THE BASIS version 2.1 OJP © AVPD 02.2001



AVPD produces pictures of the fiction and within the fiction


AVPD takes as its starting point a field of visual art defined as a space unlimited in content and form. Our work is based on the assumption that there is basically no boundary between visual art and other types of artistic production (i.e. architecture, literature, design, film), nor between visual art and other fields of knowledge (i.e. comparative religion, theology, physics, media science, sociology), which in a traditional sense are separate domains.


The field of visual art, within our culture, is a special device in which there are great potential resources, whether philosophical, practical, or economical. If these components are put together, they can be regarded as a power plant making new, radical and innovative works possible (in which the potentiality of radical and innovative works is present). Broadness and surplus are the reasons why we have placed our production in this field. Visual art is a meta-cultural phenomenon which has a clear function in relation to our culture, because it can discuss, question and dislocate conditions and create changes. Therefore society needs the visual art.


We are working in a completely demystified and disenchanted space whose content is defined prior to its form and whose form is defined by its content. The project or product or work does not have any eternal or trans-historical significance in itself (any intrinsic eternal or trans-historical significance). It is in the interference between project and citizen that the significance-carrying layers are established and appear. In a time perspective the value of the individual project is gradually diminished and transformed into a culture-historical figure. On the shelves of the cultural history it is contained as documents of time.


The motives and reasons for our productions can best be described from the consideration that we view ourselves as citizens who take part in the construction of society, which we at the same time are the products of and cannot free ourselves from, but want to relate to and, not least influence. Our discourse is based on reflections, interpretations and renderings of this condition. The projects are only carried out in the case where the production of significance exceeds ourselves.


Our artistic production is chameleonic as it, being a construction, can take any form and appear in any given context and from this point discuss cultural and other social aspects in all possible nuances. In the individual project,Äôs collision with the citizen a social criticism is being raised. The project does not pretend any eternal definition, on the contrary, the citizen is allowed to evaluate her own reality-construction.


The production of significance is subordinate to social, political, economical, psychological, perceptual, artistic and other contextual conditions. In principle it is unlimited and its aim is always to get into a dialogue with the surroundings.


The production of significance stems from the fundamental existential conditions we personally are subject to, and it is with this guideline we operate. We are bombarded and confronted with a never-ending flow of images, stories, information and knowledge in one gigantic confusion. The world is hanged in a floating structure, a floating space that constantly ramifies, doubles, duplicates and reproduces. In the exchange and the following discussion and argument in AVPD of the accumulated fascinatory focuses, themes, problems, conflicts, etc. are filtrated, specified and crystallized into a substantial content.


Since we live, reside, and manoeuvre in an urban environment and find our material here, our projects relate and refer to this milieu,Äîand it is here, in this context, our projects are located, realized, and passed on. We conceptualize our process or project as urbanetic. The urbanetic has brought about a series of investigations spread over and specified in various projects. The investigations include among other things: 1) the mutual interference and overlapping of the concepts of reality and fiction; 2) the relationship between religious and scientific conviction considered from a relativistic point of view; 3) the influence on and the manipulation of the citizen by the mass media; 4) investigations of phenomena moving in the marginal zones of our society; 5) fascination as a phenomenological figure.


Because we are engaged in themes and problematics which have a scientific, political as well as a social character, we thus touch or overlap other fields of knowledge and their specific expertise, knowledge accumulation and working methods. We are not in possession of the experience that flows in these fields. It is therefore, within our framework, a rewarding and logical action to break down sharply drawn borderlines between knowledge positions and subsequently draw together these fields. Across fields of knowledge a dialectic relationship is established, where the involved parts can influence each other,Äôs methodical procedures and thinking processes. The effect of this redefinition causes the presence of a different, empirically bigger substance which becomes the generator of a more varied and far-reaching creation of significance in the projects.


For the construction AVPD to continuously possess the best possible working conditions, we use marketing and concrete economic strategies. For one thing it has resulted in a practical economic framework: the Deutschland partnership, for another we appear with a visual profile in terms of group name and logo, which can be regarded as a consequence and a metaphor of the fact that any visual art practice includes self-promotion and positioning in relation to other artists as a deliberate marketing strategy.


With a field of visual art as our foundation, we are to be regarded as a unity that constructs and reproduces.



AVPD produces pictures of the reality and within the reality.