malmö live – art

Report on commission and winning entries in competitions for artistic interpretation of Malmö Live

MALMÖ LIVE

ART

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M A L M Ö L I V E – A R T

Produced by the Streets and Parks Department. Concept: Gunnar Ericson and Mia Hansson. Graphic design and production: Adfaktor, Magnus Adolfsson. Printed by: CA Andersson 2014.Photos © the artist in question

CO N T E N T S

Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Passage, Dag Hammarskjölds Torg, Maha Mustafa . . . . . . . . . 4

Dispersed Three in Live Conjunction, Interior Space, Hague Yang . . . . . . . . . . . . . . . . . . . . . . . . 6

E=V=E=N=T, Interior Space, Cerith Wyn Evans . . . . . . . . . . . . 8

Rubato, Exterior Space, Eva Hild . . . . . . . . . . . . . . . . . . . . 10

Memories’ Sea, Sea of Memories, North Eastern Entrance, Karolina Erlingsson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

The Wind Wall, North Eastern Entrance, Petter Thörne, Jens Vium Skaarup & Joshua Morrison . . . . . . . . 14

Sound art commission for footbridge, Kim Hedås . . . . . . . . . 16

Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Invited and appointed artists, assessment groups . . . . . . . . 19

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S P E C T R A L S E L F C O N T A I N E R – M A T T I K A L L I O I N E N M A L M Ö L I V E – A R T

Foreword

In its work to create the artistic interpretation of Malmö Live, Malmö’s Municipal Executive Board decided on the level of ambition and direc-tion at the initial stage:

• it must be of high national/international class

• it must illustrate the concept of “Malmö in the world”, i.e. the inter-national art scene is invited to take part in the project and, just as im-portantly,

• it must also illustrate the concept of “Malmö shows the world”, i.e. Malmö’s own, multifaceted art scene is given an opportunity to pre-sent itself to a large, broad-based audience

Nordic Choice and the Society for the Preservation of Cultural Herit-age and Green Parks in Malmö were contacted at an early stage, and the parties agreed on their common interest and decided to adopt a joint work process. A special steering group was appointed to lead the work. The group includes representatives of the three main financi-ers: the City of Malmö (Gunnar Ericson, Chair of the group, Elisabeth Lundgren and Cecilia Widenheim), the Society for the Preservation of Cultural Heritage and Green Parks in Malmö (Jan Bergfelt) and Nordic Choice (Sune Nordgren)

The steering group developed the guidelines/proposals, which were reported in the Municipal Executive Board’s decision-making informa-tion. This resulted in four competitions and one commission, as de-scribed below:

a. Open competition for the North Eastern Entrance area/park – for artists with a strong association with Malmö. Stage two saw the naming of five artists for the subsequent competition. Financed by the City of Malmö.

b. Invitation competition involving an artistically interpreted water in-stallation, etc. at “Dag Hammarskiölds plats” for four artists with an association with Malmö. Financed by the City of Malmö.

c. Invitation competition with four Swedish/international artists for the exterior space facing the canal – partnership between the So-ciety for the Preservation of Cultural Heritage and Green Parks in Malmö and the City of Malmö.

d. Invitation competition with four Swedish/international artists for the building’s interior space – partnership between Nordic Choice and the City of Malmö.

e. The new footbridge – commission to an artist to design a work of sound art. Financed primarily through the Society for the Preserva-tion of Cultural Heritage and Green Parks in Malmö.

The competitions have now been completed and all of the winners and winning proposals can be presented. The next stage is continued in-vestigations (in certain projects), ordering and implementation. The of-ficial opening of Malmö Live will take place on 4 June 2015, when many of the artistic creations will be in place. All of the seven winning sug-gestions will be completed by 2016.

The competitions have been conducted in an intensive work process with a lot of people involved: in the first instance all of the artists, but also all of those in assessment groups or offering technical expertise. The winning suggestions reflect a wide range of artistic concepts. It is our hope that together, they will create an exciting, nuanced view of the crucial importance of public art in a project such as this. The mag-nificent gesture can and must be an expression, the sublime, reflective observation can be its equally important counterpoint. They illustrate the breadth in one of the biggest investments in public art ever under-taken in Malmö.

In about one year’s time, these varied artistic concepts and expressions will meet their audience. An ongoing, intensive work process now lies ahead for many people who are now involved in the final phase of the project.

We look forward to seeing you in June 2015.

