TURE SJOLANDER 

turesjolander@hotmail.com

newstime2007.com

EXHIBITION IN SWEDEN

GALLERY SVENSHOG

25 SEPTEMBER - 10 OCTOBER

Opening Saturday 25/9  2:00 PM  (14:00) 2004


The Artist that invented Computer Animation

Aapo Saask on the artist Ture Sjolander

2004

On an island aptly named Magnetic Island off the coast of Australia, a Swedish artist lives in exile. Just like so many others in today's media-landscape, he was first praised and then brought to dust. However, he has left a lasting imprint on the world. As early as the 1960's, he made the first electronic animation. Had he been an inventor, he would have been celebrated as a genius today, but because he is a predecessor in the world of art, things are different. In that world, the great ones often have to die before they are recognized.

We all know how Disney's famous cartoons were made: thousands of drawings, filmed in sequence. Even today some films are made this way. However, electronic animation has opened up a new world within the film industry and it has also made computer games and countless graphic solutions possible in business and science.

Pixar, which used to be part of Lucasfilm and then sold to Steve Jobs in the lat 1980's, made the first completely computer animated film called "Andre and Wally B" in 1983. The first feature length fully animated movie was Toy Story from 1995. It was made by Pixar and distributed by Disney. Disney had already started to use computer animation in Little Mermaid from 1989, and then on through Aladdin, Lion King, Pocahontas, etc In those fantastic movies the pictures were however first drawn on paper and then scanned into computers for painting and cleanup and superimposition over painted backgrounds.  

Decades earlier, in 1965, Ture Sjolander’s electronically manipulated images were broadcasted by the Swedish Television (SVT). Among other things, Ture Sjolander was experimenting with the question of how much the portrait of a person could be changed before it was unrecognizable, something which has pioneered the amazing morph-technique that is used today.

Gene Youngblood, who, alongside with Marshall McLuchan, is the most celebrated media-philosopher of today, devoted a whole chapter in his book Expanded Cinema, 1970, (Pre face by Buckminster-Fuller) to the experiments of the SVT. Expanded cinema means transgression of conventions as well as mind-expanding transgressions and new definitions. Sjolander’s broadcasts were not technically sophisticated, but they were ground-breaking.

The film mentioned by Youngblood  is "Monument" (1968) by Ture Sjolander and Lars Weck. The other earlier televised pioneering animation were "TIME" (1965/66) by Ture Sjolander and Bror Wikstrom, and later "Space in the Brain" (1969) by Ture Sjolander, Bror Wikstrom, Sven Hoglund and Lasse Svanberg. Whereas most of the modern-day artists fade into oblivion, Ture Sjolander has found his place in the art history by the making of those films.

Ture, a lad from the northern city of Sundsvall, had instant success with his opening exhibition at the Sundsvalls Museum 1961. He moved to Stockholm in the beginning of the 1960's. At an exhibition in 1964 at Karlsson Gallery his imagery upset the public so much that the gallery immediately became the trendiest place for young artists in Stockholm.

In 1968, he created another scandal, when the film "Monument" was televised in most European countries. For a couple of years, Ture Sjolander was celebrated in France, Italy, Switzerland, Great Britain and the USA. In Sweden there was a lot of jealousy. The Museum of Modern Art and the National Gallery of Sweden, to name a few, bought his works, but the techniques he worked with were expensive and after a few years, he found himself without resources. Instead he started to work with celebrities such as Charlie Chaplin and Greta Garbo. They taught him that exile – mental and physical - is the only way to escape destruction for a creative genius. He moved to Australia.

Ture Sjolander's works include photos, films, books, articles, textiles, tv-programs, video-installations, happenings, sculptures and paintings – all scattered around the Globe. Tracing will be a challenging and exciting task for a future detective/biographer and web-archaeologist's.

But mostly, his work consists of a life of questioning and creation. This is what sets him aside as one of the great artists of the 20th century.

Another forerunner in the art world, the internationally celebrated Swedish composer Ralph Lundsten, says in an interview in the magazine SEX, 5, 2004: "In those days (the 19th century), a painting could create a revolution. Today people look idly at all the thousands of exhibitions that there are.’ Hmm. Oh, really. How clever he is’, and they yawn… If I were a visual artist, and if my ambition was to create something new, I would devote myself to the possibilities of the computer."

In 1974, Sherman Price of Rutt Electrophysics, wrote to the Swedish Television Company (SVT): "Video Synthesis is becoming a prominent technique in TV production here in the United States, and I think it will be interesting to give credit to your broadcasting system and personnel for achieving this historic invention."

