NoPlace proudly presents:

FALLEN TREE #2

Marianne Bredesen

Saturday 19.05.2012, 14.00 - 18.00









Fallen Tree part I consists of a tree-root encased in a wooden crate fashioned from the very stem it used to nourish. Quite literally this is the thing in itself, but only on the level of the sculptural syntax of the work: the thing displayed in a box made from the very thing itself. The actual thing in itself remains as inaccessible as ever. What Marianne Bredesen performs is a reconfiguration of the material properties of the object of her investigation, in this case a fallen pine-tree, to pry from it a demonstration of its foundational properties, its existence in time and space. So her literal, spoof-philosophical evocation of the in-itself is only aimed at elucidating the spatio-temporal structure inherent in the tree, to make it an abstract representation of itself. This movement from specificity to abstraction applies to symbolization at large. So any material that is put to work as an image, will have to waive its particularity and see itself reduced to a set of generic properties.


Fallen Tree part II is comprised of a sound recording of a tree that falls. The tongue-in-cheek cooption of philosophical conondrums is still an aside. The two instances of the work - part I and II - will be hosted in separate locations. What Bredesens methodology seems to ultimately push for is a attemptive delineation of the art-object as a set of generic properties, specific to the art-object, by mapping its basic functionalities and have the materiality of the work serve to exemplify these.


Like the tree she has has used for material, the work itself is also uprooted, unhinged from any one location. This spatial ambivalence, or undecidedness, embodied by the two-partite structure of the work, is one such symptomatic property of the spatial configuration of the art-work; so is also the absence of substance, the sound is held separate from the physical representation of the work, as the two parts occupy different locations. Yet another general property of the work that Bredesen addresses, is its dissemination accross media - being embodied as both sound and sculpture. The outcome is not a once and for all exposé of what constitutes the art object, but a continuous mapping of its underlying structure.