Offi ce for Contemporary Art Norway Annual Report 2006 Director’s In Fall 2006, I was invited by the Nor- tempt to manipulate it so that it stays wegian Ministry of Culture to draft in close proximity in order to benefi t a paper related to the topic – “What the international global economy. Foreword are the challenges facing Norwegian As the Director for the Offi ce for cultural politics in a globalized era?”. Contemporary Art Norway, this real- In defi ning my opinion, I specifi cally ity is at the very centre of my work elaborated upon the Offi ce for Con- and OCA’s challenge to continue to temporary Art Norway’s position with ensure that contemporary art and respect to the topic and in relation culture, and the artists producing that to Norwegian international cultural art, are treated with the utmost pro- politics (if to refer to culture as inter- fessionalism according to the criteria changeable with contemporary art, set out within the profession and not contemporary culture and production according to an increasing pressure and ”Norwegian” to be considered from the commercial sector. This is as a pluriform perception of national a particular challenge during a time identity). A valid point of departure when the commercial and non-com- may be a citation by Els Van de Plas, mercial sectors have never been Director of the Prince Claus Fund more porous. in Holland, who notes that “interna- tional cultural policy, is, in a number Such a challenge encourages re- of ways, pure politics.” This is an vised thinking about how OCA may unjustifi able position according to continue to develop beyond simply Van de Plas, who asserts that “the a grant giving body alone into a pro- point of departure should always be grammatic organization that utilizes cultural quality.” Her position only its professional knowledge and emphasizes that a particular level of experience to develop programmes integrity within the cultural fi eld is of content that further facilitate the increasingly challenged by an over- serious treatment of artists and whelming driving force that promotes curators. These questions arise not the authority of generalists who feel only out of a critical evaluation of that culture may succumb to market- OCA (released some years ago), ing as a medium of promotion. This but, moreover, in the light of a real- incessant need to seize culture as a ity that makes the traditional model tool inseparable from international of import/export for cultural founda- economic forces is exactly what tions increasingly obsolete. Cultural reduces any cultural product to the foundations providing grants to lowest common denominator and artists are increasingly evolving extracts it from culture to subsume into what the Rand Corporation, the it into the realm of market alone. nonforprofi t research institute on The renowned urban sociologist culture and public policy based in Edward Soja noted in a 2003 confer- the United States, refers to as ”cash ence in the CCCB in Barcelona that machines without clout”. In addi- the culture industry now stands as tion to their grant-giving mandate, second to the tourism industry as national foundations are fi nding it the top global economy in the world. necessary to additionally generate In this sense, culture is steered by cultural experiences for a wider con- dominant economic forces that at- stituency of individuals in an effort

4 5 to make them understand how con- cal transformation in the process culture industry to choose to nego- private sector. In Norway’s example, temporary art can be an integral tool of the globalization of capitalism tiate, according to its own terms, we clearly see an absence of private in society. More traditional models as an economic and cultural form. without sacrifi cing its integrity. The funding of cultural, or more specifi - of national cultural foundations are This emerging global capitalist arbiters and brokers of such nego- cally contemporary art, initiatives steadily being challenged by revised modernity is to be considered as a tiations are, however, increasingly and projects. Without a long-range models set forth by the Swiss Insti- distinctively new historical form of delegated to individuals without programme in education, training, tute and the Austrian Cultural Foun- modernity itself. This position has knowledge and experience of the and moreover, with a change of tax dation, who locate their platforms been elaborated by my colleague value of art in an effort for it to serve laws, it is unlikely that the private as international forums of exchange, and OCA consultant on the Verksted as a kind of adornment to decorate sector will become receptive to public debate, and production. The series, academic Peter Osborne, affairs. How many times have we at- sponsoring contemporary art. To Mondriaan Foundation in Holland who has written at length about this tended poorly organized exhibitions abandon state responsibility for the has also made inquiries into optimal new historical form of modernity is under the guise of national umbrel- funding of contemporary art to a still and alternative models within an characterized, according to his anal- las – which have little to do with an insecure private sector of sources increasingly networked paradigm ysis, by the following three points: enlightening discussion around a would be an asphyxiation of the constituting the state of things. (see 1) that we live in an emergent global work of art – to not only further the very efforts the country has taken to All That Dutch: International Culture modernity, 2) that at the same time, career of an artist, but, moreover, build an international profi le. Politics released by the Mondriaan there are many modernities but the to fulfi l a more immediate need for Foundation, 2005.) logic of these modernities is quite establishing a short lived commu- International awareness of a partic- different – each one with a different nity for the duration of a cocktail? ular art world is inseparably linked Why all the recent political interest conceptual shape, 3) that global Nevertheless, these projects appear to curiosity on the part of artists to in how international cultural policy modernity is not fundamentally in numbers as social sideshows engage in an international dialogue is developed? Perhaps the source about the hegemony of the West, launched prior to banquets and as a and on the part of the international of its motivation may be located in but about the hegemony of capital. tonic to other museum exhibitions. art world to witness what transpires more theoretical points. The space These projects get us nowhere and within Norway. Programming and of art now occupies the non-place Art faces unprecedented forces they rarely provide the artist any real planning an evolving institution such as elaborated in the French anthro- to act as a by-product of this in- opportunity. They are quite simply, a as OCA is not merely a matter of pologist Marc Auge in his Non-Plac- vigorated global economic fervour, waste of money. planning one year in advance but, es: Introduction to an Anthropology increasingly reduced or enacted in rather, involves a longer term fath- of Supermodernity. LocatedLocated wwithinithin the name of good economic sense. Within this climate, one in which oming of an institution that extends what Manuell Castells denotes as Its challenge is to remain within a the culture industry sees itself as beyond a literal offi ce into a profes- the international space of fl ows, broader framework in the produc- the second leading economy inter- sional platform of dialogue, produc- the space of art as a non space is tion of knowledge, research, think- nationally, we are also witnessing tion, and sociability, which extends located within the conditions of ex- ing, and social linkage. Treated as a prevailing funding cuts in the state into planning years in advance. As istence that are undergoing a radi- work, it retains autonomy from the support of the arts throughout Eu- we have seen in the past year, OCA rope. Given the important role that is attempting to be an active facilita- culture plays as a profi le builder in tor of programmes, dialogues, and Cash on Delivery All that Dutch Album cover CMH Book cover the globalized world and its rela- networks for the professional arts Records 1999 NAi Publishers tive low cost in doing so, it appears community rather than a mere re- Design by Thonik counterproductive for governments cipient of applications. Among its 2005 to enact funding cuts visible in the many responsibilities, OCA seeks area of contemporary art. Perhaps out scenarios that can stimulate the motivated by a general tendency initiatives of artists within Norway. toward decentralization in funding And yet, the institution cannot be and administration, it is illogical a mere sieve for mediocre grant to decentralize without the devel- applications. In accepting applica- opment of a logical alternative in tions for support, OCA also chal- available funding sources within the lenges artists, curators, and critics

6 7 to illustrate an effort to present a her research visit to Tromsø: ”Knut that, whether we like it or not, now senior curators and directors – such certain level of quality within their Erik Jensen is a major media fi gure, simply demands a great deal more as Alanna Heiss, Director of P.S.1 proposals in order to encourage art- I discovered several of his fi lms and intellectual investment than before.” Contemporary Art Centre and Mu- ists to improve their own efforts in I feel the artist is due a focused and seum of Modern Art, NY; Chus Mar- building professional involvement. mini-retrospective.” More candid Perhaps a long citation, but this kind tinez at the Kunstverein in Frankfurt, In 2006, 110 out of a total 279 ap- and forthright commentary arrived of instrumental criticism is needed Phillippe Pierotte at the Kunsthalle plications for International Support from curators such as Dieter Roel- to help us understand how OCA can in Bern, Nicolas Schafhausen at were awarded funds, constituting straete from MUKHA in Ghent who be helpful in fi lling in the gap, so to Witte de With in Rotterdam. OCA OCA’s support of nearly 40% of all writes (and please bear with me speak. also brokered an important a major applications submitted. This fi gure because I think the lengthy analysis solo exhibition of works by Tom takes into account an increased warrants attention): In 2006, OCA hosted 36 interna- Sandberg, curated by Bob Nickas at level of funds per grant to allow for tional visitors/curators. This illus- P.S. 1/Moma, NYC in February 2007. more signifi cant project production. Oslo does boast an impressive trates an average of 3 curators per This marks the fi rst major exhibition OCA’s decision to fund art produc- roster of emerging artists with a month. Given that each curator’s of a Norwegian artist at a major NY tion demands a larger portion of the great deal of merit and/or promise, stay is usually 3 or 4 days in length, institution in twelve years (Jan Groth budget, but nevertheless provides, but with the relative youthfulness of OCA is effectively hosting an in- was shown at MoMA, NYC in 2004). fi rst and foremost, an opportunity the current scene comes a certain ternational curator each day of the for the artist to produce new work degree of naivety that is not always year on a nearly one to one basis. The International Studio Pro- while securing the visibility of OCA’s entirely benefi cial. Sure enough, na- Given the increasing level of activ- gramme, made possible with funds support toward that project within ivety is a precious quality in today’s ity in this area, we hired Erikka from the Ministry of Culture, has all printed and distributed matter. all too cynical, market driven global Fyrand as a full time coordinator also seen a renewed effort to be- art world, and the general interest of of that programme to secure the come a more visible programme OCA has adopted a more integrated many of Norway’s younger artists in needed attention to communicate within OCA and a more visible and policy toward its International Visi- idyllic, utopian landscaping, human- a comprehensive amount of infor- integrated programme within Nor- tors Programme of curators by de- ist portraiture, engaging with press- mation for respective artists. This way. Further to Dieter’s quote cited veloping longer-term relationships ing social issues, and the science of more engaged approach to the previously, the programme is not with particular international institu- form and ornament is a powerful an- International Visitor Programme only about housing international art- tions. In this way, the offi ce doesn’t tidote against the sclerosis of disaf- has resulted in an increase in the ists, but also about building an intel- merely function as an exchange de- fection and defeatism that is so per- number of venues exhibiting the lectual public forum of presenta- pot that lays out a plan and itinerary vasive in so many other art scenes work of Norwegian artists and also tions and debate as an extension of for the curator, but, instead offers the world over, but these interests in the number of more reputable OCA’s discursive programme. With the visiting professional an insti- and engagement would doubt- institutions hosting their works. We artists increasingly reserved for ISP tutional partner to promote com- lessly become even more powerful have forged formidable friendships residences one year in advance, prehensive research around artists antidotes – provided, of course, we with particular institutions and their the programme is contributing to and the larger cultural community agree on fi nding them necessary – if within which that artist works. The they were to be enriched with the curator is also requested to provide insights of a heightened criticality Screenshot from a comprehensive evaluation as to that would not shy away from prob- www.swissinstitute.net their thoughts on the Norwegian lematizing such exact categories as 19.09.06 art scene. Some use this format romantic landscape and humanist simply to express heartfelt thanks, portraiture. In short, what generally but others are using the opportunity seems to be lacking here is exactly to express their honest and profes- the heightened level of criticality sional opinion about the situation. – of self criticality fi rst and foremost There is a range in the responses – that would allow these young – Barbara London, Curator of Film artists to really partake in the art and Video, at MoMA, NY, writes of world’s international dialogue; one

8 9 a wider and alternative lecture and ing the consciousness of its pres- programme series. Invited residents ence within the arts community of also include theorists, art writers, Norway. and curators who benefi t from the extra time to conduct more thor- A simple scenario such as the OCA ough research. The reinvigorated Semesterplan has also prompted an programme and newly announced unprecedented response from the public programme has also provid- Art Academies in Oslo, Bergen, and ed OCA with the physical premises Trondheim with many requesting it so requires to constitute itself as the possibility to invite OCA resi- a contiguous whole (beyond mere dents as speakers to their respec- offi ces and studio space). Similarly, tive programmes. This has included OCA has updated its archive and the participation of Dan Graham in developed a public reading room the Art Academies in Bergen and overseen by postgraduate students Trondheim, in addition to other art- Tonja Boos and Elisabeth Weihe, ists invited to lecture in Khio in Oslo which is open to the public through- over the past year – Mike Bouchet, out the weekdays. Laura Horelli, and Sean Snyder. The ISP Programme not only provides What has proved integral to OCA excellent studio facilities for the reaching out to a wider public residents in Oslo, but also seeks to has been the adoption of a widely provide artists with access to the distributed OCA Semesterplan, outlying regions of Norway – includ- an advance scenario of lectures ing the visit of Ukrainian artist Ser- and talks to be held at OCA and hiy Bratkov to Kirkenes and Tromsø other sites. Inspired by an original and the young German artist Mi- TOM SANDBERG Bauhaus curriculum layout from chael Sailstorfer to Lofoten and the Untitled (Boy on horizon), 2001 1927, the schedule was released in West Coast – in order to further the Silver-gelatin print on alu- minium, 120 x 160 cm August 2006 with the intention of a network of professional contacts Courtesy of the artist/ Galleri regular release two to three times established to house and guide the Riis, Oslo per year to announce OCA’s future artists. programme plans. Politically, the programme aimed to provide an in- Upon my appointment as Director dependent forum of teaching given of OCA, I raised the importance of ØYSTEIN HAUGE AND DAN GRAHAM the heightened debate surrounding ”regenerative programming” – un- Dan Graham’s the Academy of Art in Oslo. Given derstanding that the straightforward talk, The Art the increase of our constituency model of export/import for national Academy in Ber- gen / 14.09.06 due to the previous talks at the cultural foundations has fallen into Photo: OCA School of Architecture in 2005, obsolescence, thereby requiring the programme was aimed toward ever evolving creative thinking. In students from the Art Academy, the addressing the interests of artists in College, the School of Architecture, Norway, we must equally approach the University of Oslo, in addition the amount of artists and curators to artists, etc. Since publicizing outside of the country. The extreme- this programme, OCA has seen the ly high cost of living and a desire to average attendance to its events be at the ”centre” prompts many of CLAIRE BISHOP’S TALK substantially increase, thereby rais- Norway’s artists to relocate to Berlin The Simulated Storm Has Ended: Rethinking the Spectacularisa- tion of Contemporary Art OCA studioes, 13.09.06 Photo: OCA

10 11 and New York where more often rary arts platform. Within the gov- associations. This is a scenario put disciplines, there are artists who than not, they are likely to be placed ernment guidelines, art academies forth by Pro Helvetia and it has re- select not to be defi ned as an artist. in group exhibitions at premiere were encouraged to have an inter- sulted in endless important non-for- This is to understand that the com- institutions (more than often unbe- national orientation, new residency profi ts arising internationally due to munity is not a staid one, but rather knownst to the Norwegian art com- programmes were set up through- substantial start up loans. Norway one that is continuously intervened munity). Part of OCA’s challenge is out the country, art festivals began could look to this model in adopting upon, supplemented, diminished. to counter what may result in a ”cre- working with clearer international the policy within the country. Fur- The community would benefi t from ative drain” because of economic profi les and international networks thermore, there needs to be a closer a cross over with the architectural forces preventing independent ini- were encouraged to set up their dialogue between entrepreneurs, community. Both communities, af- tiatives by reconnecting with those headquarters in the Netherlands. city developers, and artists – as has ter all, are involved with the future forging such initiatives abroad. Mi- In fact, this contributed to a height- been the case in many of the more imagining of a space which is not chael Elmgreen and Ingar Dragset, ened reputation of Holland as an dynamic cultural centres – in Berlin, restricted to the here and now; a for example, recently received one international player. Nevertheless, London, New York, and Moscow. The space that is not about isolation, of Germany’s most respected com- what the government overlooked promotion of independent creative but rather dialogue and sociabil- petitions, which went unpublicized was the additional support for inde- zones is essential in infusing the ity. Norway’s resources in this fi eld in Norway. In April, the artists re- pendent initiatives within the coun- Norwegian contemporary cultural are plentiful and the possibilities ceived a major commission from the try. The most engaged moments in scene beyond the appearance of for cooperation barely approached. German government for their design modern art history have been those a bureaucratic stalemate. It would Kjetil Thorsen and Craig Dykers of a memorial to mark the Nazi’s comprised of individuals, or smaller also take the incessant pressure from Snøhetta, Gro Bonesmo and persecution of homosexuals. The collectives who established a scene from defi ning the cultural scene in Gary Bates from Space Group, and proposal, accepted because of its independent from those arriving out terms of that which occurs within Einar Jarmund to name a few – in- “very controversial nature in relation of a more established infrastruc- commercial galleries. Without these dividuals who are as enthusiastic to the politics of memorials,” pro- tures. Contemporary art is an eccen- kinds of initiatives, I fear that we about an international dialogue as vided the artists with �500,000 from tric animal, but I have found that the may continue to face an exodus they are in landing their base of the German government for the individuals committed to contem- of the more interesting emerging activity in Norway. The vigour with memorial proposal, the construction porary art are, moreover, the most young artists. Issues such as these which they continually question the of which will start a full twenty-two driven and economically creative are certainly not inseparable to the fi eld in which they practice, led me years after a memorial of a pink and effi cient individuals. If provided interests of OCA in promoting the to seek out a collaboration between triangle—the symbol the Nazis used fi nancial impetus, these initiatives possibility for artists to organize in OCA and the National Foundation to identify homosexual inmates in may have important ramifi cations alternative spaces throughout the for Art in Public Buildings in a revi- concentration camps—was added to for society, in the diversifi cation of cities and in various regions. sion in the approach of public art. the camp at Mauthausen. everyday experiences, and more Understanding from Jørn Mortensen importantly, in lending to community Operating from an offi ce, OCA’s that the Utsmykkingsfondet was Whatever efforts OCA extends to building in the international sense. aim is to create a metaphorical ter- re-evaluating its own strategies, draw international cultural actors The lack of independent non-for- ritory beyond its present physical and given OCA’s programme in the to focus on Norway and it’s place profi t initiatives is indeed problem- limitations. Part of that initiative has last year as realized at the School abroad, it cannot do so without sup- atic for arts scenes in the individual been to seek out an understanding of Architecture, we found a common port of a more prolifi c and dynamic cities of Norway – undoubtedly due of how a city or region functions so interest to cooperate on forging a art scene within the country and its to the exorbitant costs related to that we are not reduced to staying discussion as to what constitutes engaged and thought out visibility rental of spaces. In this case, the within restrictive categories. This public space and art’s intervention abroad. In the second half of the state should consider the impor- extends to the treatment of the ”art in that space. 1990s, for example, the Netherlands tance of a programme of start-up community” – to understand that in implemented powerful political in- loans for those initiatives that illus- a global modernity, that category It may be too rhetorical to cite the struments of sanctuary policy in the trate a projected plan as to how to can never be overestimated as the Guggenheim Bilbao within this for- fi eld of international cultural policy, operate these facilities in the future given truth. There are artists who ward, and yet, I cannot resist for the establishing the country then as an after the start up loan. Moreover, I select not to run in packs, there sake of its still prescient examples. intrinsically international contempo- am speaking about non-for-profi t are artists that work within other Still in the early 1980s, the Basques

12 13 ELMGREEN & DRAGSET Proposal for monument, 2006 Photo: Elmgreen & Dragset

14 15 with their independent tax structure continue as a challenge based upon formed a consortium to fund monu- a discussion around Norway’s pos- mental public projects in city of Bil- sible acquisition of a supplemental bao in an effort to renew the urban space to allow for an outside project fabric of that city. This included the to the Nordic Pavilion. In relation implementation of subway stations to biennales overall and in terms by Norman Foster, a bridge and of funding, Sao Paulo and Venice airport by Santiago Calatrava, and have comprised the entirety of a convention centre designed by OCA’s Biennale budget in the past. Frederico and Dolores Palacios. The Nevertheless, in the past fi ve years, centrepiece for the initiative was the number of biennales has grown the Guggenheim Bilbao. The project nearly four fold --in Gwanju, Korea, represented the Basques’ quest in Guangzhou, China, in Istanbul, for an international profi le merged Sydney, Belgrade, Busan, Shanghai with the Guggenheim’s own quest – the list reads like a departures for global expansion. It constituted panel in an airport terminal. The a new stage in cultural brokering, biennale is not only proliferating so to speak, and an innovative step internationally, there is also talk of between politics and culture. But in purchasing particular events for reality, it resulted in what became branding purposes. Furthermore, known as the controversial Bilbao the fi nances required to sponsor the effect – causing to some degree the proliferation of such projects has in- phenomena that every major city of creased within these structures with the world has to compete with one many artists now commissioned to another. Within this competition, produce new work on a wider scale the Biennale has arrived as second to intervene directly with city space. to the museum as a means to draw international attention to cities Within the vastly changing dynamics intent on revitalizing their tour- of the contemporary arts situation ism agendas. The Venice Biennale in tandem with the international and the Bienal de Sao Paulo have global economy, how can OCA long since strayed from being the help Norway to cut its own profi le primary biennale venues. In terms without succumbing to these forces of national representation, Venice of global modernity? Certainly the remains the only Biennale where rising costs of contemporary art Norway shares a Pavilion. The Oslo and culture are a reality that will based art critic Lotte Sandberg, in somehow need to be addressed in a recent Aftenposten article, wrote the nearer rather than longer term, that this year’s selection of German thus requiring a vision and commit- curator Rene Block for the Nordic ment to evolving the organization’s Pavilion refl ected a decision pri- budget structure. At present, OCA is marily proposed by the Finns as a already working within a programme neutral solution to a shared pavilion. frame of 2007-2008 without the After a recognition of the historical knowledge of its budget allocation diffi culty in sharing of the Sverre for 2007 and, in order to work ef- Fehn’s architectural space by three fectively, the institution must have OLAV WESTPHALEN (OCA resident 2006) countries, Venice will undoubtedly a guarantee of its minimum operat- Untitled, 1999