He was referring to Ture Sjolander's revolutionary work in the 1960's. No one at the SVT could at that time imagine the importance that this innovation would have for television, and hereby lost a lead position in the computer-development business.

Amongst the younger generation of computer animators, few know that they have a Swedish predecessor. Many engineers were probably working away in their cellars in those days, trying to do the same thing, but Sjolander was the first person to show his results on the air. If any of you would like to have a look at the Godfather of animation, you can find a glimpse of him by googling.

He did not seek to patent his inventions and he has made no money from it. However, he has made it to the history books as one of the great precursors of art - and perhaps also of technology - of the 20th century.

For the past decades, Ture Sjolander has mostly lived in Australia, but he has also worked in other countries, such as Papua New Guinea and China.

After a couple of decades of silence, Sjolander's groundbreaking work was shown at Fylkingen, the avant guard media and music hide out in Stockholm in the spring of 2004.

In the autumn of 2004, some of his recent acrylic paintings on canvas were exhibited at the Gallery Svenshog outside of Lund, Sweden. This was to commemorate the forty years that have gone by since his last (scandalous) exhibition at Lunds Konsthall. Many artists take a pleasure in provoking the established art world. Ture Sjolander also provokes the rest of the world.

 

Aapo Saask

2004-08-26


 a
FIRST CLASS HONOURED CITIZEN OF AUSTRALIA
WHO HAVE CHOSEN TO LIVE
 IN AUSTRALIA,
AND ARE NOT JUST BORN
IN THE COUNTRY,  ACCIDENTALLY.
You have to be born and bred somewhere, don't You
although, "born and bred"  is Not a  quality in itself.
 
Most websites have a number of pages not mentioned on this list
but can be obtained from the search-engine "More from this site"
 
Sample below:
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

  R E S U M E   

Excerpt and Websites 

turesjolander@hotmail.com

TURE SJOLANDER

Intermedia Artist

VIDEO ART

http://turesjolander.homestead.com/hall.html

"this artist is already well represented in our collection"

David Elliott

Director, Moderna Museet, Stockholm, Sweden. October 6, 1999.

 

Societies:

1981 - 1982.

Elected Secretary and Member of the Board of the National Association of Professional Swedish Visual Artists - K.R.O - Konstnärernas 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 members)

Off Record: Garbo  -  Chaplin

 

 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.

 

http://writingsrelatedsjolander.homestead.com/

 

 

 

AWARDS AND GRANTS;

The Royal Swedish Academy of Fine Arts - Top Project Grant 1975 for pioneering elec-

tronic 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:

Expanded Cinema  by Gene Yomgblood - Published by Studio Vista Ltd 1970. Pages; 331 - 334. Introductionen by  R. Buckminster Fuller.

"Digitala Pionjarer", 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.

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, Öivind Fahlström, N.Y., Kristian Romare, Belgium, Prof. Björn Hallström, Stockholm, Pontus Hulten, Bonn, etc. etc .

Available upon request.

 

EXHIBITIONS/INSTALLATIONS:

 

Sundsvalls Museum, 1961, (regional Art Gallery Sweden) - Light paintings. Debut. Solo

Exhibition. Catalogue foreword by Oyvind Fahlstrom.

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.

 

http://turesjolander.homestead.com/

 

 

 

PIERRE RESTANY

Paris - France

October 31, 1968

-----------------------------------------------------------------------------------------------------

Catalogue text for Ture Sjolander

Extracts/Extrait;

-------------------------------------------------------------------------------------------------------------------------

MONUMENT: UN NOUVEL HUMANISME

" Je ne connais pas Ture Sjolander. En automne 1967 un long voyage en Amerique du Sud ne m'a permis de visiter la 5 `eme Biennale de Paris, ou il exposait, qu'a l'extreme fin de la manifestation. Mieux vaut tard que jamais. J'ai ete frappe par les oeuvres de Sjolander. Par leur esprit vraiment moderne. Par soon instinct sur, son usage poetigue des donnees technologiques des mass media: une liberation iconographique au niveau de la technologie de l'information, du langage de la communication de masse…

 

Elle nous concerne tous, elle est plus historique que l'histoire, plus sexuelle que le sexe, plus criminelle que le crime, plus objective que n'importe quel processus d'objectivation. On atteint la notion d'une super-

Expressivite de synthese, liee aux phenomenes d'alteration et de transformation des structures visuelles initiales. Cette alchimie de la vision a trouve sa pierre philosophale. Le plomb des definitions theorigues et standard de l'image animee s'est mue en vif-argent: le mercure des distorsion libres.

