury skoczni narciarskiej ",p:103,x:742,y:1078,w:221,h:23},
{t:"dostosowanej do używania jako ",p:103,x:742,y:1101,w:245,h:23},
{t:"zjeżdżalnia dla dzieci. miała być ona ",p:103,x:742,y:1124,w:289,h:23},
{t:"umieszczona w parku olimpijskim ",p:103,x:742,y:1147,w:257,h:23},
{t:"w wizualnym kontakcie z olimpijską ",p:103,x:742,y:1170,w:274,h:23},
{t:"skocznią narciarską. opracowano ",p:103,x:742,y:1193,w:260,h:23},
{t:"trójwymiarowy model, który jest tu ",p:103,x:742,y:1216,w:258,h:23},
{t:"przedstawiony. Nawiązano także ",p:103,x:742,y:1238,w:256,h:23},
{t:"kontakt z właścicielem komercyjnego ",p:103,x:742,y:1261,w:279,h:23},
{t:"parku rekreacyjnego dla dzieci w ",p:103,x:742,y:1284,w:255,h:23},
{t:"celu późniejszego wykorzystania ",p:103,x:742,y:1307,w:251,h:23},
{t:"zjeżdżalni. osoba ta była ",p:103,x:742,y:1330,w:199,h:23},
{t:"zainteresowana, lecz koszty i ryzyko ",p:103,x:742,y:1353,w:277,h:23},
{t:"były zbyt duże by projekt został ",p:103,x:742,y:1376,w:241,h:23},
{t:"zrealizowany. ",p:103,x:742,y:1399,w:108,h:23},
{t:"104",p:104,x:108,y:1465,w:23,h:16},
{t:"Da kunstnerne kom til Lillehammer laget ",p:104,x:206,y:918,w:291,h:21},
{t:"de et stuntprosjekt i tilfuktsrommet til ",p:104,x:206,y:941,w:265,h:21},
{t:"kinoen, hvor tegningene av skliepro-",p:104,x:206,y:964,w:261,h:21},
{t:"sjektet skulle monteres. Samme måned ",p:104,x:206,y:987,w:281,h:21},
{t:"(august 2008) var det en væpnet ",p:104,x:206,y:1009,w:246,h:21},
{t:"konfikt mellom georgia og Russland, ",p:104,x:206,y:1032,w:274,h:21},
{t:"knyttet til utbryterrepublikkene ",p:104,x:206,y:1055,w:220,h:21},
{t:"Sør-Ossetia og Abkhasia. I bomberom-",p:104,x:206,y:1078,w:281,h:21},
{t:"met var golvet dekket med kvadratiske ",p:104,x:206,y:1101,w:281,h:21},
{t:"teppefiser som ikke var limt til golvet. ",p:104,x:206,y:1124,w:273,h:21},
{t:"De to kunstnerne brukte de løse fisene ",p:104,x:206,y:1147,w:284,h:21},
{t:"til å skrive ordet georgia på veggen ",p:104,x:206,y:1170,w:268,h:21},
{t:"slik at ordet Russia dannes av de tomme ",p:104,x:206,y:1193,w:294,h:21},
{t:"feltene på golvet. ",p:104,x:206,y:1216,w:130,h:21},
{t:"(tekst skrevet av prosjektleder)",p:104,x:206,y:1239,w:217,h:21},
{t:"when the artists arrived in Lillehammer ",p:104,x:533,y:918,w:285,h:21},
{t:"they made a stunt project in the bomb ",p:104,x:533,y:941,w:278,h:21},
{t:"shelter at the cinema, where the draw-",p:104,x:533,y:964,w:276,h:21},
{t:"ings of the slide project were exhibited. ",p:104,x:533,y:987,w:288,h:21},
{t:"The same month (August 2008) there ",p:104,x:533,y:1009,w:276,h:21},
{t:"was an armed confict between ",p:104,x:533,y:1032,w:231,h:21},
{t:"georgia and Russia, in connection with ",p:104,x:533,y:1055,w:289,h:21},
{t:"the independent Republics of South ",p:104,x:533,y:1078,w:260,h:21},
{t:"Ossetia and Abkhazia. In the bomb ",p:104,x:533,y:1101,w:263,h:21},
{t:"shelter the foor was covered with ",p:104,x:533,y:1124,w:247,h:21},
{t:"square carpet tiles which were not ",p:104,x:533,y:1147,w:252,h:21},
{t:"glued to the foor. The two artists ",p:104,x:533,y:1170,w:240,h:21},
{t:"used the carpet tiles to write the word ",p:104,x:533,y:1193,w:275,h:21},
{t:"georgia on the wall so that the word ",p:104,x:533,y:1216,w:272,h:21},
{t:"Russia emerged from the empty spaces ",p:104,x:533,y:1239,w:286,h:21},
{t:"on the foor.",p:104,x:533,y:1261,w:87,h:21},
{t:"(text written by the project management)",p:104,x:533,y:1287,w:258,h:19},
{t:"Po przybyciu do lillehammer aryści ",p:104,x:860,y:916,w:261,h:23},
{t:"wykonali spontanicznie projekt w ",p:104,x:860,y:939,w:246,h:23},
{t:"schronie przy kinie, gdzie miały być ",p:104,x:860,y:962,w:265,h:23},
{t:"zamontowane rysunki projektowanej ",p:104,x:860,y:985,w:270,h:23},
{t:"zjeżdżalni. tego samego miesiąca ",p:104,x:860,y:1008,w:255,h:23},
{t:"(sierpień 2008) doszło do zbrojnego ",p:104,x:860,y:1031,w:276,h:23},
{t:"konfiktu między Gruzją a rosją ",p:104,x:860,y:1054,w:234,h:23},
{t:"dotyczącego separatystycznych ",p:104,x:860,y:1077,w:236,h:23},
{t:"republik osetii Południowej i abchazji. ",p:104,x:860,y:1100,w:284,h:23},
{t:"Podłoga w schronie pokryta była ",p:104,x:860,y:1123,w:245,h:23},
{t:"kwadratowymi płytkami wykładziny, ",p:104,x:860,y:1146,w:267,h:23},
{t:"ktore nie były przyklejone do podłogi. ",p:104,x:860,y:1168,w:282,h:23},
{t:"artyści użyli tych luźnych płytek do ",p:104,x:860,y:1191,w:257,h:23},
{t:"napisania na ścianie słowa Gruzja w ",p:104,x:860,y:1214,w:273,h:23},
{t:"taki sposób, że słowo rosja utworzyło ",p:104,x:860,y:1237,w:280,h:23},
{t:"się z pustych pól na podłodze.",p:104,x:860,y:1260,w:222,h:23},
{t:"(tekst napisany przez kierownika projektu)",p:104,x:860,y:1285,w:270,h:20},
{t:"105",p:105,x:1127,y:1464,w:23,h:16},
{t:"106",p:106,x:108,y:1465,w:23,h:16},
{t:"SEMINAR • cONFERENcE • KONFERENcJA",p:106,x:118,y:399,w:1024,h:61},
{t:"FOREdRAg          LEcTURES                       wyKłAd",p:106,x:118,y:455,w:828,h:49},
{t:"107",p:107,x:1128,y:1464,w:23,h:16},
{t:"RELATIONS AND ",p:107,x:444,y:113,w:226,h:36},
{t:"OBJEcTS, THE ART ",p:107,x:444,y:150,w:243,h:36},
{t:"MAcHINE AND ",p:107,x:444,y:188,w:212,h:36},
{t:"THE cHALLENgES OF ",p:107,x:444,y:225,w:288,h:36},
{t:"DEcENTRALIZED ART",p:107,x:444,y:263,w:269,h:36},
{t:"Per Bjarne Boym",p:107,x:444,y:307,w:162,h:27},
{t:"Thank to the organizers for inviting me to ",p:107,x:444,y:403,w:300,h:21},
{t:"this seminar; and congratulations to the or-",p:107,x:444,y:426,w:306,h:21},
{t:"ganizers and artists for an interesting UT-21 ",p:107,x:444,y:449,w:319,h:21},
{t:"with very different, and challenging works. ",p:107,x:444,y:472,w:312,h:21},
{t:"I will not show you anything, just talk. ",p:107,x:444,y:518,w:273,h:21},
{t:"The title of my talk is: ",p:107,x:444,y:541,w:154,h:21},
{t:"RELATIONS AND OBJEcTS, THE ART ",p:107,x:444,y:564,w:281,h:21},
{t:"MAcHINE AND THE cHALLENgES OF ",p:107,x:444,y:587,w:300,h:21},
{t:"DEcENTRALIZED ART. ",p:107,x:444,y:609,w:170,h:21},
{t:"And that is just what I will try to talk about ",p:107,x:444,y:632,w:307,h:21},
{t:"and in the mentioned order.",p:107,x:444,y:655,w:200,h:21},
{t:"RELATIONS ANd OBJEcTS.",p:107,x:444,y:701,w:219,h:22},
{t:"1.",p:107,x:444,y:746,w:15,h:22},
{t:"when the word RELATION is defned in a ",p:107,x:444,y:770,w:307,h:21},
{t:"dictionary, in mathematics or in logic, is it ",p:107,x:444,y:793,w:302,h:21},
{t:"diffcult to avoid using words like ",p:107,x:444,y:816,w:240,h:21},
{t:"cONNEXIONS or PROPERTIES  both of ",p:107,x:444,y:839,w:298,h:21},
{t:"which presupposes something to hang on ",p:107,x:444,y:861,w:305,h:21},
{t:"to, objects of some kind. To say it simple: the ",p:107,x:444,y:884,w:325,h:21},
{t:"defnition of a relation is something “going ",p:107,x:444,y:907,w:311,h:21},
{t:"on” between objects.",p:107,x:444,y:930,w:153,h:21},
{t:"It is interesting then to look at the etymologi-",p:107,x:444,y:976,w:316,h:21},
{t:"cal roots of the two words RELATION and ",p:107,x:444,y:999,w:308,h:21},
{t:"OBJEcT. RELATION has a Latin and pos-",p:107,x:444,y:1022,w:296,h:21},
{t:"sibly a Proto-Indo-European genesis. The RE ",p:107,x:444,y:1045,w:320,h:21},
{t:"part is used in many words, like RELOcATE ",p:107,x:444,y:1068,w:316,h:21},
{t:"(to locate again on a new or the same ",p:107,x:444,y:1091,w:282,h:21},
{t:"spot), and carries the meaning of “again” ",p:107,x:444,y:1114,w:306,h:21},
{t:"or “back again”. The LATION part has ",p:107,x:444,y:1136,w:286,h:21},
{t:"been read as derivation of LATUS “to be ",p:107,x:444,y:1159,w:299,h:21},
{t:"lifted or carried” which is a Latin version of ",p:107,x:444,y:1182,w:314,h:21},
{t:"the Proto-Indo-European TLATOS “carry” or ",p:107,x:444,y:1205,w:320,h:21},
{t:"“bear”. According to this RELATION would ",p:107,x:444,y:1228,w:317,h:21},
{t:"have an early meaning of something like ",p:107,x:444,y:1251,w:298,h:21},
{t:"“a carrying back / again)” or “a bringing ",p:107,x:444,y:1274,w:309,h:21},
{t:"back / again”. One of its early uses deals ",p:107,x:444,y:1297,w:309,h:21},
{t:"with family bonds, family relations.",p:107,x:444,y:1320,w:249,h:21},
{t:"OBJEcT also has a Latin genesis: OBJEc-",p:107,x:444,y:1366,w:299,h:21},
{t:"TUM. Here the OB part means against or ",p:107,x:444,y:1388,w:305,h:21},
{t:"in front of, and the JEcTUM part means ",p:107,x:444,y:1411,w:291,h:21},
{t:"RELASJONER Og ",p:107,x:88,y:113,w:231,h:36},
{t:"OBJEKTER, KUNST-",p:107,x:88,y:150,w:241,h:36},
{t:"MASKINEN Og ",p:107,x:88,y:188,w:215,h:36},
{t:"UTFORDRINgENE FOR ",p:107,x:88,y:225,w:302,h:36},
{t:"DESENTRALISERT KUNST",p:107,x:88,y:263,w:317,h:36},
{t:"Per Bjarne Boym",p:107,x:88,y:307,w:162,h:27},
{t:"Takk til arrangørene for invitasjonen til ",p:107,x:88,y:403,w:281,h:21},
{t:"seminaret, og gratulerer til arrangørene og ",p:107,x:88,y:426,w:315,h:21},
{t:"kunstnerne med et interessant UT-21 med ",p:107,x:88,y:449,w:300,h:21},
{t:"svært forskjellige og utfordrende verk.",p:107,x:88,y:472,w:273,h:21},
{t:"Jeg skal ikke vise dere noen bilder, bare ",p:107,x:88,y:518,w:294,h:21},
{t:"snakke. Tittelen på foredraget mitt er: ",p:107,x:88,y:541,w:272,h:21},
{t:"RELASJONER Og OBJEKTER, ",p:107,x:88,y:564,w:225,h:21},
{t:"KUNSTMASKINEN Og UTFORD-",p:107,x:88,y:587,w:251,h:21},
{t:"RINgENE FOR DESENTRALISERT KUNST. ",p:107,x:88,y:609,w:316,h:21},
{t:"Og det er akkurat hva jeg vil forsøke å ",p:107,x:88,y:632,w:285,h:21},
{t:"snakke om og i den nevnte rekkefølgen. ",p:107,x:88,y:655,w:292,h:21},
{t:"RELASJONER Og OBJEKTER. ",p:107,x:88,y:701,w:239,h:22},
{t:"1. ",p:107,x:88,y:746,w:19,h:22},
{t:"Når ordet RELASJON blir defnert i ord-",p:107,x:88,y:770,w:288,h:21},
{t:"bøker, i matematikk eller innen logikken, ",p:107,x:88,y:793,w:295,h:21},
{t:"er det vanskelig å unngå å bruke ord som ",p:107,x:88,y:816,w:306,h:21},
{t:"FORBINDELSER eller EgENSKAPER, som ",p:107,x:88,y:839,w:306,h:21},
{t:"begge forutsetter noe å feste seg til, objek-",p:107,x:88,y:861,w:307,h:21},
{t:"ter av et eller annet slag. For å si det enkelt: ",p:107,x:88,y:884,w:319,h:21},
{t:"defnisjonen av en relasjon er at ”noe ",p:107,x:88,y:907,w:275,h:21},
{t:"foregår” mellom objekter. ",p:107,x:88,y:930,w:190,h:21},
{t:"Det er interessant å se på de etymologiske ",p:107,x:88,y:976,w:311,h:21},
{t:"røttene til de to ordene RELASJON og ",p:107,x:88,y:999,w:281,h:21},
{t:"OBJEKT. RELASJON har røtter fra latin og ",p:107,x:88,y:1022,w:309,h:21},
{t:"har muligens et Før-Indo-Europeisk opphav. ",p:107,x:88,y:1045,w:317,h:21},
{t:"Re-forstavelsen er brukt i mange ord, som ",p:107,x:88,y:1068,w:302,h:21},
{t:"relokalisere (å plassere om igjen på et nytt ",p:107,x:88,y:1091,w:311,h:21},
{t:"sted eller på det samme stedet), og bærer ",p:107,x:88,y:1114,w:308,h:21},
{t:"meningen ”igjen” eller ”tilbake igjen”. ",p:107,x:88,y:1136,w:279,h:21},
{t:"Ordets hovedstamme LASJON, har blitt lest ",p:107,x:88,y:1159,w:319,h:21},
{t:"som en avledning av LATUS ”å bli løftet ",p:107,x:88,y:1182,w:293,h:21},
{t:"eller båret” som er en latinsk versjon av det ",p:107,x:88,y:1205,w:317,h:21},
{t:"Før-Indo-Europeiske TLATOS ”bære” eller ",p:107,x:88,y:1228,w:304,h:21},
{t:"”bringe”. I følge dette skulle RELASJON ha ",p:107,x:88,y:1251,w:318,h:21},
{t:"en opprinnelig mening omtrent som ",p:107,x:88,y:1274,w:260,h:21},
{t:"”å bringe tilbake/ om igjen” eller ”en ",p:107,x:88,y:1297,w:276,h:21},
{t:"tilbakebringing/en gjentatt bringing”. ",p:107,x:88,y:1320,w:275,h:21},
{t:"Ett av de tidlige bruksområdene for ordet ",p:107,x:88,y:1343,w:301,h:21},
{t:"handler om familieforhold, familierelasjoner. ",p:107,x:88,y:1366,w:324,h:21},
{t:"relacJe i oBiekty, ",p:107,x:801,y:110,w:257,h:38},
{t:"maszyNa sztUki i ",p:107,x:801,y:148,w:262,h:38},
{t:"wyzwaNia Dla ",p:107,x:801,y:185,w:229,h:38},
{t:"zDeceNtralizowaNeJ ",p:107,x:801,y:223,w:324,h:38},
{t:"sztUki",p:107,x:801,y:260,w:91,h:38},
{t:"Per Bjarne Boym",p:107,x:801,y:307,w:162,h:27},
{t:"Dziękuję organizatorom za zaprosze-",p:107,x:801,y:402,w:273,h:23},
{t:"nie i gratuluję organizatorom i artystom ",p:107,x:801,y:424,w:289,h:23},
{t:"interesującego Ut-21 z jego bardzo ",p:107,x:801,y:447,w:266,h:23},
{t:"rożnorodnymi i stawiającymi wyzwania ",p:107,x:801,y:470,w:292,h:23},
{t:"dziełami.",p:107,x:801,y:493,w:65,h:23},
{t:"Nie będę posługiwał się obrazem lecz ",p:107,x:801,y:539,w:286,h:23},
{t:"tylko przkazem werbalnym. tytułem ",p:107,x:801,y:562,w:262,h:23},
{t:"mojego wykładu jest: relacJe i oBiekty, ",p:107,x:801,y:585,w:312,h:23},
{t:"maszyNa sztUki i wyzwaNia Dla ",p:107,x:801,y:608,w:294,h:23},
{t:"zDeceNtralizowaNeJ sztUki. ",p:107,x:801,y:631,w:258,h:23},
{t:"oto  właśnie o czym chcę mówic i w tej ",p:107,x:801,y:654,w:293,h:23},
{t:"wymienionej kolejności.   ",p:107,x:801,y:676,w:185,h:23},
{t:"relacJe i obiekty.",p:107,x:801,y:722,w:159,h:24},
{t:"1.",p:107,x:801,y:768,w:15,h:24},
{t:"kiedy słowo relacJa defniowane jest ",p:107,x:801,y:791,w:287,h:23},
{t:"w słownikach, matematyce czy w logice, ",p:107,x:801,y:814,w:299,h:23},
{t:"trudno uniknąć użycia takich słów jak ",p:107,x:801,y:837,w:275,h:23},
{t:"zwiĄzki czy wŁaściwości, gdzie oba ",p:107,x:801,y:860,w:314,h:23},
{t:"zakładają coś, czego można się uchwycić – ",p:107,x:801,y:883,w:325,h:23},
{t:"obiektów takiego czy innego rodzaju. Żeby ",p:107,x:801,y:906,w:322,h:23},
{t:"powiedzieć wprost: defnicją relacji jest, że ",p:107,x:801,y:929,w:316,h:23},
{t:"„coś dzieje się” między obiektami.",p:107,x:801,y:951,w:250,h:23},
{t:"ciekawe jest spojrzeć na etymologiczne ",p:107,x:801,y:997,w:296,h:23},
{t:"korzenie tych dwóch słów: relacJi i ",p:107,x:801,y:1020,w:269,h:23},
{t:"oBiektU. relacJa ma korzenie w łacinie ",p:107,x:801,y:1043,w:313,h:23},
{t:"i prawdopodobnie praindoeuropejskie ",p:107,x:801,y:1066,w:286,h:23},
{t:"pochodzenie. sylaba re występuje w wielu ",p:107,x:801,y:1089,w:321,h:23},
{t:"słowach,  jak relokalizacja (ponowne umi-",p:107,x:801,y:1112,w:304,h:23},
{t:"eszczenie w innym lub tym samym miejscu) ",p:107,x:801,y:1135,w:316,h:23},
{t:"i niesie ze sobą znaczenie „ponownie.” ",p:107,x:801,y:1158,w:293,h:23},
{t:"Główny rdzeń słowa lacJa został odc-",p:107,x:801,y:1181,w:286,h:23},
{t:"zytany jako wyprowadzenie od latUs ",p:107,x:801,y:1203,w:287,h:23},
{t:"„być podniesionym albo niesionym”, co jest ",p:107,x:801,y:1226,w:321,h:23},
{t:"łacińską wersją praindoeuropejskiego tla-",p:107,x:801,y:1249,w:311,h:23},
{t:"tos „nieść” albo „przynieść”. w związku ",p:107,x:801,y:1272,w:311,h:23},
{t:"z tym, pierwotnym sensem relacJi byłoby ",p:107,x:801,y:1295,w:313,h:23},
{t:"w przybliżeniu: „przynieść z powrotem/",p:107,x:801,y:1318,w:292,h:23},
{t:"ponownie” albo „przywrócenie/pow-",p:107,x:801,y:1341,w:274,h:23},
{t:"tórne przyniesienie”. Jedno z wczesnych ",p:107,x:801,y:1364,w:298,h:23},
{t:"zastosowań tego słowa dotyczy stosunków ",p:107,x:801,y:1387,w:316,h:23},
{t:"rodzinnych, relacji rodzinnych.",p:107,x:801,y:1410,w:221,h:23},
{t:"108",p:108,x:108,y:1465,w:23,h:16},
{t:"thrown. This would give a meaning like: ",p:108,x:474,y:115,w:289,h:21},
{t:"“thrown against”. we could ask “against ",p:108,x:474,y:138,w:301,h:21},
{t:"what”, and the answer would probably be: ",p:108,x:474,y:161,w:317,h:21},
{t:"the mind, the sight… etc.",p:108,x:474,y:183,w:174,h:21},
{t:"what this etymological exercise gives, in my ",p:108,x:474,y:229,w:324,h:21},
{t:"opinion, is that it points toward a situation ",p:108,x:474,y:252,w:304,h:21},
{t:"where the dividing line between RELATION ",p:108,x:474,y:275,w:319,h:21},
{t:"and OBJEcT is not so clear. If we use the ",p:108,x:474,y:298,w:301,h:21},
{t:"example of family relations, example: ",p:108,x:474,y:321,w:276,h:21},
{t:"mother and daughter, then RELATION here ",p:108,x:474,y:344,w:317,h:21},
{t:"would convey the idea that the daughter is ",p:108,x:474,y:367,w:313,h:21},
{t:"a “bringing back” of the mother. As an ",p:108,x:474,y:390,w:285,h:21},
{t:"OBJEcT for the mother, the daughter is ",p:108,x:474,y:413,w:286,h:21},
{t:"“thrown against” the mothers senses. ",p:108,x:474,y:435,w:270,h:21},
{t:"From this example at least we can say ",p:108,x:474,y:458,w:279,h:21},
{t:"that both RELATIONS and OBJEcTS is ",p:108,x:474,y:481,w:284,h:21},
{t:"something “going on” between someone ",p:108,x:474,y:504,w:300,h:21},
{t:"(or something). And this is also indicated by ",p:108,x:474,y:527,w:321,h:21},
{t:"our daily experiences, when we encounter ",p:108,x:474,y:550,w:312,h:21},
{t:"something or someone a stream of ",p:108,x:474,y:573,w:254,h:21},
{t:"OBJEcTS and RELATIONS cascades ",p:108,x:474,y:596,w:272,h:21},
{t:"through our senses.",p:108,x:474,y:619,w:139,h:21},
{t:"2.",p:108,x:474,y:664,w:15,h:22},
{t:"To operate in thought as if RELATIONS ",p:108,x:474,y:710,w:286,h:21},
{t:"and OBJEcTS belong to separate worlds ",p:108,x:474,y:733,w:302,h:21},
{t:"has a history, which is not a part of this ",p:108,x:474,y:756,w:286,h:21},
{t:"presentation. It seems more fruitful to me to ",p:108,x:474,y:779,w:313,h:21},
{t:"look at those who have tried to understand ",p:108,x:474,y:802,w:314,h:21},
{t:"the couple as belonging to the same plane, ",p:108,x:474,y:825,w:318,h:21},
{t:"the same world, looking for the immanence ",p:108,x:474,y:848,w:317,h:21},
{t:"concerning RELATIONS AND OBJEcTS.",p:108,x:474,y:871,w:294,h:21},
{t:"One of the best known, and in my opinion ",p:108,x:474,y:894,w:309,h:21},
{t:"most successful examples of such a point of ",p:108,x:474,y:917,w:317,h:21},
{t:"view, was presented by Karl Marx in his de-",p:108,x:474,y:940,w:316,h:21},
{t:"scription and analyses of a commodity. To ",p:108,x:474,y:962,w:308,h:21},
{t:"shortly remind you, or shortly inform you, his ",p:108,x:474,y:985,w:324,h:21},
{t:"position is that the object of a commodity is ",p:108,x:474,y:1008,w:316,h:21},
{t:"a set of relations that has been actualized, ",p:108,x:474,y:1031,w:311,h:21},
{t:"for instance the relation between man and ",p:108,x:474,y:1054,w:310,h:21},
{t:"the environment as well as between work ",p:108,x:474,y:1077,w:302,h:21},
{t:"and capital. we might think of an object as ",p:108,x:474,y:1100,w:317,h:21},
{t:"crystallization of relations and of relations ",p:108,x:474,y:1123,w:307,h:21},
{t:"as actualized in an object.",p:108,x:474,y:1146,w:191,h:21},
{t:"3.",p:108,x:474,y:1191,w:15,h:22},
{t:"But it is a kind of necessity that forces us to ",p:108,x:474,y:1237,w:310,h:21},
{t:"make the distinction between the two, ",p:108,x:474,y:1260,w:275,h:21},
{t:"RELATION AND OBJEcT, from the frst ",p:108,x:474,y:1283,w:286,h:21},
{t:"blurred encounter. To give an argument for ",p:108,x:474,y:1306,w:314,h:21},
{t:"this, I shall point at the difference in velocity ",p:108,x:474,y:1329,w:320,h:21},
{t:"/ speed that characterizes each one of ",p:108,x:474,y:1352,w:287,h:21},
{t:"them. The OBJEcT is “thrown against”; the ",p:108,x:474,y:1375,w:311,h:21},
{t:"meeting with the OBJEcT has one clash, ",p:108,x:474,y:1398,w:295,h:21},
{t:"an infnite velocity. The RELATION is “a ",p:108,x:474,y:1421,w:289,h:21},
{t:"OBJEKT har også et latinsk opphav: ",p:108,x:118,y:114,w:265,h:21},
{t:"OBJEKTUM. Her betyr forstavelsen OB mot ",p:108,x:118,y:137,w:320,h:21},
{t:"eller foran, og JEKTUM-delen betyr kastet. ",p:108,x:118,y:160,w:310,h:21},
{t:"Dette skulle gi en mening omtrent som: ",p:108,x:118,y:183,w:282,h:21},
{t:"”kastet mot”. Vi kunne spørre ”mot hva”, ",p:108,x:118,y:206,w:296,h:21},
{t:"og svaret ville trolig bli: tanken, synsbildet ",p:108,x:118,y:229,w:305,h:21},
{t:"… etc. ",p:108,x:118,y:252,w:48,h:21},
{t:"Hva denne etymologiske øvelsen, etter ",p:108,x:118,y:298,w:284,h:21},
{t:"min mening gir oss, er at den peker mot en ",p:108,x:118,y:321,w:313,h:21},
{t:"situasjon hvor skillet mellom RELASJON ",p:108,x:118,y:344,w:290,h:21},
{t:"og OBJEKT ikke er så klart. Hvis vi bruker ",p:108,x:118,y:366,w:304,h:21},
{t:"eksempler fra familieforhold, for eksempel: ",p:108,x:118,y:389,w:312,h:21},
{t:"mor og datter, så skulle RELASJON her for-",p:108,x:118,y:412,w:311,h:21},
{t:"midle ideen at datteren er en ”tilbakebring-",p:108,x:118,y:435,w:311,h:21},
{t:"ing” av moren. Som et OBJEKT for moren, ",p:108,x:118,y:458,w:309,h:21},
{t:"er datteren ”kastet mot” morens sanser. ",p:108,x:118,y:481,w:287,h:21},
{t:"Ut fra dette eksemplet kan vi si at både ",p:108,x:118,y:504,w:286,h:21},
{t:"RELASJONER og OBJEKTER er at ”noe ",p:108,x:118,y:527,w:289,h:21},
{t:"foregår” mellom noen (eller noe). Og dette ",p:108,x:118,y:550,w:317,h:21},
{t:"indikeres også av våre daglige erfaringer, ",p:108,x:118,y:573,w:309,h:21},
{t:"når vi støter på noe eller noen, så strømmer ",p:108,x:118,y:596,w:320,h:21},
{t:"en kaskade av OBJEKTER og RELASJONER ",p:108,x:118,y:619,w:321,h:21},
{t:"mot våre sanser. ",p:108,x:118,y:641,w:122,h:21},
{t:"2.",p:108,x:118,y:687,w:15,h:22},
{t:"Å operere med et tankesett som om ",p:108,x:118,y:733,w:260,h:21},
{t:"RELASJONER og OBJEKTER tilhører atskilte ",p:108,x:118,y:756,w:321,h:21},
{t:"verdener, har en forhistorie, som ikke er en ",p:108,x:118,y:779,w:312,h:21},
{t:"del av dette foredraget. Det virker mer ",p:108,x:118,y:802,w:281,h:21},
{t:"fruktbart for meg å se til dem som har ",p:108,x:118,y:825,w:276,h:21},
{t:"forsøkt å forstå ordparet som tilhørende ",p:108,x:118,y:848,w:291,h:21},
{t:"det samme plan, den samme verden, som ",p:108,x:118,y:871,w:304,h:21},
{t:"leter etter de to begrepene RELASJON og ",p:108,x:118,y:893,w:310,h:21},
{t:"OBJEKT sin immanens. ",p:108,x:118,y:916,w:168,h:21},
{t:"Et av de mest kjente, og etter mitt syn, mest ",p:108,x:118,y:962,w:312,h:21},
{t:"vellykkede eksempler på et slikt synspunkt, ",p:108,x:118,y:985,w:310,h:21},
{t:"ble presentert av Karl Marx i hans beskriv-",p:108,x:118,y:1008,w:307,h:21},
{t:"else av og analyse av en vare. For i korthet ",p:108,x:118,y:1031,w:317,h:21},
{t:"å minne dere på eller informere dere om ",p:108,x:118,y:1054,w:299,h:21},
{t:"dette, er hans standpunkt at objektet varen ",p:108,x:118,y:1077,w:311,h:21},
{t:"er et sett av relasjoner som er blitt aktivert, ",p:108,x:118,y:1100,w:308,h:21},
{t:"for eksempel relasjonen mellom mennesket ",p:108,x:118,y:1123,w:313,h:21},
{t:"og miljøet, så vel som mellom arbeid og ",p:108,x:118,y:1145,w:294,h:21},
{t:"kapital. Vi kan tenke på et objekt som en ",p:108,x:118,y:1168,w:297,h:21},
{t:"krystallisering av relasjoner og på ",p:108,x:118,y:1191,w:250,h:21},
{t:"relasjoner som aktualiserte i et objekt. ",p:108,x:118,y:1214,w:277,h:21},
{t:"3.",p:108,x:118,y:1260,w:15,h:22},
{t:"Men det er en slags nødvendighet som ",p:108,x:118,y:1306,w:287,h:21},
{t:"tvinger oss til å lage en distinksjon mellom ",p:108,x:118,y:1329,w:307,h:21},
{t:"de to, RELASJON Og OBJEKT, etter det ",p:108,x:118,y:1352,w:298,h:21},
{t:"første utydelige møtet. For å argumentere ",p:108,x:118,y:1375,w:304,h:21},
{t:"for dette, skal jeg peke på forskjellen i ",p:108,x:118,y:1398,w:279,h:21},
{t:"hastighet som karakteriserer hver av dem. ",p:108,x:118,y:1420,w:305,h:21},
{t:"oBiekt także wywodzi się z łaciny: ",p:108,x:830,y:113,w:266,h:23},
{t:"oBJektUm. tu sylaba oB znaczy przeciw ",p:108,x:830,y:136,w:319,h:23},
{t:"lub przed, a człon – JektUm - rzucać. ",p:108,x:830,y:159,w:284,h:23},
{t:"znaczyłoby to mniej więcej: „rzucić ",p:108,x:830,y:181,w:263,h:23},
{t:"przeciw”(komuś, czemuś). moglibyśmy ",p:108,x:830,y:204,w:287,h:23},
{t:"spytać ”przeciw czemu”, a odpowiedzią ",p:108,x:830,y:227,w:301,h:23},
{t:"byłoby prawdopodobnie: myśli, wizji...itd.",p:108,x:830,y:250,w:303,h:23},
{t:"co daje to etymologiczne ćwiczenie? ",p:108,x:830,y:296,w:278,h:23},
{t:"według mnie to, że wskazuje na sytuację, ",p:108,x:830,y:319,w:309,h:23},
{t:"gdzie rozdział między relacJĄ a ",p:108,x:830,y:342,w:253,h:23},
{t:"oBiektem nie jest zbyt wyraźny. Jeśli jako  ",p:108,x:830,y:365,w:321,h:23},
{t:"przykładu użyjemy stosunków rodzinnych, ",p:108,x:830,y:388,w:310,h:23},
{t:"na przykład: matka i córka, to relacJa ",p:108,x:830,y:411,w:292,h:23},
{t:"przekaże tu ideę o tym, że córka jest „przy-",p:108,x:830,y:434,w:315,h:23},
{t:"wróceniem” matki. oBiektem dla matki  ",p:108,x:830,y:456,w:303,h:23},
{t:"jest córka „rzucona przeciw” zmysłom mat-",p:108,x:830,y:479,w:312,h:23},
{t:"ki. wychodząc z tego przykładu możemy ",p:108,x:830,y:502,w:308,h:23},
{t:"powiedzieć, że zarówno realcJa jak i ",p:108,x:830,y:525,w:290,h:23},
{t:"oBiekt są czymś, co „dzieje się” między ",p:108,x:830,y:548,w:305,h:23},
{t:"kimś (lub czymś). wynika to również z ",p:108,x:830,y:571,w:283,h:23},
{t:"naszych codziennych doświadczeń; gdy ",p:108,x:830,y:594,w:299,h:23},
{t:"potykamy się o coś lub o kogoś, napływa ",p:108,x:830,y:617,w:304,h:23},
{t:"wówczas kaskada oBiektów i relacJi ",p:108,x:830,y:640,w:305,h:23},
{t:"ku naszym zmysłom.",p:108,x:830,y:663,w:147,h:23},
{t:"2.",p:108,x:830,y:708,w:15,h:24},
{t:"operowanie procesem rozumowania ",p:108,x:830,y:754,w:276,h:23},
{t:"jakoby relacJe i oBiekty należały do ",p:108,x:830,y:777,w:295,h:23},
{t:"osobnych światów ma swoją prehistorię, ",p:108,x:830,y:800,w:297,h:23},
{t:"która nie należy do tego wykładu. Bardziej ",p:108,x:830,y:823,w:318,h:23},
{t:"owocnym dla mnie jest przyglądać się ",p:108,x:830,y:846,w:282,h:23},
{t:"tym, którzy starają się pojąć tę parę słów ",p:108,x:830,y:869,w:302,h:23},
{t:"jako przynależną do tego samego planu, ",p:108,x:830,y:892,w:305,h:23},
{t:"tego samego świata; którzy poszukują w ",p:108,x:830,y:915,w:300,h:23},
{t:"pojęciach relacJa i oBiekt ich imma-",p:108,x:830,y:938,w:286,h:23},
{t:"nencji.",p:108,x:830,y:961,w:46,h:23},
{t:"Jeden z najbardziej znanych i moim ",p:108,x:830,y:1006,w:265,h:23},
{t:"zdaniem najbardziej udany przykład ",p:108,x:830,y:1029,w:273,h:23},
{t:"takiego poglądu był zaprezentowany przez ",p:108,x:830,y:1052,w:324,h:23},
{t:"karola marksa w jego opisie i analizie ",p:108,x:830,y:1075,w:287,h:23},
{t:"towaru. Dla krótkiej informacji czy przypom-",p:108,x:830,y:1098,w:319,h:23},
{t:"nienia: zajmuje on stanowisko, że obiekt ",p:108,x:830,y:1121,w:297,h:23},
{t:"towar jest zestawem relacji, które zostały ",p:108,x:830,y:1144,w:300,h:23},
{t:"uaktywnione; na przykład zarówno między ",p:108,x:830,y:1167,w:320,h:23},
{t:"człowiekiem a środowiskiem jak i między ",p:108,x:830,y:1190,w:303,h:23},
{t:"pracą a kapitałem. możemy uważać ",p:108,x:830,y:1213,w:273,h:23},
{t:"obiekt za krystalizację relacji i jako relacje ",p:108,x:830,y:1235,w:313,h:23},
{t:"aktualizujące się w obiekcie.  ",p:108,x:830,y:1258,w:217,h:23},
{t:"3.",p:108,x:830,y:1304,w:15,h:24},
{t:"lecz jest pewnego rodzaju koniecznością, ",p:108,x:830,y:1350,w:311,h:23},
{t:"która po tym pierwszym niewyraźnym spot-",p:108,x:830,y:1373,w:313,h:23},
{t:"kaniu zmusza nas do poczynienia dystynkcji ",p:108,x:830,y:1396,w:325,h:23},
{t:"między tymi dwoma: relacJĄ i oBiek-",p:108,x:830,y:1419,w:287,h:23},
{t:"109",p:109,x:1127,y:1464,w:23,h:16},
{t:"bringing back”, it has two movements, i.e. ",p:109,x:444,y:115,w:306,h:21},
{t:"somewhat slower. I guess we have to affrm ",p:109,x:444,y:138,w:318,h:21},
{t:"this difference in one way or another to ",p:109,x:444,y:161,w:289,h:21},
{t:"be able to deal with life. But as soon as ",p:109,x:444,y:183,w:290,h:21},
{t:"this affrmation turns into a frozen thought, ",p:109,x:444,y:206,w:308,h:21},
{t:"where RELATIONS belongs to one world ",p:109,x:444,y:229,w:301,h:21},
{t:"and OBJEcTS to another, then this neces-",p:109,x:444,y:252,w:298,h:21},
{t:"sary affrmation has turned into denial and ",p:109,x:444,y:275,w:312,h:21},
{t:"negativity.",p:109,x:444,y:298,w:73,h:21},
{t:"THE ART MAcHINE.",p:109,x:444,y:343,w:158,h:22},
{t:"1.",p:109,x:444,y:389,w:15,h:22},
{t:"I will call the processes that make art hap-",p:109,x:444,y:435,w:302,h:21},
{t:"pen for THE ART MAcHINE. The intention is ",p:109,x:444,y:458,w:324,h:21},
{t:"not to give you associations of a mechani-",p:109,x:444,y:481,w:302,h:21},
{t:"cal kind, but to address the phenomenon of ",p:109,x:444,y:504,w:318,h:21},
{t:"production as a transformation of different ",p:109,x:444,y:527,w:309,h:21},
{t:"kinds of energy from different sources to ",p:109,x:444,y:550,w:294,h:21},
{t:"different results, thats what a machine does. ",p:109,x:444,y:573,w:320,h:21},
{t:"THE ART MAcHINE produces art, art as ",p:109,x:444,y:596,w:298,h:21},
{t:"OBJEcTS / RELATIONS, let me use the ",p:109,x:444,y:619,w:288,h:21},
{t:"word EVENT. ",p:109,x:444,y:642,w:101,h:21},
{t:"Artists are a part of THE ART MAcHINE, ",p:109,x:444,y:687,w:301,h:21},
{t:"but so are others, like different kinds of ",p:109,x:444,y:710,w:283,h:21},
{t:"short-lived or more lasting institutions, like ",p:109,x:444,y:733,w:301,h:21},
{t:"critics, scholars, audiences, collectors etc.",p:109,x:444,y:756,w:298,h:21},
{t:"2.",p:109,x:444,y:802,w:15,h:22},
{t:"The REcEPTION (taking back again, grasp-",p:109,x:444,y:848,w:316,h:21},
{t:"ing again, swallowing down again) can ",p:109,x:444,y:871,w:293,h:21},
{t:"be seen as the multiple set of reactions, ir-",p:109,x:444,y:894,w:300,h:21},
{t:"respectively of time limits, on an art event. It ",p:109,x:444,y:917,w:318,h:21},
{t:"is not unusual to consider the reception as a ",p:109,x:444,y:940,w:321,h:21},
{t:"kind of evaluation of something that has tak-",p:109,x:444,y:962,w:317,h:21},
{t:"en place. But seen from an ART MAcHINE ",p:109,x:444,y:985,w:316,h:21},
{t:"point of view it would be more precise to ",p:109,x:444,y:1008,w:299,h:21},
{t:"state that the reception participates in laying ",p:109,x:444,y:1031,w:325,h:21},
{t:"the foundation for new productions. This is ",p:109,x:444,y:1054,w:309,h:21},
{t:"irrespective whether the reception appears ",p:109,x:444,y:1077,w:313,h:21},
{t:"as a reaction / no reaction or as a positive ",p:109,x:444,y:1100,w:314,h:21},
{t:"/ negative evaluation. In the reception ",p:109,x:444,y:1123,w:282,h:21},
{t:"processes we can identify phenomenon as ",p:109,x:444,y:1146,w:311,h:21},
{t:"different as: the artists own reaction to their ",p:109,x:444,y:1169,w:315,h:21},
{t:"work, small talk between individuals of an ",p:109,x:444,y:1192,w:307,h:21},
{t:"audience when encountering the art even, ",p:109,x:444,y:1214,w:309,h:21},
{t:"public statements from critics and others; ",p:109,x:444,y:1237,w:296,h:21},
{t:"the acts of private or public, small or big ",p:109,x:444,y:1260,w:296,h:21},
{t:"institutions providing funding, production- ",p:109,x:444,y:1283,w:300,h:21},
{t:"and display-facilities; the acts of the marked ",p:109,x:444,y:1306,w:320,h:21},
{t:"whether private or public, etc ",p:109,x:444,y:1329,w:216,h:21},
{t:"OBJEKTET er ”kastet mot”; møtet med ",p:109,x:88,y:114,w:277,h:21},
{t:"OBJEKTET har ett sammenstøt, en endeløs ",p:109,x:88,y:137,w:309,h:21},
{t:"hastighet. RELASJONEN ”bringer tilbake”, ",p:109,x:88,y:160,w:313,h:21},
{t:"den har to bevegelser, dvs. den er noe ",p:109,x:88,y:183,w:284,h:21},
{t:"langsommere. Jeg antar at vi må bekrefte ",p:109,x:88,y:206,w:304,h:21},
{t:"denne forskjellen på en eller annen måte ",p:109,x:88,y:229,w:300,h:21},
{t:"for å være i stand til å håndtere livet. Men ",p:109,x:88,y:252,w:309,h:21},
{t:"så snart denne bekreftelsen omdannes til en ",p:109,x:88,y:275,w:322,h:21},
{t:"frossen tanke, hvor RELASJONER tilhører en ",p:109,x:88,y:298,w:323,h:21},
{t:"verden og OBJEKTER til en annen, så har ",p:109,x:88,y:321,w:303,h:21},
{t:"denne nødvendige bekreftelsen blitt",p:109,x:88,y:344,w:259,h:21},
{t:"omdannet til benektelse og negasjon. ",p:109,x:88,y:366,w:275,h:21},
{t:"KUNSTMASKINEN",p:109,x:88,y:412,w:152,h:22},
{t:"1. ",p:109,x:88,y:458,w:19,h:22},
{t:"Jeg vil kalle prosessen som gjør at kunst ",p:109,x:88,y:504,w:292,h:21},
{t:"fnner sted for KUNSTMASKINEN. Min ",p:109,x:88,y:527,w:292,h:21},
{t:"intensjon er ikke å gi dere assosiasjoner ",p:109,x:88,y:550,w:292,h:21},
{t:"til mekanikk, men å peke på fenomenet ",p:109,x:88,y:573,w:287,h:21},
{t:"produksjon som en transformasjon av ulike ",p:109,x:88,y:596,w:311,h:21},
{t:"former for energi fra forskjellige kilder til ",p:109,x:88,y:619,w:294,h:21},
{t:"ulike resultater, det er hva en maskin gjør. ",p:109,x:88,y:641,w:304,h:21},
{t:"KUNSTMASKINEN produserer kunst, kunst ",p:109,x:88,y:664,w:319,h:21},
{t:"som OBJEKTER / RELASJONER, la meg ",p:109,x:88,y:687,w:293,h:21},
{t:"bruke ordet HENDELSE.  ",p:109,x:88,y:710,w:183,h:21},
{t:"Kunstnere er en del av KUNSTMASKINEN, ",p:109,x:88,y:756,w:321,h:21},
{t:"men det er også andre, som forskjellige ",p:109,x:88,y:779,w:290,h:21},
{t:"slags kortlivede eller mer varige institus-",p:109,x:88,y:802,w:285,h:21},
{t:"joner, som kritikere, akademikere, publikum, ",p:109,x:88,y:825,w:320,h:21},
{t:"samlere etc. ",p:109,x:88,y:848,w:91,h:21},
{t:"2.",p:109,x:88,y:893,w:15,h:22},
{t:"MOTTAKELSEN (å ta tilbake, å gripe igjen, ",p:109,x:88,y:939,w:318,h:21},
{t:"å svelge ned igjen) kan ses på som et ",p:109,x:88,y:962,w:276,h:21},
{t:"ferfoldig knippe av reaksjoner, uavhengig ",p:109,x:88,y:985,w:311,h:21},
{t:"av tidsbegrensninger, på en kunsthendelse. ",p:109,x:88,y:1008,w:316,h:21},
{t:"Det er ikke uvanlig å vurdere mottakelsen ",p:109,x:88,y:1031,w:303,h:21},
{t:"som en slags evaluering av noe som har ",p:109,x:88,y:1054,w:295,h:21},
{t:"hendt. Men sett fra KUNSTMASKINENS ",p:109,x:88,y:1077,w:300,h:21},
{t:"standpunkt vil det være mer presist å fastslå ",p:109,x:88,y:1100,w:318,h:21},
{t:"at mottakelsen er en del av grunnlaget for ",p:109,x:88,y:1123,w:307,h:21},
{t:"nye produksjoner. Dette er uavhengig av ",p:109,x:88,y:1146,w:299,h:21},
{t:"om mottakelsen synes å være en reaksjon/",p:109,x:88,y:1168,w:309,h:21},
{t:"ingen reaksjon eller som en positiv/negativ ",p:109,x:88,y:1191,w:316,h:21},
{t:"evaluering. I mottakelsesprosessene kan vi ",p:109,x:88,y:1214,w:309,h:21},
{t:"identifsere så ulike fenomener som: kunst-",p:109,x:88,y:1237,w:300,h:21},
{t:"nernes reaksjoner på sitt eget verk, småprat ",p:109,x:88,y:1260,w:318,h:21},
{t:"mellom individer som opplever en kunsthen-",p:109,x:88,y:1283,w:315,h:21},
{t:"delse, offentlige uttalelser fra kritikere og ",p:109,x:88,y:1306,w:298,h:21},
{t:"andre, handlingene utført av private eller ",p:109,x:88,y:1329,w:302,h:21},
{t:"offentlige, små eller store institusjoner som ",p:109,x:88,y:1352,w:308,h:21},
{t:"står for fnansiering, produksjons- og utstill-",p:109,x:88,y:1375,w:305,h:21},
{t:"ingsfasiliteter, markedets bevegelser enten ",p:109,x:88,y:1398,w:308,h:21},
{t:"de er private eller offentlige, etc. ",p:109,x:88,y:1420,w:240,h:21},
{t:"tem. Żeby to uzasadnić wskażę na różnice ",p:109,x:801,y:113,w:321,h:23},
{t:"w prędkościach, które charakteryzują ",p:109,x:801,y:136,w:277,h:23},
{t:"każde z nich. oBiekt jest „rzucony ",p:109,x:801,y:159,w:262,h:23},
{t:"przeciw”; spotkanie z oBiektem ma jedno ",p:109,x:801,y:182,w:322,h:23},
{t:"zderzenie, pewną nieskończoną prędkość. ",p:109,x:801,y:204,w:315,h:23},
{t:"relacJa „przywraca”, ma ona dwa ruchy, ",p:109,x:801,y:227,w:318,h:23},
{t:"czyli jest nieco wolniejsza. Przypuszc-",p:109,x:801,y:250,w:272,h:23},
{t:"zam, że musimy potwierdzić te rożnice ",p:109,x:801,y:273,w:285,h:23},
{t:"w ten lub inny sposób żeby być w stanie ",p:109,x:801,y:296,w:298,h:23},
{t:"zajmować się życiem. lecz gdy tylko to ",p:109,x:801,y:319,w:290,h:23},
{t:"potwierdzenie przełoży się na zesztywniałą ",p:109,x:801,y:342,w:323,h:23},
{t:"myśl, gdzie relacJe należą do jednego ",p:109,x:801,y:365,w:298,h:23},
{t:"świata, a oBiekty do drugiego, wówc-",p:109,x:801,y:388,w:289,h:23},
{t:"zas to niezbędne potwierdzenie zostanie ",p:109,x:801,y:411,w:303,h:23},