16 17 ing budget at least three years in The event, subsequently reported OCA is also acting as a facilitator in Studio Programme by introducing advance. on in Frieze magazine, included developing professional exchange an Off-Site OCA Residency – invit- contributions by Peter Osborne, and dialogue the countries defi ned ing internationally renowned artists How can Norway, for example, step Claire Bishop, Jeremy Till, Thomas under O-3. The majority of the grant to work in the O-3 areas with the out as a leading authority in pro- Hylland Eriksen, and Victor Norman. applications received for O-3 fund- aim to make presentations both in moting ”criticality in contemporary OCA further pursues this trajectory ing read more like tourism requests Norway and within those countries. art”? In an international atmosphere with its International Edvard Munch rather than purposeful projects. As Recently the upcoming candidate where the market is prevailing, Award. Launched under my prede- such, OCA has taken the initiative to for the Turner Prize, Phil Collins leading to a spectacle ridden visual cessor with the recipient artist Amar develop a strategy in locating im- participated in a project in Kenya culture that degrades cultural value Kanwar, this year’s jury of leading portant cultural producers in these and presented the results of his and is ignorant of political realities, curators – Documenta Director respective countries to facilitate the research there in Oslo. how can OCA focus its supplemen- Roger Buergel, DIA, NY’s Curator professional level of future exchang- tal programming on a category that Lynne Cooke, Center for Contem- es and contacts. In 2006/2007 OCA is attempting to manoeuvre is growing extinct – “engaged art”? porary Art Belgium’s Director Dirk alone, OCA invited through its in order to revitalize the sense of In the past year, OCA engaged this Snaewaert, and Senior Curator of International Studio Programme, an international community within subject in a collaboration with the MACBA in Barcelona, Bartomeu Naveen Kishore, Director of the Norway, with the aim of benefi t- Centre for Research in Modern Eu- Mari –selected Alice Creischer as Seagull Foundation, Pooja Sood ing Norwegian artists and curators ropean Philosophy, London, which the 2006/2007 recipient, an artist from the Kooj Collective in New both within and outside of Norway. took the form of seminars and as- who centres her production on so- Delhi, and the Raqs Media Collective In doing so, OCA’s autonomy and sociated publications. The fi rst of cio-political inquiries and an inves- in Delhi to visit Norway to develop programmatic fl exibility must be these seminars, held in London tigation of concepts of time, labour, collaborations and program-based preserved to allow for the institution in January 2006, was entitled Art and useful exploitation. HM Queen exchanges. Further development to continuously pose questions and of Welfare and resulted in an at- Sonja made the offi cial presentation will be made in Guangzhou with the evolve in fi nding the more critical tendance of 120 throughout the of the award on November 14th at help of Vitamin Creative Space. OCA ways to address this challenge. duration of an entire winter day. the Assembly Hall Aula. has also extended the International Marta Kuzma, Director

From the Nordic Pavilion in Faximile from Frieze NAVEEN KISHORE, Venice, Italy Issue # 99 (OCA resident 2006) 2006 The Seagull Foundation, Calcutta, India 18 Photo: OCA 19 Statement 2006 was the year that OCA To allow for the projected increase became fully operational. in activities, including production and exhibition, OCA will need larger of the Board With unanimous support in Parlia- premises. This is being pursued in ment, the government signaled its close consultation with representa- confi dence in the foundation through tives of the Ministry of Culture and an encouraging increase in fund- Church Affairs and is expected to be ing, and with the promise of further resolved in the course of 2007. strengthening in future years. In her fi rst full year as director, Marta To secure an acceptable funding for Kuzma restructured the organisa- more particular projects, such as the tion in accordance with her mandate, Munch Award, private fi nancing is re- securing an impressive level of activ- quired. This is primarily being sought ity and reaffi rming OCA’s excellent through the establishment of the relationships with both the Ministry OCA International Trust in the UK, of Foreign Affairs and the Ministry of but, in the immediate term, renewed Culture and Church Affairs. Finally, effort is being put into securing pri- the Board completed its process of vate sponsorship and other fi nancial reassessment of the foundation’s participation in Norway. overall strategy, providing the man- agement with the necessary frame- The question of the Finnish/Swed- work for its activities in the next 3-5 ish/Norwegian collaboration at the year period. Venice Biennale remains an issue. While a separate space for a supple- On the departure of Ms Vibeke Pe- mentary Norwegian representation tersen from the National Museum is being sought, the optimum way of in January, she was replaced by the organising the Nordic pavilion needs NM curator Mr Øystein Ustvedt as further examination and discussion a regular member of the Board. Ms with our partners. Petersen played a key role in the recruitment of OCA’s new director, OCA is delegated the allocation of and we thank her for her commit- signifi cant public funding to individu- ment and efforts during the year she als and single projects. The admin- served on the OCA Board. istration of such diverse funding always involves a potential for con- In the course of the year the board fl icts of interest, but the Board this sat 3 regular meetings. Individually, year re-examined the relevant OCA members of the board also took part standards and procedures and was in various informal working sessions, satisfi ed that every expectation of as well as other activities on behalf integrity was met. At the same it was of or within the foundation. Among decided to secure greater transpar- matters of particular importance to ency through an annual publication the board, the following are worth of allocations under these public noting: schemes.

The Board would like to thank the director and her staff for their tireless

20 21 efforts through 2006, and similarly International compliment everyone involved with all that has been achieved. Support Oslo, June 2007

Tom Remlov Chairman of the Board

22 23 In 2006, the Offi ce for Contem- Grants allocated for porary Art Norway received 284 International Support applications to its International February 2006 Support Programme under the two categories Exhibition Support and G: Bergen Center for G: Hans Christian PS: Participation in the 7-23 April 2006 Curatorial Travel Grants. After four Electronic Arts Gilje Forsbacka Bruk 12.000 jury meetings, support amounting to PS: Participation in the b. 1969. Lives and Art Project, Fors- NOK 1.300 000 was awarded to 95 art Media Festival works at Helgøya/ backa, Sweden G: Eivind Reierstad artists, artist groups and curators. Version 06 ->:: Nes, Norway 2.640 (Ane Lan) Parallell Cities, PS: Screening of b. 1972, Oslo, 03 Funds, Exchange with Chicago, USA Night for Day, at G: Elisabeth Mathisen Norway. Lives and countries in the south 1-7 May La Cinématèque b. 1961, Oslo, Nor- works at Kløfta, 25.000 Francaise, Paris, way. Lives and Norway The Ministry of Foreign Affairs France works in Oslo, PS: Presentation at the instigated a support programme G: Kristina Bræin 21 April 2006 Norway VIPER international for enhancing collaboration in the b. 1955 in Oslo, Curator: Nicole Brenez PS: Exhibition at The Festival for Film, contemporary art fi eld with profes- Norway. Lives and 4.000 Wapping Project, Video and New sional artists in the countries in works in Oslo, London, UK Media, Kunsthalle the south. In 2006 NOK 850 000 Norway G: Bjørn Kowalski late April 2006 Basel, Basel, Swit- was distributed to 26 projects and PS: Exhibition, ARTIS, Hansen 15.000 zerland residencies focused on developing Hertogenbosch, b. 1979. Lives and 16-20 March 2006 countries. This programme’s goal is Holland works in Berlin, G: Ann Naustdal 5.900 to contribute to the strengthening 11 June-16 July 2006 Germany b. 1950. Lives and exchange with local vendors, artists 15.000 PS: Project with Fan- works in Oslo, G: Matias Ring and institutions. tastic Norway and Norway b. 1976. Lives and G: Rachel Dagnall HåkkiTM. PS: Participation, works in Tønsberg, G: Grantee b. 1972, UK. Lives Travel grant for Willy American Tapestry Norway PS: Project Support and works in Oslo, and the Hitchikers from Biennial 6, 3 ven- PS: Exhibition, Galleri Amount Requested / Amount Norway Ljungaverk, to DesignMai ues, USA 54, Gothenburg, Allocated by jury (All amounts in PS: Participation in the 2006, Berlin, Germany 9 June 2006-7 January Sweden NOK unless otherwise specifi ed) exhibition Phantom May 2006 2007 11 March-9 April 2006 at Charlottenborg, 10.000 15.000 4.000 Copenhagen, Den- mark G: Are Viktor Hauffen G: Rakett (Åse G: Kalle Runeson May-June 2006 b. 1968. Lives and Løvgren, Karoline b. 1972. Lives and 8.000 works in Laksevåg, Tampere) works in Oslo, Norway Løvgren: b. 1975, Norway G: FRAC Bourgogne PS: Group exhibition, Bodø, Tampere: b. PS: Exhibition at the Knut Åsdam Liquid Matter, 1978, Tallin, both artist-run gallery b. 1968, Norway. Künstlerhaus live and work in Ocular Lab, Mel- Lives and works in Bethanien, Berlin, Bergen, Norway bourne, Australia. Oslo, Norway Germany PS: Curating a show 19 August-19 September PS: Monographic 28 April-11 June 2006 at the independent 2006 exhibition, FRAC 7.000 space Liquidacion 7.000 Bourgogne, Dijon, Total, Madrid, France G: Steinar Haga Kris- Spain G: Torbjørn Rødland 27 March-20 May 2006 tensen Participating artists: b. 1970, Stavanger. Curator: Eva Gonzales- b. 1980. Lives and Hilde Jørgensen, Psyche- Lives and works in Sancho works in Oslo, delic Warriors, Kristian Oslo, Norway 15.000 Norway Ø. Dahl PS: Screening of 132

24 25 Grants allocated for Grants allocated for 03-Funding February International Support 2006 May 2006

BPM, (2005) Gallery, London, Germany G: Marte Jonslien/An- G: aiPotu – Andreas (born in Norway, P.S.1, MoMA, New UK 17 March-8 April 2006 ders Valde Siqueland and lives and works York, USA 27-29 Oct 2006 5.000 b. 1977. Lives and Anders Kjellesvik in New York City) February 2006 4.000 works in Oslo, Nor- Siqueland: b. and Bjørn Kowalski Curator: Robert Nickas, G: Sissel Tolaas way and Lusaka, 1973, Norway. Hansen (born in curator, P.S.1 MoMA G: Kristin Sæterdal b. 1959. Lives and Zambia Kjellesvik: b. 1980, Norway, lives and 12.000 b. 1963, Trond- works in Berlin, PS: The exhibition AKA Norway. Both live works in Berlin), heim. Lives and Germany Lusaka at the Zam- and work in Oslo, among others. G: Karl Ingar Røys works in Oslo, PS: Participation in bian Visual Arts Norway. 12 August–16 Septem- b. 1967. Lives and Norway Liverpool Biennial’s Council, The Henry PS: Participation in this ber, 2006 works in Oslo, PS: Particiaption in International 06, Tayali Arts Center, this year’s selec- 20.000 Norway exhibition, Textile Liverpool, UK Lusaka, Zambia tive Advanced PS: Exhibition and pre- Expressions in 16 Sept-26 Nov 2006 7-14 July 2006 Course in Visual G: Kristina Bræin sentation of Erna’s Contemporary Art, Curators: Manrya Hsu, 15.000 Arts, an intensive b. 1955. Lives and video as part of M.K. Ciurlionis Gerardo Mosquera course for young works in Oslo, Border Crossing, National Museum 10.000 artists that started Norway at Care/Of, Milan, of Art, Kaunas, in 1988 under the PS: Participation in Italy Lithuania. G: Sissel Tolaas patronage of the group show at 2-18 May 2006 May 2006 b. 1959. Lives and Como Council. The Museo de Arte 6.920 8.000 works in Berlin, course is struc- Carrilo Gil in Mexi- Germany tured as a summer co City, Mexico G: Karianne Stensland G: Torpedo (Anna Ca- PS: Participation, Sen- seminar in the form Curator: Leonardo b. 1969 in Bodø, rin Hedberg, Elin sorium, List Visual of a laboratory for Ramirez Norway. Lives and Olaussen, Karen Arts Center, MIT, artistic and theo- 23 August 12 November works in Trond- Tandberg) Cambridge, USA retical experimen- 15.000 heim, Norway Hedberg: b. 1966, Oct-Dec 2006 tation. Advanced PS: Participation for Olaussen: b. 1975, 10.000 Course in Visual G: Synne Bull and High Heel Sisters Tandberg: b. 1976. Arts is organized Dragan Miletic at the performance All live and work in G: Kristin Tårnesvik by the Antonio Miletic: born 1970, event Focus on Oslo, Norway b. 1964. Lives and Ratti Foundation in Yugoslavia. Bull: Human Factor atat PS: Travel grant for works in Bergen, Como, Italy born 1973. Both ARS 06, Kiasma, research of collab- Norway Course leader: Marjetica live and work in Helsinki, Finland orators and book- PS: Travel grant for Potrc Oslo, Norway. May 2006 shops/publishers production of the 2–22 July 2006 PS: Participation in 7.000 in Berlin, Germany video New York 10.000 2006 California May 2006 Look-alike, New Biennial, Orange G: Anya Stonelake 6.000 York, USA G: Hans Askheim County Museum of Curator, b. 1970, May 2006 b. 1972. Lives and Art/OCMA, Cali- Stavanger, Norway. G: Andreas Tellefsen 8.000 works in London, fornia, USA Lives and works in b. 1976, Kris- UK. Bull and Miletic will Oslo, Norway tiansand. Lives PS: Curatorship of In exhibit two video instal- PS: Presentation of and works in Kris- our own time by lations. Torbjørn Rødland tiansand, Norway our own means at Curators: Elizabeth in the seminar PS: Exhibition Amanita MOT, London, UK. Armstrong, Karen Moss, Nature Bound, Verosa at Projekt Invited artists: Gar- Rita Gonzalez at White Space 0047, Berlin, dar Eide Einarsson 1 October–30 Decem

26 27 ber, 2006 Amplifi ed forfor G: Ane Hjort Guttu Berlin Kitakyushu 7-month G: Terje Nicolaisen 20.000 Scarecrow, anan b. 1971, Oslo, Curator: Tsvika Solan Research Programme in b . 1964, Dram- international group Norway. Lives and 4 July–28 August, 2006 Japan. men, Norway. Lives G: Matias Faldbakken exhibition at The works in Oslo, 3.000 September 2006–March and works in Oslo, b. 1973, Hobro, Evangelos Averoff Norway. 2007 Norway. Denmark. Lives Museum, Metsovo, PS: Participation in G: Sylvia Kochanska 15.000 PS: Exhibition, Salo and works in Oslo, Greece. Leap into the Cold PS: Curatorship Unrav- Art Museum, Salo, Norway. Curators: Olga Daniylo- Water, Shedhalle,Shedhalle, elling Demons with G: Mikkel McAlinden Finland PS: Participation, poulou, Nicola Oxley and Zurich, Switzerland Norwegian artists b. 1963, UK. Lives 7 June–12 Sept, 2006 Metaphysics of Nicolas de Oliveira She will exhibit her proj- at Galeria Arsenal and works in Oslo, 3.000 Youth (part of the 1 July–17 September, ect Trasop School’s Print in Bialystok, Po- Norway. Fuori Uso exhibi- 2006 Collection. land. PS: Exhibitions of G: Camille Norment tion series). 7.000 Curator: Sonke Gau, cu- Invited artists: Liv Bugge, the projects The b. 1970, USA. Ex Cofa, former food rator, Shedhalle Zurich Gro Foosnæs Gravås, Landscape Project Lives and works in market, Pescara, Italy G: Mai Hofstad 2 June–30 July, 2006 Sylvia Kochanska, Mik- and Inner World Oslo, Norway. Curators: Luigi Fassi, Gunnes 30.000 kel McAlinden, Kalle at a seminar on PS: Participation in Irina Zucca Alessandrelli b. 1977 in Norway. Runeson, Martin Skauen, ”Photography and the group show 6 May–17 June, 2006 PS: Participation in the G: Geir Tore Holm Karianne Stensland and Minimalism”, at the Pre-Emptive, Kun- 4.200 exhibition A to Z, b. 1966, Tromsø. Monja Wiik. Russian National sthalle Bern, Bern, wooden huts inside Lives and works in 23 June–30 July 2006 Centre of Photog- Switzerland. G: Bodil Furu a brick building in Oslo, Norway. 10.000 raphy, St. Peters- 18 August–1 October, b. 1976, Askim, Hirosaki, Japan PS: Participates in Co- burg, Russia. 2006 Norway. Lives and She will have a separate lonialism Within: G: Andrea Lange November 2006 Curator: Philippe Pirotte, works in Oslo, hut where she will show Indigenous Rights b. 1967, Norway. 10.000 Director, Kunsthalle Bern Norway. the animated movie Al- and Multicultural Lives and works in 10.000 PS: Participation in phabet Street. Realities, Act 4 of Oslo, Norway. G: Hanne Mugaas the Contemporary 29 July–22 October, Rethinking Nordic PS: Exhibition of Ref- b. 1980, Norway. G: Sven Påhlsson Art Exhibition at 2006 Colonialism, VR:n uge Talks at the ex- Lives and works in b. 1965, Oslo, the Busan Bien- 10.000 Veturitalli (Finnish hibition Migration 1 London, UK. Norway. Lives and nale 2006, Busan, Railways Locomo- at Belfast Exposed PS: Organizing of the works in Oslo, South Korea G: Einar Hansen tive Engine Shed), Photography. Bel- online exhibition Norway and New Furu will screen b. 1980 in Oslo, Rovaniemi, Finland. fast, UK New Realities for York City. two video works Norway. 16 June–9 July, 2006 16 June–25 August, Rhizome.org for PS: Participation in on monitor and at a PS: Exhibition conclud- 5.000 2006 the 10th Anniver- Animated Sto- local TV-network. ing the residency 8.000 sary Festival of Art ries at La Caixa 16 September–25 No- Hansen has been select- G: Sabina Jacobsson and Technology of Foundation, Bar- vember, 2006 ed as one of eight inter- and Ane Lan G: Edvine Larssen the New Museum celona. Påhlsson 14.000 national artists to take Ane Lan: b. 1972, b. 1977 in Mos- of Contemporary will show his new part in CCA Kitakyushu Oslo, Norway. Sa- jøen, Norway. Art in New York three-screen syn- G: Marit Følstad 7-month Research Pro- bina Jacobsson: b. Lives and works in City, USA. chronized video b. 1979 in Tromsø, gramme in Japan. in Visby, Sweden. Trondheim, Norway The project is to take installation Balling Norway. Lives and September 2006–March Both live and work PS: Travel grant place as an online show Games. works in Oslo, 2007 in Oslo, Norway. Larssen has been se- as well as an evening at a Curator: Martha Gili Norway. 10.000 PS: Participation, lected as one of eight local cultural institution. June–September 2006 PS: Production of the Intimate Spaces!, international artists to October 2006 8.000 video projection Schwules Museum, take part in CCA 6.000

28 29 Grants allocated for O3-Funding May 2006

G: Stefan Schröder G: Mette Tronvoll Photography, Has-Has- G: Jesper Alvær artists: Ingrid Book, Ca- in Oslo and Swe- b. 1966, Dresden, b. 1966 in Trond- selblad Center, b. 1973, Norway. rina Hedén, Bodil Furu, den. Germany. Lives heim. Lives and Gothenburg, Swe- Lives and works Gillian Carson, Marianne PS: Participation in and works in Oslo, works in Berlin, den in Prague, Czech Heier, Siri Hermansen, Post Nora, Today Norway. Germany and Oslo, 20 May–27 August, 2006 Republic. Inghild Karlsen and Mari- Art Museum, Bei- PS: Participation in Norway. 4.480 PS: Series of fi lm anne Heske. jing, China the public project PS: Participation, screenings within 50.000 Curator: Wang Baoju Plagwitzer Sand atat Central Exhibition, a three day fi lm October, 2006 the Galerie fur Zeit- Paris Photo, Paris festival in Oslo, G: René Block, Direc- 25.000 genossische Kunst France. in cooperation tor of the Kunst- Leipzig, Leipzig, This year’s edition has a with Torpedo and halle Museum Frid- G: Gillian Carson Germany focus on Nordic coun- Fotogalleriet. ericianum, Kassel. b. 1960 in UK. Curator: Dr. Barbara tries. Screenings includ- PS: Block is this year’s Lives and works in Steiner Curator Andrea Holzherr ing fi lms by Iranian designated curator Bergen, Norway. September 2006–Sep- participated in OCA’s fi lmmakers Nasrin for the Belgrade PS: Participation in tember 2007 International Visitor Pro- Tabatabai and Ba- Biennial, the 47th Post Nora, Today 10.000 gramme in December bak Afrassiabi. Film October Art Salon. Art Museum, Bei- 2005 to do research for directors Bahman The theme of this next jing, China G: Børre Sæthre the show. Kiarostami and Ali- biennial is Art, Life and Curator: Wang Baoju b. 1967, Norway. 16–19 November, 2006 reza Rasulinezhad Confusion . The exhibition October, 2006 Lives and works 4.000 are invited. The explores the relationship 12.500 in New York City, idea around the between art and life amid USA and Oslo, G: Jana Winderen project is to further a collapse of political G: Bodil Furu Norway b. 1965, Bodø, develop the focus systems, dissolution of b. 1976, Askim, PS: Exhibition at Partic- Norway. Lives and on contemporary existing value systems, Norway. Lives and ipant INC in New works in Oslo, documentary fi lms and massive social works in Oslo, York City, USA Norway. from Iran. changes brought about Norway. 8 September–8 October, PS: Exhibition of the November 2006 by globalization. PS: Participation in 2006 interactive sound 25.000 Block selected the follow- Post Nora, Today 10.000 installation Hard ing artists to participate Art Museum, Bei- Rain ll atat IDFX,IDFX, G: Wang Baoju in the biennial: Toril Gok- jing, China G: Leif Magne Tangen Breda, the Nether- PS: Curatorship of søyr & Camilla Martens, Curator: Wang Baoju b. 1978, Reine, lands. Post Nora, an exhi- Kim Hiorthøy, Matias October, 2006 Norway. Lives and 18 August–3 September bition with female Faldbakken, and Vibeke 12.500 works in Leipzig, 2006 artists from Nor- Tandberg. Germany. 5.000 way and China, at Belgrade, Serbia G: Marianne Heske PS: Curatorship, I Will Today Art Museum, 29 September-15 Novem- b. 1946, Ålesund, Never Make It, G: Maya Økland Beijing, China. ber 2006. Norway. Lives and Kunstraum D21, b. 1980 in Bergen, Baoju participated 100 000 works in Oslo, Leipzig, Germany Norway. Currently in OCA’s Interna- Norway Artists: Jan Christensen, she has a residen- tional Studio Pro- G: Ingrid Book and PS: Participation, Post Mikkel McAlinden. cy at Konstepide- gramme in 2005 to Carina Hedén Nora, Today Art 9 September–5 Novem- min in Gothenburg, do research for the Book: b. 1951, Museum, Beijing ber, 2006 Sweden. exhibition. Sweden. Hedén: Title of work: Mind Pro- 5.000 PS: Participation Opens 22 October 06 b. 1948, Sweden. jections – two video pro- in New Nordic Participating Norwegian Both live and work jections in loops

