Ture Sjolander

Last Name: 
Sjolander
First Name: 
Ture
 
 

Societies: 1981 - 1982. Elected Secretary and Member of the Board of the National Association of Professional Swedish Visual Arts - K.R.O - Konstnaerernas Riks Organisation Stockholm - with over 6.000 members. 1979 - 1986. Elected as the first Director and Chairperson of the Board, while Curator/ Administrator of the former Swedish National Artist Organisation, VIDEO-NU, Stockholm, an Art Laboratory for new electronic technology financially assisted by the Swedish Government and the Stockholm City Council ( 200 individual and 15 corporate mem bers) Represented: Paintings: Museum of Modern Art, Stockholm, Sweden. National Museum, Stockholm, Sweden. Gothenburg's Art Museum, Gothenburg, Sweden. Sundsvalls Museum, Sundvall, Sweden. Family of Charles Chaplins private collection Switzerland. Swedish National Television collection Stockholm, Sweden. The Australian Embassy in Beijing, China. The City Council of Changchun, China. James Cooks University, North Queensland, Australia Qingdao Municipal Museum, China. Sculptures: '97 China Changchun City, International Invitation Exhibition of Sculpture - Permanent installation of two-of-a kind, 3 meters marble-sculptures, at the Culture Square. Alvdalens County collection, Sweden. Stone of Alvdalskvartsit. County Council, Falun City, Sweden. Stone of kvartsit. Thirty public artworks in Sweden and in addition; international corporate and private collections in USA, Australia,Europe and China. AWARDS AND GRANTS; The Royal Swedish Academy of Fine Arts - Top Project Grant 1975 for pioneering electronic Artworks since 1966 and for the development of art&technology, 'video-art'. The Ministry for the Arts, Development Grant, Oueensland State Government, Australia, 1992. The Royal Fund for Swedish Culture - Video&Television installation/experiment, 1966. The Swedish Government Ministry for Arts, Project Grant for New Media Experiment1962. Stockholm City Council, Department for Arts, Project Grant - experimental photo- graphics - lightpainting, 1962. Bibliography: Memeless Threshold & Digitala Demoner, by Gary Svensson, Linkopings Studies in Arts and Science, Linkopings University, Sweden. Publisher: Carlsson Bokforlag, 2000.ISBN 91 72 03 992 2. ISSN 0282-9800. 211 pages. Sjolander pages: 64-65, 104- 113, 129. New Media in Late 20th-Century Art, by Dr. Michael Rush, Harward University, Thames&Hudson , Publisher 1999. Pp. 92 -93 of 224 pages. ISBN 0-500-20329- The Collection Of The Qingdao International Art Exhibiton - China 1999. Catalogue; pp. 11, 296, 316. Published by Chinese Artist's Organisation. ISBN 7-5305-1101-7 Art and Australia ( June 1992 Winter/issue, 3 full pages ) - Fine Art Press Pty Ltd. Australia. The Courier Mail, Queensland, Australia. Saturday, January 25, 1992; 'Artist to fine tune the relevance of art', by Sonia Ulliana. Expanded Cinema (Book) by Gene Youngblood. Introduction by R. Buckminster Fuller. Studio Vista Ltd. 1970. (Pp. 331 - 334). Essere (Vol. 4 1968) by Pierrluigi Albertoni.Tribunale di Milan, 'La Mec-Art' by Pierre Restany (pp. 13, 15 17, 64, 65) Video (Monthly Magazine - January 1979) Linkhouse Publication Group Pty Ltd. UK, 'Video Art at New Castle' by Mandy McIntyre (pp.32-33) Konstrevy (Volume 1) 1963 'Photographic Development' by Kurt Bergengren. (Pp. 10 - 13, and original cover art: 'Ready Maid/Pop Art'. Publisher; Bonniers Bokforlag Sweden. National Swedish Encyclopaedia - ( 'Focus' ) 1967, Publisher; Bonniers Sweden. See 'S' for, Sjölander Ture. An innumerable number of articles in Europe, Australia, China and USA have been published as well as radio and television programs (e.g. catalogue text for installations/exhibitions) by writers as: Pierre Restany, Paris, ÷ivind Fahlström, N.Y., Kristian Romare, Belgium, Prof. Björn Hallström, Stockholm, Pontus Hulten, Bonn, etc. etc . EXHIBITIONS/INSTALLATIONS: Sundsvalls Museum, 1961, (regional Art Gallery Sweden) - Light paintings. Debut. Solo Exhibition. Catalogue foreword by ÷ivind Fahlström. White Chapel Art Gallery - London, UK. 1963. Light paintings. Selected group exhibition. Lunds Konsthall (famous Regional Fine Art Gallery in South Sweden, Lund City) 1965. Simultaneously installation of an outdoor exhibition in Stockholm on billboard space of Monumental size. Solo installations. The 5th Biennale of Paris, France 1967. Selected group exhibition. Catalogue foreword by Pierre Restany. Gallerie Apollinaire - Milan, Italy 1968, Invited to exhibit with contemporary all-Italian artists. Selected group exhibition. Serpentine Gallery, London, UK. 1975. Selected group exhibition The Galleries, Biddick Farm Arts Center, Washington Tyne and Wear, New Castle. UK. 1976 and 1979. Selected group exhibition/installation incl. Bill Viola, Ed Emshwiller etc. Museum of Modern Art, Stockholm Sweden, 1981. Electronic Art, International Exhibition incl. seminars. Selected group exhibition. International Video Art exhibition KULTURHUSET Stockholm Sweden 1982. Selected group exhibition incl. Nam June Paik, Bill Viola, etc etc Museum of Modern Art - Stockholm Sweden, 1985. 'Swedish Contemporary Art' - Six months exhibition. Selected group exhibition. Ethnographic Museum, Stockholm, Sweden, 1987 and 1988. Video/multimedia installa-tion; 'Body Paintings Papua New Guinea' - 'The South Pacific Festival of Art', Solo installation. Gallery Umbrella, North Queensland, Australia, 1991. 'Space - the Image of Wealth 1'. Solo installation. 1997 - China International Sculpture Invitation Exhibition in Changchun, Jilin province. 'Peace, Friendship and Spring' Group exhibition. Foreign artists from 10 nations. Permanent installations of stone sculptures at the Culture Square in the City of Changchun. 1999, CHINA, Qingdao, " Trancentury China International Masterpieces Exhibition '99, August. Paintings. Qingdao Municipal Museum.

