BASTARD

2010-10-11T17:17:00.002+02:00

http://www.kunstkritikk.no/artikler/bastardfors%C3%B8k/

Intervju av Peter Amdam

2010-10-11T17:16:00.001+02:00

1 year

There it was; gigantic, about 20:1, brown, black and bulky. Hanging off the wall, like a weird sofa, with chunks of fur hugging its protruding forms. Its shape and expression stayed with me. I started assembling images and newspaper clippings, analyzing it from every conceivable angle. I even contemplated transporting it overseas. Driving it across continents. In the end I decided to build a replica based on memory. A monument of some sorts, a tribute to its very existence.

2 year

As soon as I came back, I started bending one inch steel rods into shape, welding them to a circular base ring. Then I proceeded with smaller size steel, bending and welding them to the bigger rods, forming a three-dimensional grid. Clamps against polished steel. A white light burning constantly. By this time it had grown way too big, and I could only work on it when nobody else was around. There was no place to store it either, its long serpent-like steel forms poking and pointing in every direction. It was time to leave. Before my departure, I arranged for a friend to handle all matters in my abscence.

3 year

It did not take long before I heard something. It seemed to have outgrown its stay in a matter of weeks, and had to be moved to a safe location, or thrashed. Six guys carried it in all its wiry, wrangled shape up five flights of stairs, where it was wedged in between two lockers and a desk. Then everything went silent. For months. Then once again, it was in the way of something. A girl had got a cut passing it in the hall. Whichever way you placed it, its transparent form would camouflage its spiky exterior, rendering it a permanent health hazard. They decided to send it down again. My friend could report that there were permanent skidmarks on all floors of the building. You could virtually track it down the staircase, through the cantine, past all workshops and into the backyard, finally ending up behind the rubbish bins. It stayed there for two more months until a visiting officer from the Fire Departement declared it a firehazard and threathened to close everything down.

4 year

A little later I returned, and a rather unfriendly, almost hostile environment greeted me. It seemed that by now everyone hated it. Even so, I negotiated for it to stay, I practically begged on my knees for a chance to finish it. I was given three months. I accepted their offer, and immmediately got to work on sanding down all the welding points, preparing it for a coat of chicken wire and plaster. Five rolls of chicken wire, strapped to the steel skeleton with plastic strips, popping out like black feathers on a plucked bird. Endless buckets of plaster, mixed by hand, slapped against form. Slow shapes that smelled of damp cloth and dry dust. Dripping. Solid. It was becoming impossibly heavy. Slabs of dark brown latex paint. Layer upon layer. I walked in burning heat carrying large bags of horse hair and glue. Cardboard helped build it up where it had sagged. It stood next to an exit and some bicycle stalls, looking perfect but miserable. Big, but not big enough. This is how I left it, mindless and relieved.

5 year

I got a phonecall. It was in someone´s garden. It had looked beautiful at first, but after a long winter it had deteriorated rapidly, leaving it in a dismal state. Foxes had taken all of the horse´s hair, and there was plaster everywhere. He asked me if I wanted it back, and I said yes. There was a perfect place for it. An overgrown roundabout in the middle of a crack alley up north. Cameras all around, but nobody really cared. My friend drove me down south-west to pick it up the next day. Its rugged, cauliflower shape made it impossible to lift, and even worse to transport. We stuffed one third of it in through the backdoor, and secured the rest with straps. In this fashion we flew straight across town, through red lights and without proper licence. Like a guerilla group that had taken an enormously obese hostage. We carried it out there in the shadow of the night. We had to lay it on its side, cause its balance was fucked. We went to bed. The next day some drunks had put it upright. I took a few pictures, but they all came out black. I went back home. Later my friend told me one morning it was gone. A perfect ruin somewhere on a rubbish tip.

RIP.

2010-10-11T16:49:00.007+02:00

2010

James Hoff / (Fat Chance, John Cage)

Lørdag 6 Feb / kl 14 - 18

http://primaryinformation.org/index.php?/about/

http://www.myspace.com/airportwar

2009-12-04T17:58:00.025+01:00

2009

PARALLEL ACTION
Leander Djønne / Anders Dahl Monsen

Friday 11 Dec 18.00 – Sunday 13 Dec 07.30

The Parallel Action will occupy Bastard next weekend with a 37,5 hour long seminar. That equals a normal working week in Norway.