30 31 Grants allocated for International Support September 2006

Curator: Wang Baoju G: Jesper Alvær Norway/New York, Items must fi t in Exposure 2 February–18 March October 2006 b. 1973, Norway, USA Basket, (2006). 1 December 2006–14 2007 12.500 lives and works PS: Support in con- Curator: Nicolaus Schaf- January 2007 12.000 in Prague, Czech nection with hausen, Director, Witte 25.000 G: Karl Ingar Røys Republic enrollment in Cu- de With G: Anne Szefer b. 1967, Norway. PS: An exhibition at ratorial Program September– November G: Knut Henrik Karlsen Lives and works in The Bunkier Sztuki at the Whitney 2006 Henriksen b. in 1976 in Hal- Oslo, Norway Contemporary Art Independent Study 8.000 b. 1970 in Oslo, den, Norway. Lives PS: Participation in a Gallery, Krakow, Program in New Norway, lives and and works in Ber- workshop initiated Poland, which will York City, USA. G: Matias Faldbakken works in Berlin, gen, Norway by Sezgin Boynik be part of a long The study period is Sep- b. 1973 in Hobro, Germany PS: Screening the pro- and Minna Henriks- term international tember 2006–June 2007 Denmark, lives PS: Site specifi c work gramme Individual son in Prisitina, project, Transkul- 10.000 and works in Oslo, at the residency Communities at Kosovo tura. Norway Frac des Pays de the Vector Gallery, 7–11 June 2006 June/July 2007 G: Andreas Dalen PS: Participation in a la Loire, in Nantes, in conjunction with 8.000 8.000 b. 1975. Lives and group exhibition France, a residency at Vec- works in Oslo, at PS1/MoMa in 1 September 2006–19 tor in Iasi, Roma- G: Knut Åsdam G: Gunnhild Bakke, Norway NY, NY, USA. Fald- November 2006 nia. b. 1968, Norway. Anne-Britt Rage PS: Participation in bakken will show 10.000 20–29 November 2006 Lives and works in Rage is b. 1966 in a group exhibi- works from the 12.000 Oslo, Norway Stavanger, Norway, tion How to build series The Name G: Yngve Holen PS: Participation in Bakke is b. 1967 a universe that of a Person That I b. 1982. Lives and G: Frankfurter Kunstv- Satellite, side show in Førde, Norway. doesn’t fall apart 2 want Dead, Writ- works in Berlin, erein, Germany to the Shanghai Both live and work days later atat CCACCA ten in X’s and The Germany PS: Participation of Biennial, Shanghai, in Oslo, Norway Wattis Institute Suicide Series. PS: Participation in Martin Skauen China PS: Project support of Contemporary Curator: Neville Wake- the art festival, (b.1975) in group Åsdam will show two for a two-staged Arts, San Fran- fi eld, curator, P.S.1 Sequences in exhibition at Frank- video works: Come to exhibition Attention cisco, USA. MoMA Reykjavik, with the furter Kunstverein, your own and Pissing. Kronstadt inin KKro-ro- Curator: Will Bradley October 2006 project Fishfi nders entitled When- Curator: Nina Oeghoede nstadt, focusing 28 November 2006–4 15.000 in Reykjavik, Ice- ever it Starts it is September 2006 fi rst on a documen- February 2007 land. the Right Time. 10.000 tary and secondly 7.000 G: Else-Marie Hagen 13–28 October 2006 Skauen will ex- an exhibition at the b.1963, lives and 10.000 hibit The Polarbear Cultural House and G: Marius Engh works in Oslo, Split, 2006. at the Naval muse- b. 1974, lives and Norway G: Katja Høst Curator: Chus Martinez , um in Krohnstadt, works in Oslo, PS: Participation in the b. 1972, Denmark. Director, Frankfurter Kun- St Petersburg, Norway. group exhibition Lives and works in stverein, Germany Russia PS: Participation in the Photo_Abstract inin Oslo, Norway March 2007 25 November-15 Decem- group exhibition the main galleries PS: An exhibition Blind 30.000 ber 2006 Street: Behind the of CCNOA, center Spots at Articule, 17.500 Cliché at Witte de for non-objective an artist run cen- G: Trine Lise With, Rotterdam, art, Brussels, Bel- ter in Montreal, Nedreaas G: Martin Braathen Netherlands. Engh gium. She exhibits Canada. Høst will b. 1972 in Bergen, b. 1978 in Bærum, will show 2 works; with two photo- show the work Norway. Lives and Norway. Lives and Rich Kids on LSD, graphs from the The Lonely Crowd works in Berlin, works in Oslo, (2004) and All series Double among others. Germany

32 33 Grants allocated for 03-Funding September 2006

PS: Participation in the Norway 3.000 G: Mikkel Wettre and Christiane Krejs. G: BEK — Bergen group exhibition All PS: Participation in b. 1974. Lives and 6 October–23 December Center for Elec- About Laughter atat the group exhibi- G: Vibeke Tandberg works in Oslo, 2006 tronic Arts Mori Art Museum, tion Dreamlands b. 1967 in Oslo, Norway 10.000 Producer is Åse Tokyo, Japan Burn with fi ve Norway, lives and PS: Participation in the Løvgren b. 1975 Curator: Mami Kataoka, photographs from works in Oslo, group exhibition in Bodø, Norway. curator, Mori Art Museum the series, White Norway The Square Root Lives and works in 27 January–6 May 2007 Planet, Black Heat PS: Participation in of Drawing at Tem- Bergen, Norway 30.000 at Kunsthalle Bu- the group exhibi- ple Bar Gallery & PS: Participation of dapest, Budapest, tion Dreamlands Studios in Dublin, CineFaktura, a G: Fredrik Raddum Hungary Burn with her work Ireland. Brazilian based b. 1973. Lives and Curator: Livia Paldi, cura- Living Together 24 October–2 December collective, in the works in Oslo, tor, Kunsthalle Budapest at Kunsthalle Bu- 2006 exhibition and Norway 7 December 2006–24 dapest, Budapest, 4.699 festival Piksel06 to PS: Project support for February 2007 Hungary be held in Bergen, installation in X- 16 000 Curator: Livia Paldi, cura- G: Yokoland (Espen Norway. rummet at Statens tor, Kunsthalle Budapest Friberg and Aslak 12–15 October 2006 Museum, entitled G: Vibeke Sjøvoll 7 December 2006–24 Gurholt Rønsen) 20.000 Home sweet Home b. 1972 in Lofoten. February 2007 Friberg is b. 1981 in Copenhagen, Lives and works in 4.000 and Rønsen is b. G: Bull.Miletic (Synne Denmark Oslo, Norway. 1981. Both live and Bull & Dragan Mi- 28 October 2006 - PS: Participation in G: Leif Magne Tangen work in Oslo, Nor- letic) 7 January 2007 the group exhibi- b. 1978, Reine, way Synne Bull is born 15.000 tion Nomads of Norway. Lives and PS: Participation in an in 1973 in Oslo, Nowadays at the works in Leipzig, exhibition at the Norway and Dra- G: Eivind Reierstad Laznia Center for Germany. Reg Vardy Gallery gan Miletic is born (Ane Lan) Contemporary Art PS: Production of sci- at The University of in 1970 in Novi b. 1972. Lives and in Gdansk, Poland ence fi ction novel Sunderland., UK Sad, Yugoslavia. works in Oslo, Curator: Agnieszka in collaboration Curator: Robert Blackson Both live and work Norway Wollodzko with artists, writers 23 January–23 February in San Francisco, PS: Participation in the 29 October–19 Novem- and others. To be 2007 USA. exhibition Sexwork ber 2006 printed by Dester/ 15.000 PS: Their project The — Kunst Mythos 5.000 Sinister in a collab- Marshal Tito Boule- Realität withwith videovideo oration with Heman G: Øystein Aasan vard, a large-scale Elegi, at Neue G: Jorunn Myklebost Chong. Launch b. 1977 in Kris- interactive video Gesellschaft für Syversen and platform will tiansand, Norway. installation focus- Bildende Kunst in b. 1978. Lives and be at Project Art Lives and works in ing on the capitals Berlin, Germany works in Løren- Space in Dublin, Berlin, Germany of former Yugosla- 16 December 2006–25 skog, Norway Ireland PS: Participation in the via. The video will February 2007 PS: Participation in Curator: Mai Abu ElDa- group exhibition be exhibited at the 4.000 video screenings hab, Manifest 6 Klartext Berlin Museum of Con- and performance 2 November 2006 - 14 at Kunst Raum temporary Art in G: Torbjørn Rødland at Kunstlerhaus January 2007 Niederosterreich, Novi Sad, Serbia. b. 1970 in Stavan- Bethanien, Berlin, 20.000 NOE, Wien, Aus- Late fall 2007 ger, lives and Germany. tria. 30.000 works in Oslo, 31 August. Curators: Raimar Stange

34 35 Grants allocated for International Support November 2006

G: Annie Anawana Curator: Leonida Kovac G: Kjersti Gisvold the Sharjah Bien- Morrisey Foretell- Torpedo Books Haloba Hobøl December 2007 Andvig nial 8, United Arab ing the Death of Printed Matter b.1978, Zambia. 15.000 b. 1978, lives and Emirates Diana at White Book Fair in NY, Lives and works in works in Oslo, Artistic Director: Jack Columns, NYC, USA Oslo, Norway G: Anne Stabell Norway Persekian USA November 2006 PS: Participation with b.1958. Lives and PS: Exhibition with 4 April-4 June 2007 Curator: Matthew Higgs 15.000 the project ”can works in Skien, Lars Laumann at 30.000 21 February-21 March you see...can you Norway Le Commissariat, 2007 G: Eivind Reierstad hear” in Trans PS: Participation in Paris, France G: Torgeir Husevaag 15.000 (Ane Lan) Cape — the fi rst From Lausanne to Curator: Dorothée Dupuis b.1967, lives and b. 1972, lives and exhibition of Afri- Beijing, The 4th 25 November 2006-9 works in Oslo, G: Marienborg Artist works at Kløfta, can contemporary International Fiber December 2007 Norway Community/Vigdis Norway visual art to be Art Biennale and 15.000 PS: Participation in Haugtrø PS: Participation with held in Cape Town, in the International the exhibition The Established Febru- his video Vesta in South Africa. Fiber Symposium G: Lene Berg Art of Belonging ary 2006, Trond- the Festival Ren- Curator: Gavin Jantes in Suzhou, China. b. 1965, Oslo, lives at Scottsdale Mu- heim, Norway contre internation- 24 March–2 May 2007 27 October–17 Novem- and works in Ber- seum of Contem- PS: Presentation of the ales Paris/Berlin in 30.000 ber 2006 lin, Germany porary Art, Arizona, symposium Forum Paris, France 10.000 PS: Developing of the USA 1 at the non profi t 16 November-2 Decem- G: Inghild Karlsen video The Weimar Curator: Marilou Knode art fair Super- ber 2006 b. 1952, lives and G: Maia Urstad Conspiracy and 30.000 marked inin SStock-tock- 6.655 works in Oslo, b. 1954, lives and participation in the holm, Sweden Norway work in Bergen, exhibition Subver- G: Anne Szefer 19-25 February 2007 G: Karl Ingar Røys PS: Participation in the Norway sion of Standstill Karlsen 15.000 b. 1967, lives and group exhibition PS: Participation with at ACC Galerie, b. in 1976 in Hal- works in Oslo, Post Nora Today Freq_ou 5 at the Weimar, Germany den, Norway. Lives G: Harald Medbøe Norway Art Museum, Bei- Chiang Mai Univer- 30 March-27 May 2007 and works in Ber- b. 1949, Oslo, lives PS: Participation with jing. sity Contemporary 27.000 gen, Norway and works in Oslo, Erna’s video in Curator: Wang Baoju Art Museum, Thai- G: Curatorship of the Norway Line of Play atat 4–26 November 2006 land G: Rachell Dagnall group show Duali- PS: Exhibition of Factory-Berlin, 12.500 Curator: C.M. Hausswolff b. 1972, England, ties - Contempo- RROM-The Gypsy Germany 8-15 January 2007 lives and works in rary Norwegian Project atat BWABWA Curator: Maki Kita G: Dubravka-Duba 15.000 Oslo, Norway Photography, atat Awangarda in Wro- 11 February-3 March Sambolec PS: Residency at De Sol Molnick Gal- claw, Poland 2007 b. 1949 in Lju- G: Jana Winderen Fabriek, Eind- lery, Philadelphia, 11 January-11 February 4.460 bljana, Slovenia. b. 1965, Bodø, hoven, Netherlands USA 2007 Lives and works in lives and work in 1-28 February 2007 9 February-9 March 2007 Curator: Pawel Jarodzki G: Kari Steihaug Trondheim, Norway Oslo, Norway 3.000 15.000 15.000 b. 1962, Oslo, lives PS: Participation with PS: Participation with and works in Oslo, her multimedia/ Freq_ou 5 at the G: Annie Anawana G: Lars Laumann G: Elin Olaussen, Norway sculptural instal- Chiang Mai Univer- Haloba Hobøl b. 1975, Brøn- Karen Tandberg PS: Participation with lations produced sity Contemporary b. 1978, Living- nøysund, lives and Olaussen: b. 1975, her project Rewind from 1992–2007 Art Museum, Thai- stone, Zambia, works in Oslo, Tandberg: b. 1976. in the 12th Inter- in the Museum of land lives and works in Norway Both live and work national Triennial Modern Art, Za- Curator: C.M. Hausswolff Oslo, Norway PS: Exhibition of his in Oslo, Norway of Tapestry, Lodz, greb, Croatia. 8-15 January 2007 PS: Participation with video project PS: Participation for Poland 15.000 the sound installa- 36 tion Road Map in 37 Grants allocated for 03-Funding

21 May-31 October 2007 G: Leif Inge Xi G: Kristina Bræin China in 2006, at Ana Linneman: b. 10.000 b. 1970, Betn, lives b. 1955, lives and Line Gallery, Bei- 1959 in Brazil, lives and works in Oslo, works in Oslo, jing, China and works in Brazil G: Kjersti Sundland Norway Norway 12 May-3 June 2007 PS: Participation in b. 1972, Bergen, PS: Participation in The PS: Support for par- 10.000 exhibition Multiple lives and works in Independents with ticipation in resi- Choices: All of Bergen, Norway 9 Beet Stretch Is- dency programme, G: Geir Haraldseth The Above with the PS: Live video perfor- sue Project Room, Aldaba Arte, with b. 1977, Norway, Danger Museum, mance Monstrous New York, USA exhibition at close lives and works at Oslo Kunst- Little Women with 24-25 January 2007 of residency in New York, USA. forening Anne Bang Steins- 5.000 Mexico City PS: Participation in a 2-14 January 2008 vik at the Netmage 15 February – 31 March project curated 15.000 07 Festival, Bolo- 2007 by „Petra“. Also gna, Italy 17.000 presentation of his G: Elisabeth Norseng Artistic Director: Daniele project Art and b. 1959, lives and Gasparinetti G: Eva Drangsholt Entertainment inin works in Paris, 18-27 January 2007 Lives and works in Mexico city, and France 10.000 Oslo, Norway research for exhi- PS: Participation in the PS: Participation with bition project in Teheran Art Festi- G: Maia Urstad We Are All Bored Austin, Texas, USA val, Teheran, Iran b. 1954, lives and in the Tirana Inter- Mexico City, Mexico Curator: Nikki Diana Mar- work in Bergen, national Film Festi- Curator: Montserrat Al- quardt Norway val, Tirana, Albania bores Gleason February-May 2007 PS: Participation in 5-10 December 2006 January 2007 10.000 Dreamlands Burn 4.490 7.000 at Mücsarnok / G: Øyvind Renberg Kunsthalle, Buda- G: Rachell Dagnall G: Annie Anawana b. 1976, lives and pest, Hungary b. 1972, England, Haloba Hobøl works in Oslo, Curator: Livia Páldi lives and works in b. 1978, Living- Norway 7 December 2006-25 Oslo, Norway stone, Zambia, PS: Research for proj- February 2007 PS: Participation with lives and works in ect development 4.200 three works in the Oslo, Norway in Rio de Janeiro, British Council PS: Research grant Brazil, and Seoul, G: Jana Winderen exhibition in Bel- for residency at South-Korea, for b. 1965, Bodø, grade, Serbia Rijksakademie in an exhibition that lives and work in 24 March-10 June 2007 Amsterdam com- will take place in Oslo, Norway 6.000 mencing in January Oslo in January/ PS: Participation in 2007 February 2008 at Dreamlands Burn G: Ole-Henrik Hagen 2007/2008 the Oslo Kunst- at Mücsarnok/ b. 1955, lives and 10.000 Euro forening entitled Kunsthalle, Buda- works in Hamburg, Multiple Choices: pest, Hungary Germany G: Ana Linnemann All of the Above Curator: Livia Páldi PS: Exhibition of his and Alex Villar March-May 2007 7 December 2006-25 works produced Alex Vilar: b. 1962 15.000 February 2007 during his resi- in Brazil, lives and 3.000 dency at Platform works in NY, USA.

38 39 ANE HJORT GUTTU Trasop School´s Print Collection Installation view, Shedhalle, Zürich, Switzerland, 2006. Curated by Sonke Gau

AIPOTU From Advanced Course in Visual Arts, Antonio Ratti Foundation, Como, Italy 2006 Photo: Anders Kjellesvik

41 MARTIN SKAUEN The Polarbear Split, A Handmade Musical 6 metres x 80 cm., Pencil on paper, 2006 Frankfurter Kunstverein, Germany Curated by Chus Martinez

next page BJØRN KOWALSKI HANSEN Spirit, 2006 MATIAS FALDBAKKEN T-shirt brand THE NAME OF A PERSON THAT I And Yet it Moves WANT DEAD, WRITTEN IN X’S, 2006 MOT International, London, UK Photo retouching paint on Canon Curated by Hans Askheim archival paper / framed DIN A4: 21 x 29 cm / 23 x 32 cm (framed) Private collection, New York. Courtesy of STANDARD (OSLO), Oslo

42 43

TORGEIR HUSEVAAG Freeze out II, 2006 Installation shot, Scottsdale Museum of Contemporary Art, Arizona, USA Curated by Marilou Knode

GOKSØYR & MARTENS It would be nice to do some- thing political, 2002 The Belgrade Biennial, the 47th October Art Salon. Belgrade, Serbia, 2006 Curated by Réne Block

46 47 ANDREAS DALEN

Installation shot from How to build a universe that doesn’t fall apart 2 days later CCA Wattis Institute of Con- temporary Arts, San Francisco, USA. Curated by Will Bradley

Cover of Philip next page HEMAN CHONG, LEIF MAGNE TANGEN © The Authors and Mai Abu PRINTED MATTER BOOK FAIR, EIDahab New York, NY, USA www.philipville.com Image by Torpedo Books

48 49

International International artists are invited by January OCA to the International Studio Programme Oslo for a stay from two KRISTINA LEKO Studio weeks up to six months, indepen- Artist dently or in connection with exhi- Born 1966, Croatia bitions or other collaborations in Supported with funds from 03, Programme Norway. The programme comprises a particular branch of OCA’s four studios located in the city cen- funding supplemented by the ter of Oslo. Norwegian Ministry of Foreign (ISP Oslo) Affairs. Kristina Leko is an artist working in the medium of video, photography, text, and social interaction. Her work includes a collection of found objects, actions in public space, and com- munication and documentary projects in collaboration with different social groups.

Projects: Sarajevo International, a Sten Are Sandbeck and video-communication project in col- Marja Bloem Fall 2006 laboration with twelve Sarajevo immi- Photo: OCA grants, 2001; On Milk and People, an exhibition in collaboration with Croa- tian and Hungarian farmers, 2002/03; Cheese and Cream, various actions and artifacts dedicated to protection of the milkmaids of Zagreb, since 2002; Verfassungs-korrekturbuerro, an action in progress improving the American Constitution, 2004.

