FÖRORD
"Projekt Ålidhem" Ingo Vetter och Peter Lundström

"I like Umeå and Umeå likes me" Lasse Sahlin

"En viktig del i vår utbildning" studenternas förord

GENOMFÖRDA VERK
Ylva Trapp

Frida Krohn
Therese Johansson
Lars Hedelin
Frida Krohn, Ylva Trapp
och Lina Palmqvist

Nguyen Thi Bich Thuy

Per-Arne Sträng
Martina Wolgast
Mariel Rosendahl
Nils-Johan Sjöquist

Tidslinje
Karta

CONTEXT
"Ålidhems tillkomst" Hans Åkerlind
"My own private Ålidhem" Maria Bjurestam
"Funktionell skulptur" Ingo Vetter

Presentation av medverkande
Sponsorer

English

Nguygen Thi Bich Thuy
The trees of Ålidhem

I remember when we went to Alidhem first time, it was a snow storming winter day. It was strange to me but a familiar felling appeared as if I have been in this place before at the same time. In fact, the architecture of this area reminded me about the area where I grown up in Vietnam. It is called Socio-Communism architecture. A style was popular during 1960s-1970s. I saw this kind of architecture in many areas in Moscow and some part of East Berlin. I brought up both good and not so good memories. It is monotone and I was not inspired at all after the first visit.

However, the term of public art made me a curiosity because in Vietnam public art means historic-monuments and I did not have any experiences about that. But, on the other hand, it is something new to try.

I continued visiting Alidhem afterwards, and the first impression gradually disappeared. I felt warmer and familiar with this area because there are more crowded and international while other parts of Umea are quiet.

It became more and more excited and inspired me with several ideas but I did not have any experiences of working with in public art. It was obviously to me that I would love to make more color for this area. It is about mural paintings. One big utopia-surrealism that covers entire wall, perhaps? Then, the sketch was not pleased me. It was autumn 2007, when the all the leaves became yellow and started covering the ground. The image of tree suddenly appeared. I have been working with this image for years. It is not only a tree but also a human with all of human spirits. Tree could be a human, tree could be one’s memory, it could be a human life. Alidhem is an international area where people come and leave every year. Human come and go but trees stay!

The monotone shaped-architecture of buildings made me think about a series of different trees in different buildings. It does not cover the whole wall but it could be a full-length size. My trees are so different in spirit and it coincidentally fit in international atmosphere of Alidhem. I was asked why I wanted to bring my trees from indoor to outdoor situation. It was a tough question!

Some art could be both in small scale and in large scale. Why an art piece can not transfer from indoor to outdoor?

My trees are not realistic, it is more symbolic so it could be small and it could be in a larger scale. It will be some kinds of the mirror stand next to and reflect from the real trees in the summer and in the winter times.
Enamel is very appropriate material for outdoor painting. I am fascinated by realizing it and seeing it on the wall.

6 pieces 90x90cm is too small in the wall and in entire space. It could be much more nicer if it appear in some building or in a series.

If my original idea that painting will be in several building and in a series, it could be more impressive and unforgettable in the memory of people who have lived in Alidhem. That is my dream to see it in 10 years!