Gunnar Ericson Elisabeth Lundgren Project Manager, Senior Advisor Cultural Director, City of Malmö

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S P E C T R A L S E L F C O N T A I N E R – M A T T I K A L L I O I N E N M A L M Ö L I V E – A R T M A L M Ö L I V E – A R T

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The general idea of this project is inspired by the visualizing of the orchestral landscape and seeing an orchestra layout. Forms are distrib-uted in space, continuously in the form of a cir-cular motion, reflecting the harmonious fre-quencies and communicating harmoniously with old and contemporary architecture sur-rounding it. I’ve used the element of water to embody this idea.

A curved bench is located in the north side accompanied by the water fountain tracing the ground pattern in wave-like motions. In the east, an abstract and dynamic sculptural form translates the ground pattern into a three di-mensional form ascending beyond the ground surface. These three elements are a response to the conditions of the site and the new de-sign of the public square to create an engaging and rich environment.

Bench:The curved shape embraces the square as it is in a simple shape. Its black granite classic for-mation with LED under lights gives it a strong foothold of the existing space of the square, and with the engraved shoreline of Malmö on its top face it communicates the story of Malmö as a growing city.

This bench – in combination with its use cre-ates a dialogue by reminding of the growing boundaries of the city and how we are all part of it.

Fountain:The fountain is designed as a response to the existing conditions of the designed paving of the plaza. This allows it to work in synch with the landscaping ideas proposed to pre-sent a cohesive and contemporary atmo-sphere. It consists of a circular shaped out of spiral lines starting from the centre of the square moving towards and parallel to the

benches and sculpture and as a result creating a space within the space.

The entire composition allows the space to remain flexible yet encapsulates the elements and creates an inviting playground. During special events the programmed LED lighting system can have the fountain take on different form and shapes creating an interactive atmos-phere.

Sculpture installation:The sculpture consists of two swirling forms rising into the place as a musical formation cre-ated by the space. Its dynamic shape strength-ens and composes the space within the square, and with its vibrant color coated on the steel it easily becomes an instant attraction for people evoking imagination and curiosity to explore.

Maha Mustafa

THE ASSESSMENT GROUP’S STATEMENT

A generous spiral or serpentine rests on the ground, inviting contact and touch. The red colour is framed by the green park. The form of the piece contrasts with the hard, straight lines of the building, while at the same time it fol-lows the rolling forms of the ground, landing on its solid stones. There is a kind of determi-nation in the expression, which combines with the heavy steel and almost feels light and airy.

Facing the Western Station is a bench made of dark granite, where the different shades of stone capture and reproduce Malmö’s coast in an uninterrupted, slender line. The bench en-closes the space in an arc as though it were a row of benches in a large concert hall; straight-forward in its location and suggestive in its simple, stylistic shape. An oval water installa-

tion catches the eye, and the sound from the water plays alongside the bench and “meets” the sculpture and the neighbouring park.

The proposed creation offers a new expres-sion for the site – it forms a site-specific ensem-ble that generates joy and wonderment. It cre-ates an atmosphere of tremendous reach and invites people to stay and think. It will be clear-ly visible at a distance, while the impression is deepened as you move closer.

THE ASSESSMENT GROUP’ S EXPLANATION

“Passage is a magnificent gesture that in-vites viewing and touch, and that charges the space with movement, emotion and force. The warmth and coldness of the material are some-times expressive, sometimes unobtrusive, with the water close at hand for the eyes, ears and skin. This expressive, site-specific creation with a peaceful water installation, a sweeping bench and a magical work of art will provide an exciting, natural meeting place for Malmö residents. It is a work of art that will be loved.”

Maha Mustafa’s proposal “Passage” has been named the winner of the competition. The proposal was recommended for imple-mentation by a unanimous assessment group. There are a number of design-related and technical issues to be resolved in the upcom-ing processing phase before the piece takes its place on Dag Hammarskjölds torg. Once these have been resolved and the piece is installed, “Passage” will be an attractive, important addi-tion to Malmö’s public spaces.

D A G H A M M A R S K J Ö L D S T O R Gb

S P E C T R A L S E L F C O N T A I N E R – M A T T I K A L L I O I N E N S P E C T R A L S E L F C O N T A I N E R – M A T T I K A L L I O I N E N M A L M Ö L I V E – A R T

Title: PassageArtist: Maha Mustafa, Malmö/Toronto


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Geometry multiplied by diaspora plus Malmö equals ‘three’!Considering the significance of the given archi-tectural generosity capable of hosting different cultural events, the artist proposes an expan-sive blind installation that will harmonious-ly connect public areas as well as construct a land scape perceivable from inside and outside.