 

En creant une distance optique par rapport au phenomene mental

d'enregistrement de l'image, l'enterprise de Ture Sjolander apparait comme un magistrature, le cure d'hygiene de la vision. Elle bouleverse nos habitudes de perception reflexe, elle stimule notre conscience et notre gout, elle nous associe au destin structurel de l'image animee.

 

Dans une societe en plein mutation, ou le peril majeur consiste sans doute dans la mecanisation des esprits et la generalisation d'une passivite sensorielle, d'un modernisme-reflexe saturant l'individu, l'enterprise collective de Ture Sjolander, associant l'art et la technique dans le but d'assurer la survie poetique de notre vision, est une enterprise pleinement humaine, que dis-je, humaniste au sens le plus moderne du terme "

 

Pierre Restany, Paris, oct. 1968

 

 

 

In the short history of video animation the Swedish artists TURE SJOLANDER and BROR WIKSTROM are the pioneers. Their television art programme ' TIME ' (1965 - 1966) seems to be the first distortion of video-scan-line rasters achieved by applying tones from wave form generators.

 

For almost ten years they have been using electronic image-making equipment for a non-traditional statement. It must be kept in mind, however that SJOLANDER and WIKSTROM have a traditional and solid artistic background. Howard Klein likens the relationship between the video artist and his hardware to that between Ingres and the graphite pencil. It should be added that real artists like SJOLANDER and WIKSTROM have a natural relationship to any image-making equipment. In that respect they differ from most cameramen and tape makers and they may come back some day as pioneers in other fields of art.

In fact they have already surpassed the limits of video and TV using the electronic hardware to produce pictures which can be applied as prints, wall paintings and tapestries.

 

They have generously provided new possibilities to other artists, they are not working alone on a monument of their own.

It is significant that the Royal Swedish Academy of Fine Arts has decided to support SJOLANDER and WIKSTROM financially.

 

Professor Dr. Bjorn Hallstrom

Royal Swedish Academy of Fine Art.

Stockholm - 1976

 

 

 

 Fahlstrom about Sjolander - 1961

We live at a time when borders between the art forms are constantly being redrawn or abolished. Poets arrange their poems as pictorial compositions or record spoken sequences of sound which can hardly be distinguished from musique concrète. Composers are able to build a complete composition around the manipulation of a spoken voice. Artists sometimes create pictures by striking off newspaper photographs or mixing conglomerates of discarded objects and painted areas into something which is neither picture nor sculpture. Puppet theatre is performed by setting mobiles in motion in the constantly changing light effects on a stage.

The border between photography and painting is no longer clear, either, and it is easy to understand why this is so. Tinguély, the creator of mobiles, started out by making a form of reliefs with moving parts, powered by a machine placed at the back of them. After a while Tinguély began to wonder why he could not equally well show the play of cog wheels and driving belts at the rear and let "machine" and "shapes" become a united whole.

Similarly, some photographers have asked themselves why the action of light on photo paper and the development baths could not become a creative process comparable with the exposure of a motif — why camera work and darkroom work could not become one.

Among those photographers we find Ture Sjölander. Among those photo graphic artists, as he calls them, who feel dissatisfied with the dialectic of the traditional photographer’s relationship to his motif: when he searches for his motif, he is the sovereign master of it, choosing and rejecting it —. At the very moment that he touches the trigger, he has become enslaved to the motif, without any possibility (other than in terms of light gradation) to do what a painter does — reshape, exclude, and emphasize in the motif.

This subjection to the motif does not have to be disrupted by eliminating the motif. The photographer simply needs to remove the limits to what is permitted and what is not allowed. To let the copy of a photo remain in the water bath for an hour is allowed (if you want to keep the motif). But leaving it there for a couple of days is the right thing as well (if you want to let the motif diffuse into deformations soft and silky as fur). Scratching with a needle or a razor blade is making accidents with scratches into a virtue — and so on.

In addition, there is the chance of manipulating a figurative or non-figurative motif by copying different pictorial elements into it, by enlargements which elevate previously imperceptible structures to the visible level, even up to monumental dimensions. The tension between scratching lines of light into a developed (black) negative the size of a matchbox and enlarging it on the Agfa papers the size of a bed sheet. This is where the photographer has at his command tricks of his art which the painter lacks, or at any rate seldom uses.