The seminar will expand on various subjects such as the abolishment of political dissidents, the destruction and the redefinition of the body, fiction and non-fiction, collective and historical narratives, the collapse of middle-class militarist movements and the end of history -
the shit that used to work won´t work now.

From near and afar, from complex conditions to simple solutions, from life itself to its representation - speakers are invited to give talks, perform, screen films and discuss.
Food, drinks and sleeping quarters are available throughout the weekend.

Please come, please stay, please participate.

----------------------------------

Parallell Action Program :

11. Dec 18:00 – 13. Dec 07:30

18:00
Opening of seminar.

19:30
Gertrud Sandqvist (SE)
Hon kan inte hjälpa att när hon talar startar hon en prariebrand. Om Rosa Luxemburg och de soldater som mördade henne.

20:30
Sinziana Ravini (SE)
The collective genius.

21:30
Ruth Ewan (UK)
Presentation of work.

22:30
Sylvain George (FR)
Screening of L'IMPOSSIBLE.

23:30
Snorre Hvamen (NO)
Gold in the shit / shit in the gold. An introduction to Gleaners, a film by Agnes Varda.

00:30
Joen P. Vedel (DK)
On The Lack Of Incentive To Labour In A Communist Society, A Dream Interpretation.

01:30
Screening of Weather Underground by Sam Green and Bill Siege.

02:30
Ronny Faber Dahl (NO)
Fire Ice Frost Core.

03:30
Markus Moestue (NO) & Nina Skarsbø (NO)
Presentation of work.

04:30
Anders Smebye (NO) & Agrafes Nietjes (ZAN)
The taste of puss and goo in my mouth.

05:30
Anders Dahl Monsen (NO)
888.

06:30
Screening of La Commune (Paris 1871) by Peter Watkins.

10:30
Leander Djønne (NO)
The third image, the fourth and so on. With excerpts from La battaglia di Algeri by Gillo Pontecorvo.

11:30
Lieselotte Holmene (NO)
Bare en spøk.

12:30
Ole Andreas Dahl (NO)
Den usynlige mannen på sokkelen - Karl Liebknecht på Potsdamer Platz.

13:30
Linus Elmes (SE)
Truth.

14:30
Morten Halvorsen (NO)
“Untitled (which will be discussed later)”
Topics covered: star trek and literary journals, silver supplied by diamond (STG), pitch fluff, Abraham Lincoln and earl from Santa Cruz and a anecdote on the MSQ-700 digital music sequencer.

15:30
Joar Nango (NO) & Sille Storihle (NO)
School of dissent.

16:30
Marit Paasche (NO)
A Twice-Told Tale: Brakhage and Thomsen.

17:30
Åsa Sonjasdotter (SE) and Nicolas Siepen (DE)
The order of potato.

18:30
Michele Masucci (SE)

19:30
Screening of Workingman’s Death by Michael Glawogger.

21:30
Jonas Bals (NO)
Interview about working conditions.

22:30
Hannah Helseth (NO) & Ommund Stokka (NO)
Kunst med eller mot folket.

23:30
Will Bradley (UK)
'Death to Hollywood!' - Culture, capitalism, and social democracy.

00:30
Stephan Dillemuth (DE)
Academy and the corporate public - shit happens.

01:30
Magne Flemmen (NO) & Jens Hjort (NO)
Klasse og individualisering.

02:30
Gaeoudjiparl (FO)
Radical computer music & moderen media art.

03:30
Anders Wimpelman (NO)
HEART OF DARKNESS: Message Is The (Pande)Medium.
Screening of Die dritte Generation by R. W. Fassbinder

05:30
Peter Amdam (NO)
All poems are too beautiful: Some notes on Philippe Lacoue-Labarthe, Jean-Luc Nancy and Claire Denis.

06:30
Rana Issa (LB)
Does cancer make a man cry? Edward Said's writings after the pains of Luekemia, a special focus on his autobiography Out of Place.

07:30
End.

- - - - - - - - - - - -

2009-11-23T17:53:00.008+01:00

2009

! B A S T A R D B I R T H D A Y P A R T Y !