Dispersed Three in Live Conjunction consists of three bodies, placed in consideration of the interior, the lower ceiling foyer and North-fac-ing lightwell. The three curtain-like structures become a semi-transparent extension of the architectural spaces, respecting the transpar-ency of each glass façade in South and North.

The notion of ‘Three’ suggests the minimum condition of a community, liberated from a du-alist paradigm or mono-modality. ‘Three’ cre-ates a productive tension that sustains both conflict and harmony. The sensation of flux in Dispersed Three in Live Conjunction implies the future of Malmö Live, a diversified commu-nity of migrating cultures.

Dispersed three in live Conjunction – Grand upside-down mountainPlaced above the main entrance of the prima-ry hall that intersects the building from South to North, the largest installation is located be-tween Malmö concert hall and congress center. The dominant color range is blue, distinctively marking a series of upside down mountains, in a W-form. Through inserting reflective metal-lic colors, the form adds vivid and rhythmic ac-cents of shifting tones. The walkways on differ-ent levels at Malmö Live give rise to changing perspectives of the work.

Dispersed three in live Conjunction – middling mountainous CurtainThe smallest installation is positioned above the entrance on the South edge of the con-

gress halls, specifically between the congress center and the hotel restaurant. Seen from the outside, it hangs adjacent to the bridge to the city, the glass façade and the geometric design of the windows allow a complex perception of the piece mysteriously revealing its form. Seen from outside, blue is the dominant color with some interruptions by blank spaces, while yel-low stripes are visible from inside, referring to the color of the outside façade.

Dispersed three in live Conjunction – inverted yellow WaterfallHung over the North-facing lightwell, which is located between the flexible room and con-cert hall, the medium-size installation con-nects the view with the other end of the interi-or space. The V-form in larger, scattered square units hangs right above the space reserved for public services such as ticket box, small exhibi-tion space or café. Similar to the Inverted Yel-low Waterfall, its inside color is red, reflecting the outside façade color. A slant silver layer, in-between the inner and outer layers, distin-guishes the structure, accentuating the com-plexity of perspective.

Haegue Yang


A line that is “drawn” and moves in a room gradually forms a three-dimensional pattern – it becomes a sculpture. If the line is created using the clear, intense light of the neon tube, the logical outcome is a light sculpture. The movement of the line in this proposal takes some beneficial liberties – it can investigate the height of the room and embrace its heart. Used and interpreted correctly, the light can capture the atmosphere of a room and en-

hance its significance. In this work, it orches-trates the tone and the spatial sequences of the building, but it takes as its symbolic start-ing point the movement of visitors in the room and all events and meetings that take place. It has been freely created, but has a strongly coherent form and feel. This light sculpture has an obvious interplay with the area and its space, its form has a scientific basis in Möbius’ mathematics, the interpretation is site-specif-ic. It is lent an additional dimension when you move around in the space. Countless different three-dimensional images are then conveyed to the observer, who constantly sees some-thing new in the interpretation of the work.

The neon tube (using argon gas) is an ideal medium for the attractive line and movement – it is also reliable in the long term, which is why the work is feasible despite the demand for ex-treme precision of detail in the manufacturing process. The light sculpture is lit 24 hours a day. When the building is filled with people, it fills the space and conveys the important sense of expectation and the fact that this is a building for festivities.


“The core and magic of a chandelier is the ar-tificial light itself. The heat and intensity of the light are vital, but the light must also take shape – it can then become a piece of art. With its flow of lines and gentle shapes that are both free and coherent, this work – and light sculp-ture – truly inhabits the building’s great inner foyer. The work is site-specific – it lends totally new dimensions and associations to the area, while at the same time skilfully utilising its space. It will be suspended freely in the room, reflecting Malmö Live’s rich, continuous flow of tones, thoughts, inspiration and emotions.”

I N T E R I O R S P A C Ed

Title: Dispersed Three in Live ConjunctionArtist: Haegue Yang, South Korea


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I was immediately struck by the purposes that the building is constructed to serve, and drawn to the locations in the building – the public spaces if you like - where those who inhabit the spaces, cross, flow, intermingle and trav-erse. These passages…flows of energy, con-duits of transport and transmission: spaces be-tween arrival and departure. In which intervals between locations are made articulate.

