Kenneth A. Balfelt
                                            Visual artist
                                         Lide...
Junior house, Free house, Freak house, Love in this club, The White House, Kysset,
Indianerkysten, The Sweet Life, Flæskep...
Junior house, Free house, Freak house, Love in this club, The White House, Kysset, Indianerkysten, The Sweet Life, Flæskep...
Protection Room - Injection room for drug addicts
Part of the public art project "Contemplation Room", with info centre at...
Protection Room (1/2)
 - The injection room
 - Risky injection situations in public space




                            ...
Protection Room (2/2)
- The political effect
- The media debate
The strategy was to use the “visual inlay” of the injectio...
Mændenes Hjem (Home of The Men)
– Radical Horizontality
Interior design and restructuring of café, common rooms, TV-room, ...
Mændenes Hjem (Home for the Men)
- The former interior
- Workshops with the users to define needs and values




‘Mændens ...
Mændenes Hjem (Home for the Men)
- Entrance to the institution
                               The Former
                 ...
Mændenes Hjem (Home for the Men)
- New counselling, sleeping and observation room (former reception)
- New dining room
- N...
Café Heimdal – Here you can find shadow
Part of the public art project ‘Sid Ned!’ (Sit Down!) curated by Christian Skovbje...
Café Heimdal - Here You Can Find Shadow




The HGO school, Heimdalsgade                           Café Heimdal, Heimdalsg...
Prison Civile d'Agadez
Rehabilitation of prisoners, cooperation with Alhassane Amoussale and Mahamat Nakacho
2007-

Agadez...
Prison Civile d’Agadez
   Rehabilitation project with inmates in prison in Agadez, Niger, Africa
   Co-operation project w...
The World Is Yours – The Fish Process
Interior design and building process with users of Fisken (The Fish), an after schoo...
The World Is Yours - The Fish Process

                            The old interior                                       ...
Homeless vs. Empty Offices
Video workshop, TV-production and TV broadcast with artist Peter
Callesen and users of 'The Hou...
Homeless vs. Empty Offices




                                                              From the video recordings of ...
No One Can Wake Up
– House Wanted & We Need a Publisher (with Lasse Lau)
Part of the exhibition 'Berlin North' at Hamburge...
No One Can Wake Up (1/3)


                                                                 First design                  ...
Immer Wieder Vereinigung
Part of Urban Cirkulations (curated by Judith Schwarzbart) and Berlin-Alexanderplatz (curated
by ...
Immer Wieder Vereinigung (Again and ongoing Reunion)




                                                                 ...
Interior Design Project for Libraries for Kids in the
Santa Marta and Mangueira de Botafogo favelas in Rio de Janeiro.
In ...
Interior Design Process Project (1/2)
- Favelas
- The libraries (run by ciepsi NGO)




Favela in Rio de Janerio       23%...
Interior design process project (2/2)
- Visualisation of Ideas for the Library




Visualisation of ideas for the library ...
ZDB Skills Archive of Bairro Alto
Group show "Life Policies" at ZDB Gallery, Lisbon, Portugal
In co-operation with Nidia O...
ZDB Skills Archive of Bairro Alto




                                             Map over participating craftsmen in the...
Place de la Fleur
With Jeppe Hein
Public sculptures in Lorient, France
2005- work in progess
For the City of Loirent (cura...
Place de la Fleur
- Public sculptures in Lorient, France
with Jeppe Hein




                                             ...
Design of FutureArkiv




Archive design and organisation by Fos and Kenneth A. Balfelt

We were invited by Rooseum to sol...
Archive for the exhibition "From the Venice Biennale 2001”


                                                             ...
The Meeting Room Project (with Fos)
Research project, Brandts Klædefabrik and DCA Foundation
2001 & 2002

The 'Meeting Roo...
The Meeting Room Project

Layout of Seminar Room, 2001
Seminar "The Potential of Art" at Brandts Klædefabrik

For a semina...
Gandhi+ Festival
Events, workshops, seminarer, foredrag, koncert, fredsmeditation
Vanløse Kulturhus
19. januar - 2. marts ...
Gandhi+ Festival
Pardon My Freedom
Docu-fiction DVD. 11:11 min. Made for AirPlay street gallery, Copenhagen. Curated by
Lotte Röhe and Sids...
Pardon My Freedom
Stills from the film
Docu-fiction DVD. 11:11 min. Made for AirPlay street gallery, Copenhagen. Curated b...
Indretning og udsmykning af Dugnad Center Vesterbro - værested for stofbrugere
Med Tina Saabye, partner i Witraz arkitekte...
Café Dugnad
- Interior: Lamps (sketches), tiles, window folio




                                                        ...
Café Dugnad
- Exterior: Injection Furniture and Phortals in oak




Oak portals and sitting/playing furniture. How do we c...
Cultural Planning for Køge Søndre Havn (harbour area in city in Denmark)
- Development of culture plan/strategy for life f...
Cultural Planning for Køge Søndre Havn (harbour area in city in Denmark)
- Participation in cultural planning
- Film about...
Research project about how to create a cooperation on equal terms
between art and business
I have been researching on ways...
Please see

     www.a-r-d.org
for further documentation of the projects
Kenneth A. Balfelt - Kunst - Innovationsdøgnet 09
Kenneth A. Balfelt - Kunst - Innovationsdøgnet 09
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Kenneth A. Balfelt - Kunst - Innovationsdøgnet 09

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INNOVATIONSDØGNET 09 - Rejsen til innovationens kerne

Et stærkt hold af kommunale udviklingskræfter satte den 29.-30. oktober 2009 fokus på kommunernes innovationskraft på Innovationsdøgnet i
Spinderihallerne i Vejle.

Kommunaldirektørforeningen (Komdir), Offentlige HR-chefer (OHRC), Foreningen for Udviklingskonsulenter (FFUK), Center for Offentlig Kompetenceudvikling (COK) og KL's Konsulentvirksomhed (KLK) tog fælles initiativ til at samle et stærkt hold af kommunale udviklingskræfter på Innovationsdøgnet.

Formål
- at skabe inspiration og engagement til at arbejde med innovation i et strategisk og praktisk perspektiv
- at dele viden og erfaringer om store og små eksempler på innovation i kommunerne
- at afprøve metoder og få indblik i de seneste innovationstrends i et dynamisk miljø i Spinderihallerne

Målgruppe
Kommunale ledere, udviklingskonsulenter, projektmedarbejdere, kommunaldirektører samt HR-chefer og -konsulenter.