Yamile Calderon / Fuck Me On The Copy Machine (Kosuth Is Horny)

Mauro Renato Benavidez / seleckta ghettoagapo

Anders Smebye / 34 år

Bastard / 5 år

http://www.youtube.com/watch?v=GkdNPhlX4xk

http://www.myspace.com/recmade

http://www.yamilecalderon.com/

2009-10-19T13:11:00.009+02:00

2009

23.10- 25.10

http://www.certainlynot.com/marc/main.php

2009-10-07T20:00:00.014+02:00

2009

26.09

2009-10-07T19:53:00.005+02:00

2008

19.06

Curated by Why + Wherefore

2009-10-07T18:23:00.014+02:00

2008

23.05 - 01.06

ROGER EGSETH

I 2004 viste Roger Egseth filmen Sigil på Stenersen Museet i Oslo. Filmen viste tre ritualer utført av en gruppe maskerte individer, oppdelt av scener der kameraet alene forflytter seg gjennom tunneler og til slutt ender i en skog foran en opplyst BMW. I denne utstillingen på Bastard har Egseth gått inn i det symboluniverset man ante i Sigil og latt det spille seg ut som tegninger, malerier og skulpturer som står på egne ben uten en ytre fortelling. Det som før var kulisser har nå blitt til selvstendige skulpturer. De maskerte individene er borte og Egseth står igjen som eneste protagonist. Fortellingen har trukket seg inn i arbeidene og skillet mellom en konseptuel narrativ og personlig uttrykk har blitt visket ut. Det er skjulte motiver i Egseths arbeider, i dobbel forstand; billedmotivene og kunstnerens motiver. En borg støpt av makulert avispapir vipper mellom en tilstand av oppløsning og tilblivelse. Fargeflatene i maleriene kjemper om sin posisjon som forgrunn eller bakgrunn, lesbare eller abstrakte. Renskårne geometriske symboler i metall møter amorf papirmasse, ren form versus støy, tanke versus kropp. Dette ligner synkretisme. Voodoo er et klassisk eksempel på synkretisme, der blandingen av katolisisme og åndetro viser hvor relative religiøse symboler kan være. Det som en gang var et symbol på en religiøs hendelse får ny betydning og dermed ny relevans. En familiegud kan byttes ut med en helgen, et offersted med en Maria statue og der krusifikset representerer Jesu død og oppstandelse markerer det i voodooen møtet mellom menneskenes og åndenes verden. Roger Egseth har utsatt sitt eget Sigil univers for en slik prosess. Det som før var symboler for konkrete ritualer gjennomgår en transformasjonsprosess hvis endepunkt ennå er uklart. Symbolene smeltes om og får en ny funksjon, og i mellomtiden ligner billedspråket en blanding av meningløs babling og inspirert tungetale. Monumenter som hyller den urene form og det ufullstendige språket.

- Are Mokkelbost

MORTEN SLETTEMEÅS

"Morten Slettemeås' malerier er ekspressive, med kraftige penselstrøk og farger. Maleriene kan fremstå som direkte inntrykk behandlet gjennom kunstnerens temperament. Som et tradisjonelt, ekspressivt maleri. Men slik er det ikke. Snarere preges Slettemeås' prosjekt av en anti-autoritær holdning til både maleriet og samfunnet. Han fremhever ikke sin egen, opphøyde, kunstneriske kraft, slik så mange malere har gjort før ham. Han bedriver snarere en form for ´territorial pissing´. Han tar utgangspunkt i motiver han finner blant ulike kilder, fra eldre, heroiske malerier til ukeblader, aviser og tegneserier. En blanding av høy- og lavkultur. Alt behandlet likeverdig, uten hensyn til motivenes symbolske tyngde og opprinnelige betydning."

- utdrag fra katalogtekst av kunsthistoriker Einar Børresen

På Bastard viser Morten Slettemeås et uekte barn, dvs. skulpturer, utstoppede dyr som er lakkert med spraylakk i ulike farger. Skulpturene er presentert på en enkelt bygd pidestall, og harselerer med den historiske stilleben tradisjonen med referanser til vanitas begrepet; livets forgjengelighet og den sikre død. Ved hjelp av spraymalingen fratar han stillebenet dets historiske status, og forvandler dyra til meningsløse rekvisitter i en syntetisk drømmeverden.