But on the other hand, is the photographer able freely to experiment with the colour? Yes, he is — if he brushes paint on to the negative and makes a colour copy.

He may also, like Ture Sjölander, brush, pour, draw etc. on a photo paper — possibly with a background copied on to it — with water, developing or fixing sodium thiosulphite solutions, ferrocyanide of potassium and other liquids. In that case the result is a single, once-only, art work. In this way he is able to achieve a tempered and melting colour scale of white, sepia, ochre, thunder cloud grey, verdigris, silver and possibly also certain blue and red tones.

In this area, however, it seems everything still remains to be done — but one single photographer’s resources are not enough for the experiments to be conducted widely and in depth. Sweden has recently inaugurated its first studio of electronic music. When will photographers and painters be given the opportunity to explore this no-man’s-land between their time-honoured frontlines?

But can photography, in principle, be equal to painting? Is not the glossy, non-handmade character of the photo an obstacle? People have argued in a similar way about enamel work, but that technique is now recognised as totally and completely of a kind with the painted picture. If we adjust the focus of the "conventional painting concept" when we are looking at photo painting, we will perchance discover that in its singular immaterial quality it can possess new and suggestive value.

Öyvind Fahlström

Stockholm, 1961.

Translation from Swedish by Birgitta Sharpe

 

TIME

 

"VIDEOART" ELECTRONIC PAINTINGS - TELEVISED 1966 - 1967 - 1969.

 

  1. "The role of Photography" Commissioned by the National Swedish Television year 1964. B/w. Multimedia/electronic experiment. 30 minutes. And an outdoor exhibition on giant bill board in the City of Stockhom plus indoors exhibitions at Lunds Konsthall and Gavle Museeum among other Gallerys. Represented as an installation 80 dia/slides projected on canvas purchased by Pontus Hulten at Moderna Museet Stockholm 1966.
  2. "TIME" - b/w, Commissioned by the National Swedish Television. Electronic paintings televised in September 1966. 30 minutes. A video synthesizer was temporarily built, in spite of the TV-technicians apprehension. (Same technical system was later used to create MONUMENT one year later, 1967.) See letters from RUTT ELECTROPHYSICS, NY, USA dated March 12, 1974, below *. "In principle this process is similar to methods used by Nam June Paik and others, some years later." Rutt&Etra . Nam June Paik visited Elektronmusic Studion in Stockholm July/August 1966 , during the Stockhom Festival; "Visions of the Present". Static pictures from TIME was demonstrated for Paik at this point in time. A rich documentation is available from the main news media in Sweden about "TIME". Parts of "TIME" was planned to be send via satellite to New York, but the American participants, E.A.T. - Billy Kluver and &, pulled out. (See E.A.T.s and Billy Kluver's biased USA history page from Aug. 1966) "TIME" is the very first 'videoart'-work televised as an ultimate exhibition/installation statement, televised at that point in 'time' for the reason to produce an historical record as well as an evidence of 'original' visual free art, made with the electronic medium - manipulation of the electronic signal - and 'exhibited/installed' through the televison, televised. Other important factors for the creation of TIME was our awareness of the fact that the "electron" was, at this Time, the smallest known particle and that all traditional visual art, up to this Time was created with light - material/colour reflecting the light - (lightpainting) and the description of our new concept should be "Electronic painting". Pontus Hulten and his associates launched the term "Machine" art as an attempt to describe the Time movement. Pierre Restany was using the term "Mec Art", later. The work was commenced early 1966. (Soundtrack by Don Cherry, USA) Paintings on canvass and paper was made from the static material, and in silk-screen prints, for a large numbers of Fine Arts Galleries and Museums 1966, ironically in a 'limited edition', signed and numbered by the artist; Ture Sjolander/Bror Wikstrom. (See National Museeum Stockholm, Sweden).
  3. "MONUMENT" - b/w. Electronic paintings televised in 5 European Nations; France, Italy, Sweden, Germany and Switzerland, 1968. Monument reached an total audience of more than 150 miljon. The work surpassed the limits of "videoart" - a word first used in the beginning of 1970 - 73 - and was developed into an extended communication project, involving other visual artists, by invitations, multimedia artwork including the creation of tapestries, (Kerstin Olsson) silk/screen prints on canvass and paper - first edition, by Ture Sjolander/Lars Weck, posters, and an LP/Record Music, (Hansson&Karlsson) and some years later paintings on canvass, (Sven-Inge), and a book among other things, exhibited in several international Fine Arts Galleries. Catalogue text for Ture Sjolander by Pierre Restany, Paris Oct.31, 1968.