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Kenneth A. Balfelt - Kunst - Innovationsdøgnet 09

  1. 1. Kenneth A. Balfelt Visual artist Lidemarksvej 66 DK-4632 Bjæverskov Phone +45 35 14 40 06 • Mobile +45 26 52 66 00 kennethbalfelt@a-r-d.org www.a-r-d.org August 2009 Introduction to Art Projects I work in the field of 'Socio-Political Context Related Functional Art'. I am concerned with how art can produce value and knowledge to society as well as research in alternatives structures that can work parallel to capitalism. I think of a form of resistance that work from within, in a constructive manner that produces rather than criticise knowledge. I engage in a discourse of the politics of the social. You could say that I make ‘social glue’. I often use the build form, architecture and design, as medias for forming social space. Also, I often work collaboratively as well as enter a local context. Community and love are often present! By making functional proposals or solutions I try to engage art as a paradigm as well as profession that can work directly with societal issues. But as you can see from my projects many other aspects are also at play. I have a background in marketing planning where I worked for 11 years and have a degree in marketing. After deciding to make art I studied at Goldsmiths College in London and did a BA Fine Art and an MA Art History (Twentieth Century) specialising in cultural analysis and contemporary philosophy. Enclosed are brief descriptions and photos of projects from the last five years. Please see my homepage www.a-r-d.org for more information. All the best Kenneth A. Balfelt
  2. 2. Junior house, Free house, Freak house, Love in this club, The White House, Kysset, Indianerkysten, The Sweet Life, Flæskepony, The Homie House, Ostehaps, SchoolFreeHouse, Ostepop, Kiks, DampoShampoo, Sex in the City, Paradise Hotel, Lykken, Robinson, Foodprocessor, Legehuset .............CLUB Hang out pavillion for youth in Nysted, Denmark - part of Nysted In-Situ (600 years anniversary for the town on the outskirt of Denmark) In cooperation with Kysten (treatment center for drug and alcohol abusers) Curated by Kathrine Olldag Mazanti, Guldborgsund Kommune 2009 Nysted is a small habour town with many pensioners enjoying their retirement in the cosy, old and traditional provincial town. In interviews with 17 women from Nysted I asked them about problems they saw the town having. But very little came out of it as they did not really see Nysted having any problems. But in the end the one admitted that the closing of shops in the mailstreet Adelgade was a problem. Also a younger school teacher pointed to the fact the the youth had nowhere to hang out. Through this proces I connected the two challenges. If Nysted as an institution cannot fullfill the needs of the youth maybe that is the reason why shops cannot survive? In a proces with users of Kysten and youth from Nysted Skole (local public school) we build a temporary pavillion on a green behind the school. We made interviews with 6th and 7th grade students about what functions and facilities they needed. From this we made a workhops with 32 6th grade students. The aims was to have their input about how to design the pavillion. They picked 8-10 preferred architectural works out of app. 100 and had an amazing creative proces where they made models, collages and drawings of what it could look like. Inspired from this two of the users from Kysten and I then designed the pavillion. Here they youth can hang out, be social, flirt, play, listen to music, sun bath and everything else that youth develops through. The youth manages the place themselves but adults from the local area around are wellcomed from the youth to help. As a local community it is then the challange to find a beautiful coexistens between older and younger. To give room for each others life processes. The task now is to present the need and the research to the council for them to offer facilities for the youth.
  3. 3. Junior house, Free house, Freak house, Love in this club, The White House, Kysset, Indianerkysten, The Sweet Life, Flæskepony, The Homie House, Ostehaps, SchoolFreeHouse, Ostepop, Kiks, DampoShampoo, Sex in the City, Paradise Hotel, Lykken, Robinson, Foodprocessor, Legehuset .............CLUB Hang out pavillion for youth in Nysted, Denmark
  4. 4. Protection Room - Injection room for drug addicts Part of the public art project "Contemplation Room", with info centre at Overgaden, Copenhagen and in Rio and London Curated by Cecillie Gravesen, Lasse Johansen and Kristine Aggergård 2002-2003 One of the great social and urban problems for citizens and businesses at Vesterbro (part of Copenhagen near the Central Station) is the public injection of illegal drugs. The problem is however biggest for the drug addicts themselves as they have to inject under stress and generally miserable conditions. This causes mistakes when injecting, overdoses and infections e.g. by HIV and hepatitis. On this basis I initiated to design a 1:1 model of a physical injection room. By co-operating with drug addicts and related organisations, architect student Steffen Nielsen and I designed a physical model for how an injection room could look like. The room was usable both functionally, health and cleaning wise. Professional nurses staffed the room. The bomb shelter at Halmtorvet next to the central station was the physical frame for the project. This is one of the three preferred places for injecting. In Danish a bomb shelter is called a "protection room" which I adopted as a title for the project. The idea was to "translate" all the debate, reports, expert panels and media coverage about injection rooms from the last 6 years into a physical presence. From the written and spoken language into a visual and physical one. To have an actual functioning injection room was another way of facilitating the debate. This is one of the great possibilities of functional art: to give thoughts and concepts a physical form, and thereby raise more facets of a given problem! The strategy of the project was to use the physical space to raise a debate in the media in order to activate politicians and drug and health experts. Also to let them take the opportunity to discuss the issue in public. Through massive media coverage this was successful! We engaged both local and parliamentary politicians in the debate as well as in making a law proposal. During January and February I held meetings with all four right wing parties (two from The Government) to convince them about the usefulness and ethics of injection rooms. On the 28 February 2003 a Law Proposal set up by all four left wing parties had 1. Treatment in the Parliament. On the 12 May I meet with the Ministry of Health Lars Løkke Rasmussen. Although he admitted not to have any alternatives that could solve the problems that injection rooms could, he did not want to allow them. At the second treatment 60 voted against and 44 for. But the Social Democrats wants to relaunch the proposal in the Fall 2004 as a new EU report has shows good results with injection rooms in other European countries. In 2005 a group of people made a local conference with 80 invited guests and speakers to produce solutions to drug related problems on Vesterbro (local borough of Copenhagen). Kenneth was one of the speakers and made a film with Johan Hye-Knudsen to present the different local parties view on the problems. The initiative was named Dugnad, after the old Norwegian term for when local residents got together to solve a local problem. We produced 101 suggestions that were sent of to Parliament and the Copenhagen Council. Through a process with meetings and the publishing of book about the conference and suggestions we finally managed to get 12,2 million Danish Kroner (app. 1,6 million ¤) from the Ministry of Health and form a partnership with Copenhagen Council to establish and run a Dugnad Center Vesterbro. Kenneth is part of the board of Dugnad Center Vesterbro and will be responsible for the interior design of the center. A documentation of the project is in the collections of Køge Skitse Samling (Danish National Museum of Sketches) and Malmö Konstmuseum.
  5. 5. Protection Room (1/2) - The injection room - Risky injection situations in public space Entrance to injection room. Nurses Nina Brünes and Charlotte Fich welcomed you at the entrance and supplied advise and equipment. 1. injection station. Gives shelter for those who wants to inject in privacy. The cabin is open at the bottom so that nurses can see if you pass out. (below) Inside is a mirror for neck injection. (Right) 2. Open injection 3. Mobile injection station.Table and chair can station. Two be moved around to fit needs.Two people can users can sit help each other. together, e.g. to share drug. The bench is long enough to make it possible to inject in foot. Different drug injection situations and places. Unhygienic and with great risk of infection, e.g. by HIV and hepatitis. An injection room is a facility with nurses that can precent all these complications connected to unprofessionel and unhygenic injection.