{t:"przetworzone na zaprzeczenie i negację.",p:109,x:801,y:434,w:304,h:23},
{t:"maszyNa sztuki",p:109,x:801,y:479,w:151,h:24},
{t:"1.",p:109,x:801,y:525,w:15,h:24},
{t:"Proces, który przyczynia się do stawania się ",p:109,x:801,y:571,w:324,h:23},
{t:"sztuki chciałbym nazwać maszyNĄ sztU-",p:109,x:801,y:594,w:316,h:23},
{t:"ki. moją intencją nie jest poddawanie wam ",p:109,x:801,y:617,w:321,h:23},
{t:"skojarzeń z mechaniką lecz wskazanie na ",p:109,x:801,y:640,w:310,h:23},
{t:"fenomen produkcji, jako części trasformacji ",p:109,x:801,y:663,w:316,h:23},
{t:"rożnych form energii z różnych źródeł ",p:109,x:801,y:686,w:280,h:23},
{t:"ku rozmaitym rezultatom, co właśnie robi ",p:109,x:801,y:708,w:301,h:23},
{t:"maszyna. maszyNa sztUki produkuje ",p:109,x:801,y:731,w:299,h:23},
{t:"sztukę; sztukę taką jak oBiekty/relacJe, ",p:109,x:801,y:754,w:316,h:23},
{t:"że użyję słowa wyDarzeNie.",p:109,x:801,y:777,w:224,h:23},
{t:"artyści są częścią maszyNy sztUki, ",p:109,x:801,y:823,w:284,h:23},
{t:"lecz są nimi również inni: różnego rodzaju ",p:109,x:801,y:846,w:313,h:23},
{t:"krótkotrwałe lub bardziej stałe instytucje, ",p:109,x:801,y:869,w:299,h:23},
{t:"krytycy, publiczność, kolekcjonerzy itd.",p:109,x:801,y:892,w:282,h:23},
{t:"2.",p:109,x:801,y:937,w:15,h:24},
{t:"oDBiór ( zabrać, uchwycić, przełknąć) ",p:109,x:801,y:983,w:298,h:23},
{t:"może być widziany jako zbiór ",p:109,x:801,y:1006,w:224,h:23},
{t:"rożnorodnych reakcji, niezależnie od ",p:109,x:801,y:1029,w:274,h:23},
{t:"ograniczeń czasowych, jako zdarzenie ",p:109,x:801,y:1052,w:289,h:23},
{t:"artystyczne. Nie jest niczym niezwykłym ",p:109,x:801,y:1075,w:295,h:23},
{t:"rozpatrywać odbiór jako pewnego rodzaju ",p:109,x:801,y:1098,w:320,h:23},
{t:"ocenę tego co się zdarzyło. lecz patrząc ",p:109,x:801,y:1121,w:304,h:23},
{t:"z punktu widzenia maszyNy sztUki ",p:109,x:801,y:1144,w:283,h:23},
{t:"będzie bardziej precyzyjnym stwierdzenie, ",p:109,x:801,y:1167,w:316,h:23},
{t:"że odbiór jest częścią bazy dla nowych ",p:109,x:801,y:1190,w:293,h:23},
{t:"produkcji. Jest to niezależne od tego czy ",p:109,x:801,y:1213,w:300,h:23},
{t:"odbiór wydaje się być reakcją/brakiem ",p:109,x:801,y:1235,w:293,h:23},
{t:"reakcji, czy pozytywną /negatywną ",p:109,x:801,y:1258,w:267,h:23},
{t:"oceną. w procesie odbioru możemy ",p:109,x:801,y:1281,w:271,h:23},
{t:"zidentyfkować tak różnorodne fenomeny ",p:109,x:801,y:1304,w:305,h:23},
{t:"jak: reakcje artysty na własne dzieło, ",p:109,x:801,y:1327,w:273,h:23},
{t:"rozmowy między indywidualnymi osobami, ",p:109,x:801,y:1350,w:319,h:23},
{t:"które doświadczają artystycznego wy-",p:109,x:801,y:1373,w:279,h:23},
{t:"darzenia, publiczne wypowiedzi krytyków ",p:109,x:801,y:1396,w:313,h:23},
{t:"i innych, działania prywatnych i public-",p:109,x:801,y:1419,w:282,h:23},
{t:"110",p:110,x:110,y:1465,w:21,h:16},
{t:"3.",p:110,x:474,y:114,w:15,h:21},
{t:"The PRODUcTION (bringing forth) has its ",p:110,x:474,y:161,w:309,h:21},
{t:"own logic, but is more or less dependent ",p:110,x:474,y:183,w:297,h:21},
{t:"upon the reception of earlier events. It is in ",p:110,x:474,y:206,w:310,h:21},
{t:"this perspective, the relation between recep-",p:110,x:474,y:229,w:317,h:21},
{t:"tion and production we may be entitled to ",p:110,x:474,y:252,w:308,h:21},
{t:"ask about the health situation of THE ART ",p:110,x:474,y:275,w:302,h:21},
{t:"MAcHINE right now. In the following I ",p:110,x:474,y:298,w:286,h:21},
{t:"will concentrate on just one small part of ",p:110,x:474,y:321,w:297,h:21},
{t:"THE ART MAcHINE, it is, however, in my ",p:110,x:474,y:344,w:301,h:21},
{t:"opinion an important part, the private and ",p:110,x:474,y:367,w:309,h:21},
{t:"public art museums; let me call them ",p:110,x:474,y:390,w:265,h:21},
{t:"THE ART MUSEUM ESTABLISHMENT. ",p:110,x:474,y:413,w:284,h:21},
{t:"And what goes for these do also have ",p:110,x:474,y:435,w:280,h:21},
{t:"validity in bigger or lesser degree for other ",p:110,x:474,y:458,w:315,h:21},
{t:"actors like galleries and kunsthalle.",p:110,x:474,y:481,w:252,h:21},
{t:"dEcENTRALIzEd OR dEcENTRALIzINg ",p:110,x:474,y:527,w:323,h:22},
{t:"(apart from the center) ART.",p:110,x:474,y:550,w:222,h:22},
{t:"1.",p:110,x:474,y:595,w:15,h:22},
{t:"I fnd a huge discrepancy between how ",p:110,x:474,y:642,w:291,h:21},
{t:"THE ART MUSEUM ESTABLISHMENT are ",p:110,x:474,y:665,w:309,h:21},
{t:"organized, run and planned and what is ",p:110,x:474,y:687,w:297,h:21},
{t:"happening in other parts of THE ART ",p:110,x:474,y:710,w:270,h:21},
{t:"MAcHINE. This concerns both the museums ",p:110,x:474,y:733,w:324,h:21},
{t:"as a part of the REcEPTION-block as well ",p:110,x:474,y:756,w:308,h:21},
{t:"as their role in the PRODUcTION process-",p:110,x:474,y:779,w:307,h:21},
{t:"es. This situation has been steadily growing ",p:110,x:474,y:802,w:317,h:21},
{t:"since the late 1960´s. To explain this posi-",p:110,x:474,y:825,w:307,h:21},
{t:"tion of mine I will have to introduce some ",p:110,x:474,y:848,w:301,h:21},
{t:"ideas on art and the notion of “decentral-",p:110,x:474,y:871,w:299,h:21},
{t:"ized or decentralizing art”.",p:110,x:474,y:894,w:195,h:21},
{t:"2.",p:110,x:474,y:939,w:15,h:22},
{t:"Joseph Beuys once said something like ",p:110,x:474,y:985,w:284,h:21},
{t:"“Every man is an artist”. From the context ",p:110,x:474,y:1008,w:302,h:21},
{t:"this is a statement recognizing the creativity ",p:110,x:474,y:1031,w:317,h:21},
{t:"that every one possesses and uses for creat-",p:110,x:474,y:1054,w:316,h:21},
{t:"ing something. But what are the dominant ",p:110,x:474,y:1077,w:305,h:21},
{t:"ideas about creativity? Are these ideas that ",p:110,x:474,y:1100,w:316,h:21},
{t:"the results of creation should be representa-",p:110,x:474,y:1123,w:313,h:21},
{t:"tive of something, should be recognized ",p:110,x:474,y:1146,w:293,h:21},
{t:"as something, should confrm the identity ",p:110,x:474,y:1169,w:297,h:21},
{t:"of something? Let us look at some conse-",p:110,x:474,y:1192,w:292,h:21},
{t:"quences of such ideas, and we will use ",p:110,x:474,y:1214,w:286,h:21},
{t:"the example of art. From such ideas being ",p:110,x:474,y:1237,w:309,h:21},
{t:"dominant for the creativity, that is produc-",p:110,x:474,y:1260,w:298,h:21},
{t:"tion, will follow a reception dominated by ",p:110,x:474,y:1283,w:305,h:21},
{t:"the ideas of recognition (as representative, ",p:110,x:474,y:1306,w:312,h:21},
{t:"as identical or something else). To simplify, ",p:110,x:474,y:1329,w:312,h:21},
{t:"we “know” what we are looking for, and ",p:110,x:474,y:1352,w:300,h:21},
{t:"the main part of the reception is to recog-",p:110,x:474,y:1375,w:298,h:21},
{t:"nize it in the new disguise. An example: you ",p:110,x:474,y:1398,w:322,h:21},
{t:"“know” that cubism is an art style, when you ",p:110,x:474,y:1421,w:324,h:21},
{t:"3.",p:110,x:118,y:114,w:15,h:22},
{t:"PRODUKSJONEN (å frambringe) har sin ",p:110,x:118,y:160,w:302,h:21},
{t:"egen logikk, men er mer eller mindre avhen-",p:110,x:118,y:183,w:318,h:21},
{t:"gig av mottakelsen av de forutgående hen-",p:110,x:118,y:206,w:310,h:21},
{t:"delser. Det er i dette perspektivet, i forholdet ",p:110,x:118,y:229,w:323,h:21},
{t:"mellom mottakelsen og produksjonen, at vi ",p:110,x:118,y:252,w:312,h:21},
{t:"kan være berettiget til å spørre om helsetil-",p:110,x:118,y:275,w:306,h:21},
{t:"standen til KUNSTMASKINEN akkurat nå. ",p:110,x:118,y:298,w:314,h:21},
{t:"I det følgende vil jeg konsentrere meg om ",p:110,x:118,y:321,w:306,h:21},
{t:"bare en liten del av KUNSTMASKINEN, ",p:110,x:118,y:344,w:299,h:21},
{t:"det er imidlertid, etter min mening, en viktig ",p:110,x:118,y:366,w:315,h:21},
{t:"del, de private og offentlige kunstmuseer; ",p:110,x:118,y:389,w:303,h:21},
{t:"la meg kalle dem KUNSTMUSEUMSETAB-",p:110,x:118,y:412,w:311,h:21},
{t:"LISSEMENTET. Og det som gjelder for ",p:110,x:118,y:435,w:283,h:21},
{t:"disse, har også gyldighet i større eller ",p:110,x:118,y:458,w:277,h:21},
{t:"mindre grad for andre aktører, som gallerier ",p:110,x:118,y:481,w:325,h:21},
{t:"og kunsthaller. ",p:110,x:118,y:504,w:109,h:21},
{t:"dESENTRALISERT ELLER dESENTRA-",p:110,x:118,y:549,w:287,h:22},
{t:"LISERENdE (atskilt fra senteret) KUNST ",p:110,x:118,y:572,w:315,h:22},
{t:"1.",p:110,x:118,y:618,w:15,h:22},
{t:"Jeg ser et stort avvik mellom hvordan ",p:110,x:118,y:664,w:271,h:21},
{t:"KUNSTMUSEUMSETABLISSEMENTET er ",p:110,x:118,y:687,w:306,h:21},
{t:"organisert, drevet og planlagt og hva som ",p:110,x:118,y:710,w:309,h:21},
{t:"foregår i andre deler av KUNSTMASKI-",p:110,x:118,y:733,w:290,h:21},
{t:"NEN. Dette gjelder både museene som en ",p:110,x:118,y:756,w:313,h:21},
{t:"del av MOTTAKELSES-blokken så vel som ",p:110,x:118,y:779,w:306,h:21},
{t:"deres rolle i PRODUKSJONS-prosessene. ",p:110,x:118,y:802,w:303,h:21},
{t:"Denne situasjonen har vokst gradvis fram ",p:110,x:118,y:825,w:301,h:21},
{t:"siden slutten av 1960-tallet. ",p:110,x:118,y:848,w:203,h:21},
{t:"For å forklare mitt standpunkt må jeg ",p:110,x:118,y:893,w:269,h:21},
{t:"introdusere noen ideer om kunst og ",p:110,x:118,y:916,w:260,h:21},
{t:"begrepet ”desentralisert eller desentraliser-",p:110,x:118,y:939,w:309,h:21},
{t:"ende kunst”. ",p:110,x:118,y:962,w:94,h:21},
{t:"2. ",p:110,x:118,y:1008,w:20,h:22},
{t:"Joseph Beuys sa engang noe slikt som ",p:110,x:118,y:1054,w:280,h:21},
{t:"”Ethvert menneske er en kunstner”. Ut fra ",p:110,x:118,y:1077,w:300,h:21},
{t:"sammenhengen så er dette en uttalelse som ",p:110,x:118,y:1100,w:319,h:21},
{t:"anerkjenner den kreativitet som alle besitter ",p:110,x:118,y:1123,w:318,h:21},
{t:"og bruker for å skape noe. Men hva er de ",p:110,x:118,y:1145,w:310,h:21},
{t:"dominerende ideer om kreativitet? Innebær-",p:110,x:118,y:1168,w:316,h:21},
{t:"er disse ideene at resultatet av kreativitet ",p:110,x:118,y:1191,w:297,h:21},
{t:"burde representere noe, burde bli akseptert ",p:110,x:118,y:1214,w:319,h:21},
{t:"som noe, burde bekrefte identiteten av noe? ",p:110,x:118,y:1237,w:323,h:21},
{t:"La oss se på noen av konsekvensene av ",p:110,x:118,y:1260,w:292,h:21},
{t:"slike ideer, og vi bruker kunst som eksem-",p:110,x:118,y:1283,w:295,h:21},
{t:"pel. gitt at slike ideer er dominerende for ",p:110,x:118,y:1306,w:302,h:21},
{t:"kreativiteten, dvs. produksjonen, følger at ",p:110,x:118,y:1329,w:302,h:21},
{t:"mottakelsen er dominert av ideer om gjen-",p:110,x:118,y:1352,w:304,h:21},
{t:"kjennelse (som representativ, som identisk ",p:110,x:118,y:1375,w:304,h:21},
{t:"eller noe annet). For å forenkle, så ”vet” ",p:110,x:118,y:1398,w:294,h:21},
{t:"vi hva vi ser etter, og en hovedbestanddel ",p:110,x:118,y:1420,w:306,h:21},
{t:"znych osób, małych lub dużych instytucji ",p:110,x:830,y:113,w:297,h:23},
{t:"fnansujących, produkcyjne i wystawien-",p:110,x:830,y:136,w:289,h:23},
{t:"nicze pomoce, posunięcia rynkowe czy to ",p:110,x:830,y:159,w:309,h:23},
{t:"prywatne czy publiczne, itd.",p:110,x:830,y:181,w:205,h:23},
{t:"3. ",p:110,x:830,y:227,w:20,h:24},
{t:"ProDUkcJa (dostarczanie) ma swoją ",p:110,x:830,y:273,w:284,h:23},
{t:"wlasną logikę, ale jest mniej lub bardziej ",p:110,x:830,y:296,w:300,h:23},
{t:"zależna od tego jak przyjmowane są ",p:110,x:830,y:319,w:275,h:23},
{t:"zdarzenia poprzedzające. to w tej pers-",p:110,x:830,y:342,w:294,h:23},
{t:"pektywie, w zależności między odbiorem ",p:110,x:830,y:365,w:305,h:23},
{t:"a produkcją możemy zostać uprawnieni ",p:110,x:830,y:388,w:295,h:23},
{t:"do pytania o stan zdrowia maszyNy ",p:110,x:830,y:411,w:282,h:23},
{t:"sztUki właśnie teraz. Następnie chciałbym ",p:110,x:830,y:434,w:323,h:23},
{t:"się skoncentrować na zaledwie małej ",p:110,x:830,y:456,w:275,h:23},
{t:"częsci maszyNy sztUki, będącej ",p:110,x:830,y:479,w:263,h:23},
{t:"jednakże, jak sądzę ważnym elementem ",p:110,x:830,y:502,w:299,h:23},
{t:"prywatnych i państwowych muzeów sztuki, ",p:110,x:830,y:525,w:316,h:23},
{t:"które nazwałbym estaBlisHmeNtem ",p:110,x:830,y:548,w:288,h:23},
{t:"mUzeUm sztUki. a to co ich dotyczy jest ",p:110,x:830,y:571,w:317,h:23},
{t:"rownież obowiązujące w mniejszym lub ",p:110,x:830,y:594,w:295,h:23},
{t:"większym stopniu dla innych czynników jak ",p:110,x:830,y:617,w:318,h:23},
{t:"galerie i salony sztuki.",p:110,x:830,y:640,w:160,h:23},
{t:"zdeceNtralizowaNa lub ",p:110,x:830,y:685,w:237,h:24},
{t:"deceNtralizuJĄca sztuka",p:110,x:830,y:708,w:241,h:24},
{t:"1.",p:110,x:830,y:754,w:15,h:24},
{t:"widzę dużą niezgodność między tym jak ",p:110,x:830,y:800,w:307,h:23},
{t:"estaBlisHmeNt mUzeUm sztUki jest ",p:110,x:830,y:823,w:301,h:23},
{t:"zorganizowany, prowadzony i planowany, ",p:110,x:830,y:846,w:316,h:23},
{t:"a tym co dzieje się w innych częściach ",p:110,x:830,y:869,w:284,h:23},
{t:"maszyNy sztUki. Dotyczy to zarówno ",p:110,x:830,y:892,w:302,h:23},
{t:"muzeów jako części bloku oDBiorU jak i ",p:110,x:830,y:915,w:313,h:23},
{t:"ich roli w procesach ProDUkcJi. sytuacja ",p:110,x:830,y:938,w:315,h:23},
{t:"taka dojrzewała stopniowo od końca lat ",p:110,x:830,y:961,w:297,h:23},
{t:"60-tych.",p:110,x:830,y:983,w:58,h:23},
{t:"Żeby wyjaśnić moje stanowisko muszę ",p:110,x:830,y:1029,w:283,h:23},
{t:"zapowiedzieć pewne myśli na temat sztuki ",p:110,x:830,y:1052,w:313,h:23},
{t:"i pojęcie „sztuki zdecentralizowanej albo ",p:110,x:830,y:1075,w:304,h:23},
{t:"decentralizującej”.",p:110,x:830,y:1098,w:135,h:23},
{t:"2.",p:110,x:830,y:1143,w:15,h:24},
{t:"Joseph Beuys pwiedział kiedyś coś takiego: ",p:110,x:830,y:1190,w:320,h:23},
{t:"„każdy człowiek jest artystą”. w tym ",p:110,x:830,y:1213,w:273,h:23},
{t:"kontekście jest to wypowiedź uznająca ",p:110,x:830,y:1235,w:287,h:23},
{t:"kreację za coś, co wszyscy posiadają i ",p:110,x:830,y:1258,w:287,h:23},
{t:"używają do stworzenia czegoś. lecz jakie ",p:110,x:830,y:1281,w:311,h:23},
{t:"wyobrażenia dominują na temat kreacji? ",p:110,x:830,y:1304,w:301,h:23},
{t:"czy oznaczają one, że rezultat kreacji ",p:110,x:830,y:1327,w:285,h:23},
{t:"powinien coś reprezentować, powinien ",p:110,x:830,y:1350,w:289,h:23},
{t:"być rozpoznawalny, powinien potwierdzić ",p:110,x:830,y:1373,w:313,h:23},
{t:"tożsamość czegoś? Popatrzmy na kon-",p:110,x:830,y:1396,w:279,h:23},
{t:"sekwencje takich wyobrażen i użyjmy ",p:110,x:830,y:1419,w:277,h:23},
{t:"111",p:111,x:1130,y:1464,w:23,h:16},
{t:"look at Picassos “Demoiselles dAvignon”, ",p:111,x:444,y:115,w:304,h:21},
{t:"you look for the characteristics of cubism – ",p:111,x:444,y:138,w:313,h:21},
{t:"this exercise constitute the main part of the ",p:111,x:444,y:161,w:310,h:21},
{t:"reception. Reception as recognition.",p:111,x:444,y:183,w:259,h:21},
{t:"I will use this as a foundation to propose ",p:111,x:444,y:229,w:297,h:21},
{t:"that there is a close connection between ",p:111,x:444,y:252,w:295,h:21},
{t:"recognition and a centralized way of think-",p:111,x:444,y:275,w:310,h:21},
{t:"ing. This proposal could be phrased in the ",p:111,x:444,y:298,w:309,h:21},
{t:"following way: To be able to recognize ",p:111,x:444,y:321,w:289,h:21},
{t:"you will need a rather stable set of values ",p:111,x:444,y:344,w:305,h:21},
{t:"/ properties which is what you use for ",p:111,x:444,y:367,w:279,h:21},
{t:"recognizing the work (the event, the object, ",p:111,x:444,y:390,w:317,h:21},
{t:"the relation etc.) as a work of art. This stable ",p:111,x:444,y:413,w:325,h:21},
{t:"set functions as a kind of center around ",p:111,x:444,y:435,w:287,h:21},
{t:"which the process of recognition (and then ",p:111,x:444,y:458,w:312,h:21},
{t:"reception) takes place.",p:111,x:444,y:481,w:164,h:21},
{t:"More or less clear and outspoken this cen-",p:111,x:444,y:527,w:306,h:21},
{t:"tralized image of art is dominating THE ART ",p:111,x:444,y:550,w:321,h:21},
{t:"MUSEUM ESTABLISHMENT. ",p:111,x:444,y:573,w:217,h:21},
{t:"3.",p:111,x:444,y:618,w:15,h:22},
{t:"It is tempting to see the different practices of ",p:111,x:444,y:665,w:322,h:21},
{t:"THE ART MUSEUM ESTABLISHMENT in ",p:111,x:444,y:687,w:298,h:21},
{t:"light of this centralized image of art. For in-",p:111,x:444,y:710,w:309,h:21},
{t:"stance the practice of confning production ",p:111,x:444,y:733,w:313,h:21},
{t:"and display of art events to events that can ",p:111,x:444,y:756,w:314,h:21},
{t:"be placed inside the walls and buildings ",p:111,x:444,y:779,w:296,h:21},
{t:"of the museum, the practice of confning ",p:111,x:444,y:802,w:292,h:21},
{t:"the collection of art inside the walls and ",p:111,x:444,y:825,w:292,h:21},
{t:"buildings of the museum, the practice of ",p:111,x:444,y:848,w:291,h:21},
{t:"confning the educational work to the same ",p:111,x:444,y:871,w:316,h:21},
{t:"premises and so forth. This is a set of cen-",p:111,x:444,y:894,w:298,h:21},
{t:"tralized practices (in parenthesis which you ",p:111,x:444,y:917,w:316,h:21},
{t:"also will fnd in institutions like many galler-",p:111,x:444,y:940,w:309,h:21},
{t:"ies, and other exhibition organizers, as well ",p:111,x:444,y:962,w:319,h:21},
{t:"as collectors). From a centralized image ",p:111,x:444,y:985,w:294,h:21},
{t:"of art follows a centralized practice of art ",p:111,x:444,y:1008,w:304,h:21},
{t:"production and display. From a conceptual ",p:111,x:444,y:1031,w:316,h:21},
{t:"center of values follows a centralizing in the ",p:111,x:444,y:1054,w:321,h:21},
{t:"extension of events.",p:111,x:444,y:1077,w:141,h:21},
{t:"4.",p:111,x:444,y:1122,w:15,h:22},
{t:"This centralized image of art is not opposed ",p:111,x:444,y:1169,w:322,h:21},
{t:"to changes, we have for instance been ",p:111,x:444,y:1192,w:284,h:21},
{t:"witnessing changes the last decades. Let me ",p:111,x:444,y:1214,w:322,h:21},
{t:"mention two recent examples concerning ",p:111,x:444,y:1237,w:301,h:21},
{t:"techniques or genres. First Photography, ",p:111,x:444,y:1260,w:293,h:21},
{t:"when I started working in the museums in ",p:111,x:444,y:1283,w:301,h:21},
{t:"Norway, photography was not a part of the ",p:111,x:444,y:1306,w:323,h:21},
{t:"centralized image of art. Today it is. Next ",p:111,x:444,y:1329,w:305,h:21},
{t:"Performance, performance has been in the ",p:111,x:444,y:1352,w:313,h:21},
{t:"process of becoming a part of the central-",p:111,x:444,y:1375,w:302,h:21},
{t:"ized image of art, being produced and ",p:111,x:444,y:1398,w:288,h:21},
{t:"displayed in museums and other institutions, ",p:111,x:444,y:1421,w:320,h:21},
{t:"av mottakelsen er å gjenkjenne dette i den ",p:111,x:88,y:114,w:311,h:21},
{t:"nye forkledningen. Et eksempel: du ”vet” ",p:111,x:88,y:137,w:297,h:21},
{t:"at kubismen er en kunstretning, når du ser ",p:111,x:88,y:160,w:305,h:21},
{t:"Picassos ”Demoiselles dAvignon”, så ser ",p:111,x:88,y:183,w:296,h:21},
{t:"du etter kubismens karaktertrekk – denne ",p:111,x:88,y:206,w:300,h:21},
{t:"øvelsen utgjør hoveddelen av mottakelsen. ",p:111,x:88,y:229,w:313,h:21},
{t:"Mottakelse som gjenkjennelse. ",p:111,x:88,y:252,w:225,h:21},
{t:"Jeg vil bruke dette som et grunnlag for å ",p:111,x:88,y:298,w:296,h:21},
{t:"hevde at det er en nær sammenheng mel-",p:111,x:88,y:321,w:300,h:21},
{t:"lom gjenkjennelse og en sentralisert måte å ",p:111,x:88,y:344,w:317,h:21},
{t:"tenke på. Denne påstanden kan formuleres ",p:111,x:88,y:366,w:315,h:21},
{t:"slik: For å være i stand til å gjenkjenne ",p:111,x:88,y:389,w:281,h:21},
{t:"trenger du et nokså stabilt knippe av ",p:111,x:88,y:412,w:267,h:21},
{t:"verdier / egenskaper som du bruker for ",p:111,x:88,y:435,w:290,h:21},
{t:"å gjenkjenne verket (hendelsen, objektet, ",p:111,x:88,y:458,w:300,h:21},
{t:"relasjonen etc.) som et kunstverk. Dette sta-",p:111,x:88,y:481,w:308,h:21},
{t:"bile knippet virker som et slags senter som ",p:111,x:88,y:504,w:307,h:21},
{t:"prosessen med gjenkjennelse (og deretter ",p:111,x:88,y:527,w:305,h:21},
{t:"mottakelsen) foregår rundt. ",p:111,x:88,y:550,w:199,h:21},
{t:"Dette sentraliserte kunstsynet dominerer mer ",p:111,x:88,y:596,w:321,h:21},
{t:"eller mindre klart og uttalt KUNSTMUSEUMS-",p:111,x:88,y:619,w:319,h:21},
{t:"ETABLISSEMENTET. ",p:111,x:88,y:641,w:150,h:21},
{t:"3. ",p:111,x:88,y:687,w:20,h:22},
{t:"Det er fristende å betrakte de ulike praksiser ",p:111,x:88,y:733,w:323,h:21},
{t:"innenfor KUNSTMUSEUMS-ETABLISSE-",p:111,x:88,y:756,w:288,h:21},
{t:"MENTET i lys av dette sentraliserte kunst-",p:111,x:88,y:779,w:294,h:21},
{t:"synet. For eksempel praksisen med å beg-",p:111,x:88,y:802,w:301,h:21},
{t:"rense produksjon og visning av kunsthen-",p:111,x:88,y:825,w:295,h:21},
{t:"delser til noe som kan plasseres innenfor ",p:111,x:88,y:848,w:296,h:21},
{t:"veggene og bygningene til museet, prak-",p:111,x:88,y:871,w:294,h:21},
{t:"sisen med å holde samling av kunst fanget ",p:111,x:88,y:893,w:310,h:21},
{t:"innenfor veggene og bygningene til museet, ",p:111,x:88,y:916,w:322,h:21},
{t:"praksisen med å begrense utdanningsvirk-",p:111,x:88,y:939,w:302,h:21},
{t:"somheten til de samme forutsetningene og ",p:111,x:88,y:962,w:308,h:21},
{t:"så videre. Dette er et sett av sentraliserte ",p:111,x:88,y:985,w:296,h:21},
{t:"praksiser (i parentes nevnt som man også vil ",p:111,x:88,y:1008,w:324,h:21},
{t:"fnne i institusjoner som for eksempel mange ",p:111,x:88,y:1031,w:322,h:21},
{t:"gallerier og andre utstillingsarrangører, så ",p:111,x:88,y:1054,w:310,h:21},
{t:"vel som hos samlere). Ut fra et sentralisert ",p:111,x:88,y:1077,w:304,h:21},
{t:"kunstsyn følger en sentralisert kunstproduk-",p:111,x:88,y:1100,w:307,h:21},
{t:"sjon og – visning. Fra et begrepsmessig ",p:111,x:88,y:1123,w:288,h:21},
{t:"senter følger en sentralisering i de videre ",p:111,x:88,y:1145,w:299,h:21},
{t:"hendelser. ",p:111,x:88,y:1168,w:78,h:21},
{t:"4. ",p:111,x:88,y:1214,w:20,h:22},
{t:"Dette sentraliserte kunstsynet står ikke ",p:111,x:88,y:1260,w:275,h:21},
{t:"i motsetning til forandringer, vi har for ",p:111,x:88,y:1283,w:276,h:21},
{t:"eksempel vært vitne til forandringer de siste ",p:111,x:88,y:1306,w:318,h:21},
{t:"tiårene. La meg nevne to nyere eksempler ",p:111,x:88,y:1329,w:305,h:21},
{t:"som gjelder teknikker eller sjangere. Først ",p:111,x:88,y:1352,w:304,h:21},
{t:"fotograf; da jeg begynte å arbeide i ",p:111,x:88,y:1375,w:270,h:21},
{t:"museer i Norge, var ikke fotograf en del ",p:111,x:88,y:1398,w:299,h:21},
{t:"av det sentraliserte kunstsynet. I dag er det ",p:111,x:88,y:1420,w:313,h:21},
{t:"sztuki jako przykładu. zakładając, że tego ",p:111,x:801,y:113,w:313,h:23},
{t:"typu idee przeważają w  kreacji, czyli ",p:111,x:801,y:136,w:281,h:23},
{t:"produkcji, to w konsekwencji odbiór staje ",p:111,x:801,y:159,w:303,h:23},
{t:"się zdominowany przez idee o rozpoznaniu ",p:111,x:801,y:181,w:325,h:23},
{t:"(jako reprezentywne, jako identyczne ",p:111,x:801,y:204,w:276,h:23},
{t:"albo jeszcze inne). Dla uproszczenia: ",p:111,x:801,y:227,w:277,h:23},
{t:"„wiemy” czego poszukujemy, a głównym ",p:111,x:801,y:250,w:304,h:23},
{t:"składnikiem odbioru jest rozpoznanie tego ",p:111,x:801,y:273,w:313,h:23},
{t:"w nowym przebraniu. Przykład: „wiesz”, ",p:111,x:801,y:296,w:299,h:23},
{t:"że kubizm jest kierunkiem w sztuce, więc ",p:111,x:801,y:319,w:299,h:23},
{t:"gdy oglądasz „Panny z avignon” Picassa ",p:111,x:801,y:342,w:306,h:23},
{t:"to  szukasz charakterystycznych cech kubi-",p:111,x:801,y:365,w:308,h:23},
{t:"zmu. Ćwiczenie to stanowi główną część ",p:111,x:801,y:388,w:303,h:23},
{t:"odbioru, odbioru jako rozpoznania. ",p:111,x:801,y:411,w:265,h:23},
{t:"chcę użyć tego jako podstawy twierdzenia, ",p:111,x:801,y:456,w:324,h:23},
{t:"że jest bliski związek między rozpoznaniem ",p:111,x:801,y:479,w:323,h:23},
{t:"a scentralizowanym sposobem myślenia. ",p:111,x:801,y:502,w:299,h:23},
{t:"twierdzenie to można sformułować w ",p:111,x:801,y:525,w:278,h:23},
{t:"następujacy sposób: Żeby być w stanie ",p:111,x:801,y:548,w:290,h:23},
{t:"rozpoznać, potrzebujesz dość solidnej ",p:111,x:801,y:571,w:285,h:23},
{t:"porcji wartości/właściwości, których ",p:111,x:801,y:594,w:267,h:23},
{t:"użyjesz do zidentyfkowania dzieła ",p:111,x:801,y:617,w:260,h:23},
{t:"(zdarzenia, obiektu, relacji itd.) jako dzieła ",p:111,x:801,y:640,w:316,h:23},
{t:"sztuki. owa solidna porcja wartości spełnia ",p:111,x:801,y:663,w:321,h:23},
{t:"rolę pewnego rodzaju centrum, wokół ",p:111,x:801,y:686,w:281,h:23},
{t:"którego toczy się proces rozpoznawania (a ",p:111,x:801,y:708,w:321,h:23},
{t:"następnie odbioru).",p:111,x:801,y:731,w:141,h:23},
{t:"scentralizowany wizerunek sztuki dominuje ",p:111,x:801,y:777,w:319,h:23},
{t:"mniej lub bardziej wyraźnie i wymownie ",p:111,x:801,y:800,w:298,h:23},
{t:"estaBlisHmeNt mUzeUm sztUki.",p:111,x:801,y:823,w:273,h:23},
{t:"3.",p:111,x:801,y:868,w:15,h:24},
{t:"kuszące jest popatrzeć na różne praktyki ",p:111,x:801,y:915,w:304,h:23},
{t:"wewnątrz estaBlisHmeNtU mUzeUm ",p:111,x:801,y:938,w:301,h:23},
{t:"sztUki w świetle tego scentralizowanego ",p:111,x:801,y:961,w:310,h:23},
{t:"wizerunku sztuki. Na przykład prak-",p:111,x:801,y:983,w:261,h:23},
{t:"tyka ograniczania produkcji i pokazów ",p:111,x:801,y:1006,w:289,h:23},
{t:"wydarzeń artystycznych do czegoś, co ",p:111,x:801,y:1029,w:287,h:23},
{t:"można umieścić wewnątrz ścian i budynkow ",p:111,x:801,y:1052,w:325,h:23},
{t:"muzeum, praktyka uwięzienia zbiorów ",p:111,x:801,y:1075,w:285,h:23},
{t:"sztuki w ścianach i budynkach muzeum, ",p:111,x:801,y:1098,w:293,h:23},
{t:"praktyka ograniczania działalności nau-",p:111,x:801,y:1121,w:291,h:23},
{t:"kowej do jednakowych zadań i tak dalej. ",p:111,x:801,y:1144,w:304,h:23},
{t:"Jest to zestaw scentralizowanych praktyk ",p:111,x:801,y:1167,w:300,h:23},
{t:"(wymienionych w nawiasie, które też można ",p:111,x:801,y:1190,w:325,h:23},
{t:"znaleźć w instytucjach, np.w galeriach i u ",p:111,x:801,y:1213,w:307,h:23},
{t:"innych organizatorów wystaw, a także u ",p:111,x:801,y:1235,w:298,h:23},
{t:"kolekcjonerów). za scentralizowanym wiz-",p:111,x:801,y:1258,w:307,h:23},
{t:"erunkiem idzie scentralizowana produkcja ",p:111,x:801,y:1281,w:311,h:23},
{t:"artystyczna i pokaz. z pojęciowego ",p:111,x:801,y:1304,w:264,h:23},
{t:"centrum wartości wywodzi się centralizacja ",p:111,x:801,y:1327,w:319,h:23},
{t:"dalszych działań.",p:111,x:801,y:1350,w:127,h:23},
{t:"112",p:112,x:110,y:1465,w:21,h:16},
{t:"the challenges of collection, however, stills ",p:112,x:474,y:115,w:310,h:21},
{t:"awaits inclusion. These are all processes ",p:112,x:474,y:138,w:295,h:21},
{t:"that have adjusted THE ART MUSEUM ",p:112,x:474,y:161,w:285,h:21},
{t:"ESTABLISHMENT to what is happening in ",p:112,x:474,y:183,w:307,h:21},
{t:"other parts of  THE ART MAcHINE, but ",p:112,x:474,y:206,w:290,h:21},
{t:"without having to get rid of the centralized ",p:112,x:474,y:229,w:311,h:21},
{t:"image of art.",p:112,x:474,y:252,w:93,h:21},
{t:"5.",p:112,x:474,y:298,w:15,h:22},
{t:"Now, let me ask if it possible to think of ",p:112,x:474,y:344,w:287,h:21},
{t:"art in another way, where this centralized ",p:112,x:474,y:367,w:304,h:21},
{t:"image is accepted as something that arises ",p:112,x:474,y:390,w:314,h:21},
{t:"with necessity, like the difference between ",p:112,x:474,y:413,w:307,h:21},
{t:"RELATION and OBJEcT, but where it is ",p:112,x:474,y:435,w:289,h:21},
{t:"merely a way of dealing with a difference, ",p:112,x:474,y:458,w:312,h:21},
{t:"a way of dealing that is necessary for life, ",p:112,x:474,y:481,w:307,h:21},
{t:"but which eventually will create denials ",p:112,x:474,y:504,w:288,h:21},
{t:"and negativity if it is turned into a frozen ",p:112,x:474,y:527,w:295,h:21},
{t:"thought?",p:112,x:474,y:550,w:62,h:21},
{t:"I do not consider this an easy task, but I ",p:112,x:474,y:596,w:291,h:21},
{t:"will try to present some possibilities. Let me ",p:112,x:474,y:619,w:312,h:21},
{t:"frst introduce the notion of sentiendum, ",p:112,x:474,y:642,w:287,h:21},
{t:"since I will soon present a quote where this ",p:112,x:474,y:665,w:314,h:21},
{t:"word is used. If you can imagine that an ",p:112,x:474,y:687,w:294,h:21},
{t:"experience where something affects you is ",p:112,x:474,y:710,w:311,h:21},
{t:"multiplicity of different factors of which some ",p:112,x:474,y:733,w:325,h:21},
{t:"belongs to the domain of language, some ",p:112,x:474,y:756,w:307,h:21},
{t:"to the domain of memory and some to the ",p:112,x:474,y:779,w:308,h:21},
{t:"domain of sensibility (to mention a few), ",p:112,x:474,y:802,w:292,h:21},
{t:"then a sentiendum is the name of the single ",p:112,x:474,y:825,w:315,h:21},
{t:"unit in the group of factors that can only be ",p:112,x:474,y:848,w:316,h:21},
{t:"sensed (not belonging to language, not to ",p:112,x:474,y:871,w:308,h:21},
{t:"memory).",p:112,x:474,y:894,w:68,h:21},
{t:"Then the quote:",p:112,x:474,y:940,w:111,h:21},
{t:"“From the perspective of representation ",p:112,x:474,y:971,w:288,h:21},
{t:"governed by the living present and habitus ",p:112,x:474,y:994,w:313,h:21},
{t:"…, the sentiendum introduces a gap, explo-",p:112,x:474,y:1017,w:311,h:21},
{t:"sion, event or discontinuity which calls into ",p:112,x:474,y:1040,w:309,h:21},
{t:"question the smooth functioning of the living ",p:112,x:474,y:1062,w:321,h:21},
{t:"present. The sentiendum problematizes the ",p:112,x:474,y:1085,w:311,h:21},
{t:"living present and questions the continuity it ",p:112,x:474,y:1108,w:318,h:21},
{t:"sets up …” (Bryant, p. 102)",p:112,x:474,y:1131,w:197,h:21},
{t:"Here the sentiendum introduces another ",p:112,x:474,y:1177,w:292,h:21},
{t:"foundation for thinking, something that ",p:112,x:474,y:1200,w:282,h:21},
{t:"calls into question anything stable and ",p:112,x:474,y:1223,w:282,h:21},
{t:"continuous. But it is still described from the ",p:112,x:474,y:1246,w:308,h:21},
{t:"point of view of representation, and then ",p:112,x:474,y:1269,w:297,h:21},
{t:"as here with a negative characterization: ",p:112,x:474,y:1292,w:300,h:21},
{t:"it “problematizes” and “questions”. If we ",p:112,x:474,y:1314,w:299,h:21},
{t:"think the sentiendum, that what can only ",p:112,x:474,y:1337,w:294,h:21},
{t:"be sensed, as something with a genetic ",p:112,x:474,y:1360,w:288,h:21},
{t:"power, something that is not just reactive, ",p:112,x:474,y:1383,w:300,h:21},
{t:"but of itself, intrinsic, active, then we could ",p:112,x:474,y:1406,w:307,h:21},
{t:"describe the sentiendum as a “differential”, ",p:112,x:474,y:1429,w:316,h:21},
{t:"det. Deretter performance; performance har ",p:112,x:118,y:114,w:323,h:21},
{t:"vært i ferd med å bli en del av det sentrali-",p:112,x:118,y:137,w:306,h:21},
{t:"serte kunstsynet, å bli produsert og utstilt i ",p:112,x:118,y:160,w:304,h:21},
{t:"museer og andre institusjoner. Utfordringene ",p:112,x:118,y:183,w:325,h:21},
{t:"med samlinger derimot, har ikke blitt møtt. ",p:112,x:118,y:206,w:307,h:21},
{t:"Dette er alle sammen prosesser som har ",p:112,x:118,y:229,w:293,h:21},
{t:"justert KUNSTMUSEUMSETABLISSEMENTET ",p:112,x:118,y:252,w:321,h:21},
{t:"til det som foregår i andre deler av ",p:112,x:118,y:275,w:256,h:21},
{t:"KUNSTMASKINEN, men uten å måtte kvitte ",p:112,x:118,y:298,w:325,h:21},
{t:"seg med det sentraliserte kunstsynet. ",p:112,x:118,y:321,w:266,h:21},
{t:"5. ",p:112,x:118,y:366,w:20,h:22},
{t:"Så, la meg spørre om det er mulig å tenke ",p:112,x:118,y:412,w:310,h:21},
{t:"på kunst på en annen måte, hvor dette ",p:112,x:118,y:435,w:283,h:21},
{t:"sentraliserte synet er akseptert som noe ",p:112,x:118,y:458,w:288,h:21},
{t:"som framstår som en nødvendighet, som ",p:112,x:118,y:481,w:295,h:21},
{t:"forskjellen mellom RELASJON og OBJEKT, ",p:112,x:118,y:504,w:312,h:21},
{t:"men som bare er en måte å håndtere en  ",p:112,x:118,y:527,w:300,h:21},
{t:"forskjell, en håndtering som er nødvendig ",p:112,x:118,y:550,w:305,h:21},
{t:"for livet, men som til syvende og sist vil ",p:112,x:118,y:573,w:282,h:21},
{t:"skape fornektelse og negativitet hvis den ",p:112,x:118,y:596,w:297,h:21},
{t:"vendes til en stivnet tanke? ",p:112,x:118,y:619,w:195,h:21},
{t:"Jeg betrakter ikke dette som en enkel ",p:112,x:118,y:664,w:271,h:21},
{t:"oppgave, men jeg vil prøve å presentere ",p:112,x:118,y:687,w:299,h:21},
{t:"noen muligheter. La meg først introdusere ",p:112,x:118,y:710,w:303,h:21},
{t:"begrepet sentiendum, siden jeg straks skal ",p:112,x:118,y:733,w:308,h:21},
{t:"bruke et sitat hvor dette ordet forekommer. ",p:112,x:118,y:756,w:309,h:21},
{t:"Hvis du kan forestille deg at en opplevelse ",p:112,x:118,y:779,w:311,h:21},
{t:"hvor noe berører deg, er en ferfoldighet av ",p:112,x:118,y:802,w:321,h:21},
{t:"ulike faktorer hvor noen hører til språkets ",p:112,x:118,y:825,w:299,h:21},
{t:"domene, noen til hukommelsens domene, ",p:112,x:118,y:848,w:302,h:21},
{t:"og noen til følsomhet (for å nevne noen få), ",p:112,x:118,y:871,w:318,h:21},
{t:"så er et sentiendum navnet på enheten ",p:112,x:118,y:893,w:283,h:21},
{t:"i den gruppe av faktorer som bare kan ",p:112,x:118,y:916,w:284,h:21},
{t:"sanses (som ikke hører til språket, ikke til ",p:112,x:118,y:939,w:294,h:21},
{t:"hukommelsen). ",p:112,x:118,y:962,w:111,h:21},
{t:"Så sitatet: ",p:112,x:118,y:1008,w:74,h:21},
{t:"”Fra perspektivet med representasjon ",p:112,x:118,y:1054,w:272,h:21},
{t:"styrt av det levende nuet og vanen….,så ",p:112,x:118,y:1077,w:292,h:21},
{t:"introduserer sentiendum et sprik, eksplosjon, ",p:112,x:118,y:1100,w:313,h:21},
{t:"hendelse eller diskontinuitet som reiser ",p:112,x:118,y:1123,w:280,h:21},
{t:"spørsmålet om den friksjonsløse funksjonen ",p:112,x:118,y:1146,w:315,h:21},
{t:"til det levende nuet. Sentiendum problema-",p:112,x:118,y:1168,w:307,h:21},
{t:"tiserer det levende nuet og stiller spørsmål ",p:112,x:118,y:1191,w:308,h:21},
{t:"ved den kontinuiteten det etablerer…” ",p:112,x:118,y:1214,w:277,h:21},
{t:"(Bryant, s. 102).",p:112,x:118,y:1237,w:117,h:21},
{t:"Her introduserer sentiendum et annet ",p:112,x:118,y:1283,w:270,h:21},
{t:"tenkesett (tankegrunnlag), noe som setter ",p:112,x:118,y:1306,w:300,h:21},
{t:"spørsmål ved alt som er stabilt og kontinu-",p:112,x:118,y:1329,w:302,h:21},
{t:"erlig. Men det er fortsatt beskrevet fra et ",p:112,x:118,y:1352,w:294,h:21},
{t:"representasjonssynspunkt, og nå som her ",p:112,x:118,y:1375,w:300,h:21},
{t:"med en negativ karakteristikk: det ”prob-",p:112,x:118,y:1398,w:292,h:21},
{t:"lematiserer” og ”stiller spørsmål”. ",p:112,x:118,y:1420,w:246,h:21},
{t:"4.",p:112,x:830,y:113,w:14,h:23},
{t:"ów scentralizowany wizerunek sztuki ",p:112,x:830,y:159,w:277,h:23},
{t:"nie stoi w opozycji do zmian; świadkami ",p:112,x:830,y:182,w:298,h:23},
{t:"zmian byliśmy na przykład w ostatnim ",p:112,x:830,y:204,w:280,h:23},
{t:"dziesięcioleciu. Pozwolę sobie wymienić ",p:112,x:830,y:227,w:297,h:23},
{t:"dwa nowsze przykłady, które dotyczą ",p:112,x:830,y:250,w:281,h:23},
{t:"technik lub stylów. Najpierw fotografa: ",p:112,x:830,y:273,w:290,h:23},
{t:"kiedy zaczynałem pracować w muzeach w ",p:112,x:830,y:296,w:320,h:23},
{t:"Norwegii, fotografa nie była częścią tego ",p:112,x:830,y:319,w:313,h:23},
{t:"scentralizowanego wizerunku. Dzisiaj nim ",p:112,x:830,y:342,w:308,h:23},
{t:"jest. Następnie performance; performance ",p:112,x:830,y:365,w:312,h:23},
{t:"stał się nieomal częścią scentralizowanego ",p:112,x:830,y:388,w:316,h:23},
{t:"wizerunku sztuki, bycia produkowanym i ",p:112,x:830,y:411,w:297,h:23},
{t:"wystawianym w muzeach i innych instytuc-",p:112,x:830,y:434,w:306,h:23},
{t:"jach. wyzwań na polu kolekcjonerstwa ",p:112,x:830,y:456,w:291,h:23},
{t:"jednakże nie napotkano. to wszystko razem ",p:112,x:830,y:479,w:325,h:23},
{t:"to procesy, które doprowadziły estaBlisH-",p:112,x:830,y:502,w:314,h:23},
{t:"meNt mUzeUm sztUki do tego, co ",p:112,x:830,y:525,w:281,h:23},