2009-09-24T14:04:00.020+02:00

2008

Astrup Fearnley Museum of Modern Art

12.01 - 27.01

Monumento Mori deals with issues related to monumental transformations: death, rebirth and metamorphosis.

Marte Johnsliens two works, Untitled (Pink) and Untitled (Blue) are photographs of eclectic pavillion architecture of Lusaka, Zambia. The pictures are presented as documentation of schizophrenic objects in a grey zome between sculpture and architecture. These objects can be viewed as a type of hybrids (elastic monuments), which has departed from the representation of imperialisms image of ´the other´, ending up as appropriated symbols of independent Zambia, thus ressurected as anti-monmuments; a negation of its former life.

Lina Viste Grønli presents The Conclusion which features Henry David Thoreau’s classic novel: Walden; or, Life in the Woods, with a number of discarded objects (buttons, coins etc.) implanted in the pages. The title refers to a kind of comprised, objectified version / reading of the novel, but speaks on a more spiritual, ideological level. The spesific objects (typical discards found in the woods or in pockets) implanted in the first chapter of the novel, Economy, also hint at a kind of ”alternative” currency / economy.

Anders Smebye includes the textile Hunter´s Funeral with a motive refering to Hunter S Thompsons funeral. The legendary writer committed sucide in 2005, and his last will was executed by shooting his ashes out in the stratosphere with the use of a cannon, followed by a spectacular display of fireworks. In addition Smebye has brought along a poster. Sculpture Kills Top Ten is a top-ten listing with real deaths caused by, with, or in the near proximity of sculptures.

Lars Laumann premiers the film La Reine Est Morte. The film portrays a drunken taxiride and decadent pilgrimage in Lady Di´s footsteps, from Hotel Ritz to the scene of the accident in the Point d´Alma tunnel, altogether accompanied to the tune of Morrisey´s The Queen is Dead. Laumann also shows the fanzine Morrisey Foretelling the Death of Diana which lists several conspiracy theories speculating whether Morrisey´s lyrics contained hidden predictions about Diana´s death. The handwriting used throughout Laumann´s fanzine is a font created by The Smith´s fans, based on Morrisey´s own handwriting.

Jan Bünnig and Simon Rühles installation piece Fountain of Youth is a mobile fountain consisting of a plastic pool, a pump and clay. The mud is the healing type used in beauty spas. The original fountain of youth was a baroque idea; an era obsessed with eternal life. Fear of death is a symbol of the human tragedy - our limited time, the weakness of the flesh and the end of the cycle. Fountain of Youth is a reminder that we will all become dirt again at some point.

2009-09-16T20:37:00.044+02:00

2007

19.10 - 28.10

Tarje Gullaksen

Kul Shee Maku

The work Untitled ("It's always kul shee maku,
said Sgt Rob Hammer, a 32-year-old squad leader
from Kansas, reciting the Arabic phrase for
"there is nothing," which the entire platoon knows.)
consists of a white foil with cut-out letters
covering the windows in front of Bastard.

Inside the space Gullaksen shows six prints of
randomly chosen pages from Louis-Ferdinand Céline´s
book Guignol´s Band, magnified and emptied for words –
all that remains are different constellations of
ellipses (…) The exaggerated use of ellipses and
the splintered sentences in Celine´s book reflects
his own impotence and rage when confronted with the
fragmented existence of experiences and memories.

Michael Johansson

Monolit

Johansson methodically constructs a 3.5 m tall monolith consisting of any kind of material, tools and artworks he can find rummaging through Bastard´s storage room and closets. The found objects and items are reset and transformed into elements of a monument.