  6. 6. Protection Room (2/2) - The political effect - The media debate The strategy was to use the “visual inlay” of the injection room to create a media debate in order to activate politicians. With a great media coverage and a law being proposed in Parliament this was a succesful way for art to participate in democracy. Ministry of Health during lobby meeting to convince him about the idea of injection rooms. Sophie Hæstorp Andersen, MP for social democrats with whom I The Danish Parliament during 2nd Treatment of injection roomlaw proposal. Got rejected with arranged a press meeting in 60 votes against and 44 for. connection to the project. The press coverage was great with 30 articles, 10 TV and 5 radio features and all were sober and nuanced. Most were in the indland sections but also culture sections covered it. Nurses, the press and Kenneth A. Balfelt at the opening 24 May 2002 Drug user Robert Mayor of Social Affairs of Nurse Charlotte Fich Copenhagen
  7. 7. Mændenes Hjem (Home of The Men) – Radical Horizontality Interior design and restructuring of café, common rooms, TV-room, canteen and reception at a shelter for the homeless in Central Copenhagen With FOS, designer Charlott Karlsson, architect Helle Gade Jensen and Interior designers Loop. 2002-2006 The Home of the Men is a shelter for homeless near the central station in Copenhagen. It is a place for men who are both homeless and has a mental and/or addiction problem. The main part is drug addicts. Our purpose was to make the interior design so that a more fruitful, less insecure and less hierarchical dialogue can take place. Before they had a very unworthy interior as well as a conflict creating reception and entrance area. Most of the violent incidents happen in the reception! The aim was to play down the "patient-doctor" relationship and more let the individuals subjectivities step out. So that the dialogue is based on equality, common goals and interests rather than "the institution that wants to change me". Through a 9-month period we researched for a better understanding of the institution, the staff, the users, the subject of homelessness and drug addiction. We also looked at other institutions and their architectural solutions and values. From the research we developed a set of values to lead the design process. The working method unfolds the values in a translation into physical forms and materials. The following have been implemented: - New entrance and refurbished old entrance (now back door) - Floor cover – a combination of wood and grey-black linol - Bathroom with colored tiles and a chandelier - New sleeping, counselling and observation room - New windows with opal film with artists images - Caravan meeting room - Oak tables and (low) bar desk - Tiled wall in dining room with big common table - Sculptural room divider for TV room - Wood carved box with draft beer tap with water - Furniture, acoustic ceiling, lighting, face mirror, etc. Half-roof over the new entrance and easy seating for the TV room are in production.
  8. 8. Mændenes Hjem (Home for the Men) - The former interior - Workshops with the users to define needs and values ‘Mændens Hjem’ at the corner of Istedgade and Lille Istedgade. Former interior of Mændenes Hjem: Seperate TV-room, Billiard room, Canteen and Café. All are go-through rooms with no where to rest. From the two workshop with users and residents. In the first we asked for needs and ideas. In the second we discussed ideas and layed out our plans for discussion. Per, user and resident. Participated in the first workshop. Values Through a 9 month research period we came to define a set of values that 'enveloped' the purpose of the place in a way that is fruitful for the design process. They are 'compressions' of the research rapport and our sense of what this project is all about. E.g.: • Fear is part of being in common • The whole society is to be accepted • Being in common is the safety • The belief in alternative life style • Love • Power should be visible • The structure should not convincingly treat etc. What are functional needs of homeless people and We also defined a “dogma-like” working process that forces us to use drug addicts? How do we the defined values as well as work in a non-natural way. The latter fullfill these as well as give forces us to rethink all aspects of the design process. them a positive identity?
  9. 9. Mændenes Hjem (Home for the Men) - Entrance to the institution The Former Entrance The old entrance was through the back of the building, through a dark gate and into a small claustrophobic room with modest lighting, cold stones terrazzo floor and a “DDR border control” reception. A glass reception where you could see the staff but not speak to them. The staff then opened the door and asked how they could help. Not only did the social workers often chose to stay in the reception on duty but when they entered the common rooms they where perceived as guards. The reception area was also the place where most of the violent incidents happened! Inside you meet a café like situation where people are together. A community. The new entrance at the corner has opened up the This is a totally new way of “meeting the institution”. building to the main street. Through a contrast of old solid materials (copper and oak) and old citizen Almost everything is designed and produced from new. institutions (church, town hall) and new forms (frame, font, flower wood carving) an unresolved tension between something stabile and something that is modern, and points forward, is created. This is the Right:The café with a invitation. low bar desk and a The New Entrance central and warm light “jam jar” chandelier lit-up big oak table. Wooden floor for café area and institutional linoleum road way towards social workers office and nurse. The arch shows where the old walls where. Right below: “Jam jar” chandelier. Below: TV lounge, awaiting easy seating.
  10. 10. Mændenes Hjem (Home for the Men) - New counselling, sleeping and observation room (former reception) - New dining room - New meeting room (caravan) The former reception and “DDR border control” has been transformed into a combined short-time sleeping room (1-3 nights), conversation room and nurse observation room. From the outside the room has a “Mountain Cabin” facade and inside a "sleeping car in a train" theme. "Flake out" deck chairs as they are called. Originally designed as powernappers for business people The old dining room was characterised by people but ideal for drug addicts and eating alone. In the new interior a big solid wooden tired homeless: You lie gracefully dining table is placed centrally. Big enough so you and ergonomically correct, you do not sit to close to others but still you sit with cannot fall out as your shoulders others and can interact. A large tile-wall fills the are inside the box, which also whole side of the dining room and with a Klondike provides some sound proofing, like roof and desk at the food serving point. and you can have your belongings under the chair back. Left: Drinking water stand. Islamic wood cutting, Superman logo formed sink and Danish draft beer tap. Sign on top reads “Heroin” which suggests dependency (of water) and ads a bit of pedagogically humor. Below: Injection equipment Before, meetings "hand out furniture". Teak on between staff were the outside, as a held away from the symbol of users “hidden” in acceptance of the basement and their choice of counseling took self-medication, place in a formal and clinical office where the flecked laminate social worker know to suggest best how to hygienic care navigate. We have taking. placed this function in the big common room in a self built caravan. The caravan makes meetings more transparent as well as plays down the formal and client making aspect and frame it more as a dialogue between equals or even friends!
