installation UNSTABLE VARIABLE as presented in the show: GEOMETRY AS IMAGE, Robert Miller Gallery, NYC
www.robertmillergallery.com/
Essay for a catalogue to KJELL VARVIN's one-man show at Kunstnerforbundet, Oslo
: August-September 2001
By Trond Borgen
"I like to go where the systems break down and an increasing disorder takes place, where there is a great risk of losing control or of getting lost," says Kjell Varvin about his own working method. This may seem rather paradoxical, looking at the end result of this working process: precise drawings - two- and three-dimensional - which indicate an intellectual approach and which are of an analytically clear-cut, well-ordered, and controlled character.
Still Varvin longs for disorder: "Absolute chaos is an ideal state I cannot hope for." He seems to carry the approach of the surrealists with him into his production of art, only to end up with its counterpart: the unadulterated clarity of constructivism and minimalism. It is as if the process that has taken place here is a kind of alchemy or a refinement of a natural state. And this is exactly the nature of art, Varvin seems to say. He uses a simple metaphor to explain: when he lived in Venice, he enjoyed walking in the narrow lanes at night, to willingly get lost, in a city where everything looks different in the dark. But through this process of going astray he always got back on the right track - he got lost in order to find his way. This has been his consistent approach to drawing since the late seventies: he creates his drawings in a fragile and precarious balance between chaos and order, intuition and analysis. It is a state that may collapse at any moment, or immediately open up for the sharp flash of illumination.
Thus Varvin's art is about drawing the line - and crossing it, too. In several ways. First, he breaks the line between order and chaos, so unaffectedly that it can easily be missed; second, he transcends the line by lifting it from the paper and board, into space, as he makes the drawing three-dimensional and charges it with the marks of a fetish. And, third, when liberated in space, the line turns into something different - as it becomes active: the drawing is no longer static and stable; its character changes according to where you are in relation to it, in space. The drawing, which started as a line on a surface, is now released from its two-dimensionality, assuming a spatial shape that combines features from both sculpture and architecture.
There are interesting art historical parallels in Russian constructivism and suprematism, where the artistic act was considered to be a matter of organizing some specific material and its technical qualities - completely independent of figurative and narrative elements - as we see it, for instance, in El Lissitzky's famous Proun Room from 1923, which combines drawing, painting, sculpture, and architecture.[1] Also Kasimir Malevich underlined this strongly: "The artist can be a creator only when forms in his picture have nothing in common with nature, for art is the ability to construct."[2] The element of liberation, which was seen as an enormous potential at the beginning of the 20th century, was always emphasized: "The new art of Suprematism, which has produced new forms and form relationships by giving external expression to pictorial feeling, will become a new architecture: it will transfer these forms from the surface of canvas to space."[3]
Kjell Varvin works with his three-dimensional drawings as an extension of this tradition; but there is one important difference: today it is impossible to maintain the Utopian angle of that time, found, for instance, in the words of Malevich: "Now that art ... has recognized the infallibility of non-objective feeling, it is attempting to set up a genuine world order, a new philosophy of life."[4] Today we see that the modernist Utopia failed;[5] and Varvin's project is of a much more modest scale. This is precisely where his strength lies, in the intimate rather than in the ostentatiously grand and visionary.
Rather than thinking about a new world order, Varvin concentrates on a human scale - both because his drawings/objects relate to the proportions of his own body, thus making the drawing manageable and understandable in relation to an actual human being who exists in the very space in which the drawing unfolds, and because he puts into everything he creates all his accumulated experience, as man and artist. It is possible to look upon his art today as a result of a continuous process of refinement and simplification - we see in it, in actual terms, Mies van der Rohe's catch-phrase Less is more, not as Varvin's deliberate artistic programme, but rather the result of years of consistent and concentrated work with the drawing, as form and as phenomenon. We are struck by his perseverance and persistence in this work: Varvin's drawings are entirely purged of ornament and narration. What is left is a clean-cut investigation of the potentials of the line. When he lifts lines into space, he studies what happens when they cross, form simple shapes and constellations, and enter into a dialogue with other lines and shapes in this space. Thus is created a dynamic play between drawing and viewer. Varvin actually creates a fugue of lines that intersect one another contrapuntally, in a polyphonous rhythm. As if it were a Bach composition distilled.
This analogy to music is not accidental, and Varvin is very conscious of it: when he exhibited at the Stavanger Art Society in 1992, he co-operated with the composer Magne Hegdal: Hegdal's music, specially composed for this occasion, was an integrated part of the show, and it highlighted intervals as an important part of the experience, both in the music and in the pictures exhibited - the space between the pictures and between the particular elements in each work became significant for our experience of space and time as we wandered through the exhibition. To visit a Varvin exhibition is like entering a fugue by Bach, seen through the filter of modernist experience.
