Fargebruk og inspirasjon (Norwegian text)

En kunstner er mester i det å bryte grenser. Det visuelle bildet endres til det ukjente med mål om å forbedre eksisterende innhold.

Her blir vi vitne til kunstnerens indre visjon og virkelighetsbilde, omformet til en palett av ulike farger og nyanser.

Farger kan uttrykke følelser og ideer

Billedkunst består av en rekke forskjellige grener. Det inkluderer blant annet maling, tegning, mosaikker og illustrasjonsarbeid. Billedkunst utgjør også en særdeles viktig del av det norske kulturlivet. Ikoniske norske malere og illustratører inkluderer navn som Edvard Munch og Pushwagner.

Som kjent er det mulig å uttrykke følelser via bruken av farger, hvor sort og hvitt er de to mest kjente eksemplene. Rent teknisk kan verken hvitt eller sort klassifiseres som «farger», men det gjør jobben vår enklere.

Hvitt er simpelthen tilstedeværelsen av alle lysets bølgelengder, mens sort absorberer lyset. Vi forbinder sort med begravelser, død og andre triste begivenheter. Sort er et uttrykk for tomhet, lengsel og det ukjente.

Lyset er derimot fremhevet som en parallell til det gode. Den regelen gjelder særlig innenfor kristen litteratur og kunst, samt et knippe andre religioner.

Bruken av ulike farger og nyanser har derfor stor betydning for hvordan vi tolker billedkunst, samtidig som det sender en unik beskjed.

Sinnstemning

En interessant detalj ved de største kunstneriske mesterverkene er muligheten til å tolke malerens sinnsstemning. Kunstverket Skrik malt av Edvard Munch er et godt eksempel.

Legg merke til bruken av røde og oransje farger i himmelhvelvingen. Fargebruken er et utrykk for desperasjon og nød i en verden som «blør».

Kunstneren slet i mange år med alvorlig depresjon og alkoholmisbruk. I Skrik gir han utrykk for sine tanker og følelser på en brutalt ærlig måte.

En blodrød himmel penetrer regnbuehinnen til den som iakttar bildet. «Skrik» er en fortelling om et menneske som ikke føler noen tilhørighet til menneskets industrialiserte levevilkår. Maleriet er et uttrykk for desperasjon, angst og fortvilelse over det unngåelige, forsterket via Munch’s fargelegging.

Dersom du skulle trenge finansiering til å kjøpe malerier, kan dette ordnes gjennom vår samarbeidspartner her og via søk lån på dagen.

 

Publisert

From Barentsburg with love

Barentsburg is the name of an old Russian mining town, situated on the northern archipelago of Svalbard, Norway. Throughout my years of traveling I have yet to find a a greater juxtaposition of old versus new….or west versus east.

It is a testament to a forgotten time, marked by collectivism and the legacy of Karl Marx.

Contemporary vs. old expressions

It is said that becoming a successful publisher requires us to have a deep understanding of the past, along with the present. History shapes our thoughts and ideas, while serving as an important reminder of what once was. 

The arid, desolate and freezing environment of the Svalbard Archipelago is a stark reminder of our common history, and the quest for dominance in the western hemisphere.

On one side stood the Soviet Union, gobbling up most parts of eastern Europe. Pitted against the U.S. and other post-war western democracies.

Incredible change has taken place since the war ended. Yet, Barentsburg feels like a time machine. A place the world forgot, where time froze and darkness encroached.

How do we define art?

A statue of Lenin. The Bolshevik leader

Art is said to be the expression of one’s own feelings, interpreted through the lens of strangers. But what about our surroundings?

Can a deteriorating building from another place and time be of similar artistic value? I would dare to say the answer is yes.

Soviet-era art

Barentsburg is brimming with art. Decades old murals, statues and paintings are littered throughout the city. A real life example of what once dominated the eastern half of Europe.

Seeking inspiration

As publishers we need to see and interpret information from different angles and perspectives. This is no different…

Yes, the soviet era monuments may appear grotesque to those who value free speech, due process of law and democratic norms. However, it serves as a fascinating piece of history that deserves to be preserved for future generations.

From the statues of Lenin to the rumbling waves hitting the shoreline, Barentsburg will remain a living example of a long lost era. A time capsule, preserved for future generations.

I encourage anyone to travel, before it’s gone…

Publisert

Publishing in the 21st century

Norwegian artists face a relatively unique situation in the 21st century, due to the lack of funding and early-stage support. Many fail at an early stage due to lack of hope, income and support from their surroundings. This in turn, leads to an immense loss of cultural talent.

Ctrlz.no entered the scene for that precise reason, back in 2005. Our preliminary research indicated that there was an industrywide lack of project management, financial aid and general guidance.