{t:"dzieje się w innych częściach maszyNy ",p:112,x:830,y:548,w:303,h:23},
{t:"sztUki, lecz bez potrzeby pozbycia się ",p:112,x:830,y:571,w:296,h:23},
{t:"scentralizowanego wizerunku sztuki. ",p:112,x:830,y:594,w:269,h:23},
{t:"5.",p:112,x:830,y:639,w:15,h:24},
{t:"Pozwólcie, że spytam czy jest możliwe ",p:112,x:830,y:686,w:284,h:23},
{t:"myśleć o sztuce w inny sposób, w którym ",p:112,x:830,y:708,w:302,h:23},
{t:"scentralizowany wizerunek jest akcep-",p:112,x:830,y:731,w:276,h:23},
{t:"towany jako coś, co pojawia się jako ",p:112,x:830,y:754,w:273,h:23},
{t:"konieczność, jako różnica między relacJĄ ",p:112,x:830,y:777,w:321,h:23},
{t:"i oBiektem, lecz który jest tylko sposobem ",p:112,x:830,y:800,w:321,h:23},
{t:"traktowania różnicy, traktowaniem, które ",p:112,x:830,y:823,w:298,h:23},
{t:"jest konieczne dla życia, a w końcu stwarza ",p:112,x:830,y:846,w:323,h:23},
{t:"zaprzeczenie i negację jeśli się go przy-",p:112,x:830,y:869,w:292,h:23},
{t:"wróci skostniałej myśli?  ",p:112,x:830,y:892,w:176,h:23},
{t:"Nie uważam tego za proste zadanie, lecz ",p:112,x:830,y:938,w:311,h:23},
{t:"chcę spróbować zaprezentować pewne ",p:112,x:830,y:961,w:296,h:23},
{t:"możliwości. Pozwolę sobie najpierw ",p:112,x:830,y:983,w:267,h:23},
{t:"wprowadzić pojęcie sentiendum, skoro ",p:112,x:830,y:1006,w:286,h:23},
{t:"wkrótce będę używał cytatu, w którym ",p:112,x:830,y:1029,w:284,h:23},
{t:"to słowo występuje. Jeśli możesz sobie ",p:112,x:830,y:1052,w:284,h:23},
{t:"wyobrazić  przeżycie, które cię porusza, ",p:112,x:830,y:1075,w:300,h:23},
{t:"które jest nagromadzeniem wielu czyn-",p:112,x:830,y:1098,w:282,h:23},
{t:"ników, wśród nich niektóre są domeną ",p:112,x:830,y:1121,w:282,h:23},
{t:"języka, niektóre domeną pamięci, a inne ",p:112,x:830,y:1144,w:299,h:23},
{t:"wrażliwości (żeby wymienić niektóre), to ",p:112,x:830,y:1167,w:299,h:23},
{t:"sentiendum jest nazwą jednostki w grupie ",p:112,x:830,y:1190,w:306,h:23},
{t:"czynników, które można jedynie odczuć ",p:112,x:830,y:1213,w:296,h:23},
{t:"(które nie należa do języka ani pamięci).",p:112,x:830,y:1235,w:298,h:23},
{t:"oto cytat:",p:112,x:830,y:1281,w:72,h:23},
{t:"„z perspektywy reprezentacji kierowanej ",p:112,x:830,y:1304,w:302,h:23},
{t:"przez żywotną teraźniejszość i nawyk, ",p:112,x:830,y:1327,w:285,h:23},
{t:"sentiendum zapo",p:112,x:830,y:1350,w:124,h:23},
{t:"wiada wyłom, eksplozję,",p:112,x:946,y:1350,w:180,h:23},
{t:"zdarzenie lub dy",p:112,x:830,y:1373,w:123,h:23},
{t:"skontynuację, stawiając",p:112,x:944,y:1373,w:170,h:23},
{t:"pytanie o funkcjonowanie bez przeszkód tejże ",p:112,x:830,y:1396,w:319,h:23},
{t:"teraźniejszości. sentiendum problematyzuje ",p:112,x:830,y:1419,w:321,h:23},
{t:"113",p:113,x:1129,y:1464,w:21,h:16},
{t:"which has the property of adding tiny, in ",p:113,x:444,y:115,w:297,h:21},
{t:"principle not discrete, but approximate, units ",p:113,x:444,y:138,w:324,h:21},
{t:"to itself. To bring this “adding” in harmony ",p:113,x:444,y:161,w:309,h:21},
{t:"with the domains of language or memory, ",p:113,x:444,y:183,w:308,h:21},
{t:"that is to create recognition and representa-",p:113,x:444,y:206,w:314,h:21},
{t:"tion, is perhaps another necessity of life, not ",p:113,x:444,y:229,w:321,h:21},
{t:"a foundation or a ground for understanding ",p:113,x:444,y:252,w:321,h:21},
{t:"the processes of creation.",p:113,x:444,y:275,w:184,h:21},
{t:"This then could be a foundation for operat-",p:113,x:444,y:321,w:308,h:21},
{t:"ing with an image of art that could be ",p:113,x:444,y:344,w:278,h:21},
{t:"characterized as discontinuous, without a ",p:113,x:444,y:367,w:303,h:21},
{t:"stable recognizable center, in this meaning: ",p:113,x:444,y:390,w:319,h:21},
{t:"de-centralized. To be precise it would per-",p:113,x:444,y:413,w:302,h:21},
{t:"haps be a little misleading to call this “an ",p:113,x:444,y:435,w:302,h:21},
{t:"image” of art, it is rather art as a process of ",p:113,x:444,y:458,w:319,h:21},
{t:"becoming, decentralized or decentralizing ",p:113,x:444,y:481,w:312,h:21},
{t:"art. (This notion is of course a pleonasm, art ",p:113,x:444,y:504,w:320,h:21},
{t:"is a decentralizing process, seen with this ",p:113,x:444,y:527,w:302,h:21},
{t:"founding).",p:113,x:444,y:550,w:73,h:21},
{t:"6.",p:113,x:444,y:595,w:15,h:22},
{t:"Art, grounded on this understanding, can ",p:113,x:444,y:642,w:301,h:21},
{t:"take place everywhere, within the tradi-",p:113,x:444,y:665,w:284,h:21},
{t:"tional frames or outside them; this art is not ",p:113,x:444,y:687,w:312,h:21},
{t:"confned by anything extrinsic. This art is ",p:113,x:444,y:710,w:296,h:21},
{t:"characterized by “adding” a difference. ",p:113,x:444,y:733,w:295,h:21},
{t:"A reception based on decentralized art ",p:113,x:444,y:756,w:290,h:21},
{t:"cannot base itself on recognition, but on ",p:113,x:444,y:779,w:294,h:21},
{t:"chance; the chance on reacting upon the ",p:113,x:444,y:802,w:301,h:21},
{t:"difference, on confrming the resonances ",p:113,x:444,y:825,w:298,h:21},
{t:"created by the “adding” and act upon ",p:113,x:444,y:848,w:283,h:21},
{t:"those. This is not a plea for irrationality, but ",p:113,x:444,y:871,w:314,h:21},
{t:"a basis for rational behavior.",p:113,x:444,y:894,w:208,h:21},
{t:"7.",p:113,x:444,y:939,w:15,h:22},
{t:"Art, understood on this base, the decentral-",p:113,x:444,y:985,w:310,h:21},
{t:"ized or decentralizing art, is what creates ",p:113,x:444,y:1008,w:304,h:21},
{t:"the challenges for THE ART MUSEUM ",p:113,x:444,y:1031,w:281,h:21},
{t:"ESTABLISHMENT. And a special branch of ",p:113,x:444,y:1054,w:309,h:21},
{t:"this, the events that takes place outside the ",p:113,x:444,y:1077,w:302,h:21},
{t:"museum buildings, are the art events I will ",p:113,x:444,y:1100,w:297,h:21},
{t:"focus upon in the last part of my talk. when ",p:113,x:444,y:1123,w:312,h:21},
{t:"looking at these events I fnd the most striking ",p:113,x:444,y:1146,w:321,h:21},
{t:"discrepancy between THE ART MUSEUM ",p:113,x:444,y:1169,w:301,h:21},
{t:"ESTABLISHMENT and the rest of THE ART ",p:113,x:444,y:1192,w:302,h:21},
{t:"MAcHINE. what are the main points of this ",p:113,x:444,y:1214,w:317,h:21},
{t:"discrepancy and can it healed?",p:113,x:444,y:1237,w:227,h:21},
{t:"Hvis vi tenker på sentiendum, det som bare ",p:113,x:88,y:114,w:315,h:21},
{t:"kan sanses, som noe med en genetisk kraft, ",p:113,x:88,y:137,w:316,h:21},
{t:"noe som ikke bare er reaktivt, men med en ",p:113,x:88,y:160,w:311,h:21},
{t:"selvstendig, iboende aktivitet, da kunne vi ",p:113,x:88,y:183,w:305,h:21},
{t:"beskrive sentiendum som et ”differensial”, ",p:113,x:88,y:206,w:305,h:21},
{t:"som har den egenskapen at den kan tilføye ",p:113,x:88,y:229,w:317,h:21},
{t:"ørsmå, i prinsippet ikke atskilte, men omtren-",p:113,x:88,y:252,w:317,h:21},
{t:"tlige, enheter til seg selv. Å bringe denne ",p:113,x:88,y:275,w:298,h:21},
{t:"”tilføyingen” i harmoni med domenene til ",p:113,x:88,y:298,w:302,h:21},
{t:"språket eller hukommelsen, det vil si å skape ",p:113,x:88,y:321,w:324,h:21},
{t:"gjenkjennelse og representasjon, er kanskje ",p:113,x:88,y:344,w:319,h:21},
{t:"enda en nødvendighet for livet, ikke et ",p:113,x:88,y:367,w:281,h:21},
{t:"fundament eller grunn til å forstå skapelses-",p:113,x:88,y:389,w:311,h:21},
{t:"prosessene.",p:113,x:88,y:412,w:84,h:21},
{t:"Dette kunne så være et fundament for å op-",p:113,x:88,y:458,w:313,h:21},
{t:"erere med et kunstsyn som kunne karakter-",p:113,x:88,y:481,w:305,h:21},
{t:"iseres som diskontinuerlig, uten et stabilt og ",p:113,x:88,y:504,w:315,h:21},
{t:"gjenkjennbart senter, i denne sammenheng: ",p:113,x:88,y:527,w:319,h:21},
{t:"de-sentralisert. For å være presis ville det ",p:113,x:88,y:550,w:298,h:21},
{t:"kanskje være noe misvisende å kalle dette ",p:113,x:88,y:573,w:308,h:21},
{t:"for et kunst”syn”, det er heller kunst som ",p:113,x:88,y:596,w:292,h:21},
{t:"en tilblivelsesprosess, desentralisert eller ",p:113,x:88,y:619,w:293,h:21},
{t:"desentraliserende kunst. (Dette begrepet ",p:113,x:88,y:641,w:296,h:21},
{t:"er selvfølgelig en pleonasme, kunst er en ",p:113,x:88,y:664,w:300,h:21},
{t:"desentraliserende prosess, sett med dette ",p:113,x:88,y:687,w:300,h:21},
{t:"grunnlaget). ",p:113,x:88,y:710,w:93,h:21},
{t:"6.",p:113,x:88,y:756,w:15,h:22},
{t:"Kunst, basert på denne forståelsen, kan ",p:113,x:88,y:802,w:289,h:21},
{t:"fnne sted overalt, innen de tradisjonelle ",p:113,x:88,y:825,w:291,h:21},
{t:"rammer eller utenfor dem; denne kunsten ",p:113,x:88,y:848,w:300,h:21},
{t:"er ikke begrenset av noe utvendig. Denne ",p:113,x:88,y:871,w:305,h:21},
{t:"kunsten er karakterisert av en ”tilføying” ",p:113,x:88,y:893,w:293,h:21},
{t:"av en forskjell. En mottakelse basert på ",p:113,x:88,y:916,w:286,h:21},
{t:"desentralisert kunst kan ikke baseres på ",p:113,x:88,y:939,w:290,h:21},
{t:"gjenkjennelse, men på tilfeldighet, sjansen ",p:113,x:88,y:962,w:308,h:21},
{t:"for å reagere på en forskjell, en bekreftelse ",p:113,x:88,y:985,w:317,h:21},
{t:"av resonansene skapt av ”tilføyingen” og ",p:113,x:88,y:1008,w:303,h:21},
{t:"å handle på dette grunnlag. Dette er ikke ",p:113,x:88,y:1031,w:303,h:21},
{t:"en bønn om irrasjonalitet, men en basis for ",p:113,x:88,y:1054,w:313,h:21},
{t:"rasjonell oppførsel. ",p:113,x:88,y:1077,w:143,h:21},
{t:"7.",p:113,x:88,y:1122,w:15,h:22},
{t:"Kunst, forstått på dette grunnlaget, den ",p:113,x:88,y:1168,w:285,h:21},
{t:"desentraliserte eller desentraliserende ",p:113,x:88,y:1191,w:277,h:21},
{t:"kunsten, er det som skaper utfordringene for ",p:113,x:88,y:1214,w:322,h:21},
{t:"KUNSTMUSEUMSETABLISSEMENTET. ",p:113,x:88,y:1237,w:290,h:21},
{t:"Og en særlig gren av dette, hendelsene ",p:113,x:88,y:1260,w:293,h:21},
{t:"som fnner sted utenfor museumsbygnin-",p:113,x:88,y:1283,w:286,h:21},
{t:"gene, er de kunsthendelser som jeg vil ",p:113,x:88,y:1306,w:281,h:21},
{t:"konsentrere meg om i den siste delen av mitt ",p:113,x:88,y:1329,w:324,h:21},
{t:"foredrag. Når jeg betrakter disse hen-",p:113,x:88,y:1352,w:274,h:21},
{t:"delsene er det at jeg fnner de mest slående ",p:113,x:88,y:1375,w:321,h:21},
{t:"avvikene mellom KUNSTMUSEUMSETAB-",p:113,x:88,y:1398,w:306,h:21},
{t:"LISSEMENTET og resten av KUNST-",p:113,x:88,y:1420,w:261,h:21},
{t:"żywotną teraźniejszość i stawia pytanie o ",p:113,x:801,y:113,w:306,h:23},
{t:"kontynuację, którą ona ustanawia...” ",p:113,x:801,y:136,w:270,h:23},
{t:"(Bryant, str.102)",p:113,x:801,y:159,w:117,h:23},
{t:"wprowadza tu sentiendum inne założenie ",p:113,x:801,y:204,w:312,h:23},
{t:"myślowe (podstawę rozumowania), stawia ",p:113,x:801,y:227,w:314,h:23},
{t:"pytanie o wszystko co jest stabilne i ciągłe. ",p:113,x:801,y:250,w:314,h:23},
{t:"lecz jest w dalszym ciągu opisywane z ",p:113,x:801,y:273,w:289,h:23},
{t:"reprezentacyjnego punktu widzenia tu ",p:113,x:801,y:296,w:282,h:23},
{t:"i teraz, z negatywną charakterystyką: ",p:113,x:801,y:319,w:277,h:23},
{t:"„problematyzuje” i „stawia pytanie”. Jeśli ",p:113,x:801,y:342,w:304,h:23},
{t:"myślimy o sentiendum, jak o czymś co ",p:113,x:801,y:365,w:278,h:23},
{t:"można jedynie odczuć, czymś o genety-",p:113,x:801,y:388,w:291,h:23},
{t:"cznej sile, czymś co nie tylko jest reakty-",p:113,x:801,y:411,w:289,h:23},
{t:"wne, ale też posiadające samodzielną ",p:113,x:801,y:434,w:285,h:23},
{t:"aktywność, wówczas możemy opisać ",p:113,x:801,y:456,w:276,h:23},
{t:"sentiendum jako „dyferencję”, która ma ",p:113,x:801,y:479,w:290,h:23},
{t:"tę właściwość, że może dodać drobne, z ",p:113,x:801,y:502,w:302,h:23},
{t:"założenia nierozdzielne lecz przybliżone ",p:113,x:801,y:525,w:305,h:23},
{t:"jednostki do siebie samej. zastosowanie ",p:113,x:801,y:548,w:295,h:23},
{t:"tego „uzupełnienia” w harmonii z domeną ",p:113,x:801,y:571,w:313,h:23},
{t:"języka lub pamięci, t.zn. stwarzanie rozpoz-",p:113,x:801,y:594,w:318,h:23},
{t:"nania i reprezentacji, jest być może jeszcze ",p:113,x:801,y:617,w:320,h:23},
{t:"jedną koniecznością dla życia, a nie fun-",p:113,x:801,y:640,w:295,h:23},
{t:"damentem czy podstawą do zrozumienia ",p:113,x:801,y:663,w:306,h:23},
{t:"procesu tworzenia.",p:113,x:801,y:686,w:138,h:23},
{t:"mogłoby to więc byc fundamentem ",p:113,x:801,y:731,w:262,h:23},
{t:"dla operowania wizerunkiem sz-",p:113,x:801,y:754,w:235,h:23},
{t:"tuki, który można scharakteryzować jako ",p:113,x:801,y:777,w:302,h:23},
{t:"dyskontynuację, bez stabilnego i roz-",p:113,x:801,y:800,w:268,h:23},
{t:"poznawalnego centrum, w tym kontekście: ",p:113,x:801,y:823,w:312,h:23},
{t:"zdecentralizowanym. Dla dokładnego ",p:113,x:801,y:846,w:282,h:23},
{t:"określenia byłoby może mylące nazywanie ",p:113,x:801,y:869,w:319,h:23},
{t:"tego wizją sztuki.  sztuka zdecentralizowa-",p:113,x:801,y:892,w:311,h:23},
{t:"na czy decentralizująca jest raczej proces-",p:113,x:801,y:915,w:308,h:23},
{t:"em stawania się. ( Pojęcie to jest oczywiście ",p:113,x:801,y:938,w:322,h:23},
{t:"pleonazmem, wychodząc z tego zalożenia ",p:113,x:801,y:961,w:319,h:23},
{t:"sztuka jest procesem decentralizujacym).",p:113,x:801,y:983,w:295,h:23},
{t:"6.",p:113,x:801,y:1029,w:15,h:24},
{t:"sztuka opierając się o tego rodzaju ",p:113,x:801,y:1075,w:263,h:23},
{t:"rozumowanie może zaistnieć wszędzie, w ",p:113,x:801,y:1098,w:310,h:23},
{t:"tradycyjnych ramach lub poza nimi; sztuka ",p:113,x:801,y:1121,w:313,h:23},
{t:"ta nie jest ograniczona niczym z zewnątrz. ",p:113,x:801,y:1144,w:315,h:23},
{t:"cechą tej sztuki jest „dodawanie” różnic. ",p:113,x:801,y:1167,w:303,h:23},
{t:"odbiór opierający się na zdecentrali-",p:113,x:801,y:1190,w:272,h:23},
{t:"zowanej sztuce nie może bazować na ",p:113,x:801,y:1213,w:283,h:23},
{t:"rozpoznaniu, lecz na przypadku, szansie ",p:113,x:801,y:1235,w:304,h:23},
{t:"reagowania na różnice. Jest on potwierdze-",p:113,x:801,y:1258,w:317,h:23},
{t:"niem oddźwięku wytworzonego przez ",p:113,x:801,y:1281,w:284,h:23},
{t:"”dodanie” i dzałaniem na tej podstawie. ",p:113,x:801,y:1304,w:300,h:23},
{t:"Nie jest to wymówka dla irracjonalizmu, ",p:113,x:801,y:1327,w:297,h:23},
{t:"lecz podstawa racjonalnego postępowania.",p:113,x:801,y:1350,w:320,h:23},
{t:"114",p:114,x:110,y:1465,w:21,h:16},
{t:"MASKINEN. Hva er hovedpunktene i dette ",p:114,x:118,y:115,w:318,h:21},
{t:"avviket og kan det overkommes? ",p:114,x:118,y:138,w:240,h:21},
{t:"8.",p:114,x:118,y:183,w:15,h:22},
{t:"Jeg tror at vi delvis kan bruke UT-21 som ",p:114,x:118,y:229,w:297,h:21},
{t:"et eksempel. Når vi betrakter PRODUK-",p:114,x:118,y:252,w:285,h:21},
{t:"SJONEN av kunsthendelser, så fnner vi i ",p:114,x:118,y:275,w:301,h:21},
{t:"UT-21 noen karaktertrekk som KUNST-",p:114,x:118,y:298,w:279,h:21},
{t:"MUSEUMS-ETABLISSEMENTET totalt ",p:114,x:118,y:321,w:275,h:21},
{t:"mangler. For å nevne noe: ",p:114,x:118,y:344,w:194,h:21},
{t:"• Evnen til å ta initiativ til kunsthendelser ",p:114,x:118,y:390,w:297,h:21},
{t:"som fnner sted utenfor museumsbygnin-",p:114,x:118,y:413,w:286,h:21},
{t:"gene. Det er svært sjelden å se museer som ",p:114,x:118,y:435,w:318,h:21},
{t:"tar denne type initiativ. ",p:114,x:118,y:458,w:168,h:21},
{t:"• Kompetansen til å håndtere spørsmål om ",p:114,x:118,y:504,w:317,h:21},
{t:"bruk av arealer utenfor museumsbygnin-",p:114,x:118,y:527,w:289,h:21},
{t:"gene. Dette berører topografsk og sosial ",p:114,x:118,y:550,w:302,h:21},
{t:"kunnskap, evnen til å forhandle med grun-",p:114,x:118,y:573,w:303,h:21},
{t:"neiere, offentlige myndigheter og lignende. ",p:114,x:118,y:596,w:317,h:21},
{t:"• Juridisk kompetanse for å lage brukbare ",p:114,x:118,y:642,w:312,h:21},
{t:"og holdbare avtaler med alle parter involv-",p:114,x:118,y:665,w:312,h:21},
{t:"ert i slike prosesser. ",p:114,x:118,y:687,w:144,h:21},
{t:"Når vi ser på MOTTAKERSIDEN, kan vi ",p:114,x:118,y:733,w:293,h:21},
{t:"nevne følgende: ",p:114,x:118,y:756,w:122,h:21},
{t:"• Evnen til å utvikle og iverksette informa-",p:114,x:118,y:802,w:300,h:21},
{t:"sjon og utdanningsmessige praksiser som er ",p:114,x:118,y:825,w:321,h:21},
{t:"passende for de ulike steder og hendelser.",p:114,x:118,y:848,w:307,h:21},
{t:"• Viljen og interessen for å utvikle studie-",p:114,x:118,y:894,w:296,h:21},
{t:"programmer og forskning omkring disse ",p:114,x:118,y:917,w:292,h:21},
{t:"kunstpraksiser.",p:114,x:118,y:940,w:104,h:21},
{t:"• Inkludering av desentralisert kunst utenfor ",p:114,x:118,y:985,w:321,h:21},
{t:"museumsbygningene i museenes samlinger. ",p:114,x:118,y:1008,w:318,h:21},
{t:"Det siste punktet reiser noen spesielle ",p:114,x:118,y:1054,w:273,h:21},
{t:"utfordringer som jeg vil henlede oppmerk-",p:114,x:118,y:1077,w:302,h:21},
{t:"somheten på: ",p:114,x:118,y:1100,w:102,h:21},
{t:"• Kompetansen til å fnne løsninger på ",p:114,x:118,y:1146,w:286,h:21},
{t:"konfikten mellom lokale eller offentlige ",p:114,x:118,y:1169,w:286,h:21},
{t:"grunneiere på den ene siden og eierskapet ",p:114,x:118,y:1192,w:316,h:21},
{t:"til permanente installasjoner på den andre.",p:114,x:118,y:1214,w:310,h:21},
{t:"• Evnen til å møte utfordringene som ",p:114,x:118,y:1260,w:273,h:21},
{t:"gjelder vedlikehold og skjøtsel av perma-",p:114,x:118,y:1283,w:297,h:21},
{t:"nente installasjoner. ",p:114,x:118,y:1306,w:147,h:21},
{t:"• Hvordan håndtere temporære hendelser ",p:114,x:118,y:1352,w:314,h:21},
{t:"– en type problemer som dette arbeids-",p:114,x:118,y:1375,w:284,h:21},
{t:"området deler med andre fyktige kunst-",p:114,x:118,y:1398,w:286,h:21},
{t:"hendelser. ",p:114,x:118,y:1421,w:78,h:21},
{t:"8.",p:114,x:474,y:114,w:15,h:22},
{t:"I think we partly can use UT-21 as an ",p:114,x:474,y:160,w:273,h:21},
{t:"example. when we look at the PRODUc-",p:114,x:474,y:183,w:300,h:21},
{t:"TION of art events, we fnd in UT-21 some ",p:114,x:474,y:206,w:309,h:21},
{t:"characteristics that THE ART MUSEUM ",p:114,x:474,y:229,w:286,h:21},
{t:"ESTABLISHMENT is totally missing. ",p:114,x:474,y:252,w:258,h:21},
{t:"To mention some:",p:114,x:474,y:275,w:125,h:21},
{t:"• The ability to take the initiative to make ",p:114,x:474,y:321,w:302,h:21},
{t:"art events happen outside the museum ",p:114,x:474,y:344,w:281,h:21},
{t:"buildings. It is very rare to fnd museums ",p:114,x:474,y:366,w:292,h:21},
{t:"taking this kind of initiatives.",p:114,x:474,y:389,w:201,h:21},
{t:"• The competence to deal with territorial ",p:114,x:474,y:435,w:300,h:21},
{t:"questions outside the museum buildings. ",p:114,x:474,y:458,w:292,h:21},
{t:"This concerns topographical and social ",p:114,x:474,y:481,w:288,h:21},
{t:"knowledge, the ability to negotiate with ",p:114,x:474,y:504,w:290,h:21},
{t:"landowners, public authorities and the like.",p:114,x:474,y:527,w:309,h:21},
{t:"• Juridical competence to be able to make ",p:114,x:474,y:573,w:316,h:21},
{t:"useful and solid agreements with all the dif-",p:114,x:474,y:596,w:311,h:21},
{t:"ferent parties involved in such processes.",p:114,x:474,y:619,w:293,h:21},
{t:"when looking at the REcEPTION side, we ",p:114,x:474,y:664,w:312,h:21},
{t:"can mention the following:",p:114,x:474,y:687,w:190,h:21},
{t:"• The ability to develop and implement ",p:114,x:474,y:733,w:290,h:21},
{t:"information and educational practices that ",p:114,x:474,y:756,w:310,h:21},
{t:"are suitable for the different kinds of places ",p:114,x:474,y:779,w:317,h:21},
{t:"and events ",p:114,x:474,y:802,w:82,h:21},
{t:"• The willingness and interest in developing ",p:114,x:474,y:848,w:322,h:21},
{t:"study-programs and research on these art ",p:114,x:474,y:871,w:305,h:21},
{t:"practices",p:114,x:474,y:893,w:64,h:21},
{t:"• The inclusion of decentralized art from ",p:114,x:474,y:939,w:299,h:21},
{t:"outside the museum buildings in the museum ",p:114,x:474,y:962,w:323,h:21},
{t:"collections",p:114,x:474,y:985,w:75,h:21},
{t:"This last point raises some special challeng-",p:114,x:474,y:1031,w:312,h:21},
{t:"es among which I would draw attention to:",p:114,x:474,y:1054,w:309,h:21},
{t:"• The competence to fnd solutions to the ",p:114,x:474,y:1100,w:303,h:21},
{t:"conficts between local or public ownership ",p:114,x:474,y:1123,w:317,h:21},
{t:"of land on one hand and ownership of ",p:114,x:474,y:1145,w:284,h:21},
{t:"permanent installations on the other",p:114,x:474,y:1168,w:258,h:21},
{t:"• The ability to meet the challenges of ",p:114,x:474,y:1214,w:282,h:21},
{t:"maintenance and care of permanent ",p:114,x:474,y:1237,w:269,h:21},
{t:"installations",p:114,x:474,y:1260,w:83,h:21},
{t:"• How to deal with temporary events - a ",p:114,x:474,y:1306,w:298,h:21},
{t:"group of problems this feld shares with ",p:114,x:474,y:1329,w:287,h:21},
{t:"other ephemeral art events.",p:114,x:474,y:1352,w:197,h:21},
{t:"7.",p:114,x:830,y:113,w:15,h:24},
{t:"sztuka rozumiana w tej perspektywie, ",p:114,x:830,y:159,w:279,h:23},
{t:"zdecentralizowana albo decentralizująca, ",p:114,x:830,y:182,w:311,h:23},
{t:"jest tym co stwarza wyzwania dla es-",p:114,x:830,y:205,w:272,h:23},
{t:"taBlisHmeNtU mUzeUm sztUki. a ",p:114,x:830,y:228,w:287,h:23},
{t:"specjalnym jej odgałęzieniem są zdarzenia ",p:114,x:830,y:251,w:319,h:23},
{t:"mające miejsce poza budynkami muzeów, ",p:114,x:830,y:274,w:313,h:23},
{t:"te zdarzenia, nad którymi chciałbym się ",p:114,x:830,y:296,w:293,h:23},
{t:"skoncentrować w ostatniej części mojego ",p:114,x:830,y:319,w:303,h:23},
{t:"wykładu. kiedy przyglądam się tym zdarze-",p:114,x:830,y:342,w:319,h:23},
{t:"niom, znajduję najbardziej uderzające ",p:114,x:830,y:365,w:286,h:23},
{t:"sprzeczności między estaBlisHmeNtem ",p:114,x:830,y:388,w:314,h:23},
{t:"mUzeUm sztUki a resztą maszyNy ",p:114,x:830,y:411,w:289,h:23},
{t:"sztUki. Jakie są główne kwestie tej ",p:114,x:830,y:434,w:264,h:23},
{t:"sprzeczności i czy można im zaradzic?",p:114,x:830,y:457,w:284,h:23},
{t:"8.",p:114,x:830,y:502,w:15,h:24},
{t:"sądzę, że częściowo możemy posłużyć się ",p:114,x:830,y:548,w:317,h:23},
{t:"Ut-21 jako przykładem. kiedy rozpatrujemy ",p:114,x:830,y:571,w:325,h:23},
{t:"ProDUkcJę wydarzeń artystycznych, to ",p:114,x:830,y:594,w:300,h:23},
{t:"znajdujemy w Ut-21 pewne charaktery-",p:114,x:830,y:617,w:289,h:23},
{t:"styczne cechy, których totalnie brakuje ",p:114,x:830,y:640,w:283,h:23},
{t:"estaBlisHmeNtowi mUzeUm sztUki. ",p:114,x:830,y:663,w:314,h:23},
{t:"Żeby wymienić niektóre: ",p:114,x:830,y:686,w:181,h:23},
{t:"•  Zdolność podejmowania inicjatyw w ",p:114,x:830,y:732,w:293,h:23},
{t:"urządzaniu wydarzeń artystycznych poza ",p:114,x:830,y:755,w:309,h:23},
{t:"budynkami muzeów. rzadko widzi się ",p:114,x:830,y:778,w:281,h:23},
{t:"muzea podejmujące tego typu inicjatywy.",p:114,x:830,y:801,w:302,h:23},
{t:"• Kompetencje w rozwiązywaniu kwestii ",p:114,x:830,y:846,w:301,h:23},
{t:"użycia terytorim na zewnątrz budynków ",p:114,x:830,y:869,w:296,h:23},
{t:"muzealnych. Dotyczy to topografcznej i ",p:114,x:830,y:892,w:296,h:23},
{t:"społecznej wiedzy, zdolności negocjowania ",p:114,x:830,y:915,w:325,h:23},
{t:"z właścicielami gruntów, władz publicznych ",p:114,x:830,y:938,w:323,h:23},
{t:"i tym podobnych.",p:114,x:830,y:961,w:125,h:23},
{t:"• Prawne kompetencje do zawierania ",p:114,x:830,y:1007,w:283,h:23},
{t:"użytecznych i trwałych umów ze wszystkimi ",p:114,x:830,y:1030,w:320,h:23},
{t:"stronami zaangażowanymi w tego rodzaju ",p:114,x:830,y:1053,w:316,h:23},
{t:"procesy.",p:114,x:830,y:1075,w:60,h:23},
{t:"kiedy przypatrujemy się stronie oDBiorU, ",p:114,x:830,y:1121,w:318,h:23},
{t:"możemy wymienić:",p:114,x:830,y:1144,w:138,h:23},
{t:"•  Zdolność rozwijania i wprowadzania ",p:114,x:830,y:1190,w:298,h:23},
{t:"w życie informacji i edukacyjnych praktyk, ",p:114,x:830,y:1213,w:310,h:23},
{t:"odpowiednich dla różnych miejsc i zdarzeń.",p:114,x:830,y:1236,w:320,h:23},
{t:"• Wolę i zainteresowanie w rozwijaniu ",p:114,x:830,y:1282,w:290,h:23},
{t:"programów studiów i badań wokół praktyk ",p:114,x:830,y:1305,w:318,h:23},
{t:"artystycznych.",p:114,x:830,y:1328,w:101,h:23},
{t:"• Włączanie zdecentralizowanej stuki ",p:114,x:830,y:1373,w:284,h:23},
{t:"spoza budynków muzealnych do ",p:114,x:830,y:1396,w:245,h:23},
{t:"muzealnych zbiorów.",p:114,x:830,y:1419,w:154,h:23},
{t:"115",p:115,x:1129,y:1464,w:21,h:16},
{t:"9. ",p:115,x:88,y:114,w:20,h:22},
{t:"Mine sluttbemerkninger: ",p:115,x:88,y:161,w:178,h:21},
{t:"• Personlig tror jeg disse utfordringene vil ",p:115,x:88,y:183,w:306,h:21},
{t:"bli møtt. ",p:115,x:88,y:206,w:62,h:21},
{t:"• Jeg tror imidlertid, at disse utfor dringene er ",p:115,x:88,y:252,w:323,h:21},
{t:"så store at de vil tving e fram nye museums-",p:115,x:88,y:275,w:301,h:21},
{t:"praksiser og en endret sammensetning av ",p:115,x:88,y:298,w:302,h:21},
{t:"museumsstaber, med det resultat at vi vil se ",p:115,x:88,y:321,w:314,h:21},
{t:"en større variasjon i kompetansen enn det ",p:115,x:88,y:344,w:306,h:21},
{t:"man normalt fnner i dag. ",p:115,x:88,y:367,w:187,h:21},
{t:"Utvalgt litteratur: ",p:115,x:88,y:413,w:125,h:21},
{t:"Smithson, Robert: ",p:115,x:88,y:444,w:129,h:21},
{t:"”The collected Writings. (Ed. Jack Flam). ",p:115,x:88,y:467,w:299,h:21},
{t:"Los Angeles 1996. ",p:115,x:88,y:490,w:140,h:21},
{t:"deleuze, Gilles: ",p:115,x:88,y:513,w:118,h:21},
{t:"“difference and Repetition”. ",p:115,x:88,y:536,w:205,h:21},
{t:"London 1994. ",p:115,x:88,y:559,w:108,h:21},
{t:"Bryant, Levi R.: ",p:115,x:88,y:581,w:111,h:21},
{t:"“difference and Givenness. deleuzes ",p:115,x:88,y:604,w:270,h:21},
{t:"Transcendental Empiricism and the ",p:115,x:88,y:627,w:253,h:21},
{t:"ontology of Immanence”. ",p:115,x:88,y:650,w:191,h:21},
{t:"Illinois 2008.",p:115,x:88,y:673,w:96,h:21},
{t:"9.",p:115,x:444,y:114,w:15,h:22},
{t:"My concluding remarks are",p:115,x:444,y:160,w:199,h:21},
{t:"• I personally think these challenges will ",p:115,x:444,y:183,w:299,h:21},
{t:"be met.",p:115,x:444,y:206,w:53,h:21},
{t:"• I think, however, that these challenges are ",p:115,x:444,y:252,w:324,h:21},
{t:"so great that they will force through new ",p:115,x:444,y:275,w:296,h:21},
{t:"museum practices and a different composi-",p:115,x:444,y:298,w:308,h:21},
{t:"tion of museums staffs, with the results that ",p:115,x:444,y:321,w:307,h:21},
{t:"we will fnd a greater variety of competences ",p:115,x:444,y:344,w:322,h:21},
{t:"than what is normally seen today. ",p:115,x:444,y:367,w:247,h:21},
{t:"Selected literature:",p:115,x:444,y:413,w:134,h:21},
{t:"Smithson, Robert: ",p:115,x:444,y:444,w:129,h:21},
{t:"“The collected Writings. (Ed. Jack Flam). ",p:115,x:444,y:467,w:299,h:21},
{t:"Los Angeles 1996.",p:115,x:444,y:490,w:136,h:21},
{t:"deleuze, Gilles: ",p:115,x:444,y:513,w:118,h:21},
{t:"“difference and Repetition”. London 1994.",p:115,x:444,y:536,w:309,h:21},
{t:"Bryant, Levi R: ",p:115,x:444,y:558,w:106,h:21},
{t:"“difference and Givenness. deleuzes ",p:115,x:444,y:581,w:270,h:21},
{t:"Transcendental Empiricism and the ",p:115,x:444,y:604,w:253,h:21},
{t:"ontology of Immanence”. ",p:115,x:444,y:627,w:191,h:21},
{t:"Illinois 2008.",p:115,x:444,y:650,w:96,h:21},
{t:"ostatni punkt wnosi specjalne wyzwania, ",p:115,x:801,y:113,w:304,h:23},
{t:"na które chciałbym zwrócić uwagę:",p:115,x:801,y:136,w:258,h:23},
{t:"• Kompetencje w rozwiązywaniu konfik-",p:115,x:801,y:182,w:299,h:23},
{t:"tów między miejscowymi lub państwowymi ",p:115,x:801,y:205,w:315,h:23},
{t:"wlaścicielami gruntów z jednej strony, a ",p:115,x:801,y:228,w:293,h:23},
{t:"własnością permanentnych instalacji z ",p:115,x:801,y:251,w:281,h:23},
{t:"drugiej.",p:115,x:801,y:273,w:54,h:23},
{t:"• Zdolność wychodzenia naprzeciw wyz-",p:115,x:801,y:319,w:305,h:23},
{t:"waniom dotyczącym utrzymania i dbałości ",p:115,x:801,y:342,w:315,h:23},
{t:"o permanentne instalacje.",p:115,x:801,y:365,w:186,h:23},
{t:"• Jak postępować z tymczasowymi wy-",p:115,x:801,y:411,w:288,h:23},
{t:"darzeniami – rodzajem problemów, które ",p:115,x:801,y:434,w:306,h:23},
{t:"ten obszar pracy dzieli z innymi efemeryc-",p:115,x:801,y:457,w:306,h:23},
{t:"znymi zdarzeniami artystycznymi.",p:115,x:801,y:480,w:244,h:23},
{t:"9.",p:115,x:801,y:525,w:15,h:24},
{t:"moje uwagi końcowe:",p:115,x:801,y:571,w:162,h:23},
{t:"• Jestem przekonany, że na te wyzwania ",p:115,x:801,y:617,w:306,h:23},
{t:"napotkamy.",p:115,x:801,y:640,w:84,h:23},
{t:"• Sądzę jednakże, iż owe wyzwania są ",p:115,x:801,y:686,w:298,h:23},
{t:"tak poważne, że wymuszą nowe prak-",p:115,x:801,y:709,w:278,h:23},
{t:"tyki muzealne i zmienią skład personeli ",p:115,x:801,y:732,w:288,h:23},
{t:"muzealnych, i że w rezultacie ujrzymy ",p:115,x:801,y:755,w:280,h:23},
{t:"większą rożnorodność kompetencji niż to, ",p:115,x:801,y:778,w:308,h:23},
{t:"co zazwyczaj znajdujemy obecnie. ",p:115,x:801,y:800,w:261,h:23},
{t:"Wybrana literatura:",p:115,x:801,y:847,w:142,h:22},
{t:"Smithson, robert. ",p:115,x:801,y:878,w:129,h:22},
{t:"„the Collected Writings. (Ed. Jack Flam). ",p:115,x:801,y:901,w:299,h:22},
{t:"Los Angeles 1996.",p:115,x:801,y:924,w:136,h:22},
{t:"Deleuze, Gilles: ",p:115,x:801,y:947,w:118,h:22},
{t:"“Difference and repetition”. London 1994.",p:115,x:801,y:970,w:309,h:22},
{t:"Bryant, Levi r.: ",p:115,x:801,y:992,w:111,h:22},
{t:"“Difference and Givennes. Deleuze`s ",p:115,x:801,y:1015,w:273,h:22},
{t:"transcendental Empiricism and ontology ",p:115,x:801,y:1038,w:300,h:22},
{t:"of Immanence”. ",p:115,x:801,y:1061,w:117,h:22},
{t:"Illinois 2008. ",p:115,x:801,y:1084,w:101,h:22},
{t:"116",p:116,x:110,y:1465,w:21,h:16},
{t:"Betegnelser har sine historiske forutsetninger ",p:116,x:118,y:499,w:324,h:21},
{t:"og det kan være opplysende å kontekstual-",p:116,x:118,y:521,w:311,h:21},
{t:"isere og historisere navn gitt til kunstneriske ",p:116,x:118,y:544,w:314,h:21},
{t:"retninger. Betegnelsen Earth Art ble introdu-",p:116,x:118,y:567,w:315,h:21},
{t:"sert i New york Times i 1965, men ble kjent ",p:116,x:118,y:590,w:320,h:21},
{t:"i kunstverden gjennom gruppeutstillingen ",p:116,x:118,y:613,w:299,h:21},
{t:"Earthworks på Dwan galleriet i New york i ",p:116,x:118,y:636,w:314,h:21},
{t:"oktober 1968 og Earth Art utstillingen ved ",p:116,x:118,y:659,w:311,h:21},
{t:"Andrew Dickson white Museum of Art ved ",p:116,x:118,y:682,w:314,h:21},
{t:"cornell University i februar 1969. ",p:116,x:118,y:705,w:249,h:21},
{t:"walter De Maria, Jan Dibbets, Hans ",p:116,x:118,y:728,w:269,h:21},
{t:"Haacke, Michael Heizer, Neil Jenney, ",p:116,x:118,y:751,w:281,h:21},
{t:"Richard Long, David Medalla, Robert ",p:116,x:118,y:773,w:275,h:21},
{t:"Morris, Dennis Oppenheim, Robert ",p:116,x:118,y:796,w:258,h:21},
{t:"Smithson og günter Üecker var med på ",p:116,x:118,y:819,w:293,h:21},
{t:"utstillingen. gordon Matta-clark assisterte ",p:116,x:118,y:842,w:308,h:21},
{t:"ved installeringen og utføringen av verkene. ",p:116,x:118,y:865,w:322,h:21},
{t:"Med noen få unntak, regnes alle disse ",p:116,x:118,y:888,w:281,h:21},
{t:"kunstnerne for foregangsfgurer innen Land ",p:116,x:118,y:911,w:315,h:21},
{t:"Art og Earth Art. ",p:116,x:118,y:934,w:123,h:21},
{t:"Ordet earth kunne på den tiden forstås som ",p:116,x:118,y:980,w:320,h:21},
{t:"et innlegg i debatten rundt forholdet mellom ",p:116,x:118,y:1003,w:322,h:21},
{t:"idé og materiale. Refeksjoner om det fak-",p:116,x:118,y:1025,w:300,h:21},
{t:"tiske materiale og behandlingen av materi-",p:116,x:118,y:1048,w:308,h:21},
{t:"aler basert på en forestilling om at et visst ",p:116,x:118,y:1071,w:305,h:21},
{t:"materiale hadde iboende egenskaper, var ",p:116,x:118,y:1094,w:310,h:21},
{t:"del av den diskursen om skulptur og maleri ",p:116,x:118,y:1117,w:314,h:21},
{t:"som ble innledet av clement greenberg og ",p:116,x:118,y:1140,w:319,h:21},
{t:"fulgt opp blant hans motstandere. ",p:116,x:118,y:1163,w:247,h:21},
{t:"Hvis vi ser gjennom kunsthistoriebøkene fra ",p:116,x:118,y:1209,w:317,h:21},
{t:"de siste 50 årene, kategoriseres retninger ",p:116,x:118,y:1232,w:304,h:21},
{t:"som Earth Art, Land Art og Environmental ",p:116,x:118,y:1255,w:304,h:21},
{t:"Art som grener av konseptkunst eller mini-",p:116,x:118,y:1278,w:299,h:21},
{t:"malisme. Disse oversiktene består i høy grad ",p:116,x:118,y:1300,w:325,h:21},
{t:"av amerikanske kunstnere, noe som er et ",p:116,x:118,y:1323,w:297,h:21},
{t:"resultat av den amerikanske dominansen in-",p:116,x:118,y:1346,w:314,h:21},
{t:"nen kunsthistorieskrivingen. Iblant inkluderes ",p:116,x:118,y:1369,w:323,h:21},
{t:"også kunstnere knyttet til den italienske Arte ",p:116,x:118,y:1392,w:319,h:21},
{t:"Povera bevegelsen og kunstnerskap som ",p:116,x:118,y:1415,w:296,h:21},
{t:"określenia mają swoje historyczne uwar-",p:116,x:830,y:497,w:297,h:23},
{t:"unkowania więc może dla wyjaśnienia ",p:116,x:830,y:520,w:286,h:23},
{t:"sięgnijmy do historii i kontekstów nazw ",p:116,x:830,y:543,w:285,h:23},
{t:"nadawanych kierunkom artystycznym. ",p:116,x:830,y:566,w:280,h:23},
{t:"określenie ”earth art” zostało wprowad-",p:116,x:830,y:589,w:304,h:23},
{t:"zone w New york times w 1965 roku, ale ",p:116,x:830,y:611,w:311,h:23},
{t:"znane stało się w świecie sztuki poprzez ",p:116,x:830,y:634,w:298,h:23},
{t:"wystawę grupową earthworks w galerii ",p:116,x:830,y:657,w:291,h:23},
{t:"Dwan w Nowym yorku, w październiku ",p:116,x:830,y:680,w:293,h:23},
{t:"1968 i wystawę w muzeum sztuki andrew ",p:116,x:830,y:703,w:317,h:23},
{t:"Dickson white przy Uniwerstytecie cornell ",p:116,x:830,y:726,w:314,h:23},
{t:"w lutym 1969. Uczestnikami wystawy ",p:116,x:830,y:749,w:277,h:23},
{t:"byli walter De maria, Jan Dibbets, Hans ",p:116,x:830,y:772,w:299,h:23},
{t:"Haacke, michael Heizner, Neil Jenney, ",p:116,x:830,y:795,w:289,h:23},
{t:"richard long, David medalla, robert ",p:116,x:830,y:818,w:275,h:23},
{t:"morris, Dennis oppenheim, robert smithson ",p:116,x:830,y:841,w:320,h:23},
{t:"i Günter Üecker. Gordon matta-clark ",p:116,x:830,y:863,w:270,h:23},
{t:"asystował przy instalowaniu i wykonaniu ",p:116,x:830,y:886,w:292,h:23},
{t:"dzieł. artystów tych, z małymi wyjątk ami ",p:116,x:830,y:909,w:290,h:23},
{t:"zalicza się do pionierów land art i earth art.",p:116,x:830,y:932,w:319,h:23},
{t:"słowo „earth” można było w tamtym ",p:116,x:830,y:978,w:272,h:23},
{t:"czasie rozumieć jako wkład w debatę ",p:116,x:830,y:1001,w:279,h:23},
{t:"dotyczącą zależności między pomysłem a ",p:116,x:830,y:1024,w:312,h:23},
{t:"materiałem. refeksje na temat faktyczego ",p:116,x:830,y:1047,w:309,h:23},
{t:"materiału i jego traktowania, bazujące na ",p:116,x:830,y:1070,w:308,h:23},
{t:"wyobrażeniu, że w pewych materiałach ",p:116,x:830,y:1093,w:295,h:23},
{t:"tkwią specjalne właściwości, były częścią ",p:116,x:830,y:1116,w:305,h:23},
{t:"dyskursu o rzeźbie i malarstwie, zainic-",p:116,x:830,y:1138,w:282,h:23},
{t:"jowanego przez clementa Greenberga, a ",p:116,x:830,y:1161,w:311,h:23},
{t:"kontynuowanego przez jego przeciwników.",p:116,x:830,y:1184,w:317,h:23},
{t:"Gdy przeglądamy książki o historii sztuki ",p:116,x:830,y:1230,w:302,h:23},
{t:"z ostatnich 50 lat, widzimy, że kierunki jak ",p:116,x:830,y:1253,w:311,h:23},
{t:"earth art, land art i environmental art ujmu-",p:116,x:830,y:1276,w:318,h:23},
{t:"je się jako kategorie gałęzi sztuki koncep-",p:116,x:830,y:1299,w:301,h:23},
{t:"tualnej lub minimalizmu. Na ten przegląd ",p:116,x:830,y:1322,w:305,h:23},
{t:"składają się w dużym stopniu amerykańscy ",p:116,x:830,y:1345,w:317,h:23},
{t:"artyści, co jest rezultatem dominacji ",p:116,x:830,y:1368,w:262,h:23},
{t:"amerykańskiej w pisarstwie o historii sztuki. ",p:116,x:830,y:1390,w:316,h:23},
{t:"czasami zaliczają się do nich  także artyści ",p:116,x:830,y:1413,w:322,h:23},
{t:"EARTH – LAND – ",p:116,x:118,y:302,w:221,h:36},
{t:"ENVIRONMENTAL ART",p:116,x:118,y:339,w:287,h:36},
{t:"øivind Storm Bjerke",p:116,x:118,y:384,w:201,h:27},