2008-10-11T20:04:00.003+02:00

2007

16.03 - 25.03

The installation Disco Wilhelm Reich (1998/2007) takes its vantage point from the laden interiors of discotheques. The work consists of a wooden box, the interior covered with metallic paint . It is illuminated by colorful hobby-room disco lights and thus poses as a dance floor. With its succinct form and materiality the makeshift discotheque, moreover, contains a hidden reference to the Orgone accumulator, the Orgone box developed by the psycho-analyst Wilhelm Reich in 1939. Based on Freud's theory of the "Libido", Reich advanced a theory of the orgasm and believed to have found a scientific explanation of the orgasmic reflex in so-called Orgone radiation. In accordance with the assumption that organic matter was attracting Orgone energy while metals were refracting them again, he constructed a metal box enclosed in timber - the Orgone accumulator which he used in the therapy of neuroses, later also in healing physical ailments.
The installation is flanked by a slideprojection showing a series of filmstills from classic seventies dancemovies like Saturday Night Fever, Thank God It´s Friday and Carwash, combining these with images from the movie on Reich "W.R.-Mysteries of the Organism" by Dusan Makavejev.

Schlamm (2001) is a video consisting of two parallel narratives presented as a splitscreen; one showing mediations on the interior of Haludovo Hotel, built in the early 1970's on the Croatian island Krk, back then still part of the communist, but non-aligned (block-free) Yugoslavia. The architect was Boris Magas, and one of the investors Bob Guccioni, the publisher of the Penthouse magazine. The other narrative is a reenactment of the activities taking place in the former Yugoslavian communist youth camps, where kids were frolicking in the grass, drinking, eating apples and rolling around in the mud all day. At least according to Lulic.

2008-10-11T15:48:00.005+02:00

2007

MUTE

Ann-Sofi Roxhage
Marcelo Krasilcic
Shaun Gladwell
Lena Bergendahl
Seppo Renwall
Eve K Tremblay
Leif Elggren

22.01 – 15.04

MUTE is a perfect exhibition for nightcrawlers and early birds.
It takes place when all other galleries are closed. The videos are projected onto the window in Uelandsgate every evening, through the night and into the morning hours.

As the title of the exhibition suggests all the works in the show are without sound. Traffic noise and other sounds from the street becomes the only soundtrack when theyre shown at Bastard. Thematically all the videoworks are in different ways connected to the body as a physical and spiritual presence. The exhibition will be available to a larger audience; those who frequent these areas, those who live there and those who drive past.

Curated by Lina Selander and Marianne Zamecznik

Billedkunst kritikk her

2008-10-11T13:46:00.002+02:00

2007

Culture Clash

12.01 - 21.01

This show is a bastardized version of an art exhibition, mixing television with art, dealing not just with the way the art market trades on rigid channels of distribution, but how art is dealt with, both within the art-world and in mass media. Fictitious representations of contemporary art and artists in mass media are highly influenced by romantic notions of the artist, but often based on actual works of art or real-life artists. These notions are propagated and reproduced by curators, writers, collectors, gallerists and artists.

Culture Clash makes a selection of representations from mass media available in an exhibition, presented side by side with work that deals critically with how and why these representations are still surfacing in a world where the artist has been thoroughly professionalized. Most of the art works in the exhibition are ripped and downloaded from archives and databases online. They are meant for reference only, and are not supposed to be exhibited. Here they are shown stripped of their technical brillliance and rid of an air of exclusivity.

Curated by Geir Haraldseth

Kritikk på Kunstkritikk.no her
Kritikk i Billedkunst her

2008-10-11T13:00:00.005+02:00

2006

aiPotu
Sky High

15.12 - 17.12

Contemporary Magazine article

2008-10-11T00:32:00.006+02:00

2006

El Parche

01.12 - 10.12

dj shockingtools

2008-10-09T15:53:00.010+02:00

2006

Slyngler

Ole Jørgen Ness
I´ll Give You Fucking OUTLAW

Verket er eksklusivt satt sammen for Bastards Slyngler etter et selvaproprierings prinsipp, hvor kunstneren re-kontekstualiserer fragmenter hentet fra de siste ti års produksjon. Tematisk tar verket utgangspunk i den tragiske historien rundt utryddelsen av den Tasmanske tigeren ( Thylacine ) på begynelsen av det 19. Århundre, hvor portvinsdrankede, podagrainfiserte britiske kolonister raserte den Australske flora og fauna, fult overbevist om sin evulosjonistiske fortreffelighet. ”The tiger was simply to stupid to tame”, og pungdyr generelt å regne som naturens makulerbare feilvare. Selv om den siste ”Tigeren” beviselig døde i Hobart Zoo 1937, rapporteres det stadig fra folk som mener å sett den, og det verserer teorier om at den har utviklet deg til nattjeger. Den er også gjenstand for et av verdens lengst fremskredne kloningsprosjekter, og ansett som ”a pet of the future”. Totalt fremviser verket kunstnerens kulturmytologiske orientering, og retter oppmerksomheten mot ”Det jagede kunstnersinn”.