I was made alert to the fact that these in-terstitial or ‘in between’ spaces will represent the life blood of the building as people from different territories, occupations and interests traverse common ground. The concert goer brushes shoulders with the passing student, the congressional delegation, neighbour, the string section of the orchestra, the hotel guests who share a glass of wine and sit to admire the view… All of these people form exchanges that play out in activities that ‘cross pollinate’ and enliven the building’s programme. Zones of physical, intellectual and symbolic activity form urgent, subtle, concise and real presence. They comingle and exist at various intensities within and around the building superstruc-ture. Therefore at the fulcrum of these multi-valent crossing pathways I propose a structure which inhabits and intends to mark a location in space which alludes to the temporal dimen-sion of the multiple crossings, exchanges and interactions which the building as ‘living ma-chine’ makes occasion for.

I propose a work, a light sculpture suspend-ed in a well of sorts formed by the buildings architecture. Visible as a focal point from many parts of the building making site lines actual and brought into focus by its light radiating existence. I was drawn to a form familiar to most, namely that of the nineteenth century mathematical model bearing the name and brought into existence by August Ferdinand Möbius.

A form that represents the endlessly tra-versed surface paradoxically articulating the inside as the outside and vice versa. Affiliat-ed in my mind at least with a sigil (a symbol with potentially ‘magical’ powers) represent-ing infinity, a key of sorts, a touchstone, portal, fold…a resonant threshold.

Suspended.

The synthesis made actual, it is a form I have worked with in the past and the images that I provide you with at this point represent a va-riety of takes which attempt to illuminate - in most cases literally - my thoughts regarding the proposal. Sketches, source images and notes towards a structure more accurately de-fined as readable physically (technically, di-mensionally, proportionally).

An endlessly articulated folding…a singularity.

A locus, an occasion which is situated in space.

Cerith Wyn Evans


A line that is “drawn” and moves in a room gradually forms a three-dimensional pattern – it becomes a sculpture. If the line is created using the clear, intense light of the neon tube, the logical outcome is a light sculpture. The movement of the line in this proposal takes some beneficial liberties – it can investigate the height of the room and embrace its heart. Used and interpreted correctly, the light can capture the atmosphere of a room and en-hance its significance. In this work, it orches-trates the tone and the spatial sequences of

the building, but it takes as its symbolic start-ing point the movement of visitors in the room and all events and meetings that take place. It has been freely created, but has a strongly coherent form and feel. This light sculpture has an obvious interplay with the area and its space, its form has a scientific basis in Möbius’ mathematics, the interpretation is site-specif-ic. It is lent an additional dimension when you move around in the space. Countless different three-dimensional images are then conveyed to the observer, who constantly sees some-thing new in the interpretation of the work.

The neon tube (using argon gas) is an ideal medium for the attractive line and movement – it is also reliable in the long term, which is why the work is feasible despite the demand for ex-treme precision of detail in the manufacturing process. The light sculpture is lit 24 hours a day. When the building is filled with people, it fills the space and conveys the important sense of expectation and the fact that this is a building for festivities.


“The core and magic of a chandelier is the ar-tificial light itself. The heat and intensity of the light are vital, but the light must also take shape – it can then become a piece of art. With its flow of lines and gentle shapes that are both free and coherent, this work – and light sculp-ture – truly inhabits the building’s great inner foyer. The work is site-specific – it lends totally new dimensions and associations to the area, while at the same time skilfully utilising its space. It will be suspended freely in the room, reflecting Malmö Live’s rich, continuous flow of tones, thoughts, inspiration and emotions.”.

I N T E R I O R S P A C Ed

Title: E=V=E=N=TArtist: Cerith Wyn Evans, UK


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The siteThe canal area, the wooden decking and the site by the wedge (the southern entrance to Malmö Live) form a well-defined surface area. The site serves as a thoroughfare, but it is above all a meeting place, a venue for activi-ties, fresh air and relaxation.

In contrast to the monumentality of the fa-çades and the linear idiom of the site, I want to add an interpretation of a different charac-ter and with other qualities. An organic expres-sion with freedom of shape.

The sculptureI want to install an elevated, large sculpture that indicates the entrance by the wedge and catches the eye. The sculpture reflects rhythm, pace and movement. It grows in all directions but is two-sided in its expression. On the one side we see a view of hollows that play against one another (an organic bubble). On the other side we see the composition and structure of the sculpture in a more mechanical, rhythmical way (a growing movement).