{t:"EARTH – LAND – ",p:116,x:474,y:302,w:221,h:36},
{t:"ENVIRONMENTAL ART",p:116,x:474,y:339,w:287,h:36},
{t:"øivind storm bjerke",p:116,x:474,y:382,w:201,h:30},
{t:"EARTH – LAND – ",p:116,x:830,y:302,w:221,h:36},
{t:"ENVIRONMENTAL ART",p:116,x:830,y:339,w:287,h:36},
{t:"øivind storm bjerke",p:116,x:830,y:382,w:201,h:30},
{t:"Names have an historical background and ",p:116,x:474,y:499,w:315,h:21},
{t:"it can be a revealing experience to contex-",p:116,x:474,y:521,w:309,h:21},
{t:"tualize and historicize the names given to ",p:116,x:474,y:544,w:303,h:21},
{t:"artistic movements.  The term ‘Earth Art was ",p:116,x:474,y:567,w:319,h:21},
{t:"introduced in an article in the New york ",p:116,x:474,y:590,w:293,h:21},
{t:"Times in 1965, but became well known ",p:116,x:474,y:613,w:289,h:21},
{t:"in the art community through the group ",p:116,x:474,y:636,w:285,h:21},
{t:"exhibition Earthworks at the Dwan gallery ",p:116,x:474,y:659,w:313,h:21},
{t:"in New york in October 1968 and the ",p:116,x:474,y:682,w:283,h:21},
{t:"Earth Art exhibition at the Andrew Dickson ",p:116,x:474,y:705,w:312,h:21},
{t:"white Museum of Art at cornell University ",p:116,x:474,y:728,w:311,h:21},
{t:"in February 1969. The artists included in the ",p:116,x:474,y:751,w:324,h:21},
{t:"Earth Art exhibition were: walter De Maria, ",p:116,x:474,y:773,w:322,h:21},
{t:"Jan Dibbets, Hans Haacke, Michael Heizer, ",p:116,x:474,y:796,w:322,h:21},
{t:"Neil Jenney, Richard Long, David Medalla, ",p:116,x:474,y:819,w:317,h:21},
{t:"Robert Morris, Dennis Oppenheim, Robert ",p:116,x:474,y:842,w:310,h:21},
{t:"Smithson and günter Üecker. A young ",p:116,x:474,y:865,w:283,h:21},
{t:"gordon Matta-clark was among the assis-",p:116,x:474,y:888,w:306,h:21},
{t:"tants doing the installation and carrying out ",p:116,x:474,y:911,w:319,h:21},
{t:"the work. with few exceptions, the artists ",p:116,x:474,y:934,w:300,h:21},
{t:"included and the assistant are still regarded ",p:116,x:474,y:957,w:320,h:21},
{t:"as the leading fgures within the Earth and ",p:116,x:474,y:980,w:309,h:21},
{t:"Land Art movements.",p:116,x:474,y:1003,w:150,h:21},
{t:"The term ‘Earth could, at the time, be un-",p:116,x:474,y:1048,w:291,h:21},
{t:"derstood as an interpellation in the debate ",p:116,x:474,y:1071,w:312,h:21},
{t:"over the relationship between ideas and ",p:116,x:474,y:1094,w:295,h:21},
{t:"material. The refection over actual material ",p:116,x:474,y:1117,w:318,h:21},
{t:"and the handling of materials based on the ",p:116,x:474,y:1140,w:316,h:21},
{t:"idea that a particular material had intrinsic ",p:116,x:474,y:1163,w:312,h:21},
{t:"properties were part of the discourse on ",p:116,x:474,y:1186,w:294,h:21},
{t:"sculpture as well as painting, triggered ",p:116,x:474,y:1209,w:283,h:21},
{t:"by clement greenberg and followed up ",p:116,x:474,y:1232,w:295,h:21},
{t:"among his antagonists. ",p:116,x:474,y:1255,w:170,h:21},
{t:"If we look through art historical textbooks ",p:116,x:474,y:1300,w:303,h:21},
{t:"from the last 50 years, the movements ",p:116,x:474,y:1323,w:278,h:21},
{t:"categorized as ‘Earth Art, ‘Land Art” and ",p:116,x:474,y:1346,w:303,h:21},
{t:"‘Environmental Art are usually treated as ",p:116,x:474,y:1369,w:298,h:21},
{t:"branches of conceptual or Minimal art. ",p:116,x:474,y:1392,w:291,h:21},
{t:"The surveys mainly include American artists, ",p:116,x:474,y:1415,w:321,h:21},
{t:"117",p:117,x:1130,y:1464,w:21,h:16},
{t:"związani z włoskim ruchem i działaniami ",p:117,x:801,y:113,w:302,h:23},
{t:"artystycznymi arte Povera, które wyrosły ",p:117,x:801,y:136,w:296,h:23},
{t:"z francuskiego Nouoveau realisme, oraz ",p:117,x:801,y:159,w:303,h:23},
{t:"niejeden niderlandzki, niemiecki i bry-",p:117,x:801,y:182,w:274,h:23},
{t:"tyjski artysta. w niektórch wypowiedziach ",p:117,x:801,y:205,w:310,h:23},
{t:"włącza sie do rodowodów artystycznych ",p:117,x:801,y:228,w:302,h:23},
{t:"formy wyrazu artystycznego z lat 1950 ",p:117,x:801,y:251,w:291,h:23},
{t:"– 60, które to postawiły w centrum uwagi ",p:117,x:801,y:274,w:305,h:23},
{t:"rytuały i performatywne aspekty  związane ",p:117,x:801,y:297,w:319,h:23},
{t:"z interwencją i kontaktem z naturą, a także ",p:117,x:801,y:319,w:316,h:23},
{t:"działania artystyczne, które zerwały barierę ",p:117,x:801,y:342,w:325,h:23},
{t:"między sztuką a rzeczywistością jak to jest ",p:117,x:801,y:365,w:313,h:23},
{t:"u artystów ruchu Fluxus i Josepha Boys`a.",p:117,x:801,y:388,w:303,h:23},
{t:"land art można rozumieć jako problemowe ",p:117,x:801,y:434,w:323,h:23},
{t:"ujęcie estetycznych pojęć takich jak uroda ",p:117,x:801,y:457,w:310,h:23},
{t:"kontra uwznioślenie, forma kontra informe ",p:117,x:801,y:480,w:308,h:23},
{t:"(brak formy) i dyskursy wokół: sztuka jako ",p:117,x:801,y:503,w:307,h:23},
{t:"proces kontra sztuka jako obiekt, sztuka ",p:117,x:801,y:526,w:291,h:23},
{t:"jako obraz kontra sztuka jako tekst, symbol ",p:117,x:801,y:549,w:315,h:23},
{t:"kontra alegoria, naturalne otoczenie ",p:117,x:801,y:571,w:269,h:23},
{t:"kontra sztuczne środowisko, miejsce kontra ",p:117,x:801,y:594,w:315,h:23},
{t:"nie-miejsce itd. Jako otwarcie dyskusji ",p:117,x:801,y:617,w:274,h:23},
{t:"bazujących na przeciwieństwach, jest ",p:117,x:801,y:640,w:278,h:23},
{t:"procesem myślowym odzwierciedlającym ",p:117,x:801,y:663,w:306,h:23},
{t:"sposób w jaki budujemy świat według dy-",p:117,x:801,y:686,w:302,h:23},
{t:"chotomicznych kodów zachodnich języków. ",p:117,x:801,y:709,w:324,h:23},
{t:"kiedy patrzy się wstecz na lata 1960 i 70, ",p:117,x:801,y:732,w:315,h:23},
{t:"można zainteresowanie wokół tworzenia ",p:117,x:801,y:755,w:302,h:23},
{t:"”dychotomii” widzieć jako następstwo ",p:117,x:801,y:778,w:281,h:23},
{t:"ówczesnej semiotyki, inspirowanej przez ",p:117,x:801,y:801,w:299,h:23},
{t:"saussure. odwrót od obrazu do tekstu ",p:117,x:801,y:823,w:285,h:23},
{t:"w latach 70-tych  tłumaczy częściowo ",p:117,x:801,y:846,w:279,h:23},
{t:"zainteresowanie postmodernistycznych ",p:117,x:801,y:869,w:286,h:23},
{t:"historyków sztuki robertem smithsonem, ",p:117,x:801,y:892,w:296,h:23},
{t:"podczas gdy pomija się artystów bardziej ",p:117,x:801,y:915,w:310,h:23},
{t:"formalnych takich jak Jan Dibbets.",p:117,x:801,y:938,w:246,h:23},
{t:"wśród wiodących teoretyków okresu 1970 ",p:117,x:801,y:984,w:321,h:23},
{t:"– 90 rozpowszechnione było ośmieszanie ",p:117,x:801,y:1007,w:311,h:23},
{t:"pojęcia „sztuki bazującej na materiale”. ",p:117,x:801,y:1030,w:295,h:23},
{t:"w zamian postawiono w centrum uwagi ",p:117,x:801,y:1053,w:299,h:23},
{t:"koncepcję sztuki bazującej na pomyśle i ",p:117,x:801,y:1076,w:296,h:23},
{t:"dyskursie artystycznym. Jako następstwo ",p:117,x:801,y:1098,w:296,h:23},
{t:"postmodernizmu i poststrukturalistycznej ",p:117,x:801,y:1121,w:293,h:23},
{t:"hegemonii dyskursu, formalne aspekty earth ",p:117,x:801,y:1144,w:323,h:23},
{t:"art i land art i ich zakotwiczenie w mod-",p:117,x:801,y:1167,w:297,h:23},
{t:"ernistycznych artystycznych konwencjach ",p:117,x:801,y:1190,w:303,h:23},
{t:"zostały otwarcie wyłączone z komunikacji.",p:117,x:801,y:1213,w:309,h:23},
{t:"kiedy patrzy się na dzieła z wystaw ",p:117,x:801,y:1259,w:267,h:23},
{t:"lat 1968-69, pojęcie earth art można ",p:117,x:801,y:1282,w:278,h:23},
{t:"tłumaczyć jako parasol dla wystaw ",p:117,x:801,y:1305,w:260,h:23},
{t:"związanych tematycznie z określeniem ",p:117,x:801,y:1328,w:286,h:23},
{t:"„earth”, gdzie stawia się znak równości ",p:117,x:801,y:1350,w:293,h:23},
{t:"między tym terminem a „tam gdzie ",p:117,x:801,y:1373,w:257,h:23},
{t:"mieszka człowiek”. Pojęcie to można także ",p:117,x:801,y:1396,w:316,h:23},
{t:"identyfkować z ziemią jako materiałem, ",p:117,x:801,y:1419,w:295,h:23},
{t:"vokste ut av den franske Nouveau Realisme ",p:117,x:88,y:114,w:319,h:21},
{t:"retningen og en og annen nederlandsk, ",p:117,x:88,y:137,w:291,h:21},
{t:"tysk og britisk kunstner. I enkelte bidrag ",p:117,x:88,y:160,w:288,h:21},
{t:"inkluderer kunstretningenes stamtavle kunst-",p:117,x:88,y:183,w:312,h:21},
{t:"neriske uttrykk på 1950- og 60-tallet som ",p:117,x:88,y:206,w:302,h:21},
{t:"satte ritualer og de performative aspektene ",p:117,x:88,y:229,w:316,h:21},
{t:"rundt intervensjoner og kommunikasjon med ",p:117,x:88,y:252,w:322,h:21},
{t:"naturen i fokus og kunstnerskap som brøt ",p:117,x:88,y:275,w:299,h:21},
{t:"ned skillet mellom kunst og virkeligheten ",p:117,x:88,y:298,w:293,h:21},
{t:"som hos Fluxus kunstnerne og Joseph Beuys. ",p:117,x:88,y:321,w:325,h:21},
{t:"Land Art kan forstås som en problematiser-",p:117,x:88,y:366,w:307,h:21},
{t:"ing av estetiske konsepter som skjønnhet ",p:117,x:88,y:389,w:295,h:21},
{t:"versus det sublime, form versus informe og ",p:117,x:88,y:412,w:309,h:21},
{t:"diskurser rundt kunst som prosess versus ",p:117,x:88,y:435,w:291,h:21},
{t:"kunst som objekt, kunst som bilde versus ",p:117,x:88,y:458,w:292,h:21},
{t:"kunst som tekst, symbol versus allegori, ",p:117,x:88,y:481,w:284,h:21},
{t:"naturlige omgivelser versus kunstige miljøer, ",p:117,x:88,y:504,w:321,h:21},
{t:"sted versus ikke-sted osv. Som en fremstilling ",p:117,x:88,y:527,w:321,h:21},
{t:"av diskusjoner basert på motsetninger, er ",p:117,x:88,y:550,w:301,h:21},
{t:"dette et tankesett som refekterer måten vi ",p:117,x:88,y:573,w:302,h:21},
{t:"strukturerer verden ifølge dikotomiske koder ",p:117,x:88,y:596,w:320,h:21},
{t:"i de vestlige språkene. Når man ser tilbake ",p:117,x:88,y:618,w:314,h:21},
{t:"på 1960- og 70-tallet kan kretsingen rundt ",p:117,x:88,y:641,w:312,h:21},
{t:"det å opprette dikotomier  sees som en ",p:117,x:88,y:664,w:284,h:21},
{t:"følge av datidens semiotikk inspirert av ",p:117,x:88,y:687,w:286,h:21},
{t:"Saussure. Vending fra bilde til tekst på ",p:117,x:88,y:710,w:280,h:21},
{t:"70-tallet forklarer delvis interessen for ",p:117,x:88,y:733,w:276,h:21},
{t:"Robert Smithson blant postmoderne kun-",p:117,x:88,y:756,w:291,h:21},
{t:"sthistorikere og kritikere, mens mer formalt ",p:117,x:88,y:779,w:307,h:21},
{t:"baserte kunstnere som Jan Dibbets ble ",p:117,x:88,y:802,w:281,h:21},
{t:"oversett. ",p:117,x:88,y:825,w:64,h:21},
{t:"Det var utbredt blant ledende teoretikere ",p:117,x:88,y:871,w:298,h:21},
{t:"i perioden 1970-90 å latterliggjøre ideen ",p:117,x:88,y:893,w:306,h:21},
{t:"om material-basert kunst. I stedet satte man ",p:117,x:88,y:916,w:315,h:21},
{t:"tanken om en idé-basert kunst og kunstdis-",p:117,x:88,y:939,w:303,h:21},
{t:"kurs i fokus. Som følge av postmodernismen ",p:117,x:88,y:962,w:321,h:21},
{t:"og poststrukturalismens diskurshegemoni ",p:117,x:88,y:985,w:297,h:21},
{t:"har de formale aspektene ved Earth Art og ",p:117,x:88,y:1008,w:315,h:21},
{t:"Land Art og deres forankring i modernistiske ",p:117,x:88,y:1031,w:324,h:21},
{t:"kunstneriske konvensjoner åpenbart blitt ",p:117,x:88,y:1054,w:292,h:21},
{t:"underkommunisert.  ",p:117,x:88,y:1077,w:145,h:21},
{t:"Når man ser tilbake på verkene på utstill-",p:117,x:88,y:1123,w:297,h:21},
{t:"ingene i 1968-69, kan begrepet Earth Art ",p:117,x:88,y:1145,w:307,h:21},
{t:"tolkes som en paraply for tematisk organi-",p:117,x:88,y:1168,w:301,h:21},
{t:"serte utstillinger omkring betegnelsen earth, ",p:117,x:88,y:1191,w:319,h:21},
{t:"der det kan settes likhetstegn mellom denne ",p:117,x:88,y:1214,w:318,h:21},
{t:"termen og der mennesker bor. Begrepet kan ",p:117,x:88,y:1237,w:323,h:21},
{t:"også identifseres med jord som materiale, ",p:117,x:88,y:1260,w:309,h:21},
{t:"relatert til en modernistisk forståelse av ",p:117,x:88,y:1283,w:284,h:21},
{t:"forholdet mellom idé og materiale, hvor det ",p:117,x:88,y:1306,w:318,h:21},
{t:"fnnes ingen ideer annet enn i ting – som ",p:117,x:88,y:1329,w:297,h:21},
{t:"william carlos williams uttrykte det. Dette ",p:117,x:88,y:1352,w:312,h:21},
{t:"er en annen måte å tenke på ideer og ",p:117,x:88,y:1375,w:280,h:21},
{t:"materie enn forestillingen om at ideer styrer ",p:117,x:88,y:1398,w:317,h:21},
{t:"den materielle gestaltningen og at den ",p:117,x:88,y:1420,w:284,h:21},
{t:"which is due to the American dominance ",p:117,x:444,y:114,w:299,h:21},
{t:"of art history writing. Sometimes, Italian ",p:117,x:444,y:137,w:289,h:21},
{t:"Arte Povera artists, practices growing out ",p:117,x:444,y:160,w:300,h:21},
{t:"of French Nouveau Realisme, and even a ",p:117,x:444,y:183,w:304,h:21},
{t:"couple of Dutch, german and English artists ",p:117,x:444,y:206,w:323,h:21},
{t:"were included. In some accounts, part of the ",p:117,x:444,y:229,w:325,h:21},
{t:"genealogy of the movement comprises art ",p:117,x:444,y:252,w:308,h:21},
{t:"of the 1950-60s that brought into focus ritu-",p:117,x:444,y:275,w:314,h:21},
{t:"als and the performative aspects of interven-",p:117,x:444,y:297,w:319,h:21},
{t:"tions and communication with nature and ",p:117,x:444,y:320,w:302,h:21},
{t:"art practices resulting in a dismantling of the ",p:117,x:444,y:343,w:323,h:21},
{t:"distinction between art and life in the hands ",p:117,x:444,y:366,w:319,h:21},
{t:"of the Fluxus artists and Joseph Beuys. ",p:117,x:444,y:389,w:279,h:21},
{t:"Land Art can be understood as an investiga-",p:117,x:444,y:435,w:319,h:21},
{t:"tion into aesthetic concepts such as beauty ",p:117,x:444,y:458,w:312,h:21},
{t:"vs. the sublime; form vs. informe; and dis-",p:117,x:444,y:481,w:294,h:21},
{t:"courses on art as process vs. art as object, ",p:117,x:444,y:504,w:310,h:21},
{t:"art as image vs. art as text, symbol vs. ",p:117,x:444,y:527,w:278,h:21},
{t:"allegory, natural space vs. manmade space, ",p:117,x:444,y:549,w:325,h:21},
{t:"site vs. non-site and so on. As an unfolding ",p:117,x:444,y:572,w:311,h:21},
{t:"of discussions based on opposites, this is a ",p:117,x:444,y:595,w:312,h:21},
{t:"manner of thinking based on the way we ",p:117,x:444,y:618,w:300,h:21},
{t:"structure the world according to the binary ",p:117,x:444,y:641,w:313,h:21},
{t:"code of western languages. Looking back ",p:117,x:444,y:664,w:312,h:21},
{t:"to the 1960s and 70s, this can be seen as ",p:117,x:444,y:687,w:309,h:21},
{t:"a consequence of the Saussurian-inspired ",p:117,x:444,y:710,w:304,h:21},
{t:"semiotics of the time. The turn from image ",p:117,x:444,y:733,w:303,h:21},
{t:"to text in the 1970s accounts partly for the ",p:117,x:444,y:756,w:312,h:21},
{t:"interest in Robert Smithson among postmod-",p:117,x:444,y:779,w:316,h:21},
{t:"ern art historians and critics, while more ",p:117,x:444,y:802,w:292,h:21},
{t:"formalist-geared artists such as Jan Dibbets, ",p:117,x:444,y:824,w:318,h:21},
{t:"were overlooked. ",p:117,x:444,y:847,w:130,h:21},
{t:"It was common among leading theorists ",p:117,x:444,y:893,w:292,h:21},
{t:"of the 1970-90s to ridicule the idea of ",p:117,x:444,y:916,w:281,h:21},
{t:"‘material-based art. Instead, they placed the ",p:117,x:444,y:939,w:324,h:21},
{t:"notion of idea-based art and art discourse ",p:117,x:444,y:962,w:309,h:21},
{t:"at the center of attention. Due to the hege-",p:117,x:444,y:985,w:304,h:21},
{t:"mony of postmodernism and poststructuralist ",p:117,x:444,y:1008,w:324,h:21},
{t:"discourses, the formalist aspect and anchor-",p:117,x:444,y:1031,w:315,h:21},
{t:"ing of Earth and Land Art in modernist ",p:117,x:444,y:1054,w:280,h:21},
{t:"mainstream art practices has clearly been ",p:117,x:444,y:1076,w:306,h:21},
{t:"under-communicated.  ",p:117,x:444,y:1099,w:164,h:21},
{t:"Looking back at the works included in the ",p:117,x:444,y:1145,w:304,h:21},
{t:"exhibitions of 1968-69, the denomination ",p:117,x:444,y:1168,w:305,h:21},
{t:"‘Earth Art can be interpreted as an umbrella ",p:117,x:444,y:1191,w:324,h:21},
{t:"over thematically organized exhibitions cir-",p:117,x:444,y:1214,w:310,h:21},
{t:"cling the term ‘earth, which is synonymous ",p:117,x:444,y:1237,w:309,h:21},
{t:"with ‘the space inhabited by man. The term ",p:117,x:444,y:1260,w:316,h:21},
{t:"can likewise be identifed with ‘earth as a ",p:117,x:444,y:1283,w:304,h:21},
{t:"material, related to a modernist understand-",p:117,x:444,y:1306,w:315,h:21},
{t:"ing of the relationship between idea and ",p:117,x:444,y:1329,w:298,h:21},
{t:"matter; where ‘there are no ideas but in ",p:117,x:444,y:1351,w:290,h:21},
{t:"things as william carlos williams put it. This ",p:117,x:444,y:1374,w:324,h:21},
{t:"is a way of thinking about ideas and matter, ",p:117,x:444,y:1397,w:322,h:21},
{t:"which differs from the concept that ideas ",p:117,x:444,y:1420,w:297,h:21},
{t:"118",p:118,x:110,y:1465,w:21,h:16},
{t:"materielle realiseringen av en idé er fyktig ",p:118,x:118,y:115,w:312,h:21},
{t:"og kun en svak antydning av ideen. ",p:118,x:118,y:138,w:262,h:21},
{t:"Som en konseptuell konstruksjon har ",p:118,x:118,y:183,w:266,h:21},
{t:"betegnelsen Land Art tydeligvis noe med ",p:118,x:118,y:206,w:299,h:21},
{t:"land å gjøre. Land brukes tvetydig og ",p:118,x:118,y:229,w:276,h:21},
{t:"upresist på engelsk, i motsetning til på tysk. ",p:118,x:118,y:252,w:314,h:21},
{t:"Ifølge websters ordbok, betyr land på ",p:118,x:118,y:275,w:283,h:21},
{t:"engelsk fast jordoverfate, land, folk, mark, ",p:118,x:118,y:298,w:311,h:21},
{t:"jordsmonn . Noen ganger benyttes land ",p:118,x:118,y:321,w:294,h:21},
{t:"som synonymt med naturen, men ordet land ",p:118,x:118,y:344,w:320,h:21},
{t:"er et mer begrenset  begrep selv om man i ",p:118,x:118,y:367,w:311,h:21},
{t:"noen kombinasjoner kan man bytte om de ",p:118,x:118,y:390,w:309,h:21},
{t:"to termene. Som oftest brukes betegnelsen ",p:118,x:118,y:413,w:310,h:21},
{t:"land for å indikere den delen av naturen ",p:118,x:118,y:435,w:297,h:21},
{t:"som er merket av mennesker, som i land-",p:118,x:118,y:458,w:291,h:21},
{t:"skap som betyr, igjen ifølge webster: synlig ",p:118,x:118,y:481,w:320,h:21},
{t:"landstykke; bilde av et naturlig landskap. ",p:118,x:118,y:504,w:300,h:21},
{t:"Denne defnisjonen understreker innram-",p:118,x:118,y:527,w:289,h:21},
{t:"mingen av naturen som en betingelse for at ",p:118,x:118,y:550,w:317,h:21},
{t:"naturen skal inngå som del av landet. ",p:118,x:118,y:573,w:275,h:21},
{t:"Innramming er et nøkkelkonsept når det ",p:118,x:118,y:619,w:291,h:21},
{t:"kommer til visuell kunst. Når man betrakter ",p:118,x:118,y:642,w:311,h:21},
{t:"naturen, kan hva som helst bli kunst med ",p:118,x:118,y:665,w:295,h:21},
{t:"den riktige innrammingen. Rammen kan ",p:118,x:118,y:687,w:290,h:21},
{t:"være et fysisk objekt, den kan være diskursiv ",p:118,x:118,y:710,w:324,h:21},
{t:"eller performativ. Overgangen fra begrepet ",p:118,x:118,y:733,w:320,h:21},
{t:"Earth Art til begrepet Land Art førte med ",p:118,x:118,y:756,w:297,h:21},
{t:"seg et skifte fra konnotasjonene forbundet ",p:118,x:118,y:779,w:306,h:21},
{t:"med earth som jordsmonn, søle og skitt til ",p:118,x:118,y:802,w:303,h:21},
{t:"konnotasjonene forbundet med det å skille ",p:118,x:118,y:825,w:311,h:21},
{t:"ut et  landemerke gjennom innramming fra ",p:118,x:118,y:848,w:310,h:21},
{t:"det øvrige inntrykket av naturen. ",p:118,x:118,y:871,w:237,h:21},
{t:"Ulike typer rammer var avgjørende for ",p:118,x:118,y:917,w:283,h:21},
{t:"betegnelsen Land Art idet begrepet land ",p:118,x:118,y:939,w:297,h:21},
{t:"antyder en del av naturen som er defnert ",p:118,x:118,y:962,w:304,h:21},
{t:"gjennom en form for grense. Anleggingen av ",p:118,x:118,y:985,w:322,h:21},
{t:"et landskap er en aktivitet hvor mennesker ",p:118,x:118,y:1008,w:301,h:21},
{t:"påtvinger naturen sine ideer om hvordan ",p:118,x:118,y:1031,w:299,h:21},
{t:"et landstykke bør se ut og skaper et kunstig ",p:118,x:118,y:1054,w:316,h:21},
{t:"produkt av naturen gjennom kultivering. ",p:118,x:118,y:1077,w:291,h:21},
{t:"Anlegging og kultivering er de mest vanlige ",p:118,x:118,y:1100,w:320,h:21},
{t:"måtene å omdanne naturen til et landskap. ",p:118,x:118,y:1123,w:314,h:21},
{t:"Kunstnere oppfant etter hvert metoder for ",p:118,x:118,y:1169,w:302,h:21},
{t:"å gjøre folk oppmerksomme på forskjel-",p:118,x:118,y:1192,w:287,h:21},
{t:"len mellom et generelt inntrykk av naturen ",p:118,x:118,y:1214,w:306,h:21},
{t:"og selve kunstverket. Slike metoder for ",p:118,x:118,y:1237,w:280,h:21},
{t:"innramming kunne være en sokkel (som når ",p:118,x:118,y:1260,w:318,h:21},
{t:"Piero Manzoni snudde en sokkel opp ned ",p:118,x:118,y:1283,w:307,h:21},
{t:"og gjorde kloden til en skulptur); tekst- og ",p:118,x:118,y:1306,w:303,h:21},
{t:"fotopaneler (som Smithson og Matta-clark ",p:118,x:118,y:1329,w:312,h:21},
{t:"benyttet); eller de ulike optiske virkemidlene ",p:118,x:118,y:1352,w:319,h:21},
{t:"som manipulerte betrakterens synsvinkel ",p:118,x:118,y:1375,w:293,h:21},
{t:"ved å rette blikket i ønsket retning (som ",p:118,x:118,y:1398,w:285,h:21},
{t:"de utsiktsplattformene i naturen hvor man ",p:118,x:118,y:1421,w:301,h:21},
{t:"odnosząc się do modernistycznego ",p:118,x:830,y:113,w:261,h:23},
{t:"rozumienia zależności między pomysłem ",p:118,x:830,y:136,w:301,h:23},
{t:"a materiałem, gdzie „nie ma żadnych ",p:118,x:830,y:159,w:277,h:23},
{t:"innych idei niż te w rzeczach” – jak to ",p:118,x:830,y:182,w:281,h:23},
{t:"wyraził william carlos williams. Jest to inny ",p:118,x:830,y:205,w:325,h:23},
{t:"sposób myślenia o ideach i materii niż w ",p:118,x:830,y:228,w:299,h:23},
{t:"wyobrażeniu, że idee kierują materialnym ",p:118,x:830,y:250,w:309,h:23},
{t:"formowaniem i że materialna realizacja idei ",p:118,x:830,y:273,w:324,h:23},
{t:"jest jedynie ulotną i słabą sugestią zamysłu.",p:118,x:830,y:296,w:314,h:23},
{t:"Jako konceptualna konstrukcja określenie ",p:118,x:830,y:342,w:303,h:23},
{t:"land art dotyczy wyraźnie ziemi. w ",p:118,x:830,y:365,w:269,h:23},
{t:"angielskim w przeciwieństwie do niemieck-",p:118,x:830,y:388,w:310,h:23},
{t:"iego używa się „land” dwuznacznie i ",p:118,x:830,y:411,w:277,h:23},
{t:"nieprecyzyjnie. według słownika webstera, ",p:118,x:830,y:434,w:324,h:23},
{t:"„land” znaczy po angielsku „grunt, kraj, ",p:118,x:830,y:457,w:296,h:23},
{t:"naród, rola, gleba”1. czasami używa ",p:118,x:830,y:480,w:280,h:23},
{t:"się określenia „land” jako synonimu do ",p:118,x:830,y:502,w:287,h:23},
{t:"„natura”, lecz słowo „land” jest bardziej ",p:118,x:830,y:525,w:297,h:23},
{t:"ograniczonym pojęciem mimo, że w ",p:118,x:830,y:548,w:267,h:23},
{t:"niektórych kombinacjach można te terminy ",p:118,x:830,y:571,w:314,h:23},
{t:"zamieniać. ",p:118,x:830,y:594,w:83,h:23},
{t:"Najczęściej używa się określenia „land” ",p:118,x:830,y:640,w:298,h:23},
{t:"by wskazać na tę część natury, która ",p:118,x:830,y:663,w:272,h:23},
{t:"jest naznaczona przez człowieka - jak w ",p:118,x:830,y:686,w:299,h:23},
{t:"krajobrazie, co według webstera znaczy: ",p:118,x:830,y:709,w:310,h:23},
{t:"”widoczny fragment kraju”; ”obraz natu-",p:118,x:830,y:732,w:293,h:23},
{t:"ralnej scenerii”2. Defnicja ta podkreśla ",p:118,x:830,y:755,w:291,h:23},
{t:"„obramowanie” natury jako warunek, że ",p:118,x:830,y:777,w:300,h:23},
{t:"natura zostanie uwzględniona jako część ",p:118,x:830,y:800,w:305,h:23},
{t:"„kraju”.",p:118,x:830,y:823,w:55,h:23},
{t:"obramowanie jest kluczowym konceptem ",p:118,x:830,y:869,w:307,h:23},
{t:"gdy mowimy o sztuce wizualnej. Gdy ",p:118,x:830,y:892,w:277,h:23},
{t:"obserwujemy naturę, to cokolwiek wzięte ",p:118,x:830,y:915,w:304,h:23},
{t:"w odpowiednie ramy może stać się sztuką. ",p:118,x:830,y:938,w:315,h:23},
{t:"rama może być fzycznym obiektem, może ",p:118,x:830,y:961,w:318,h:23},
{t:"być dyskursywna lub performatywna. ",p:118,x:830,y:984,w:276,h:23},
{t:"Przejście od pojęcia earth art do pojęcia ",p:118,x:830,y:1007,w:303,h:23},
{t:"land art pociągnęło za sobą wymianę ",p:118,x:830,y:1029,w:287,h:23},
{t:"konotacji związanych z „earth” jako ",p:118,x:830,y:1052,w:269,h:23},
{t:"gleba, błoto i brud na konotacje związane ",p:118,x:830,y:1075,w:315,h:23},
{t:"z wyodrębnieniem „akcentu krajobra-",p:118,x:830,y:1098,w:273,h:23},
{t:"zowego” - przez jego obramowanie - od ",p:118,x:830,y:1121,w:301,h:23},
{t:"pozostałych wrażeń natury.",p:118,x:830,y:1144,w:200,h:23},
{t:"rozmaite typy ram rozstrzygały o pojęciu ",p:118,x:830,y:1190,w:305,h:23},
{t:"land art, w którym pojęcie „land” sug-",p:118,x:830,y:1213,w:280,h:23},
{t:"eruje część natury zdefniowaną poprzez ",p:118,x:830,y:1236,w:306,h:23},
{t:"pewną formę ograniczenia. założenia ",p:118,x:830,y:1259,w:283,h:23},
{t:"krajobrazowe  są działaniem, poprzez ",p:118,x:830,y:1281,w:286,h:23},
{t:"które ludzie narzucają przyrodzie swoje ",p:118,x:830,y:1304,w:297,h:23},
{t:"pomysły jak powinna ona wyglądać i ",p:118,x:830,y:1327,w:277,h:23},
{t:"poprzez kultywację stwarzają sztuczny ",p:118,x:830,y:1350,w:288,h:23},
{t:"wytwór natury. aranżacja i kultywacja są ",p:118,x:830,y:1373,w:304,h:23},
{t:"najczęstrzymi sposobami przekształcania ",p:118,x:830,y:1396,w:305,h:23},
{t:"przyrody w krajobraz.",p:118,x:830,y:1419,w:162,h:23},
{t:"overrule matter and the material realization ",p:118,x:474,y:114,w:318,h:21},
{t:"of an idea is ephemeral and nothing more ",p:118,x:474,y:137,w:310,h:21},
{t:"than a bleak shadow of the idea. ",p:118,x:474,y:160,w:245,h:21},
{t:"As a conceptual construction, the term ",p:118,x:474,y:206,w:280,h:21},
{t:"‘Land Art obviously has something to do ",p:118,x:474,y:229,w:295,h:21},
{t:"with ‘land, which is a very dubious and ",p:118,x:474,y:252,w:288,h:21},
{t:"imprecise term as used in the English lan-",p:118,x:474,y:275,w:294,h:21},
{t:"guage, unlike its use in german. According ",p:118,x:474,y:297,w:317,h:21},
{t:"to websters dictionary, ‘land means ‘frm ",p:118,x:474,y:320,w:301,h:21},
{t:"earth surface, country, people, ground, soil. ",p:118,x:474,y:343,w:321,h:21},
{t:"Sometimes ‘land is used synonymously with ",p:118,x:474,y:366,w:318,h:21},
{t:"‘nature, but the word ‘land is a more restrict-",p:118,x:474,y:389,w:318,h:21},
{t:"ed concept, though, in some combinations, ",p:118,x:474,y:412,w:314,h:21},
{t:"you can exchange the two terms.  ",p:118,x:474,y:435,w:248,h:21},
{t:"Usually, the use of the term ‘land indicates ",p:118,x:474,y:458,w:310,h:21},
{t:"a part of nature marked by man, as in ",p:118,x:474,y:481,w:278,h:21},
{t:"‘landscape, which means, again according ",p:118,x:474,y:504,w:317,h:21},
{t:"to websters: ‘visible stretch of land; picture ",p:118,x:474,y:527,w:314,h:21},
{t:"of natural scenery. This is a defnition that ",p:118,x:474,y:549,w:302,h:21},
{t:"stresses the ‘framing of nature as a condi-",p:118,x:474,y:572,w:298,h:21},
{t:"tion for denominating a part of nature as ",p:118,x:474,y:595,w:298,h:21},
{t:"‘land. ",p:118,x:474,y:618,w:46,h:21},
{t:"Framing is a key concept when it comes to ",p:118,x:474,y:664,w:310,h:21},
{t:"visual art. when looking at nature, anything ",p:118,x:474,y:687,w:322,h:21},
{t:"can become art through the proper fram-",p:118,x:474,y:710,w:295,h:21},
{t:"ing. The frame can be a physical object, ",p:118,x:474,y:733,w:294,h:21},
{t:"discursive or performative. The shift from the ",p:118,x:474,y:756,w:322,h:21},
{t:"concept of Earth Art to the concept of Land ",p:118,x:474,y:779,w:316,h:21},
{t:"Art entailed a move away from connota-",p:118,x:474,y:802,w:292,h:21},
{t:"tions associated with ‘earth, like ‘soil, ‘mud ",p:118,x:474,y:824,w:313,h:21},
{t:"or ‘dirt, to connotations related to singling ",p:118,x:474,y:847,w:307,h:21},
{t:"out, from the overall impression of nature, ",p:118,x:474,y:870,w:303,h:21},
{t:"means to frame nature, as in ‘landmark. ",p:118,x:474,y:893,w:291,h:21},
{t:"Different kinds of frames were crucial to the ",p:118,x:474,y:939,w:318,h:21},
{t:"concept of Land Art, since the concept of ",p:118,x:474,y:962,w:301,h:21},
{t:"‘land implies a piece of nature, which is de-",p:118,x:474,y:985,w:313,h:21},
{t:"fned by some kind of boundary. Landscap-",p:118,x:474,y:1008,w:312,h:21},
{t:"ing is an activity where humans impose their ",p:118,x:474,y:1031,w:323,h:21},
{t:"idea about what a piece of land should ",p:118,x:474,y:1054,w:291,h:21},
{t:"look like on nature, making nature into an ",p:118,x:474,y:1076,w:305,h:21},
{t:"artifact by cultivation. Landscaping and ",p:118,x:474,y:1099,w:289,h:21},
{t:"cultivation are the most common ways of ",p:118,x:474,y:1122,w:298,h:21},
{t:"turning nature into landscape. ",p:118,x:474,y:1145,w:220,h:21},
{t:"gradually, artists invented devices that ",p:118,x:474,y:1191,w:284,h:21},
{t:"make you aware of the difference between ",p:118,x:474,y:1214,w:316,h:21},
{t:"the overall impression of nature and the ac-",p:118,x:474,y:1237,w:312,h:21},
{t:"tual work of art. Such framing devices could ",p:118,x:474,y:1260,w:322,h:21},
{t:"be the plinth Piero Manzoni turned upside ",p:118,x:474,y:1283,w:309,h:21},
{t:"down, making the globe a sculpture; the ",p:118,x:474,y:1306,w:295,h:21},
{t:"texts, photos and panels used by Smithson ",p:118,x:474,y:1329,w:311,h:21},
{t:"and Matta-clark; or the different kinds of ",p:118,x:474,y:1351,w:300,h:21},
{t:"optical devices that manipulate the perspec-",p:118,x:474,y:1374,w:317,h:21},
{t:"tive of the beholder by pointing the gaze in ",p:118,x:474,y:1397,w:317,h:21},
{t:"the desired direction, such as the platforms ",p:118,x:474,y:1420,w:312,h:21},
{t:"119",p:119,x:1130,y:1464,w:21,h:16},
{t:"artyści wynaleźli z czasem metody ",p:119,x:801,y:113,w:259,h:23},
{t:"odróżniania ogólnego doznania przyrody ",p:119,x:801,y:136,w:313,h:23},
{t:"od samego dzieła sztuki. takimi metodami ",p:119,x:801,y:159,w:311,h:23},
{t:"obramowania mogły być cokół (jak gdy ",p:119,x:801,y:182,w:295,h:23},
{t:"Piero manzoni odwrócił cokół do góry ",p:119,x:801,y:205,w:287,h:23},
{t:"nogami i uczynił glob ziemski rzeźbą); tekst ",p:119,x:801,y:228,w:320,h:23},
{t:"i plansze fotografczne (którymi posłużyli ",p:119,x:801,y:251,w:302,h:23},
{t:"się Piero manzoni i matta-clark); lub ",p:119,x:801,y:274,w:272,h:23},
{t:"różne optyczne środki, które manipulują ",p:119,x:801,y:297,w:295,h:23},
{t:"kątem widzenia patrzącego, prowadząc ",p:119,x:801,y:319,w:300,h:23},
{t:"wzrok w żądanym kierunku (jak na plat-",p:119,x:801,y:342,w:290,h:23},
{t:"formach widokowych w naturze, gdzie się ",p:119,x:801,y:365,w:310,h:23},
{t:"przyglądamy się mniej lub bardziej znanym ",p:119,x:801,y:388,w:322,h:23},
{t:"ciekawostkom przyrodniczym).",p:119,x:801,y:411,w:223,h:23},
{t:"Jak daleko jest od land art do trady-",p:119,x:801,y:455,w:267,h:23},
{t:"cyjnego traktowania sztuki krajobrazu? ",p:119,x:801,y:478,w:289,h:23},
{t:"czy fenomen ten związany jest ściśle ",p:119,x:801,y:501,w:274,h:23},
{t:"z wcześniejszymi metodami czczenia ",p:119,x:801,y:524,w:275,h:23},
{t:"natury i krajobrazu poprzez przygarnięcie ",p:119,x:801,y:546,w:314,h:23},
{t:"tradycyjnych estetycznych kategorii jak ",p:119,x:801,y:569,w:286,h:23},
{t:"„piękne”, „wysublimowane”, „malownicze”, ",p:119,x:801,y:592,w:324,h:23},
{t:"„brzydkie”, „ordynarne” i zagarnięcie i ",p:119,x:801,y:615,w:291,h:23},
{t:"zrobienie wycinka natury żeby wreszcie ",p:119,x:801,y:638,w:296,h:23},
{t:"przetransportować go do galerii, muzeów ",p:119,x:801,y:661,w:311,h:23},
{t:"i salonow możnych? Po drodze zasila się ",p:119,x:801,y:684,w:302,h:23},
{t:"ponadto przemysł turystyczny. Projekty land ",p:119,x:801,y:707,w:325,h:23},
{t:"art, interwencje artystyczne na najbardziej  ",p:119,x:801,y:730,w:320,h:23},
{t:"martwych obszarach i parki rzeźbiarskie są ",p:119,x:801,y:753,w:320,h:23},
{t:"od wielu lat rozwijającym się przemysłem. ",p:119,x:801,y:776,w:310,h:23},
{t:"Być może w tak dużym stopniu, że naturę ",p:119,x:801,y:798,w:306,h:23},
{t:"trzeba chronić przed artystami land art.",p:119,x:801,y:821,w:292,h:23},
{t:"Niektórzy arytści, którzy pogłębiają ",p:119,x:801,y:867,w:266,h:23},
{t:"wartości i dyskursy związane z pewnymi ",p:119,x:801,y:890,w:300,h:23},
{t:"pejzażami czy fragmentami przyrody, ",p:119,x:801,y:913,w:280,h:23},
{t:"tak jak to robią christo i Jeanne claude, ",p:119,x:801,y:936,w:296,h:23},
{t:"przekształcają już słynny i może mistyczny ",p:119,x:801,y:959,w:313,h:23},
{t:"krajobraz w land art. wolny od romantyc-",p:119,x:801,y:982,w:309,h:23},
{t:"znej tradycji amerykańskich transcedental-",p:119,x:801,y:1005,w:305,h:23},
{t:"istów – jak emerson i thoreau i ich holistyc-",p:119,x:801,y:1028,w:311,h:23},
{t:"znych idei o wewnętrznym związku między ",p:119,x:801,y:1051,w:319,h:23},
{t:"człowiekiem a naturą – i przesiąknięty ",p:119,x:801,y:1073,w:282,h:23},
{t:"stalinizmem , wstąpił christo na europejską ",p:119,x:801,y:1096,w:316,h:23},
{t:"arenę sztuki we wczesnych latach 60-tych ",p:119,x:801,y:1119,w:308,h:23},
{t:"poprzez techniki komunikacji, których ",p:119,x:801,y:1142,w:276,h:23},
{t:"nauczył się od sztuki propagandowej. ",p:119,x:801,y:1165,w:280,h:23},
{t:"tematyką w sztuce christo nie jest natura ",p:119,x:801,y:1188,w:302,h:23},
{t:"jako taka, także nie krajobraz, lecz jak ",p:119,x:801,y:1211,w:286,h:23},
{t:"je używamy i jak porozumiewamy się na ",p:119,x:801,y:1234,w:299,h:23},
{t:"temat natury i krajobrazu w ramach stwor-",p:119,x:801,y:1257,w:305,h:23},
{t:"zonych w mniejszym lub większym stopniu ",p:119,x:801,y:1280,w:312,h:23},
{t:"przez estetykę, politykę i społeczeństwo. ",p:119,x:801,y:1303,w:299,h:23},
{t:"Jak mówi sam artysta chciałby on stworzyć ",p:119,x:801,y:1325,w:316,h:23},
{t:"coś pięknego. Jest to prawdopodobnie ",p:119,x:801,y:1348,w:287,h:23},
{t:"powodem tego, że większość radykałów ",p:119,x:801,y:1371,w:301,h:23},
{t:"uważa jego sztukę za zbyt komercyjną i ",p:119,x:801,y:1394,w:296,h:23},
{t:"dopasowaną do zdominowanego przez ",p:119,x:801,y:1417,w:298,h:23},
{t:"peiler seg inn på mer eller mindre berømte ",p:119,x:88,y:114,w:313,h:21},
{t:"severdigheter). ",p:119,x:88,y:137,w:111,h:21},
{t:"Hvor langt er det fra Land Art til den tradis-",p:119,x:88,y:183,w:309,h:21},
{t:"jonelle tilnærmingen i landskapskunsten? Er ",p:119,x:88,y:206,w:318,h:21},
{t:"dette fenomenet tett forbundet med tidligere ",p:119,x:88,y:229,w:321,h:21},
{t:"måter å feire naturen og landskapet på ved ",p:119,x:88,y:252,w:319,h:21},
{t:"å omfavne tradisjonelle estetiske kategorier ",p:119,x:88,y:275,w:317,h:21},
{t:"som det skjønne, det sublime, det pittoreske, ",p:119,x:88,y:298,w:322,h:21},
{t:"det stygge og det ordinære og erobre og ",p:119,x:88,y:321,w:304,h:21},
{t:"gjøre utsnitt av naturen for så å transport-",p:119,x:88,y:344,w:297,h:21},
{t:"ere den til galleriene, musene og stuene til ",p:119,x:88,y:366,w:309,h:21},
{t:"de velstående? På veien styrkes dessuten ",p:119,x:88,y:389,w:299,h:21},
{t:"også turistindustrien. Land Art prosjekter, ",p:119,x:88,y:412,w:297,h:21},
{t:"kunstneriske intervensjoner i de mest øde ",p:119,x:88,y:435,w:299,h:21},
{t:"områdene og skulpturparker har vært en ",p:119,x:88,y:458,w:298,h:21},
{t:"økende industri i mange år. Kanskje i så stor ",p:119,x:88,y:481,w:323,h:21},
{t:"grad at det er naturen som nå må beskyttes ",p:119,x:88,y:504,w:318,h:21},
{t:"mot Land Art kunstnerne. ",p:119,x:88,y:527,w:183,h:21},
{t:"Noen kunstnere som utdyper verdier og ",p:119,x:88,y:550,w:292,h:21},
{t:"diskurser forbundet med visse landskap eller ",p:119,x:88,y:573,w:324,h:21},
{t:"deler av naturen, slik som christo og Jeanne ",p:119,x:88,y:596,w:324,h:21},
{t:"claude har operert, omformer et allerede ",p:119,x:88,y:618,w:305,h:21},
{t:"berømt og kanskje mytisk landskap til Land ",p:119,x:88,y:641,w:313,h:21},
{t:"Art. Fri fra den romantiske tradisjonen til de ",p:119,x:88,y:664,w:315,h:21},
{t:"amerikanske transendentalistene – som ",p:119,x:88,y:687,w:286,h:21},
{t:"Emerson og Thoreau og deres holistiske ",p:119,x:88,y:710,w:291,h:21},