Sten Are Sandbeck and Michael Sailstorfer Summer 2006 Foto: OCA

52 53 February public and private, audience and per- sthalle Zurich, Switzerland (2004); April former, objectivity and subjectivity. In Hamburg Kunstverein, Germany LAWRENCE WEINER installations focusing on the social im- (2003); Team Gallery, New York NAVEEN KISHORE Artist plications of television, as articulated (2003); Art Basel|33, Basel, Switzer- MANAGING TRUSTEE Born 1942, Bronx, New York, in private and public viewing spaces, land (2002); and Bronwyn Keenan The Seagull Foundation USA Graham refers to video’s semiotic Gallery, New York (2000). Calcutta, India Lives and Works in New York, function in architecture in relation to Supported with funds from 03, a par- USA and Amsterdam, The Neth- both window and mirror. Graham has Bove has also been featured in numer- ticular branch of OCA’s funding sup- erlands also published numerous critical and ous group exhibitions including The plemented by the Norwegian Ministry Weiner spent the late-fi fties and early- theoretical essays that investigate the Joy of Sex: Carol Bove and Charles of Foreign Affairs. Naveen Kishore sixties travelling throughout North cultural ideology of such contemporary Raymond at Cubitt, London (2004); started his career as a theatre lighting America (USA, Mexico, and Canada). social phenomena as punk music, Infl uence, Anxiety, and Gratitude at designer in 1972 in Calcutta after an The fi rst presentation of his work was suburbia and public architecture. the List Visual Arts Center, M.I.T., honours degree in English Literature. in Mill Valley California in 1960. Law- Graham has published numerous Cambridge, MA (2003); Reproduc- In 1982 he founded Seagull Books, a rence Weiner divides his time between critical essays, and is the author of tion II atat GeorgGeorg Kargl,Kargl, Vienna,Vienna, AustriaAustria publishing programme in the arts and his studio in New York City and his Video-Architecture-Television (1980). (2003); and Transformer atat LaLa Pana-Pana- media. In 1987 he became Managing boat in Amsterdam. He participates in His work is in the collections of major deria, Mexico City (2001). Trustee of the nonprofi t organization public and private projects and exhibi- institutions in USA and Europe, includ- The Seagull Foundation for the Arts. tions, in both the new and old world, ing Moderna Museet, Stockholm; COREY MCCORKLE He began publishing Seagull Theatre maintaining that Art is the empirical Centre Georges Pompidou, Paris; and Artist Quarterly in 1995. In 1999 he founded fact of the relationships of objects to The Tate Gallery, London. He has had Born 1969, La Cross, Wiscon- the Seagull Arts and Media Resource objects in relation to human beings, retrospective exhibitions at Van Abbe- sin, USA Centre. The Seagull Bookstore was and not dependent upon historical museum, Eindhoven, Holland; Museum Lives and works in New York, established in 1997, an independent precedent for either use or legitimacy. of Modern Art, Oxford, England; The USA arts and social sciences bookstore Renaissance Society, University of Corey McCorkle is interested in the in Calcutta. Kishore also works as a DAN GRAHAM Chicago; Kunsthalle, Berne, Switzer- utopian ideas of nature and transcen- publisher, lighting designer, graphic Artist land; and the Art Gallery of Western dence, which he pursues in many of designer, photographer, and documen- Born 1942 Australia, Perth; and has been repre- his installations. McCorkle’s work was tary fi lmmaker. Lives and works in New York, sented internationally in group exhibi- recently included in the surveys Make USA tions/institutions such as Documenta It Now atat SculptureSculpture CenterCenter andand Great- April–May Since the mid-1960s, Dan Graham 7, Kassel, Germany; Art Institute of er New York 2005 atat PS1/MoMA,PS1/MoMA, andand has produced an important body of Chicago; Stedelijk Museum, Amster- was featured in solo exhibitions this TUE GREENFORT art and theory that engages in a highly dam; P.S.1, New York; American Film year at Kunsthalle Bern in Switzerland Artist analytical discourse on the historical, Institute National Video Festival, Los and at the Marres in Maastricht, Neth- Born 1973, Holbäk, Denmark social and ideological functions of Angeles; and The Museum of Modern erlands. McCorkle was also recently Lives and works in Berlin, Ger- contemporary cultural systems. Ar- Art, New York, among other festivals included in The Plain of Heaven by many chitecture, popular music, video and and institutions. Creative Time in NYC and in Monopo- Greenfort discovers the details of city television are among the focuses of lis at Witte de With, Rotterdam, Fall life, which are largely unknown or go his investigations, which are translated CAROL BOVE 2005. unseen due to their normalcy. In his into essays, performances, installa- Artist work, Greenfort deals with these kinds tions, videotapes and architectural/ Born 1971, Geneva of situations in space and in everyday sculptural designs. Lives and works in New York, life and reveals the structures behind USA urbanity through small changes or Graham began using fi lm and video Carol Bove’s work refl ects on social, mechanisms. With the help of artistic in the 1970s, creating installation political, and artistic movements of intervention, occurrences become vis- and performance works that actively America in the 1960s and 1970s. ible and their existence questioned. engage the viewer in an inquiry into Bove has had solo exhibitions at Kun-

54 55 May May–June June - September August

SERHIY BRATKOV OLAV WESTPHALEN MICHAEL SAILSTORFER OCA launched an experimental off- Artist Artist Artist site residency in collaboration with Born 1960, Kharkiv, Ukraine Born 1963, Hamburg, Germany Born 1979, Vilsbiburg, Germany the Nordic biennial, Momentum. The Lives and works in Moscow, Lives and works in New York, Lives and works in Berlin, Ger- participating artist Phil Collins (UK) Russia USA many traveled to Kenya for research associ- Serhiy Bratkov is a photographer ac- Olav Westphalen breaks with the stan- Michael Sailstorfer takes interest in ev- ated with his project to be realized at tive in The Fast Reaction Group, an dards of art by setting up an insidious eryday objects; materials that surround the event in September. The project urban interventionist collective promi- competition between high-minded us and the associations they trigger. is realized both as part of OCA Open nent in Ukraine during the mid-1990s autonomy and lowly pleasure, where In infl icting transformations, contextual Studios and in the exhibition platform (together with Boris Mikhailov, Serhiy highbrow art is undermined by vicious adjustments and spatial appropriation, of Momentum. Solonsky and Victoria Mikhailova). His jokes and burlesque actions. But al- Sailstorfer deforms the meaning and work arrives out of a consciousness though there is a parodying element function of the original object - leading PHIL COLLINS of his own time gauged against the to his art, it never produces parody. to a renewed confi guration. His work Artist political, social and economic contin- Rather, his objects and performances explores the unstable relationship be- Born 1970, Runcorn, UK gencies of the ”just past”. Bratkov’s shake up art’s logic by over-fulfi lling tween form and content, emphasizing Lives and works in Glasgow, UK subjects are seemingly listless within all the standards employed by critics that the function of an object and its Phil Collins is referred to as a neo-con- a liminal space inscribed by the tem- and the public to gauge and exploit the material manifestations are subject to ceptualist artist whose photographs poral gap between Ukraine’s Soviet work of art. change based on historical dynamic. and videos share in Nan Goldin’s period and its subsequent reincarna- Solo exhibitions include Attitudes Ge- intimacy. His recent series The World tion as an evolving market economy Westphalen had his fi rst solo show neva, 2004; Welttour GalerieGalerie MarkusMarkus Won’t Listen is a video work focused and political anomaly. In recent work, in Künstlerhaus Bethanien, Berlin in Richter, Berlin, 2003; D-IBRB, Galerie on desire and innocence and the abil- Bratkov remixes images that approach 1995. Since then, he has been ex- Transit, Mechelen, Belgia, 2003; Und ity of popular music to provide wisdom the child as a subject beyond common hibiting internationally in exhibitions sie bewegt sich doch!Stadt. Galerie and solace around the globe. Its title juvenile clichés approaching a genera- and venues such as Monuments for im Lenbachhaus, Munich, 2003; and is drawn from a 1986 album by the tion of children that hold a residual America Wattis Gallery, Oakland, USA heimatlied GalerieGalerie MarkusMarkus Richter,Richter, British band the Smiths re-performed consciousness of what transgressed (2005); Global Players Bankart, Yako- Berlin, 2002. Group exhibitions in karaoke by Turkish youths. Another while prematurely entering adoles- hama, Japan (2005); Milliken Art Gal- include Bewegte Teile Kunsthaus work, The Return of the Real involves cence located in an antithetical else- lery, Stockholm, Sweden, (2005); and Graz, Austria and Museum Tinguely, the artist inviting a dozen people who where. These kids, forever, parentless the Whitney Biennial, Whitney Mu- Basel, 2004; the Liverpool Biennial, had been on reality and talk shows to and invulnerable, are consumed by an seum of American Art (2004). In 2006 2004; Degree Show 2004,2004, MAMA FineFine discuss the effects of these appear- alienating experience of youth that is he will have a solo exhibition in Michael Art, Goldsmiths College, London; ances on their lives in a panel and often reduced to exchange value by Neff Gallery in Frankfurt (May); Gal- Sydney Biennial 2004; Manifesta 5, in individual interviews resulting in the international demand for adoption erie Georges-Philip and Natalie Vallois San Sebastian, 2004; Wings of Art intimate autobiographies and therapy and abundant sex traffi cking. in Paris, France; and at Kunstverein Ludwig Forum für internationale Kunst, sessions. Collins has exhibited widely Brandenburg, Potsdam, Germany. Aachen, 2003; Fuori Uso Ferrotel, in venues such as Wexner Center for Pescara, 2003; At least begin to make the Arts, Columbus, Ohio; Museum of an end W 139,139, Amsterdam,Amsterdam, 2003;2003; Be- Contemporary Art, Chicago; Espacio wegt KunstvereinKunstverein IIngolstadt,ngolstadt, GGermany,ermany, la Rebeca, Bogotá; Irish Museum of 2002; Acht mal anders Centro de arte Modern Art, Dublin; Modern Art, Ox- joven, Madrid, 2001; and Kunsthalle ford; Tate Britain, London; Barbican Recklinghausen, Germany, 2001. Centre, London; Ormeau Baths Gal- lery, Belfast; The Wrong Gallery, New York; Museum of Contemporary Art, Belgrade; and PS1 Contemporary Art Center, New York. He recently partici- pated in the ninth Istanbul Biennale.

56 57 August-September musical installations. During the past Department at the Royal College of about the art and culture of the 1960s, few years she has organized the fi rst Art. In October she will take up a new for example in Sture Johannesson SETH SIEGELAUB international retrospective exhibition job in the History of Art Department (2002), about Johannesson’s psyche- Exhibition organizer, author, of the major Australasian painter Colin at Warwick University. She has also delic posters and digital graphics. At researcher McCahon in New Zealand and Austra- taught at Essex University (where she the moment Lars teaches at Konsthög- Born 1941, New York City, USA lia. Bloem holds a PhD in art history completed her PhD) and Tate Modern. skolan in Stockholm and at the acad- Lives and works in Amsterdam, from Rijksuniversiteit Leiden. She is a She is the author of Installation Art: emies in Copenhagen and Århus, and the Netherlands board member of several Dutch music A Critical History (Tate,(Tate, 22005),005), An- is doing research for a book about the Seth Siegelaub was born in the Bronx, foundations, and has also served on a tagonism and Relational Aesthetics history of psychedelic art in a global New York in 1941 and grew up in number of art foundations, committees (October no.110, 2004) and contrib- context. New York City. He has been active as and juries. utes regularly to Artforum, Flash Art, a plumber, art dealer, publisher and Untitled, and Tate Etc. independent exhibition organizer, in- CHUS MARTINEZ cluding 35 art-related projects and the Director of the Kunstverein Her latest publication is Participation, ”Artist’s Rights Agreement” from 1964 Frankfurt an edited anthology of key texts on - 1971; a researcher and publisher Born in Galicia, Spain participation in art from the late 1950s of left books on communication and Lives and works in Frankfurt to the present day, published in Sep- culture; a bibliographer of the history Chus Martinez is the Director of the tember by Whitechapel Art Gallery of textiles; and currently a researcher Kunstverein Frankfurt where she has & MIT Press. She recently presented studying the theory of time and causal- been since January of 2005. At the the paper Live Installations and Con- ity. He has lived in Europe since the moment she is curating Ist das Leben structed Situations: The Use of ”Real early 1970s, currently in Amsterdam. nicht schön?; a group exhibition in four People” inin AArt,rt, atat OCA’sOCA’s VerkstedVerksted chapters with Esra Ersen, Wilhelm seminar on the Art of Welfare, which MARJA BLOEM Sasnal, Arturas Raila and Tommy was published, along with the other Independent curator Støckel. Prior to that she was the Di- participants’ contributions, as a book Born 1944, Didam, The Neth- rector of Exhibitions at Sala Rekalde, September 2006. erlands a center for contemporary art based in Lives and works in Amsterdam, Bilbao where she developed a series Her current research interests concern The Netherlands of exhibitions, workshops, and publica- post-medium-specifi c art, the history Marja Bloom is an independent cura- tions dealing with the new conditions of exhibition display, and the politics of tor, frequently writing on contemporary in contemporary art production. Marti- spectatorship in socially-engaged and art. From 1971 to 2005 she worked at nez is a regular contributor to Afterall relational art. the Stedelijk Museum Amsterdam as and correspondent to Flash Art Inter- Curator for Exhibitions where she was national. She holds a M.A. in Curato- LARS BANG LARSEN responsible for organizing innumerable rial Studies from Center for Curatorial Critic and curator important group and solo exhibitions Studies at Bard College, New York. Born in Denmark including by Agnes Martin, Kazimir Ma- Lives and works in Frankfurt levich, Lawrence Weiner, JCJ Vander- CLAIRE BISHOP Lars Bang Larsen is a free-lance critic heyden, Berend Strik, Rini Hurkmans, Lecturer in the History of Art and curator, based in Frankfurt and Richard Tuttle, Marina Abramovic, Department at the University Copenhagen. He writes regularly Gerhard Richter, Imi Knoebel, Georg of Warwick for Frieze and Artforum, and has co- Herold, Lucio Fontana and Colin Mc- Born 1979, Wales curated the Momentum biennial in Cahon. During that period she was Lives and works in London 1998 and the group shows Pyramids also head of the music program at the Claire Bishop is an art historian and of Mars (2000), Fundamentalisms of museum where she organized weekly critic based in London. She is cur- the New Order (2002), The Invisible concerts by avant-garde musicians, rently Leverhulme Research Fellow Insurrection of a Million Minds (2005) music workshops and exhibitions of in the Curating Contemporary Art and Populism (2005). He has written

58 59 October co-curated the exhibition Have we met? LAURA HORELLI November–December with curators from Indonesia, Japan, Artist POOJA SOOD and Thailand for the Japan Foundation. Born 1976, Helsinki, Finland SEAN SNYDER Curator and director of KHOJ She was invited to curate a video art Lives and works in Frankfurt, Artist Residency exhibition for the Musee D’Ethnographie Germany Born 1972, Virginia Beach, USA Lives and works in New Delhi, in Geneva and is a guest curator for the Laura Horelli’s photo, text and video Lives and works in Berlin, Kyiv India Freewaves Media Festival in Los Ange- installations focus on communicative and Tokyo Supported with funds from 03, les, USA. The exhibition From Goddess forms of relations in public, media and In his photography, video and text a particular branch of OCA’s to Pinup: Icons of Femininity in Indian psychological spaces. The artist often projects, Sean Snyder dissects the funding supplemented by the Calendar Art, which she co-curated links documentary material with her role of representation and ideology Norwegian Ministry of Foreign with anthropologist Dr Patricia Uberoi, own pictures and information. Laura through examples of architecture, ur- Affairs. has toured Fukuoka, Amsterdam, Vien- Horelli studied in Helsinki as well as at ban and media space. Using both self- Pooja Sood is the chairperson and na, Vancouver, and New York. She was the Staedelschule in Frankfurt. Recent produced and reprocessed material, coordinator of KHOJ International the Indian commissioned researcher exhibitions include 6th Gwangju Bien- densely grouped systems of reference Artists’ Association, an autonomous, for the Fukuoka Asian Art Museum in nale (2006), South Korea, Periferic 7, are confi gured as tactical counter- artist-led registered society aimed at 2002-2003 and curator in residence at Iasi, Romania (2006), In 2052 Malmö points to the interpretation of dominant promoting intercultural understanding the museum from Dec 1999-Jan 2000. Will No Longer Be Swedish, Rooseum, knowledge. Sean Snyder has recently through exchange. Sood has coordi- She has participated in various forums Malmö, Sweden (2005), Laura Horelli, participated in the 9th Istanbul Bien- nated the KHOJ International Artists’ on Indian contemporary art, art manage- Galerie im Taxispalais, Innsbruck, nale, 6th Gwangju Biennale and 5th Workshop in Delhi from 1998-2001, ment and South Asian art in India and Austria (2004) and Manifesta 5, San Busan Biennale. Recent solo exhibi- facilitated the workshop in Bangalore abroad. Amongst others, she has made Sebastian, Spain (2004). tions include Portikus, Frankfurt; 2002-2003 and is currently developing presentations at the Asia Pacifi c Trien- Secession, Vienna and forthcoming at a international residency programme at nale in Brisbane; at the Winternachten the Stedelijk Musuem CS, Amsterdam, KHOJ. As coordinator of KHOJ, she has Festival in The Hague and at the Art- Sala Rekalde, Bilbao and the Lisson developed core competencies in fund- SouthAsia seminar in Manchester, UK. Gallery, London. raising, strategic planning and capac- She has written on art for the magazine ity building. Sood is also the regional Art India and is the editor of several coordinator of the international artists’ catalogues including the fi rst publica- network, facilitated by the Triangle Arts tion of Indian video art, Video Art in Trust, UK. She works with artists’ com- India, 2003. munities in Pakistan, Sri Lanka, Bangla- desh, and Nepal, facilitating exchange MIKE BOUCHET through workshops and residencies in Artist the region. Over the past 4 years, she Born 1970, Castro Valley, Cali- has actively facilitated the development fornia, USA of the South Asian Network by building Lives and works in New York, capacity and facilitating fundraising, USA and Frankfurt, Germany communication and networking strate- Bouchet’s performative, sculptural gies. She is working towards the inclu- artistic projects often physically tra- sion of South East Asian artists groups. verse the globe. These deadpan works Sood is also the Director of the corpo- — serious art, which hinges on not-so- rate sponsored Apeejay Media Gallery, serious issues or impossible situations the fi rst new media gallery in India since — demonstrate his illogical and even 2002. She has curated/programmed absurd approach to the world itself. As several large Indian and international he says, they constitute ”an attempt at video art exhibitions over the past 3 something”. years. As independent curator, she

60 61 International February April April/May Residencies CAROL BOVE NAVEEN KISHORE TUE GREENFORT Show, Draft Deceit, Interview, Le Monde Show, Try Again. Fail Kunstnernes Diplomatique, Again. Fail better, Hus, 18.2 - 12.4.06 November 06 Momentum Moss, 2.9 - 15.10.06 DAN GRAHAM

Show, Draft Deceit, Kunstnernes Hus, 18.2 - 12.4.06 - Lecture Bergen National Academy of the Arts, 14.9.06 - Lecture NTNU, Faculty for Arcitecture and Art, 15.9.06 - Interview (Draft Deceit), Klassekampen, 18.2.06

COREY MCCORKLE

Show, Draft Deceit, Kunstnernes Hus, 18.2 - 12.4.06

LAWRENCE WEINER

Show, Draft Deceit, Kunstnernes Hus, 18.2 - 12.4.06 - Interview (Draft Deceit), Klassekampen, 18.2.06

62 63 June/September August/September October November/December

PHIL COLLINS CLAIRE BISHOP MIKE BOUCHET SEAN SNYDER

Show, Try Again. Fail Lecture, Oslo National Presentation and Presentation and Again. Fail better, Academy of the Arts, tutorials, Oslo National tutorials, Oslo National Momentum Moss, 2.9 dept. of Fine Art Academy of the Arts, Academy of the Arts, - 15.10.06 dept. of Fine Art dept. of Fine Art LARS BANG LARSEN - MICHAEL LAURA HORELLI Show, Several ways out, SAILSTORFER Tutorials, Oslo National The Young Artist Society Academy of the Arts, Lecture and tutorials, (UKS), 22.4 – 21.5.06 Show, Try Again. Fail dept. of Fine Art, 4 - Oslo National Academy - Again. Fail better, 8.9.06 of the Arts, dept. of Fine Interview, Le Monde Momentum Moss, 2.9 Art Diplomatique, 1.12.06 - 15.10.06 CHUS MARTINEZ - Lecture, Bergen National Lecture, Oslo National Academy of the Arts, Academy of the Arts, 19.10 dept. of Fine Art

OLAV WESTPHALEN Avenger (of Widows and Orphans), 2005 Mixed media installation Dimensions variable Courtesy of Maccarone Inc., New York, USA Photo: Leif Gabrielsen

64 65 COREY MCCORKLE Heiligenschein, 2005 213 cm dia. Cortesy of the artist and Mac- carone Inc. New York, USA

DAN GRAHAM CAROL BOVE Triangle with Circular Inserts- Das Energi, 2005-6 variation B, 1999 Mixed media Mirrors, glass, aluminium 279.4 x 165.1 x 30.5 cm 212 x 212 x 184 cm Courtesy of the artist Collection of the Museum of Contemporary Art of Lyon, 66 France 67 From LARS BANG LARSEN’s talk on Psychodelia Bill Ham Liquid Light show, late 1960’s

TUE GREENFORT SERHIY BRATKOV Eskimo,2006. Lofoten, 17. Mai 2006 found object, souvenir plate Digital photograph made out of plastic. 19 cm diameter. Courtesy Johann König, Berlin.

68 69 PHIL COLLINS The World Won’t Listen, 2004 DVD

SETH SIEGELAUB The “January 5-31, 1969” Exhibition. Photograph of the four partici- pating artists in the exhibi- tion - New York, January 1969. From left to right: Robert MICHAEL SAILSTORFER Barry, Douglas Huebler, Joseph 3 steres with a view, 2002 Kosuth and Lawrence Weiner. In collaboration with Jürgen Exhibition organized and Heinert published by Seth Siegelaub / Photo: Siegfried Wameser Photograph by Seth Siegelaub / Courtesy of The Siegelaub Collection & Archives at the 70 Stichting Egress Foundation, 71 Amsterdam. International Residencies Abroad

CLAIRE BISHOP (ED.) Participation Whitechapel Art Gallery/ MIT Press, 2006

72 73 BERLIN MITTE September ly completely different expression for Poznan, Poland, 2000; HEART/Hel- his next series of works. This activity is sinki Environmental Art Project (with TRUDE IVERSEN characterised both by a will to become Pekka Nevalainen), 2000; and The The Offi ce for Contemporary Art Curator engaged and pulled along by the at- Museum of Contemporary Art, Oslo, Norway offers a residency in Berlin b. 1974. Lives and works in tractions and events of the landscape 1998. Nicolaisen had a solo show at Mitte to a Norwegian curator/critic/ Oslo (here the artworld and different artistic Bergen Kunsthall/No.5, Bergen 2006, artist in 2006. The apartment is fully Trude Iversen is an art theoretician/ strategies), and by a desire to retain and participates in The Drawing Bien- equipped and located at KW Institute Cand.philol in philosophy with a thesis the outsider’s ability for distanced nial 20062006 atat thethe StenersenStenersen Museum,Museum, for Contemporary Art in Berlin Mitte. on art and autonomy in Theodor W. observation. In many respects Terje Oslo. OCA covers travel costs up to NOK Adorno’s Aesthetical Theory. She was Nicolaisen’s artistic practice thereby 4000. Curators and critics are espe- director of UKS (Young Artists Soci- constitutes a dérive (or a series of cially encouraged to apply for the ety), Oslo, from 2001 to 2005 where dérives), where the concrete city is Residency Berlin Mitte and their ap- she curated several exhibitions such exchanged for the artworld. ... Move- plications will be prioritized. as Transaction: The Possibilities and ment and experimentation seems in Limitations of the Art Space (2004),), Nicolaisen’s work to form the basis for January-February I Reread the Odyssey Last Night a methodology that stands in contrast (2005) Done (2005), Opacity (2005)(2005) to the linear development of a personal JOSEFINE LYCHE (together with Nina Möntmann). In project that constitutes the norm in Artist/critic 2001 Iversen founded the discussion art.” b. 1973. Lives and works in forum Institute for Art and Theory (Excerpt from Gardar Eide Einars- Bergen together with a group of artists and son, The Derivé in Terje Nicolaisen’s Josefi ne Lyche has worked with theorists. She was a founding member Practice). various media, including sculpture, of the political and cultural magazine painting, video and animation. Lyche’s Kontur and is currently working on Terje Nicolaisen trained at the Art works often relate to the space or the book Contemporary Criticality Academies in Bergen (1997) and building on a physical, architectonic (to be published by Torpedo Press Trondheim (1996). He has exhibited level. in beginning of 2007). Iversen is a extensively in Norway, among shows PhD candidate in Aesthetics at the and institutions Bokaktig, Fotogal- April-June University of Oslo with the project Art leriet, Oslo, 2006; Stilleben/Rakett, as Critique with special attention on Projekt 0047, Berlin, Germany, 2005; ANE GRAFF Institutional Critique. She also works Tegneklubben, Bergen Kunsthall/ Artist as a freelance curator and writer and No.5, Bergen, 2005; Momentum – In- b. 1975. Lives and works in has published texts on art in Le Monde ternational Festival for Contemporary Oslo Diplomatique, Kontur, Klassekampen, Art, Moss, 2004; Art to the People, Ane Graff is predominantly known for Ny Tid in addition to various maga- Kunstnernes Hus (Oslo), Bergen Kun- her drawings which refl ect an interest zines, catalogues and books. sthall (Bergen), Tromsø Kunstforening in the lifelike and the lifeless in accor- (Tromsø), Bomuldsfabriken Kunsthall dance with drawing as representation; November-December (Arendal), 2003-2004; Maniege Cen- for the historical and culturally con- ter for Contemporary Art, St. Peters- ditional index of symbols; and for the TERJE NICOLAISEN burg, Russia, ROHTO, 2003; Straight tableaux as allegory versus a specifi c Artist on Medicine Art (with(with MarkusMarkus Renvall),Renvall), scientifi c consideration. b. 1964, Drammen. Lives and Art in Nordland, 2003; The Sculpture works in Oslo Biennial, Vestfold Haugar Kunstmu- ”Through his series of works, Terje seum, Tønsberg, 2003; The Sculpture Nicolaisen relates to an artistic expres- Biennial, Lillehammer Kunstmuseum sion or tradition for a limited period of (Lillehammer), Stenersen Museum time, and then moves on to a seeming- (Oslo), 2001; Galeria U Jezuitûw,