But here are more references to the history of art and culture. When he participated in the Annual State Exhibition in Oslo in 1997, Varvin exhibited a three-dimensional drawing in welded iron that spanned the space of one of the corners of the gallery - an active intervention in the architecture, the way Dan Flavin does it with his neon light tubes: an attempt at creating an intensified sensibility when focusing on a corner, an area where the architectural elements meet and create a defined space. But this is something that goes much further back in time - we actually find it in the Mystery Villa at Pompeii, in a wall painting made 2000 years ago: a winged creature is about to whip a figure with a naked back, situated on the wall at right angles in relation to the one doing the whipping. It becomes a three-dimensional work of art - it is as if the picture juts out into space and communicates with the viewer in the space where he actually is. Varvin's drawing/sculpture at the Annual State Exhibition accentuated and tied together the two walls in the same way: air and space were incorporated in the simple lines of his drawing.
In these works - Varvin has also executed several commissioned works of art for public buildings, using similar means[6] - it is as if he makes the words of the abstract expressionist Mark Rothko, his own: "I merely enlarge the extent of this reality."[7] And he does it by drawing the line in order to cross it, or, if you like, by keeping in line by breaking it: the line has become a sculptural experience of space.
What strikes me when I encounter works by Kjell Varvin, whether they are executed as lines on paper and board, or three-dimensionally in welded iron, is the total absence of visual noise. Silence reigns here, and it demands our full concentration. This is due partly to the distinct purity of the interplay of lines and of shapes, cultivated over the years and inspired by such artists as Donald Judd and Sol LeWitt, whom he has worked with as an assistant on a couple of occasions. And it is partly due to the absence of narrative elements. Our society today demands, in so many areas, an immediate communication, a kind of superficial accessibility - instant gratification of each and every need. In a communication context this imperative often means instant gratification in the form of what is most easily accessible - communication thus becoming tied to an aspect of entertainment. Kjell Varvin uses his art to counteract this kind of communication explosion, for he resists the categorical imperative of instant meaning. In his works there is no immediate, obvious meaning - they offer resistance to the viewer - resistance of both a visual and an intellectual kind. Thus there is an implicit criticism of modern civilization in Varvin's art - he turns his back on, and creates an alternative to, fast, immediate communication. In front of his works we have to spend time; Varvin's drawings/sculptures have to be given a chance to unfold in space, but also to unfold in our mental processing of this experience of space.
So we return to the relationship between order and chaos, analysis and intuition in his works. Most often he will start with a stencil or a template which contains a certain ratio and scale between lines and shapes - abstract, concrete, and mathematical - and manageable in relation to the proportions of the human body. His starting point thus involves a system, a regularity that is fixed. Varvin is, however, careful not to let this template become a straightjacket; for he turns and twists it, so that ever new lines and relations will manifest themselves: from the system and its regularity accidental proportions and coincidences will appear. This is the way in which Varvin cultivates the inevitable chaos that is the result of this process; but because of the fixed proportions and scale that are in the template, there is still an implied order in the art that is created from this method. It is as if he cultivates the automatic drawings of the surrealists, but with some of its terms given in advance. Thus a paradox, but for Varvin a fruitful paradox. For out of the infinite number of coincidences that may come into existence from such a working method a new order might arise - elements fall into place in the form of lines and relationships between lines. Structures it might take the artist several square kilometres, even light years, to match or duplicate exactly.
Thus these drawings/sculptures are not only closed shapes resting in their own completion; they are also a kind of segment of a continuum that might go on for ever, in all directions. What at first glance may look like something exclusively built on intellect and analysis, turns out to be based on intuition and spontaneous cultivation of the accidental. The rational is taken as a starting point, embedded in the geometry of the template; but man is not only rational, and Varvin applies his method in order to leave traces of his own pulse and breath and of the body rhythm of a human being in art. Here are obvious elements from his inspiration from Japanese philosophy and art - it is as if his works are a continuous series of meditation exercises. They may sharpen the consciousness, both for artists and for viewers.
And when Varvin reaches out into space, in his three-dimensional drawings, it is as if he is lusting for this space, physically. He cannot just draw the line - he has to cross it, too, as he transcends the line and liberates the drawing from its surface, in order to be able to satisfy his lust: it is as if he eroticizes space in order to possess, by turning it into a fetish - a focal point for his artistic desire.