Ever since the inception of our organization, we have guided and helped numerous Norwegian artists in their quest for recognition, financial stability and promotion.

An important question remains through. What does it actually take to be a successful promoter, publisher and artistic guide in the 21st century? Here are some key ideas.

1. See it from the artists’ perspective

Artists seek to inspire and change the status quo. For the most part they are not driven by financial incentives, but rather the wish to express themselves through their work.

In order to promote their artistic ideas, we must also seek to understand their underlying agenda. 

Here is an example: Some artists are not interested in fame and fortune on an international scale. Their focus is primarily to promote art domestically. With such a limited scope of interest, we should never push for a different approach.

In other words: Listen closely in order to understand the artist and his or her needs. We may inspire, but should never attempt to change the course of their work.

2. Find patrons willing to support

This is a well known fact. Artists need patrons willing to make financial contributions on a steady basis.

The need for financial stability should not be underestimated and our own organization serves as a good example. We provide our services on a pro-bono basis, and do not charge any type of compensation.

In return we’ve put together a team of dedicated employees, who share our idealistic goals and long term vision.

The same goes for the relationship between artists and patrons. They need patrons who share their vision and ideas, without any contractual caveats.

3. Networking is the key to success

In order to succeed, it’s crucial to network with other artists, promoters and the media. Our experience has shown that a range of opportunities arise from an active approach to networking.

For example. Norway is known for offering a pletora of unique cultural festivals. For an artist to get invited, it requires a certain degree of visibility and publicity. Receiving an invite to perform at these venues is often tied to whether one knows the «right people».

This is also an area where Ctrlz.no can contribute with crucial knowledge and an existing network. Over the years we’ve been fortunate to create and maintain friendships with other promoters of the liberal arts.

Publisert

Expressing art through the written word

Literature is a fascinating field, made up of a vast number of sub-categories and artistic divisions. We read, analyse and interpret words in different ways – depending on our cultural background and demographic belonging.

Ctrlz.no guides and helps artists within multiple fields, but our main focus is the written word. We promote and help writers publish their work through our chain of cooperating stores in Norway.

Here are some of our thoughts on literature and what it takes to succeed as a writer in the Norwegian/Scandinavian media landscape.

Writers should follow their gut instinct

What do we mean by telling writers to follow their gut instinct? Various things actually. Firstly, in order to achieve success within almost any field, one must have a keen interest in the subject. A writer rarely succeeds if he has no interest in the subject of his literary work.

This is cliché but nevertheless true. A writer who is true to his own ideas and vision, is more likely to be seen as both authentic and genuine.

Secondly, that also begs the question: How do we measure success? Is it merely expressed through the number of books sold, or how many languages it translates into?

Likely not. The answer is rather somewhere in between. Success is measured by the totality of many individual parameters. It includes:

  • Artistic recognition.
  • Sales numbers.
  • Reviews from literary critics.
  • World reach (including how many languages the work translates into).
  • The writer’s own internal goals.

Who are the readers?

This is another important question, which should be answered before we determine the viability of a literary project. Commercial results are important, as they determine whether our publishing partners are willing to sell and promote the work.

An intrinsic part of the projects’ commercial viability also consists of knowing who our customers are. As we seek to learn more about the author’s prospective readers, we begin by classifying the sub-genre.

Note: There is no final blueprint that allows us to chart the financial success of a literary project. However, some researches have suggested that there are certain stylistic elements that serve as predictive indicators of success.

Determine the sub-genre

The «genre», is a categorical measurement of artistic composition. In other words, it tells us whether an artistic work belongs to music, literature, art or some other field. In this case we’re dealing with literature, and we need to determine what the sub genre is.

Some common sub-genres include: Crime, drama, family, science fiction and realism. Based on the sub-genre classification, we can extrapolate important sales numbers.

Digital versus written publications

It should be emphasized that an increasing number of Norwegians, buy and read literature on electronic devices. For that reason, we need to take a futuristic (and realistic) sales approach.

As we define our customers, we also learn more about their purchasing patterns, and whether not they’re inclined to read books in e-format. In very broad terms, we may say that readers under the age of 30 years, will purchase twice as many e-format books, as the older group.

Subjective interpretation

Subjectivism is the way we see, read and interpret our surroundings. Norwegian readers will interpret a literary work in different ways.

An important part of the work we do at Ctrlz.no, is to try and understand the mechanism of subjective interpretation.

For example: Even if an author classifies his work as belonging to the sub-genre of realism, could it still be a miscategorization? How will the prospective reader be influenced by the categorization.

How we see the world is a matter of subjective interpretation
Publisert