The sculpture indicates and establishes life in the site: ongoing life. It is a concrete, acces-sible object that you can move around and spend time by. It interacts with its environ-ment.

The form is solid, but it offers an illusion of a flow, a movement. Despite the different expe-riences, there is no front or rear side. The form changes, depending on how you encounter it.

Size is crucial. The sculpture is clear, power-ful and mighty. It can be seen from a distance and contrasts with the coloured façades.

The themeThe sculpture reflects a musical composition, in which you can recognise movement, rhythm and tone (layer upon layer). The bubbles in the hollows interact with the rhythmical structure

of the walls. An improvisation and freedom within a framework.

The form is a body in dissolution. External forces clash with internal forces; breaking up, pulling, offering directions and openings. In-side becomes outside. It is just as much about air and volume as density and mass.

Many of these properties can be related to the diversity and complexity that exist in a city such as Malmö. The site represents devel-opment and change; an ongoing process and faith in the future. The sculpture is a figure that speaks of movement, versatility and openness.

Eva Hild


The proposal takes as its starting point sketch-es that are clearly inspired by tones, musical loops and musicality. These drift in and out of one another, but they are constantly held together and united in pictorial entities, just like a piece of music mastering its rhythm and themes. The sketch is transferred into a sculp-tural form, at the same time becoming even more complex, without breaking or disrupting its inherent grammar.

Rubato will be installed on the wooden ter-race outside the wedge in the building that brings together and separates the conference venue and the concert hall. The work – the mu-sical sketch that becomes a three-dimensional sculpture – is created in cast aluminium and borrows its colour from the cirrus clouds that drift past. White, light and a little matt.

The sculpture presents a playful façade of circles, hollows and material for those stroll-ing alongside the water – up to the southern entrances of the building. From the other di-

rection, the sculpture rises upwards and out-wards, branching towards the sky.

The location of the work, its material form and interpretation interact with the site and possess a timeless strength – durable material, tolerant of the playful observer investigating its interior and offering affirmation for the eye seeking joy and peace.


“The expression ‘sweet music’ is often used to explain what is inexplicably beautiful and attractive. It is used for encounters between people and to express emotions. This artistic interpretation is inspired by a longing and a feel for sweet music. The work transforms the music into living, gentle forms that appear to be in a state of constant movement as they drift inwards, outwards and upwards. It gives the observer free associations, new thoughts and dreamlike images. Rubato occupies the site, captures the eye – creating sweet music.”

The assessment group is looking forward with tremendous satisfaction and joy to the Society for the Preservation of Cultural Her-itage and Green Parks in Malmö and the City of Malmö joining forces to realise this signifi-cant artistic interpretation. The competition proposal’s report represents a solid basis for the upcoming work process involving con-tinued planning, cost calculations and opera-tional matters. Malmö residents and other visi-tors can look forward to an artistic creation of Malmö Live’s south-facing exterior space by the canal that will become a new signature and a new landmark. Malmö will have an artistic in-terpretation that will generate national and in-ternational recognition.

O U T E R S P A C Ec

Title: RubatoArtist: Eva Hild, Sweden


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Like a pattern in the sand, some memories have settled down to rest on the sea bed.

These are memories to do with the sea, and they have been written by hand in different lan-guages.

The name Malmö (founded as Malmöghae around the year 1170) is a composition of the Swedish word malm, meaning ore, in the sense of “sand” or “gravel”, and the Swedish word högar, the plural form of the word meaning “heap”. The site where Malmö Live is now be-ing built was once occupied by the sea. It is on land reclaimed in connection with the estab-lishment of the port of Malmö in the early 19th century.

Starting with thoughts about the history of the site, Malmö as a city in movement and change, where encounters between people are stimulated, I gave some thought to the word SEA. What memories does this word awaken? What stories are there?

My idea is to attempt to collect some of these memories from residents of different parts of Malmö. Then to put together these fragments of accounts to create a sea of text strips in different languages, and to let them run along the ground like a sandy pattern on some of the concrete panels on the meander-ing footpaths in the eastern park area.