[1] El Lissitzky's Proun Room was originally made for the Grosse Berliner Kunstausstellung, Berlin 1923. It was reconstructed in 1965 and is now at Stedelijk Van Abbemuseum, Eindhoven. It is reproduced in Louisiana Revy, Sept. 2000, p. 32, on the occasion of the exhibition Vision og Virkelighed. Forestillinger om det 20. århundrede.[2] Kasimir Malevich, "On New Systems in Art," 1919. Quoted in Century City. Art and Culture in the Modern Metropolis. Edited by Iwona Blazwick (London: Tate Modern, 2001), p. 106.[3] Kasimir Malevich, "Suprematism" in Herschel B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics (Berkeley, Los Angeles, London: University of California Press, 1968), p. 346.[4] Ibid, p. 346.[5] See, for instance, Trond Borgen, Einar Børresen, and Ellen Sæthre (eds.), Utopia (Stavanger: Rogaland Kunstmuseum, 2000).[6] See Arild H. Eriksen, "Kjell Varvin. Kunstnerisk utsmykker," Utsmykking 1992 - 1995 (Oslo: Utsmykkingsfondet for offentlige bygg, 1996), pp. 31 - 36.[7] Mark Rothko, "Personal Statement" in Mark Rothko, 1903 - 1970 (London: Tate Gallery, 1987), p. 82.
Kjell Varvin
1939 born in BAERUM, Norway
Lives and works in HOEVIK, Norway
Education
STUDIES 1958-65:
Statens Håndverks- og Kunstindustriskole, Oslo
École Superieure des Beaux-Arts, Paris
Bellas Artes, Sevilla og O’Porto
Artes y Oficios, Barcelona
Grants
Statens reise- og studiestipend,
Statens etableringsstipend,
BKS materialstipend,
Statens 3 årige arbeidsstipend,
Tegnerforbundets reisestipend,
Garantiinntekt fra 1986
Solo Exhibitions
2009 WELDED IRON Galleri Erik Steen, Oslo
2007 Tegnerforbundet Galleri, Oslo
2004 Bærum Kulturhus, 5 glassmontre
2001 Kunstnerforbundet, Oslo
1999 Uffizi Galleriet, Høvik
1998 Tegnerforbundet Galleri, Oslo
1997 Langhaus, BBK, Uelzen, Tyskland
1996 New Art Gallery, München, Tyskland
1993 Moss Kunstforening
1992 Trondhjems Kunstforening
1992 Galleri Gann, Sandnes
1992 Stavanger Kunstforening
1991 MONUMENTALE TEGNINGER, ØBK, Fredrikstad
1990 Kunstnerforbundet, Oslo
1988 Eksperimentell tegning, Tegnerforbundet Galleri, Oslo
1986 Kunstnerforbundet, Oslo
1982 Distriktshøyskolen i Bø, Telemark
1982 Galleri Habberstad, Oslo
1982 Galleri LNM, Oslo
1980 Sandefjord Kunstforening
1980 Haugesund Kunstforening
1979 Galleri Horneman, TBK, Trondheim
1979 Stavanger Kunstforening, Koloritten
1978 Bergen Kunstforening
1978 Sandvika Kinovestibyle
1977 Oslo Kunstforening
1974 Unge Kunstneres Samfund, Oslo
1972 Galleria Paris Bordone, Treviso, Italia
1972 Gallerie Moering, Wiesbaden, Tyskland
1968 Tecklenburg Festival, Tyskland
1966 Gabinete Literario de Las Palmas
1964 Palacio Maricel, Sitges, Spania
Group Exhibitions
2009 TABAKMAGAZIN, Germany
2009 Voorkamer, Belgium
2008 TABAKMAGAZIN, Germany
2008 Skulpturbiennalen, Vigelandmuseet, Oslo
2008 GEOMETRY AS IMAGE, Robert Miller Gallery, NYC
2008 Tegnebiennalen, Kunstnernes Hus
2008 RYKK TILBAKE TIL START galleri 0047
2006 20 års jubileumsutst. Akershus Kunstnersenter
2006 5 i DTK-prosjektgalleri, Bærum
2004 Spor i strek, SKINN, vandreutstilling i Nord-Norge
2003 SEQUENZ-2, Høvik Bad
2002 UFFIZI GALLERIET, Høvik Bad
2000 TEGNINGER, Vestfold BK, Haugar Museum, Tønsberg
2000 SEQUENZ-1, Høvik
1999 POSTADRESSE AKERSHUS, Akershus Kunstnersenter, Lillestrøm
