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Den digitale og den fysiske kunstnerboken: Et forprosjekt
Get PDFDette forprosjektet har utforsket hvordan kunstnerisk publisering i krysningspunktet mellom det digitale og det analoge kan ta form, samt hvordan ulike samarbeidsmetoder kan stå sentralt i en prosess.
Forprosjektet er delt opp i fire delprosjekter med ulike formater: lesegruppe, workshop, foredrag, essay og pamflettserie. Enkelte av delprosjektene har hatt det digitale rommet som tydelig omdreiningspunkt, mens andre er orientert rundt den fysiske siden av kunstnerboksjangeren. De ulike formatene og mediene i delprosjektene har påvirket både prosess og resultat, og alle delprosjektene er farget av hverandre. Delprosjektene er publisert på forskjellige måter, og vil dermed møte offentligheten på ulikt vis – enten offentligheten er en gruppe studenter, publikum ved et symposium eller lesere av et tidsskrift.
Kunstnerisk publisering er et fleksibelt og sammensatt felt som kjennetegnes av hybride arbeidsmetoder og prosjekter. En enkelt kunstnerbok kan romme en rekke sjangre og formater, og en utgivelsespraksis kan kombinere et bredt spekter av faglige ståsted. Kunstnerbokfeltet oppstår dermed i møtepunktet mellom en rekke ulike disipliner, fagområder og ideer. Det er nettopp disse møte- eller krysningspunktene som er feltets mest sentrale kjennetegn, ikke en spesifikk estetikk eller materiell tendens.
I dette forprosjektet har refleksjonen rundt hvordan feltets premisser kan informere videre arbeid og utforskning stått sentralt – både når det gjelder tverrfaglige samarbeidsformer og spennvidde i medier og publiseringsformater. Hvordan kan den konseptuelle helhetstenkningen om form, innhold og distribusjon som danner kjernen i kunstnerboksjangeren være et fruktbart utgangspunkt for å utforske kunstnerisk publisering i krysningspunktet mellom det digitale og det analoge
Footprints and handouts III
No full textSingle A4 sheets, two faced print, 6 line paragraph meter, 3 imagesFootprints and Handouts spring from designer Norman Potter’s idea for a publication announced in his workshop monograph on various exchanges (projects, correspondence, poetry and performance) that he did during his life in Models and Constructs—Margin Notes for a Design Culture (1990). He announced the forecasted footprints and handouts in the following terms (he never got to publish them as he passed away in 1995):
“There is an unseen part of this book, drawn from from my teaching work in architecture. This component split off at an early stage, and I hope to publish it separately under the title Footprints and handouts.”
Footprints come from steps: the sense of solitary exploration in which each new footstep follows the next: one at a time. A performative definition of each step, is that it projects a new step to follow it. Each new step leaves the previous step and implies a step to come. Walking—and its footprints—therefore counts a minimum of three steps (rather than two). Footprints feature the parcours: the perambulation of the topics in the present second collection is a case in point. It is a parcours.
Handouts come from giving: the sense interactive exploration in which the each handout features a snapshot of an exchange fragment in very different relationships. Essentially they celebrate a culture of education, which might be a rephrasing of theory in our time: beyond pedagogy, the innate cognitive human proclivity to theorise.
From Gilbert Simondon we know that ‘information’ also writes ‘in formation’. Accordingly, if we are interested in information in other terms than the bandwidth and computing needed for signal accuracy—that messages are wired—and instead are interested in information as a category of marks with a potential of clarifying the terms on which problems are set (precisation, Arne Næss), then we can take interest in the fictional aspects of information that will be marked by reality.
Once something has come to pass is already the past: as it happens—especially if it appears to be random—it has a projective power, and thereby a future, opening up for our response as it happens in the present. From lack of such performance, or response, the random turns into futures past. What could have been but never came about. The idea that we do not impose form, but that reality is constantly in formation, changes our odds quite a bit (cf, our approach to steps).