MethodOver three weeks during the summer, I trav-elled around all of the City of Malmö’s libraries to meet Malmö residents from different back-grounds. I handed out pieces of paper that said: “Hi! My name is Karolina and I am an art-ist. At the moment I’m working on a project in which I’m collecting the memories and stories of Malmö residents that have to do with the SEA. Are you interested in getting involved? Let me know! Involvement is anonymous.” The

instructions stated: “Write down a memory in your own handwriting. Write it in the language in which you feel most comfortable. Write with a pencil on a piece of white A4 paper. Write clearly, and not too small. Thanks ever so much in advance!”

A selection of these handwritten memories are included on this draft sketch, as examples of texts to be used in the creation.

MaterialThe creation consists of Malmö residents’ memories that are to do with the sea. The memories are written by hand, in different lan-guages, and are arranged like a sandy pattern on the sea on prefabricated concrete panels in the eastern park area.

Two concrete panels are prefabricated in the same shade of grey as the rest of the concrete in the Malmö Live area. The panels are installed and then cast in situ along the rest of the path.

The handwritten texts are produced with the aid of Reckli special matrices or in graphical concrete. Both methods require the concrete elements to be prefabricated. The size (height) of the texts will be between 3 and 6 cm, de-pending on which technique is used.

Karolina Erlingsson


Malmö residents’ accounts/experiences/mem-ories and dreams are captured in selected texts. They are mainly written in their original language. The texts, like the sediment on the sea bed, have come to rest in a virtually time-less, peaceful atmosphere. They follow the concrete floor of the eastern park area and the lines created in the layout of the landscape. One important element of this proposal is the

work method chosen, which was already used in work on the competition proposal. Many meetings, conversations and accounts have formed the basis of the texts described. They provide convincing evidence (even in this sub-mittal) of the force of the concept and the story that the artist wants to communicate.

The assessment group is convinced by both the concept and the proposed location in the concrete floor of the eastern park. The work has a touching depth to it and is an important chronicle.

It requires supplementary (but not insolu-ble) technical and material-related studies. An-other question is whether many of the texts should be communicated in more than one language.

According to the assessment group, the most important factor is the supplementary preparatory work and the care that must be taken in the actual creation. Detailed studies are required in order to see whether the work should be created in one context or, for exam-ple, divided up and appear at several places along the promenade. It is important that the eye of the observer can be captured by the texts – without compromising their sublime appearance.


“The sea bed, formed over a long time, and the movement of the waves represent a force-ful metaphor for the history of cities and the lives of people. To identify phrases that be-come deep observations from many accounts requires a strong artistic ability and stringen-cy. In all its sublime presentation, the propos-al quivers with insight, emotions and force. These memories constitute an implied instruc-tion and a challenge for the future – their soul is life itself!”

O P E N C O M P E T I T I O N – N O R T H E A S T E R N E N T R A N C Ea

Title: Memories’ Sea, Sea of MemoriesArtist: Karolina Erlingsson


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Proposal 1 Proposal 2 Proposal 3


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“harvesting the weather”

The Wind Wall has three starting points: the lo-cation, the wind and easy accessibility.

– Malmö Live’s North Eastern Entrance area is relatively open, with visual noise from sur-rounding roads. We have worked with ele-ments to create space to make the location more intimate and secluded.

– The port in Malmö is a windy place. Instead of viewing the wind as a disruptive element, here it becomes an integral part of experi-encing the work of art.

– The Wind Wall has a low “threshold” and is easy to approach and integrate with. You can get something out of viewing the work for just a few seconds, while at the same time it is satisfactory in a longer time perspective.

The Wind Wall creates a diagram and renders the billowing movement of the wind visible in a way we would seldom see otherwise. Yet it is not just the wind that is captured by the work, but also sunlight and rain. The transparency of the bricks means that they glow in the sunlight, with people and the surrounding trees form-ing shadowy silhouettes on the surface of the work. The slipstream from The Wind Wall cre-ates colours and movements on the ground. The rain generates a synergy as the light is dispersed in the drops of water on the bricks, forming new patterns on the work of art. The Wind Wall lives with the weather and changes its character according to its shifts and moods. The experience of the work of art will therefore differ from one day to the next. When darkness falls, it is illuminated from above, creating an amazing light show.

The Wind Wall is made up of a large num-

ber of small bricks, each of which can move in the wind. Together, the bricks create a surface large enough to register the billowing, wave-like movement of the wind. The principle be-hind the work’s design is to produce a result in a gentle breeze while at the same time be-ing able to withstand a storm. As the bricks ro-tate freely, there is in principle no limit to how much wind they can withstand. The strength of The Wind Wall is that it is a simple concept, but the effect comes from the great volume and scale.

