With the first tool, man was created  EXHIBITIONS  
By HENRIKS. HOLCK Annette Lehmann & Ingela BergehalL "Substance In Transformation". Gallery S:T Petri, "Archive of experimental and marginal art". Kyrkogata 5 - box 1507 221 01 Lund, Sweden. Monday/Sunday 3-8 PM. The exhibition ends on Thursday.  

HERE FOLLOWS the last review of one of Scandinavia's most significant galleries, S:T Petri in Lund. At the end of March, the owner Jean Sellem will turn the nail on, and the North will be a poorer art laboratory.  

"Substance in transformation" is a duo project that has been brought to near perfection. It is an exhibition that spells out its messages piece by piece, with one standing out with the strongest potential.  

Nature, primordial time, magic, tribe, cult, etc., are the syllables of this message in the upper layer of the presentation — the layer that gives the spontaneous impression, an impression that also contains a connection to the cultism, primal rhythm that Denmark's three best bands Ballet Mécanique, No Knox, and Sods utilize. The mythological universe (between the images and the objects) can be sensed in another layer based on its materials. All including sounds like straw, earth, sand, plastic, canvas, pigment, wax, paraffin, paper, salt, water, flour. More than coincidentally, these materials reveal a connection to centuries of female tradition — the woman as the practical situationist, the fundamental substance in the monster of existence. Beyond their separate material effects, Annette Lehmann & Ingela BergehalL's exhibition is a description of processes, both of art and life. With the first tool, man was created: Starting from the exhibition's spear-like sticks (fig. 1), one moves further and further in until familiarity is experienced and things are mystified.  

I DO NOT WANT to waste time with detailed descriptions of the individual elements of "Substance in transformation," but rather focus on the last of the total four rooms. Here, a photo series documents a process that took place on a large square canvas cover, which is "live" actively in the room. Dark and metallic gleaming, it lies half against the wall and extends over most of the floor. A consistent process has provided the canvas with structures, scars. We have (for example) here a "historical" model for the exhibition. The emptiness, the black surface, and its non-linear placement in the room emphasize that a hole is being made in the wall. The emptiness, built up of cells (structures), is suddenly materialized. The way "Substance in transformation" connects its expressions is thoroughly considered and fully conscious. But also occasionally on the edge of the banal, neat (the lovely effect between black, white, and delicate colors). At the same time, this may be the only "critique" that is relevant to present. There is plenty of platitude, so I will not characterize A.L. & I.B.'s session as "a lawless debut," but in short say: quite fine, continue.  

MILITARY MAP - The Danish poster artist Mikael Witte has produced a map of an area in South Schleswig just south of the Danish-German border with detailed placings of West German military installations. Thus, he violates both Danish and West German criminal law, which forbids the mapping of military facilities, says Witte. "The intention of the map is among other things to show the population that nuclear missiles have been set up eight kilometers south of the border, and that these can quickly be moved across the Danish border," says Mikael Witte. (RB).