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Ture Sjolander
Swedish painter and photographer Ture Sjolander found the communicative breadth and fluidity of video imagery immensely appealing. Working with Bror Wikstrom, he created Time, shown on National Swedish Television in 1966. Time was a half-hour program of "electronically manipulated paintings." According to Chris Meigh-Andrews, author of History of Video Art, Sjolander "worked with TV broadcast engineer Bengt Modin to construct a temporary video image synthesizer which was used to distort and transform video line-scan rasters by applying tones from waveform generators." What is more, Sjolander and Wikstrom seem to be the first artists to have done so. When Nam June Paik visited Sjolander in July and August of 1966, he saw images from Time that almost certainly spurred him onward in his own image-processing experiments. Further linking the relationship between video and painting, the images in Time were also produced as limited-edition, signed and numbered works silk-screened on canvas.
Sjolander's work the next year, Monument, was done in collaboration with Lars Weck and featured image-processed "portraits"--via distorting signals and electronic filters--of the Mona Lisa, Charlie Chaplin, Hitler, Picasso, and the Beatles. Broadcast in five European nations, the program, backed by a reverberant sci-fi soundtrack of vibraphones and organ washes, was seen by more than 150 million people. These electronic paintings were also made into a variety of still images including tapestries, LP art, paintings on canvas, and posters.
Sjolander, Wikstrom, with assistance from Lasse Svanberg, Lennart Nilsson,  Sven Hoglund's 1969 Space in the Brain extended Frank Malina, Jordan Belson, and other moving-image artists' fascination with inner and outer spaces. The artists manipulated still images of the Apollo 11 mission--given to them by the American government--into full-color abstractions to produce a "space opera" set to searing acid rock by Hansson & Karlsson. The piece makes use of close-ups of an eyeball, much in the manner of Kubrick's "Stargate" sequence in 2001: A Space Odyssey, before layering in shifting, rotating washes of hot pink, searing yellow, and electric blue forms, concluding with the overlaying of those video shapes on top of still images of deep space.
 
All text © 2011 Gregory Zinman