The handouts have a distributive function, while the footsteps are operative. The contents in the handouts materialise analyses in which operative and distributive aspects of dated topics are combined in aspects that are like diary (distributive) and the portfolio (operative). The collection materialises the expression of these topics as steps. The compound can accordingly be understood as a combination of a collection and an archive, providing materials for more complex categorisations in other publications
Avgang 2023 : Welcome and Goodbye <3
Get PDFAvgangsutstilling bachelor i medium- og materialbasert kunst, Avdeling Kunst og håndverk, 2023.Studenter:
Solveig Aamodt, Michael Aaseth, Hannah Aune Hellem, Kevin Axelsson, Sara B. Gjestland Zamecznik, Torger Baie, Karen Berge, Ingrid Bjørdal, Anna-Victoria Borgersrud, Dorthe Sophie Bosse, Dåra Dorky, Louise Evensen Herreira, Majken Hove Jensen, Lea Geertsen, Aasa Gravdahl, Jenny Hamrell, Ingrid Hopland Gimse, Sissel Johansen, Julia Juväng, Noomi Knape Pyk, Cecilie Leidalen, Veronica Lund, Vilma Lundholm, Henriette Mauritz Nordbeck, Margrete Netland, Øystein Rolland Magnussen, Iliana Papadimitriou, Sofia Quan Heggelund, Anne Beate Smit Hasli, Thisbe Stadler, Hannah Stockem, Victoria Angelica Schilling Erichsen, Stella Vallik, Maja Helene Vestergaard, Anne Wallin Oven, Georg Wilter Schwer, Mathias Wischu
process, performance and production in the learning theatre
Get PDFPanels, Manuscript and sourced imagesThe full title of the lecture is: Theory development as dramaturgy for the MA—process, performance and production in the Learning Theatre. It is prepared as a backdrop for a lunch-presentation in Prorector Heidi Haraldsen’s education forum #7 (utdanningsforum #7) at KHiO (19.01.23).
The framework of the intervention is: artistic research and teaching in the MA. It seeks to tease out some performative aspects—based on experiences sampled from the MA in design, dance, theatre and art & crafts—between process and production.
It queries the push of material expression unto the materialisation of content (Hjelmslev, 1943) in dialogue with new materialism (Barad, 2007), which in these aspects may not be so new. The topic has been on the author’s plate since he discovered it in Eco’s Trattato di semiotica generale (1975)/A theory of semiotics (1976).
Featuring the semiotics of invention: the connection between deep semantics, cognition and performance.
Research question: does the quality of material expression, when prompting an artistic materialisation of contents, intercept desired virtues of theory development in art and design?
The downloadable elements in the left column broadly correspond with the elements that the MA-candidates submit in Theory 3/T3 (the exam).submittedVersio
Actions Exist, and So Do the Consequences, But the Person Who Acts on It Does Not
No full textThis text is a collection of ideas and memories narrating my process of discovery in becoming an artist. In my practice, I attempt to comprehend what forms our understanding of ourselves in relation to the other and the world that surrounds us, a broad complex investigation that leads to more questions than answers. As a matter of fact, answers are all but what I am looking for. I accept my own brainy limitations, but most of all, I consider the boundaries of comprehension of my species. Although we are constantly expanding knowledge, some mysteries will remain. My interest in how the world within relates to the world outside guides me in multiple directions, like branches of a tree that keeps on growing. The act of making is intuitive. I experiment with materials, questioning the choices made in retrospect. Comprehension doesn't come before a work is produced but rather during and after. The uncontrollable need of making things is directly related to the evergoing investigation into the mysteries of the human mind. In an attempt to decode my creations, I initiated a game of puzzle with no intention of concluding it. The purpose of the game is not to finish the puzzle but to collect pieces and discover ways to connect them. I work on a continuous project informed by my interest in the subjectivity of perception. I question the blurred definition of identity, consciousness and the self by making my subjectivity a theme in my practice. My curiosity lies in how identity is not a constant but rather a fluid construction, very much influenced by our surroundings. We are not unique and autonomous as it feels. Instead, our behaviour is conducted by beliefs that travel outside our conscious awareness. We have been programmed to follow hierarchical structures of power formed long before our time. By exploring my own vulnerability in these power dynamics, I try to understand how the dualisms mind-body, culture-nature, and female-male relate to each other, dictating the hierarchical systems in which we live. I strongly sense a connection in all the subjects mentioned in this text, even though I am yet to delineate clear lines that link them together. Describing my relationship with materials, I emphasise the importance of working with organic and edible materials, illustrating the connection that food has with identity. I explore how food carries information through time, connecting the micro to the macro as it accesses individual and social layers of memory. Visually and ideologically, food is the element that glues all together
Neo-worlds: Transformative Agency through Fright, Rite, and Myth
Get PDFThis practiced-based artistic research project traces the power of rite and of active mythic thinking to resignify modern experiences of fright, from barren and isolating experiences to potential sources of learning and transformation.