     

    Gene Youngbloods book "Expanded Cinema". 1970.

     

  4. "SPACE IN THE BRAIN" - 30 minutes. Televised 1969, in direct connection with the moonlanding project by NASA. in Swedish Television. Soundtrack by Hansson&Karlsson. First colour electronic original painting where the electronic signal where manipulated. Described in media as an Electronic Space Opera. Based on authentic material directly delivered from NASA. Space in the Brain was a creation dealing with the ; "space out there" - the space in our brains and the electronic space, (in television) Contemporary to Clarke's 2001, except that the Picture it self was scrutinized and the subject, and focused, in Space in the Brain. The Static material from the electronic paintings was worked out into other medias and materials; tapestrys made in France among other objects was made in large size, 3 x 2 meter, for Albany Corporation USA and for IBM, Sweden, as in "TIME" and "MONUMENT", see above.
  5. And a serie of international bestseller posters was produced, and world wide distributed, by Scan-Décor Upsala, Sweden.

"Man at the Moon". is the name of the LP Record.

 

 

 "HISTORIC INNOVATION"

RUTT ELECTROPHYSICS, NY, USA.

Letter from: RUTT ELECTROPHYSICS, 21-29 West 4th Street, New Yourk,N.Y., 10012. March 12, 1974.

Signed by Sherman Price.

 

To: International Section of Swedish National Television, Stockholm, Sweden.

Extracts;

"I am writing a detailed magazine article about the history of video animation.

From literature avaiable I gather that a videofilm program, "MONUMENT", broadcast in Stockholm in January, 1968, was the first distortion of video scan-line rasters achieved by applying tones from wave form generators.

This is of such great importance - historically - that I would like to obtain more detailed documentation of the program and of the electronic circuitry employed to manipulate the video images.

I understand from your New York office that there may have been a brochure or booklet published about the program.

I will be happy to pay any expense for publications, photcopies or other documents about the program and its production -particulary with regard to the method of modulating the deflection voltage in the flying-spot telecine used.

"Video synthesis" is becoming a prominent technique in TV production here in the United States, and I think it will be interesting to give credit to your broadcasting system and personal for achieving this historic innovation."

Sherman Price

 

( A number of authentic documents/letters from this communications is avaliable)

No "detailed article" or even magazine was never reported or later presented after receiving the vital information from the Swedish Broadcating Company, by Rutt Electrophysics)

 

 

 

Letter from the Manager of

THE PINK FLOYD.

Stockholm, Septembre 11th 1967.

 

Dear Messrs Sjolander & Weck,

 

Having seen your interesting Stockholm exhibition of portraits of the King of Sweden made with advanced electronic techniques I have been struck by the connection between this new type of image creating and the music-and-light art presented by The Pink Floyd.

 

I think that your work could and should be linked with the music of The Pink Floyd in a television production, and I would like to suggest that we start arranging the practical details for such a production immedialtely. With all his experiences from filming in the USA and elsewhere I also feel that Mr. Lars Swanberg is the ideal man tp help us made the film.

Please get in touch as soon as possible.

Yours sincerely

Andrew King

 

 

Monument

following text was written by

the Swedish Art writer

KRISTIAN ROMARE

1968.

 

MONUMENT

electronic painting 1968byTURE SJOLANDER/LARS WECK

We create pictures. We form conceptions of all the objects of our experience. When talking to each other our conversation emerges in the form of descriptions. In that way we understand one another.

 

Instantaneous communication in all directions. Our world in television! The world in image and the image in the world: at the same moment, in the consciousness and in the eyes of millions.

The true multi-images is not substance but process-interplay between people.

"Photography freed us from old concepts", said the artist Matisse. For the first time it showed us the object freed from emotion.

Likewise satellites showed us for the first time the image of the earth from the outside. Art abandoned representation for the transformational and constructional process of depiction, and Marcel Duchamp shifted our attention to the image-observer relation.

That, too, was perhaps like viewing a planet from the outside. Meta-art: observing art from the outside. That awareness has been driven further. The function of an artist is more and more becoming like that of a creative revisor, investigator and transformer of communication and our awareness of them.

Multi-art was an attempt to widen the circulation of artist's individual pictures. But a radical multi-art should not, of course, stop the mass production of works of art: it should proceed towards an artistic development of the mass-image.

MONUMENT is such a step. What has compelled TURE SJOLANDER and LARS WECK is not so much a technical curiosity as a need to develop a widened, pictorially communicative awareness.