1998 Galleri TAO m. Susanne Mader, Beijing, Kina
1997 8 FRA AKERSHUS, Pieksämäki, Finland
1996 VOLUPTAS i Slovakia, Povazie Galleri, Zilina
1996 KUNST KAN LØFTE BYGG, Akershus Kunstnersenter, Strømmen
1995 9 TEGNERE, vandreutstilling Rogaland BK
1995 4 FRA AKERSHUS, vandreutstilling m. Aune, G. Gundersen, Wüller
1994 TEGNING SOM UTSMYKKING, Tegnerforbundet Galleri, Oslo
1993 Jubileumsutstillingen SHKS, Oslo
1993 BkiB, Bærum Kunstforening, gjesteutstiller
1992 NORSK LANDSKAP I DAG, Oslo Kunstforening
1991 LINJEN ER ET PUNKT PÅ VANDRING, L.Corral, M.Graham, M.McAlinden i Holst Halvorsens Kunsthandel, Oslo
1990 STATUS, Oslo Kunstforening
1989 BILDE-LYD i samarbeid med Magne Hegdal, Galleri F-15, Moss
1989 NORDISK TECKNINGSTRIENNALE, Skellefteå, Sverige
1989 Galleri 12B, Fredrikstad
1988 I STEDET FOR MUNCH, Munch-museet, Oslo
1988 Den Nasjonale Tegneutstilling Porsgrunn
1988 LNM 20 ÅR, Oslo Kunstforening
1987 Åpningsutstillingen for Akershus Kunstnersenter, Strømmen
1986 NORSK KUNST I 50 ÅR, Oslo Kunstforening
1986 ABSTRAKSJON NÅ med Jacob Schmidt, Ian Damerell m.fl. i Ibsenhuset, Skien.
1986 Tegnerforbundets Jubileumsutstilling i Galleri F-15, Moss, London og Edinburgh.
1986 4 tegnere: I. Bøhn, B. Tønnesen, K. Varvin, V. Werner i Asker- og Sandefjord Kunstforeninger og i Galleri 12B, Fredrikstad.
1986 KONTRASTER, Oslo Kunstforening
1986 KUNST I BÆRUM, Henie-Onstad Kunstsenter
1985 ØSTERSJØBIENNALEN, Rostock, Tyskland
1984 JAZZ-Festivalutstilling med Z.. Rusova og H. Lotherington i Molde-ogTrondhjems Kunstforeninger.
1984 Den Nasjonale Tegneutstilling, Porsgrunn
1984 Bærumskunstnere i Tavastehus, Finland
1982 TEGNING, Kunstnernes Hus, Oslo
1982 Galleri 12B, Fredrikstad1981-82 Nordiske Tecknare: Sveaborg, Finland og Oslo Kunstforening
1981 Tegnerforbundets Vårutstilling i Oslo Kunstforening, utfører veggtegning for Sol LeWitt.
1980 Galleri HENRIK, Eidsvoll sammen med J. A. Risan og H. Krogstad
1980 XIX premi de dibuix, Joan Miro Museum, Barcelona, Spania
1978-79 Gruppen NAVE i Valladolid og Toledo, Spania
1978 KUNST I BÆRUM, Henie-Onstad Kunstsenter
1977 DRAWING NOW, Henie-Onstad Kunstsenter, utfører veggtegning for Sol LeWitt.
1975, 76, 79 INTER, Holstebro, Danmark
1975 Gruppen NAVE i Molde Kunstforening
1975 Drawing International, Perth, Australia
1974 Gruppen NAVE i Tønsberg Kunstforening
1973, 74, 76 UKS-Vårutstilling, Tromsø og Kunstnernes Hus, Oslo
Østlandsutstillingen: 1979, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 99
Høstutstillingen: 1977, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 97 (som invitert), 98, 99
Projects
Commissions for The University of Oslo, wallpaintings in lecture hall 1991
The University of Bergen, welded iron in stairs 1993
Collections
2004 Nordnorsk Kunstmuseum
2000 Rikshospitalet, Oslo
1998 The Central Academy of Arts, Beijing.
1972, 98, 99 Bærum Kommune
1976, 82, 91 Norsk Kulturråd
1977, 82, 88 Oslo Kommunes Kunstsamlinger
1979 Sør-Trøndelag Fylke
1982, 84, 87 Riksgalleriet
1981, 82 Nasjonalgalleriet
Bibliography
1996 Utsmykking 1992-95, artikkel av Arild H. Eriksen. Utsmykkingsfondet.
1999 Western Sculpture in The 20th Century by Lu Pinchang, (ISBN 7-80580-556-3/J-519 page 56)
2001 Trond Borgen:-Om å gå over streken. Essay i katalog til utstilling