It uses my own near-death experience in childbirth as case to explore how ritual action and active mythic thinking might serve to mend the gap instilled by fright between frightened subjects and their surroundings. Similarly, the project investigates how active mythic thinking may equally operate on the levels of society and culture to help generate collective other-becoming beyond modernity’s organisation of humanity and nature.
The critical reflection is carried out in dialogue with: A) contemporary art theory and anthropological theory regarding myth and ritual, as well as liminal and liminoid states of being, and auto-ethnography. B) my own artworks and experiments carried out throughout my years as an artistic research fellow to familiarise myself with methods of active mythic thinking on practical, artistic and embodied—rather than theoretical—levels. C) the works of fellow artists.
The project culminates in the exhibition Rovhistorier | Histories of Predation at O — Overgaden, which focuses on the shapeshifting figure of the mermaid or -man in the dissident mythic heritages of the peri-Atlantic regions, among them the Danish West Coast. Imaginarily appropriating the predatory gazes of the Atlantic grey shark—in Danish: the ‘havkal,’ i.e. merman—and the modern microscope (the latter as a technoscientific cipher), the exhibition performs the human desire to know, and negotiate with, obliging forces across distant locations in time and space.
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Dette praksis-baserte kunstneriske forskningsprosjektet undersøker kraften til riter og aktiv mytisk tenkning for å gjenforhandle moderne opplevelser av skrekk, fra golde og isolerende opplevelser til potensielle kilder til læring og transformasjon.
Prosjektet er basert i min egen nærdøds-erfaring i fødsel, som brukes som case for å utforske hvordan aktiv mytisk tenkning kan tjene til å bygge bro over det gapet som skrekken innpoder mellom skremte subjekter og omgivelserne deres. På samme måte undersøker prosjektet hvordan rituel handling og aktiv mytisk tenkning kan fungere på like nivåer i samfunnet og kulturen for å bidra til å generere kollektiv transformasjon bakom modernitetens organisering av menneskeheten og naturen.
Den kritiske refleksjonen gjennomføres i dialog med: A) samtidskunstteori og antropologisk teori om myte og ritualer, samt liminale og liminoide værenstilstander og autoetnografi. B) mine egne kunstverk og eksperimenter utført gjennom mine år som kunstnerisk stipendiat for å gjøre meg kjent med metoder for aktiv mytisk tenkning på praktiske, kunstneriske og legemliggjorte—snarere enn teoretiske—nivåer. C) verkene til andre kunstnere.