{t:"ideer om en indre forbindelse mellom ",p:119,x:88,y:733,w:275,h:21},
{t:"menneske og naturen – og gjennomsyret ",p:119,x:88,y:756,w:299,h:21},
{t:"av Stalinisme, meldte christo seg på den ",p:119,x:88,y:779,w:299,h:21},
{t:"europeiske kunstarenaen tidlig på 1960-",p:119,x:88,y:802,w:293,h:21},
{t:"tallet gjennom kommunikasjonsteknikker han ",p:119,x:88,y:825,w:324,h:21},
{t:"hadde lært fra propagandakunst. Tematikken ",p:119,x:88,y:848,w:324,h:21},
{t:"i christos kunst er ikke naturen selv, heller ",p:119,x:88,y:871,w:303,h:21},
{t:"ikke landskapet, men hvordan vi bruker og ",p:119,x:88,y:893,w:312,h:21},
{t:"kommuniserer om naturen og landskapet ",p:119,x:88,y:916,w:298,h:21},
{t:"innenfor rammen av estetikk, politikk og ",p:119,x:88,y:939,w:290,h:21},
{t:"samfunn, i større og mindre grad. Ifølge ",p:119,x:88,y:962,w:292,h:21},
{t:"kunstneren selv, ønsker han å skape noe ",p:119,x:88,y:985,w:296,h:21},
{t:"vakkert. Det er sannsynligvis en grunn til at ",p:119,x:88,y:1008,w:312,h:21},
{t:"de feste radikalere synes kunsten hans er ",p:119,x:88,y:1031,w:304,h:21},
{t:"for kommersiell og tilpasset det amerikansk-",p:119,x:88,y:1054,w:312,h:21},
{t:"dominerte kunstsystemet. Noen vil til og ",p:119,x:88,y:1077,w:291,h:21},
{t:"med dømme ham som en som kun skaper ",p:119,x:88,y:1100,w:304,h:21},
{t:"spektakulær underholding og suvenirer, ikke ",p:119,x:88,y:1123,w:323,h:21},
{t:"som en ekte kunstner. ",p:119,x:88,y:1145,w:158,h:21},
{t:"Å ha en landfekk som christo og hans kone ",p:119,x:88,y:1191,w:324,h:21},
{t:"og samarbeidspartner Jeanne claude ønsk-",p:119,x:88,y:1214,w:316,h:21},
{t:"er å skape et kunstverk ut av, burde være en ",p:119,x:88,y:1237,w:324,h:21},
{t:"våt drøm for ledelsen av enhver reiselivsor-",p:119,x:88,y:1260,w:309,h:21},
{t:"ganisasjon, bortsett fra det faktum at christo ",p:119,x:88,y:1283,w:323,h:21},
{t:"og Jeanne claude alltid velger steder ",p:119,x:88,y:1306,w:276,h:21},
{t:"som allerede er berømte og som dermed i ",p:119,x:88,y:1329,w:310,h:21},
{t:"stedet blir redskap for å gjøre kunstneren ",p:119,x:88,y:1352,w:301,h:21},
{t:"og kunsten berømte. På denne måten kan ",p:119,x:88,y:1375,w:305,h:21},
{t:"christo og Jeanne claudes kunstverk tolkes ",p:119,x:88,y:1398,w:316,h:21},
{t:"som en fordypning i berømmelsens logikk ",p:119,x:88,y:1420,w:305,h:21},
{t:"installed in nature from where people can ",p:119,x:444,y:114,w:306,h:21},
{t:"peer at more or less famous sights.",p:119,x:444,y:137,w:249,h:21},
{t:"How far is it from Land Art to traditional ap-",p:119,x:444,y:183,w:314,h:21},
{t:"proaches in Landscape Art? Is the phenom-",p:119,x:444,y:206,w:312,h:21},
{t:"enon closely linked to earlier approaches ",p:119,x:444,y:229,w:304,h:21},
{t:"to nature and landscape in its joyous ",p:119,x:444,y:252,w:270,h:21},
{t:"affrmation and embracing of traditional ",p:119,x:444,y:275,w:293,h:21},
{t:"aesthetic categories such as ‘the beautiful, ",p:119,x:444,y:297,w:309,h:21},
{t:"‘the sublime, ‘the picturesque, ‘the ugly ",p:119,x:444,y:320,w:286,h:21},
{t:"and ‘the ordinary, capturing and boxing ",p:119,x:444,y:343,w:296,h:21},
{t:"nature for transportation into the galleries, ",p:119,x:444,y:366,w:308,h:21},
{t:"museums and living rooms of the rich? Even ",p:119,x:444,y:389,w:318,h:21},
{t:"strengthening the tourist industry on its way? ",p:119,x:444,y:412,w:323,h:21},
{t:"Land Art projects, artistic interventions in the ",p:119,x:444,y:435,w:321,h:21},
{t:"most desolate areas, and sculpture parks ",p:119,x:444,y:458,w:300,h:21},
{t:"have been a growing industry for years. ",p:119,x:444,y:481,w:294,h:21},
{t:"Probably to the degree that nature needs to ",p:119,x:444,y:504,w:320,h:21},
{t:"be protected from Land Art artists.",p:119,x:444,y:527,w:245,h:21},
{t:"when it comes to the artist elaborating ",p:119,x:444,y:549,w:285,h:21},
{t:"values and discourses associated with ",p:119,x:444,y:572,w:279,h:21},
{t:"particular landscapes or parts of nature, ",p:119,x:444,y:595,w:295,h:21},
{t:"the way christo and Jeanne claude have ",p:119,x:444,y:618,w:305,h:21},
{t:"operated their business is an example of ",p:119,x:444,y:641,w:296,h:21},
{t:"turning an already well- known and even ",p:119,x:444,y:664,w:300,h:21},
{t:"mythically imbued landscapes into Land ",p:119,x:444,y:687,w:293,h:21},
{t:"Art. Free from the romantic tradition of the ",p:119,x:444,y:710,w:307,h:21},
{t:"American transcendentalists – like Emer-",p:119,x:444,y:733,w:288,h:21},
{t:"son and Thoreau and their holistic ideas ",p:119,x:444,y:756,w:293,h:21},
{t:"about an inner connection uniting man and ",p:119,x:444,y:779,w:316,h:21},
{t:"nature – and steeped in Stalinism, christo ",p:119,x:444,y:802,w:305,h:21},
{t:"entered the European art scene in the early ",p:119,x:444,y:824,w:317,h:21},
{t:"1960s applying communication techniques ",p:119,x:444,y:847,w:317,h:21},
{t:"he had learned from propaganda art. ",p:119,x:444,y:870,w:279,h:21},
{t:"The subject of christos art is not nature as ",p:119,x:444,y:893,w:304,h:21},
{t:"such, not even landscape, but the way we ",p:119,x:444,y:916,w:307,h:21},
{t:"use and communicate inside the frame of ",p:119,x:444,y:939,w:301,h:21},
{t:"aesthetics, politics, society about nature ",p:119,x:444,y:962,w:290,h:21},
{t:"and landscape. According to the artist, he ",p:119,x:444,y:985,w:309,h:21},
{t:"wants to make something beautiful, which ",p:119,x:444,y:1008,w:305,h:21},
{t:"is probably why most radicals will think ",p:119,x:444,y:1031,w:288,h:21},
{t:"his art is too commercial and adjusted to ",p:119,x:444,y:1054,w:298,h:21},
{t:"the American-dominated art system or will ",p:119,x:444,y:1076,w:308,h:21},
{t:"even judge him a maker of spectacles and ",p:119,x:444,y:1099,w:310,h:21},
{t:"souvenirs rather than a proper ‘artist. ",p:119,x:444,y:1122,w:271,h:21},
{t:"To have a bit of land chosen by christo ",p:119,x:444,y:1168,w:281,h:21},
{t:"and his wife and partner Jeanne claude ",p:119,x:444,y:1191,w:289,h:21},
{t:"and turned into an artwork should be a wet ",p:119,x:444,y:1214,w:311,h:21},
{t:"dream of any head of a tourist organization, ",p:119,x:444,y:1237,w:318,h:21},
{t:"except for the fact that christo and Jeanne ",p:119,x:444,y:1260,w:303,h:21},
{t:"claude always choose already famous ",p:119,x:444,y:1283,w:282,h:21},
{t:"places, which act as vehicles for making ",p:119,x:444,y:1306,w:287,h:21},
{t:"them and their art famous. In this way, the art ",p:119,x:444,y:1329,w:322,h:21},
{t:"of christo and Jeanne claude could be read ",p:119,x:444,y:1351,w:321,h:21},
{t:"both as an investigation into the logic and ",p:119,x:444,y:1374,w:300,h:21},
{t:"economics of celebrity and as an exploit",p:119,x:444,y:1397,w:293,h:21},
{t:"a-",p:119,x:731,y:1397,w:13,h:21},
{t:"tion of this logic in the name of art.",p:119,x:444,y:1420,w:245,h:21},
{t:"120",p:120,x:108,y:1465,w:23,h:16},
{t:"amerykanów systemu sztuki. Niektórzy ",p:120,x:830,y:113,w:287,h:23},
{t:"nawet oceniają go jako kogoś, kto tworzy ",p:120,x:830,y:136,w:308,h:23},
{t:"wyłącznie spektakularną rozrywkę i suwe-",p:120,x:830,y:159,w:306,h:23},
{t:"niry, nie jako prawdziwego „artystę” .",p:120,x:830,y:182,w:275,h:23},
{t:"Posiadać kawałek gruntu, z którego christo ",p:120,x:830,y:205,w:319,h:23},
{t:"oraz jego żona i współpracownik, ch-",p:120,x:830,y:228,w:273,h:23},
{t:"cieliby stworzyć dzieło sztuki powinno być ",p:120,x:830,y:251,w:313,h:23},
{t:"marzeniem kierowników biur turystycznych, ",p:120,x:830,y:274,w:319,h:23},
{t:"tyle że christo i Jeanne claude zawsze ",p:120,x:830,y:297,w:290,h:23},
{t:"wybierają już sławne miejsca, w konsek-",p:120,x:830,y:319,w:292,h:23},
{t:"wencji bedące narzędziem uczynienia ar-",p:120,x:830,y:342,w:303,h:23},
{t:"tysty i sztuki sławnymi. w ten sposób dzieła ",p:120,x:830,y:365,w:320,h:23},
{t:"christo i Jeanne claude można tłumaczyć ",p:120,x:830,y:388,w:309,h:23},
{t:"jako pogłębienie logiki sławy i ekonomii ",p:120,x:830,y:411,w:295,h:23},
{t:"jak również wykorzystanie tej logiki w imię ",p:120,x:830,y:434,w:314,h:23},
{t:"sztuki.",p:120,x:830,y:457,w:43,h:23},
{t:"ich the walk, które miało miejsce w central ",p:120,x:830,y:503,w:322,h:23},
{t:"Park jest dobrym przykładem na to jak ",p:120,x:830,y:526,w:284,h:23},
{t:"ważne jest wykorzystanie ogólnie pojętej ",p:120,x:830,y:549,w:303,h:23},
{t:"urody miejsca dla umocnienia własnej ",p:120,x:830,y:571,w:281,h:23},
{t:"pracy artysty i jako narzędzie do zakomu-",p:120,x:830,y:594,w:305,h:23},
{t:"nikowania jego idei odkrywania piękna ",p:120,x:830,y:617,w:293,h:23},
{t:"w zwykłym krajobrazie i w przeżyciach. ( ",p:120,x:830,y:640,w:307,h:23},
{t:"według roberta smithsona central Park ",p:120,x:830,y:663,w:297,h:23},
{t:"był pierwszym amerykańskim przykładem ",p:120,x:830,y:686,w:308,h:23},
{t:"land art.)",p:120,x:830,y:709,w:71,h:23},
{t:"Przedsięwzięcie central Park jest szc-",p:120,x:830,y:755,w:269,h:23},
{t:"zególnie istotne w kwestii obramowania ",p:120,x:830,y:778,w:294,h:23},
{t:"w obrębie land art. ten skrawek ziemi ",p:120,x:830,y:801,w:285,h:23},
{t:"na wyspie manhattan otoczony jest z ",p:120,x:830,y:824,w:276,h:23},
{t:"trzech stron drapaczami chmur i czterema ",p:120,x:830,y:846,w:309,h:23},
{t:"milionami mieszkańców i dodatkowo ",p:120,x:830,y:869,w:272,h:23},
{t:"ośmioma na stałym lądzie. każdy cen-",p:120,x:830,y:892,w:278,h:23},
{t:"tymetr tego obszaru jest pełen znaczeń. ",p:120,x:830,y:915,w:293,h:23},
{t:"ta nawarstwiająca się produkcja znaczeń ",p:120,x:830,y:938,w:310,h:23},
{t:"bierze początek od idei nałożonych na ",p:120,x:830,y:961,w:290,h:23},
{t:"krajobraz przez architekta krajobrazu ",p:120,x:830,y:984,w:280,h:23},
{t:"Frederica law olmsted, które z czasem ",p:120,x:830,y:1007,w:290,h:23},
{t:"były modyfkowane przez nowe generacje. ",p:120,x:830,y:1030,w:318,h:23},
{t:"Park jest mniej lub bardziej galimatiasem ",p:120,x:830,y:1053,w:300,h:23},
{t:"posągów upamiętniających znane osoby, ",p:120,x:830,y:1076,w:307,h:23},
{t:"nawet psa. Jest on uwieczniony w niezlic-",p:120,x:830,y:1098,w:299,h:23},
{t:"zonych  flmach i celebrowany w utworze ",p:120,x:830,y:1121,w:305,h:23},
{t:"muzycznym charlesa ives. wszystkie te ",p:120,x:830,y:1144,w:292,h:23},
{t:"warstwy znaczeniowe stwarzają tło dla ",p:120,x:830,y:1167,w:291,h:23},
{t:"interwencji christo w parku. mieszanina ",p:120,x:830,y:1190,w:296,h:23},
{t:"monumentów, mitów, przestrzeń socjalna i ",p:120,x:830,y:1213,w:311,h:23},
{t:"plac zabaw dla tysięcy mieszkańcow wokól ",p:120,x:830,y:1236,w:324,h:23},
{t:"parku, które christo i Jeanne claude kreują, ",p:120,x:830,y:1259,w:322,h:23},
{t:"nad którymi medytują i które wykorzystują.",p:120,x:830,y:1282,w:310,h:23},
{t:"christo posługuje się fotografami, ",p:120,x:830,y:1305,w:251,h:23},
{t:"plakatami, książkami, kartkami pocztowymi, ",p:120,x:830,y:1328,w:322,h:23},
{t:"rysunkami, tekstami i flmami jako mediami ",p:120,x:830,y:1351,w:311,h:23},
{t:"komunikacyjnymi, a także internetem, ",p:120,x:830,y:1373,w:274,h:23},
{t:"galeriami, muzeami i księgarniami jako ",p:120,x:830,y:1396,w:288,h:23},
{t:"kanałami dla swoich sprzedażnych ",p:120,x:830,y:1419,w:259,h:23},
{t:"Their The walk, realized in central Park, is ",p:120,x:474,y:114,w:312,h:21},
{t:"an example of the importance of spotting ",p:120,x:474,y:137,w:303,h:21},
{t:"a piece of land and exploiting its com-",p:120,x:474,y:160,w:277,h:21},
{t:"monly agreed beauty as an underpinning ",p:120,x:474,y:183,w:305,h:21},
{t:"of their own work of art and as a vehicle of ",p:120,x:474,y:206,w:317,h:21},
{t:"communicating their ideas about discover-",p:120,x:474,y:229,w:304,h:21},
{t:"ing beauty in everyday landscapes and ",p:120,x:474,y:252,w:292,h:21},
{t:"experiences. (According to Robert Smithson ",p:120,x:474,y:275,w:321,h:21},
{t:"central Park was the frst American work of ",p:120,x:474,y:298,w:316,h:21},
{t:"Land Art).",p:120,x:474,y:321,w:71,h:21},
{t:"The central Park project has particular ",p:120,x:474,y:366,w:283,h:21},
{t:"relevance when it comes to the question of ",p:120,x:474,y:389,w:312,h:21},
{t:"framing in Land Art. Situated on the island ",p:120,x:474,y:412,w:308,h:21},
{t:"of Manhattan, this piece of land is sur-",p:120,x:474,y:435,w:276,h:21},
{t:"rounded on three sides by skyscrapers and ",p:120,x:474,y:458,w:314,h:21},
{t:"four million inhabitants, with a ring of eight ",p:120,x:474,y:481,w:312,h:21},
{t:"million more on the mainland. Every inch ",p:120,x:474,y:504,w:299,h:21},
{t:"of the place is saturated with meaning. This ",p:120,x:474,y:527,w:316,h:21},
{t:"production of layers upon layers of mean-",p:120,x:474,y:550,w:301,h:21},
{t:"ing starts out with the ideas imposed on ",p:120,x:474,y:573,w:291,h:21},
{t:"the landscape by the landscape architect ",p:120,x:474,y:596,w:303,h:21},
{t:"Fredric Law Olmsted and modifed through ",p:120,x:474,y:619,w:315,h:21},
{t:"later generations. The park is more or less ",p:120,x:474,y:641,w:306,h:21},
{t:"cluttered with statues remembering famous ",p:120,x:474,y:664,w:312,h:21},
{t:"people and even a dog. It is also immortal-",p:120,x:474,y:687,w:310,h:21},
{t:"ized through umpteen flm shots and is even ",p:120,x:474,y:710,w:320,h:21},
{t:"celebrated in a famous piece of music by ",p:120,x:474,y:733,w:302,h:21},
{t:"charles Ives. All these different layers of ",p:120,x:474,y:756,w:294,h:21},
{t:"meaning form the backdrop of christos ",p:120,x:474,y:779,w:287,h:21},
{t:"intervention in the park. It is central Parks ",p:120,x:474,y:802,w:302,h:21},
{t:"mix of monument, myth, social space and ",p:120,x:474,y:825,w:303,h:21},
{t:"playground for thousands of inhabitants ",p:120,x:474,y:848,w:293,h:21},
{t:"in the buildings surrounding the park that ",p:120,x:474,y:871,w:300,h:21},
{t:"christo and Jeanne claude play up to, ",p:120,x:474,y:893,w:285,h:21},
{t:"refect over and exploit. ",p:120,x:474,y:916,w:175,h:21},
{t:"og økonomi så vel som en utnyttelse av",p:120,x:118,y:114,w:283,h:21},
{t:"denne logikken i kunstens navn. Deres The ",p:120,x:118,y:137,w:310,h:21},
{t:"walk som fant sted i central Park er et godt ",p:120,x:118,y:160,w:320,h:21},
{t:"eksempel på hvor viktig det er å utnytte ",p:120,x:118,y:183,w:288,h:21},
{t:"stedets allment bestemte skjønnhet for å ",p:120,x:118,y:206,w:291,h:21},
{t:"styrke kunstneres eget arbeid og som et ",p:120,x:118,y:229,w:290,h:21},
{t:"redskap for å kommunisere hans ideer om ",p:120,x:118,y:252,w:308,h:21},
{t:"å oppdage skjønnhet i vanlige landskap ",p:120,x:118,y:275,w:297,h:21},
{t:"og opplevelser. (Ifølge Robert Smithson var ",p:120,x:118,y:298,w:318,h:21},
{t:"central Park det første amerikanske ",p:120,x:118,y:320,w:260,h:21},
{t:"eksemplet på Land Art.)",p:120,x:118,y:343,w:172,h:21},
{t:"central Park prosjektet var spesielt relevant i ",p:120,x:118,y:389,w:323,h:21},
{t:"forhold til spørsmålet om innramming innen ",p:120,x:118,y:412,w:316,h:21},
{t:"Land Art. Denne landfekken på Manhattan ",p:120,x:118,y:435,w:319,h:21},
{t:"øya er omringet på tre sider av skyskrap-",p:120,x:118,y:458,w:295,h:21},
{t:"ere og fre millioner innbyggere med åtte ",p:120,x:118,y:481,w:301,h:21},
{t:"millioner til på fastlandet. Hver centimeter ",p:120,x:118,y:504,w:304,h:21},
{t:"av dette området er meningsbærende. Den ",p:120,x:118,y:527,w:316,h:21},
{t:"lagvise meningsproduksjonen begynner ",p:120,x:118,y:550,w:292,h:21},
{t:"med ideer lagt på landskapet av land-",p:120,x:118,y:573,w:276,h:21},
{t:"skapsarkitekten Fredric Law Olmsted som ",p:120,x:118,y:595,w:302,h:21},
{t:"i ettertid ble modifsert av nyere generas-",p:120,x:118,y:618,w:294,h:21},
{t:"joner. Parken er mer eller mindre et virvar ",p:120,x:118,y:641,w:302,h:21},
{t:"av statuer til minne om kjente personer og ",p:120,x:118,y:664,w:307,h:21},
{t:"til og med en hund. Den er også foreviget ",p:120,x:118,y:687,w:306,h:21},
{t:"gjennom utallige flmer og er feiret i et ",p:120,x:118,y:710,w:280,h:21},
{t:"berømt musikkstykke av charles Ives. Alle ",p:120,x:118,y:733,w:304,h:21},
{t:"disse lagene med mening danner bak-",p:120,x:118,y:756,w:277,h:21},
{t:"teppet til christos intervensjon i parken. Det ",p:120,x:118,y:779,w:317,h:21},
{t:"er central Parks blanding av monument, ",p:120,x:118,y:802,w:294,h:21},
{t:"myte, sosialt rom og lekeplass for tusenvis ",p:120,x:118,y:825,w:304,h:21},
{t:"av beboere omkring parken som christo og ",p:120,x:118,y:847,w:320,h:21},
{t:"Jeanne claude spiller på, refekter over og ",p:120,x:118,y:870,w:313,h:21},
{t:"utnytter. ",p:120,x:118,y:893,w:60,h:21},
{t:"Photo: Wolfgang Volz ©2005 christo and Jeanne-claude",p:120,x:439,y:1448,w:327,h:16},
{t:"121",p:121,x:1129,y:1464,w:22,h:16},
{t:"towarow zawierających wszystkie możliwe ",p:121,x:801,y:113,w:316,h:23},
{t:"prezentacje jego projektów - lecz nigdy ",p:121,x:801,y:136,w:292,h:23},
{t:"projekt jako taki. musimy więc spytac: ",p:121,x:801,y:159,w:279,h:23},
{t:"czy te towary są sztuką czy funkcjonują ",p:121,x:801,y:182,w:292,h:23},
{t:"tak samo jak książki, jak narzędzie do ",p:121,x:801,y:205,w:282,h:23},
{t:"zakomunikowania o dziele rozpadającym ",p:121,x:801,y:228,w:310,h:23},
{t:"się w momencie, gdy christo likwiduje ",p:121,x:801,y:251,w:281,h:23},
{t:"fzyczne rekwizyty, przy pomocy których ",p:121,x:801,y:274,w:300,h:23},
{t:"konstruował projekt?",p:121,x:801,y:297,w:148,h:23},
{t:"Przekształcenie turystycznie atrakcyjnego ",p:121,x:801,y:319,w:305,h:23},
{t:"krajobrazu w sprzedażny towar nie jest ",p:121,x:801,y:342,w:291,h:23},
{t:"niczym nowym. czy powinniśmy zacząć ",p:121,x:801,y:365,w:298,h:23},
{t:"patrzeć na land art jak na odnogę ",p:121,x:801,y:388,w:260,h:23},
{t:"metod późnych lat 1900 czyniącą naturę ",p:121,x:801,y:411,w:306,h:23},
{t:"sprzedażną, sięgającą tradycji dzielenia ",p:121,x:801,y:434,w:300,h:23},
{t:"natury na obrazy, jak w  malarstwie i ",p:121,x:801,y:457,w:274,h:23},
{t:"fotografi typu vedute? ",p:121,x:801,y:480,w:166,h:23},
{t:"Jest interesujące, ze większość artystów ",p:121,x:801,y:526,w:291,h:23},
{t:"land art unikało malarstwa -  historyc-",p:121,x:801,y:549,w:274,h:23},
{t:"znie patrząc, tej najbardziej popularnej ",p:121,x:801,y:571,w:292,h:23},
{t:"formy obramowania i wyboru panoramy ",p:121,x:801,y:594,w:299,h:23},
{t:"do rozmiarów tak poręcznych by mogły ",p:121,x:801,y:617,w:295,h:23},
{t:"cyrkulować między galeriami, muzeami, wil-",p:121,x:801,y:640,w:320,h:23},
{t:"lami i domami. Uchylanie się od malarstwa ",p:121,x:801,y:663,w:316,h:23},
{t:"było sposobem wskazania, że prezentacja ",p:121,x:801,y:686,w:314,h:23},
{t:"i jej sformułowanie nie jest samym dziełem ",p:121,x:801,y:709,w:311,h:23},
{t:"sztuki. w zamian fotografa stała się ",p:121,x:801,y:732,w:268,h:23},
{t:"preferowanym medium. Jako dokumentacja ",p:121,x:801,y:755,w:319,h:23},
{t:"lub nośnik informacji posiada fotogra-",p:121,x:801,y:778,w:273,h:23},
{t:"fa pewne właściwości czyniące z niej ",p:121,x:801,y:801,w:280,h:23},
{t:"narzędzie do przekazu land art. w swoim ",p:121,x:801,y:824,w:317,h:23},
{t:"poszukiwaniu ontologii fotografi konkluduje ",p:121,x:801,y:846,w:324,h:23},
{t:"roland Barthes, że esencją fotografi była ",p:121,x:801,y:869,w:308,h:23},
{t:"zdolność do bycia przezroczystą kopertą, ",p:121,x:801,y:892,w:310,h:23},
{t:"w którą składamy naturę. rosalind krauss ",p:121,x:801,y:915,w:306,h:23},
{t:"przedstawia tę samą myśl w bardziej teo-",p:121,x:801,y:938,w:300,h:23},
{t:"retycznym komentarzu pisząc, ze esencją ",p:121,x:801,y:961,w:305,h:23},
{t:"fotografi  było jej indexicality, gdzie znak ",p:121,x:801,y:984,w:308,h:23},
{t:"na fotografcznym negatywie jest indeksem ",p:121,x:801,y:1007,w:317,h:23},
{t:"tego, co zostało umieszczone przed ",p:121,x:801,y:1030,w:267,h:23},
{t:"kamerą wewnątrz ramy czasowej migawki.",p:121,x:801,y:1053,w:313,h:23},
{t:"wielu artystów związanych z earth art i ",p:121,x:801,y:1076,w:297,h:23},
{t:"land art używało fotografi jako głownego ",p:121,x:801,y:1098,w:316,h:23},
{t:"medim do komunikowania się z artystyczną ",p:121,x:801,y:1121,w:319,h:23},
{t:"publicznością, tą publicznością, która w ",p:121,x:801,y:1144,w:295,h:23},
{t:"coraz większym stopniu była nastawiona ",p:121,x:801,y:1167,w:302,h:23},
{t:"na to medium. Jan Dibbets, robert smith-",p:121,x:801,y:1190,w:295,h:23},
{t:"son, andy Galsworthy, richard long, ",p:121,x:801,y:1213,w:273,h:23},
{t:"matta-clark – wszyscy oni byli ważni dla ",p:121,x:801,y:1236,w:303,h:23},
{t:"współczesnej historii fotografi, natomiast ",p:121,x:801,y:1259,w:300,h:23},
{t:"fotografków takich jak niemieccy arytści ",p:121,x:801,y:1282,w:299,h:23},
{t:"Bernd i Hilla Becher - na podstawie ich ",p:121,x:801,y:1305,w:287,h:23},
{t:"dokumentacji wymarłych obszarów indus-",p:121,x:801,y:1328,w:303,h:23},
{t:"trialnych w das ruhrgebiet -  należałoby ",p:121,x:801,y:1351,w:295,h:23},
{t:"przypuszczalnie zaliczyć do historii land ",p:121,x:801,y:1373,w:302,h:23},
{t:"art. Duża ilość fotografi artystycznej z lat ",p:121,x:801,y:1396,w:307,h:23},
{t:"1960 i 70 z takimi nazwiskami jak m.in. ",p:121,x:801,y:1419,w:294,h:23},
{t:"christo benytter fotografer, plakater, bøker, ",p:121,x:88,y:114,w:321,h:21},
{t:"postkort, tegninger, tekster og flmer som ",p:121,x:88,y:137,w:296,h:21},
{t:"kommunikasjonsmedier og Internett, galleri-",p:121,x:88,y:160,w:312,h:21},
{t:"er, museer og bokhandlere som kanaler for ",p:121,x:88,y:183,w:317,h:21},
{t:"salgsvarene sine som består av alle mulige ",p:121,x:88,y:206,w:314,h:21},
{t:"presentasjoner av prosjektene hans – men ",p:121,x:88,y:229,w:308,h:21},
{t:"aldri prosjektet i seg selv. Så vi må spørre: ",p:121,x:88,y:252,w:309,h:21},
{t:"Er disse salgsvarene kunstverk eller fungerer ",p:121,x:88,y:275,w:323,h:21},
{t:"de på samme måte som en bok gjør, som et ",p:121,x:88,y:298,w:321,h:21},
{t:"verktøy for å kommunisere kunstverket som ",p:121,x:88,y:321,w:312,h:21},
{t:"går i oppløsning i det øyeblikket christo ",p:121,x:88,y:344,w:294,h:21},
{t:"avvikler de fysiske rekvisittene som han ",p:121,x:88,y:366,w:285,h:21},
{t:"konstruerte prosjektet med? Å gjør e severdige ",p:121,x:88,y:389,w:320,h:21},
{t:"landskap om til salgsvarer er ikke noe nytt. ",p:121,x:88,y:412,w:308,h:21},
{t:"Burde vi begynne å se på Land Art som en ",p:121,x:88,y:435,w:314,h:21},
{t:"utvekst sent på 1900-tallet av metoder for å ",p:121,x:88,y:458,w:319,h:21},
{t:"gjøre naturen salgbar som strekker seg i tid ",p:121,x:88,y:481,w:316,h:21},
{t:"tilbake til tradisjonen om å dele naturen inn i ",p:121,x:88,y:504,w:325,h:21},
{t:"bilder, som i forskjellige typer vedute maleri ",p:121,x:88,y:527,w:319,h:21},
{t:"og fotografer?",p:121,x:88,y:550,w:108,h:21},
{t:"Det er interessant at de feste Land Art ",p:121,x:88,y:596,w:279,h:21},
{t:"kunstnerne har unngått maleriet – historisk ",p:121,x:88,y:619,w:308,h:21},
{t:"sett den mest populære formen for innram-",p:121,x:88,y:641,w:305,h:21},
{t:"ming og utsnitt av panorama til håndterbare ",p:121,x:88,y:664,w:323,h:21},
{t:"størrelser for sirkulasjon i gallerier, museer, ",p:121,x:88,y:687,w:312,h:21},
{t:"villaer og boliger. Å vike unna maleriet var ",p:121,x:88,y:710,w:313,h:21},
{t:"en måte å påpeke at presentasjonen og ",p:121,x:88,y:733,w:293,h:21},
{t:"dens utforming ikke var selve kunstverket. ",p:121,x:88,y:756,w:300,h:21},
{t:"I stedet ble fotograf et foretrukket medium. ",p:121,x:88,y:779,w:313,h:21},
{t:"Som dokumentasjon eller informasjons-",p:121,x:88,y:802,w:281,h:21},
{t:"bærer har fotografet visse egenskaper som ",p:121,x:88,y:825,w:318,h:21},
{t:"gjør det til et egnet redskap for å kommu-",p:121,x:88,y:848,w:297,h:21},
{t:"nisere Land Art. I sin søken etter fotografets ",p:121,x:88,y:871,w:320,h:21},
{t:"ontologi, konkluderte Roland Barthes at ",p:121,x:88,y:893,w:291,h:21},
{t:"fotografets essens var evnen til være den ",p:121,x:88,y:916,w:302,h:21},
{t:"transparente konvolutten vi folder naturen ",p:121,x:88,y:939,w:304,h:21},
{t:"inn i. Rosalind Krauss fremsatte den samme ",p:121,x:88,y:962,w:315,h:21},
{t:"tanken i mer teoretiske ordelag da hun skrev ",p:121,x:88,y:985,w:324,h:21},
{t:"at fotografets essens var dets indexicality, ",p:121,x:88,y:1008,w:307,h:21},
{t:"hvor et merke på fotografets negativ er en ",p:121,x:88,y:1031,w:312,h:21},
{t:"indeks for hva som var plassert foran kamer-",p:121,x:88,y:1054,w:318,h:21},
{t:"aet innenfor lukkerens tidsramme. ",p:121,x:88,y:1077,w:245,h:21},
{t:"Flere av kunstnerne forbundet med Earth Art ",p:121,x:88,y:1100,w:324,h:21},
{t:"og Land Art brukte fotograf som hovedme-",p:121,x:88,y:1123,w:310,h:21},
{t:"dium for å kommunisere med kunstpublikum-",p:121,x:88,y:1145,w:318,h:21},
{t:"met, et publikum som i økende grad var ",p:121,x:88,y:1168,w:291,h:21},
{t:"innstilt på dette mediet. Jan Dibbets, Robert ",p:121,x:88,y:1191,w:316,h:21},
{t:"Smithson, Andy galsworthy, Richard Long, ",p:121,x:88,y:1214,w:313,h:21},
{t:"Matta-clark  var alle viktige innen samtidens ",p:121,x:88,y:1237,w:325,h:21},
{t:"fotohistorie mens fotografer som de tyske ",p:121,x:88,y:1260,w:300,h:21},
{t:"kunstnerne Bernd og Hilla Becher burde ",p:121,x:88,y:1283,w:295,h:21},
{t:"sannsynligvis inkluderes i historien om Land ",p:121,x:88,y:1306,w:317,h:21},
{t:"Art på bakgrunn av sin dokumentasjon av ",p:121,x:88,y:1329,w:307,h:21},
{t:"de øde industriområdene i das Ruhrgebiet. ",p:121,x:88,y:1352,w:314,h:21},
{t:"Mye av kunstfotografet fra 1960- og 70-tal-",p:121,x:88,y:1375,w:319,h:21},
{t:"let ser ut som prosjekter som fnner sted ",p:121,x:88,y:1398,w:287,h:21},
{t:"innenfor Land Art bevegelsen, med blant ",p:121,x:88,y:1420,w:298,h:21},
{t:"christo uses photographs, placards, ",p:121,x:444,y:114,w:264,h:21},
{t:"books, postcards, drawings, text and flms ",p:121,x:444,y:137,w:307,h:21},
{t:"as mediums of communication, and the ",p:121,x:444,y:160,w:286,h:21},
{t:"Internet, galleries, museums and bookstores ",p:121,x:444,y:183,w:319,h:21},
{t:"as channels for selling his commodities, ",p:121,x:444,y:206,w:288,h:21},
{t:"which are all sorts of presentations of his ",p:121,x:444,y:229,w:298,h:21},
{t:"projects – but never the project as such. So ",p:121,x:444,y:252,w:314,h:21},
{t:"we have to ask: are the commodities objects ",p:121,x:444,y:275,w:324,h:21},
{t:"of art, or do they act in the same way as a ",p:121,x:444,y:297,w:311,h:21},
{t:"book does, as an vehicle for communicating ",p:121,x:444,y:320,w:324,h:21},
{t:"the actual object of art, which is dissolved ",p:121,x:444,y:343,w:307,h:21},
{t:"the moment christo dismantles the physical ",p:121,x:444,y:366,w:314,h:21},
{t:"props he constructed the project from?   ",p:121,x:444,y:389,w:291,h:21},
{t:"Turning famous views of the landscapes ",p:121,x:444,y:412,w:291,h:21},
{t:"into commodities is nothing new. Should ",p:121,x:444,y:435,w:294,h:21},
{t:"we, therefore, start looking at Land Art as a ",p:121,x:444,y:458,w:318,h:21},
{t:"late 20th century outgrowth of approaches ",p:121,x:444,y:481,w:316,h:21},
{t:"to the commoditization of nature that leads ",p:121,x:444,y:504,w:314,h:21},
{t:"back to the tradition of chopping up nature ",p:121,x:444,y:527,w:316,h:21},
{t:"into sights, like different kinds of vedute ",p:121,x:444,y:550,w:286,h:21},
{t:"paintings or photographs? ",p:121,x:444,y:572,w:195,h:21},
{t:"Interestingly, most Land Art artists have ",p:121,x:444,y:618,w:284,h:21},
{t:"shunned painting, historically the most ",p:121,x:444,y:641,w:279,h:21},
{t:"popular form of framing and packing of ",p:121,x:444,y:664,w:293,h:21},
{t:"views into manageable sizes for circula-",p:121,x:444,y:687,w:288,h:21},
{t:"tion in galleries, museums, villas and ",p:121,x:444,y:710,w:266,h:21},
{t:"apartments. Avoiding painting was one ",p:121,x:444,y:733,w:288,h:21},
{t:"way of pointing out that the presentation ",p:121,x:444,y:756,w:297,h:21},
{t:"and its design were not the actual work ",p:121,x:444,y:779,w:288,h:21},
{t:"of art. Instead, photography became ",p:121,x:444,y:802,w:271,h:21},
{t:"the preferred medium. As a document or ",p:121,x:444,y:824,w:297,h:21},
{t:"keeper of information, photography has ",p:121,x:444,y:847,w:292,h:21},
{t:"certain properties that make it suitable as a ",p:121,x:444,y:870,w:316,h:21},
{t:"device for communicating Land Art. In his ",p:121,x:444,y:893,w:303,h:21},
{t:"search for the ontology of the photograph, ",p:121,x:444,y:916,w:313,h:21},
{t:"Roland Barthes concluded that the essence ",p:121,x:444,y:939,w:315,h:21},
{t:"of photography was its ability to be the ",p:121,x:444,y:962,w:287,h:21},
{t:"transparent envelope we fold nature into. ",p:121,x:444,y:985,w:302,h:21},
{t:"Rosalind Krauss put the same thought into a ",p:121,x:444,y:1008,w:320,h:21},
{t:"more theoretically laden phrase when she ",p:121,x:444,y:1031,w:307,h:21},
{t:"wrote about the essence of photography ",p:121,x:444,y:1054,w:298,h:21},
{t:"being its indexicality, where the marks on ",p:121,x:444,y:1077,w:302,h:21},
{t:"the photographical negative are indexes of ",p:121,x:444,y:1099,w:317,h:21},
{t:"what was placed before the camera in the ",p:121,x:444,y:1122,w:311,h:21},
{t:"timeframe determined by the shutter-speed. ",p:121,x:444,y:1145,w:315,h:21},
{t:"Several of the artists connected with Earth ",p:121,x:444,y:1168,w:307,h:21},
{t:"Art and Land Art used photography as their ",p:121,x:444,y:1191,w:320,h:21},
{t:"main medium for communicating with the ",p:121,x:444,y:1214,w:301,h:21},
{t:"art audience, an art audience increasingly ",p:121,x:444,y:1237,w:312,h:21},
{t:"geared towards photography. Jan Dibbets, ",p:121,x:444,y:1260,w:315,h:21},
{t:"Robert Smithson, Andy galsworthy, Richard ",p:121,x:444,y:1283,w:321,h:21},
{t:"Long, Matta-clark are all important fgures ",p:121,x:444,y:1306,w:312,h:21},
{t:"in the contemporary history of photography, ",p:121,x:444,y:1329,w:324,h:21},
{t:"while photographers like the german artists ",p:121,x:444,y:1351,w:321,h:21},
{t:"Bernd and Hilla Becher should probably ",p:121,x:444,y:1374,w:298,h:21},
{t:"be included in a history of Land Art based ",p:121,x:444,y:1397,w:309,h:21},
{t:"on their documentation of the industrial ",p:121,x:444,y:1420,w:287,h:21},
{t:"122",p:122,x:108,y:1465,w:23,h:16},
{t:"annet Baldessari og Ed Ruscha, og senere ",p:122,x:118,y:115,w:309,h:21},
{t:"Louis Balz, Robert Adams, Stephen Shore ",p:122,x:118,y:138,w:304,h:21},
{t:"og Robert Misrach. I sin bruk av fotograf ",p:122,x:118,y:161,w:303,h:21},
{t:"støttet kunstnere seg i såpass stor grad på ",p:122,x:118,y:183,w:307,h:21},
{t:"fotografet som representasjonsmedium at ",p:122,x:118,y:206,w:305,h:21},
{t:"det er rimelig å hevde at fotograf mulig-",p:122,x:118,y:229,w:290,h:21},
{t:"gjorde Land Art. Vi må spørre på hvilken ",p:122,x:118,y:252,w:299,h:21},
{t:"måte Earth Art og Land Art skiller seg fra ",p:122,x:118,y:275,w:299,h:21},
{t:"representasjoner av landskap i kunstverk ",p:122,x:118,y:298,w:297,h:21},
{t:"som malerier, skulpturer, tegninger, fotograf-",p:122,x:118,y:321,w:320,h:21},
{t:"er og andre anordninger for innramming, ",p:122,x:118,y:344,w:303,h:21},
{t:"som arkitektoniske plattformer? Slik jeg har ",p:122,x:118,y:367,w:314,h:21},
{t:"skissert terrenget i denne forelesningen, må ",p:122,x:118,y:390,w:316,h:21},
{t:"jeg konkludere at distinksjonene har blitt ",p:122,x:118,y:413,w:294,h:21},
{t:"mer og mer utydelige. ",p:122,x:118,y:435,w:164,h:21},
{t:"Forlag over hele Europa og Amerika hyret ",p:122,x:118,y:481,w:309,h:21},
{t:"fotografer så tidlig som i 1842 for å kunne ",p:122,x:118,y:504,w:313,h:21},
{t:"gjenskape berømte severdigheter gjennom ",p:122,x:118,y:527,w:313,h:21},
{t:"litografer etter fotografer. Disse severdig-",p:122,x:118,y:550,w:301,h:21},
{t:"hetene var omhyggelig valgt ut og gjennom ",p:122,x:118,y:573,w:320,h:21},
{t:"denne prosessen utviklet de som skulle ",p:122,x:118,y:596,w:282,h:21},
{t:"operere kameraet, som oftest mer eller ",p:122,x:118,y:619,w:283,h:21},
{t:"mindre dyktige malere, metoder for å velge ",p:122,x:118,y:642,w:318,h:21},
{t:"ut og komponere bildene slik at de tok seg ",p:122,x:118,y:665,w:312,h:21},
{t:"best ut. Ved å dele temaene inn i sublime ",p:122,x:118,y:687,w:301,h:21},
{t:"og pittoreske motiver ble deres måter å se ",p:122,x:118,y:710,w:307,h:21},
{t:"landskapet på forankret i datidens estetiske ",p:122,x:118,y:733,w:316,h:21},
{t:"kategorier. Når man leser tekstene i bøker ",p:122,x:118,y:756,w:310,h:21},
{t:"som fulgte med tredimensjonale fotografer, ",p:122,x:118,y:779,w:318,h:21},
{t:"noe som ble populært fra 1860-tallet, er det ",p:122,x:118,y:802,w:323,h:21},
{t:"som å se på TV i dag, og det er merkverdig ",p:122,x:118,y:825,w:320,h:21},
{t:"hvor snedig betrakteren manipuleres til å ",p:122,x:118,y:848,w:299,h:21},
{t:"se bildet som om de så på et kunstnerisk ",p:122,x:118,y:871,w:295,h:21},
{t:"innrammet landskap i tradisjonen som strakk ",p:122,x:118,y:894,w:323,h:21},
{t:"seg tilbake til tidlig i romantikken og de ",p:122,x:118,y:917,w:287,h:21},
{t:"nasjonalromantiske kunstnerne i Düsseldorf-",p:122,x:118,y:940,w:314,h:21},
{t:"skolen. Husk at fere av de mest innfytelses-",p:122,x:118,y:962,w:313,h:21},
{t:"rike og viktige amerikanske kunstnerne ",p:122,x:118,y:985,w:283,h:21},
{t:"jobbet som erfarne view fnders (utsikts-",p:122,x:118,y:1008,w:283,h:21},
{t:"fnnere) – for eksempel Albert Bierstadt ",p:122,x:118,y:1031,w:287,h:21},
{t:"– der de lette etter de mest interessante og ",p:122,x:118,y:1054,w:312,h:21},
{t:"maleriske utsiktene og instruerte fotografene ",p:122,x:118,y:1077,w:323,h:21},
{t:"på ekspedisjoner ut i den amerikanske ",p:122,x:118,y:1100,w:281,h:21},
{t:"villmarken.  ",p:122,x:118,y:1123,w:86,h:21},
{t:"I dag kan vi tolke denne prosessen på ",p:122,x:118,y:1169,w:280,h:21},
{t:"samme måte som at ikoner fra landskaps-",p:122,x:118,y:1192,w:297,h:21},
{t:"malerier som forsøker å ta for seg estetiske ",p:122,x:118,y:1214,w:313,h:21},
{t:"begreper blir til turistattraksjoner. Et prakt-",p:122,x:118,y:1237,w:300,h:21},
{t:"fullt eksempel er veien fra Lillehammer til ",p:122,x:118,y:1260,w:296,h:21},
{t:"Trondheim via Ringebu og Folldalen. ",p:122,x:118,y:1283,w:270,h:21},
{t:"I septemberutgaven 2008 av Icon fnner vi ",p:122,x:118,y:1306,w:315,h:21},
{t:"overskriften: Norsk villmark - arkitektenes ",p:122,x:118,y:1329,w:298,h:21},
{t:"syn på det sublime. ",p:122,x:118,y:1352,w:144,h:21},
{t:"Baldessari i ed ruscha, a później louis ",p:122,x:830,y:113,w:285,h:23},
{t:"Balz, robert adams, stephen shore i robert ",p:122,x:830,y:136,w:325,h:23},
{t:"misrach wygląda jak przedsięwzięcia  ",p:122,x:830,y:159,w:286,h:23},
{t:"ruchu land art. ",p:122,x:830,y:182,w:115,h:23},
{t:"w zastosowaniu fotografi wspierają się ",p:122,x:830,y:205,w:295,h:23},
{t:"artyści w tak dużym stopniu fotografą ",p:122,x:830,y:228,w:281,h:23},
{t:"jako medium reprezentujacym, że słuszne ",p:122,x:830,y:250,w:306,h:23},
{t:"jest twierdzenie, iż fotografa umożliwiła ",p:122,x:830,y:273,w:297,h:23},
{t:"land art. musimy spytać w jaki sposób ",p:122,x:830,y:296,w:287,h:23},
{t:"earth art i land art odróżniają się jako ",p:122,x:830,y:319,w:288,h:23},
{t:"architektoniczne platformy od reprezen-",p:122,x:830,y:342,w:288,h:23},
{t:"tacji krajobrazów w dziełach malarskich, ",p:122,x:830,y:365,w:302,h:23},
{t:"rzeźbiarskich, rysunkach, fotografach i in-",p:122,x:830,y:388,w:304,h:23},
{t:"nych systemach obramowania?  sposób w ",p:122,x:830,y:411,w:314,h:23},
{t:"jaki naszkicowałem teren w tym wykładzie, ",p:122,x:830,y:434,w:317,h:23},
{t:"prowadzi do wniosku, że dystynkcje stają ",p:122,x:830,y:457,w:306,h:23},