  11. 11. Café Heimdal – Here you can find shadow Part of the public art project ‘Sid Ned!’ (Sit Down!) curated by Christian Skovbjerg at Mimersgade, Copenhagen N, 2006 Micro-urban renewal including 8th-10th grade pupils renewing an old local pub. With Sami, Ziad, Muhammed, Markus, Ihab and Özgur As part of a larger urban renewal project for the quarter around Mimersgade at Norrebro in Copenhagen Christian Skovbjerg initiated and curated a public art project that examines the wishes and ideas of the local residents by inviting a group of artists working in the social field. The goal was to open up the debate concerning the social qualities, which very rarely are included in the conventional idea of urban renewal. For this I invited pupils from a local school to make an interior design renewal at a local pub with regular typically Danish customers. Traditioznally, urban planning is carried out by resourceful professionals who research the needs of less resourceful groups of people. I invited two of these groups, easily stigmatised as alcoholics and immigrants teenager boys with no future, to meet and make a common project. This project is about renewing or making an addition to the pub ‘Café Heimdal’. The boys interviewed the regular customers about what they would like to see changed. This only led to ideas about minor adjustments as they where immensely satisfied with the way things were. But the facade could need an uplift. First, we suggested to paint the facade but the pub owner Johnny hinted that it might be too big a job and were a bit reluctant to give the go. So we decided to make a new sign. We made a model of a sign in Douglas fir with carved mahogany letters. After doing the interviews I asked each one of the boys what they wanted to get out of participating in the project. In these conversations one boy said that he did not expect them to be as friendly as they were and another said he expected them to be racistic, which he saw no sign of. I told this to one the regulars in the pub and a minute after another came over and commented the rumour positively. One of the regulars, a painter, rejected to be interviewed by the boys in the research phase and told me stories about misbehaviours of immigrant boys in the neighbourhood. But after we had asked him for advice on how to paint the facade he began to advocate towards the owner to let us do the job! As part of the motivation for joining the project was to exchange school lessons for project work it proved hard to motivate the boys beyond these hours. This caused that some of the pub guests felt let down when I worked alone during a school holiday week to take down the old sign. For the opening only two of the boys came and quickly disappeared again - leaving guests, the press and me in confusion. But the pub and the guests were very satisfied with the new sign.
  12. 12. Café Heimdal - Here You Can Find Shadow The HGO school, Heimdalsgade Café Heimdal, Heimdalsgade Café Heimdal, Heimdalsgade Making a model of the new wooden sign Interviewing the regulars about which changes or renewals they would like to see to the pub. We interviewed 13-15 people over a week. One regular said she really like the old fashion dark wood look as it was “a place where you could find shadow”. Meeting with the owner of Café Heimdal, Johnny. We presented the result of the interviews The new sign for the facade. and suggested to paint the facade. Later we agreed to make a new sign for the facade.
  13. 13. Prison Civile d'Agadez Rehabilitation of prisoners, cooperation with Alhassane Amoussale and Mahamat Nakacho 2007- Agadez is a city with 170.000 inhabitants at the edge of Sahara in Niger. In this place I made a cooperative project to set up a rehabilitation project for inmates in the Prison Civile d'Agadez. In December 2006 i traveled to Agadez to research for a possible art project. I interviewed the Sultan of Eire, one of his sons Prince Lacombe, his koranic and legal advisor, Fatima, the head of the women's craft association, a taxi driver, a waiter that came to be a central figure in the project, the head of the court house and the prison director of Prison Civile d'Agadez. I did not succeed to enter the prison then, but the prison director, Djibrill Noma Sina or The Lieutenant as he is called, and his vice- director, Issouf, gave a two hour long interview where they e.g. said the following: The prison has 250 inmates of which 80-90% are there due to crimes related to being poor. The relapse into crime is 90%, they have nothing to do at all in the prison and get one meal a day. The guards close the gate at 19.00 and opens it again in the morning. In this period the 250 inmates are together without guards in one big room only with partition walls. Luckily there is no violence. These information made me decide to work towards a project that recognized and meet the urgent needs but also created a platform to use art in a more vitalising manner. Through my locally based and context related art projects I have developed methods to work collaboratively within the "space" of art - this in order to suggest art as a profession that parallel to other professions could enter a situation, analyse it and suggest models or solutions for changes. WIth these methods I went to Agadez again on 27. marts 2007. First I had to get a permission from the Ministry of Justice to enter the prison. I arrived at his offices at 15.00 in the afternoon. The next morning at 9.00 I had a written permission to make a rehabilitation project in a prison in Niger! At the same time as I was very happy about this it was depressing to learn that a "white" man can just walk in from the street and be allowed to make radical changes in a state institution! The next day I stood in front of the great prison director and had to convince him that I, a social-political artist from Denmark, should reform his prison! But we very soon agreed and had a common idea of what was needed. Then I had to enter the prison. It was horrifying. The inmates looked at me with scepticism. But when I began to ask them which profession they would like to learn while in prison their eyes began to light up. The crowd quickly grew around me to around 30 inmates. Carpenter, Mechanic, Taylor, Carpenter, Carpenter, Taylor, Taylor, Mechanic, Carpenter… From this started two weeks of the most intence work I have ever performed. From early morning to late at night in the Saharan summer heat me and my translater Alhassane Halido walk from place to place, talked and arranged, organised, coordinated, bought equipment, got more than normally frustrated but ended up with a great program. The amount of things we managed to get organised is such a short time were absolutely amazing and due to an enourmous Alhassane new an old carpenter who had learned his profession in a prison a long time a go. We went to see him but he said he was old now and we had to talk to his son Mahamat Nakacho. This was a gift to the project. He had lots of ideas himself and had even employed minor ex-prisoners. He became a close friend and a partner in the project. Mahamat offered his best carpenter and found a taylor and agreed to supervise their work. They all work for a minor fee to cover food and transport. We also went to Prince Lacome as he was the leader of the local football union. He decided to do the training himself three days a week. When he arrived and entered the prison gate the inmates spontaneously began to applaud him. For the opening of the workshop the Sultan sent a representative, his Prime Minister, The rehabilitation project consist of the following - a carptenter education 4 days a week for 4 hours - a taylor education 3 days a week for 4 hours - football training 3 days a week - spiritual advisor - HIV/AIDS Sensitizing - advise on and help with sale of craft (women) The people selected for the educations where prioritized from the among the poor, uneducated, illiterate and minor.
  14. 14. Prison Civile d’Agadez Rehabilitation project with inmates in prison in Agadez, Niger, Africa Co-operation project with local staff of the prison, forman, teachers, translater, football coach, director of the women, NGO, film man 2007 - work in progress Director of Prison Civile d’Agadez, Lieutenant Djibo Noma Sina From the first meeting with all involved parties in the rehabilitation project From the prison. 251 inmates. Door is closed from 7 pm to 7 am with all inmates locked up in the same space. From the first teaching session in the carptenter workshop.The teacher Issouf in purple. The students make their own working tables as well as tables and benches for the taylors. Mahmet, my main co-operation partner. Owns a carpenter company in Agadez and found the carpenter and taylor teachers. He is supervisor and pays out wages. List of inmates chosen for the carptenter workshop. Priorities was given to select minors, poor and uneducated. Inmates teaching inmates. By supplying 3 inmates with materials we initiated a program where they tought their craft to others. Left, Richard who shows his lecture plan and grades given to his 7-8 students.To the right a “ring from a coin” maker. From the opening of the program. A representative from the Sultan came and gave an talk in which he reveled that he himself had been in prison. This was something you had to go through to be a real man he argued. It is me in red/white shirt bottom left.