Prosjektet kulminerer i utstillingen Rovhistorier | Histories of Predation ved O — Overgaden, som fokuserer på havfruen eller -mannen som en formskiftende og transformativ figur i dissidente nedarvede myter på tværs av det peri-atlantiske område, blant annet langs den danske vestkysten. Ved å tenke seg å tilegne seg rovvilts-blikket til håkjerringa—det vil si ‘havfruen,’ eller på dansk: 'havkalen:' ‘havmannen’—så vel som det moderne mikroskopet (dette som et teknovitenskapelig chiffer), performer utstillingen menneskets ønske om å kjenne til, og forhandle med, forpliktende krefter på tværs av fjerne steder i tid og rom
No Nodes
Get PDFIn my thesis, I explore the ideas of symbiosis and obliteration of the individual through a practice based on foraging and traditional craft. To help me in my explorations I draw on indigineous ways of being, Buddhist thought, the philosophy of Gilles Deleuze, the anthropological research of David Abram and David M. Guss, and the poetry of Rainer Maria Rilke
Kime
Get PDFSkriftlig del av masterprosjekt, Kunst og håndverk, 2023 Written part of master project. Arts & Craft, 202
Time As Medium
Get PDFThe symposium Time as Medium will explore the contemporary re-evaluation of painting and ask how painterly gestures are understood differently through time. In collaboration with KHiO. Free and open for all. This question will extend to how contemporary practices in painting work with representation, discovery, and playfulness through a medium that has historically understood itself as communicating ‘through the ages.’ If painting is not a ‘comrade of time,’ in that it is not a strict representation of a moment in time, how does its behaviour change the way painting is understood at different moments and contexts. The symposium will move outward from practice based questions of making, through examining Amy Sillman's practice, to larger questions around reception and historicization.Norsk:
Lenke til sympsium på Youtube: https://www.youtube.com/watch?v=RQiKGvrVNX8
Symposiet Time as Medium var en lang prosess med organisering, i samarbeid med Astrup Fearnley Museet. I praksis støttet museet symposiet ved å legge til honorarer til hver foredragsholder og hjelpe til med middag og hotell for foredragsholderne. Symposiets budsjett gjorde at det realistiske antallet inviterte gjester ville være 3 personer. Dette fungerte også bra for å holde det til en eneste lang kveldsdiskusjon, som passet til formatet til Astrup Fearnleys foredragsserie.
Etter mange gjentakelser og invitasjoner og samtaler, ble endelig de tre gjestene booket i april 2023: Mark Godfrey, Monika Baer og Amy Sillman. De tre foredragsholderne ble invitert til å snakke om temaer om tid i forhold til maleri. Jeg var spesielt interessert i hvordan malerier både kan illustrere tid, men at det også i refleksjon av hvordan maleri vurderes over tid, er en skiftende forståelse av hvordan tiden fungerer.
Mark Godfreys foredrag var spesielt opplysende ved at han diskuterte hvordan bevegelser utviklet på 1960-tallet i maleriet faktisk ble gjentatt på begynnelsen av 20-tallet under forskjellige kategorier av tenkning. Monika Baers foredrag fokuserte på hvordan iscenesettelse og bevegelse har vært avgjørende for utviklingen av hennes arbeid, og hun kom også inn på hvordan hun innen maleriet forsøker å frembringe en bevegelse som forstås som utfolder seg gjennom tiden. Amy og samtalen min fokuserte på hvordan jeg tror at Sillmans prosess i maleriet, som er flerlags og komplisert, viser tid som utspiller seg på en samtidig måte, noe som kanskje speiler en slags samtidsforståelse av tid som eksisterer utenfor en tidslinje.
Offentlig mottak:
Det var en meget god mottakelse fra publikum og artister som var tilstede på foredraget. Jeg hørte veldig positive tilbakemeldinger og ble gjentatte ganger fortalt at det er et ytterligere behov for offentlige samtaler om maleri i Oslo, som jeg håper å oppfylle i min rolle ved KHIO.
Kampanjen for foredraget ble spredt vidt. Jeg har tatt det opp, og jeg prøver å overbevise Amy og Monika om å tillate en online youtube-tilstedeværelse av foredraget, på Astrup Fearnley-kanalen. Jeg avventer deres tillatelse til dette, da jeg tror det ville være greit å distribuere det bredere, da mange skrev til meg at de gjerne skulle sett det på nett, utenfra.
Innvirkning:
Boken min, utgitt sent i 2023, med tittelen Vital Signs, og utgitt med Occasional Papers og Frans Masereel Centrum, samler 10 års forfatterskap og inkluderer en omarbeidet versjon av min introduksjon til symposiet som siste tekst. Denne boken ble veldig hjulpet, både i innhold og evne til å samle inn penger, ved å ha foredraget på Astrup Fearnley inkludert i den.
Min separatutstilling Vital Signs i Kunsthall Oslo i oktober 2023 er også et direkte resultat av å kunne arrangere symposiet, samle inn penger til en skriftbok, og deretter ha en separatutstilling som følge av utstillingen. Denne utstillingen var min første separatutstilling i Norge og har lagt grunnlaget for videre utstillinger samt utvikle nye arbeidskropper, inkludert samarbeidsarbeid, og utstillingsstrategier.