74 75 KÜNSTLERHAUS BETHANIEN PLATFORM CHINA, BEIJING July–August ICSP NEW YORK CITY

ANNE-KARIN FURUNES In 2006/07 the Offi ce for Contem- This project has been made possi- In 2006/07 the Offi ce for Contem- Artist porary Art Norway offers a studio ble with funds from 03, a particular porary Art Norway offers two differ- Born 1961. Lives and works in grant for a Norwegian artist at the branch of OCA’s funding supple- ent studio grants for a Norwegian Trondheim, Norway International Studio Program Kün- mented by the Norwegian Ministry artist and a Norwegian freelance Anne-Karin Furunes is educated in stlerhaus Bethanien Berlin. of Foreign Affairs. curator at the International Studio architecture and visual arts. Public In collaboration with the Norwegian and Curatorial Program (ISCP) in projects include works at Nationalthe- JANNICKE LÅKER Embassy in Beijing/China, the Of- New York City. atret station in Oslo and at the House Artist fi ce for Contemporary Art Norway of Wergeland at Eidsvoll. She ecently b. 1968, Drammen. Lives and has commenced a trial studio resi- September 2005–August 2006 fi nished a permanent installation for a works in Berlin, Germany dency at Platform China in Beijing. building by Norman Foster – Deutsche Jannicke Låker teaches at the National Travel costs and housing are offered UNN FAHLSTRØM Bank in Sydney, Australia. Academy of Fine Art, Oslo. Her video in addition to the grant. Artist work presents individuals in cruelly b. 1975. Lives and works in During the last year she has exhibited manipulated situations, seeking to April-May Oslo, Norway in Sydney at the Conny Dietschold include viewers in the narratives. Fahlstrøm is educated at the National Gallery, and had a solo exhibition at OLE HENRIK HAGEN Academy of Art in Oslo, and at the Galleri Anhava in Helsinki, Finland. Artist University in Stockholm. Frequently This was a project based on documen- b. 1955, Oslo, Norway. Lives cooperating with composers and tary photographs from the Finnish War and works in Hamburg, Ger- musicians, her video work emphasizes Archive, entitled Picture of Portrait, many the relationship between sound and Finland 1918. Ole Henrik Hagen is born in Oslo. He image. Her works border between studied at Statens håndverks- og kun- abstract structuralism and cinematic Furunes worked on a large series of stindustriskole Oslo, and Hochschule narratives. images that were presented at Plat- der Künste, Berlin. He works with form China the summer of 2006. She drawing, photobased images (photo September - November 2006 is represented at The National Mu- emulsion and acrylic on canvas) and seum of Contemporary Art, Oslo; The c- prints. Hagen participated in estab- GEIR HARALDSETH National Museum in China, Beijing; lishing Selbsthilfe Galleriet Wissart in Curator and KIASMA, Helsinki, Finland. Berlin in 1982, and was a member of b. 1977. Lives and works in the artist group Lambretta from 1983 Oslo, Norway to1987. He stayed in Berlin from 1988- Geir Haraldseth was awarded the 90 and again from1996 – 2000. Since curatorial residency to provide him the 2000 he stayed in Hamburg, living opportunity to proceed with further and working in the studio collective research having graduated from the FRISE. The programme for the house M.A. Programme of Curatorial Studies is production, exhibiting and exchange. at the Center for Curatorial Studies at Hagen has had residencies in Jaipur in Bard College, New York. Haraldseth India and Palermo in Italia in addition received his B.A. from Central Saint to Beijing. Martins College of Art and Design, London. Haraldseth had formerly been the Head of the bookshop at the National Museum of Contemporary Art/National Museum of Art, Oslo. His recent exhibition, Making the Band

76 77 opened in March at the Center for PLATFORM GARANTI ISTANBUL Curatorial Studies at Bard College at Annandale on the Hudson. His recent This project has been made possi- interview with Richard Prince ap- ble with funds from 03, a particular peared in Acne Paper. branch of OCA’s funding supple- mented by the Norwegian Ministry September 2006 - August 2007 of Foreign Affairs. OCA offers a residency for an art- OLE MARTIN LUND BØ ist or a curator at Platform Garanti Artist Istanbul. b. 1973. Lives and works in Stavanger, Norway MARIUS ENGH Ole Martin Lund Bø was awarded Artist the artist residency to proceed with b. 1974. Lives and works in the development of his work which Oslo, Norway “involves a recontextualization of A recurrent discussion in Engh’s pro- the authoritarian elements of power duction is a renegotiation and reevalu- rhetoric that is being used in political, ation of what represents the inside religious and commecial mass media.” and the outside of the art context. Interested in the construction and In his sculptures, photographs and by the surface of rhetoric and visual paintings, Marius Engh appropriates, language of mass communications, combines or reconstructs objects from Bø expresses an investigation of the everyday life. His works often quote architecture of the content as shaped the aesthetic of Minimalism, using for by aesthetic norms and traditions. example structures of grids and cubes. But in contrast with the works of Mini- mal artists, the forms of his structures always come from existing objects.

TERJE NICOLAISEN Torgeir Rebolledo Pedersen, 2006 Ink on Paper, 560 x 760

78 79 ANNE KARIN FURUNES Beijing 2006 Polaroid

OLE MARTIN LUND BØ Untitled, 2006 C-print Edition: 5+1 35 x 40 cm

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MARIUS ENGH UNTITLED (SHOES), 2006 C-print on Fuji Archival Paper, framed 73,5 x 104 cm Privat Collection, Palm Beach. Courtesy of STANDARD (OSLO), Oslo 80 81 82 83 International The Offi ce for Contemporary Art January Norway runs an International Visitor Programme to support international BARBARA LONDON Visitors curators and cultural producers in Curator, Museum of Modern their research in Norway for upcom- Art ing exhibitions and projects abroad. New York City, USA Programme Participation in the programme is Curator Barbara London founded The by invitation although requests for Museum of Modern Art’s video exhi- visits are concidered based on avail- bition and media programs and has ability when adressed to OCA. guided them over a long pioneering career. She has organized over 120 exhibitions and featured pioneering artists such as Nam June Paik, Bill Viola, Laurie Anderson, Brian Eno, Feng Mengbo, and Yang Fudong. She helped create a context for the vision- ary statements being made internation- ally in video and media art by multi- cultural voices, emerging talents, and more established artists. Her objective has been to link the electronic arts with more traditional art.

84 85 February March April West/Possibility, (with(with ChrisChris Dercon,Dercon, 1989) etc. MARTIN HERBERT LÍVIA PÁLDI FREDRIK LIEW London correspondent, Art Curator, Mücsarnok/Kunst- Assistant Curator, Moderna She holds several honors, among them Forum halle Museet the „Chevalier des Arts et des Lettres London, UK Budapest, Hungary Stockholm, Sweden from the State of France“ 1987, the Martin Herbert is a writer and critic Lívia Páldi has been curator at Mücsar- Fredrik Liew is a curator based in „Skowhegan Award for Outstanding based in Tunbridge Wells, Kent, UK. nok/Kunsthalle, Budapest since Sept Stockholm, Sweden. Since September Work in the Arts“ 1989 and the Honor- He is a London correspondent for 2005. She was co-director of Institute 2006 he is connected to Moderna ary Doctorate of the San Francisco Artforum, and his writings on art have of Contemporary Art Dunaújváros, Museet where he is member of a team Art Institute 2001. Her publications also appeared in magazines including Hungary, 1997-2000. After having that curates a series of exhibitions include books about Dennis Oppen- Frieze, Art Monthly, Modern Painters taking part in the De Appel Curato- called the 1st at Moderna Museet, heim, John Wesley and Keith Sonnier and Flash Art. rial Training Programme, Amsterdam a new exhibitions opens on the fi rst as well as numerous articles, reviews (2000-2001), she started working as a day of every month in the museum. At and essays on the art of Wolfgang JÖRG HEISER freelance curator and critic, contribut- the moment (January 2007) he also Tillmans, Ari Marcopoulos, Katharina Co-Editor, FRIEZE ing regularily to various publications. prepares a solo exhibition with William Sieverding, Luigi Ontani, Janet Cardiff Berlin, Germany She has curated, among other exhibi- Kentridge and previous exhibitions and George Bures Miller, etc. Jörg Heiser is co-editor of Frieze tions, Modesty (with(with GregorGregor Podnar),Podnar), include: Young-hae Chang Heavy Magazine, London, and writes for Süd- Pavel Haus, Laafeld and Mala galerija/ Industries, Janice Kerbel, Christian deutsche Zeitung, Munich. Recent cu- Galerija Skuc, Ljubljana, 2002-2003; Marclay, Olafur Eliasson, Jun Nguyen- rated projects include Funky Lessons, green box, TrafoTrafo Gallery,Gallery, Budapest,Budapest, Hatsushiba, Jacob Dahlgren, Katarina Büro Friedrich, Berlin; and BAWAG 2004; and Surfacing, Episode 1 of Löfström & David Svensson. Foundation, Vienna, 2004/2005. the Who if not we?? exhibitionexhibition sseries,eries, Heiser is currently preparing a travel- Ludwig Museum of Contemporary Art, ALANNA HEISS ling exhibition on Romantic Concep- Budapest, 2004; and Second Pres- Director of PS 1 tualism, to be launced in Spring 2007. ent, Trafo Gallery, 2005. She was the New York, USA Recent catalogue and book contribu- editor of the exhibition catalogue Mar- Alanna Heiss received her BA in Music tions include essays on Susan Hiller jetica Potrc: Last Stop: Kiosk, Mod- at the Lawrence University in Apple- (DAAD Berlin and Compton Verney erna galerija, Ljubljana and Revolver, ton, WS. In 1971 she founded The UK, 2005), Gerwald Rockenschaub Frankfurt, 2003; and was working as a Institute of Art and Urban Resources (Museum Moderner Kunst, Vienna collaborating editor in East Art Map, a Inc., which in 1976 was redefi ned as 2004), Chris Cunningham (kestnerge- project by Irwin, 2002-2005. P.S.1, Contemporary Art Center, an sellschaft, Hanover 2004), Thomas affi liate of The Museum of Modern Scheibitz (Venice Biennale 2005), and Art. It was primarily dedicated to the Tal R (CFA, 2005). transformation of abandoned and underutilized buildings in New York City into exhibition, performance, and studio spaces for artists. She has organized and curated important exhibitions at P.S.1 such as Greater New York (Selection(Selection Curator,Curator, 20052005 and 2000), Painting Report – Plane: Essential Painting (2002), The Prom- ise of Photography: Selections from the DG BANK Collection (with Klaus Biesenbach, 1999), Slow Art: Paint- ing in New York Now (1992),(1992), Franz

86 87 May Museum of the University of Houston, Edi Muka studied painting at the ing an exhibition for Apex Art in New Texas, a position she has held since Academy of Fine Arts, Tirana. In 1995 York City. TIHOMIR MILOVAC June 2000. She has organized many he attended an international course Senior Curator, The Museum exhibitions with accompanying cata- on curatorial devices, organized by PETER ELEEY of Contemporary Art logues featuring artists of international Soros Foundation in Kyiv, Ukraine. He Curator and Producer, Cre- Zagreb, Croatia scope, including Terry Allan, Alain became assistant professor at the AFA ative Time Supported with funds from 03, Bublex, Nancy Burson, Donald Lipski, in Tirana, where he continues today as New York, USA a particular branch of OCA’s Francisco Ruiz de Infante, James guest professor at the Contemporary While at Creative Time, Peter Eleey funding supplemented by the Surls, Jessica Stockholder, and Chuck Art Atelier. In 1999 Muka was appoint- has organized a diverse range of Norwegian Ministry of Foreign Close. She has traveled extensively ed Director of the International Center artworks and events including Light Affairs. throughout the United States and of Culture, Tirana, where he developed Circle (2003), a pyrotechnics project Tihomir Milovac is Senior Curator at abroad, and lectured and published an active programme of visual art ex- by Cai Guo-Qiang for Central Park, the Museum of Contemporary Art in numerous books and articles on is- hibitions, unconventional theatre per- New York; Jenny Holzer’s fi rst xenon Zagreb, where he currently directs the sues related to contemporary visual formances, and music events. While projections in USA, For New York Experimental Research Department. art and culture. She was a member at the ICC, he instituted its Gallery of City (2004); and sculptures, murals, As a curator and art critic, he has of the founding board of Etant donné, Contemporary Art in 2000. In 1998 performances, and conferences with prepared many exhibitions and other the French-American Endowment for he curated Permanent Instability, thethe Jim Hodges, Alex Katz, Zhang Huan, visual arts projects both in Croatia and Contemporary Art, and co-commis- fi rst international contemporary art Marjetica Potrc, Song Dong, and Gary internationally, often researching con- sioner for the international exhibition show in Albania, which turned into an Hume, among others. He has also temporary phenomena in visual arts, in at the Taijon South Korea International annual event, also curating the next organized multi-artist projects and ex- addition to the historical avant-garde. World exhibition. She was recently two installments, In & Out (2000)(2000) hibitions for Creative Time such as The He has curated numerous exhibitions, honored by the French Government and Small Brother (2002).(2002). InIn 19991999 hehe Dreamland Artist Club (2004 - 2005). among them Kasimir Malevich (Retro- with a Chevalier dans l’Ordre des Arts organized Albania Today, The Time spectie), 1990; Ukrainian Avantgarde, et des Lettres. of Ironic Optimism, the fi rst Albanian 1910 - 1930, Zagreb, 1990/91; Jan contribution to the Venice Biennale. Fabre: Passage, 1997/98; The Future Prior to joining the Blaffer Gallery, Ms. As one of the co-founders behind the is Now - Ukrainian Art in the Nineties, Sultan was curator of contemporary Tirana Biennale, Edi Muka was the 1999 - 2000; The Baltic Times - Con- art at the Corcoran Gallery of Art in curator and general coordinator of temporary Art from Latvia, Lithuania Washington, DC, a position she held Tirana Biennale 1 held in 2001 and and Estonia, 2002; Misfi ts: Concep- for 12 years. During that time, Ms. Co-Director of the 2003 installment. In tual Strategies in Croatian Contempo- Sultan organized some 40 exhibitions 2005 he co-curated the Temptations rary Art, 2002 System of Coordinate and publications. She was born in exhibition as part of the biennale’s - Russian Art Today, 2004;2004; andand Insert Asheville, North Carolina, received her third installment. Muka continues to - Retrospective of Croatian Video Art, BFA in Painting at Syracuse University serve as Co-Director of the Tirana Zagreb, 2005. He has curated several College of Visual and Performing Arts, Biennale and is also currently a Cura- solo exhibitions with Croatian contem- and her MA in Museum Studies at the tor at the National Gallery in Tirana in porary artists, including Sanja Ivekov�, John F. Kennedy University Center for charge of the International Program. In Dalibor Martinis, Mladen Stilinovi�, Museum Studies in San Francisco. addition, Muka has curated numerous Goran Petercol, Zlatko Kopljar, and exhibitions internationally in cities such Kristina Leko. EDI MUKA as Milan, Berlin, Stockholm, Amster- Co-Director, Tirana Biennale dam, and Tel Aviv. Muka’s writings on TERRIE SULTAN Tirana, Albania contemporary art have been published Director, Blaffer Gallery, Uni- Supported with funds from in various exhibition catalogues as well versity of Houston 03, a particular branch of as in journals and magazines such as Texas, USA OCA’s funding supplemented Perpjekja, PamorArt, FlashArt, Sprin- Terrie Sultan is the Director and Chief by the Norwegian Ministry of gerin, Camera Austria, and Manifesta Curator of the Blaffer Gallery, the Art Foreign Affairs. Journal. At present, Muka is develop-

88 89 June August September particular around the questions related to the perception and the function of SVEN-OLOF WALLENSTEIN HU FANG MARILOU KNODE space. Architecture and town plan- Teacher, author, critic, Editor Artistic Director, Vitamin Cre- Senior Curator at the Museum ning, private space and public space, in Chief, SITE Magazine ative Space of Contemporary Art, Scott- legislation and personal freedom or Stockholm, Sweden Guangzhou, China sdale the space exhibition room are in the Sven-Olov Wallenstein teaches Philos- Hu Fang is the Artistic Director and Arizona, USA heart of my concerns as attest the ophy at Södertörn University College co-founder of Vitamin Creative Space, Marilou Knode has organized over fi fty acquisitions of works (and exhibitions) and researches at the KTH School a project and gallery-space dedicated one-person and thematic group shows by Jordi Colomer, Jonas Dahlberg, of Architecture and at The Swedish to contemporary art-exchange and with artists from around the globe. Gaylen Gerber, Lara Almarcegui, Ann Museum of Architecture, in Stockholm, to analysing and combining different Artists with whom she has worked Veronica Janssens, Koenraad De- Sweden. He is also the Editor in Chief forms of contemporary cultures. As a include: Pascale Marthine Tayou dobbeleer, Guillaume Leblon, Pedro of SITE. He has published numerous novelist and curator, Hu Fang has pub- (Cameroon), Ghada Amer, Mona Mar- Cabrita Reis, Knut Åsdam or Peter books, recent themes being aesthetic lished the novels Sense Trilogy. HisHis zouk (Egypt), Takehito Koganezawa Downsbrough. theory, contemporary painting, and curating and co-curating projects in- (Japan), Surasi Kulsolwong (Thailand), modern architectural theory. Recent clude: Xu Tan: ”Loose”, 1996; Perfect Matts Leiderstam (Sweden), Gitte Vil- Ars Baltica Triennial: translations to Swedish include Journey, a presentation of the works of lesen (Denmark), Monique Prieto, Sam volumes by Immanuel Kant, Gilles 8 photographers, architects and art- Durant and Andrea Bowers (United DOROTHEE BIENERT Deleuze, Martin Heidegger, Giorgio ists, 1995; Zheng Guogu: My Home is States), among others. She is current- Independent curator, Berlin, Agamben, and G W F Hegel. Wallen- Your Museum, 2005 and Object Sys- ly working on a project with Scandina- Germany stein comes to Norway to participate tem: Doing Nothing, 2004. His essays vian artists; an exhibition on celebrity; - in the LIAF seminar – Lofoten Interna- and art critics has since 1997 ap- a traveling show of new works by Pae KATI KIVINEN tional Art Festival, 17 June-30 July. peared in major Chinese art/literature White; and a group exhibition with Assistant curator at KIASMA, and international art/culture magazines artists from North Africa/Middle East Helsinki, Finland such as Domus, Yishu, Avant-Garde with the Museum for African Art, New - Today and Art World. Hu Fang gradu- York. Her primary areas of research in- ENRICO LUNGHI ated from the Chinese Literature De- clude the Middle East and the impact Director of Casino Luxem- partment of Wuhan University in 1992. of non-Western art in broadening the bourg, Luxembourg He lives and works in Vienna and boundaries of contemporary modern- These three curators were here to do Guangzhou and is currently working as ism. She has contributed to publica- research for the Ars Baltica Triennial coordinating editor of Documenta 12 tions Nu, Art in America, Art Papers, of Photographic Art: Under the motto magazines. Tema Celeste and Flash Art. Don’t Worry — Be Curious!, artists, curators, and academics from fi ve EVA GONZALEZ-SANCHO western and fi ve eastern European Director, Frac Bourgogne countries bordering the Baltic Sea Bourgogne, France will address the problems and fear The Frac Burgundy is one of the 22 resulting from upheavals in present- Fracs based in the 22 regions in which day society. The project comprises an France is divided. Every Frac has the exhibition to be shown in Kiel (DE), same three main missions: Informing, Tallinn (EE), Pori (FI) and other loca- Collecting, Disseminating contem- tions in the Baltic Sea region; an porary art. But not every Frac has of interdisciplinary conference, for which course, the same programme of exhibi- a collaboration with the Muthesius tion or the same collection (or same Hochschule in Kiel is planned; and an acquisition policy), or the same fi eld artist-in-residence program for which of interests. Since her appointment in several artists will develop new works 2003 to the Frac Burgundy, her artistic in the partner countries. orientations have been articulated in