They can advance the effort further in other directions. But here they have manipulated the electronic transformations of the telecine and the identifications triggered in us by well-known faces, our monuments. They are focal points. Every translation influences our perception. In our vision the optical image is rectified by inversion. The electronic translation represented by the television image contains numerous deformations, which the technicians with their instruments and the viewers by adjusting their sets usually collaborate in rendering unnoticeable.

MONUMENT makes these visible, uses them as instruments, renders the television image itself visible in a new way. And suddenly there is an image-generator, which - fully exploited - would be able to fill galleries and supply entire pattern factories with fantastic visual abstractions and ornaments.

Utterly beyond human imagination.

SJOLANDER and WECK have made silkscreen pictures from film frames. These stills are visual. But with television, screen images move and effect us as mimics, gestures, convultions. With remarkable pleasure we sense pulse and breathing in the electronic movement. The images become irradiated reliefs and contours, ever changing as they are traced by the electronic finger of the telecine.

With their production, MONUMENT, SJOLANDER and WECK have demonstrated what has also been main-tained by Marshall McLuhan: that the medium of television is tactile and sculptural.

The Foundation for MONUMENT was the fact that television, as no other medium, draws the viewers into an intimate co-creativity. A maximum of identification - the Swedish King, The Beatles, Chaplin, Picasso, Hitler etc, - and a maximum of deformation.

A language that engages our total instinct for abstraction and recognition.

Vital and new graphic communication. A television Art.

Kristian Romare, Sweden 1968

 

http://sjolanders.homestead.com/

 

 
 
 
 

 

 
TOWNSVILLE BULLTIN 
WEDNESDAY, JULY 17, 1991------------------------------------------TOPICS-----------------PAGE 5
 
 
 
Changes needed before we measure up to this Swede's expectations.
The man who would be Mayor
 
by Mary Vernon
 
 
Ture Sjolander is eager to become a citizen of Australia - but he rejects anything to do with Britain or the Queen.
"I love Australia, my greatest concern is that Australians don't love it enough. As soon it is possible to become a citizen of Australia without becoming a subject of the Queen then I will seize the opportunity" he said.
In the meantime ex-artist Ture, 54, will keep his Swedish passport and keep hoping for the social changes he sees as vital for Australia in general and for Townsville i particular.
"I am tired of art, painting has no relevance in this modern age" said Sjolander, whose work is exhibited in Sweden's National Gallery, Museum of Modern Art and other international galleries.
"All of society has embraced technology, to improve performance and to reach as many people as possible except for the artistic world. It is blinkered and tied to the principle of one-off paintings and limited edition prints.
"Perhaps it is still relevant in the Third World countries which have no access to technology but in the Western World  it is finished. It is like making only one hand-written copy of a book".
Ture believes that the art establishment, the galleries and curators are perpetuating an anachronism and he wants no part of it. His plan is to change the world - well, Australia at any rate.
 
He recently sponsored a public competition to find a new name for the combined city of Townsville/Thuringgova. The winner of the $500 prize was Don Talbot of Cranbrook whose suggestion was "Queensland City".
"There are many things I would like to see in Australia," he said. "We must throw off the British colonial system. The majority of Australians are not of Anglo Saxon origin and they do not want to be part of the British system. Having the British queen as the queen of Australia is ridiculous.
"And the constitution of Australia - it is based on the Magna Charta and it is not appropriate to Australia today. " We must embrace multiculturalism and on that foundation build a strong, self-sufficient country like America. "The minority cannot lead the majority. I believe that on the declaration of the Republic of Australia most of those 700.000 who now hold permanent resident visas, like me, would flock to become citizens."
He first came to Australia 1982 when he visited all the capital cities and the outback and begane his love affaier witk this country.
His biggest shock on that first trip was meeting the great Australian mateship tradition and completely misinterpreting it.
"I had only recently arrived in the country, I was in Canberra and I was thirsty. I found a bar and went in, but when I saw it was full of about 200 men drinking together and no woman I turned round and hurried out. I thought it was the biggest homosexual club I had ever seen"
He laughs now over his mistake, but still believes we must let go our convict past, in which he thinks the mateship tradition is rooted, to grow and expand in a truly Australian way.
After his first trip he come back again on his way to a film project in Papua Guinea. He met his future wife, Maria, a Filipino-born Australian in Sydney and, after tidying up his affairs in Sweden he arrived to settle and marry her in Australia in 1988.
"We came to Magnetic Island for our honeymoon and liked Townsville so much we stayed."
Although they have now separated, Ture continues to live in Townsville with his 20-month-old son, Matu because he thinks it is an ideal place.
When he first arrived, he found that people were much friendlier if they thought he was a tourist. They would welcome him and offer help. If he said he lived here, their concern and interest shut of immediately.
"S I started to pretend that I was a tourist and people in shops and buses and taxis were  extremely friendly. When I saw the same person again I would tell them I was back again on holiday."
Ture has abandoned this game now and hopes for a political future.
 
