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Ut å fange visjoner
Get PDFUt å fange visjoner utforsker en rekke personlige spørsmål i møte med overgangen mellom bokformatet til maleriet, fra et feministisk perspektiv. Essayet utforsker tanker rundt egen stemme, hvordan abstrakt ekspresjonisme kobles til feminisme, samt hvordan den samme tematikken relaterer til installasjon
Homing in the corridor weeks
No full text1 Descriptor_thumbnail, 22 elements, blurbFootprints 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. 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 22 topics in the present 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. They accordingly feature the analysis and portraiture of different discourses. They have been developed around in the expanse of two weeks—weeks 10 and 11 called corridor weeks, at the design dpt.—and part of their function is to visualise the rhythm of a volume of essays with 1000 words and 3 images.
This is part of the curriculum in a course called Theory 2 devoted to theory development. There are 22 students in the class. The other function was to explore what it means to bridge artistic research with teaching, which was a topic launched by Camille Norment at the Artistic Research Week this year (2023). Some of the topics of my ongoing research at the National Library—in the project Trolling words—have been circulated in teaching, but the topics reach far beyond this.
The reader can therefore consider the Footprints and Handouts an exploration of the relation between analysis and portraiture in 22 iterations, based on a global experiment (explained above), 22 narratives, a fixed format and with the function of scenarios: in the expanded sense of proposing present alternatives within and beyond the current. That is, the present understood as alternative propositions from the now: alternative possibilities under the everyday calls and cries.
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).
If we use chance-methods—which has been quite common in the art-field over the years—what we get is contingencies: if we want to turn these into vantage points of their own, which are unhinged from our presence/absence, then we have turned from the determining importance of our presence/absence as an illusion, to an understanding of fiction as a vehicle through which the real can think itself. That reality truly is a thinking thing. And that fiction is the complement of form.
Just as portraiture is the complement of analysis. Or that immersion—our partaking of reality—is the complement of reality in formation. Being a designer is acting positively a partner to creation. This understanding of the designer derives from a relation between analysis and portraiture, in which the in-formation recorded and replayed by the designer, joins the designer to the equation: since s/he is a difference that makes a difference. My work at the National Library is design work.
To each push there is a second one implied: to the footprints and handouts in 22 iterations, there is a second wave transposed unto analysis and portraiture (which is the core of what the 22 iterations explore). In this aspect, my current work on a private archive—left to me by K and La Kahina—at the National Library of Norway—features a character analysis of that archive, and a attempt at portraiture with 22 faces. The possible repertoire needed to engage with that material.
That is, in essence, a proposition: an artistic proposition with 22 aesthetico-epistemic operators (consistent with M. Schwab’s definition of exposition). Here, a fiction is but a second wave of the pulse the lies behind it. In the Talmudic literature it has a parallel in the court-house of dreams: here the dreamer came and said “I have had a dream”, which s/he then is helped not only to analyse but improve: the unconscious must be involved in our attempts to understand the real
F-U-Þ-A-R-K
Get PDFNorsk:
Boken presenterer verk fra årene 2014–22, der jeg har utforsket runer
som et skriftsystem, som drivere i mening, form og konsept. Kunstner-forsker-boka er
en plattform for tanker som henter næring fra menneskehetens språklige forvirringer,
kroppsliggjort kunnskap og teknologisk utvikling.
English:
The book presents works from the years 2014–22, in which I have explored runes
as a writing system, as vehicles of meaning, form and concept. The artist-researcher-book is
a platform for thoughts that draw nourishment from humanity’s linguistic confusions,
embodied knowledge and technological development
Re-evaluating Gestures
No full textImpact:
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, and its relationship to looking back in time and thinking newly about older works as well.Norsk:
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 på Astrup Fearnleys foredrag.
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 gester utviklet på 1960-tallet i maleriet faktisk ble gjentatt på begynnelsen av 20-tallet under ulike kategorier av tenkning. Monika Baers foredrag fokuserte på hvordan iscenesettelse og bevegelse har vært essensielt for utviklingen av hennes arbeid, og hun kom også inn på hvordan hun innen maleriet forsøker å skape 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 moderne forståelse 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 bredt. 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 ettersom mange mennesker skrev til meg at de gjerne skulle sett det på nett, utenfra.