Petter Thörne Jens Vium Skaarup

Joshua Morrison


An ingenious “living wall” in a changing col-our scale will be installed in the North Eastern Entrance area. It forms a spatial boundary be-tween the cycle parking area and the entrance itself, and has been located in line with the fa-çade of Stinshuset. The component parts of the wall are secured on horizontal steel poles, cre-ated in sections to form a geometrically dense wall in the urban space. The colour provides variation, as do a few openings in the wall. But there is something else at the heart of the pro-posal. It is its relationship with the wind. The “Wall’s” thousands of small, suspended lamel-lae (made of plastic) capture and are changed by the slightest gust of wind to create unex-pected movement and rhythm.

The materials and technical solutions de-scribed should withstand both wind and weather and any possible damage. Further calculations are required concerning stability, risk of climbing, etc. The scale of the piece (its

height) and the proposed extra lighting are not entirely convincing. “The Wind Wall” also constitutes a beneficial landmark in the local urban space– both from the Malmö Live site and from Neptunigatan to the north.


“The purpose of art is to reflect our existence – to investigate, to sometimes lay bare and to ask new questions in complicated contexts. The purpose of art can also be to go in the opposite direction. What appears to be simple turns out to be much more, and can thus move an ob-server deeply; this is what “The Wind Wall” can do when the wind becomes a drama and an in-ner experience. Malmö’s new living room will gain a truly unique, enticing, surprising and poetic interpretation – as the wind becomes the new friend of Malmö’s residents.”

O P E N C O M P E T I T I O N – N O R T H E A S T E R N E N T R A N C Ea

Title: The Wind WallArtist: Petter Thörne, Jens Vium Skaarup & Joshua Morrison


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The basic concept can be described as a “fic-tional orchestra”, where the listener can expe-rience moving music with sound that is moved – in both time and space. The listener is also moving, on the footbridge or nearby, and can find spots from which to listen, to move to-wards and out of the sound. Like being in a fic-tional orchestra, being able to approach the instruments, stay close to a sound source and perceive the tones and rhythms of the other in-struments at a distance. Not just one orches-tra but many – even more unusual orchestral groups (without usual instruments), which still come together as musical worlds, available to investigate.

Kim Hedås

D E S C R I P T I O N O F T H E C O M M I S S I O N

During work on the programme for Malmö Live’s artistic design, the question soon arose of producing a work of art using sound/music. The Municipal Executive Council approved the proposal in principle and mandated the steer-ing group that had been appointed to develop the concept. It was considered that the new footbridge 406 would be the best location for the work.

Following consultation, the Society for the Preservation of Cultural Heritage and Green Parks in Malmö assumed responsibility for the artistic interpretation and for engaging an art-ist – Kim Hedås, Stockholm – for the commis-sion. The Streets and Parks Department was responsible for an investigation into how the technical solution for a work of sound art could be integrated with the bridge’s interpretation and design.

Upon completion of an analysis phase, there is one solution that meets the specified re-quirements for technology that is sustainable in the long term and is operationally reliable. The solution involves, among other things, all control technology being installed in the cellar of Sjömansgården, which is being made avail-able at no charge by the Church of Sweden in Malmö. Loudspeakers will be installed in the benches on the bridge – difficult to access but possible to maintain. Sound insulation will be installed to limit the unwelcome transmission of sound. The installation will be fitted with an alarm.

The work of art itself is currently being com-posed/produced (in conjunction with parties including the Malmö Symphony Orchestra) and will be ready for installation and opera-tional testing in autumn 2014. The finished work will be ready to be unveiled (for listening) in June 2015.

S O U N D A R T C O M M I S S I O N F O R F O O T B R I D G Ee

Title: UntitledArtist: Kim Hedås


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Passage Dag Hammarskjölds TorgMaha Mustafa

The Wind Wall North Eastern EntrancePetter Thörne Jens Vium Skaarup Joshua Morrison

Dispersed Three in Live Conjunction Interior Space Haegue Yang, South Korea

Memories’ Sea, Sea of Memories North Eastern EntranceKarolina Erlingsson

Sound Art Footbridge 406Kim Hedås

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dafConsert

Wooden deck

Wooden deck

Congress

O�cebuilding

Housing

Housing

Västra Stn.