90 91 October and publications with contemporary November artists including Pawel Althamer, GERARDO MOSQUERA Christoph Büchel, Douglas Gordon, CEREN ERDEM Curator and art critic Susan Hiller, Edward Krasinski, Gus- Member of the Istanbul Bien- Havana, Cuba tav Metzger, Rosalind Nashashibi, nial permanent team Gerardo Mosquera is a free lance Gregor Schneider, Ahlam Shibli, Istanbul, Turkey curator and art critic based in Ha- Superfl ex, Piotr Uklanski, Krzysztof Supported with funds from 03, vana, Adjunct Curator at the New Wodiczko. Curated group exhibitions a particular branch of OCA’s Museum of Contemporary Art, New include Roundabout (CCA(CCA WWarsawarsaw funding supplemented by the York, advisor at the Rijksakademie van 1998), Amateur (co-curated(co-curated withwith MarkMark Norwegian Ministry of Foreign Beeldenden Kunsten, Amsterdam, Kremer and Charles Esche, Kunst- Affairs. and member of the advisory board of museum Göteborg, Sweden, 2000) Ceren Erdem (born 1979) graduated several art journals. He was a founder Painters’ Competition (Galeria Bielska from the Industrial Design Depart- of the Havana Biennial, and has cu- BWA, Bielsko-Biala, Poland 2001), ment of the Faculty of Architecture at rated many exhibitions, including the Hidden In a Daylight (co-curated(co-curated withwith Istanbul Technical University in 2002 international urban art event Multip- Joanna Mytkowska and Andrzej Przy- and completed her M.F.A. degree in leCity. ArtPanamaArtPanama 2003,2003, PanoramaPanorama wara, Hotel ”Pod brunatnym jeleniem”, Visual Arts and Visual Communica- da Arte Brasileira Contemporanea/ Cieszyn, Poland 2003). tion Design at the Sabanci University, (Sao Paulo, Rio de Janeiro, Recife, Istanbul, in 2004. She started working Vigo, 2003-2004), It’s Not What You JOHN RASMUSSEN in the Istanbul Foundation for Culture See. Perverting Minimalism (Madrid, Director, Midway Contempo- and Arts as the assistant of Lucia 2000), Cildo Meireles (New York, rary Art Koch in the 8th International Istanbul 1999), Important & Exportant (2nd.(2nd. Minneapolis, USA Biennial, Poetic Justice, curated by Johannesburg Biennale, 1997), Ante John Rasmussen is the founder and Dan Cameron in 2003. Since the America (Bogota, Caracas, New York, curator of Midway Contemporary Art, 9th International Istanbul Biennial, San Francisco, San Diego..., 1992- Minneapolis, a non for profi t gallery Istanbul, curated by Charles Esche 1994). Author of numerous books committed to encouraging innovation and Vasif Kortun in 2005, Ceren Er- and texts on contemporary art and and diversity in the visual arts. He has dem works as the exhibition manager art theory, Mosquera co-edited Over curated exhibitions in the gallery’s responsible for the artists’ projects Here. International Perspectives on initial 5 years that have included artists as a member of the Istanbul Biennial Art and Culture (Cambridge, 2004), such as Guyton/Walker, Aaron Young, permanent team. and edited Beyond the Fantastic: Omer Fast, Michaela Meise, Re- Contemporary Art Criticism from Latin becca Morris, Brice Dellsperger, Jorge America (London, 1995). Queiroz, Santiago Cucullu, Carter, and Jesper Just. Forthcoming Midway exhi- ADAM SZYMCZYK bitions and publications include Nate Director at the Kunsthalle Lowman, Jay Heikes, Lisa Lapinski, Basel and Todd Norsten. Basel, Switzerland MA in Art History, Warsaw University. Participated in Curatorial Training Programme at De Appel, Amsterdam (1995). Curator at the Foksal Gallery Foundation in Warsaw (1997-2003). Next page

Curator and writer, currently director PRISCILLA MONGE of the Kunsthalle Basel, Switzerland. Untitled, 2006 Adam Szymczyk worked on exhibitions Liverpool Biennial, 2006 Curators: Gerardo Mosquera , Manray Hsu

92 93 94 95 Public Lectures & Events

HALUK AKAKÇE Sky is the Limit, 2006 Photo: David Lancaster, courtesy Creative Time

Serhiy Bratkov photographing Dan Grahams pavilion in Lofo- ten, Norway, 2006 Photo: OCA

96 97 The following events took place, I Do? - A Guide to Ethics for Artists connect personal spheres of existence besides me.” In addition to an articula- January to December in 12 Simple Rules, Kristina Leko re- to larger social political processes tion of his working methods, Greenfort formulates an old question: How and and they are made to trigger a series will also discuss his current projects, 16 January, 19:00 when is it possible to recognize public of subtle emotional, spiritual and intel- one of which is included in the group Speaker: Barbara London, Cu- interest in art activity? Leko (b.1966) lectual disturbances in the viewer. His exhibition Don Quijote that opened rator, MOMA, NY lives and works in Zagreb, Croatia. The fi lms map a journey of exploration that at Witte de With in Rotterdam on 27 Open Forum, The Oslo Acad- artist works primarily in the medium shows both his and our relationship April. Tue Greenfort lives and works in emy of Fine Art, St. Olavs gt 32 of video, photography, and text-based with the fi elds of politics of power, vio- Frankfurt am Main and Berlin. He stud- MoMA Curator Barbara London work with social interaction at the core lence, sexuality and justice. Forcing us ied at the Städeschule in Frankfurt am looked back to the late 1960s, the of her investigation. Her past projects to search for meaning in the intimate Main and the Academy of Fyn in Den- freewheeling days of “feedback,” “real include: Sarajevo International - a and sacred spaces within the ‘ordinari- mark. Greenfort has had solo exhibi- time,” and experimentation with the video communication project in col- ness’ of our lives. Kanwar’s fi lms are tions at Kunstverein Arnsberg, Johann electronic signal. London explores laboration with Sarajevo immigrants complex, contemporary narratives that König in Berlin, Gallery Zero in Milan, these traditions in present day work (2001); On Milk and People, an exhi- link legends and ritual objects to new Schnittraum in Cologne, and Galerie as artists move freely between paint- bition in collaboration with Croatian symbols and public events of today.” Nicholas Krupp in Basel, among oth- ing, sculpture, photography, fi lm, and Hungarian farmers (2002/2003); A Season Outside (1998) is nar- ers. Greenfort’s work is currently on performance, and media. In her role as Cheese and Cream, various actions rated by Kanwar and refers to India’s view in exhibitions at Witte de With in curator of media at MoMA, New York, and artefacts produced to protect northern borders as the inspiration for Rotterdam and ALP Peter Bergman in London also discusses how museums the milkmaids of Zagreb (2002); and a personal and poignant meditation Stockholm. He has also been included and archives carry out the task of me- Verfassungskorrekturbuerro, a project on the roots of violence. A Night of in various group exhibitions at such dia preservation in terms of collecting in process aimed to improve the US Prophecy (2002)(2002) waswas fi lmedlmed inin sseveraleveral venues as the ICA London, PARTICI- media-based work. London founded Constitution (2004). diverse regions of India (Maharashtra, PANT, INC. in New York, and ZKM in The Museum of Modern Art’s video Andhra Pradesh, Nagaland, Kashmir) Karlsruhe, among others. In the com- exhibition program and has guided February 4 – March 26 and features music and poetry about ing year, Greenfort will be included it over a long pioneering career. She Opening Saturday February 4 tragedy and protest performed by in the Nordic biennial Momentum in has helped assemble the Museum’s @ 13.00 regional artists. To Remember (2003)(2003) Norway, in Ann Helwing Gallery in Los premiere media collection. Her recent Amar Kanwar is a portrait of Birla House, the site of Angeles, and Max Wigram Gallery in activity includes Masters of Animation: Trilogy Mahatma Gandhi’s assassination on London. He was also selected to com- Hayao Miyazaki and Isao Takahata, Kunstindustrimuseet, St. Olavs January 30, 1948. plete a Fall 2006 residency and public Music and Media, with Laurie Ander- gt. 1 The exhibition opened on February art commission with the Art & Ecology son/Greil Marcus, Michel Gondry/Ed Curator: Gavin Jantjes 4 at 13.00, with a dialogue between programme at London’s Royal Society Halter, and Brian Eno/Todd Haynes; Trilogy marked the fi rst time the follow- Sune Nordgren, Director of The Na- of Arts. Gary Hill’s installation HanD HearD; ing three fi lms by Amar Kanwar were tional Museum of Art, Architecture and TimeStream, a web commission by exhibited together internationally: A Design and Marta Kuzma, Director of Tuesday, 30 May, 19:00 Tony Oursler; and a series of Web Season Outside (1998), A Night of Offi ce for Contemporary Art. Speaker: Serhiy Bratkov projects undertaken in China, Rus- Prophecy (2002)(2002) andand To Remember Serhiy Bratkov (b. 1960, Kharkiv, sia, and Japan. She has written and (2003). Organized by the National Wednesday, 3 May, 19:00 Ukraine) presented recent projects, lectured widely. The lecture was orga- Museum of Art, Architecture and Speaker: Tue Greenfort including work based upon research nized in cooperation with Open Forum, Design, this exhibition of Kanwar’s Tue Greenfort (b. 1973, Holbæk, Den- the artist conducted in Oslo, Kirkenes The Oslo Academy of Fine Art Lecture fi lms provided personal and spiritual mark) spoke about his work at OCA’s and Svolvaer during his residency Series. insight into issues of violence, political International Studio Programme Oslo. period with OCA’s International Studio confl ict and a desire for peaceful reso- In explaining his current practice, the Programme Oslo. Serhiy Bratkov is an Wednesday 18 January, 19:00 lution. According to the curator Gavin artist has stated, “I don’t observe na- artist once active in The Fast Reac- Speaker: Kristina Leko Jantjes, “Kanwar’s fi lms are rooted in ture as an external phenomenon, but tion Group, an urban interventionist Through examples of recent documen- the Indian subcontinent but their narra- play and interact within a space —call collective prominent in Ukraine during tary oriented projects and based on a tives have a contextual relationship to it a habitat or a certain environment— the mid-1990s (together with Boris short artist text from 2004, What Shall a diverse international audience. They where other organisms are present Mikhailov, Serhiy Solonsky and Victo-

98 99 ria Mikhailova). Rooted within a per- Marja Bloem (Independent curator), Michael Sailstorfer takes interest in ev- Wednesday, 4 October, 18:00 formative aesthetic, his photographs, Lars Bang Larsen (Critic and curator) eryday materials and the associations Speaker: Pooja Sood videos, and installations refl ect upon and Chus Martinez (Director of the they trigger. Through transformations, Subject: Building New Net- a particular consciousness endemic Frankfurter Kunstverein). contextual adjustments and spatial works and Curating for Alterna- to contemporary life in the post Soviet appropriation, Sailstorfer explores the tive Spaces in South Asia Union. With a sense of irony and black Thursday, 31 August, 17:00 unstable relationship between form Pooja Sood heads the KHOJ Inter- humour, Bratkov reveals the persis- Speakers: Q and A with Seth and content, emphasizing that the national Artists‘ Association in New tence of social mores against a back- Siegelaub and Marta Kuzma function of an object and its material Delhi, India. Sood works with artists‘ drop of economic and political trans- Subject: How and Why the manifestations are subject to change communities in Pakistan, Sri Lanka, formation. His work, often integrating World of Art Is Not What It based on historical dynamics. Sailstor- Bangladesh, and Nepal, facilitating derelict subjects, poignantly compli- Used to Be/Globalization and fer participates in OCA‘s International exchange through workshops and resi- cates the progressive ideals associ- Intellectual Terrorism Studio Programme and in the Nordic dencies in the region. Her curatorial ated with the evolution of a democratic Seth Siegelaub has been active as Biennale Momentum. projects include Have we met? forfor tthehe market economy in relation a plumber, exhibition organizer, art Japan Foundation and the touring exhi- to the contingencies of the recent dealer, author, and publisher. Respon- Wednesday, 13 September, bition From Goddess to Pinup: Icons past. sible for drafting the „Artist‘s Rights 18:00 of Femininity in Indian Calendar Art. Agreement“ from 1964–1971, he is a Speaker: Dan Graham Wednesday, 30 August, 18:00 publisher of left books on communica- Subject: Rock My Religion / Tuesday, 10 October, 18:00 Speaker: Claire Bishop tions and culture, a bibliographer of Q and A Speaker: Mike Bouchet Subject: The Simulated Storm the history of textiles, and currently a Dan Graham has produced a body of Subject: Popular Pursuit Has Ended: Rethinking the researcher studying theories of time art and theory that engages in a highly Mike Bouchet‘s performative, sculp- Spectacularisation of Contem- and causality. analytical discourse on the historical, tural artistic projects often physically porary Art - social and ideological functions of traverse the globe. These deadpan Claire Bishop is a Lecturer in the Marta Kuzma is the Director Offi ce contemporary cultural systems. Ar- works — serious art, which hinges on History of Art Department at the for Contemporary Art Norway, curator chitecture, popular music, video and not-so-serious issues or impossible University of Warwick, UK. A former and critic. television are among the focuses of situations — demonstrate his illogi- Leverhulme Research Fellow at the his investigations, which are translated cal and even absurd approach to the Royal College of Art, London, Bishop Thursday, 31 August, 19:30 into essays, performances, installa- world itself. As he says, they constitute is the author of Installation Art: A Criti- Speaker: Phil Collins tions, videotapes and architectural/ „an attempt at something“. cal History (Tate,(Tate, 22005),005), Antagonism Subject: The new mountain sculptural designs. In a recent project, Bouchet revisits and Relational Aesthetics (October [Kalokol, Kenya] Walter De Maria‘s New York Earth no.110, 2004) and contributes regu- Phil Collins works in confl icted sites Wednesday, 20 September, Room, an original work which opened larly to Artforum. including Baghdad, Belfast, Bogota, 18:00 in SoHo in 1977 as a permanent Kosovo, and Ramallah. Employing vid- Speaker: Lars Bang Larsen installation overseen by the Dia Art Thursday, 31 August, 14:00- eo and photography to create intimate Subject: 1. Psychodelia Foundation. In updating the classic 18:00 portraits of people and places, Collins Between Terror and Sci-Fi project of land art, Bouchet presented Open Studios 31 August — in departs from documentary practices New York Dirty Room as a reduced conjunction with the Opening of to produce powerful counterrepresen- Of course the summer of love in 1967 version of Mr. De Maria‘s original, fi ll- Momentum 2006 tations. Collins participates in OCA‘s was about good vibes, but more than ing a street-level space with a wall-to- Residents included in the residency Off-Site International Residency Pro- that it presented a radical, ecstatic wall, three-foot-deep blend of 50 000 programme at the time were Claire gramme as part of his participation in vision which entailed getting rid of pounds of topsoil and 25 000 pounds Bishop (Lecturer in the History of Art the Nordic Biennale Momentum. your old self in order to engage in a of compost. The soil is from Home department at the University of War- future collective togetherness. This Depot, but the compost, however, wick), Phil Collins (Artist at the Mo- Tuesday, 5 September, 18:00 talk focused on notions of ecstasy and was produced by the prison on Rikers mentum), Michael Sailstorfer (Artist at Speaker: Michael Sailstorfer community in examples of psychedelic Island, and so, at least by implication, the Momentum), Seth Siegelaub (Ex- Subject: Zeit Ist Keine Auto- art and culture from the US, Europe comes with an unpure human compo- hibition organizer, author, researcher), bahn (Time Is Not A Motorway) and Latin America. nent that New York Earth Room didn‘t

100 101 have, or at least didn‘t call attention to. emerged in the 1970s in a shift away Thursday, 26 October, 18:00 The department of International Migra- All the associations attached to pris- from structural fi lm, as a means of Speaker: Gerardo Mosquera tion and Ethnic Relations (IMER) at ons — drugs and disease, not to men- reintroducing narrative. These fi lms Subject: On MultipleCity: The Malmö University is to attract persons tion crime and race — are symbolically attempt to decode or decipher, while Panama Project who are fi rst or second generation stirred into the rank-smelling ocean of attending to a social content with rela- Gerardo Mosquera is a freelance cura- immigrants and/or from working class dirt that seems to be pushing the gal- tion to fi guration. tor and art critic based in Havana, an backgrounds. The video was real- lery into the street. - Adjunct Curator at the New Museum ized in collaboration with four IMER - A special screening schedule was of Contemporary Art, New York, Co- students, who conducted empirical The artist spoke about his production arranged to provide the opportunity to curator of this year‘s Liverpool Bien- studies in Malmö dealing with issues and mode of inquiry. view examples of her work on Tuesday nale, and curator of many exhibitions, of integration. and Wednesdays, from 24 October including MultipleCity. MultipleCity was Wednesday, 18 October, 18:00 through 1 November, from 11.00- an international urban art project that Wednesday, 22 November, Speaker: Laura Horelli 16.00 in ISP Studio 2. Works present- Gerardo Mosquera co-curated in 2003 18:00 Subject: Perceiving Reality ed included: 712 Interviews, 2003- in Panama with Adrienne Samos involv- Speaker: Sean Snyder Through the Constructed Docu- 2005; You Go Where You Are Sent, ing 13 artists, among them Francis Alÿs, In his photography, video and text mentary 2003; Incomplete Picture — „Discover Ghada Amer, Gustavo Artigas, artway projects, Sean Snyder questions Laura Horelli (born 1976, Helsinki, Japan“, 2004-2005. of thinking, Gu Xiong, Cildo Meireles urban space and its representations Finland, lives and works in Berlin, Ger- - ... and has been described by Okwui in the media, which he understands many) spoke about her work produc- Laura Horelli studied in Helsinki as well Enwezor as „one of the most ambitious as symbols of social, ideological and tion and process of inquiry. as at the Städelschule in Frankfurt. attempts of its kind (...) an important economic structures. In his talk he will - Recent exhibitions include 6th Gwangju contribution to the growing rethinking discuss the relationship between Ro- Laura Horelli‘s photography, text and Biennale (2006), South Korea, Per- of the city“. The presentation included manian and North Korean architecture, video installations focus on commu- iferic 7, Iasi, Romania (2006), In 2052 a screening of a documentary video by North Korean cinema, compare the nicative forms of relations in public, Malmö Will No Longer Be Swedish, Rich Potter giving a lively view of the visual strategies employed by the US media and psychological spaces. In Rooseum, Malmö, Sweden (2005), event and of Panama City. MultipleCity Department of Defense and Jihadist The Shrink Wrapped Documentary: Laura Horelli, Galerie im Taxispalais, raises critical issues about art and con- organizations, and introduce a recent Laura Horelli‘s Demystifi cation of Innsbruck, Austria (2004) and Mani- temporary cities, the public sphere, etc. project about satellite television. the Socially Engaged Work, Marta festa 5, San Sebastian, Spain (2004). - Kuzma writes „the artist challenges Tuesdays and Wednesdays, Sean Snyder was born in 1972, Vir- the artworld‘s over reliance in recent Wednesday, 25 October, 18:00 11:00-16:00, 24 October – 1 ginia Beach, USA. He lives and works years on the documentary format as Speaker: Adam Szymczyk November in Berlin, Tokyo and Kyiv. He has re- a means for locating the critical work Subject: Win First Don‘t Last, Special ISP Video Screening cently participated in the 9th Istanbul of art.By co-opting the strategies of Win Last Don‘t Care: On Lee Programme in Studio 2: Biennale, 6th Gwangju Biennale and production techniques implicit to the Lozano Screenings of Films by Laura 5th Busan Biennale. Recent solo ex- documentary in the utilization of video Adam Szymczyk is the Director of Horelli hibitions include Portikus, Frankfurt; for documenting empirical investiga- Kunsthalle Basel, Switzerland, and - Secession, Vienna and forthcoming at tion and research, Horelli incriminates has been appointed the curator for the You Go Where You Are Sent the Stedelijk Museum CS, Amsterdam, the documentary format, so as to next Berlin Biennale. He spoke about (2003) Sala Rekalde, Bilbao and the Lisson subsequently criticize it from within the his recent exhibition of Lee Lonzano at Through images found in the photo Gallery, London. medium.“ the Kunsthalle Basel. A more obscure albums of the artist‘s grandmother, the - painter and political activist, central to video presents various ways she repre- Tuesdays and Wednesdays, Drawing from the conceptual traditions New York‘s Artist Worker‘s Coalition in sented the nation: as a Finnish gymnast 11:00-16:00, 21–29 November of video production in which dialogue the late 1960s, Lozano formulated „I will and dancer in Nazi Germany, and later Special ISP Video Screening serves as a guiding force to help de- not call myself an art worker but an art as a diplomat‘s spouse serving the Programme in Studio 2: code the work, Horelli references the dreamer and I will participate only in a governments of postwar Finland. Screenings of Film by Sean category of video and fi lm production total revolution simultaneously personal - Snyder referred to as „the new talkie“, which and public.“ 712 Interviews? (2003–2005) -

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OCA SEMESTERPLAN Autumn/ winter 2006

BACKYARD, ISP OSLO Open Studios, 31 August 2006 Photo: OCA

MIKE BOUCHET ISP Oslo, 10 October 2006 Photo: OCA

104 105 Verksted Seminars

CLAIRE BISHOP SETH SIEGLAUB, MARTA KUZMA ISP Oslo, 30 August 2006 Open Studios Photo: OCA ISP Oslo, 31 August 2006 Photo: OCA

DAN GRAHAM ADAM SZYMCZYK ISP Oslo, 13 September 2006 ISP Oslo, 25 October 2006 Photo: OCA Photo: OCA

LARS BANG LARSEN LAURA HORELLI ISP Oslo, 20 September 2006 ISP Oslo, 18 October 2006 Photo: OCA Photo: OCA

106 107 Verksted was launched by Offi ce for The Art of Welfare Lecture 1 Lecture 3 Contemporary Art Norway in 2003 The Politics of Content and Politics Outsourcing the Welfare State as a series of publications and sem- The Goethe Institute, 50 as Form Thomas Hylland Eriksen (Professor, inars focused on current discourses Prince’s Gate, London, UK Peter Osborne (Centre for Research Department of Cultural Complexity, relating to contemporary cultural 27 January 2006, 10:30–18:00 in Modern European Philosophy, University of Oslo) production, philosophy and aesthet- London, UK) Thomas Hylland Eriksen has worked ics. Verksted was expanded in 2006 The artists Michael Elmgreen (b. Peter Osborne situated Elmgreen with the politics of identity, ethnicity, as part of OCA’s programme with a 1961, Denmark) and Ingar Dragset and Dragset’s The Welfare Show inin nationalism and globalization from a renewed commitment to exploring (b. 1969, Norway) have collaborated the context of an ongoing search for comparative perspective. He has pub- the relationship between philosophy since 1995 on the production of a “modernism with social content”. lished widely on the cultural complex- and aesthetics in the form of inter- powerless structures — sculptural in- The talk explored the relationship ity of Norway, either with a focus on related seminars and workshops, in stallations that perform institutional between the politics of “content” and Norwegians or the multi-ethnic charac- addition to publications. Through- critique in relation to sexual and the politics of “form” and asked how ter of contemporary Norway. out 2006, the seminars concerned other political identities. The Welfare this relationship is transformed in issues relating to the politics of Show, originallyoriginally producedproduced atat BergenBergen post-conceptual works. Peter Osborne Lecture 4 space, place and spatialization. For Kunsthall in Norway in 2005, ad- is Professor of Modern European Participation and Social Conscience example, they asked why the more dressed aspects of welfare society, Philosophy at Middlesex University, Claire Bishop (Leverhulme Re- critical works of art and art prac- as implemented in the Scandinavian London and editor of the journal Radi- search Fellow in Curating Contem- tices of the past century have been model of a democratic society. This cal Philosophy. His books include The porary Art department at the Royal those with rational, even architec- model, engineered and marketed Politics of Time: Modernity and Avant- College of Art, London) tonic underpinnings. In addition, the in the 1950s, has steadily deterio- Garde (1995), Philosophy in Cultural Claire Bishop is the author of Instal- series of publications and seminars rated since the 1970s in response Theory (2000)(2000) andand Conceptual Art lation Art: A Critical History (Tate,(Tate, explored how culture on the whole to a globalized economy. The Art of (Phaidon, 2002). He has contributed 2005) and Antagonism and Relational is seamed with the economic, the Welfare was a one-day conference, widely on questions about the philo- Aesthetics (October no.110, 2004), political and the social. The publica- in tandem with the opening of The sophical status and character of con- and writes for a number of magazines tions do so by exploring not only the Welfare Show at the Serpentine temporary art, with a special emphasis including Artforum and Tate Etc. Her most recent tendencies in art pro- Gallery in London, which explored on Concept and Construction in Con- current research addresses the poli- duction, but also by reviewing how artistic and political aspects of The temporary Art. tics of spectatorship in relational and particular historical points exploring Welfare Show. socially engaged art practices. political radicality throughout the Topics included: politics as content Lecture 2 Modernist period have been inter- and the politics of artistic form; the Modernity and Order: Architecture Lecture 5 preted. Scandinavian model of welfare as and the Welfare State Crumbling from Within? The Micro- In 2006, Verksted was organized by a socio-spatial form of experience; Jeremy Till (Professor of Architec- foundations of Welfare States Marta Kuzma, Director of OCA, in the current viability of the welfare ture at the University of Sheffi eld Victor D. Norman (Professor of collaboration with Peter Osborne, at state and its possible future forms; and Director of Sarah Wigglesworth International Economics at the the Centre for Research in Modern and institutional critique and rela- Architects.) Norwegian School of Economics European Philosophy (CRMEP), tional aesthetics. Publications include Architecture and and Business Administration, Oslo, London. The CRMEP is a centre for Participation and Architecture and the Norway) postgraduate study and doctoral Programme: Everyday. HeHe wwasas rrecentlyecently (2006)(2006) ap-ap- Norman is an economist, politician, research in European philosophy Introduction pointed curator of the British Pavilion and journalist who served as Minis- with an emphasis on broad cultural Marta Kuzma (Director, Offi ce for in the 2006 Venice Architecture Bien- ter of Labour from October 2001 to and intellectual contexts and a dis- Contemporary Art Norway, Oslo) nale. A discussion of the elision of the March 2004 in Norway. His book with tinctive sense of social and political Solveig Øvstebø (Director, Bergen ordering tendencies of modernity and Avinash K. Dixit, Theory of Interna- engagement. This resulted in four Kunsthall, Bergen, Norway) architecture as manifest in the spatial tional Trade: A Dual, General Equilib- publications: Art of Welfare #7, provision for welfare, using the iconic rium Approach, is considered a major ISMS1 #8, ISMS2 #9 (Upcoming), 1960s building of Park Hill, Sheffi eld contribution to the understanding of Draft Deceit #10 (upcoming). as a case study. international trade.