Sverre Malling
Many a Blossom Shall Its Leaves Unfold

Andreas Tellefsen
Empathy For The Devil

2008-10-09T13:33:00.010+02:00

2006

BABYLON

Kuratert av Lars Laumann

08.04

JB BAYLE (FR)
1000 ANS DE JAZZ

1000 ANS DE JAZZ er et arkiv av JB Bayles prosjekter. Det sju år gamle nettstedet har, uten særlig respekt for åndsverksloven, samlet og resirkulert kulturelt avfall hentet fra nettverk knyttet til P2P. Nettstedet har også gitt ut samleplater med automatisert noise pop, obskure coverlåter og musikk fra ytterkanten av populærkulturen.
KJ UNKNOWN_ARTIST er et av JB Bayles aliaser som vil opptre live med et spontanoversettings-karaokesett, for første gang fremført i Norge.

CHISEL (SE)
Things to Throw

Chisel, er Dan Perssons soloprosjekt bestående av to elementer; elektrisk gitar og vokal. Person har tidligere drevet med med black og death metal, men har nå gått over til å spille hard garagerock med gutteroms sound og elementer fra folk goth. Persson har bl.a. spilt på Kling&Bang i Reykjavik og Project0047 i Berlin. Chisel / Dan Persson vil holde en minikonsert og lansere sin nye demo, Things to Throw.

Chisels mySpace side er her

BÅRD ASK (NO)
Physical Education Dance

Ask vil vise en video der han har tatt utgangspunkt i en statlig ”treningsvideo” fra Nord-Korea. Han har brukt bilder fra Nord-Korea i tidligere verk som An Evening in the Capital, og deltok i 2002 på ”The April Spring Friendship Art Festival” i Pyongyang.

Videosnutt finner du her

2008-10-09T12:10:00.009+02:00

2006

03.03 - 12.03

DANIEL JENSEN
The Adoration of Sir Flex-A-Lot

Daniel Jensen viser et arbeid bestående av en skulpturinstallasjon, tegninger og maleri. Installasjonen er konstruert lik et mikrokosmos som eksisterer parallelt med den strukturerte offentligheten. Dette mikrokosmoset har en egen mytologi med utgangspunkt i bl.a. alkymi og okkultisme. Her blandes populærkulturelle referanser med mystisisme og invielsesritualer i vårt moderne samfunn. The Adoration of Sir Flex-A-Lot er inspirert av Aldous Huxleys science fiction roman Ape and essence fra 1949. Ape and essence er skrevet som et filmmanus og er Huxleys visjon av menneskehetens forfall. Det foregår i år 2108 da en oppdagelsesekspedisjon fra New Zealand til slutt når California. Det er mer enn et århundre siden verden ble ødelagt av en kjernevåpenkrig, men radioaktiviteten og sykdommer tærer fortsatt på de overlevende. Ekspedisjonen forventer å finne død og fordervelse, men er ikke forberedt på det moralske forfall de møter i et samfunn der menneskeheten har blitt forvandlet til en primitiv, djeveldyrkende sekt.

IDA EKBLAD
C.U.(on the other)SIDE

"I would like to change the word suicide...to suisad, which would mean 'self-sad'... I think that it would be more illuminating than saying that someone has murdered himself... They want to save themselves but 'murder' the sadness." P. Cantor

Ida Ekblad viser collagearbeidet Death Wish (Ars Moriendi), som består av avbildninger av selvmordsofre. Materialet er hentet fra internettsider og bøker som inneholder foto, diskusjonsfora, teknikker og filosofi rundt selvmordshandlingen. Ekblad viser også verket My friend The Reaper, en svartmalt glassfiberskulptur som er en manifestasjon av døden, vandrende på jakt etter å skremme, friste og minne oss på dødsriket. Arbeidene tar utgangspunkt i fremstillingen av selvmord og død som områder fylt av tabu og personlig tragedie, og er et forsøk på å sette seg inn i hva som ligger bak valget om å ta sitt eget liv.