{t:"się coraz bardziej niewyraźne.",p:122,x:830,y:480,w:224,h:23},
{t:"wydawnictwa w całej europie i ameryce ",p:122,x:830,y:525,w:306,h:23},
{t:"zatrudniały fotografów już od 1842 roku ",p:122,x:830,y:548,w:303,h:23},
{t:"dla odtworzenia poprzez litografe oparte ",p:122,x:830,y:571,w:312,h:23},
{t:"na fotografi słynnych atrakcji turystycznych. ",p:122,x:830,y:594,w:322,h:23},
{t:"atrakcje te były starannie wybierane, a ",p:122,x:830,y:617,w:288,h:23},
{t:"ci którzy używali kamery – to najczęściej ",p:122,x:830,y:640,w:302,h:23},
{t:"utalentowani malarze, którzy przez ten ",p:122,x:830,y:663,w:287,h:23},
{t:"proces rozwinęli metody doboru i kompozy-",p:122,x:830,y:686,w:319,h:23},
{t:"cji obrazów, tak by wypadały jak najlepiej.  ",p:122,x:830,y:709,w:322,h:23},
{t:"Przez wyodrębnianie wysublimowanych ",p:122,x:830,y:732,w:295,h:23},
{t:"i malowniczych motywów, ich sposób ",p:122,x:830,y:755,w:277,h:23},
{t:"spojrzenia na krajobraz był zakotwiczony ",p:122,x:830,y:777,w:310,h:23},
{t:"w ówczesnych kategoriach estetycznych. ",p:122,x:830,y:800,w:301,h:23},
{t:"kiedy czyta się teksty książek, które ",p:122,x:830,y:823,w:262,h:23},
{t:"następowały za trójwymiarowymi fotogra-",p:122,x:830,y:846,w:305,h:23},
{t:"fami, co było popularne od lat 1860, ",p:122,x:830,y:869,w:279,h:23},
{t:"to tak jakby się dziś oglądało telewizję ",p:122,x:830,y:892,w:286,h:23},
{t:"i jest niezwykłe jak zręcznie manipuluje ",p:122,x:830,y:915,w:290,h:23},
{t:"się oglądającym, żeby patrzył na obraz ",p:122,x:830,y:938,w:296,h:23},
{t:"jakby to był artystycznie obramowany ",p:122,x:830,y:961,w:280,h:23},
{t:"pejzaż w tradycji, która sięga romantyzmu ",p:122,x:830,y:984,w:313,h:23},
{t:"i narodowych romantykow szkoły Düssel-",p:122,x:830,y:1007,w:297,h:23},
{t:"dorf.  Pamiętajmy, że wielu z najbardziej ",p:122,x:830,y:1030,w:300,h:23},
{t:"wpływowych i ważnych amerykańskich ",p:122,x:830,y:1052,w:290,h:23},
{t:"artystów pracowało jako doświadczeni ” ",p:122,x:830,y:1075,w:302,h:23},
{t:"view fnders”(wyszukiwacze widoków) – ",p:122,x:830,y:1098,w:300,h:23},
{t:"na przykład albert Bierstad, poszukując ",p:122,x:830,y:1121,w:295,h:23},
{t:"najbardziej interesujących i malarskich ",p:122,x:830,y:1144,w:284,h:23},
{t:"widoków i instruując fotografów w ich ek-",p:122,x:830,y:1167,w:300,h:23},
{t:"spedycjach w dziką amerykańską naturę.",p:122,x:830,y:1190,w:300,h:23},
{t:"Dziś tłumaczymy ten proces w ten sposób, ",p:122,x:830,y:1236,w:310,h:23},
{t:"że gdy ikony malarstwa krajobrazowego ",p:122,x:830,y:1259,w:303,h:23},
{t:"nabierają estetycznych wartości to stają ",p:122,x:830,y:1282,w:293,h:23},
{t:"się atrakcjami turystycznymi.  znakomitym ",p:122,x:830,y:1304,w:307,h:23},
{t:"tego przykładem jest droga z lillehammer ",p:122,x:830,y:1327,w:309,h:23},
{t:"do trondheim przez ringebu i Folldalen. w ",p:122,x:830,y:1350,w:321,h:23},
{t:"wydaniu icon z sierpnia 2008 znajdujemy ",p:122,x:830,y:1373,w:314,h:23},
{t:"tytuł: ”Dzika Norwegia – architektoniczna ",p:122,x:830,y:1396,w:309,h:23},
{t:"wizja sublimatu.”3",p:122,x:830,y:1419,w:134,h:23},
{t:"wasteland of the Ruhrgebiet. A lot of art ",p:122,x:474,y:114,w:293,h:21},
{t:"photography from the 1960-70s looks like ",p:122,x:474,y:137,w:310,h:21},
{t:"projects taking place inside the Land Art ",p:122,x:474,y:160,w:295,h:21},
{t:"movement, photographs by among others: ",p:122,x:474,y:183,w:310,h:21},
{t:"Baldessari, Ed Ruscha and – a bit later – ",p:122,x:474,y:206,w:298,h:21},
{t:"Louis Balz, Robert Adams, Stephen Shore",p:122,x:474,y:229,w:300,h:21},
{t:"and Robert Misrach. In their use of photo-",p:122,x:474,y:252,w:301,h:21},
{t:"graphy, the artists were leaning so heavily ",p:122,x:474,y:275,w:309,h:21},
{t:"on it as a medium of representation that ",p:122,x:474,y:298,w:291,h:21},
{t:"it seems reasonable to assert that photo-",p:122,x:474,y:320,w:290,h:21},
{t:"graphy made Land Art possible. we have ",p:122,x:474,y:343,w:307,h:21},
{t:"to ask in which ways Earth Art and Land ",p:122,x:474,y:366,w:296,h:21},
{t:"Art differ from making representations of ",p:122,x:474,y:389,w:296,h:21},
{t:"landscapes in artworks such as paintings, ",p:122,x:474,y:412,w:303,h:21},
{t:"drawings, photographs and framing devises ",p:122,x:474,y:435,w:322,h:21},
{t:"like architectural platforms? As I have ",p:122,x:474,y:458,w:274,h:21},
{t:"sketched the feld in this lecture, I have to ",p:122,x:474,y:481,w:300,h:21},
{t:"conclude that the distinctions have become ",p:122,x:474,y:504,w:315,h:21},
{t:"more and more blurred.",p:122,x:474,y:527,w:172,h:21},
{t:"Publishers all over Europe and America ",p:122,x:474,y:572,w:289,h:21},
{t:"hired photographers as early as 1842 ",p:122,x:474,y:595,w:282,h:21},
{t:"to publish famous views reproduced as ",p:122,x:474,y:618,w:286,h:21},
{t:"lithographs from photographs. These were ",p:122,x:474,y:641,w:310,h:21},
{t:"carefully selected views and, in the process, ",p:122,x:474,y:664,w:320,h:21},
{t:"the operators of the cameras, often more ",p:122,x:474,y:687,w:299,h:21},
{t:"or less skilled painters, developed ways of ",p:122,x:474,y:710,w:309,h:21},
{t:"selecting and composing the views so they ",p:122,x:474,y:733,w:312,h:21},
{t:"would look their very best, anchoring their ",p:122,x:474,y:756,w:310,h:21},
{t:"way of viewing the landscape in the ",p:122,x:474,y:779,w:266,h:21},
{t:"categories of contemporary aesthetics, ",p:122,x:474,y:802,w:285,h:21},
{t:"dividing the subjects into sublime and ",p:122,x:474,y:824,w:274,h:21},
{t:"picturesque motifs. Reading books with 3D ",p:122,x:474,y:847,w:313,h:21},
{t:"photographs, which became a popular ",p:122,x:474,y:870,w:288,h:21},
{t:"pastime from the 1860s, is like watching ",p:122,x:474,y:893,w:295,h:21},
{t:"television; one is struck by how cleverly the ",p:122,x:474,y:916,w:314,h:21},
{t:"onlooker is manipulated into perceiving the ",p:122,x:474,y:939,w:317,h:21},
{t:"views as if they were looking at artistically ",p:122,x:474,y:962,w:308,h:21},
{t:"framed landscapes in the tradition spanning ",p:122,x:474,y:985,w:322,h:21},
{t:"from the early romantics to the national ro-",p:122,x:474,y:1008,w:306,h:21},
{t:"mantic artists of the Düsseldorf School. Bear ",p:122,x:474,y:1031,w:323,h:21},
{t:"in mind that several of the most infuential ",p:122,x:474,y:1054,w:302,h:21},
{t:"and important American artists who were ",p:122,x:474,y:1077,w:303,h:21},
{t:"working as ‘view-fnders – looking up the ",p:122,x:474,y:1099,w:301,h:21},
{t:"most interesting and artistic views and in-",p:122,x:474,y:1122,w:293,h:21},
{t:"structing the photographers on expeditions ",p:122,x:474,y:1145,w:313,h:21},
{t:"into the American wilderness, like Albert ",p:122,x:474,y:1168,w:295,h:21},
{t:"Bierstadt – were trained artists in this idiom. ",p:122,x:474,y:1191,w:317,h:21},
{t:"Today, we can read this process in the way ",p:122,x:474,y:1237,w:317,h:21},
{t:"that icons of landscape paintings, trying to ",p:122,x:474,y:1260,w:311,h:21},
{t:"grapple with aesthetic concepts, are made ",p:122,x:474,y:1283,w:313,h:21},
{t:"into tourist spots. A marvelous case study ",p:122,x:474,y:1306,w:299,h:21},
{t:"can be found driving from Lillehammer ",p:122,x:474,y:1329,w:283,h:21},
{t:"to Trondheim by way of Ringebu through ",p:122,x:474,y:1351,w:300,h:21},
{t:"Folldalen. In the September 2008 issue of ",p:122,x:474,y:1374,w:309,h:21},
{t:"Icon we fnd the headline: ‘wild Norway - ",p:122,x:474,y:1397,w:311,h:21},
{t:"Architects take on the Sublime. ",p:122,x:474,y:1420,w:226,h:21},
{t:"123",p:123,x:1128,y:1464,w:23,h:16},
{t:"Mellom 1899 og 1914 strevde den norske ",p:123,x:88,y:115,w:313,h:21},
{t:"maleren Harald Sohlberg med ideen om ",p:123,x:88,y:138,w:298,h:21},
{t:"å transformere utsikten over Rondane til et ",p:123,x:88,y:161,w:307,h:21},
{t:"maleri. Han besøkte fjellheimen for første ",p:123,x:88,y:183,w:302,h:21},
{t:"gang i påsken 1899 og kom tilbake for ",p:123,x:88,y:206,w:289,h:21},
{t:"å tilbringe den siste dagen av det 19. ",p:123,x:88,y:229,w:276,h:21},
{t:"århundre, nyttårsaften 1900, på toppen av ",p:123,x:88,y:252,w:315,h:21},
{t:"Rondane. Sohlberg klatret opp på fjellet, ",p:123,x:88,y:275,w:299,h:21},
{t:"lagde tegninger, tok fotografer og tegnet til ",p:123,x:88,y:298,w:321,h:21},
{t:"og med kart. Det første produktet av denne ",p:123,x:88,y:321,w:317,h:21},
{t:"prosessen, i følge kunstneren selv, så ut ",p:123,x:88,y:344,w:287,h:21},
{t:"som et maleri av en eplehage før det ble ",p:123,x:88,y:367,w:300,h:21},
{t:"forvandlet til hva Jens Thiis har beskrevet ",p:123,x:88,y:390,w:297,h:21},
{t:"som frossen musikk. Sohlberg strevde med ",p:123,x:88,y:413,w:308,h:21},
{t:"å omforme naturen til kunst, mens utsikts-",p:123,x:88,y:435,w:290,h:21},
{t:"plattformen i skogen forsøker å projisere ",p:123,x:88,y:458,w:296,h:21},
{t:"maleriet tilbake på naturen. Han bodde der ",p:123,x:88,y:481,w:320,h:21},
{t:"i tre år mens han prøvde å realisere målet ",p:123,x:88,y:504,w:307,h:21},
{t:"sitt og produserte en serie med studier, ",p:123,x:88,y:527,w:283,h:21},
{t:"et forholdsvis lite ferdig maleri og et stort ",p:123,x:88,y:550,w:298,h:21},
{t:"uferdig et. I 1911-14 gjorde han ferdig den ",p:123,x:88,y:573,w:315,h:21},
{t:"store versjonen av bildet Vinternatt i fjellene. ",p:123,x:88,y:596,w:323,h:21},
{t:"Maleriet ble en sensasjon på Jubileumsut-",p:123,x:88,y:619,w:300,h:21},
{t:"stillingen i 1914 som feiret grunnloven av ",p:123,x:88,y:642,w:301,h:21},
{t:"1814 og utmerket seg ved Panama Pacifc ",p:123,x:88,y:665,w:308,h:21},
{t:"utstillingen i San Francisco i 1915. Etter at ",p:123,x:88,y:687,w:305,h:21},
{t:"det ble skjenket til Nasjonalgalleriet i Oslo ",p:123,x:88,y:710,w:311,h:21},
{t:"har det forblitt et nasjonalt ikon. ",p:123,x:88,y:733,w:233,h:21},
{t:"Sohlberg konstruerte bildet basert på ",p:123,x:88,y:779,w:274,h:21},
{t:"observasjoner av landskapet fra forskjellige ",p:123,x:88,y:802,w:319,h:21},
{t:"vinkler – ved å gå opp og ned åsen overfor ",p:123,x:88,y:825,w:322,h:21},
{t:"fjellene – og ikke observere fra ett enkelt ",p:123,x:88,y:848,w:297,h:21},
{t:"ståsted. Plattformen designet av arkitekten ",p:123,x:88,y:871,w:307,h:21},
{t:"Hølmebakk fører deg inn i skogen til et ",p:123,x:88,y:894,w:286,h:21},
{t:"punkt der utsikten over fjellene er så likt ",p:123,x:88,y:917,w:288,h:21},
{t:"som mulig maleriet på Nasjonalgalleriet. ",p:123,x:88,y:940,w:299,h:21},
{t:"På plattformen blir møtet med fjellene en ",p:123,x:88,y:962,w:297,h:21},
{t:"umiddelbar opplevelse av det sublime ut i ",p:123,x:88,y:985,w:305,h:21},
{t:"fra Sohlbergs tolkning av landskapet. Fra ",p:123,x:88,y:1008,w:301,h:21},
{t:"denne plattformen kan vi observere det ",p:123,x:88,y:1031,w:288,h:21},
{t:"sublime i naturen på trygg avstand og kan ",p:123,x:88,y:1054,w:311,h:21},
{t:"få frysninger på ryggen uten særlig innsats. ",p:123,x:88,y:1077,w:318,h:21},
{t:"Vi må være takknemlige overfor Sohlberg ",p:123,x:88,y:1100,w:306,h:21},
{t:"som klatret i fjellene og til og med svømte ",p:123,x:88,y:1123,w:304,h:21},
{t:"over elven på vinteren for å komme i riktig ",p:123,x:88,y:1146,w:308,h:21},
{t:"sinnsstemning for å male Vinternatt i fjellene. ",p:123,x:88,y:1169,w:325,h:21},
{t:"I samme utgave av Icon kan man fnne en ",p:123,x:88,y:1214,w:306,h:21},
{t:"illustrasjon av Olafur Eliassons simulasjon ",p:123,x:88,y:1237,w:303,h:21},
{t:"av Niagarafossen under Brooklyn Bridge. ",p:123,x:88,y:1260,w:307,h:21},
{t:"Mens Sohlberg brakte Rondane inn i ",p:123,x:88,y:1283,w:271,h:21},
{t:"museet, skapte Eliasson en fysisk modell, ",p:123,x:88,y:1306,w:296,h:21},
{t:"i liten skala, av fossen, i New york. Man ",p:123,x:88,y:1329,w:295,h:21},
{t:"kunne hevde at maleriet til Sohlberg, ",p:123,x:88,y:1352,w:269,h:21},
{t:"plattformen til Hølmebakk og fossen til ",p:123,x:88,y:1375,w:282,h:21},
{t:"Eliasson har til felles at de viser oss, som ",p:123,x:88,y:1398,w:295,h:21},
{t:"kunstpublikum, sublime syn uten personlig ",p:123,x:88,y:1421,w:305,h:21},
{t:"między rokiem1899 a 1914 trudził się ",p:123,x:801,y:113,w:286,h:23},
{t:"norweski malarz Harald sohlberg nad ",p:123,x:801,y:136,w:284,h:23},
{t:"pomysłem przetransponowania widoku ",p:123,x:801,y:159,w:289,h:23},
{t:"znad rondane  na malarstwo. odwiedził te ",p:123,x:801,y:182,w:322,h:23},
{t:"góry po raz pierwszy na wielkanoc 1899 i ",p:123,x:801,y:205,w:322,h:23},
{t:"powrócił tam żeby spędzić ostatni dzień XiX ",p:123,x:801,y:228,w:324,h:23},
{t:"stulecia, Nowy rok 1900, na szczycie ron-",p:123,x:801,y:250,w:314,h:23},
{t:"dane. sohlberg wspinał się po górach, robił ",p:123,x:801,y:273,w:323,h:23},
{t:"rysunki, fotografował i nawet rysował mapy. ",p:123,x:801,y:296,w:324,h:23},
{t:"Pierwszy produkt tego procesu, według ",p:123,x:801,y:319,w:290,h:23},
{t:"samego artysty, wyglądał jak namalowany ",p:123,x:801,y:342,w:316,h:23},
{t:"obraz sadu jabłkowego, zanim został ",p:123,x:801,y:365,w:277,h:23},
{t:"przekształcony w to co Jens thiis opisał ",p:123,x:801,y:388,w:291,h:23},
{t:"jako „zamrożona muzyka”. sohlberg trudził ",p:123,x:801,y:411,w:323,h:23},
{t:"się nad przetworzeniem natury w sztukę, ",p:123,x:801,y:434,w:300,h:23},
{t:"podczas gdy platforma widokowa w lesie ",p:123,x:801,y:457,w:309,h:23},
{t:"dokonuje projekcji malarstwa z powrotem ",p:123,x:801,y:480,w:308,h:23},
{t:"do natury. mieszkał tam 3 lata, próbując ",p:123,x:801,y:503,w:302,h:23},
{t:"realizować swoje zamierzenia. wykonał ",p:123,x:801,y:525,w:300,h:23},
{t:"serię studiów, jeden stosunkowo mało ",p:123,x:801,y:548,w:276,h:23},
{t:"gotowy obraz i jeden duży niegotowy. w ",p:123,x:801,y:571,w:308,h:23},
{t:"latach1911-14 wykończył tę większą wersję ",p:123,x:801,y:594,w:322,h:23},
{t:"obrazu Vinternatt i fjellene ( zimow noca w ",p:123,x:801,y:617,w:317,h:23},
{t:"górach). obraz wywołał  sensację na ",p:123,x:801,y:640,w:279,h:23},
{t:"wystawie Jubileuszowej w 1914 roku, ",p:123,x:801,y:663,w:282,h:23},
{t:"kiedy to świętowano konstytucję 1814, ",p:123,x:801,y:686,w:284,h:23},
{t:"wyróżnił się także na wystawie Panama ",p:123,x:801,y:709,w:293,h:23},
{t:"Pacifc w san Francisco w 1915 roku. Po ",p:123,x:801,y:732,w:298,h:23},
{t:"przkazaniu go Galerii Narodowej w oslo ",p:123,x:801,y:755,w:310,h:23},
{t:"stał się narodową ikoną. ",p:123,x:801,y:777,w:181,h:23},
{t:"sohlberg konstruował swój obraz bazując ",p:123,x:801,y:823,w:311,h:23},
{t:"na obserwacjach krajobrazu pod różnymi ",p:123,x:801,y:846,w:310,h:23},
{t:"kątami, wędrując po górach i dolinach – a ",p:123,x:801,y:869,w:315,h:23},
{t:"nie obserwując go z jednego miejsca.",p:123,x:801,y:892,w:276,h:23},
{t:"Platforma zaprojektowana przez architekta ",p:123,x:801,y:915,w:318,h:23},
{t:"Hølmebakka prowadzi cię do lasu, do ",p:123,x:801,y:938,w:284,h:23},
{t:"punktu, gdzie widok na góry jest możliwie ",p:123,x:801,y:961,w:311,h:23},
{t:"najbardziej zbliżony do obrazu z Galerii ",p:123,x:801,y:984,w:303,h:23},
{t:"Narodowej. Na platformie spotkanie z ",p:123,x:801,y:1007,w:286,h:23},
{t:"górami staje się bezpośrednim odczuciem ",p:123,x:801,y:1029,w:309,h:23},
{t:"tego sublimatu, który sohlberg przedstawia ",p:123,x:801,y:1052,w:320,h:23},
{t:"w swoich krajobrazach. z tej platformy ",p:123,x:801,y:1075,w:287,h:23},
{t:"możemy obserwować wzniosłość natury ",p:123,x:801,y:1098,w:298,h:23},
{t:"z bezpiecznej odległości i odczuwać ",p:123,x:801,y:1121,w:274,h:23},
{t:"ciarki na plecach bez specjalnego wysiłku. ",p:123,x:801,y:1144,w:316,h:23},
{t:"Powinniśmy być wdzięczni sohlbergowi, ",p:123,x:801,y:1167,w:298,h:23},
{t:"który wspinał się po górach i pływał w ",p:123,x:801,y:1190,w:285,h:23},
{t:"rzece  nawet zimą, żeby osiągnąć stan ",p:123,x:801,y:1213,w:288,h:23},
{t:"umysłu właściwy do namalowania zimowej ",p:123,x:801,y:1236,w:319,h:23},
{t:"nocy w górach.",p:123,x:801,y:1259,w:113,h:23},
{t:"w tym samym wydaniu icon można ",p:123,x:801,y:1304,w:265,h:23},
{t:"znaleźć ilustrację symulacji wodospadu ",p:123,x:801,y:1327,w:291,h:23},
{t:"Niagara wykonanej przez olafura elias-",p:123,x:801,y:1350,w:295,h:23},
{t:"sona pod mostem Brooklińskim. Podczas ",p:123,x:801,y:1373,w:301,h:23},
{t:"gdy sohlberg wprowadził rondane do ",p:123,x:801,y:1396,w:288,h:23},
{t:"muzeum, eliasson stworzył fzyczny model ",p:123,x:801,y:1419,w:310,h:23},
{t:"Between 1899 and 1914 the Norwegian ",p:123,x:444,y:114,w:304,h:21},
{t:"painter Harald Sohlberg struggled with the ",p:123,x:444,y:137,w:315,h:21},
{t:"idea of turning the view of the mountains ",p:123,x:444,y:160,w:298,h:21},
{t:"of Rondane into a painting. He visited the ",p:123,x:444,y:183,w:305,h:21},
{t:"mountain-area for the frst time at Easter in ",p:123,x:444,y:206,w:308,h:21},
{t:"1899 and came back to spend the last day ",p:123,x:444,y:229,w:320,h:21},
{t:"of the 19th century – New years Eve 1900 ",p:123,x:444,y:252,w:316,h:21},
{t:"– at the Rondane mountain top. Sohlberg ",p:123,x:444,y:275,w:303,h:21},
{t:"climbed the mountain and made drawings, ",p:123,x:444,y:297,w:315,h:21},
{t:"photographs, even maps. In the process he ",p:123,x:444,y:320,w:315,h:21},
{t:"turned – what at the frst attempt, accord-",p:123,x:444,y:343,w:296,h:21},
{t:"ing to the artist, looked like a painting of ",p:123,x:444,y:366,w:296,h:21},
{t:"an apple garden – into what Jens Thiis ",p:123,x:444,y:389,w:283,h:21},
{t:"has described as ‘frozen music. Sohlberg ",p:123,x:444,y:412,w:302,h:21},
{t:"struggled to turn nature into art, while the ",p:123,x:444,y:435,w:302,h:21},
{t:"viewing platform in the woods tries to proj-",p:123,x:444,y:458,w:306,h:21},
{t:"ect the painting back into nature. ",p:123,x:444,y:481,w:242,h:21},
{t:"He lived there for three years while trying ",p:123,x:444,y:504,w:304,h:21},
{t:"to realize his idea, and produced a series ",p:123,x:444,y:527,w:306,h:21},
{t:"of studies, one rather small, fnished paint-",p:123,x:444,y:550,w:301,h:21},
{t:"ing and one large, unfnished painting. In ",p:123,x:444,y:572,w:302,h:21},
{t:"1911-14, he fnished the large version of ",p:123,x:444,y:595,w:295,h:21},
{t:"the painting winter Night in the Mountains. ",p:123,x:444,y:618,w:319,h:21},
{t:"The painting became a sensation at the ",p:123,x:444,y:641,w:289,h:21},
{t:"jubilee exhibition of 1914 (celebrating the ",p:123,x:444,y:664,w:308,h:21},
{t:"Norwegian constitution of 1814), and was ",p:123,x:444,y:687,w:316,h:21},
{t:"honorably mentioned at the Panama Pacifc ",p:123,x:444,y:710,w:320,h:21},
{t:"Exhibition in San Francisco in 1915. After ",p:123,x:444,y:733,w:303,h:21},
{t:"it was presented to the National gallery in ",p:123,x:444,y:756,w:314,h:21},
{t:"Oslo it has remained a national icon. ",p:123,x:444,y:779,w:272,h:21},
{t:"Sohlberg constructed his image from ",p:123,x:444,y:824,w:269,h:21},
{t:"observations of the landscape from different ",p:123,x:444,y:847,w:323,h:21},
{t:"angles, by walking up and down the hillside ",p:123,x:444,y:870,w:324,h:21},
{t:"opposite the mountains, and not from one ",p:123,x:444,y:893,w:305,h:21},
{t:"single viewpoint. The platform designed by ",p:123,x:444,y:916,w:314,h:21},
{t:"the architect Hølmebakk, leads you into ",p:123,x:444,y:939,w:292,h:21},
{t:"the woods, placing you at a point with a ",p:123,x:444,y:962,w:297,h:21},
{t:"view of the mountains, which resembles, as ",p:123,x:444,y:985,w:315,h:21},
{t:"closely as possible, the painting in the Na-",p:123,x:444,y:1008,w:306,h:21},
{t:"tional gallery. The platform turns the experi-",p:123,x:444,y:1031,w:318,h:21},
{t:"ence of the mountains into an instantaneous ",p:123,x:444,y:1054,w:321,h:21},
{t:"encounter with the sublime according to ",p:123,x:444,y:1077,w:293,h:21},
{t:"Sohlberg´s interpretation of the landscape. ",p:123,x:444,y:1099,w:317,h:21},
{t:"From the platform, we are able to observe ",p:123,x:444,y:1122,w:309,h:21},
{t:"the sublime in nature at a safe distance, ",p:123,x:444,y:1145,w:290,h:21},
{t:"getting the spine-tingling effect without any ",p:123,x:444,y:1168,w:313,h:21},
{t:"effort. we have to be thankful to Sohlberg, ",p:123,x:444,y:1191,w:314,h:21},
{t:"who climbed the mountains and even swam ",p:123,x:444,y:1214,w:321,h:21},
{t:"across the river in wintertime to get the right ",p:123,x:444,y:1237,w:319,h:21},
{t:"feeling that could prepare him for painting ",p:123,x:444,y:1260,w:311,h:21},
{t:"his winter Night in the Mountains. ",p:123,x:444,y:1283,w:253,h:21},
{t:"In the same issue of Icon, you will also fnd ",p:123,x:444,y:1329,w:313,h:21},
{t:"an illustration of Olafur Eliassons simulation ",p:123,x:444,y:1351,w:318,h:21},
{t:"of the Niagara Falls under the Brooklyn ",p:123,x:444,y:1374,w:292,h:21},
{t:"Bridge. Sohlberg brought the Rondane ",p:123,x:444,y:1397,w:285,h:21},
{t:"mountains into the museum, while Eliasson ",p:123,x:444,y:1420,w:309,h:21},
{t:"124",p:124,x:108,y:1465,w:23,h:16},
{t:"125",p:125,x:1128,y:1464,w:23,h:16},
{t:"Utsikten fra Sohlbergplassen utsiktsplass, ",p:125,x:859,y:145,w:231,h:16},
{t:"Nasjonal turistveg Rondane. ",p:125,x:859,y:164,w:162,h:16},
{t:"Litt informasjon om plassen og historien ",p:125,x:859,y:183,w:223,h:16},
{t:"bak harald Sohlbergs berømte maleri ",p:125,x:859,y:201,w:217,h:16},
{t:"er montert på rekkverket. ",p:125,x:859,y:220,w:144,h:16},
{t:"Arkitekt: carl-Viggo hølmebakk. ",p:125,x:859,y:239,w:187,h:16},
{t:"© Foto: helge Stikbakke/Statens vegvesen",p:125,x:859,y:258,w:238,h:16},
{t:"Sohlbergplassen viewpoint, ",p:125,x:859,y:315,w:156,h:16},
{t:"National Tourist Route, Rondane. ",p:125,x:859,y:334,w:188,h:16},
{t:"Some information about the place and the story ",p:125,x:859,y:353,w:270,h:16},
{t:"behind harald Sohlbergs famous ",p:125,x:859,y:372,w:189,h:16},
{t:"painting is mounted to the railing. ",p:125,x:859,y:390,w:191,h:16},
{t:"Architect: carl-Viggo hølmebakk. ",p:125,x:859,y:409,w:192,h:16},
{t:"© Photo: helge Stikbakke/Statens vegvesen",p:125,x:859,y:428,w:246,h:16},
{t:"Perspektywa z punktu widokowego na placu ",p:125,x:859,y:489,w:253,h:17},
{t:"Sohlberga, Szlak turystyczny w parku ",p:125,x:859,y:508,w:213,h:17},
{t:"narodowym rondane. trochę informacji o ",p:125,x:859,y:527,w:237,h:17},
{t:"placu i historii leżącej u podstawy słynnego ",p:125,x:859,y:545,w:246,h:17},
{t:"obrazu Haralda Sohlberga umieszczone na ",p:125,x:859,y:564,w:250,h:17},
{t:"balustradzie. Architekt: Carl-Viggo Hølmebakk. ",p:125,x:859,y:583,w:270,h:17},
{t:"© Foto: Helge Stikbakke/Norweska ",p:125,x:859,y:602,w:204,h:17},
{t:"Administracja Dróg Publicznych",p:125,x:859,y:620,w:177,h:17},
{t:"126",p:126,x:108,y:1465,w:23,h:16},
{t:"makes a small-scale physical model of the ",p:126,x:474,y:115,w:306,h:21},
{t:"waterfall in New york.  One could argue ",p:126,x:474,y:138,w:301,h:21},
{t:"that the painting by Sohlberg, the platform ",p:126,x:474,y:161,w:311,h:21},
{t:"by Hølmebakk and the waterfall by Elias-",p:126,x:474,y:183,w:299,h:21},
{t:"son share the fact that they bring us, as art ",p:126,x:474,y:206,w:311,h:21},
{t:"appreciators, before sublime views without ",p:126,x:474,y:229,w:313,h:21},
{t:"having to take any personal risks. This they ",p:126,x:474,y:252,w:312,h:21},
{t:"share with most Land Art projects taking ",p:126,x:474,y:275,w:293,h:21},
{t:"place across the western world. They can ",p:126,x:474,y:298,w:308,h:21},
{t:"be seen as ritualistic outings and probably ",p:126,x:474,y:321,w:310,h:21},
{t:"have more in common with the aristocrats ",p:126,x:474,y:344,w:305,h:21},
{t:"advancing into mythological nature when ",p:126,x:474,y:367,w:304,h:21},
{t:"participating in the fete gallants painted by ",p:126,x:474,y:390,w:316,h:21},
{t:"watteau than the 19th century artists follow-",p:126,x:474,y:413,w:319,h:21},
{t:"ing expeditions surveying the wilderness in ",p:126,x:474,y:435,w:312,h:21},
{t:"the South Seas, Asia, the Near East and the ",p:126,x:474,y:458,w:322,h:21},
{t:"Americas. ",p:126,x:474,y:481,w:76,h:21},
{t:"In contrast to this, I remind you that some of ",p:126,x:474,y:527,w:318,h:21},
{t:"the earliest Earth Art and Land Art projects ",p:126,x:474,y:550,w:312,h:21},
{t:"pointed in the direction of a conservationist ",p:126,x:474,y:573,w:315,h:21},
{t:"approach. Millions of people have prob-",p:126,x:474,y:596,w:294,h:21},
{t:"ably walked past the corner of Houston ",p:126,x:474,y:619,w:291,h:21},
{t:"and west Broadway, where the artist Alan ",p:126,x:474,y:642,w:312,h:21},
{t:"Sonfst in 1965 started a project making a ",p:126,x:474,y:665,w:310,h:21},
{t:"reconstruction of how this part of Manhat-",p:126,x:474,y:687,w:302,h:21},
{t:"tan could have looked before the white man ",p:126,x:474,y:710,w:325,h:21},
{t:"set foot here, without necessarily seeing this ",p:126,x:474,y:733,w:319,h:21},
{t:"small park as art. The environmental artist ",p:126,x:474,y:756,w:305,h:21},
{t:"Sonfsts sample of reclaimed ‘nature is the ",p:126,x:474,y:779,w:307,h:21},
{t:"result of culture folding back into nature; ",p:126,x:474,y:802,w:295,h:21},
{t:"a totally manmade and, in every detail, ",p:126,x:474,y:825,w:289,h:21},
{t:"designed bit of nature. Another example is ",p:126,x:474,y:848,w:312,h:21},
{t:"the work of Agnes Denes. Her projects have ",p:126,x:474,y:871,w:323,h:21},
{t:"such a clearly manmade design that they ",p:126,x:474,y:894,w:301,h:21},
{t:"can hardly be identifed as conservationist ",p:126,x:474,y:917,w:309,h:21},
{t:"restorations of nature, which can be said ",p:126,x:474,y:940,w:298,h:21},
{t:"about Sonfsts Manhattan project.",p:126,x:474,y:962,w:244,h:21},
{t:"The art of Sonfst and Denes can best be ",p:126,x:474,y:1008,w:298,h:21},
{t:"explained as examples of Environmen-",p:126,x:474,y:1031,w:278,h:21},
{t:"tal Art. The Fluxus artist Ken Friedman, ",p:126,x:474,y:1054,w:281,h:21},
{t:"professor at BI – the Norwegian School of ",p:126,x:474,y:1077,w:312,h:21},
{t:"Management, in 1983, published the essay ",p:126,x:474,y:1100,w:321,h:21},
{t:"Environmental Art in an important collection ",p:126,x:474,y:1123,w:321,h:21},
{t:"of essays on this subject compiled by Alan ",p:126,x:474,y:1146,w:310,h:21},
{t:"Sonfst. Friedman scrutinized the concept of ",p:126,x:474,y:1169,w:318,h:21},
{t:"‘environment and concluded that environ-",p:126,x:474,y:1192,w:300,h:21},
{t:"mental art: ‘reveals dimensions that are as ",p:126,x:474,y:1214,w:308,h:21},
{t:"much cultural as natural. Human beings ",p:126,x:474,y:1237,w:290,h:21},
{t:"create art as a cultural act, communicating ",p:126,x:474,y:1260,w:312,h:21},
{t:"through culture on culture itself and on all ",p:126,x:474,y:1283,w:303,h:21},
{t:"those aspects of existence and experience ",p:126,x:474,y:1306,w:311,h:21},
{t:"that affect them – including nature.",p:126,x:474,y:1329,w:250,h:21},
{t:"Following Friedman, we should probably ",p:126,x:474,y:1352,w:301,h:21},
{t:"exchange the notion of Land Art with ",p:126,x:474,y:1375,w:272,h:21},
{t:"Environmental Art and realize that any inter-",p:126,x:474,y:1398,w:318,h:21},
{t:"action between nature and man comprises ",p:126,x:474,y:1421,w:312,h:21},
{t:"wodospadu w małej skali w Nowym yorku. ",p:126,x:830,y:113,w:318,h:23},
{t:"mozna by stwierdzić, że obraz sohlberga, ",p:126,x:830,y:136,w:316,h:23},
{t:"platforma Hølmebakka i wodospad elias-",p:126,x:830,y:159,w:300,h:23},
{t:"sona łączy to, że przekazują nam, odbior-",p:126,x:830,y:182,w:306,h:23},
{t:"com sztuki wysublimowane spojrzenie bez ",p:126,x:830,y:205,w:312,h:23},
{t:"osobistego ryzyka. Dotyczy to większości ",p:126,x:830,y:228,w:306,h:23},
{t:"projektów land art całego zachodniego ",p:126,x:830,y:250,w:299,h:23},
{t:"świata. można je rozumieć jak ”rytualne ",p:126,x:830,y:273,w:299,h:23},
{t:"wyprawy” mające według wszelkich ",p:126,x:830,y:296,w:270,h:23},
{t:"przypuszczeń więcej wspólnego z arys-",p:126,x:830,y:319,w:289,h:23},
{t:"tokratycznymi eskapadami w mitologiczną ",p:126,x:830,y:342,w:313,h:23},
{t:"przyrodę, jak robią to postacie obrazów ",p:126,x:830,y:365,w:299,h:23},
{t:"fête-gallant watteaus, niż z artystami XiX ",p:126,x:830,y:388,w:300,h:23},
{t:"stulecia w ich ekspedycjach w dziką naturę ",p:126,x:830,y:411,w:318,h:23},
{t:"wokól południowych rejonów oceanu ",p:126,x:830,y:434,w:283,h:23},
{t:"spokojnego, azji, Bliskiego wschodu i ",p:126,x:830,y:457,w:286,h:23},
{t:"kontynentu amerykńskiego.",p:126,x:830,y:480,w:196,h:23},
{t:"w przeciwieństwie do tej formy ujarzmiania ",p:126,x:830,y:525,w:324,h:23},
{t:"natury, chcę przypomnieć, że niektóre z ",p:126,x:830,y:548,w:294,h:23},
{t:"wcześniejszych projektów earth art i land ",p:126,x:830,y:571,w:309,h:23},
{t:"art wskazywały na podejście konser-",p:126,x:830,y:594,w:268,h:23},
{t:"watorskie . w 1965 roku artysta alan ",p:126,x:830,y:617,w:279,h:23},
{t:"sonfst próbował zrekonstruować  jak ",p:126,x:830,y:640,w:276,h:23},
{t:"mógła wyglądać część manhattanu przed ",p:126,x:830,y:663,w:314,h:23},
{t:"pojawienia się białego człowieka. miliony ",p:126,x:830,y:686,w:312,h:23},
{t:"ludzi przechodziły obok rogu Houston i ",p:126,x:830,y:709,w:292,h:23},
{t:"west Brodway nie myśląc prawdopodobnie ",p:126,x:830,y:732,w:325,h:23},
{t:"o tym parku jako o sztuce.",p:126,x:830,y:755,w:190,h:23},
{t:"Fregment odzyskanej ”natury” eko-artysty ",p:126,x:830,y:777,w:306,h:23},
{t:"sonfsta jest rezultatem tego, że kultura ",p:126,x:830,y:800,w:286,h:23},
{t:"powraca do natury w całkowicie sztucznej ",p:126,x:830,y:823,w:314,h:23},
{t:"formie, gdzie każdy skrawek ziemi jast ",p:126,x:830,y:846,w:284,h:23},
{t:"zaprojektowany. innym przykładem jest ",p:126,x:830,y:869,w:291,h:23},
{t:"dzieło agnes Denes. Projekty jej noszą  tak ",p:126,x:830,y:892,w:317,h:23},
{t:"wyraźne cechy wytworu rąk ludzkich, że ",p:126,x:830,y:915,w:300,h:23},
{t:"ledwo można je identyfkować z konser-",p:126,x:830,y:938,w:290,h:23},
{t:"watorskim odrestaurowaniem natury, co ",p:126,x:830,y:961,w:293,h:23},
{t:"natomiast można powiedzieć o projekcie ",p:126,x:830,y:984,w:303,h:23},
{t:"manhattan sonfsta. ",p:126,x:830,y:1007,w:150,h:23},
{t:"sztukę sonfsta i Denes najlepiej można ",p:126,x:830,y:1052,w:294,h:23},
{t:"tłumaczyć jako przykłady environmental ",p:126,x:830,y:1075,w:296,h:23},
{t:"art. artysta ruchu Fluxus ken Friedman, ",p:126,x:830,y:1098,w:288,h:23},
{t:"profesor wyższej szkoły Handlowej w ",p:126,x:830,y:1121,w:287,h:23},
{t:"oslo, wydał w ważnym zbiorze artykułów ",p:126,x:830,y:1144,w:312,h:23},
{t:"złożonych przez alana sonfsta 1983 ",p:126,x:830,y:1167,w:281,h:23},
{t:"roku esej, w którym konkluduje, że na ",p:126,x:830,y:1190,w:277,h:23},
{t:"environmental art: „można spojrzeć w ",p:126,x:830,y:1213,w:282,h:23},
{t:"skali, zarówno  kulturowej jak natural-",p:126,x:830,y:1236,w:273,h:23},
{t:"nej. ludzie tworzą sztukę jako działanie ",p:126,x:830,y:1259,w:294,h:23},
{t:"kulturalne i obwieszczają poprzez kulturę ",p:126,x:830,y:1282,w:307,h:23},
{t:"o samej kulturze i o wszystkich aspektach ",p:126,x:830,y:1304,w:304,h:23},
{t:"egzystencji i przeżyć, które ich dotyczą ",p:126,x:830,y:1327,w:290,h:23},
{t:"- z naturą włącznie”. według Friedmana ",p:126,x:830,y:1350,w:299,h:23},
{t:"powinniśmy wymienić określenie land art ",p:126,x:830,y:1373,w:306,h:23},
{t:"risiko. Dette deler de med de feste Land Art ",p:126,x:118,y:114,w:322,h:21},
{t:"prosjektene over hele den vestlige verden. ",p:126,x:118,y:137,w:309,h:21},
{t:"De kan forstås som rituelle ekskursjoner og ",p:126,x:118,y:160,w:312,h:21},
{t:"har etter alt å dømme mer til felles med ",p:126,x:118,y:183,w:287,h:21},
{t:"aristokratenes utfukt i den mytologiske na-",p:126,x:118,y:206,w:304,h:21},
{t:"turen som deltakere i watteaus fête-gallant ",p:126,x:118,y:229,w:313,h:21},
{t:"malerier, enn 1800-tallets kunstnere på ek-",p:126,x:118,y:252,w:307,h:21},
{t:"spedisjoner til villmarkene i Sør-Stillehavet, ",p:126,x:118,y:275,w:311,h:21},
{t:"Asia, det nære Østen og det amerikanske ",p:126,x:118,y:298,w:305,h:21},
{t:"kontinentet. ",p:126,x:118,y:320,w:86,h:21},
{t:"I motsetning til denne formen for erobring ",p:126,x:118,y:366,w:304,h:21},
{t:"av naturen, vil jeg minne om at noen av de ",p:126,x:118,y:389,w:314,h:21},
{t:"tidlige Earth Art og Land Art prosjektene ",p:126,x:118,y:412,w:296,h:21},
{t:"pekte i retning av en konserverende tilnærm-",p:126,x:118,y:435,w:319,h:21},
{t:"ing. Millioner av mennesker har gått forbi ",p:126,x:118,y:458,w:304,h:21},
{t:"hjørnet av Houston og west Broadway hvor ",p:126,x:118,y:481,w:325,h:21},
{t:"kunstneren Alan Sonfst i 1965 begynte ",p:126,x:118,y:504,w:290,h:21},
{t:"prosjektet om å lage en rekonstruksjon ",p:126,x:118,y:527,w:282,h:21},
{t:"av hvordan denne delen av Manhattan ",p:126,x:118,y:550,w:289,h:21},
{t:"ville sett ut før den hvite manns inntreden, ",p:126,x:118,y:572,w:302,h:21},
{t:"sannsynligvis uten å tenke på denne lille ",p:126,x:118,y:595,w:295,h:21},
{t:"parken som kunst. Miljøkunstneren Sonfsts ",p:126,x:118,y:618,w:312,h:21},
{t:"stykke gjenvunnet natur er et resultat av at ",p:126,x:118,y:641,w:307,h:21},
{t:"kulturen vender seg tilbake til naturen, i full-",p:126,x:118,y:664,w:311,h:21},
{t:"stendig kunstig form, hvor hver eneste detalj ",p:126,x:118,y:687,w:321,h:21},
{t:"av naturfekken er designet. Et annet eksem-",p:126,x:118,y:710,w:315,h:21},
{t:"pel er verkene til Agnes Denes. Prosjektene ",p:126,x:118,y:733,w:315,h:21},
{t:"hennes har en så tydelig menneskeskapt ",p:126,x:118,y:756,w:295,h:21},
{t:"utforming at de knapt kan identifseres som ",p:126,x:118,y:779,w:313,h:21},
{t:"en konservators restaurasjon av naturen, slik ",p:126,x:118,y:802,w:322,h:21},
{t:"man kan si om Sonfsts Manhattanprosjekt. ",p:126,x:118,y:824,w:313,h:21},
{t:"Kunsten til Sonfst og Denes kan best ",p:126,x:118,y:870,w:268,h:21},
{t:"forklares som eksempler på Environmen-",p:126,x:118,y:893,w:290,h:21},
{t:"tal Art. Fluxus kunstneren Ken Friedman, ",p:126,x:118,y:916,w:293,h:21},
{t:"professor ved Handelshøyskolen BI i Oslo, ",p:126,x:118,y:939,w:312,h:21},
{t:"utgav i 1983 essayet Environmental Art i ",p:126,x:118,y:962,w:299,h:21},
{t:"en viktig artikkelsamling satt sammen av ",p:126,x:118,y:985,w:292,h:21},
{t:"Alan Sonfst. Friedman gransket miljøkon-",p:126,x:118,y:1008,w:297,h:21},
{t:"septet og konkluderte at Environmental ",p:126,x:118,y:1031,w:285,h:21},
{t:"Art: viser dimensjoner som er like kulturelle ",p:126,x:118,y:1054,w:311,h:21},
{t:"som naturlige. Mennesker skaper kunst ",p:126,x:118,y:1077,w:285,h:21},
{t:"som en kulturell handling og kommuniserer ",p:126,x:118,y:1099,w:313,h:21},
{t:"gjennom kultur om kulturen selv og om alle ",p:126,x:118,y:1122,w:314,h:21},
{t:"de aspektene ved å eksistere og oppleve ",p:126,x:118,y:1145,w:301,h:21},
{t:"som berører dem – inkludert naturen. Ifølge ",p:126,x:118,y:1168,w:320,h:21},
{t:"Friedman, burde vi nok bytte ut betegnelsen ",p:126,x:118,y:1191,w:321,h:21},
{t:"Land Art med Environmental Art og innse ",p:126,x:118,y:1214,w:301,h:21},
{t:"at enhver interaksjon mellom mennesket og ",p:126,x:118,y:1237,w:315,h:21},
{t:"naturen angår kulturen så vel som naturen. ",p:126,x:118,y:1260,w:312,h:21},
{t:"Å bytte ut begrepene  earth og land med ",p:126,x:118,y:1283,w:302,h:21},
{t:"environment tyder på en bevegelse vekk fra ",p:126,x:118,y:1306,w:321,h:21},
{t:"dikotomien menneske/natur som erstattes ",p:126,x:118,y:1329,w:303,h:21},
{t:"av begrepet økologi, hvor mennesket og ",p:126,x:118,y:1351,w:297,h:21},
{t:"naturen er del av den samme verden og på-",p:126,x:118,y:1374,w:317,h:21},
{t:"virker hverandre gjennom tilbakemeldinger. ",p:126,x:118,y:1397,w:318,h:21},
{t:"127",p:127,x:1128,y:1464,w:23,h:16},
{t:"and concerns culture as well as nature. Ex-",p:127,x:444,y:115,w:306,h:21},