108 109 Panel Discussion Draft Deceit (Addendum) Corey McCorkle (Artist, New York) ISMS: Recuperating Political The speakers were joined by the art- Moderator: Peter Osborne (CRMEP, Radicality in Contemporary ists Elmgreen and Dragset for a gen- AHO (Oslo School of Architec- London) Art eral discussion. ture) Maridalsveien 29, Oslo 1.Constructing the Political 18 February 2006, 11:00- Platform 2 in Contemporary Art The Art of Welfare was supported by 19:00 The World Is Now Less Noun Than the Offi ce for Contemporary Art Nor- Verb (Lawrence Weiner) AHO (Oslo School of Architec- way and organized by OCA in coop- The full day seminar Draft Deceit Lawrence Weiner (Artist, New York) ture) Maridalsveien 29, Oslo eration with The Center for Research (Addendum) was held 18 February Matias Faldbakken (Artist, Oslo) 20 April 2006, 13:00-18:00 in Modern Philosophy (CRMEP), at The Oslo School of Architecture Olav Westphalen (Artist, New York) 21 April 2006, 11:00- 18:00 Middlesex University, London and the and Design (AHO) and was attend- Moderator: Jörg Heiser (Co-Editor, Serpentine Gallery, London. Additional ed by 220 persons including mem- FRIEZE, Berlin) “The painfulness of experimentation support was provided by the Serpen- bers from the art, architectural and fi nds response in the animosity to- tine Gallery, The Royal Norwegian academic community. It addressed Platform 3 wards the so-called isms: Program- Embassy in London, the Goethe Insti- issues explored within the exhibi- Cinema Written on Itself matic, self-conscious, and often tute, and the British Council. tion Draft Deceit – the relationship Torbjørn Rødland (Artist, Oslo) collective art movements” Theodor between the artist and society via Kerry Tribe (Artist, Los Angeles) W. Adorno, Aesthetic Theory the issues of form and aesthetics Moderator: Ina Blom (Dept. of Art His- explored by conceptual artists in the tory, University of Oslo) This fi rst seminar on the subject of 1960s. In a series of discussions, ISMS: Recuperating Political Radi- the seminar approached the way in Screenings cality 1. Constructing the Political in which artists such as Dan Graham John Baldessari’s Baldessari Sings Contemporary Art focused on the and Lawrence Weiner view their Lewitt, 1972 complex and problematic relation- work in relation to their practice in Gordon Matta-Clark’s Conical Inter- ships between artistic movements, the 1970s via the light thrown by the sect, 1975, and Splitting, 1974 political movements, and individual exhibition on the post conceptual Lawrence Weiner’s Passage to the works. Specifi c focus was placed on character by contemporary art and North, 1981 current dilemmas facing art produc- through the standpoint of other tion, how it is for a work to function artists who fi nd these practices Organized by OCA with additional “critically” today, and how this re- relevant to their own. Discussions support from AHO, The University of lates to or in fact, neglects, politics. focused on the use of language as Oslo, and the Architectural Associa- a sculptural device; incompleteness tion, Oslo. 20 April: as a project; the investigation of the Introduction structural properties of fi lm; and the Marta Kuzma (Director, Offi ce for adoption of architectural tropes as Contemporary Art Norway, Oslo) political criticism. Lecture 1 Programme: Imaginary Radicalism: Notes on the Introduction Libertarianism Of Contemporary Art Marta Kuzma (Curator, Draft Deceit) Peter Osborne (Center for Research in Modern European Philosophy, Platform 1 London, UK) Contradiction and Complexity: The Architectural Trope as Re- Lecture 2 deemer Film as a Vehicle for Social Changes Dan Graham (Artist, New York) Hito Steyerl (Artist and Filmmaker, Carol Bove (Artist, New York) Munich, Germany)

110 111 Lecture 3 ISMS: Recuperating Political Lecture 1 Lecture 4 What to do with what is Left? Radicality in Contemporary Victor Burgin: Populism, Genre and Eric Alliez: Capitalism, Schizophre- Marius Wulfsberg (Dept. of Litera- Art the Blank Canvas nia, and Consensus: Of Relational ture, University of Oslo, Norway) 2. Populism and Genre Victor Burgin is an artist and writer, Aesthetics and is Professor Emeritus of History Eric Alliez is a French philosopher. He 21 April The Auditorium Tate Britain, of Consciousness at the University is Senior Research Fellow in Modern Lecture 1 Millbank, London, UK of California, Santa Cruz. The most European Philosophy in the Centre for Otto Muehl – On Painting Consid- 14 October 2006, 10:30–17:30 recent monograph of his visual Research in Modern European Phi- ered as a Communist (Non) Art work is Voyage to Italy (Ostfi(Ostfi lldern,dern, losophy at Middlesex University. His Eric Alliez (Center for Research in Populism and Genre continues the Cantz,2006), and his most recent books include Capital Times (1991; Modern European Philosophy, Lon- investigation of the general theme book of essays is The Remembered trans. 1996), The Signature of the don, UK) of the ISMS series: the complex and Film (London, Reaktion, 2004). World: What is Deleuze and Guatar- problematic relationships between Other books include the retrospective ri’s Philosophy? (1993;(1993; ttrans.rans. 2004),2004), Lecture 2 artistic movements, political move- monograph Victor Burgin (Barcelona, De l’impossibilité de la phénoménolo- Anti-Capitalism ments, and individual works. The Fundació Antoni Tàpies, 2001), In/Dif- gie (1995; 2006), La Pensée-Matisse Stewart Martin (Center for Research question of populism has been at the ferent Spaces (1996), Some Cities (with Jean-Claude Bonne, 2005). in Modern European Philosophy, heart of debates about both the po- (1996), The End of Art Theory (1986),(1986), London, UK) litical and the formal aspects of con- Between (1986) and Thinking Photog- Lecture 5 temporary art in Britain since the mid raphy (1982).(1982). Jutta Koether: Metalists Moments: Lecture 3 1990s. This conference examined the A Performative Presentation A Seam with the Economic: Art, Ar- concept of populism via the issue of Lecture 2 Jutta Koether is an artist, writer and chitecture, Metropolis genre: specifi cally, the changed sta- John Kraniauskas: Eva Peron as the musician. Throughout the 1980s she David Cunningham (School of tus and functioning of genres within Image of Peronism was a regular contributor to the Co- Social Sciences, Humanities & Lan- contemporary art, after the decline in John Kraniauskas teaches Latin logne music and art journal Spex, inin guages, University of Westminster, the independent signifi cance of tradi- American Literary and Cultural Stud- which she experimented with numer- London, UK) tional media (painting and sculpture), ies at Birkbeck College, University of ous genres of art writing. Her artist’s and in the context of the increasing London and is co-editor of the Journal books include: f (1987),(1987), 20 Minuten Lecture 4 individualism of contemporary art. of Latin American Cultural Studies. He (1989), massen (1991), The Inside Art, Television and Biopolitics Particular attention was paid to: the is currently completing two books: The Job (1992) and Desire is War (2003).(2003). Ina Blom (Dept. of Art History, Uni- status of genres as social forms; art’s Work of Transculturation and Eva-Per- Her recent show I Is Had Gone (Thom- versity of Oslo, Norway) relations to mass media genres; the onism: Literature and State Form. as Erben Gallery, 2005) was a survey of strategic use of genre within post- installations and paintings from the last Conclusion conceptual practice; and the political Lecture 3 fi fteen years. ISMS1 was organized by Offi ce for functioning of genres as carriers of Marta Kuzma: The Role of Sex in Contemporary Art Norway in coop- populism. Representations of Scandinavia in Metalist Moments will be a performa- eration with The Center for Research the 1970s tive presentation in which one might in Modern European Philosophy Programme: Marta Kuzma is Director of the Of- fi nd moments of the “cruel cure” (as (CMREP), Middlesex University, Introduction: fi ce for Contemporary Art Norway. A in Artaudian theater). Some forced London, the research project Aesthet- Peter Osborne postgraduate on the MA in Aesthetics participations through the elements of ics at Work, The University of Oslo Peter Osborne is Professor of Mod- and Art Theory at Middlesex, she was Sound, Paintings, Nerves might occur; (UIO), Oslo School of Architecture ern European Philosophy at Middle- formerly Director of the Soros Centre a string of evidence of a post-and-be- and Design (AHO) and Oslo Architec- sex University, and a member of the for Contemporary Art in Kyiv and the yond conceptual practice (Electrophilia, tural Association (OAF). Supported editorial collective of the journal Washington Project for the Arts. She Club in Shadow, Renegade Painting, I by Oslo School of Architecture and Radical Philosophy. HeHe hhasas writtenwritten has curated numerous exhibitions Is Had Gone, Fantasia Colonia ...), of its Design (AHO), Oslo Architectural numerous essays on philosophy and including Manifesta 5 (San(San Sebastian,Sebastian, light and logic. Touch and Disintegrate! Association (OAF) and The University art, and is currently composing a book 2004) and Draft Deceit (Oslo,(Oslo, 22006).006). Objects and words of unknown form of Oslo (UIO) on the ontology of Post-conceptual art. and purpose might emerge. The Crush is On!

112 113 ISMS2 was organized by Offi ce for Contemporary Art Norway in coop- Publications eration with The Center for Research and Modern European Philosophy, (CRMEP), Middlesex University, Lon- don.

114 115 Verksted #8 2006 Verksted #7, 2006 Verksted #5/6, 2006 documents the diverse events of the visit, including collaborations with the Art of Welfare Hanoi University of Fine Art and the ISMS: Recuperating Political Travelogue: Gâp Ha Nôi/ Editors: Marta Kuzma, Hanoi University of Film and Theatre, Radicality in Contemporary Art Transbord – Rájis Rádjái Peter Osborne which took the form of a print, fi lm and 1. Constructing the Political in Editors: Ute Meta Bauer and Managing Editor: Paul Brewer photography workshop, lectures by Contemporary Art Stephanie von Spreter, Subedi- The book refl ects the seminar, Art of the Norwegian participants and an Editors: Marta Kuzma and Peter tors for #5: Geir Tore Holm and Welfare, which, organized by OCA, exhibition showing the results of the Osborne Søssa Jørgensen. Verksted took place at the Goethe Institute in collaborations between the Norwegian Introduction by Marta Kuzma #5/6 is a double edition featur- London in January 2006. The seminar artists and Vietnamese students. The and Peter Osborne, with essays ing two travelogues. was held in conjunction with Elmgreen visit also included a series of concerts by Peter Osborne, Hito Steyerl, Verksted #5 presents the documenta- and Dragset’s exhibition, The Welfare by Magne Furuholmen with his band Marius Wulfsberg, Eric Alliez, tion of a travelling seminar entitled Show, — initially produced by Bergen and the Vietnamese fi lm premiere of Stewart Martin, David Cunning- Transbord – Rájis Rádjái, which took Kunsthall — which opened at the Ser- Hans Petter Moland’s The Beautiful ham, Ina Blom. place in September/October 2004. pentine at the same time. The artists Country. The book refl ects the seminar, ISMS 1. By initiative of former director of OCA, Michael Elmgreen and Ingar Dragset which, organized by OCA, took place at Ute Meta Bauer, and the artists Geir have collaborated since 1995 on the the School of Architecture and Design Tore Holm and Søssa Jørgensen, a production of “powerless structures” in Oslo in April, 2006. The seminar ad- group of cultural producers investi- - sculptural installations that perform dressed the complex and problematic gated the cultural situation of the Sá- institutional critique in relation to the relationships between artistic move- pmi, thereby moving across the state sexual and other political identities. ments, political movements, and indi- boundaries of Norway, Sweden, Fin- The seminar addressed aspects of vidual works. Specifi c focus was placed land and Russia. Whilst giving cultural the welfare society as implemented on current dilemmas facing art produc- producers from different backgrounds in the Scandinavian model of a demo- tion, how it is for a work to function the chance to get into dialogue, is- cratic society. This model, engineered “critically” today, and how this relates to sues such as ethnicity, culture and and marketed since the 1950s, has or, in fact, neglects politics. borders, nationalism, cultural activism, steadily deteriorated in response to a The essays in Constructing the Political communication and education were globalized economy. The book refl ects in Contemporary Art taketake a step bacbackk discussed. An essay by Kaisa Malini- on the contents of this seminar and ex- from the immediate institutional context emi Lindbach gives an account of the plores the artistic and political aspects of recent attempts to reconnect con- seminar’s results and experiences as of the notions around welfare. Topics temporary art to the politics of 1960s well as an overview of Sapmi culture include: politics of content and politics and 1970s, in order to refl ect upon and related questions, opportunities of the artistic form; the Scandinavian some of the theoretical issues at stake: and problematics today. model of welfare as a socio-spatial the critical structure of the artwork Verksted #6 documents the Cultural form of experience; the current viability as a site of a dialectic of individuality Programme on the occasion of the of the welfare state and its possible and collectivity (Peter Osborne), the Royal Norwegian visit to Hanoi, Viet- future forms; and institutional critique power of its indexical or “documentary” nam in October/November 2004. of relational aesthetics. Introduction aspects (Hito Steyerl and Marius Wulfs- For this Cultural Programme, Offi ce by Marta Kuzma and essays by Peter berg), its use-value as an archive of “in- for Contemporary Art Norway invited Osborne, Jeremy Till, Thomas Hylland tensive life” (Eric Alliez), its “seam with the artists Magne Furuholmen, Olav Eriksen, Claire Bishop and Victor Nor- the economic” (David Cunningham), Christopher Jenssen, Per Kleiva and man. the limits of its “relational possibilities” Mette Tronvoll as well as the fi lm- (Stewart Martin), and its role in making maker Hans Petter Moland to partici- visible the “immaterial” labour of “cogni- pate in a programme taking place in tive capitalism” (Ina Blom). Hanoi shortly before and during the Royal Visit to Vietnam. This publication

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VERKSTED # 8, 2006 ISMS: Recuperating Political Radicality in Contemporary Art 1. Constructing the Political in Contemporary Art

VERKSTED# 7, 2006 Art of Welfare

VERKSTED #5/6, 2006 Travelogue: Gâp Ha Nôi/Trans- bord – Rájis Rádjái

118 119 Biennials In 2006 OCA contributed to the the title Everywhere, the exhibition was following biennial participation: composed of three parts. Furu par- ticipated in the section entitled A Tale The 27th Sao Paulo Biennale of Two Cities: Busan-Seoul/Seoul- Lars Ramberg was selected by Jose Busan. Furu presented the fi lms, 6 Roca, one of the curators of the x 17 (2004) and En plass i solen (A upcoming Sao Paulo Biennale to par- Place in the Sun) (2004). ticipate in the international exhibition with a project entitled We Intended to Liverpool Biennale Sing the Love of Danger, the Habit of OCA supported the participation of Energy and Fearlessness. Ramberg Sissel Tolaas in the Liverpool Bien- focused on the story of Venturo, a nale as curated by Gerardo Mosquera conceptual summerhouse designed and Manray Hsu. The character of by Matti Suuronen in the late 1960s. the Biennial was shaped by the rapid Having located an original cabin, the development of Liverpool’s centre, artist renovated it and presented it in as this city in transition gears up to Sao Paulo as part of a sculptural in- its position as European Capital of stallation that addresses the different Culture 2008. Tolaas’ project was perspectives around ideas of futurism, located within the International O6 both in a historical and contemporary section whereby the artist conducted sense. an experiment working in tandem with In addition to the Venturo installation, the local community to collect smells Ramberg presented Palast des Zweif- from the four quarters of the city and els (Palace of Doubts). First realized develop a new vocabulary for describ- on the roof of the Palast der Republik ing them. in Berlin in 2005, the artist worked with the German fi lm director Julia The 47th October Art Salon: Novak to record the project. Similar The Belgrade Biennial to Andy Warhol’s Empire, Ramberg’s René Block, Director of the Kunshalle fi lm is 6 hours in length and consists Museum Fridericianum in Kassel is of an uncut real time recording of the this year’s designated curator for the project. Belgrade Biennial, scheduled for This 27th Sao Paulo Biennale – the 29 September through 5 November chief curator of which is Lisette Lag- 2006 under the title The 47th October nado, with co-curators Cristina Freire, Art Salon. The theme of the biennial Rosa Martinez, Jose Roca, and was “Art, Life, and Confusion”, which Adriano Pedrosa – has done away explores the relationship between art with national representations to draft and life amid a collapse of political a project that approaches two lines of systems, dissolution of existing value thought — the sense of “construction” systems, and massive social changes with “programs for life”. brought about by globalization. As a result of a research visit to Oslo, Block Busan Biennale selected the following artists to par- Bodil Furu was invited by Manu Park ticipate in the biennial: Toril Goksøyr & to participate in the Busan Biennale Camilla Martens, Kim Hiorthøy, Matias 2006 in Busan, Korea from 16 Sep- Faldbakken, Vibeke Tandberg. tember to 25 November. Held under

120 121 The California Biennial The Synne Bull and Dragan Miletic were invited by American curator Elizabeth Armstrong to participate in the Cali- Edvard Munch fornia Biennale at the Orange County Museum of Art in Newport Beach, Cal- ifornia, USA 1 October–31 December Award 2006. The artists contributed a work entitled The Island of Pelicans (2002), which relates to urban ecologies.

The 9th Havana Biennial Kjetil Berge, Gillian Carson, Morten Viskum and Sissel Tolaas were invited to participate in the 9th Havana Bien- nial from March 27- April 27 2006. The curators were Nelson Herrera Ysla, José M. Noceda Fernández, Ibis Hernández Abascal, Margarita Sán- chez Prieto and José Fernández Portal.