Jeg hadde begynt å planlegge for en serie pågående foredrag om maling i Oslo med Muralverkstedet i Oslo. Planene mine ble forsinket av treg kommunikasjon med styret, det tok måneder å få svar på om jeg kunne invitere Ragna Bley. Jeg har bestemt meg for å rette oppmerksomheten mot Color Lab i de kommende årene, med det lille budsjettet jeg kan, på campus ved KHIO.
Jeg ønsker å utvikle symposiet til en bredere publikasjon. Jeg har transkripsjoner av de tre foredragene av meg selv, Amy Sillman og Monika Baer. Jeg føler dette er grunnlaget for en større bok om maleri, men jeg må søke om ytterligere prosjektmidler, eller forskningsmidler for å utvikle en serie samtaler og intervjuer som fokuserer på hvordan maleriet i seg selv er sentralt i en utvikling av terminologier og tenker som er nytt og utviklende i samtidskunstverdenen.
English:
Link to symposium on Youtube: https://www.youtube.com/watch?v=RQiKGvrVNX8
The symposium Time as Medium was a long process of organising, in co-ordination with the Astrup Fearnley Museet. Practically, the museum supported the symposium by adding to each speakers fees and to helping with dinner and hotels for the speakers. The symposiums budget made it that the realistic amount of invited guests would be 3 people. This also worked well to keep it to a single long evening discussion, which suited the format of Astrup Fearnley's talks series.
After many iterations and invitations and conversations, finally the three guests were booked in April of 2023: Mark Godfrey, Monika Baer and Amy Sillman. The three speakers were invited to speak on topics of time in relationship to painting. I was particularly interested in how paintings can both illustrate time, but that also in the reflection of how painting is evaluated over time, there is a changing understanding of how time functions.
Mark Godfrey's talk was particularly enlightening in that he discussed how gestures developed in the 1960s in painting were in effect repeated in the early 20’s under different categories of thinking. Monika Baer’s talk focused on how staging and movement have been essential to the development of her work and she also touched on how she attempts within painting to enact a movement that is understood as unfolding through time. Amy and my conversation focused on how I believe that Sillman’s process in painting, which is multi-layered and complicated, shows time unfolding in a similtaneous manner, something that mirrors perhaps a kind of contemporary understanding of time which exists outside of a timeline.
Public reception:
There was a very good reception from the group of public and artists present at the talk. I heard very positive responses and was told repeatedly that there is a further need for public talks on painting in Oslo, which I hope to fulfil in my role at KHIO.
The promotion for the talk was spread widely. I have recorded it and I am trying to convince Amy and Monika to allow an online youtube presence of the talk, on the Astrup Fearnley channel. I am awaiting their permission for this, as I think it would be good to distribute it more widely as many people wrote to me that they would have like d to have seen it online, from out of town.
Impact:
My book, published in late 2023, titled Vital Signs, and published with Occasional Papers and Frans Masereel Centrum, brings together 10 years of writing and includes a re-worked version of my introduction to the symposium as the last text. This book was very much aided, both in content and in the ability to fundraise, through having the talk at the Astrup Fearnley included in it.
My solo exhibition Vital Signs at Kunsthall Oslo in October 2023 is also a direct result of being able to host the symposium, fundraise for a book of writings, and then to have a solo show to accompany the exhibition. This exhibition was my first solo exhibition in Norway and has laid the ground for further exhibitions as well as develop new bodies of work, including collaborative work, and exhibition strategies.
I had begun to plan for a series ongoing series of talks on painting in Oslo with the Muralverkstedat in Oslo. My plans were delayed by slow communication with the board, it took months to hear a response to whether I could invite Ragna Bley. I’ve decided to turn attention in upcoming years to the Color Lab, with what small budget I can, on campus at KHIO.
I would like to develop the symposium into a wider publication. I have transcriptions of the three talks by myself, Amy Sillman and Monika Baer. I feel this is the basis for a larger book on painting, but I need to apply for further project funding, or research funding in order to develop a series of conversations and interviews that focus on how painting itself is central to a development of terminologies and thinking that is new and developing in the contemporary art world