{t:"changing the concepts of ‘earth and  ‘land ",p:127,x:444,y:138,w:314,h:21},
{t:"with ‘environment indicates a move away ",p:127,x:444,y:161,w:304,h:21},
{t:"from the dichotomy of man /nature, replac-",p:127,x:444,y:183,w:311,h:21},
{t:"ing it with the notion of ecology, where man ",p:127,x:444,y:206,w:322,h:21},
{t:"and nature are part of the same world and ",p:127,x:444,y:229,w:314,h:21},
{t:"interact through a process of feedbacks.",p:127,x:444,y:252,w:290,h:21},
{t:"Art discourses invoke the interests invested ",p:127,x:444,y:298,w:309,h:21},
{t:"in nature and landscape or frame them for ",p:127,x:444,y:321,w:311,h:21},
{t:"discussion and exploitation on the premises ",p:127,x:444,y:344,w:318,h:21},
{t:"of the art system. Landscape Art, landscap-",p:127,x:444,y:367,w:310,h:21},
{t:"ing and Land Art have never been neutral ",p:127,x:444,y:390,w:306,h:21},
{t:"to politics and the exploitation of nature. ",p:127,x:444,y:413,w:296,h:21},
{t:"Looking back at the early Land Art move-",p:127,x:444,y:435,w:297,h:21},
{t:"ment, the projects were deeply immersed in ",p:127,x:444,y:458,w:318,h:21},
{t:"contemporary politics, not least geo–politics ",p:127,x:444,y:481,w:324,h:21},
{t:"and the effects of industrialization on the ",p:127,x:444,y:504,w:298,h:21},
{t:"environment, and the wastelands resulting ",p:127,x:444,y:527,w:307,h:21},
{t:"from the move from the periphery into urban ",p:127,x:444,y:550,w:324,h:21},
{t:"and suburban districts of capital and people ",p:127,x:444,y:573,w:325,h:21},
{t:"in a process ending in what has been ",p:127,x:444,y:596,w:275,h:21},
{t:"termed the ‘post-industrial society. ",p:127,x:444,y:619,w:248,h:21},
{t:"By boxing the debris left over from an ear-",p:127,x:444,y:642,w:305,h:21},
{t:"lier stage of American industrialization and ",p:127,x:444,y:665,w:316,h:21},
{t:"exploitation of the land and bringing it back ",p:127,x:444,y:687,w:324,h:21},
{t:"into the city and the gallery as trophies from ",p:127,x:444,y:710,w:323,h:21},
{t:"his expeditions, Robert Smithson brought ",p:127,x:444,y:733,w:298,h:21},
{t:"nature into the gallery. His visual represen-",p:127,x:444,y:756,w:307,h:21},
{t:"tations and texts were presented through ",p:127,x:444,y:779,w:298,h:21},
{t:"a range of media so that the modern, ",p:127,x:444,y:802,w:275,h:21},
{t:"civilized urban dweller could experience ",p:127,x:444,y:825,w:300,h:21},
{t:"and discuss matters of land, landscape and ",p:127,x:444,y:848,w:318,h:21},
{t:"nature through the institutional frame and ",p:127,x:444,y:871,w:301,h:21},
{t:"discourses of art. The insistence on Land Art ",p:127,x:444,y:894,w:320,h:21},
{t:"practices being critique of the institutional ",p:127,x:444,y:917,w:303,h:21},
{t:"framework of galleries and museums is cor-",p:127,x:444,y:940,w:311,h:21},
{t:"rect if we by ‘critique mean 'careful analysis ",p:127,x:444,y:962,w:321,h:21},
{t:"of a literary or artistic work – not only of the ",p:127,x:444,y:985,w:323,h:21},
{t:"work, but the way in which these artifacts ",p:127,x:444,y:1008,w:302,h:21},
{t:"operate in society – not other defnitions of ",p:127,x:444,y:1031,w:313,h:21},
{t:"critique such as ‘censure or even ‘blame, ",p:127,x:444,y:1054,w:299,h:21},
{t:"which is often the case. Smithsons works ",p:127,x:444,y:1077,w:295,h:21},
{t:"were intelligent and interesting investiga-",p:127,x:444,y:1100,w:292,h:21},
{t:"tions into the institutions of galleries and ",p:127,x:444,y:1123,w:291,h:21},
{t:"museums, and the way they worked and ",p:127,x:444,y:1146,w:296,h:21},
{t:"processed art in the art system, but his art ",p:127,x:444,y:1169,w:304,h:21},
{t:"was not something that went on outside ",p:127,x:444,y:1192,w:289,h:21},
{t:"the system or on other premises than those ",p:127,x:444,y:1214,w:311,h:21},
{t:"defned by the system. ",p:127,x:444,y:1237,w:165,h:21},
{t:"If the artists associated with the Earth Art ",p:127,x:444,y:1283,w:298,h:21},
{t:"and Land Art movements had any interest ",p:127,x:444,y:1306,w:304,h:21},
{t:"in breaking away from the galleries and ",p:127,x:444,y:1329,w:295,h:21},
{t:"museums, they would have done it, but few ",p:127,x:444,y:1352,w:315,h:21},
{t:"movements in art have been so dependent ",p:127,x:444,y:1375,w:311,h:21},
{t:"on galleries, museums and grants for fnanc-",p:127,x:444,y:1398,w:317,h:21},
{t:"ing their often large and costly projects. ",p:127,x:444,y:1421,w:291,h:21},
{t:"na environmental art i uświadomić sobie, ",p:127,x:801,y:113,w:303,h:23},
{t:"że każda interakcja między człowiekiem a ",p:127,x:801,y:136,w:313,h:23},
{t:"naturą dotyczy kultury tak samo jak natury. ",p:127,x:801,y:159,w:316,h:23},
{t:"wymiana pojęć „earth” i „land” na „envi-",p:127,x:801,y:182,w:304,h:23},
{t:"ronment” sugeruje ruch w oddaleniu od dy-",p:127,x:801,y:205,w:314,h:23},
{t:"chotomii człowiek/natura, które zastępuje ",p:127,x:801,y:228,w:308,h:23},
{t:"się pojęciem ekologii, gdzie człowiek i ",p:127,x:801,y:250,w:284,h:23},
{t:"natura są częścią tego samego świata i ",p:127,x:801,y:273,w:291,h:23},
{t:"oddziaływują na siebie wzajemnie poprzez ",p:127,x:801,y:296,w:323,h:23},
{t:"oddźwięk na swoje poczynania.",p:127,x:801,y:319,w:236,h:23},
{t:"Dyskursy o sztuce dotyczą zainteresowań ",p:127,x:801,y:365,w:306,h:23},
{t:"naturą i dbałości o naturę i krajobraz, ",p:127,x:801,y:388,w:279,h:23},
{t:"które obramowuje się dla potrzeb dyskusji i ",p:127,x:801,y:411,w:319,h:23},
{t:"wykorzystania na warunkach systemu sztuki. ",p:127,x:801,y:434,w:325,h:23},
{t:"sztuka krajobrazu, założenia krajobra-",p:127,x:801,y:457,w:283,h:23},
{t:"zowe i land art nigdy nie były neutralne w ",p:127,x:801,y:480,w:315,h:23},
{t:"stosunku do polityki i wykorzystania natury. ",p:127,x:801,y:503,w:318,h:23},
{t:"Gdy patrzymy wstecz na wcześniejszy ruch ",p:127,x:801,y:525,w:321,h:23},
{t:"land art, widzimy, że przedsięwzięcia były ",p:127,x:801,y:548,w:319,h:23},
{t:"zanurzone w ówczesnej polityce, również ",p:127,x:801,y:571,w:309,h:23},
{t:"geopolityce i wpływie uprzemysłowienia ",p:127,x:801,y:594,w:299,h:23},
{t:"na środowisko. obszary te leżały odłogiem ",p:127,x:801,y:617,w:322,h:23},
{t:"jako rezultat przejść z peryferii do miast i ",p:127,x:801,y:640,w:303,h:23},
{t:"przedmieść ku kapitałowi i do zaludnion-",p:127,x:801,y:663,w:297,h:23},
{t:"ych dzielnic, w procesie, który zakończył ",p:127,x:801,y:686,w:302,h:23},
{t:"się tym co nazwano „ społeczeństwem ",p:127,x:801,y:709,w:285,h:23},
{t:"postindustrialnym”. ruiny pozostałe po ",p:127,x:801,y:732,w:285,h:23},
{t:"wczesnym stadium amerykańskiej indus-",p:127,x:801,y:755,w:289,h:23},
{t:"trializacji i eksploatacji terenów, zostały ",p:127,x:801,y:777,w:292,h:23},
{t:"spakowane i sprowadzone do galerii ",p:127,x:801,y:800,w:275,h:23},
{t:"jako trofea ekspedycji roberta smithsona. ",p:127,x:801,y:823,w:309,h:23},
{t:"smithson wniósł przyrodę do galerii i ",p:127,x:801,y:846,w:274,h:23},
{t:"pokazał ją w formie wizualnych prezentacji ",p:127,x:801,y:869,w:321,h:23},
{t:"i tekstów, posługując się szeregiem mediów, ",p:127,x:801,y:892,w:323,h:23},
{t:"dzięki czemu nowoczesne i cywilizowane ",p:127,x:801,y:915,w:307,h:23},
{t:"społeczeństwo mogło doświadczać i ",p:127,x:801,y:938,w:272,h:23},
{t:"dyskutować o kraju, krajobrazie i przy-",p:127,x:801,y:961,w:282,h:23},
{t:"rodzie poprzez instytucjonalne ramy i ",p:127,x:801,y:984,w:277,h:23},
{t:"dyskursy artystyczne. twierdzenie, że ",p:127,x:801,y:1007,w:276,h:23},
{t:"land art był krytyką instytucjonalnych ram ",p:127,x:801,y:1029,w:310,h:23},
{t:"galerii i muzeów zgadza się jeżeli przez ",p:127,x:801,y:1052,w:300,h:23},
{t:"„krytykę” rozumiemy „dokładną analizę ",p:127,x:801,y:1075,w:296,h:23},
{t:"literackich czy artystycznych dzieł” – i ",p:127,x:801,y:1098,w:280,h:23},
{t:"dodam, że nie dotyczy to tylko samych ",p:127,x:801,y:1121,w:287,h:23},
{t:"dzieł, lecz także sposobu ich funkcjonow-",p:127,x:801,y:1144,w:300,h:23},
{t:"ania w społeczeństwie – ale to z kolei nie ",p:127,x:801,y:1167,w:307,h:23},
{t:"zgadza się z innymi defnicjami krytyki jako ",p:127,x:801,y:1190,w:320,h:23},
{t:"„negatywnej oceny” czy „nagany” – co ",p:127,x:801,y:1213,w:295,h:23},
{t:"często ma miejsce. Dzieła smithsona były ",p:127,x:801,y:1236,w:306,h:23},
{t:"inteligentnymi i interesującymi badaniami ",p:127,x:801,y:1259,w:302,h:23},
{t:"galeryjnych i muzealnych instytucji, a także ",p:127,x:801,y:1282,w:317,h:23},
{t:"sposobem pracy i obchodzenia się ze ",p:127,x:801,y:1304,w:281,h:23},
{t:"sztuką w systemie sztuki. sztuka jego nie ",p:127,x:801,y:1327,w:298,h:23},
{t:"była jednak czymś, co działo się poza ",p:127,x:801,y:1350,w:284,h:23},
{t:"systemem lub na innych zasadach niż te, ",p:127,x:801,y:1373,w:299,h:23},
{t:"które ten system defniowały.",p:127,x:801,y:1396,w:206,h:23},
{t:"Kunstdiskurser omhandler interesser i og for ",p:127,x:88,y:114,w:319,h:21},
{t:"naturen og landskapet, som rammes inn for ",p:127,x:88,y:137,w:316,h:21},
{t:"diskusjon og utnyttelse på kunstsystemets ",p:127,x:88,y:160,w:298,h:21},
{t:"premisser. Landskapskunst, anleggelse av ",p:127,x:88,y:183,w:304,h:21},
{t:"landskap og Land Art har aldri vært nøy-",p:127,x:88,y:206,w:295,h:21},
{t:"trale i forhold til politikk og bruk av naturen. ",p:127,x:88,y:229,w:321,h:21},
{t:"Når man ser tilbake på den tidlige Land ",p:127,x:88,y:252,w:294,h:21},
{t:"Art bevegelsen var prosjektene fordypet i ",p:127,x:88,y:275,w:303,h:21},
{t:"datidens politikk, ikke minst geopolitikken ",p:127,x:88,y:298,w:302,h:21},
{t:"og miljøeffekten av menneskets indus-",p:127,x:88,y:320,w:271,h:21},
{t:"trialisering, som områdene lagt øde som ",p:127,x:88,y:343,w:296,h:21},
{t:"resultatet av skiftet fra periferien til byene og ",p:127,x:88,y:366,w:325,h:21},
{t:"forstedene, til kapitalens og folkerike distrik-",p:127,x:88,y:389,w:313,h:21},
{t:"ter, i en prosess som endte med det som har ",p:127,x:88,y:412,w:321,h:21},
{t:"fått tilnavnet det postindustrielle samfunnet.  ",p:127,x:88,y:435,w:317,h:21},
{t:"Ruinene etter den amerikanske industriali-",p:127,x:88,y:458,w:298,h:21},
{t:"seringens tidligere stadium og utnyttelsen ",p:127,x:88,y:481,w:300,h:21},
{t:"av områder ble pakket inn og brakt tilbake ",p:127,x:88,y:504,w:313,h:21},
{t:"til byen og galleriet som trofeer fra Robert ",p:127,x:88,y:527,w:307,h:21},
{t:"Smithsons ekspedisjoner. Smithson brakte ",p:127,x:88,y:550,w:303,h:21},
{t:"naturen inn i galleriet og presenterte den ",p:127,x:88,y:572,w:299,h:21},
{t:"i form av visuelle representasjoner og ",p:127,x:88,y:595,w:275,h:21},
{t:"tekst gjennom en rekke medier, slik at den ",p:127,x:88,y:618,w:305,h:21},
{t:"moderne og siviliserte urbane befolknin-",p:127,x:88,y:641,w:289,h:21},
{t:"gen kunne oppleve og diskutere landet, ",p:127,x:88,y:664,w:291,h:21},
{t:"landskapet og naturen gjennom kunstens ",p:127,x:88,y:687,w:300,h:21},
{t:"institusjonelle rammeverk og diskurser. ",p:127,x:88,y:710,w:279,h:21},
{t:"Påstanden om at Land Art var en kritikk av ",p:127,x:88,y:733,w:309,h:21},
{t:"det institusjonelle rammeverket av gallerier ",p:127,x:88,y:756,w:311,h:21},
{t:"og museer stemmer hvis vi med kritikk mener ",p:127,x:88,y:779,w:325,h:21},
{t:"nøye analyse av litterære eller kunstneriske ",p:127,x:88,y:802,w:315,h:21},
{t:"verk – og legger til at det ikke bare gjelder ",p:127,x:88,y:824,w:314,h:21},
{t:"selve verkene, men også måten de fungerer ",p:127,x:88,y:847,w:320,h:21},
{t:"i samfunnet på – men det stemmer ikke ved ",p:127,x:88,y:870,w:316,h:21},
{t:"andre defnisjoner av kritikk som nedset-",p:127,x:88,y:893,w:288,h:21},
{t:"tende bedømmelse eller klander som ofte er ",p:127,x:88,y:916,w:324,h:21},
{t:"tilfellet. Smithsons verk var intelligente og in-",p:127,x:88,y:939,w:316,h:21},
{t:"teressante undersøkelser av galleri - og mu-",p:127,x:88,y:962,w:312,h:21},
{t:"seumsinstitusjonene og måten de arbeidet ",p:127,x:88,y:985,w:306,h:21},
{t:"med og håndterte kunsten i kunstsystemet, ",p:127,x:88,y:1008,w:307,h:21},
{t:"men kunsten hans var ikke noe som foregikk ",p:127,x:88,y:1031,w:322,h:21},
{t:"utenfor systemet eller på andre premisser ",p:127,x:88,y:1054,w:301,h:21},
{t:"enn de som systemet defnerte. ",p:127,x:88,y:1077,w:226,h:21},
{t:"Hvis kunstnere som var del av Earth og ",p:127,x:88,y:1122,w:286,h:21},
{t:"Land Art bevegelsene hadde vært interes-",p:127,x:88,y:1145,w:301,h:21},
{t:"serte i å bryte med galleriene og museene, ",p:127,x:88,y:1168,w:315,h:21},
{t:"så ville de gjort det, men få kunstretninger ",p:127,x:88,y:1191,w:307,h:21},
{t:"har vært så avhengige av galleriene og ",p:127,x:88,y:1214,w:292,h:21},
{t:"museene for fnansieringen av ofte store og ",p:127,x:88,y:1237,w:317,h:21},
{t:"dyre prosjekter. Dette forklarer rollen til insti-",p:127,x:88,y:1260,w:317,h:21},
{t:"tusjonskritikken innenfor kunstsystemet som ",p:127,x:88,y:1283,w:310,h:21},
{t:"en måte å forsterke og utvide institusjonen, ",p:127,x:88,y:1306,w:311,h:21},
{t:"ikke bryte den ned. Ethvert trekk en kunstner ",p:127,x:88,y:1329,w:323,h:21},
{t:"foretar bringer henne inn i sentrum eller ",p:127,x:88,y:1351,w:290,h:21},
{t:"marginaliserer henne i kunstfeltet. Et kritisk ",p:127,x:88,y:1374,w:307,h:21},
{t:"utgangspunkt kan være meget givende, da ",p:127,x:88,y:1397,w:314,h:21},
{t:"du sannsynligvis styrker systemet ved å fytte ",p:127,x:88,y:1420,w:323,h:21},
{t:"128",p:128,x:108,y:1465,w:23,h:16},
{t:"This explains the role of institutional critique ",p:128,x:474,y:286,w:317,h:21},
{t:"inside the art system as a way to strengthen ",p:128,x:474,y:309,w:319,h:21},
{t:"and expand the institution, not to dismantle ",p:128,x:474,y:332,w:314,h:21},
{t:"it. Every move an artist makes brings her ",p:128,x:474,y:355,w:295,h:21},
{t:"into the center or out onto the margins in the ",p:128,x:474,y:378,w:323,h:21},
{t:"feld of art. Acting critically can be very re-",p:128,x:474,y:401,w:307,h:21},
{t:"warding since you will probably strengthen ",p:128,x:474,y:423,w:317,h:21},
{t:"the system by moving borders and making ",p:128,x:474,y:446,w:310,h:21},
{t:"the terrain wider. Mainstream artists, on the ",p:128,x:474,y:469,w:318,h:21},
{t:"other hand, cause the system to swell in the ",p:128,x:474,y:492,w:317,h:21},
{t:"middle, overpopulating and constipating ",p:128,x:474,y:515,w:298,h:21},
{t:"the feld. Art is a product of culture and to ",p:128,x:474,y:538,w:306,h:21},
{t:"produce art has become a profession in ",p:128,x:474,y:561,w:293,h:21},
{t:"our society; as an artist you are doomed ",p:128,x:474,y:584,w:297,h:21},
{t:"to operate inside the cultural system called ",p:128,x:474,y:607,w:312,h:21},
{t:"‘art – or leave and join another profession ",p:128,x:474,y:630,w:311,h:21},
{t:"and be part of another branch of the social ",p:128,x:474,y:653,w:318,h:21},
{t:"system. The practices of Earth Art and Land ",p:128,x:474,y:675,w:317,h:21},
{t:"Art have been rewarding to artists, galleries ",p:128,x:474,y:698,w:321,h:21},
{t:"and the system of art as such.",p:128,x:474,y:721,w:213,h:21},
{t:"Øivind Storm Bjerke",p:128,x:474,y:767,w:145,h:21},
{t:"Gdyby artyści ruchu earth i land art byli ",p:128,x:830,y:284,w:299,h:23},
{t:"zainteresowani w zerwaniu z galeriami ",p:128,x:830,y:307,w:290,h:23},
{t:"i muzeami to zrobiliby to, lecz niewiele ",p:128,x:830,y:330,w:287,h:23},
{t:"kierunków sztuki było tak zależnych od gal-",p:128,x:830,y:353,w:315,h:23},
{t:"eryjnego i muzealnego fnansowania często ",p:128,x:830,y:376,w:325,h:23},
{t:"dużych i drogich projektów. wyjaśnia ",p:128,x:830,y:399,w:280,h:23},
{t:"to rolę instytucjonalnej krytyki wewnątrz ",p:128,x:830,y:422,w:293,h:23},
{t:"systemu sztuki jako sposobu wzmocnienia ",p:128,x:830,y:445,w:307,h:23},
{t:"i rozszerzenia instytucji, a nie jej rozbicia. ",p:128,x:830,y:468,w:306,h:23},
{t:"każdy ruch przedsięwzięty przez artystę ",p:128,x:830,y:491,w:300,h:23},
{t:"wnosi ją do centrum albo marginalizuje ",p:128,x:830,y:514,w:291,h:23},
{t:"ją na polu sztuki. krytyczny punkt wyjścia ",p:128,x:830,y:536,w:305,h:23},
{t:"może być bardzo satysfakcjonujący, ",p:128,x:830,y:559,w:269,h:23},
{t:"gdyż prawdopodobnie wzmacnia system ",p:128,x:830,y:582,w:305,h:23},
{t:"przesuwając granice i poszerzając ich ",p:128,x:830,y:605,w:285,h:23},
{t:"obszar. Bardziej konserwatywni artyści ",p:128,x:830,y:628,w:288,h:23},
{t:"natomiast powodują, że system pęcznieje w ",p:128,x:830,y:651,w:323,h:23},
{t:"centrum poprzez przeludnienie i zastopow-",p:128,x:830,y:674,w:314,h:23},
{t:"anie systemu. sztuka jest produktem kultury, ",p:128,x:830,y:697,w:320,h:23},
{t:"a produkcja sztuki stała się w naszym ",p:128,x:830,y:720,w:277,h:23},
{t:"społeczeństwie profesją. Jako artysta jesteś ",p:128,x:830,y:743,w:316,h:23},
{t:"skazany na działanie wewnątrz systemu ",p:128,x:830,y:766,w:295,h:23},
{t:"kultury, który nazywamy „sztuką” – lub ",p:128,x:830,y:788,w:288,h:23},
{t:"możesz go opuścić i stać się częścią innej ",p:128,x:830,y:811,w:308,h:23},
{t:"profesji, częścią innej gałęzi socjalnego ",p:128,x:830,y:834,w:293,h:23},
{t:"systemu. earth art i land art były owocne ",p:128,x:830,y:857,w:306,h:23},
{t:"dla artystów, galerii i całego systemu sztuki ",p:128,x:830,y:880,w:317,h:23},
{t:"jako takiego.",p:128,x:830,y:903,w:94,h:23},
{t:"Øivind storm Bjerke",p:128,x:830,y:949,w:145,h:23},
{t:"grenser og gjøre feltet videre. Mer konven-",p:128,x:118,y:286,w:309,h:21},
{t:"sjonelle kunstnere, derimot, får systemet til ",p:128,x:118,y:309,w:306,h:21},
{t:"å svelle på midten ved å overbefolke og ",p:128,x:118,y:332,w:296,h:21},
{t:"forstoppe systemet. Kunst er et kulturprodukt ",p:128,x:118,y:354,w:321,h:21},
{t:"og kunstproduksjon har blitt en profesjon i ",p:128,x:118,y:377,w:307,h:21},
{t:"vårt samfunn, som kunstner er du dømt til å ",p:128,x:118,y:400,w:314,h:21},
{t:"operere innenfor et kultursystem som heter ",p:128,x:118,y:423,w:309,h:21},
{t:"kunst – eller du kan forlate det og bli del av ",p:128,x:118,y:446,w:320,h:21},
{t:"en annen profesjon, del av en annen gren ",p:128,x:118,y:469,w:308,h:21},
{t:"av det sosiale systemet. Earth Art og Land ",p:128,x:118,y:492,w:306,h:21},
{t:"Art har vært givende for kunstnere, gal-",p:128,x:118,y:515,w:283,h:21},
{t:"leriene og hele kunstsystemet som sådan.  ",p:128,x:118,y:538,w:307,h:21},
{t:"Øivind Storm Bjerke",p:128,x:118,y:584,w:145,h:21},
{t:"Malcolm Andrews: ",p:128,x:118,y:1055,w:140,h:21},
{t:"Landscape and Western Art, oxford history of Art, ",p:128,x:118,y:1073,w:373,h:21},
{t:"oxford University Press, New York 1999",p:128,x:118,y:1092,w:293,h:21},
{t:"Johns Beardsley: ",p:128,x:118,y:1130,w:124,h:21},
{t:"Earthworks and Beyond, 4th edition,",p:128,x:118,y:1148,w:262,h:21},
{t:"Abbeville Press Publishers, New York. London 2006",p:128,x:118,y:1167,w:376,h:21},
{t:"Adrian henri: ",p:128,x:118,y:1205,w:103,h:21},
{t:"Environments and happenings, ",p:128,x:118,y:1223,w:229,h:21},
{t:"The World of Art Library, Thames and hudson, London 1974",p:128,x:118,y:1242,w:439,h:21},
{t:"Jeffry Kastner (ed.): ",p:128,x:118,y:1280,w:145,h:21},
{t:"Land and Environmental Art, Phaidon , London. New York 1998",p:128,x:118,y:1298,w:463,h:21},
{t:"Barbara c. Matilsky: ",p:128,x:118,y:1336,w:156,h:21},
{t:"Fragile Ecologies, contemporary Artists´Interpretations and Solutions, ",p:128,x:118,y:1355,w:510,h:21},
{t:"Rizzoli International Publications Inc., New York 1992",p:128,x:118,y:1373,w:390,h:21},
{t:"129",p:129,x:1128,y:1464,w:23,h:16},
{t:"Agnes Denes © www.greenmuseum.org",p:129,x:88,y:1130,w:260,h:20},
{t:"130",p:130,x:108,y:1465,w:23,h:16},
{t:"I would like to place the Polish/Norwegian ",p:130,x:474,y:469,w:317,h:21},
{t:"project, which is now 21 years old, in a ",p:130,x:474,y:492,w:289,h:21},
{t:"somewhat broader perspective than the one ",p:130,x:474,y:515,w:324,h:21},
{t:"suggested in the information about the main ",p:130,x:474,y:538,w:322,h:21},
{t:"theme of the seminar which accompanies ",p:130,x:474,y:561,w:303,h:21},
{t:"the fnal show of the works. Of course I am ",p:130,x:474,y:584,w:314,h:21},
{t:"interested in the problems of artists working ",p:130,x:474,y:606,w:317,h:21},
{t:"in an open landscape and the resulting ",p:130,x:474,y:629,w:287,h:21},
{t:"aesthetic and socio/institutional issues. ",p:130,x:474,y:652,w:283,h:21},
{t:"But I would like to look for a key to those ",p:130,x:474,y:675,w:299,h:21},
{t:"problems in more general cultural/political ",p:130,x:474,y:698,w:314,h:21},
{t:"contexts – contexts that incorporate some ",p:130,x:474,y:721,w:304,h:21},
{t:"cultural and sociopolitical processes on a ",p:130,x:474,y:744,w:303,h:21},
{t:"scale beyond the horizon of artistic inter-",p:130,x:474,y:767,w:293,h:21},
{t:"pretation or refections of curators and art ",p:130,x:474,y:790,w:305,h:21},
{t:"historians. The sphere of my own academic ",p:130,x:474,y:813,w:316,h:21},
{t:"research currently incorporates territories ",p:130,x:474,y:836,w:300,h:21},
{t:"in which culture meets politics. One could ",p:130,x:474,y:859,w:304,h:21},
{t:"see it as cultural anthropology orientated ",p:130,x:474,y:881,w:301,h:21},
{t:"towards contemporary political processes.        ",p:130,x:474,y:904,w:322,h:21},
{t:"In my presentation I wish to touch on a few ",p:130,x:474,y:950,w:314,h:21},
{t:"issues which emerge in such a generalized ",p:130,x:474,y:973,w:313,h:21},
{t:"perspective in order to show an important ",p:130,x:474,y:996,w:306,h:21},
{t:"link between such macro-processes and art, ",p:130,x:474,y:1019,w:319,h:21},
{t:"with its institutions, and with our Polish/Nor-",p:130,x:474,y:1042,w:315,h:21},
{t:"wegian project which should be seen here ",p:130,x:474,y:1065,w:311,h:21},
{t:"in an appropriate - modest – scale, though it ",p:130,x:474,y:1088,w:324,h:21},
{t:"is an international venture.   ",p:130,x:474,y:1111,w:204,h:21},
{t:"I would like to start with a few comments ",p:130,x:474,y:1156,w:297,h:21},
{t:"strictly concerning the UT 21 Project, ",p:130,x:474,y:1179,w:268,h:21},
{t:"referring frst to its history, as I have been ",p:130,x:474,y:1202,w:301,h:21},
{t:"connected with it from the beginning.  I ",p:130,x:474,y:1225,w:286,h:21},
{t:"remember very well a certain episode (I ",p:130,x:474,y:1248,w:294,h:21},
{t:"have described it in an introduction to my ",p:130,x:474,y:1271,w:303,h:21},
{t:"as yet unpublished book), which occurred ",p:130,x:474,y:1294,w:308,h:21},
{t:"on a July afternoon in 1987 in Lillehammer. ",p:130,x:474,y:1317,w:319,h:21},
{t:"we were sitting then with Teresa Murak, ",p:130,x:474,y:1340,w:295,h:21},
{t:"Marit gunhild Arnekleiv,  Jan Berdyszak, ",p:130,x:474,y:1363,w:300,h:21},
{t:"grzegorz Kowalski and  Egil Kurdøl in the ",p:130,x:474,y:1386,w:311,h:21},
{t:"courtyard of a hostel, resting after a suc-",p:130,x:474,y:1408,w:291,h:21},
{t:"Jeg vil gjerne sette det polsk-norske ",p:130,x:118,y:469,w:258,h:21},
{t:"prosjektet, som nå er 21 år gammelt, i et ",p:130,x:118,y:492,w:296,h:21},
{t:"noe bredere perspektiv enn det som foreslås ",p:130,x:118,y:515,w:325,h:21},
{t:"i informasjonen om hovedtematikken for ",p:130,x:118,y:538,w:293,h:21},
{t:"seminaret som er del av utstillingen. Jeg ",p:130,x:118,y:560,w:290,h:21},
{t:"er selvsagt interessert i den kunstneriske ",p:130,x:118,y:583,w:290,h:21},
{t:"problematikken rundt det å jobbe i et åpent ",p:130,x:118,y:606,w:319,h:21},
{t:"landskap og de påfølgende estetiske og ",p:130,x:118,y:629,w:297,h:21},
{t:"sosioinstitusjonelle spørsmål. Men jeg ",p:130,x:118,y:652,w:276,h:21},
{t:"ønsker å se etter nøkkelen til denne ",p:130,x:118,y:675,w:260,h:21},
{t:"problematikken i mer generelle kulturpoli-",p:130,x:118,y:698,w:298,h:21},
{t:"tiske kontekster – kontekster som omfatter ",p:130,x:118,y:721,w:301,h:21},
{t:"kulturelle og sosiopolitiske prosesser forbi ",p:130,x:118,y:744,w:303,h:21},
{t:"horisonten av kunstneriske tolkninger eller ",p:130,x:118,y:767,w:305,h:21},
{t:"kuratorens og kunsthistorikerens refeksjoner. ",p:130,x:118,y:790,w:325,h:21},
{t:"Min egen akademiske forskningssfære ",p:130,x:118,y:813,w:281,h:21},
{t:"omfatter for tiden møtepunktet mellom kultur ",p:130,x:118,y:835,w:322,h:21},
{t:"og politikk. Man kan tolke det som kulturell ",p:130,x:118,y:858,w:314,h:21},
{t:"antropologi orientert mot politiske prosesser.   ",p:130,x:118,y:881,w:325,h:21},
{t:"I presentasjonen min ønsker jeg å gå inn på ",p:130,x:118,y:927,w:322,h:21},
{t:"enkelte spørsmål som oppstår i forbindelse ",p:130,x:118,y:950,w:313,h:21},
{t:"med et slikt generelt perspektiv, for å vise en ",p:130,x:118,y:973,w:323,h:21},
{t:"viktig forbindelse mellom makroprosesser ",p:130,x:118,y:996,w:302,h:21},
{t:"og kunsten med sine institusjoner, hvor vårt ",p:130,x:118,y:1019,w:312,h:21},
{t:"polsk-norske prosjekt kan sees på som pas-",p:130,x:118,y:1042,w:308,h:21},
{t:"sende - i en beskjeden skala, selv om det er ",p:130,x:118,y:1065,w:318,h:21},
{t:"et internasjonalt foretak. ",p:130,x:118,y:1087,w:178,h:21},
{t:"Jeg begynner med et par kommentarer som ",p:130,x:118,y:1133,w:320,h:21},
{t:"relaterer spesifkt til UT-21 prosjektet med re-",p:130,x:118,y:1156,w:319,h:21},
{t:"feranse til prosjektets historie, siden jeg har ",p:130,x:118,y:1179,w:314,h:21},
{t:"vært med fra begynnelsen av. Jeg husker ",p:130,x:118,y:1202,w:300,h:21},
{t:"godt en spesifkk episode (som jeg har ",p:130,x:118,y:1225,w:283,h:21},
{t:"beskrevet i introduksjonen til min, foreløpig ",p:130,x:118,y:1248,w:312,h:21},
{t:"upubliserte, bok) og som fant sted på en et-",p:130,x:118,y:1271,w:313,h:21},
{t:"termiddag i juli 1987 på Lillehammer. Vi satt ",p:130,x:118,y:1294,w:325,h:21},
{t:"i bakgården på et herberge sammen med ",p:130,x:118,y:1317,w:306,h:21},
{t:"Teresa Murak, Marit gunhild Arnekleiv, ",p:130,x:118,y:1340,w:291,h:21},
{t:"Jan Berdyszak, grzegorz Kowalski og Egil ",p:130,x:118,y:1362,w:313,h:21},
{t:"Kurdøl, og hvilte etter en ekskursjon til Kvit-",p:130,x:118,y:1385,w:308,h:21},
{t:"mannsberget. Per Erik Fonkalsrud tok frem ",p:130,x:118,y:1408,w:306,h:21},
{t:"Pragnę umieścić polsko/norweski projekt, ",p:130,x:830,y:467,w:306,h:23},
{t:"który ma dziś ponad 21 lat, w szerszej ",p:130,x:830,y:490,w:285,h:23},
{t:"nieco perspektywie, niż ta sugerowana ",p:130,x:830,y:513,w:288,h:23},
{t:"w informacji nt głównej problematyki ",p:130,x:830,y:536,w:272,h:23},
{t:"seminarium towarzyszącego końcowemu ",p:130,x:830,y:559,w:302,h:23},
{t:"pokazowi prac. oczywiście interesuje mnie ",p:130,x:830,y:582,w:319,h:23},
{t:"problematyka  pracy artystów w otwartym ",p:130,x:830,y:605,w:311,h:23},
{t:"pejzażu i wynikające z tego problemy ",p:130,x:830,y:628,w:282,h:23},
{t:"estetyczne oraz problemy społeczno/insty-",p:130,x:830,y:651,w:310,h:23},
{t:"tucjonalne. ale klucza do tych problemów ",p:130,x:830,y:673,w:310,h:23},
{t:"szukać chcę w nieco bardziej generalnych ",p:130,x:830,y:696,w:313,h:23},
{t:"kontekstach kulturowo/politycznych, ",p:130,x:830,y:719,w:267,h:23},
{t:"kontekstach, które obejmują pewne procesy ",p:130,x:830,y:742,w:322,h:23},
{t:"kulturowo/społeczno/polityczne w skali ",p:130,x:830,y:765,w:295,h:23},
{t:"przekraczającej horyzont interpretacji ",p:130,x:830,y:788,w:281,h:23},
{t:"artystycznej oraz refeksji kuratorów, i ",p:130,x:830,y:811,w:277,h:23},
{t:"historyków sztuki. moje akademicka sfera ",p:130,x:830,y:834,w:307,h:23},
{t:"badań obejmują dziś bowiem obszary, ",p:130,x:830,y:857,w:288,h:23},
{t:"na których spotyka się kultura z polityką. ",p:130,x:830,y:880,w:299,h:23},
{t:"(cultural anthropology oriented on contem-",p:130,x:830,y:903,w:313,h:23},
{t:"porary political processes)",p:130,x:830,y:925,w:192,h:23},
{t:"w moim wystąpieniu (presentation) chce ",p:130,x:830,y:971,w:300,h:23},
{t:"dotknąć kilku zagadnień, które pojawiają ",p:130,x:830,y:994,w:306,h:23},
{t:"się w tak zgeneralizowanej perspektywie, ",p:130,x:830,y:1017,w:308,h:23},
{t:"po to by wykazać jednak pewien ważny ",p:130,x:830,y:1040,w:299,h:23},
{t:"związek między tymi makro-procesami a ",p:130,x:830,y:1063,w:299,h:23},
{t:"sztuką z jej instytucjami i z naszym polsko/",p:130,x:830,y:1086,w:311,h:23},
{t:"norweskim projektem, który widziany być ",p:130,x:830,y:1109,w:305,h:23},
{t:"musi we właściwej – skromnej – skali, choć ",p:130,x:830,y:1132,w:314,h:23},
{t:"przecież jest on imprezą międzynarodową.  ",p:130,x:830,y:1155,w:321,h:23},
{t:"zacznę  jednak od pewnych uwag ściśle ",p:130,x:830,y:1200,w:300,h:23},
{t:"dotyczących projektu Ut 21, na początek ",p:130,x:830,y:1223,w:307,h:23},
{t:"odniosę się do jego historii, jestem ",p:130,x:830,y:1246,w:253,h:23},
{t:"bowiem związany z nim od początku. ",p:130,x:830,y:1269,w:281,h:23},
{t:"Bardzo dobrze pamiętam pewien epizod ",p:130,x:830,y:1292,w:305,h:23},
{t:"(opisałem go we wstępie we wstępie do ",p:130,x:830,y:1315,w:295,h:23},
{t:"mojej niewydanej jeszcze książki)  mający ",p:130,x:830,y:1338,w:312,h:23},
{t:"miejsce w  lipcowe popołudnie 1987 roku ",p:130,x:830,y:1361,w:311,h:23},
{t:"w lillehammer. siedzieliśmy wtedy z teresą ",p:130,x:830,y:1384,w:319,h:23},
{t:"murak, marit Gunhild arnekleiv, Janem ",p:130,x:830,y:1407,w:290,h:23},
{t:"TIDSSPIRALEN",p:130,x:118,y:311,w:181,h:36},
{t:"Jan stanisław wojciechowski",p:130,x:118,y:354,w:290,h:30},
{t:"SPIRAL OF TIME",p:130,x:474,y:311,w:202,h:36},
{t:"Jan stanisław wojciechowski",p:130,x:474,y:354,w:290,h:30},
{t:"SPIRALA cZASU",p:130,x:830,y:311,w:206,h:36},
{t:"Jan stanisław wojciechowski",p:130,x:830,y:354,w:292,h:30},
{t:"131",p:131,x:1129,y:1464,w:22,h:16},
{t:"de tre fete bindene til Documenta 8 katalogen, ",p:131,x:88,y:115,w:317,h:21},
{t:"som da nylig hadde åpnet i Kassel. De ",p:131,x:88,y:138,w:284,h:21},
{t:"kritiske tekstene, blant dem Edward E. Frys ",p:131,x:88,y:161,w:310,h:21},
{t:"(Eine neue Moderne) og Lothar Romain ",p:131,x:88,y:183,w:292,h:21},
{t:"(Die Moderne nach der Postmoderne) ",p:131,x:88,y:206,w:280,h:21},
{t:"sammen med fotografer av verkene, etterlot ",p:131,x:88,y:229,w:323,h:21},
{t:"liten tvil om at en viss episode i kunstkulturen ",p:131,x:88,y:252,w:325,h:21},
{t:"var over. Postmalerisk skulptur og det trans-",p:131,x:88,y:275,w:309,h:21},
{t:"avantgarde holdt på å miste sin dominer-",p:131,x:88,y:298,w:296,h:21},
{t:"ende posisjon. Fry kritiserte det han beskrev ",p:131,x:88,y:321,w:320,h:21},
{t:"som \"den utdannede middelklassens private ",p:131,x:88,y:344,w:322,h:21},
{t:"religion\" og gav Reagan-æraen tilnavnet ",p:131,x:88,y:367,w:298,h:21},
{t:"kapitalistisk realisme. Den nye modernismen ",p:131,x:88,y:390,w:314,h:21},
{t:"som ble annonsert hadde kritisk sans, var ",p:131,x:88,y:413,w:302,h:21},
{t:"kritisk til representasjonen av represen-",p:131,x:88,y:435,w:277,h:21},
{t:"tasjoner, kritiserte konstant kunstneriske ",p:131,x:88,y:458,w:285,h:21},
{t:"konvensjoner og skulle ha levende kontakt ",p:131,x:88,y:481,w:310,h:21},
{t:"med virkeligheten, spesielt den sosiale ",p:131,x:88,y:504,w:280,h:21},
{t:"virkeligheten. ",p:131,x:88,y:527,w:100,h:21},
{t:"Jeg vet ikke om en kunstnerisk institusjon ",p:131,x:88,y:573,w:293,h:21},
{t:"som Dokumenta i Kassel er viklet inn i et ",p:131,x:88,y:596,w:293,h:21},
{t:"større sosiopolitisk prosjekt, men det er ",p:131,x:88,y:619,w:284,h:21},
{t:"både et velkjent og velbeskrevet faktum ",p:131,x:88,y:642,w:289,h:21},
{t:"at året 1987 var tiden for utviklingen ",p:131,x:88,y:665,w:271,h:21},
{t:"av et bestemt kontinentalt prosjekt som ",p:131,x:88,y:687,w:281,h:21},
{t:"snart skulle få global karakter. Dette var ",p:131,x:88,y:710,w:293,h:21},
{t:"tiden for perestrojka i Sovjetunionen som ",p:131,x:88,y:733,w:298,h:21},
{t:"tidlig på 1990-tallet, nådde stadiet for en ",p:131,x:88,y:756,w:303,h:21},
{t:"noe ukontrollert disintegrasjon. Når man ",p:131,x:88,y:779,w:297,h:21},
{t:"studerer året 1987, kan man fnne spor etter ",p:131,x:88,y:802,w:322,h:21},
{t:"arbeidet for utviklingen av et forent Europa. ",p:131,x:88,y:825,w:319,h:21},
{t:"Europeisk integrasjon med nye grenser ",p:131,x:88,y:848,w:284,h:21},
{t:"omfavnet ikke bare de landene som falt fra ",p:131,x:88,y:871,w:315,h:21},
{t:"Sovjetunions innfytelsessfære, for eksempel ",p:131,x:88,y:894,w:318,h:21},
{t:"Polen, Ungarn eller Tsjekkoslovakia, men ",p:131,x:88,y:917,w:299,h:21},
{t:"også Russland selv. Det er ikke tilfeldig at ",p:131,x:88,y:940,w:302,h:21},
{t:"tyske politikere spilte en nøkkelrolle i kon-",p:131,x:88,y:962,w:297,h:21},
{t:"struksjonen av disse planene. Prosjektet ble ",p:131,x:88,y:985,w:315,h:21},
{t:"fremlagt i moderat form på 1990-tallet, da ",p:131,x:88,y:1008,w:311,h:21},
{t:"dets praktiske realisering inkluderte Polens ",p:131,x:88,y:1031,w:309,h:21},
{t:"medlemskap i EU (og NATO) og et nytt an-",p:131,x:88,y:1054,w:311,h:21},
{t:"sikt for globale relasjoner. La oss nå forlate ",p:131,x:88,y:1077,w:315,h:21},
{t:"denne politiske konteksten, selv om den er ",p:131,x:88,y:1100,w:308,h:21},
{t:"verdig noe oppmerksomhet, om bare fordi ",p:131,x:88,y:1123,w:310,h:21},
{t:"at de to lagene – Polen og Norge – nå ",p:131,x:88,y:1146,w:288,h:21},
{t:"møtes under helt nye geopolitiske forhold. ",p:131,x:88,y:1169,w:307,h:21},
{t:"For 21 år siden levde polske og norske ",p:131,x:88,y:1192,w:286,h:21},
{t:"kunstnere på to forskjellige planeter. ",p:131,x:88,y:1214,w:266,h:21},
{t:"La oss nå vende oss til den humanistiske idé-",p:131,x:88,y:1260,w:318,h:21},
{t:"konteksten, som ligger nærmere tolkningen ",p:131,x:88,y:1283,w:314,h:21},
{t:"av kunst og som utgjør bakgrunnen for ",p:131,x:88,y:1306,w:284,h:21},
{t:"de nye tilnærmingsmåtene som jeg viste ",p:131,x:88,y:1329,w:292,h:21},
{t:"til, som ble så spektakulært annonsert på ",p:131,x:88,y:1352,w:300,h:21},
{t:"Dokumenta 8 i Kassel. Jeg vil at dere skal ",p:131,x:88,y:1375,w:304,h:21},
{t:"vie oppmerksomheten til ideene til Boris ",p:131,x:88,y:1398,w:291,h:21},
{t:"groys og Ulrich Beck som regnes som ",p:131,x:88,y:1421,w:280,h:21},
{t:"cessive excursion to Kvitmansberget. Then ",p:131,x:444,y:114,w:306,h:21},
{t:"Erik Fonkalsrud brought three fat volumes ",p:131,x:444,y:137,w:302,h:21},
{t:"of the catalogue of 8 Documenta, which ",p:131,x:444,y:160,w:296,h:21},
{t:"were open at that time in Kassel. critical ",p:131,x:444,y:183,w:295,h:21},
{t:"texts of, among others, Edwart E. Fry (Eine ",p:131,x:444,y:206,w:310,h:21},
{t:"neue Moderne) and Lothar Romain (Die ",p:131,x:444,y:229,w:295,h:21},
{t:"Moderne nach der Postmoderne) contained ",p:131,x:444,y:252,w:322,h:21},
{t:"within, as well as the photographs of the ex-",p:131,x:444,y:275,w:317,h:21},
{t:"hibited works, left no doubt – clearly a cer-",p:131,x:444,y:298,w:310,h:21},
{t:"tain episode in artistic culture was coming to ",p:131,x:444,y:321,w:324,h:21},
{t:"an end. Trans-avantgarde, and post-painter-",p:131,x:444,y:344,w:315,h:21},
{t:"ly sculpture was losing its dominant position. ",p:131,x:444,y:366,w:324,h:21},
{t:"Fry criticized it as a “private religion of the ",p:131,x:444,y:389,w:312,h:21},
{t:"educated middle class”, calling it „capitalist ",p:131,x:444,y:412,w:320,h:21},
{t:"realism” of the Reagan era. New modernity, ",p:131,x:444,y:435,w:324,h:21},
{t:"which is being announced, is to have a criti-",p:131,x:444,y:458,w:316,h:21},
{t:"cal sense, be a critical “representation” of ",p:131,x:444,y:481,w:307,h:21},
{t:"representations, constantly criticize artistic ",p:131,x:444,y:504,w:307,h:21},
{t:"conventions, and should have live contact ",p:131,x:444,y:527,w:306,h:21},
{t:"with reality, in particular with social reality.   ",p:131,x:444,y:550,w:319,h:21},