  15. 15. The World Is Yours – The Fish Process Interior design and building process with users of Fisken (The Fish), an after school club for 12-20 year old immigrant boys. Copenhagen, Vesterbro With designer/artist Mette Høj 2006-2007 For a youth club where mainly young immigrant boys come I was invited to refurbish the interior and façade. I suggested using the project as a process with the boys to empower them and be part of changes in their spare time club. Through a workshop with the staff and individual interviews with the boys we found a gab. The staff had a pedagogical and educational aim for the place whereas the boys just needed a place to hang out. The told us that they do not have the option to take friends home in a casual manner as Danish kids do – so they need a place to be. We therefore decided to make sure the club is attractive enough and competitive with the street so that the boys come. We therefore carefully design it on the terms of the boys. Through workshops, where we presented loads of visual inspiration from which the boys picked out all the liked. These ideas we put together into a coherent and functional design. The boys participate in the planning, design, purchasing, sponsorship and building of the interior.
  16. 16. The World Is Yours - The Fish Process The old interior Smooking room Theold interior of Fisken Kitchen and dinning room Playstation and movie room Common room with PC’s and pool The present facade of Fisken The new interior Quote from ‘Scarface’ and sunset from the film poster of Al Pacino The new interior of the central ‘smooking room’of Fisken and The new interior of the playing room with table football images from the working process. and PlayStation. Found wood collage wall.
  17. 17. Homeless vs. Empty Offices Video workshop, TV-production and TV broadcast with artist Peter Callesen and users of 'The House of the Homeless' Mia S. Mortensen, Steen Flemming Hansen and Michael J. Christensen. Part of 'NB – Lad os mødes' curated by H. Øllegaard and B. Nørggard 2002-2003 The video workshop project uses the idea of "turning the camera around" so that the homeless actively form the perception of reality. Through generating ideas and making a TV-production they can act as subjects and active political operators, and point at problems they find relevant. Together with three users of the House of the Homeless we made a TV programme that was broadcasted on KanalKøbenhavn/NTV. The theme was chosen collaboratively and was about the many empty offices in Copenhagen that exists side by side with homeless! We (fictively) squatted an attractive empty office building in the harbour of Copenhagen. Here we stayed for 24 hours to record a reportage about the issue. Afterwards we interviewed responsible politicians and a real estate analyst. The focus is on the way our society prioritises and how choices that is beneficial in one context increases homelessness. The end result was a docu-fiction that used the narrative of the squatting inserted with interviews to set the situation in perspective. The artists Peter Callesen and Kenneth A. Balfelt participate in the project on equal terms with Mia S. Mortensen, Steen Flemming Hansen and Michael J. Christensen, all users of "The House of The Homeless". Peter and I set up the following conditions for our work with the homeless: - It is the conditions of the homeless that dictates when we meet - We insist on them being active subjects - We are not here to discuss problems but to make a project - We all have the same say in the project - It is a common project Through the terms we layed out and the process we created we managed to get a very good process going, although it took 9 months instead of the expected 1-2 months. A very positive outcome of the project was that the social worker at 'The House of The Homeless' took on the process we created as a model for working with the self-esteem of the homeless.
  18. 18. Homeless vs. Empty Offices From the video recordings of the squatting of a big empty office on the attractive harbour front. We brought our own sleeping bags and food, and stayed for 24 hours. During that time we both had a good time and made the needed recordings to fake the breaking in and squatting action. Editing. Kenneth, Michael and Steen. Mia filming Stills from the TV production broadcasted at Kanal København/NTV The break-in at an empty office building at Disussing the view and how many homeless There are 700,000 m2 of empty offices in the exclusive Copenhagen harbour front. the building could house. Copenhagen - and 1,250 homeless! Interview with the Mayor of Housing about Resting between takes. “Where is solidarity - thats all we ask!”...the the empty office situation. end of the program.
  19. 19. No One Can Wake Up – House Wanted & We Need a Publisher (with Lasse Lau) Part of the exhibition 'Berlin North' at Hamburger Bahnhof, Berlin Campaigns for initiatives by two self-organized alternative structures in Berlin 31 January - 12 April 2004 To us, Hamburger Bahnhof is an isolated island with no connection to or representation of its context of Berlin. Through our research on self-organizing groups in Berlin we found two projects that take on a social responsibility in the Berliner society. One is the association Fusion that deals with youth work, and daily acts in spaces where the social system of the troubled Neukölln gave up. It is an intercultural youth activity club based on carnival and visual art. In order to create jobs for their youngsters they want to create their own markets. One idea is to run a youth hostel. It can offer education and jobs for youngsters that make an extra effort. For Hamburger Bahnhof we made a presentation of this visionary idea in order to lay pressure on the local and national politician to support the project. The presentation consisted of a poster and a video. The other is Gesamtkunstwerk Wagendorf Lohmühle that have created a self-organized small community trailer park where they live together on squatted public land. From here they have created a neighbourhood-based public space in a city. As part of their public openness and interest to interact, they want to publish a book about their 13 years existence. For Hamburger Bahnhof we made a campaign to find a publisher for the book. We presented the book and a prototype of it. A video with information about Lohmühle and their motivation for making the book accompanied the poster. The two self-organized projects have in common that they use art for pragmatic solutions of sociality. It is a tool for them, and for us, to communicate and solve problems in society. In order to both communicate these alternative ways of using art as a facilitator for social change and making the art institution gain a place in society for social change, we decided to make "campaigns" for these two needs. The role of the art institution is then to act as a window towards what I would call "implemented artistic and alternative ideas" and offer, by our wish, to be a platform for dialogue. In this case dialogue between a visionary and transgressive youth project and the politicians that needs to allow it to rent one of its buildings to create jobs in a neighbourhood that lacks future, and between a community with a book idea and a publisher interested in alternative ways of living and using art!
  20. 20. No One Can Wake Up (1/3) First design Front page of prototype of proposal for book about Lohmühle Fusion Youth Hotel Public café at Lohmühle. Hosts talks, theater, cinema, organic Youth work at growing seminars, etc. Fusion. Making art, and talking about problems in the process. Fusion e.V. propose to create jobs for their youngsters by creating their own markets. One idea is to run a youth hostel for which they need to rent a specific building from the council. Gesamtkunstwerk Wagendorf Lohmühle have created a public For Hamburger Bahnhof we made a space that asks questions about what public spaces should presentation of this visionary idea in order to do and how art can be used to create sociality. As part of lay pressure on the local and national their public openness and interest to interact they want to politicians to let Fusion rent the building when publish a book about their 13 years existence. Also to it becomes avaliable in 2006. legitimise their squatting of public land. For Hamburger Bahnhof we made a campaign to find a publisher for the book. We presented the book and a prototype of it. A video with information about Lohmühle and their motivation for making the book accompanied the poster. The installation at Hamburger Bahnhof concisted of a poster and a video for both “campaigns”. For Lohmühle also a prototype of the book they wish to publish. (Please see posters on the next pages.) (Please see posters on the next pages.)