English:
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 Fearnleys talks.
After many 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 Godfreys 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
Tilpasset opplæring for motivasjon ved skader og sykdom i videregående skole
No full textEmnekode og emnenavn/ fag: PPDPE Pedagogikk og PPDFD FagdidaktikkAvsluttende eksamensoppgave. Årsenhet, praktisk-pedagogisk utdanning i dans ved Avdeling Dans, 202
A place for unfinished memories
Get PDFSkriftlig del av masterprosjekt. Avdeling Kunst og håndverk, 202
Folk tror foxtrot: MFA Graduation show 2022
Get PDFPamflett. Verksliste. Fotodokumentasjon. Fotograf: Istvan Virag.Avgangsutstilling, master i billedkunst, Avdeling Kunstakademiet 2022.
Studenter: Benedict Beldam, Patricia Carolina, Tansiyu Chen, Henrik Follesø Egeland, Chloe Elgie, Makda Embaie, Cirenia Escobedo Esquivel, Mattias Hellberg, Kaja Krakowian, Eli Mai Huang Nesse, Jonatan Nilsson, Hanne Nilsen Nygård, Lesia Vasylchenko, Hamid Waheed, Annalise Wimmer.
Kurator: Lisa Rosendahl.
Visningssted: Kunstnernes Hus, Oslo. Tidspunkt: 19. april - 1. mai 2022
Transenvironmentals: future bodies
Get PDFSkriftlig del av bacheloroppgave, avdeling Kunst og håndverk 202
PRESENTATION OF A PORTFOLIO AND PROPOSAL OF AN ANTHROPONOMIC REFRAMING OF FIELD-RECORDS
Get PDFTwo articles in pdf, access to full issue of DAC vol 1 & vol 2
Journal: Design | Arts | CultureDAC 3 Vol 1 & Vol 2
ISSN: 2732-6926 & ISSN: 2732-6926
The purpose of this article is to present a research portfolio – composed of an online archive and an index from 2020-22 – and perform its outcomes in a memory-theatre. The design needed for this theatre is modelled on Baruch Spinoza’s Ethica, in which the order of a geometrical demonstration hosts a philosophical investigation. The non-same rules/ heteronomy of the host and the guest, in Spinoza’s opus magnum, is an instance of a wider phenomenon which the article seeks to explore and exploit: the docking of an investigation, by the means of a contraption that is foreign to it, intercepting images of what the present may have in store (whether past, present, or future). The sensorial cogency that picks up on elements it can comprehend, but never fully contain: the mnemonic slippery nature of the image. On this backdrop, the article discusses different ways of pairing up with the environment, through media that are hosted rather than belonging there: the different terms of populating the present, being together or forming a group, serve to elucidate certain aspects of memory – mnemonic devices with an environmental footprint – in fieldwork, laboratory research, digital culture or presently the electrosphere. The article thereby seeks to develop and propose some designs to work with the problem of interception – picking up changes in the ‘memory of the present’ (Bergson, 2021): what it holds and what it has in store. The article seeks to establish a parity between apparatuses with such impact, in view of comparing them: whether they are as simple as 1) a post in a hole (a datum), or more complex as 2) a computer docked to a home-office (another datum). In the presentation of the portfolio, a f ramework for partaking of such changes, compiling the experience prompted by them, is proposed (Benjamin, 1999). The major feature of this f ramework is then deepened in a situated case-study: here, positions coexisting and valued on different terms, in the presence of a cabin in reconstruction, shift as they are logged in a guest book. In a section on design, the article probes a broader applicability of what has been found in the case-study, based on a wider fieldwork experience. Principle: repair also writes re-pair. In the conclusion, a design for a ‘contemporary interception’ is demonstrated visually. The anthroponomical f ramework is conceived as a scholarly contribution to art, and an artistic contribution to science, through a mnemonic understanding of the technical image