Two Realities: Ove Büttner's Paintings in the St. Olaf's Hall of the House of the Brotherhood of Blackheads

When the spacecraft had reached Uranus on its photographing tour in our Solar System, it was given a command to shut down its solar batteries, it was run by. The command did not come from Earth, it came from nowhere. The spacecraft froze. Photos of the surface of Uranus were not taken. Mystics? No. This is a story from a scientific magazine that Ove Büttner presented as a background of his exhibition. In his peculiar way the artist mystified his exhibition "Uranus", currently displayed in the St. Olaf's Hall of the House of the Brotherhood of Blackheads, claiming that the exhibited paintings represent a substitute for the material not gained, that is, a possible vision of the surface of Uranus.
Büttner's colourful pointillistic works can be the structures of anything, even the surface of Uranus. When the picture - abstract, pointed, radiant - in itself offers the viewer purely aesthetic delight from pure art of painting, then the story sets the whole exhibition into another context. The realisation and objectification of a sort of science fiction confuses two realities, a visible and a fantastic one. Visible, generally familiar reality has been turned strange via the mystic factor, but the fantastic reality has been brought down to earth.
The fact that Büttner likes to confuse the reality becomes obvious even from glueing a piece of colour photo on the surface of abstract "landscape". Is this a part of earthly reality of Uranus?
In the beginning was the word, but to what extent the word must be relied upon. Even without any word Büttner's paintings would be a powerful manifestation of pure art, on which background all the talks of the death of traditional panel painting make no sense. That kind of art needs neither explanation, justification, mystification nor the word prevailing over the object in any other way.
Placing abstract paintings to the interior of the St. Olaf's Hall of the House of the Brotherhood of Blackheads deserves individual treatment. Pictures that have been placed in pointed-arch niches in a strange way fuse with Gothic interior. Every artist would have unlikely dared to expose one's art in a room that belongs to the era, mentally so different from our ages. But there are no contradictions. The art of the end of the twentieth century in Gothic interior - perhaps such positioning should indeed characterise the situation towards we are moving. Involving the whole cultural and artistic experiences of the past in the way we have so far indeed lacked tolerance. In fact, just now the affirmation of traditions should be the greatest act of breaking the boundaries.
In the infinite world created by Büttner, that is, at the exhibition, pointed-arch niches, abstract colour spots, frozen spacecraft, the surface of Uranus, etc. intermingle. There had to be the word for seeing all this in the surface structures of his works. For that reason, from the aspect of pure art, such vision also is a fiction, a fantasy of a viewer under the power of the artist, where all the elements fade into and behind the paintings' structure.
Was it maybe the intention of the creator?