  21. 21. Immer Wieder Vereinigung Part of Urban Cirkulations (curated by Judith Schwarzbart) and Berlin-Alexanderplatz (curated by Petra Reichensperger ), public art projects in Berlin in cooperation with Felix Meyer, Sarah Schoenfeld and Ivalo Frank Jørgensen 2005 What structures, systems and ideas from the former DDR can be used in today’s Germany? From this question, two documentary videos were made and presented in installations at resp. Tuchollaplatz in Lichtenberg and in the S-Bahn station on Alexanderplatz. Both in Berlin. To me, Germany had a historic chance to unify two systems into one. To use good ideas, structures and systems from the past DDR times and pare them with good ideas from liberal capitalism. The ideas from DDR did not need to be communistic – ideas spring from many sources. What is important is that every kind of idea has been repressed after the reunion in order to give way for a total take-over by liberal capitalism! Immer Wieder Vereingung, that translates something like ‘ongoing reunion’, is about how to revive some of the ideas and systems from the DDR period that could be useful today. The knowledge production of so many people and with such great efforts must not be buried in the ruins of a time repressed and forgotten. This because the consequences of the reunion politic has been the creation of Germans without a history of contribution to their own society. To me the DDR period was a doubtful implementation of communism. Marxism and communism carry in it a focus on community and love as the platform of society rather than on earning, buying and consuming. This focus means that a different evaluation system than the capitalistic one creates an emphasis on people and their interaction rather than on products. An emphasis on progress for mankind rather than for products. What is intriguingly interesting is what this emphasis produced of ideas and solutions on all levels of life in DDR! This is a hard task though, because the system of fear and repression from the dictatorial government also created situations that led to the development of systems that might not be of any use today! From the interviews it became clear that the former DDR-citizens had lots of ideas to what could be used from the DDR times. Some ideas where ready to implement, like the traffic and recycling systems, and others had a more deconstructive effect, like equal prices on all similar products. It was also interesting to hear the analysis of present-day liberal capitalistic Germany from someone who has tried both to live there for 15 years as well as in a socialistic society.
  22. 22. Immer Wieder Vereinigung (Again and ongoing Reunion) Installation in Lichtenberg in Berlin, Victoriastadt, at Tuchollaplatz Public posters with ideas from the former DDR-citizens. Stills from documentary video Alexanderplatz S-Bahn, Berlin
  23. 23. Interior Design Project for Libraries for Kids in the Santa Marta and Mangueira de Botafogo favelas in Rio de Janeiro. In co-operation with the NGO ciespi and residents of the communities December 2003 - work in progress The NGO ciespi runs libraries for children in favelas in Rio de Janeiro to motivate them to see books as a possible tool for knowledge and education. In co-operation with them I organised a process to change the interior design of two of their newly started libraries in order to make the politics and function of the interior work towards the aim and ideas they have. Together with members of the community and ciespi I lead a creative process to make a plan for the refurbishment, how to involve the children, what and where to get materials, how to qualify our ideas, etc. This plan is then set out to be implemented by the communities and ciespi. I have set up a fund of R$ 1,000 (app. ¤ 290) for the realisation of the project. This will take place in January-April 2004. The purpose of the project was to create consciousness about what space means and how this meaning plays into the function of the space; To politicise space. We defined the project to "create a space that would be like stepping into an imaginary world of books that would intrigue children". This process of 'rendering meaning to the space' was also used to give ownership of the library to the community, both children and their parents, by participating in the project. As well as lead to a process of involvement of the children in the library as they will over time make contributions to the interior, e.g. paint figures on the walls, make puppets, make interior items for the bamboo house, etc.
  24. 24. Interior Design Process Project (1/2) - Favelas - The libraries (run by ciepsi NGO) Favela in Rio de Janerio 23% of the 8 mill. inhabitants in Rio de Janeiro lives in favelas. Children playing in the library of Mangeira de Botafogo From the work process The present libraries in Santa Marta (pink) and Mangueira de Botafogo The work group from Mangeira de Botafogo, ciepsi and Kenneth A. Balfelt (below)
  25. 25. Interior design process project (2/2) - Visualisation of Ideas for the Library Visualisation of ideas for the library at Mangueire de Botafogo. Drawing by Klaus Caspers The room would be diveded into three themes: • The house • The rainforest • The mountain Brainstorming and ideas for the library as a ‘visual illusion and a way of entering the world of books’. Suggested tree house, outside the window - a space for contemplation and reading. Plan drawing of ideas.
  26. 26. ZDB Skills Archive of Bairro Alto Group show "Life Policies" at ZDB Gallery, Lisbon, Portugal In co-operation with Nidia Oliviera, Iva Henriques, Albio Massimento, Susana Antonio, Eduardo Majo, Lara Soares, Antónia Samareles Curated by Solvej Ovesen May 2002 The ZDB gallery is placed in the middle of Bairro Alto, the old part of Lisbon, where elderly and retired people live side by side with new fancy bars, restaurants, fashion designers, etc. The Bairro Alto was once known for housing some of the finest craftsmen in the country - a lot of which are still living there either as active or retired. Through a workshop I held I found seven design and art students to collaborate with. The only parameter I set up was that it had to be a functional work and that we had to use the two rooms I had chosen at ZDB Gallery. We started by making two groups; one that did research by interview and one that did material research. The most interesting findings were that none of the 31 elderly people we interviewed had ever been to the gallery, and the story was that ZDB was a place for drugs, prostitution, loud music, strange youngsters and blasphemy. It seems obvious to make an invitation and a proper connection between the old and the new! From this we decided to make a skills archive that can be used both by artists that exhibits at ZDB as well as the fancy shop and bar owners. We started with eight craftsmen and presented their works as well as their contact details in an installation at ZDB. With the ZDB Skills Archive of Bairro Alto we hope to have created a possibility for the elderly and the art people to meet on common ground, the exchange of their skills, and thereby initiate new stories in the neighbourhood about ZDB. It is also possible to create a historical consciousness and appreciate the skills of the elderly.
  27. 27. ZDB Skills Archive of Bairro Alto Map over participating craftsmen in the archive. Bairro ALto in Lisbon, is historically known for having the best craftsmen in Portugal. Wall text about the archive. Craftsmen and crafts. Eight craftsmen participated in the archive at the time of the opening. Installation with presentation of start of archive. Archive, drawers and index cards.
  28. 28. Place de la Fleur With Jeppe Hein Public sculptures in Lorient, France 2005- work in progess For the City of Loirent (curated by Christian Busnell) In the meeting point between the Hôtel de Ville, Salle de Spectacle, Stade du Moustoir, Lycée Dupuy De Lôme, Centre Aquatique and the Axe we have suggested a gesture: To give a (social) flower in the public space. Imaging that someone very nice lays an enormous and beautiful flower on the square between Centre Aquatique and Salle de Spectacle. This feminine gesture structure and informs our project. The great axe of Loirent forms a connection between the sea and “Place de la Fleur”. An axe is a masculine architectural form that gives overview, transparency and connects different important parts of the city. A square is a break in the city infrastructure that can accommodate different public events and actions. The “Place de la Fleur” is a connection point between the surrounding buildings, their activities and people. What we have created on this square is a place for the creation and nursing of community. We want to create the opportunity for people to meet, talk, smile, kiss, interact and have common experiences and sensations. You can stay, pass by, sit down, eat, play, be social, contemplate and saunter. But also meet people you do not know, hide, mirror yourself, crawl in trees, observe people that interact with water architecture and a lot of other activities impossible to predicts. This flower is our proposal for a social sculpture that accommodates the possibility of different social interaction and activities. We have focused on a physical bodily activity that leads to interaction with other people. This creates social space in the meeting between physical sensations, art and the city. We have created “tools” for social encounters to happen more easily.