His concerns are many and he is passionate about them all. Ture Sjolander not one to remain uncommitted even though some of his views may seem contradictory.
On the one hand he is concerned about over-developement of Townsville. He feels that it is a good size now and double the population, as some developers have promised to do would destroy the lifestyle many find attractive.
"We don't want another Brisbane or Sydney here. Europe is full of cities which have followed this route and have been ruined by over-development and over-industrialism.
"We don't want that to happen here".
He believes it would be preferable to spread developement around among the various North Queensland centres, so that all can grow a little , but not too much.
 
But on the other hand he is keen to see developement on Palm Island.
" I believe that Palm Island could be a great tourist tourist attraction. It is so naturally beautiful, and so close to the reef. "We should negotiate with the community there to build up tourism, to build a resort, maybe to stage an annual festival there. " It is a great resource and on which is not being used".
 
While he waits for the republic and his chance at Australian citizenship, Ture spends his time caring for his small son. "I have a single parent's allowance, which let me stay home and look after Matu. Besides that, I have royalties from my books and artworks which are on public display in Sweden. " Under Swedish law, artworks are treated the same way as music and books here. If they are on show royalties are paid to the artists for the privilege"
 
 

 
 
THE COURIER MAIL
  BRISBANE,  AUSTRALIA,  
SATURDAY, JANUARY 25, 1992
 
 
 
 
ARTIST TO FINE TUNE THE RELEVANCE OF ART
By Sonia Ulliana
in Townsville
 
 
 
ARTIST Ture Sjolander will spend $10.000 of taxpayers' money raising the ire of north Queenslanders.
Mr Sjolander, of Townsville, a Swedish expatriate, says he will expose the harsh realities of the social issues affecting the area i a series of two-minutes segments of "electronic art" to be aired weekly on television.
he will buy the air-time with a State Government arts grant.
"This is not a paint brush, it is a power tool," Mr Sjolander said.
"I will criticise all the things that people ignore or don't want to think about to make them aware through art. "So much art doesn't touch people anymore, or has no relevance."
Mr Sjolander, a passionate and outspoken man, has been involved in art from painting to videoproduction, since 1962.
He has written several internationally published books, including Garbo, a pictorial biography of movie star Greta Garbo, and was commissioned by the 70s Swedish rock phenomenon Abba to create a tapestry.
Mr Sjolander was also commissioned by silent screen star Charlie Chaplin to produce an art portfolio.
In Townsville he is seen as a controversial figure.
He recently held a public competition to create a new name for the combination Townsville city and Thuringgova shire under the Electorial and Administrative Review Committee's amalgamation recomendations.
The winner was Don Talbot, who received $500 for his suggestion of "QUEENSLAND CITY".
The competition provoked debate around the town.
 
With the help of his Creative Development Grant, Mr Sjolander hopes to tackle a host of controversial issues; Townsville General Hospital's Ward 10B - subject of the Carter inquiry into the treatment of mentally ill patients, violence among Aborigines on Palm Island, X-rated videos, tattoos, politics and religion.
"These are all the things that happen in this area and they should be expressed in art to reflect the area," Mr Sjolander said.
He believes art in the modern world should be expressed using technology and says that paintings are out-dated.
He has even devised a plan to exhibit art on the walls of Townsville Airport terminal "for all the world to see".
The large vacant walls in the terminal should be used to hanf paintings and tapestries, and sculptures could adorn the flight deck, the first-class lounge and the departure lounge, he said.
His proposal suggest that the artworks be acquired on a six-montly basis and artists may have them on for sale.
"Art can be anything at all," Mr Sjolander said.
"So there is no limit to what you can do."
 
 

 
Text from
Townsville Bulletin
 
Friday, November 29, 1991
NEWS
(page 5)
 
 
 
 
Local artist paints picture of a unique airport environement
 
 
 
A PILOT project to display art on the vacant wall spaces at the Townsville airport has been proposed by local artist Ture Sjolander.
 
