Ursula Nistrups utst\u00e4llning p\u00e5 Sk\u00e5nes konstf\u00f6rening tar sin utg\u00e5ngspunkt i en s\u00e4gen fr\u00e5n sydtyska Mittenwald, k\u00e4nt f\u00f6r sina skogar varifr\u00e5n violinmakare i l\u00e5nga tider h\u00e4mtat tr\u00e4 till sina instrument. Samtidigt sipprar ett svagt ljud in i rummet och vi kan ovilligt sk\u00f6nja grannkvinnans skvaller om sin otrogna \u00e4lskare.<\/p>\n
Legend has it that when a tree rolls down a mountainside in Mittenwald, South Germany, home of the special tonewood used in stringed instruments, the violin builders can detect its inherent acoustic qualities by the sound of the trunk in motion. Moments of yet-to-become revelations are transformed into a clear-headed, yet oddly reluctant psycho-architecture in Ursula Nistrup\u2019s exhibition. Starting from narrative or documentative investigations, her works spirals away from to become emotional, material and structural indications of secrecy, resistance and exposure. An unseen woman attempting to keep out her neighbors\u2019 gossiping about her unfaithful lover, a non-intrusive roof construction marking the etymological crime scene of eavesdropping. Combining sound, installation, sculptural forms, photography and performative research, this incomplete evidence and partial reconstruction speaks to an artistic-forensic pleasure of piecing together, of finding traces of a transformative moment in a spatial design, the silenced tonewood, the double betrayal of a man and a building.<\/em> \u00a0<\/p>\n The exhibition is curated by Kristine Siegel.<\/p>\n This project is kindly sponsored by the Danish Arts Council<\/p>\n","protected":false},"excerpt":{"rendered":" Ursula Nistrups utst\u00e4llning p\u00e5 Sk\u00e5nes konstf\u00f6rening tar sin utg\u00e5ngspunkt i en s\u00e4gen fr\u00e5n sydtyska Mittenwald, k\u00e4nt f\u00f6r sina skogar varifr\u00e5n violinmakare i l\u00e5nga tider h\u00e4mtat tr\u00e4 till sina instrument. Samtidigt sipprar ett svagt ljud in i rummet och vi kan ovilligt sk\u00f6nja grannkvinnans skvaller om sin otrogna \u00e4lskare.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[38],"tags":[],"class_list":["post-1576","post","type-post","status-publish","format-standard","hentry","category-utstallning"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["sv","en"],"languages":{"sv":{"title":true,"content":true,"excerpt":true},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/1576","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/comments?post=1576"}],"version-history":[{"count":3,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/1576\/revisions"}],"predecessor-version":[{"id":9527,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/1576\/revisions\/9527"}],"wp:attachment":[{"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/media?parent=1576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/categories?post=1576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/skaneskonst.se\/en\/wp-json\/wp\/v2\/tags?post=1576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nYou don\u2019t want to hear it anymore, Dusty Springfield? You can\u2019t roll up that hill again, but you sure can sing about it.<\/em><\/p>\n