  29. 29. Place de la Fleur - Public sculptures in Lorient, France with Jeppe Hein The Stalk: An “unwraped” night club in the form of a fluctuated figur with all kinds possible seating, lying and standing opportunities. Leaves: A bench formation, where the inside an outsite benches overlab so you can listen in or participate in conversations A crawling and hiding area in the form of 4 meter tall wood trunks that are so close that you can wedge yourself in between them an climb to the top and sit.
  30. 30. Design of FutureArkiv Archive design and organisation by Fos and Kenneth A. Balfelt We were invited by Rooseum to solve a functional problem: To redesign the FutureArkiv space. This in order to energise it and situate it as an active space. The FutureArkiv is an archive of items selected by artists that work with Rooseum. E.g. books, music and films. Each artist selects ten items that inspire him or her at the moment. The archive is part of Rooseum's exhibition praxis as they work to decrease the display of art and increase processes and dialogue. The archive is then a generous gesture to offer the audience access to information that have inspired the artists. The room was a white cube: Grey floor, white walls and neon lights. This signifies "don't touch", "don't speak" and "don't sit". Our aim was then to reformulate these signs for the purpose of a functional library. We e.g. worked with infusing tactility, better acoustic, easy seating, and a coding system so that all items could be immediately identified. We also designed a sofa that also serves as a room divider.
  31. 31. Archive for the exhibition "From the Venice Biennale 2001” Poster design The archive platform. The archive For the exhibition "From the 2001 Venice Biennial” Fos and I were invited to create an archive, design the catalogue and exhibition poster. The idea with the show was to invite six artists and give them each a solo show together. The artists were Henning Christiansen, Ursula Reuter Christiansen, Liza May Post, Sergei Shutov, Olga Chernysheva, Eliezer Sonnenschein and Minnette Vári. We decided to work with the taxonomy of artist archive and invited the six artists of the show to, themselves, decide how the wanted to be represented. It could either be something about them, e.g. catalogues, or something that in some way had inspired or influenced them. The outcome was very different among the artists, and very interesting. The archive offered a new explicit insight into their works as well as an implicit because of the way the chose to represent themselves. As an example Minnette Vári spend 2 days writing down names of people that had influenced her. It became a list with 2.400 names, more than 70 A4 pages. Henning Christiansen chose to show old LP's with his sound pieces, Ursula Reuter Christiansen a jewellery catalogue for which she modelled and Lisa May Post catalogues and exhibition flyers. The archive itself was a platform inserted into the existing architecture on top of the staircase leading to the galleries. As an "insertion" it itself served as a new layer and exploration of the exhibition space as well as the archive did. Sergei Shutov’s contribution Henning Christiansen’s contribution. Minette Vari
  32. 32. The Meeting Room Project (with Fos) Research project, Brandts Klædefabrik and DCA Foundation 2001 & 2002 The 'Meeting Room Project' is temporary or permanent redesigns of meeting situations. This to deconstruct the power and social layers in order to create new situations in information transferral, negotiation and to create a different personal space in group structures. This is done through physical and spatial alterations. The meeting room is a symbol of the decision making process and has a very anchored form, structure and program where processes are entangled with norms and values which are formative for the outcome of meetings. Therefore we need to consider the physical and effectively social frame for these meetings between people, and work towards releasing them from past doctrines and encircling paradigms. With the 'Meeting Room Project' we want to discuss the restrictions and possibilities meeting rooms and situations offer for an organisation's interest. The project is aimed at inserting the possibility for the meeting participants to reflect on their own place of enunciation. It is an attempt to make a detour away from the non-performative already written room - where the interaction risks being mere 'wallpapering' on existing structures - towards a performative space that can be re-written as new every time you use it.
  33. 33. The Meeting Room Project Layout of Seminar Room, 2001 Seminar "The Potential of Art" at Brandts Klædefabrik For a seminar about the social and political role of art in today's society at Kunsthallen Brandts Klædefabrik we proposed to redesign the room. The seminar was among other issues about how we structure our life, interaction and society, and we wanted to incorporate that in the structure of the seminar. We rejected the traditional and business invented way of having talks. This in order to create better possibilities for dialogue through changing the power and focus centring. As well as allowing different physical forms of participation. There were three modules during the day and each of them had four speakers. When one module was on, the speakers from the other modules were placed in the audience. This spread the ones that were most likely to speak. Layout of Seminar Room 2, 2001 Seminar "Art & Business?" at DCA, Copenhagen For a seminar about the the possible cooporation of art and business we proposed to seperate the audience in two halves facing each other. The organisers of the seminar saw the field of cooperation between art and business as a new one without a real discourse. We therefor exaturated this division and made two 'camps'. The result was that the audience faced each other and had to face having eye contact or avoid it during the whole session. A lot of people knew each other and many body language greetings where send from camp to camp. The discussion that was created was animated by the layout, and supported the idea of the seminar. The seminar was held 4 November 2001 and was arranged by Democratic Innovation, Vestsjællands Kunstmuseum and Danish Contemporary Art Foundation (DCA). Speakers Screen
  34. 34. Gandhi+ Festival Events, workshops, seminarer, foredrag, koncert, fredsmeditation Vanløse Kulturhus 19. januar - 2. marts 2007 2007 (igangværende) Projektet ser på hvordan Gandhis tanker kan bruges i dag og tager sit udgangspunkt i Gandhis aktivistiske strategier og hvordan han igennem stærkt symbolske handlinger formåede at lave radikale social-politiske ændringer. Disse strategier er i en hvis udstrækning de samme jeg forsøger at benytte i min kunstpraksis - at bruge kunsten til at stille konkrete forslag og lave symbol-realistiske modeller, som igennem en kunstnerisk visuel optik kan bidrage til en socio-politisk situation eller problem. På den måde er festivalen en slags materiale research, som når en billedhugger vil afprøve et nyt materiale i en skulptur. De strategier Gandhi brugte om f.eks. ikkevold, konfliktløsning og respekt for "den anden" kan f.eks. indgå i udsmykningen/indretningen af et nyt værested for stofbrugere på Vesterbro, som jeg er inviteret til at udføre. Festivalen består dels af en udstilling, en byrumsposter og dels af en række events. Udstillingen er et eksperiment af hvordan et "mødelokale for Gandhi aktioners udvikling" kan se ud. Hvilke rammer og visualitet kan påvirke muligheden for f.eks. ikkevoldelig kommunikation? Det er i dette lokale eventsene skal finde sted. Eventsene er en række seminarer, workshops, koncert, fredmeditation og foredrag med diskussion. F.eks. Hervie Syan, en indisk/engelsk komponist/pianist, der oversætter Gandhis ikkevolds filosofi til musisk form, Else Hammerich der diskuterer hverdags konfliktløsning, fredsmeditation af Brahma Kumaris, der foretages samtidigt af 250.000 mennesker i 70 lande. Se program på www.a-r-d.org/GANDHI
  35. 35. Gandhi+ Festival
  36. 36. Pardon My Freedom Docu-fiction DVD. 11:11 min. Made for AirPlay street gallery, Copenhagen. Curated by Lotte Röhe and Sidsel Nelund. With FOS. 2006 In the light of the Mohammed cartoon crisis in Denmark this short film looks at the relationship between fear and knowledge regarding Islam. Children from 7 grade from a Muslim school in Copenhagen are interviewed regarding their faith and belief and issues like democracy, integration, racism, etc. which forms the manuscript for 7 grade pupils from the posh Ordrup School who acts this out.
  37. 37. Pardon My Freedom Stills from the film Docu-fiction DVD. 11:11 min. Made for AirPlay street gallery, Copenhagen. Curated by Lotte Röhe and Sidsel Nelund. With FOS. 2006 In the light of the Mohammed cartoon crisis in Denmark this short film looks at the relationship between fear and knowledge regarding Islam. Children from 7 grade from a Muslim school in Copenhagen are interviewed regarding their faith and belief and issues like democracy, integration, racism, etc. which forms the manuscript for 7 grade pupils from the posh Ordrup School who acts this out.