{t:"I do not know whether an artistic institution ",p:131,x:444,y:596,w:313,h:21},
{t:"such as Documenta at Kassel is entangled in ",p:131,x:444,y:619,w:325,h:21},
{t:"a larger sociopolitical project, but it is now ",p:131,x:444,y:641,w:312,h:21},
{t:"a well known and well described fact that ",p:131,x:444,y:664,w:307,h:21},
{t:"the year 1987 was the time of development ",p:131,x:444,y:687,w:321,h:21},
{t:"of a certain continental project, soon acquir-",p:131,x:444,y:710,w:319,h:21},
{t:"ing a global character. This was a time of ",p:131,x:444,y:733,w:303,h:21},
{t:"pierestrojka in the Soviet Union, which soon ",p:131,x:444,y:756,w:320,h:21},
{t:"- in the early nineties - would enter into a ",p:131,x:444,y:779,w:296,h:21},
{t:"stage of rather weakly controlled disintegra-",p:131,x:444,y:802,w:318,h:21},
{t:"tion. when studying the year of 1987, one ",p:131,x:444,y:825,w:312,h:21},
{t:"can fnd traces of continued work for the ",p:131,x:444,y:848,w:296,h:21},
{t:"development of the idea of a united Europe, ",p:131,x:444,y:871,w:323,h:21},
{t:"for its integration within new borders, ",p:131,x:444,y:893,w:272,h:21},
{t:"embracing not only the countries which fell ",p:131,x:444,y:916,w:314,h:21},
{t:"from the Soviet sphere of infuence, such as ",p:131,x:444,y:939,w:316,h:21},
{t:"Poland, Hungary or czechoslovakia, but ",p:131,x:444,y:962,w:299,h:21},
{t:"also of Russia itself.  It is no accident that ",p:131,x:444,y:985,w:298,h:21},
{t:"german politicians played a key role in the ",p:131,x:444,y:1008,w:318,h:21},
{t:"construction of such plans. This project in a ",p:131,x:444,y:1031,w:313,h:21},
{t:"more modest form entered the 90-ties, the ",p:131,x:444,y:1054,w:306,h:21},
{t:"time of its practical realization, of Polands ",p:131,x:444,y:1077,w:306,h:21},
{t:"membership in the EU (and in NATO), and ",p:131,x:444,y:1100,w:313,h:21},
{t:"an entirely new face of global relations. ",p:131,x:444,y:1123,w:292,h:21},
{t:"Let us, however, leave aside this political ",p:131,x:444,y:1145,w:296,h:21},
{t:"context, though it is worth some attention, if ",p:131,x:444,y:1168,w:316,h:21},
{t:"only because of the fact that the two teams ",p:131,x:444,y:1191,w:314,h:21},
{t:"- Polish and Norwegian - are meeting now ",p:131,x:444,y:1214,w:310,h:21},
{t:"in entirely new geopolitical circumstances. ",p:131,x:444,y:1237,w:309,h:21},
{t:"21 years ago Polish and Norwegian artists ",p:131,x:444,y:1260,w:315,h:21},
{t:"lived on two distant planets.        ",p:131,x:444,y:1283,w:238,h:21},
{t:"Let us now turn to the context of humanistic ",p:131,x:444,y:1329,w:313,h:21},
{t:"ideas, which are closer to the interpretation ",p:131,x:444,y:1352,w:317,h:21},
{t:"of art, and which constitute a background ",p:131,x:444,y:1375,w:306,h:21},
{t:"for the new practices signaled by me, ",p:131,x:444,y:1398,w:275,h:21},
{t:"and so spectacularly announced at the 8 ",p:131,x:444,y:1420,w:301,h:21},
{t:"Berdyszakiem, Grzegorzem kowalskim i ",p:131,x:801,y:113,w:297,h:23},
{t:"egilem kurdolem na dziedzińcu szkolnej ",p:131,x:801,y:136,w:297,h:23},
{t:"bursy (hostel), odpoczywając po kolejnej ",p:131,x:801,y:159,w:304,h:23},
{t:"wyprawie na kvitmannsberget. wtedy ",p:131,x:801,y:181,w:283,h:23},
{t:"erik Fonkalsrud przyniósł trzy grube tomy ",p:131,x:801,y:204,w:302,h:23},
{t:"katalogu 8 Documenta, które w tym ",p:131,x:801,y:227,w:263,h:23},
{t:"czasie otwarte były w kassel. zarówno ",p:131,x:801,y:250,w:289,h:23},
{t:"teksty krytyczne m.in. edwarta e. Fry (eine ",p:131,x:801,y:273,w:309,h:23},
{t:"neue moderne) i lothara romaina (Die ",p:131,x:801,y:296,w:289,h:23},
{t:"moderne nach der Postmoderne), jak i ",p:131,x:801,y:319,w:284,h:23},
{t:"zdjęcia prac prezentowanych na wystawie, ",p:131,x:801,y:342,w:320,h:23},
{t:"nie pozostawiały wątpliwości. kończył ",p:131,x:801,y:365,w:285,h:23},
{t:"się wyraźnie pewien epizod w kulturze ",p:131,x:801,y:388,w:287,h:23},
{t:"artystycznej. transawangarda, gwałtowne ",p:131,x:801,y:411,w:311,h:23},
{t:"malarstwo i postmalarska rzeźba traciło ",p:131,x:801,y:434,w:294,h:23},
{t:"swoją dominującą pozycję. Fry krytykuje je ",p:131,x:801,y:456,w:318,h:23},
{t:"jako „prywatną religię wykształconych klas ",p:131,x:801,y:479,w:318,h:23},
{t:"średnich” (educated midle class)i nazywa ",p:131,x:801,y:502,w:307,h:23},
{t:"„kapitalistycznym realizmem” ery regana. ",p:131,x:801,y:525,w:311,h:23},
{t:"Nowa moderna, która zapowiada ma ",p:131,x:801,y:548,w:282,h:23},
{t:"mieć krytyczny sens, ma byś krytycznym ",p:131,x:801,y:571,w:294,h:23},
{t:"„przedstawianiem” przedstawień, ma ",p:131,x:801,y:594,w:278,h:23},
{t:"ciągłe krytykować konwencje artystyczne, ",p:131,x:801,y:617,w:309,h:23},
{t:"ma mieć żywy kontakt z rzeczywistością, ",p:131,x:801,y:640,w:301,h:23},
{t:"zwłaszcza społeczną.  ",p:131,x:801,y:663,w:169,h:23},
{t:"czy  instytucja artystyczna taka jak ",p:131,x:801,y:708,w:259,h:23},
{t:"Documenta w kassel uwikłana jest w ",p:131,x:801,y:731,w:271,h:23},
{t:"pewien rozleglejszy projekt społeczno/",p:131,x:801,y:754,w:287,h:23},
{t:"polityczny nie wiem, faktem dziś już dobrze ",p:131,x:801,y:777,w:321,h:23},
{t:"rozpoznanym i opisanym jest wszak to, iż ",p:131,x:801,y:800,w:306,h:23},
{t:"rok 1987 to czas rozwijania się pewnego ",p:131,x:801,y:823,w:308,h:23},
{t:"projektu o charakterze kontynentalnym a ",p:131,x:801,y:846,w:300,h:23},
{t:"wkrótce także o charakterze globalnym. ",p:131,x:801,y:869,w:296,h:23},
{t:"zsrr jest w okresie pierestrojki, która już ",p:131,x:801,y:892,w:299,h:23},
{t:"wkrótce, bo na początku lat 90. wejdzie ",p:131,x:801,y:915,w:299,h:23},
{t:"w okres,  raczej słabo kontrolowanego, ",p:131,x:801,y:938,w:290,h:23},
{t:"rozpadu. w opisywanym roku 1987 ",p:131,x:801,y:961,w:271,h:23},
{t:"znaleźć można także ślady trwania prac ",p:131,x:801,y:983,w:301,h:23},
{t:"nad rozwinięciem idei zjednoczonej eu-",p:131,x:801,y:1006,w:289,h:23},
{t:"ropy, zintegrowania jej w nowych grani-",p:131,x:801,y:1029,w:290,h:23},
{t:"cach, obejmujących nie tylko kraje, które ",p:131,x:801,y:1052,w:300,h:23},
{t:"wypadały ze sfery wpływów zsrr, takich ",p:131,x:801,y:1075,w:309,h:23},
{t:"jak Polska, węgry czy czechy, ale o rosje ",p:131,x:801,y:1098,w:315,h:23},
{t:"samą. Nie przypadkiem zresztą czołową ",p:131,x:801,y:1121,w:304,h:23},
{t:"role w konstruowaniu takich planów mieli ",p:131,x:801,y:1144,w:303,h:23},
{t:"politycy niemieccy. w skromniejszej formie ",p:131,x:801,y:1167,w:314,h:23},
{t:"projekt ten wkroczy w latach 90. w czas ",p:131,x:801,y:1190,w:303,h:23},
{t:"swego praktycznego wdrażania, czas który ",p:131,x:801,y:1213,w:323,h:23},
{t:"przyniesie Polsce członkowstwo w Ue (i w ",p:131,x:801,y:1235,w:309,h:23},
{t:"Nato) i zupełnie nowe oblicze globalnych ",p:131,x:801,y:1258,w:320,h:23},
{t:"stosunków.  zostawmy jednak ten kontekst ",p:131,x:801,y:1281,w:309,h:23},
{t:"politologiczny, choć warto go mieć choć  ",p:131,x:801,y:1304,w:304,h:23},
{t:"trochę na uwadze, bowiem - to poruszający ",p:131,x:801,y:1327,w:323,h:23},
{t:"wyobraźnię fakt, iż obie ekipy: polska i ",p:131,x:801,y:1350,w:288,h:23},
{t:"norweska, spotykają się dziś w zupełnie ",p:131,x:801,y:1373,w:295,h:23},
{t:"nowych okolicznościach geopolitycznych. ",p:131,x:801,y:1396,w:308,h:23},
{t:"132",p:132,x:108,y:1465,w:23,h:16},
{t:"viktige for denne såkalte andre modernis-",p:132,x:118,y:115,w:298,h:21},
{t:"men (man bør også her nevne, blant andre, ",p:132,x:118,y:138,w:321,h:21},
{t:"Heinrich Klotz og, innen britisk politikk og ",p:132,x:118,y:160,w:305,h:21},
{t:"sosiopolitikk, Anthony giddens). groys og ",p:132,x:118,y:183,w:310,h:21},
{t:"Beck formulerte seg utmerket gjennom en ",p:132,x:118,y:206,w:303,h:21},
{t:"viss tankefgur som utgjorde grunnlaget for ",p:132,x:118,y:229,w:312,h:21},
{t:"det andre modernitetsprosjektet, og som ",p:132,x:118,y:252,w:294,h:21},
{t:"også angår de fenomenene beskrevet i ",p:132,x:118,y:275,w:288,h:21},
{t:"forhold til Documenta 8 som moderniteten ",p:132,x:118,y:298,w:309,h:21},
{t:"etter postmoderniteten. groys er opphavs-",p:132,x:118,y:321,w:303,h:21},
{t:"mannen til den berømte sammenligningen ",p:132,x:118,y:344,w:307,h:21},
{t:"mellom Stalinisme og gesamtkunstwerk, ",p:132,x:118,y:367,w:294,h:21},
{t:"og hans senere tekster beskriver briljant ",p:132,x:118,y:390,w:290,h:21},
{t:"tranformasjonen i Sovjetunion og de lan-",p:132,x:118,y:413,w:292,h:21},
{t:"dene som kom ut av disintegrasjonen av det ",p:132,x:118,y:435,w:322,h:21},
{t:"sovjetiske imperiet. Han viser hvordan kom-",p:132,x:118,y:458,w:310,h:21},
{t:"munistene først overtok hele samfunnet og ",p:132,x:118,y:481,w:308,h:21},
{t:"satte opp statlig eierskap for så, på slutten ",p:132,x:118,y:504,w:308,h:21},
{t:"av 1980-tallet og 1990-tallet, å privatisere ",p:132,x:118,y:527,w:312,h:21},
{t:"det som tidligere hadde blitt overført til ",p:132,x:118,y:550,w:285,h:21},
{t:"staten. Som et resultat av den doble, totale ",p:132,x:118,y:573,w:313,h:21},
{t:"overgivelsen ble alt ribbet for sine naturlige ",p:132,x:118,y:596,w:317,h:21},
{t:"(historiske) røtter. Russland og de andre ",p:132,x:118,y:619,w:291,h:21},
{t:"postkommunistiske landene står i dag foran ",p:132,x:118,y:642,w:317,h:21},
{t:"naturens komplette atrof. Virkeligheten har ",p:132,x:118,y:665,w:305,h:21},
{t:"blitt totalt snudd om. Det naturlig e fnnes ikke. ",p:132,x:118,y:687,w:323,h:21},
{t:"Urlich Beck skaper en lignende metafor for ",p:132,x:118,y:733,w:314,h:21},
{t:"den kulturelle situasjonen i forhold til Vesten. ",p:132,x:118,y:756,w:323,h:21},
{t:"Han sier at kulturen i Vest-Europa og USA ",p:132,x:118,y:779,w:305,h:21},
{t:"gjennomgikk en moderniseringsprosess ",p:132,x:118,y:802,w:287,h:21},
{t:"i det 19. og 20. århundret hvor naturen ",p:132,x:118,y:825,w:289,h:21},
{t:"ble transformert, både materielt, sosialt ",p:132,x:118,y:848,w:285,h:21},
{t:"og symbolsk sett. Vi står nå foran nok en ",p:132,x:118,y:871,w:297,h:21},
{t:"moderniseringsprosess. Men denne mod-",p:132,x:118,y:894,w:296,h:21},
{t:"erniseringen dreier seg ikke om naturen; ",p:132,x:118,y:917,w:294,h:21},
{t:"den ble transformert allerede på det første ",p:132,x:118,y:939,w:311,h:21},
{t:"stadiet. Dagens modernisering dreier seg ",p:132,x:118,y:962,w:302,h:21},
{t:"om det som allerede har blitt transformert ",p:132,x:118,y:985,w:303,h:21},
{t:"(og som dermed er unaturlig).  Utfallet av ",p:132,x:118,y:1008,w:304,h:21},
{t:"dette er en helt ny sosial situasjon – utviklingen ",p:132,x:118,y:1031,w:323,h:21},
{t:"av et nytt samfunn – risiko samfunnet. Dette ",p:132,x:118,y:1054,w:314,h:21},
{t:"samfunnet, uten naturlighet, burde sees på ",p:132,x:118,y:1077,w:310,h:21},
{t:"gjennom kunstig livssyn, en kunstig verden ",p:132,x:118,y:1100,w:308,h:21},
{t:"bestående av sosiale og symbolske ",p:132,x:118,y:1123,w:260,h:21},
{t:"(spirituelle) verdier. Vi er selvsagt her ",p:132,x:118,y:1146,w:271,h:21},
{t:"interessert i hva slags innvirking disse ",p:132,x:118,y:1169,w:272,h:21},
{t:"ideene kan ha på tolkingsverdenen og ",p:132,x:118,y:1192,w:283,h:21},
{t:"kunstneriske tilnærminger. Denne andre ",p:132,x:118,y:1214,w:289,h:21},
{t:"moderniteten, som vi så vidt har vært inne ",p:132,x:118,y:1237,w:306,h:21},
{t:"på, har sine kunstneriske representasjoner ",p:132,x:118,y:1260,w:306,h:21},
{t:"og uttrykk som vi kunne se eksempler på i ",p:132,x:118,y:1283,w:305,h:21},
{t:"Documenta 8 i Kassel. Slike tilnærminger ",p:132,x:118,y:1306,w:300,h:21},
{t:"kom til uttrykk i kunstinstitusjonenes ",p:132,x:118,y:1329,w:254,h:21},
{t:"utstillinger, arrangementer, aktiviteter og ",p:132,x:118,y:1352,w:294,h:21},
{t:"programmer og utviklingen spredte seg ",p:132,x:118,y:1375,w:288,h:21},
{t:"over hele verden (og inkluderte denne gang ",p:132,x:118,y:1398,w:324,h:21},
{t:"også den gamle Sovjetunionens sfære).",p:132,x:118,y:1421,w:285,h:21},
{t:"Documenta in Kassel. I would like to turn ",p:132,x:474,y:114,w:297,h:21},
{t:"your attention to the ideas of Boris groys ",p:132,x:474,y:137,w:300,h:21},
{t:"and Ulrich Beck, which are counted as ",p:132,x:474,y:160,w:284,h:21},
{t:"important  for the so-called “second moder-",p:132,x:474,y:183,w:313,h:21},
{t:"nity” (one should consider here also, among ",p:132,x:474,y:206,w:325,h:21},
{t:"others, Heinrich Klotz or, in the sphere of ",p:132,x:474,y:229,w:299,h:21},
{t:"English  politics and socio-politics, Anthony ",p:132,x:474,y:252,w:313,h:21},
{t:"giddens). groys and Becks formulate ",p:132,x:474,y:275,w:277,h:21},
{t:"excellently a certain thought “fgure”, which ",p:132,x:474,y:298,w:321,h:21},
{t:"lies at the basis of the second modernity ",p:132,x:474,y:321,w:294,h:21},
{t:"project, and also concerns the phenomena ",p:132,x:474,y:344,w:314,h:21},
{t:"described in connection with the 8 Docu-",p:132,x:474,y:366,w:295,h:21},
{t:"menta as modernity after post-modernity. ",p:132,x:474,y:389,w:299,h:21},
{t:"grays is the author of a famous comparison ",p:132,x:474,y:412,w:322,h:21},
{t:"of Stalinism to gesamtkunstwerk, and in his ",p:132,x:474,y:435,w:316,h:21},
{t:"later texts brilliantly describes the process ",p:132,x:474,y:458,w:304,h:21},
{t:"of transformation in the Soviet Union and in ",p:132,x:474,y:481,w:318,h:21},
{t:"the countries emerging from the disintegra-",p:132,x:474,y:504,w:307,h:21},
{t:"tion of the Soviet empire. He shows how ",p:132,x:474,y:527,w:294,h:21},
{t:"communists frst totally expropriated society, ",p:132,x:474,y:550,w:322,h:21},
{t:"establishing state ownership, and then, at ",p:132,x:474,y:573,w:303,h:21},
{t:"the end of the eighties and in the nineties ",p:132,x:474,y:596,w:300,h:21},
{t:"the same power was privatizing what had ",p:132,x:474,y:618,w:307,h:21},
{t:"earlier been handed over to the state. As ",p:132,x:474,y:641,w:300,h:21},
{t:"a result of this double, total “turnover” ",p:132,x:474,y:664,w:278,h:21},
{t:"everything has been robbed of its “natural” ",p:132,x:474,y:687,w:318,h:21},
{t:"(historical) roots. Russia and the post-com-",p:132,x:474,y:710,w:301,h:21},
{t:"munist countries function today in a situation ",p:132,x:474,y:733,w:322,h:21},
{t:"of complete atrophy of “nature”. Reality has ",p:132,x:474,y:756,w:322,h:21},
{t:"been totally “turned over”. “The natural” ",p:132,x:474,y:779,w:297,h:21},
{t:"does not exist.",p:132,x:474,y:802,w:103,h:21},
{t:"Urlich Beck creates a similar metaphor of ",p:132,x:474,y:848,w:302,h:21},
{t:"the cultural situation in relation to the west. ",p:132,x:474,y:871,w:315,h:21},
{t:"He says that the culture of western Europe ",p:132,x:474,y:893,w:313,h:21},
{t:"(and of the United States) went in the XIX ",p:132,x:474,y:916,w:301,h:21},
{t:"century and the frst half of the XX century ",p:132,x:474,y:939,w:306,h:21},
{t:"through a process of modernization, during ",p:132,x:474,y:962,w:318,h:21},
{t:"which “nature” was transformed both in a ",p:132,x:474,y:985,w:306,h:21},
{t:"material sense, and in a social and symbolic ",p:132,x:474,y:1008,w:325,h:21},
{t:"sense. we are now facing a subsequent ",p:132,x:474,y:1031,w:294,h:21},
{t:"process of modernization. However, this ",p:132,x:474,y:1054,w:294,h:21},
{t:"modernization does not act upon “nature”, ",p:132,x:474,y:1077,w:314,h:21},
{t:"as this was already transformed during the ",p:132,x:474,y:1100,w:312,h:21},
{t:"frst stage. Todays modernization operates ",p:132,x:474,y:1123,w:311,h:21},
{t:"on that which has already been transformed ",p:132,x:474,y:1145,w:324,h:21},
{t:"(and is therefore “unnatural”). The effect ",p:132,x:474,y:1168,w:295,h:21},
{t:"of this is a completely new social situation ",p:132,x:474,y:1191,w:306,h:21},
{t:"– the emergence of a new type of society ",p:132,x:474,y:1214,w:304,h:21},
{t:"– the risk society. This society, devoid of ",p:132,x:474,y:1237,w:290,h:21},
{t:"all “naturalness”, should be looked at in ",p:132,x:474,y:1260,w:293,h:21},
{t:"the perspective of an “artifcial” world of ",p:132,x:474,y:1283,w:299,h:21},
{t:"life, and an artifcial world of social and ",p:132,x:474,y:1306,w:294,h:21},
{t:"symbolic (spiritual) values.    ",p:132,x:474,y:1329,w:208,h:21},
{t:"we are of course interested here in what ",p:132,x:474,y:1352,w:299,h:21},
{t:"bearing these ideas might have on the ",p:132,x:474,y:1375,w:281,h:21},
{t:"world of interpretation and artistic practices. ",p:132,x:474,y:1398,w:323,h:21},
{t:"This briefy considered “second modernity” ",p:132,x:474,y:1420,w:315,h:21},
{t:"21 lat temu polscy i norwescy artyści żyli na ",p:132,x:830,y:113,w:325,h:23},
{t:"dwóch odległych „planetach”. ",p:132,x:830,y:136,w:226,h:23},
{t:"Przejdźmy do nieco bliższego  interpretacji ",p:132,x:830,y:181,w:317,h:23},
{t:"sztuki kontekstu idei humanistycznych, ",p:132,x:830,y:204,w:277,h:23},
{t:"tworzących pewne tło dla, sygnalizow-",p:132,x:830,y:227,w:283,h:23},
{t:"anych przeze mnie, nowych praktyk, tak ",p:132,x:830,y:250,w:296,h:23},
{t:"spektakularnie zaanonsowanych na 8 ",p:132,x:830,y:273,w:280,h:23},
{t:"Documenta w kassel. chcę zwrócić uwagę ",p:132,x:830,y:296,w:318,h:23},
{t:"na idee Borisa Groysa i Ulricha Becka . ",p:132,x:830,y:319,w:291,h:23},
{t:"idee które zalicza się do idei ważnych dla ",p:132,x:830,y:342,w:312,h:23},
{t:"tzw  „drugiej nowoczesności” (trzeba by ",p:132,x:830,y:365,w:300,h:23},
{t:"uwzględnić tu także m.in. Heinricha klotza ",p:132,x:830,y:388,w:314,h:23},
{t:"czy w sferze polityki i socjo/polityki angiel-",p:132,x:830,y:411,w:312,h:23},
{t:"skiej anthony Giddensa). Groys i Beck zna-",p:132,x:830,y:433,w:314,h:23},
{t:"komicie ujmują pewna „fgurę” myślową, ",p:132,x:830,y:456,w:300,h:23},
{t:"która leży u podstaw projektu drugiej ",p:132,x:830,y:479,w:275,h:23},
{t:"nowoczesności, także zjawisk opisywanych ",p:132,x:830,y:502,w:320,h:23},
{t:"w związku z  8 Documenta w kassel jako ",p:132,x:830,y:525,w:307,h:23},
{t:"nowoczesność po ponowoczesności. ",p:132,x:830,y:548,w:273,h:23},
{t:"Groys jest autorem słynnego porównania ",p:132,x:830,y:571,w:304,h:23},
{t:"stalinizmu do Gesamtkunstwerk, w swoich ",p:132,x:830,y:594,w:307,h:23},
{t:"późniejszych tekstach błyskotliwie opisuje ",p:132,x:830,y:617,w:306,h:23},
{t:"proces transformacji w zsrr i krajach, ",p:132,x:830,y:640,w:282,h:23},
{t:"które wyłaniają się z rozpadu sowieckiego ",p:132,x:830,y:663,w:315,h:23},
{t:"imperium. Pokazuje on jak komuniści najpi-",p:132,x:830,y:686,w:309,h:23},
{t:"erw totalnie wywłaszczali społeczeństwo, ",p:132,x:830,y:708,w:308,h:23},
{t:"ustanawiając własność państwową, a ",p:132,x:830,y:731,w:278,h:23},
{t:"następnie, w końcu lat osiemdziesiątych i w ",p:132,x:830,y:754,w:319,h:23},
{t:"latach dziewięćdziesiątych, ta sama władza ",p:132,x:830,y:777,w:325,h:23},
{t:"prywatyzowała to co było wcześniej prze-",p:132,x:830,y:800,w:307,h:23},
{t:"kazane państwu. rezultat tego podwójnego ",p:132,x:830,y:823,w:324,h:23},
{t:"totalnego „obrotu” wszystko pozbawione ",p:132,x:830,y:846,w:306,h:23},
{t:"zostało swoich „naturalnych” (historyc-",p:132,x:830,y:869,w:280,h:23},
{t:"znych) korzeni. rosja i kraje postkomu-",p:132,x:830,y:892,w:279,h:23},
{t:"nistyczne działają zatem dziś w sytuacji ",p:132,x:830,y:915,w:293,h:23},
{t:"całkowitego zaniku „natury”. rzeczywistość ",p:132,x:830,y:938,w:324,h:23},
{t:"jest totalnie „przekopana”. there is not ",p:132,x:830,y:960,w:285,h:23},
{t:"„nature” at least. ",p:132,x:830,y:983,w:126,h:23},
{t:"Urlich Back tworzy podobna metaforę ",p:132,x:830,y:1029,w:282,h:23},
{t:"sytuacji kulturowej w odniesieniu do ",p:132,x:830,y:1052,w:265,h:23},
{t:"zachodu. Powiada on kultura europy ",p:132,x:830,y:1075,w:274,h:23},
{t:"zachodniej (i stanów zjednoczonych) ",p:132,x:830,y:1098,w:282,h:23},
{t:"przeszła w XiX wieku i pierwszej połowie ",p:132,x:830,y:1121,w:305,h:23},
{t:"wieku XX proces modernizacji, w czasie ",p:132,x:830,y:1144,w:294,h:23},
{t:"którego przekształcona została „natura” ",p:132,x:830,y:1167,w:299,h:23},
{t:"zarówno w sensie materialnym jak i w ",p:132,x:830,y:1190,w:281,h:23},
{t:"sensie społecznym i symbolicznym. Dziś oto ",p:132,x:830,y:1213,w:322,h:23},
{t:"mamy do czynienia z procesem kolejnej ",p:132,x:830,y:1235,w:295,h:23},
{t:"modernizacji. Jednak ta modernizacja ",p:132,x:830,y:1258,w:281,h:23},
{t:"nie operuje już na „naturze” ta bowiem ",p:132,x:830,y:1281,w:291,h:23},
{t:"została już przekształcona w pierwszym ",p:132,x:830,y:1304,w:298,h:23},
{t:"etapie. Dzisiejsza modernizacja operuje na ",p:132,x:830,y:1327,w:320,h:23},
{t:"tym co już jest przekształcone (a więc jest ",p:132,x:830,y:1350,w:307,h:23},
{t:"„nienaturalne”). efektem tego jest całkiem ",p:132,x:830,y:1373,w:306,h:23},
{t:"nowa sytuacja społeczna – wyłania się ",p:132,x:830,y:1396,w:289,h:23},
{t:"nowy typ społeczeństwa – społeczeństwo ",p:132,x:830,y:1419,w:307,h:23},
{t:"133",p:133,x:1128,y:1464,w:23,h:16},
{t:"Kort sagt, kan man si at disse ideene og ",p:133,x:88,y:115,w:293,h:21},
{t:"kunstneriske tilnærmingene, som hadde ",p:133,x:88,y:138,w:288,h:21},
{t:"bakgrunn i de overnevnte sosiokulturelle ",p:133,x:88,y:160,w:295,h:21},
{t:"prosessene, konsentrerte seg om en ",p:133,x:88,y:183,w:261,h:21},
{t:"fntfølende reaksjon til denne situasjonen ",p:133,x:88,y:206,w:298,h:21},
{t:"og ble en slags alarm, et verktøy for å ",p:133,x:88,y:229,w:280,h:21},
{t:"gjenkjenne trusler, en måte å intervenere ",p:133,x:88,y:252,w:297,h:21},
{t:"på, et tidlig varsel. Holdningen til det om-",p:133,x:88,y:275,w:297,h:21},
{t:"stridte, som allerede fantes i moderne kunst, ",p:133,x:88,y:298,w:320,h:21},
{t:"tilspisset seg i forhold til sosiale normer og ",p:133,x:88,y:321,w:309,h:21},
{t:"modeller som ble sett på som unaturlige og ",p:133,x:88,y:344,w:317,h:21},
{t:"derfor tillot, eller faktisk krevde, distanser-",p:133,x:88,y:367,w:298,h:21},
{t:"ing. I Polen fkk disse fenomenene det ",p:133,x:88,y:390,w:276,h:21},
{t:"generelle tilnavnet kritisk kunst. Man kan ",p:133,x:88,y:413,w:297,h:21},
{t:"ikke unngå å merke seg at kunstneriske ",p:133,x:88,y:435,w:286,h:21},
{t:"uttrykk i den andre moderniteten utgjør en ",p:133,x:88,y:458,w:309,h:21},
{t:"viss sublimering av prosessene forbundet ",p:133,x:88,y:481,w:299,h:21},
{t:"med kulturaliseringen av naturen, en prosess ",p:133,x:88,y:504,w:325,h:21},
{t:"hvor det kunstige overgår det naturlige, hvor ",p:133,x:88,y:527,w:325,h:21},
{t:"det naturlige miljøet er en by, et samfunn, en ",p:133,x:88,y:550,w:325,h:21},
{t:"institusjon, en kunstnerisk organisasjon som ",p:133,x:88,y:573,w:314,h:21},
{t:"et museum eller et galleri og ikke en skog ",p:133,x:88,y:596,w:303,h:21},
{t:"eller en ørken. ",p:133,x:88,y:619,w:108,h:21},
{t:"I lys av disse kommentarene, er det karak-",p:133,x:88,y:665,w:301,h:21},
{t:"teristisk at prosjektet Kunst/Natur fra 1987 ",p:133,x:88,y:687,w:313,h:21},
{t:"ikke brakte med seg noen tydelige, dypere ",p:133,x:88,y:710,w:314,h:21},
{t:"konsekvenser for polske kunstnere; de fulgte ",p:133,x:88,y:733,w:321,h:21},
{t:"sin egen sti og beveget seg vekk, på en mer ",p:133,x:88,y:756,w:322,h:21},
{t:"eller mindre radikal måte, fra naturen som ",p:133,x:88,y:779,w:306,h:21},
{t:"inspirasjonskilde. (Dette ble ikke forandret ",p:133,x:88,y:802,w:306,h:21},
{t:"av et symposium – mer radikalt fra ståstedet ",p:133,x:88,y:825,w:321,h:21},
{t:"om å jobbe med naturen – organisert av ",p:133,x:88,y:848,w:298,h:21},
{t:"E.M. Kurdøl i Mårådalen  i 1993). ",p:133,x:88,y:871,w:256,h:21},
{t:"De polske kunstnerne, spesielt de yngre, ",p:133,x:88,y:894,w:294,h:21},
{t:"som deltar på denne utgaven av det ",p:133,x:88,y:917,w:267,h:21},
{t:"polsk-norske symposiet på Lillehammer, ",p:133,x:88,y:939,w:287,h:21},
{t:"var på den tiden og er fortsatt å fnne i ",p:133,x:88,y:962,w:284,h:21},
{t:"modernitetens territorium der kunstneriske ",p:133,x:88,y:985,w:303,h:21},
{t:"reaksjoner ble stimulert av tanken om å ",p:133,x:88,y:1008,w:288,h:21},
{t:"videreføre moderniseringen av verden, og ",p:133,x:88,y:1031,w:310,h:21},
{t:"alle de gode og dårlige konsekvensene av ",p:133,x:88,y:1054,w:314,h:21},
{t:"denne prosessen. I dette territoriet kan man ",p:133,x:88,y:1077,w:316,h:21},
{t:"plassere de følgende polske kunstnerne ",p:133,x:88,y:1100,w:291,h:21},
{t:"som deltar på UT-21 prosjektet: elżbieta ",p:133,x:88,y:1122,w:294,h:23},
{t:"Jabłońską, , Leszek golec og Tatiana ",p:133,x:88,y:1145,w:274,h:23},
{t:"czekalska, Oskar Dawicki, Maciej Kurak ",p:133,x:88,y:1169,w:302,h:21},
{t:"og Maksymilian Skorwider, og også ",p:133,x:88,y:1192,w:268,h:21},
{t:"kunstnere fra mellom – og eldre generas-",p:133,x:88,y:1214,w:295,h:21},
{t:"joner som Teresa Murak, Janusz Bałdyga ",p:133,x:88,y:1236,w:303,h:23},
{t:"og Jan Berdyszak. Vel, jeg må fortsatt ",p:133,x:88,y:1260,w:277,h:21},
{t:"besvare spørsmålet: Hvor befnner vi oss ",p:133,x:88,y:1283,w:297,h:21},
{t:"i dag? Hvordan er vi nå plassert i sosiale, ",p:133,x:88,y:1306,w:305,h:21},
{t:"kulturelle og kunstneriske prosesser, nå som ",p:133,x:88,y:1329,w:317,h:21},
{t:"vi realiserer, etter 21 år, den andre utgaven ",p:133,x:88,y:1352,w:319,h:21},
{t:"av dette polsk-norske symposiet?",p:133,x:88,y:1375,w:235,h:21},
{t:"Mitt svar på dette spørsmålet i dag skjer i et ",p:133,x:88,y:1398,w:321,h:21},
{t:"ganske annerledes øyeblikk enn for 21 år ",p:133,x:88,y:1421,w:306,h:21},
{t:"has its artistic representation and count-",p:133,x:444,y:114,w:284,h:21},
{t:"less examples of practice, to which the 8 ",p:133,x:444,y:137,w:298,h:21},
{t:"Documenta at Kassel, mentioned at the ",p:133,x:444,y:160,w:286,h:21},
{t:"beginning, give their exhibition space, and ",p:133,x:444,y:183,w:313,h:21},
{t:"which will develop and spread in exhibi-",p:133,x:444,y:206,w:292,h:21},
{t:"tions, events, activities and programs of art ",p:133,x:444,y:229,w:312,h:21},
{t:"institutions across the whole world (this time ",p:133,x:444,y:252,w:318,h:21},
{t:"including the sphere of the former Soviet ",p:133,x:444,y:275,w:296,h:21},
{t:"Union).    ",p:133,x:444,y:298,w:71,h:21},
{t:"In short, one can say that these ideas and ",p:133,x:444,y:344,w:306,h:21},
{t:"artistic practices, having in the background ",p:133,x:444,y:366,w:315,h:21},
{t:"the above-mentioned socio-cultural process-",p:133,x:444,y:389,w:313,h:21},
{t:"es,  concentrate on a sensitive “reaction” to ",p:133,x:444,y:412,w:317,h:21},
{t:"this state of affairs, taking on the position of ",p:133,x:444,y:435,w:318,h:21},
{t:"an alarm instrument, of a tool for recog-",p:133,x:444,y:458,w:286,h:21},
{t:"nizing threats, a means of intervention, of ",p:133,x:444,y:481,w:301,h:21},
{t:"early warning. There is a sharpening of the ",p:133,x:444,y:504,w:315,h:21},
{t:"attitude of contestation, already present in ",p:133,x:444,y:527,w:308,h:21},
{t:"modern art, towards social norms and mod-",p:133,x:444,y:550,w:315,h:21},
{t:"els considered as “unnatural”, artifcial and ",p:133,x:444,y:573,w:317,h:21},
{t:"therefore allowing, or even demanding, dis-",p:133,x:444,y:596,w:315,h:21},
{t:"tancing. In Poland these phenomena have ",p:133,x:444,y:618,w:308,h:21},
{t:"acquired the generalized name of “critical ",p:133,x:444,y:641,w:311,h:21},
{t:"art”. It is diffcult not to note that the artistic ",p:133,x:444,y:664,w:312,h:21},
{t:"practice of “the second modernity” consti-",p:133,x:444,y:687,w:302,h:21},
{t:"tutes a certain sublimation of the processes ",p:133,x:444,y:710,w:313,h:21},
{t:"of “culturalisation” of nature, the process of ",p:133,x:444,y:733,w:317,h:21},
{t:"“the artifcial” gaining ascendancy over the ",p:133,x:444,y:756,w:319,h:21},
{t:"“natural”, and that its natural environment is ",p:133,x:444,y:779,w:321,h:21},
{t:"a city, a community, an institution, an artistic ",p:133,x:444,y:802,w:320,h:21},
{t:"organization – museum and  gallery, and ",p:133,x:444,y:825,w:304,h:21},
{t:"not a forest or a desert.         ",p:133,x:444,y:848,w:211,h:21},
{t:"In the light of the above comments, it is ",p:133,x:444,y:893,w:284,h:21},
{t:"characteristic that the project Art/Nature of ",p:133,x:444,y:916,w:318,h:21},
{t:"1987 did not bring about some distinctive, ",p:133,x:444,y:939,w:312,h:21},
{t:"deeper consequences for the Polish artists; ",p:133,x:444,y:962,w:310,h:21},
{t:"they followed their own path, moving away, ",p:133,x:444,y:985,w:322,h:21},
{t:"in a more or less radical manner, from the ",p:133,x:444,y:1008,w:306,h:21},
{t:"inspiration of nature. (This was not changed ",p:133,x:444,y:1031,w:320,h:21},
{t:"by a symposium  –  more radical from ",p:133,x:444,y:1054,w:278,h:21},
{t:"the point of view of working with nature – ",p:133,x:444,y:1077,w:305,h:21},
{t:"organized by E.M. Kurdøl in Mårådalen ",p:133,x:444,y:1100,w:298,h:21},
{t:"Valley in 1993). The Polish artists, especially ",p:133,x:444,y:1123,w:325,h:21},
{t:"the young ones, who are participating in ",p:133,x:444,y:1145,w:298,h:21},
{t:"the current edition of the Polish-Norwegian ",p:133,x:444,y:1168,w:313,h:21},
{t:"symposium in Lillehammer, were at the time ",p:133,x:444,y:1191,w:316,h:21},
{t:"(and still are) recognized in this territory of ",p:133,x:444,y:1214,w:312,h:21},
{t:"“modernity” and in the realm of artistic reac-",p:133,x:444,y:1237,w:320,h:21},
{t:"tions stimulated by the idea of developing ",p:133,x:444,y:1260,w:306,h:21},
{t:"modernization of the world, with all the ",p:133,x:444,y:1283,w:288,h:21},
{t:"good and bad consequences of this process. ",p:133,x:444,y:1306,w:324,h:21},
{t:"generally,  one can place in this territory  ",p:133,x:444,y:1329,w:304,h:21},
{t:"Polish artists taking part in the UT 21 ",p:133,x:444,y:1352,w:268,h:21},
{t:"project: elżbieta Jabłońską, Leszek golec ",p:133,x:444,y:1374,w:305,h:23},
{t:"and Tatiana czekalska, Oskar Dawicki, ",p:133,x:444,y:1398,w:291,h:21},
{t:"Maciej Kurak and  Maksymilian Skorwider, ",p:133,x:444,y:1420,w:319,h:21},
{t:"ryzyka. to społeczeństwo wyjęte ze ",p:133,x:801,y:113,w:265,h:23},
{t:"wszelkiej „naturalności”, społeczeństwo, ",p:133,x:801,y:136,w:297,h:23},
{t:"które rozpatrywać trzeba w perspektywie ",p:133,x:801,y:159,w:307,h:23},
{t:"„sztucznego” świata życia i sztucznego ",p:133,x:801,y:181,w:292,h:23},
{t:"świata wartości społecznych i symbolic-",p:133,x:801,y:204,w:286,h:23},
{t:"znych (duchowych). ",p:133,x:801,y:227,w:149,h:23},
{t:"Nas tu oczywiście interesuje to, jaki jest ",p:133,x:801,y:250,w:291,h:23},
{t:"możliwy refeks tych idei w świecie inter-",p:133,x:801,y:273,w:291,h:23},
{t:"pretacji i praktyk artystycznych. otóż tak ",p:133,x:801,y:296,w:300,h:23},
{t:"w skrócie myślana „druga nowoczesność” ",p:133,x:801,y:319,w:312,h:23},
{t:"ma swoja reprezentację artystyczną, i ",p:133,x:801,y:342,w:279,h:23},
{t:"niezliczone przykłady praktyk, których, ",p:133,x:801,y:365,w:288,h:23},
{t:"wspomniane na początku 8 Documenta w ",p:133,x:801,y:388,w:311,h:23},
{t:"kassel, dają swoja przestrzeń wystawową, ",p:133,x:801,y:411,w:315,h:23},
{t:"i które rozwiną się i upowszechnią w ",p:133,x:801,y:433,w:272,h:23},
{t:"mnożących się wystawach, imprezach, ",p:133,x:801,y:456,w:286,h:23},
{t:"działaniach i programach instytucji sztuki na ",p:133,x:801,y:479,w:325,h:23},
{t:"całym świecie (tym razem włączając strefę ",p:133,x:801,y:502,w:314,h:23},
{t:"dawnego zsrr). ",p:133,x:801,y:525,w:127,h:23},
{t:"w wielkim skrócie można powiedzieć, ",p:133,x:801,y:571,w:284,h:23},
{t:"iż idee i praktyki artystyczne mające w ",p:133,x:801,y:594,w:286,h:23},
{t:"tle powyższe rozpoznanie procesów ",p:133,x:801,y:617,w:272,h:23},
{t:"społeczno kulturowych koncentrują się na ",p:133,x:801,y:640,w:305,h:23},
{t:"wrażliwej „reakcji” na ten stan, przyjmują ",p:133,x:801,y:663,w:306,h:23},
{t:"pozycję instrumentu alarmowego, ",p:133,x:801,y:686,w:249,h:23},
{t:"narzędzia rozpoznania zagrożeń, środka ",p:133,x:801,y:708,w:308,h:23},
{t:"interwencji, wczesnego ostrzegania. ",p:133,x:801,y:731,w:268,h:23},
{t:"zaostrza się tu, wcześniej obecna w ",p:133,x:801,y:754,w:267,h:23},
{t:"sztuce nowoczesnej, postawa kontestacji ",p:133,x:801,y:777,w:300,h:23},
{t:"społecznych norm i wzorów, uważanych ",p:133,x:801,y:800,w:299,h:23},
{t:"za „nienaturalne” sztuczne a wiec ",p:133,x:801,y:823,w:253,h:23},
{t:"umożliwiające, a nawet domagające się ",p:133,x:801,y:846,w:298,h:23},
{t:"zdystansowania. w Polsce przybrały one ",p:133,x:801,y:869,w:305,h:23},
{t:"generalizującą nazwę „sztuki krytycznej”. ",p:133,x:801,y:892,w:309,h:23},
{t:"trudno powstrzymać się od uwagi, iż prak-",p:133,x:801,y:915,w:310,h:23},
{t:"tyka artystyczna „drugiej nowoczesności” ",p:133,x:801,y:938,w:307,h:23},
{t:"jest pewną sublimacją procesów „kul-",p:133,x:801,y:960,w:272,h:23},
{t:"turalizacji” natury, procesu zdobywania ",p:133,x:801,y:983,w:294,h:23},
{t:"przewagi sztucznego nad naturalnym, i ",p:133,x:801,y:1006,w:291,h:23},
{t:"ze jej właściwym otoczeniem jest miasto, ",p:133,x:801,y:1029,w:300,h:23},
{t:"społeczność ludzka, instytucja, organizacja ",p:133,x:801,y:1052,w:318,h:23},
{t:"artystyczna - muzeum i galeria a nie las (not ",p:133,x:801,y:1075,w:324,h:23},
{t:"a forest nor the desert).",p:133,x:801,y:1098,w:168,h:23},
{t:"charakterystyczne jest, w świetle ",p:133,x:801,y:1144,w:243,h:23},
{t:"powyższych uwag, iż projekt kultura/ ",p:133,x:801,y:1167,w:280,h:23},
{t:"Natura z roku 1987 nie przyniósł jakiś ",p:133,x:801,y:1190,w:285,h:23},
{t:"wyrazistych, pogłębionych konsekwencji ",p:133,x:801,y:1213,w:298,h:23},
{t:"dla artystów polskich, szli oni swoją drogą, ",p:133,x:801,y:1235,w:317,h:23},
{t:"mniej lub bardziej radykalnie odchodząc ",p:133,x:801,y:1258,w:303,h:23},
{t:"od inspiracji naturą. (Nie zmieniła tego ",p:133,x:801,y:1281,w:288,h:23},
{t:"również – bardzo radykalna, z punktu ",p:133,x:801,y:1304,w:283,h:23},
{t:"widzenia pracy z naturą – sympozjum ",p:133,x:801,y:1327,w:282,h:23},
{t:"organizowane przez e.m. kurdola w mar-",p:133,x:801,y:1350,w:309,h:23},
{t:"adalen Valey w roku 1993). ",p:133,x:801,y:1373,w:210,h:23},
{t:"w dzisiejszej edycji polsko/norweskiego ",p:133,x:801,y:1396,w:303,h:23},
{t:"sympozjum w lillehammer biorą udział ",p:133,x:801,y:1419,w:287,h:23},
{t:"134",p:134,x:108,y:1465,w:23,h:16},
{t:"siden, la oss si radikalt forskjellig. Og dette ",p:134,x:118,y:115,w:314,h:21},
{t:"er ikke bare forskjeller i en sosiopolitisk ",p:134,x:118,y:138,w:286,h:21},
{t:"sammenheng, selv om dette aspektet er ",p:134,x:118,y:160,w:289,h:21},
{t:"relevant – Polen er nå et annet land, politisk ",p:134,x:118,y:183,w:321,h:21},
{t:"og økonomisk sett. Det er ikke et rikt land, ",p:134,x:118,y:206,w:305,h:21},
{t:"men det opererer i en annen politisk og ",p:134,x:118,y:229,w:290,h:21},
{t:"økonomisk konfgurasjon. Det er viktigere ",p:134,x:118,y:252,w:302,h:21},
{t:"for kunsten at det er en annen tone i den ",p:134,x:118,y:275,w:298,h:21},
{t:"sosiale debatten og den humanistiske ",p:134,x:118,y:298,w:275,h:21},
{t:"diskursen. Flere samfunn, og med dem ",p:134,x:118,y:321,w:281,h:21},
{t:"styringsmaktene, fjerner sin støtte til ",p:134,x:118,y:344,w:258,h:21},
{t:"moderniseringsprosessen. Vi ser hva som ",p:134,x:118,y:367,w:299,h:21},
{t:"foregår i georgia; innen EU er viljen til å ",p:134,x:118,y:390,w:300,h:21},
{t:"forsterke integrasjonsprosessen dalende. ",p:134,x:118,y:413,w:297,h:21},
{t:"For tiden er det mye interesse for historiske ",p:134,x:118,y:435,w:311,h:21},
{t:"disputter, og Polen synes det er vanskelig ",p:134,x:118,y:458,w:300,h:21},
{t:"å forstå Tysklands rolle i disse historiske ",p:134,x:118,y:481,w:289,h:21},
{t:"revisjonene. Videre, så var spillerommet for ",p:134,x:118,y:504,w:315,h:21},
{t:"moderniseringsprosessen og en viss fase ",p:134,x:118,y:527,w:297,