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Tampere, Finland I first
met Asta Hanski and Geoff Bunn. Hanski was the more directly environmentalist; Bunn, oddly perhaps, most
affected by the forests of scandinavia, as the ghost
partners of
the inner cities he had come from. Both remained
independent
and
stressed different long term aims and ambition. But both took
also ideas and inspirations
directly from the other. Bunn would
also work outdoors. Hanski would contribute places and items
for some of his 'UNFOUND'
work. But what and where necessarily remains silent.
Six
months
later, Göteborg, Sweden, with the additional presence of fellow anti-artist Marc
Bergerman.He,
closer to Hanski
than Bunn, worked predominantly with wood and stone. But he used
Bunn's ideas
of 'Ni Conceptualism' to reorder and reorganise. Bunn, in turn,
developed
further his own feelings for the function of art as therapy from
Bergerman's earlier work.."
Further
meetings, more artists, from as far as France and the Czech Republic, led to a loosely
bonded
grouping of artists. Always
deliberately understated exhibitions and events at various centres in
Europe. At these,
of course, Bunn would not exhibit. Bergerman too would play down his
role. But hanski along with myself and other artists increased
production of our
own work
to make up for this perceived shortfall.
Bunn,
Hanski
and, to a lesser extent, Bergerman remained at the core and gradually
reinvented
themselves again. By 1999 Bunn had more or less gone on his own,
concentrated on "the revival of philosophically pure" 'Ni
Conceptualism'. But this in conjunction with the lessons taken
from
Hanski and the
others. Bergerman and Hanski still working together; and living
together; all remain close and
occasionally
reunite to
reassess.
by hj.
ahlstrom
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