  38. 38. Indretning og udsmykning af Dugnad Center Vesterbro - værested for stofbrugere Med Tina Saabye, partner i Witraz arkitekter, Mette Høj, konceptdesigner, Karin Dam, proceskonsulent, Michael Lodberg, socialarbejder/Leder af Café Dugnad, Ole Kristensen, psykolog 2004-work in progress Etableringen af et nyt værested for stofbrugere på Halmtorvet. Her har jeg arbejdet med værdier (se evt. ), oversættelse af disse til principper for indretningen, og selve indretningen. Det er foregået i et tværfagligt team med en arkitekt, psykolog, konceptdesigner, socialarbejder og mig selv. Selv har jeg bl.a. lavet skulpturelle lamper, film til vindue med tegninger og tekster og fliser til håndvask i caféområde. Projektet er en fortsættelse af fixerumsprojektet og Mændenes Hjem projektet. Jeg er i bestyrelsen for Dugnad. Dugnad Centret er et historisk samarbejde imellem en privat organisation (Dugnad) og Københavns Kommune og er Vesterbros forslag til en nyskabende konkret løsning af nogle af narkotikaproblemerne på Vesterbro. Det er et værdigt fristed i form af et opholds- og ressourcested for stofbrugerne. Mange stofbrugerne i København har ikke noget sted at holde til. Min rolle har været at oversætte stofbrugernes idéer og behov til visuelle størrelse. Samt at definere stedets værdier og omsætte dem i den fysiske indretning. Stedet indeholder bl.a. indeholde : - Café og køkken - Konfliktløsningsrum - der er mange uløste konflikter imellem stofbrugere, lokale, politik, erhvervslivet, etc. - Hvilested, bad, toiletrum og lockers. - Udvikling af skæve jobs. Alternativt arbejdsmarked, hvor stofbrugerne kan beskæftiges i alternative ”daglejerjobs” - Sundhedsrum der er indrettet til at tage hånd om de sundhedsfaglige behov og med indretning af fixerum for lovlige stoffer Indretning og udsmykning, som jeg er med til at lave, har til formål at skabe fysiske rammer for nogle værdier og funktioner, som endnu ikke har været anvendt i arbejdet med stofbrugere i Danmark. Vi har sammen udarbejdet et helt nyt sæt af metoder som bl.a. afkriminalisering (udvikling af skæve daglejer jobs), konflikløsning (stofbrugere har ingen retssikkerhed da deres levevis er totalt kriminaliseret), udstødelse (suppekøkken/café der også er åbent for ikke- stofbrugere, fællesbegivenheder med ikke-stofbrugere) og rummelige 'lavtærskel' forhold (dvs. adgang for dem der bliver afvist andre steder - hvor deres afvigende adfærd ses som symptomer på at de behøver hjælp, omsorg og kærlighed, frem for afvisning).
  39. 39. Café Dugnad - Interior: Lamps (sketches), tiles, window folio Deisgn of tiles for sink in Café Café Dugnad, Halmtorvet 9 C-D, new doors, Values - from the interior atrium courd yard, kitchen, café, etc. design process. Court yard. Café area. Design of lamps where the idea is to use things found in skips and second hand shops to infuse creativity in thinking about how to make your own home. Drawing for window folio for the toilet
  40. 40. Café Dugnad - Exterior: Injection Furniture and Phortals in oak Oak portals and sitting/playing furniture. How do we create conflict reducing meeting places, where locals residents and drug additcs can meet on common ground. This is the start up. In March/April 2009 we will make a workshop where the different user groups can create more furnitures.
  41. 41. Cultural Planning for Køge Søndre Havn (harbour area in city in Denmark) - Development of culture plan/strategy for life for the urban development of the industrial harbour area - Video about the existing conditions in Søndre Havn as well as ideas from locals about possible developments 2007-2008 Kulturen skal fungere som ’driver’ under byudviklingen af Søndre Havn og Stationsområdet. Derfor har Køge Kommune lavet en samlet og langsigtet kulturplan. Kulturplanen er blevet til ved følgegruppen betående af: Jens Kvorning, professor ved Kunstakademiets Arkitekstskole, Henrik Reeh, lektor ved Københavns Universitet, Kenneth A. Balfelt, billedkunstner, Emil Krøyer, ass. for K. Balfelt, Rune Fjord, kunstner og designer, Michael Lauenborg, centerleder ved Kulturarvsstyrelsen, Per Schultze, udviklingskonsulent ved Lokale- og Anlægsfonden, Peter Schultz Jørgensen, byudvikler, Christian Pagh, proceskonsulent, Gitte Grønfeld Wille, kulturkonsulent Region Sjælland Søndre Havn er en ny bydel i Køge, mens Stationsområdet udvikles som en nyportal til byen. Samtidig er der stor forskel på, hvordan og hvornår kunsten, kulturen og idrætten skal bidrage til byudviklingens enkelte faser. Følgende er indeholdt: Livet før byen Kunst, kultur og idræt skal på kort sigt bidrage til, at Søndre Havn og Stationsområdet bliver levende og spændende nye bydele i Køge. Under overskriften Livet før byen kommer kulturplanen med ideer til og strategier for, hvordan områderne allerede på den korte bane gøres levende og attraktive for både borgere, nye beboere og kommende investorer. At bygge den gode by Kunst, kultur og idræt skal også på længere sigt være med til at sikre oplevelsen, udfordringen og udfoldelsen ide nye byområder. Derfor sættes derfokus på at bygge den gode by i samarbejde med de kompetencer, som kan medvirke til at skabe integrerede - og gerne overraskende og anderledes - løsninger for kulturen i bred forstand. Anlæg for kultur Køge skal have et nyt kulturhus på Søndre Havn. En ny Køge Bio og det børnekulturelle tilbud Den 7. Himmel. Og endelig skal det sikres, at de aktuelle kulturaktører på Søndre Havn - Køge Roklub, Køge Kano & Kajak Klub, Valkyrien og Tapperiet - også er en del af fremtidens Søndre Havn. Langsomlighed Vi har 20 år til at skabe den endelige Søndre Havn og Stationsområdet. Det giver mulighed for en langsom planlægning, der kan sikre, at den nye bydel planlægges i forlængelse af borgere og beboeres brug af byen. Én af de fremmeste kvaliteter ved Køges eksisterende midtby er, at byen netop udtrykker borgernes brug gennem mange generationer. Derfor lægger vi op til masser af eksperimenter, kreative tiltag, nye idéer, gamle travere og traditionelle tiltag i nye omgivelser. Områderne tilbyder sig ganske enkelt som frirum, hvor det i forskellige fysiske rammer er muligt at afprøve bæredygtigheden på en given idé eller aktivitet.
  42. 42. Cultural Planning for Køge Søndre Havn (harbour area in city in Denmark) - Participation in cultural planning - Film about the local contexts Stills from the film: A New City District (En Ny Bydel). Interviews with wither bathers, youth and psychologist. It ends with an fairy tale about a boy who is not afraid of anyone. When the cow of the family is stolen by a trold he goes there and gets it back with his trust in the good in all creatures only. A methaphor for the wish of the locals to create a city disctrict with good neighbour relations.
  43. 43. Research project about how to create a cooperation on equal terms between art and business I have been researching on ways that businesses and artists can research in and produce knowledge about how to improve society. Artists make a lot of often profound research, but that seldom reaches very far or directly benefits society. Companies are very efficient in inventing, producing and distributing products and services but often with a very narrow minded aim. For a company the benefit of society is not the goal rather it is earnings for the shareholders! How can we unite these forces to create an alternative to pure liberalistic capitalism as well as pure idealistic research? The chart below shows the different generations of co-operations between art and business. So far, it has always been for the benefit of business and therefore on business terms that the co-operation has taken place. What I propose is to (5th generation) work as equal partners in projects that research within a value and ethic based paradigm that enables us to produce knowledge and utilities that serve society as a whole. How can we define a humanistic and holistic way of working? Part of the research will be made with business researcher Finn Janning and published by Centre for Art and Leadership, Department of Management, Politics & Philosophy, Copenhagen Business School. Generations 5. Generation 2003 - of Artist & Reaching Common Ground Business • Define and Produce Common Projects Interaction • Produce New Paradigms of Acting in Society • Common production of knowledge 1980 - 4. Generation Artist as Partner • Participate in Think Tank • Participate in Development of Fundemental Values and Politics 1960- 3. Generation Artist as Worker. Participate in the Normal Doing of the Company • Artist Participate in e.g. R&D • Employed in Company 2.. Generation 1900 - Capitalise on Artist Goodwill • Sponsorship • Purchase of Art for Company's Domain 1. Generation 1500 - 1900 Artist as Instrument • Paint and Sculpt on demand for Church and the Royal • Participate in State Propaganda ©Kenneth A. Balfelt
  44. 44. Please see www.a-r-d.org for further documentation of the projects

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