Kritikk i Morgenbladet finner du her
Kritikk i Billedkunst finner du her

2008-10-08T21:38:00.014+02:00

2006

50/50
Johannes Heldén
Bella Rune
Marius Engh
Anders Smebye

17.03 - 31.03

Bastard på ak28

Utställningens titel 50/50 spelar på at de norska galleristerna och konstnärerna Anders Smebye och Marius Engh har bjudit in två svenska konstnärerna Bella Rune och Johannes Heldén att tillsamman med dom ställa ut på AK28. Tillsammans gör den svensk-norska gruppen en monumental och mystisk berättelse i AK28s gallerirum.

For mer info, gå hit

2008-10-08T20:56:00.009+02:00

2006

http://www.ak28.org/

2008-10-08T20:25:00.004+02:00

2005

25.11 - 04.12

Liv Bugge

Per-Oskar Leu

Her er en slakt

2008-10-08T19:26:00.012+02:00

2005

Erik Pisani

A19 er et installasjonsarbeid som tematisk kretser rundt begreper som karma, akkumulert karma, formverdenens endelige opphør og gjenfødsel (reinkarnasjon). A19 er en 19 min lang on-site recording i loop, hvor gallerirommets akkustikk og trafikkmaskinen utenfor danner ramme for et minimalt lydbilde.

Jone Skjensvold

Prosjektet atotal tar utgangspunkt i kunstnerens arbeid med egne religiøse/spirituelle ideer. Disse prosessene materialiserer seg i form av performance/ritualer, installasjoner og objekter. Installasjonsarbeidet state of soul er en visuell komposisjon bestående av flere elementer. Elementene omhandler begrepet sjel, og sammen danner disse et mangefasettert og personlig bilde av sjelstilstander.

2008-10-08T19:17:00.003+02:00

2005

U-N-I-O-N 2

Det andre nummeret av kunst- og kritikktidsskriftet U-N-I-O-N handler om bilder og inneholder blant annet essays av Jan Verwoert og Mara Lee, kritikker av Frans-Josef Peterson og Florence Derieux, samt prosjekter av kunstnerene Cevdet Erek og Andreas Mangione. For en tid tilbake var det populært å klage over ”overfloden av bilder” i vår kultur og framsi dystopiske fantasier om ”simulasjonenes overtak” og ”virkeligheten oppløsning”. Men at vi er omgitt av bilder betyr ikke nødvendigvis at det finnes noe egentlig mangfold av bilder. Det som omgir oss er istedenfor en gedigen billedlig monotoni, en endeløs repetisjon av spekulative og forutsigbare modeller for hvordan bilder skal komponeres eller kombineres med andre elementer. Det er fremdeles på høy tid å mangfoldiggjøre bildene.
I U-N-I-O-N 2 finnes det tekster om alt fra Misha Pedan, Gerhard Richter og Carl Fredrik Hill til Jay Leno, Corbis Corporation og CSI Las Vegas, samt billedprosjekter fra krigen i Irak og bakgårder i Istanbul.
U-N-I-O-N ble startet i 2004 for å skape et forum der kunst og kritikk kan operere på egne vilkår og der deres relasjon til hverandre og til andre nærliggende disipliner kan finnes opp på nytt.
Det første nummeret fikk mye oppmerksomhet da det kom ut og tidsskriftet ble samme år nominert til Nöjesguidens Stockholmspris i kategorien kunst.
U-N-I-O-N er et tidsskrift for kunst og kritikk som er tilegnet alt ubetalt arbeid i verden. Det er ikke-kommersielt og annonsefritt, og drevet av Kim West og Karl Larsson.

2008-10-08T17:30:00.004+02:00

2005

NABOLAGET
Bjørn Bjarre
Sigbjørn Dyrøy
Anna Carin Hedberg
Ebba Moi
Ulf Verner Carlsson
Alexander Rishaug
Marius Engh
Anders Smebye

13.05 - 22.05

2008-10-08T12:47:00.001+02:00