Dag Hammarskjölds Torg

Sjö-mans-gården

Stinshuset

Hotel

KONTORBOSTÄDER

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E=V=E=N=T Interior Space Cerith Wyn Evans

RubatoExterior Space Eva Hild

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O P E N C O M P E T I T I O N – N O R T H E A S T E R N E N T R A N C E

The following artists have been chosen to take part in the second stage of the competition:Karolina Erlingsson*, page 12 José GordilloMonika Gora Petter Thörne, Jens Vium Skaarup & Joshua Morrison*, page 14 Jukka Värelä

Assessment group Gunnar Ericson, Senior AdvisorIngemar Gråhamn, City ArchitectElisabeth Lundgren, Cultural Director, (Chair of the group)Ola Melin, Head of Urban Environment JP Nilsson, Museum of Modern ArtArjumund Carlstein, Cultural OperatorCecilia Widenheim, Curator at Malmö Art MuseumSecretary/competition official: Mia Hansson

D A G H A M M A R S K J Ö L D S T O R G

The following artists have been invited:Kristina Matousch and Anders Soidre, MalmöMaha Mustafa, Malmö/Toronto*, page 4David Svensson, MalmöMagnus Wallin, Malmö

Assessment group Gunnar Ericson, Senior AdvisorIngemar Gråhamn, City ArchitectAnn Bergström, Head of Cultural SupportOla Melin, Head of Urban Environment (Chair of the group)Ewa Sundström, Landscape ArchitectElisabeth Millqvist, Wanås Art Secretary/competition official: Sofie Hellryd

E X T E R I O R S PA C E

The following artists have been invited:Inges Idee – artist group, GermanyEva Hild, Sweden*, page 10 Shirazeh Huoshiary, IranRita Mc Bride, USA

Assessment group Jan Bergfelt, Society for the Preservation of Cultural Heritage and Green Parks in MalmöGunnar Ericson, SeniorAdvisor (Chair of the group)Jacob Faxe, Society for the Preservation of Cultural Heritage and Green Parks in MalmöIngemar Gråhamn, City ArchitectInger Lindstedt, Society for the Preservation of Cultural Heritage and Green Parks in MalmöElisabeth Lundgren, Cultural DirectorSune Nordgren, Nordic Choice Birgitta Ramdell, Form/Design CenterSecretary/competition official: Mia Hansson

I N T E R I O R S PA C E

The following artists have been invited:Natalie Djurberg och Hans Berg, SwedenCerith Wyn Evans, UK*, page 8 Spencer Finch, USA Haegue Yang, South Korea*, page 6

Assessment group Kristian Ahlmark, Architect at SHLJan Bergfelt, Society for the Preservation of Cultural Heritage and Green Parks in MalmöGunnar Ericson, SeniorAdvisor (Chair of the group)Lena From, Stockholm Art Elisabeth Lundgren, Cultural Director Sune Nordgren, Nordic Choice Cecilia Widenheim, Curator at Malmö Art Museum Secretary/competition official: Mia Hansson

S O U N D A R T, F O O T B R I D G E

Appointed to perform the commission:Kim Hedås, page 16

Steering group, sound art Jan Bergfelt, Society for the Preservation of Cultural Heritage and Green Parks in MalmöGunnar Ericson, Senior Advisor, City of Malmö

I N F O R M AT I O N

City of MalmöGunnar Ericson, Senior Advisor and Project Manager E-mail: [email protected] Telephone: +46-708-34 13 97

Elisabeth Lundgren, Cultural Director E-mail: [email protected] Telephone: +46-786-634 29 27

Mia Hansson, Project Coordinator E-mail: [email protected] Telephone: +46-709-34 13 65

Society for the Preservation of Cultural Heritage and Green Parks in MalmöJan Bergfelt, Chairman of the Board E-mail: [email protected] Telephone: +46-705-40 72 89

Nordic ChoiceSune Nordgren, E-mail: [email protected] Telephone: +46-734-26 58 30


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Dispersed Three in Live Conjunction Interior Space Haegue Yang, South Korea

Memories’ Sea, Sea of Memories North Eastern EntranceKarolina Erlingsson

Sound Art Footbridge 406Kim Hedås

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I N V I T E D A N D A P P O I N T E D A R T I S T S , A S S E S S M E N T G R O U P S

*Winner


City of Malmö, SE-205 80 Malmö. Tel. +46 40 34 10 00. www.malmo.se

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