Acting Townsville airport manager Phil Roben said the suggestion was interesting and a meeting to discuss the matter would be held next week. " I believe such a display could complement the terminal very well," he said.
Mr Sjolander believes that as the airport is the first point of contact for businessmen, domestic and overseas tourists and returning residents, there was no reason why the airport itself should not become an attraction.
"I propose that the large vacant wall spaces be used for a semi-permanent art display which could include a number of large paintings and tapestries. " In addition to this, a small number of free standing sculptured piece could be easily be accomodated."
Mr Sjolander believed the flight deck, the first class lounge and the departure lounge were other attractive areas where graphic and smaller size artworks could be displayed.
"These could be accomplished with minimal installation of lighting and hanging equipment," he said.
"The pilot project for Townsville airport can be realised with very little outlay, mutually benefiting the professional contemporary artists of North Queensland and the Federal Airports Corporation".
 
From this experiment could evolve the creation of a unique airport environement which could become the blueprint for others, Mr Sjolander said. He also envisaged the formation of an art investment consultancy group under the airport corporation for future interstate exhibition exchange.
 
Support for the venture has been pledged by Perc Tucker Gallery director Ross Searle and artist  and James Cook University art teacher Anne Lord, both of whom have expressed wish to join Mr Sjolander on the selection committee for the first exhibition.
 

 
 
 
 
    From:
Men in Business - Advertiser, August 3, 1989
 
 
 
Sjolander a pioneering artist
 
Mr Ture Sjolander's artistic work represents more than one technique, from traditional tapestry work to visualisation of electronic computing.
He is a pioneer in video-art. His work contributed to the development of the video-synthesizer.
Mr Sjolander has earned an international reputation for his multimedia art work since his debut in 1960.
"Mr Sjolander has also served as a member of the board of the Swedish Artists Society," former Minister for Cultural Affairs in Sweden, Mr Bengt Goransson.
"He is represented at the Museum of Modern Art, Stcokholm, the Swedish Government, the City of Stockholm and the Royal Fund for Swedish Culture have awarded him grants for his work."
He received the top grant for scientific art research from the Royal Swedish Academy of Art.
Mr Sjolander has produced television programs for Swedish Television including The Role of Photography, Time, Monument, and Space in the Brain.
He is skilled in all kinds of printing techniques and is also a professional photographer.
Mr Sjolander has written several internationally published books.
For example he wrote a pictorial biography of Greta Garbo titled: "GARBO", for one of the largest publisher in America, Harper and Row (Harper&Collins) and the book had world-wide distribution.
He initiated work on a pictorial essay on Charlie Chaplin. The dummy work was purchased by Charles Chaplin and the finished work was titled "My Life in Picture", 1973.
He was also commissioned by Chaplin to produce an art portfolio which was signed by both Chaplin and Mr Sjolander.
Mr Sjolanderwas commissioned by the Swedish band ABBA, to produce graphic prints and a tapestry used in the sponsorship of the 1977 America's Cup.
 
He established an electronic picture laboratory in Stockholm, VIDEO-NU, for artistic research and was the administrator of the laboratory from 1980-1986.
Mr Sjolander has created monumental sized interior artwork for large industrial complexes in Sweden using various techniques.
He has had a large number of seminars and exhibitions throughout Europe and he participated in the Fifth Biennale in Paris.
He has given lectures throughout world on art and technology, includinga lecture last year at the Australian Film Institute in Sydney.
One of the topics of his lectures is possible establishment of multicultural communication by satellite.
This would include a three week international TV high tech and arts festival, the commersialisation of peace via satellite and the formation of an internatinal lobby group to connect all Television systems of the world.
He is presently involved with negotiations with Uplinger Enterprises (USA), the organisation which organised Live Aid and Sport Aid, about establishing an annual three week satellite link up.
Campaign co-cordinator of One World or None, Janet Hunt said the idea was marvelous. "The idea is a logical extension as we move into the 21st century and we certainly support it." Jane Hunt said.
Mr Sjolander has conducted research into Townsville's history and the city council have received a proposal to revise the history of the city.
His research has shown the first European to land in Townsville arrived 49 years earlier then previously believed.
The discovery may be celebrated with a special Townsville Day and a 220 year celebration in 1990.
He is also skilled in radio productions and TV production.
Mr Sjolander is interested in establishing an international artist's centre in Townsville to display exhibitions from international artists.
He is a member of the Perc Tucker Regional Art Gallery and believes i Fusion Business.
He is neither political nor religious but believes in authentic humanity.