These directions are for planning purposes only.
You may find that construction projects, traffic,
weather, or other events may cause conditions to
differ from the map results, and you should plan
your route accordingly. You must obey all signs or
notices regarding your route.
Logistics is the management of the flow of goods, information
and other resources between the point of origin and the point
of consumption. Logistics involves the integration of informa-
tion, transportation, inventory, material-handling, and pack-
aging. It is a channel of the supply chain which adds the
value of time and place utility.
-Wikipedia, the free encyclopedia
His excursions through the city had taught him to understand
the connectedness of inner and outer. Using aimless motion as
a technique of reversal, on his best days he could bring the
outside in and thus usurp the sovereignity of inwardness.
-Paul Auster: City of Glass (The New York Trilogy),
Faber and Faber, New York, 1987
It was all a question of method.
Use caution – This route may be missing sidewalks or
-Google Maps walking directions in betaversion
This project deals with the prosaic aspects of exhibition
production and urban living. If the exotic in the arts tends
to mean journeys to remote places, or the random, literally
aimless wanderings of the flaneur, what we witness here is the
attempt at a meaningful journey with quite a different premise.
From Google Maps I was given the walking directions from my
studio to Gallery MELK, a trip I’ll be forced to make at some
point. According to the directions, the distance between said
points is 2.8 km and should take 34 minutes. Of course this
route is only one of any number of possibilities, and the es-
timated duration just an indication for conceivable usage. I
choose to follow it literally. Certain rules allow for the
emergence of irregularities.
When printed, the map represents a three-dimensional physical
space, the objects in that space, and the relationship between
the space and these objects. On my journey I brought with me
an oak-table which has been annoying me by occupying much need-
ed space. It had to go soon anyway because shortly I’ll be out
of a studio-space again. For every stop on my journey I removed
a piece of the table and created a scene, a potential public
sculpture that both stood apart from and merged with, the street-
scene. I could feel the table’s volume diminish in proportion
with the distance yet to be travelled to my destination. The
ambiguities of the sculptures clearly reference formal aspects
of minimal art and geometric abstraction, yet they’re still
recognisable as material waste left within the city-scape.
The bits and pieces are assembled again at the destination,
that is, the gallery. The exhibition is a documentation of the
distance between two locations, and the reduction of an object
and its relationship to its surroundings, seen through the lens
of a camera. And I can personally attest to the fact that 2.8
km is damn far, but then again, everything is relative.
Sveinn Fannar Jóhannsson, St. Halvardsgate 33 F, Oslo, May 2010