122 123 The Edvard Munch Award for Contem- crafted and sewn objects, Creischer to integrate the entirety of the project porary Art was initiated and developed choreographs a space within a system into a theater situation with the exhibi- in 2004/2005 by the Offi ce for Con- of coordinates that deconstruct yet tion architecture arranged as stage temporary Art Norway to enhance ex- another set of given historical rela- and backstage. These projects, among change in international contemporary tions. By setting up different scenarios many others realized in past years, led art and highlight the importance and in a simultaneous manner, Creischer the international jury for the Edvard ongoing infl uence of the Norwegian transposes a world history in relation Munch Award for Contemporary Art artist Edvard Munch (1863-1944). to Karl Marx’s concept around the 2006 to select Alice Creischer. The The award is the highest prize for in- original accumulation of capital. For Oslo-based artist residency com- ternational contemporary art given in The Greatest Happiness Principle menced in Spring 2007. Creischer will Norway. Since its inception, the award Party heldheld aatt thethe SecessionSecession iinn VViennaienna also participate in a solo exhibition at has evolved into an important acknowl- in 2001, Creischer developed an MACBA in Barcelona in Fall 2007. edgment of artists whose practices exhibition layout by abstracting from engage critically with social and politi- theoretical research around the machi- Ekely cal issues and contexts. The Award nations of politics and business and In 1916 the Norwegian artist Edvard celebrates the exceptional attitude of their culture. The artist referenced a Munch (1863-1944) bought a house Edvard Munch and his ability to trans- real historical event by transforming and studio at Ekely to the west of late what he sensed in society into his an intended gallery into an allegorical Oslo, where he lived and worked own artistic language. The award is space. Framed within the backdrop of until his death in 1944. The years intended to support the development 1931, the project unfolds within a fi xed between 1916 and 1944 are consid- of a new work and to cover living ex- point in time; the bank Austrian Credit ered a signifi cant period for Edvard penses during a six-month residency Institute has rented one of the rooms Munch’s body of work. Munch donated in Norway. The residency is situated at of Secession for a party. It is a party his property at Ekely together with the Munch Estate at Ekely in Oslo and without any major confl icts. The viewer his works to the city of Oslo, which the award consists of a grant of ap- learns certain historical facts; that the opened the Munch Museum at Tøyen/ proximately 350,000 NOK. bank triggered the second major world Oslo in 1963. economic crisis through speculation An artists’ colony was established at Award Winner 2006 - in the Balkans. In an inventive staging the historically important location of Alice Creischer of simultaneous scenarios, Creischer Ekely during the 1950s. The 17 build- The Edvard Munch Award for Contem- intertwines the premise of reason ings of the colony, designed by the porary Art 2006 was awarded to the set out in the Enlightenment with the Norwegian architects Wenche Selmer German artist, writer and curator Alice transformation of existence into value and Jens Selmer, consist of several Creischer by H. M. Queen Sonja of as proliferated by an ever-expanding houses that combine living and studio Norway on 14 November 2006. market economy.Extending beyond facilities. artistic production, Creischer has also Socio-political issues are at the very been prolifi c in her critical writings and The Sponsors crux of the artistic practice pursued by curatorial projects. In 2002, together The Edvard Munch Award for Contem- Alice Creischer. Rather than concen- with Andreas Siekmann, she curated porary Art is made possible by the Of- trating on the production of individual Violence on the Margin of All Things fi ce for Contemporary Art Norway, and works, the artist centers on the pro- at the Generali Foundation in Vienna. the Norwegian Ministry of Culture and cess of inquiry to illuminate particular Uniting approximately twenty different Church Affairs. The residency at Ekely political histories of given contexts. artistic contributions from the U.S., is made possible by the Norwegian Concepts of time, labour, and exploita- Argentina, and Europe, the project Ministry of Foreign Affairs. Generous tion are investigated in projects where- addressed the theme of militancy in sponsorship for this year’s edition of by Creischer sets out a scenography terms of its historic and artistic modes. the award is made by Snøhetta AS. in positioning her discourse. Adopting Creischer and Siekmann drew on his- prop-like devices and meticulously torical positions as reference material

124 125 Ekely Photo: Nico Sellevold

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ALICE CREISHER Apparat zum osmotischen Druck- ausgleich von Reichtum bei der Edvard Munch 75 Years Old in Betrachtung von Armut, 2005, the Winter Studio at Ekely, Installation view Gesellschaft 1938 für Aktuelle Kunst, GAK, Photo: Ragnvald Væring Bremen, Foto: GAK, Julia Baier Copy in the Munch Museum Archives, Oslo 126 127 128 129 In 2006 OCA was mentioned in 34 OCA articles in the Norweigan press. 15 of these were devoted to the Edvard in the Press Munch Award for Contemporary Art. There were 4 articles in the interna- tional press.

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Torsdag 16. november, 2006 logg inn

������������������������ Aftenposten Morgen 06.02.2006 Strømmen Marit 05.10.06 Seksjon: KULTUR Del: 2 Side: 11 ��� ���������� ������� � ������ Klasse: Underholdning �� ����� �������� Emne: Film|Kunst|Utstillinger|Anmeldelser ����������������������� �� ���� Den 14nde oktober arrangerer OCA seminaret ���� �� ������������ ��������� ���������� �� ������������ «Trilogi» Amar Kanwar Kunstindustrimuseet, til 5. mars. Sterke personligheter influert av indisk tenkning har allerede endret kunstlivet i Oslo. Påvirkningen styrkes ytterligere med tre filmer som nå ��� i Tate Britain uten en eneste norsk deltager. vises i Kunstindustrimuseet. De fleste som har deltatt på noen av OCAs forskjellige arrangementer har sikkert stusset over at alt Vi tenker ikke på det til hverdags, men kunstlivet her på berget ville sett annerledes ut uten India. foregår på engelsk. All informasjon fra OCA kommer kun på engelsk og alle seminarer, uansett hvem som Indisk-influert tankegods fra feminist-filosofen Gayatri Spivak, kunsthistorikeren Sarat Maharaj og kuratoren Gavin Jantjes har de siste åtte årene dryppet på norske studenter, kunstnere og deltar og hva man diskuterer, skjer på engelsk. Det er unektelig noe litt Holbergsk over et forum der alle utstillingsgjester. Uten entusiasmen for mangfold og toleranse, fra personer som Spivak, Maharaj og innleggene framføres på gebrokkent engelsk av norsktalende innledere og der alle tilhørerne faktisk også Jantjes, ville kunstlivet i Oslo vært mer ensporet. Presset om konsolidering av museer og høyskoler, fra viser seg å være norske. Nå tar OCA konsekvensen av misforholdet. På deres neste seminar er det ingen både kommune og departement, ville virket enda mer kvelende. norsktalende hverken i panelet eller i salen, svært liten tilknytting til Norge i det hele tatt og det finner Munch-pris. I et slikt klima er annerledes tanker en nødvendighet. Evnen til å se alternativer, der andre ser begrensninger, er grunnen til at kunstnere som den Delhi-baserte filmskaperen Amar Kanwar (født sted i London. 1964) er etterspurt. I fjor stilte han ut på Fotogalleriet og mottok Edvard Munch-prisen. Prisen er initiert av Office for Contemporary Art (OCA), som forøvrig samarbeider med Nasjonalmuseet om Det eneste innslaget som har med den nordiske kunstsammenhengen å gjøre på OCA-seminaret ���� � i Kanwar-utstillingen «Trilogy». Den består av tre filmer som alt er vist flere steder verden over. Men både Tate Britain er OCA-leder Marta Kuzmas innlegg ��� ���� �� ��� �� ��������������� �� ����������� �� ��� Kanwar selv, og kurator Jantjes, har lagt vekt på å vise filmene på nytt, både når det gjelder filmenes �����. Ellers har seminaret ingen tilknytting til norden eller Norge whatsoever. OCA sitt oppdrag er å kronologi, og utforming av utstillingslokalene. På vei inn til visningsrommene møter besøkende en blodrød vegg, et symbol på offerets farge. Hvilke ofre styrke og utvikle samarbeidet innen samtidskunst mellom Norge og den internasjonale kunstscenen. ����������� ��� det er snakk om tematiserer Kanwar i det første rommet. Der avspilles «A Season Outside» (1998), en Hvordan skjer det i denne sammenhengen? Seminaret finner sted samtidig med Frieze Art Fair, en messe film om grenser mellom land og mennesker. Kanwar har filmet militære ritualer fra den uten et eneste norsk galleri, men med en egen seminarrekke så det holder. Det er mye kunstfolk i London �������������������� indisk-pakistanske grensen, og det var nettopp da striden mellom hinduer og muslimer, nok en gang, ����������������������������������������������������������� denne helgen, men sannsynligvis ikke så lett å påkalle deres oppmerksomhet. blusset opp igjen på 1990-tallet at Kanwar begynte å lage film. Ikke-vold. Kanwar kommenterer filmen på engelsk. Dels i reisebrevs form, dels som en sokratisk, eller Following the success of ����������� �����, this Quarter BBC World launches OCAs jobb handler vel enklest sagt om import/eksport av kunstnere og ideer. Jeg kan ikke se at det er snarere profetisk, dialog. Beklageligvis er det vanskelig å oppfatte alt som blir sagt dersom det er den ����������� ��� – a new series which travels the globe exploring the contemporary art minste uro i lokalet, derfor anbefales besøk utenom rushtiden. noe eksport involvert her. Hva så med importen, for eksempel av ideer og perspektiver? Sannsynligvis en scene. Presented by BBC presenter and expert on the arts Francine Stock, this brand new Særlig filmens lavmælthet understreker hvordan «A Season...» er en personlig involvert dokumentarists god del dårligere enn hvis seminaret hadde funnet sted i Norge. Og hvis oppfølgingen blir den samme series will showcase some of the most renowned creative figures who are at the cutting verk. Med koloristisk bravur formidler «A Season...» en klippefast tro på ikke-vold, en metode som stadig som ved ���� � i april, er gårsdagens pressemelding det eneste norsk kunstliv får høre om seminaret, edge of the world of art. settes på prøve for, som Kanwar sier, «I have a compass that keeps spinning me in the zone of conflict». Bilder av episodisk vold - som når fugler hakker på en valp, et barn dytter et annet - hvis vi da ikke melder oss på og drar til London. Each episode visits a different country and highlights its cultural and social diversity sammenstillesmed systematisk tortur. Kommentarene maner til intervensjon. For det er ingen apatisk pasifisme Kanwar forfekter. Standpunktet om ikke-vold har han fra politikeren Mahatma Ghandi, og for Pressemelding om ISMS 1 >> through the medium of art. In Australia, for example, Destination Art profiles three key Aboriginal artists. The artists and commentators assess not just the creative forces that Ghandi var hele ikke-voldstanken et spørsmål om mot, om hvordan den feige kunne bli modig. Pressemelding om ISMS 2 >> Mangler sanntid. Birla House, stedet der hinduen Ghandi ble myrdet av den militante hinduen Nathuram inspire their work but also the socio-economic and political contexts that directly Godse i 1948, er åstedet for den korte stumfilmen i det neste, hvite rommet. «To Remember» (2003) er influence their output. en konvensjonell rapport om dyrkelsen av Ghandi, formidlet med håndholdt kamera fra turistenes møte [Utskriftsversjon uten kommentarer] med drapsstedet. Da griper og overrasker den neste filmen mer, både formmessig og på innholdssiden. Destination Art is a series that will both inspire and illuminate all that is best in the field «A Night of Prophecy» (2002) vises i et terra- kotta-malt lokale, farget som indiske bolighus. Alle of creativity. nærbildene av hud, lydkilder og tekstiler skiller denne filmen fra de andre. Å fjerne nordmennene helt må da være den ultimate profesjonalisering av norsk kunstliv? Spøk til side, Frittalende diktfremførelser, om riter og brutale livsvilkår fra blant annet Kashmir og Mumbai, er filmens det hadde vært interessant å vite hva det faktisk koster OCA å gjøre dette. Hvis det er småpenger så kan ������������������ kjerne. Spesielt er de gjentatte gatescenene til diktet «Under Dadar Bridge», om sønnen av en det forsvares, da som en utvidelse av OCAs praksis, som kan sies implisitt å promotere norske This week, Destination Art is in the vibrant city of Tokyo where Asian and Western art prostituert, verdt å merke seg. styles meet. Photographer Ishiuchi Miyako discusses her captivating work which Bortsett fra spredt hurtigspoling og slow motion, økonomiserer Kanwar med virkemidlene, både hva kunstaktiviteter. Hvis det er mye penger… explores the passage of time, and we meet one of Japan’s most established sculptures Man fristes til å tenke på Rooseum i Malmö, hvor Charles Esche lagde en glimrende plattform for and painters, 77-year old Yayoi Kusama. internasjonal samtidskunst uten å tenke på hverken lokalt kunstmiljø eller publikum. Resultatet var småmegalomane utstillinger på høyt internasjonalt nivå – for tomme saler. ������������������� kommentert av: Marius Watz 06.10.2006 10:32 Destination Art visits Israel to focus on the burgeoning contemporary art scene in the 24 hour city of Tel Aviv. David Reeb discusses his highly political paintings of the occupied territories; and we Ti fakta focus on Adi Nes’ spectacular staged photographs of soldiers and the homeless, set against biblical or mythological backdrops. 1. Verksted-seminarene utgjør en liten del av en mengde aktiviteter som utgjør OCAs arbeidsområde. Meanwhile, the International star of Israeli art, Michal Rovner, discusses her first exhibition in Tel Aviv for over 20 years; and we meet the rising stars Eli Petel and Gal 2. Hovedfunksjonen til Verksted-seminarene er å skape en intellektuell kontekst om internasjonal Weinstein. kunstteori (nettopp, ikke norsk kunstteori). ������������������� 3. Verksted-seminarene foregår på engelsk fordi en stor del av deltakerne verken er norske eller snakker Destination Art goes Nordic to introduce established and burgeoning artists from the norsk. contemporary art scene in Norway. Art meets architecture for a creative collaboration from textile artists Løvaas & Wagle on the stunning new Opera House project based on 4. Det fjerde Verksted-seminaret i år, ISMS 2: Populism and Genre, finner sted på Tate Britain i London the water front of Oslo. Meanwhile photographer Tom Sandberg takes us on a journey 14. oktober. De tre første seminarene ble organisert av OCA i samarbeid med Centre for Research in with his latest collection of stunning images. Modern European Philosophy, i overenskomst om at det fjerde skulle bli organisert og finansiert av ��������������������� CRMEP. The Destination Art spotlight falls on Berlin, an epicentre, of European contemporary art. When the Berlin wall came down in 1989, the artists moved in, attracted by the city’s 5. I forbindelse med dette fjerde seminaret betaler CRMEP kostnader til utstyr, forelesernes reiser og bohemian image, affordability and liberalism. honorarer. Tate Britain betaler lunsj for foreleserne og mottakelsen som er åpen for alle som deltar. OCA Destination Art features an eclectic mix of Berlin’s international and indigenous talent: betaler to netters hotellopphold for Jutta Koether, siden hun skal delta i ISP-programmet til OCA i Oslo Influential photographer Frank Theil, has documented the rapid rebirth and seinere. architectural changes in the reunified Berlin; Norbert Bisky’s violent but pastel scenes En utskrift från Dagens deal with disillusion in the utopia of a western world, and Germany’s painting superstar 6. Når Tate er vert for den andre delen av ISMS, drar OCA nytte av det eksisterende samarbeidet mellom Nyheters nätupplaga, DN.se. Daniel Richter offers his perspective on the current art scene. CRMEP og Tate Britain. Slik får OCA en intellektuell profil i London under Frieze Art Fair som det ellers ville være usannsynlig å oppnå, og dette til svært lave kostnader. Siden seminaret finner sted i London, ��������������������������� Publicerad 1 dec 2006 13:01 Destination Art reports on the contemporary art scene in a city of social extremes. Meet har OCA sagt seg villige til å subsidiere billettene til deltakere med norsk pass. Hector Zamora and Francis Alys, two artists who take their inspiration from the lifestyles 7. Forelesningen Representations of Sex in Scandinavia som vil bli holdt på ISMS2: Populism and Genre, Ge konsten svängrum i Norge of the local people and Betsabee Romero who turns old car parts into art. tar for seg representasjonen av Skandinavia som en konstellasjon av seksuell utopia på 60- og 70-tallet. ���������������������� Forfatteren forsøker å forlate dette oppkonstruerte bildet, ved i stedet å reetablere tilknytningen mellom I Norge håller en storstilad museireform på att säcka ihop. Kanske kan den norska Details to follow soon. situationen fungera som en väckarklocka för ett svenskt kulturliv, som efter år av socialdemokratiskt beskydd står inför nya utmaningar. ����������������������

"Najsonalmuseet for kunst, arkitektur og design" är en sammanslagning av fem 106 Dagens Næringsliv. 21./22. oktober 2006 institutioner - Museet för samtidskonst, Nationalgalleriet, Riksutställningar, Arkitekturmuseet och Konstindustrimuseet. De slogs 2003 samman till ett megamuseum, som enligt planerna skall inrymmas i en ny byggnad i centrala Oslo. I etterbørs stället för att organiseras efter ämnen och ta hänsyn till konstvetenskaplig expertis, som MoMA i New York, skall Nasjonalmuseet organiseras efter praktiska, närmast fordistiska principer - i avdelningen för utställningar, avdelningen för konservering, avdelningen för samlingar, avdelningen för forskning och så vidare. Komplisert Rakt igenom hela organisationen skall byråkratiska beteckningar ersätta det som en gång var en rad fria institutioner. Oslos Nasjonalmuseum är här snarare regel än for Kuzma undantag. Inhabil: �������������������������������� Det norska kulturdepartementet har under senare år genomfört en reform som �������������������������������������� minskat antalet museer från 800 till 100 "enheter" - alltså till 100 privata stiftelser med ������������������������������������� statligt stöd. Sammanslagningen har genomförts utifrån geografiska och praktiska överväganden och inte efter ämne eller innehåll. Denna museireform har genomförts ������������������������ regeringsskiftet till trots, kanske därför att den planerats av kulturdepartementets Parodi: ������������������������������ byråkrater, som arbetar oberoende av partipolitiken. ��������������������������������������������� ������������������������������������������ Norska stiftelser faller inte under offentlighetsprincipen, vilket gör att �������������������������������� KUNST �������������������������������� ������������������������������� kulturinstitutioner är betydligt mindre genomskinliga än andra institutioner. De kan i ANNA B. JENSSEN �������������������� Oslo ����������������������������� hög grad själva bestämma hur mycket insyn i sitt arbete som de vill att utomstående ����������������������������� ����������������������������� ������������������������������ ska ha. Och därmed framstår nu norskt kulturliv som delvis privatiserat, delvis ���� ���������� ������ ����� �������������������������������� ���� ����� �������� ����� �� ����� ��������������������������������� statsunderstött, och delvis utanför offentlighetens ljus. ���� ����� ������ ���������� ����������������������������� Marta Kuzma, Eivind Smith, ������������������ ��� ����������� ������������������ direktør for professor i jus. OCA ������� ������ ������� ��� ����������������������������� OCA. ��������� ��� ������� ���������� ������� ���� ���� ��������� �OCA (Office for Contemporary Kiev, The International Center of ���� ������� ���������� �������� �������������������������������� Art) er en privat stiftelse opprettet Photography i New York og Was- DEN NORSKA UTVECKLINGEN på museiområdet är därmed rakt motsatt den svenska, där ����������������������������� ����� av Kulturdepartementet og Uten- hingtons Project for the Arts. ������� ��������� ���� ������� ��� ����������������������������� riksdepartementet i 2001. Formå- �OCA deler ut støtte til norske avknoppning och avlastning låg bakom bildandet av Moderna museet. Samma ������������� ���� ������ ����� �������� ���������� ������� let er å fremme norsk kunst inter- kunstneres aktiviteter i utlandet. ������������������������������ ����������������� ���� ������ nasjonalt. �Utdelt år for år: princip verkar också ligga bakom tanken på ett nytt designmuseum i Stockholm, ��������������������������������� ����������������� �Marta Kuzma har vært direktør 2002: 700.000 �������������������������������� �� ��� ����� ��� ����������� ��� �� siden 1. september 2005. Hun var 2003: 750.000 något som skulle frigöra mer av tid och kraft för Nationalmuseum. ������� �� ������������� ���������� ������������������������������� kurator for Manifesta 5-utstilling- 2004: 850.000 ���� ������� ������ ���� ��������� ������������������������������� en i 2004 og hatt lederstillinger ved 2005: 1.000.000 ���������� ������������������� ���������������������������������� DNDN 16. okoktobertober 22006.006. Soros-senteret for samtidskunst i 2006: 1.300.000 �������������������� Sammanslagningen har genomförts utifrån byråkratiska intressen, med dolts bakom Situasjonen ��������������������������������� ���� ������������ �������������� «Fremstår som en Konkurranse ����������������������������� ������������������ lukket institusjon» kan få konse- ��������������������������������� ��������������������������������� ����������������������������� påståenden om bättre och snabbare kulturutbyte - på konstens egna villkor. Men när ������� ���� �������� �� ������ ��� ������ ����� ������� ���� ��� �������������������������������� OSLO: – OCA fremstår som en luk- kvenser også for ��������������������������������� ��������������������������� ��������������������������������� ket institusjon. Det er inntrykket argumenten inte stämmer med hur det konstnärliga fältet faktiskt utvecklas - då ���� ���������� �� ����������� �������������������������������� �������������������������������� jeg får utenfra, sier kunstkritiker hennes rolle som �������� ��� ������� �������� ���� � �������������������������������� ������������������������������� Marit Paasche. vidgas klyftan mellan curatorer och konstnärer å ena sidan och en lydig museiledning stiftelsens admi- ������������������������������ ������������������������������������ ������������������������������� – Man kan ikke hindre at folk har ������������������������������� ��������������������� ������ ������������������������������� kjærester og venner, og bør det nistrative leder ������� ��� ����� ����������� ���� ������������������������������ ������� ���������� ���� ����� ��� heller ikke. Men nettopp derfor er och politiska myndigheter å den andra. ������� ���������������������� ������������� ���� �������� ���� det særlig viktig at man legger alt ����������������������������� ���� ����� ��� ������� ������ ��� �� �������� ���� ������������ ����� ����������������������������������� på bordet. Da vil man unngå speku- ������� ����� ������������� �� �������������������������������� ��������������������������������� lasjoner og det offentlige menings- ����� ���� ������ ����������� �� ���������������������������� ������������������������������� �������������������������������� skiftet vil få bedre kår, sier hun. I Norge har argumenten för sammanslagningarna handlat om genreöverskridande, �������������������������������� ����������������������������� ������������������������������ ������������������������������ OCA har en særdeles viktig funk- ������������� ��� �������� ��� ��������� ���� ���������� ��� ������ ���� ���������� ����� ��� ��������������������������� sjon i norsk kunstliv, mener Paas- om en ny "konstslöjdsrörelse" (Arts & Crafts) där gränserna mellan arkitektur, design ����������������������������� �������� ��� �� ����������� �������� ����������������������������� ���� �� ����������� ������ �������� che. ����������������������������� ������������������������������� ���������� ���� ���� ���������� � – Derfor er det avgjørende at det ������������������������������ �������������������������������� Konsekvenser ������������������������������ er åpenhet rundt hvordan OCA tar och konst skulle suddas ut - allt för nationens bästa. Även det nya museets namn är ������������������������������������� ������������������������������� �� ������������ ���� ��� ������ beslutninger, og hvilke premisser problematiskt, men är även det ett led i omvandlingen av den norska statens självbild, ���������� ������������ ������� �������������������������������� �������� ����� ���� ������� ����� ������������������ de tar dem ut ifra, sier hun.

såväl den yttre som den inre. Vad det handlar om är att konstruera en nationell Journalist - hovedredaksjon Vi er på jakt etter Argument søker flere identitet, som få av de yrkesverksamma inom konstområdet känner sig särskilt kreative folk! Journalist - digitale medier Videofotograf kommunikasjonsrådgivere hemma i, men som det samtidigt är svårt att ställa sig utanför - därför att Selger - digitale medier 2 webdesignere Vil du bli en del av et av Norges mest spennende kommunikasjonsmiljøer? Nasjonalmuseet blir den största och faktiskt enda kunskapsbärande institutionen i Se www.argument.no landet, med makt och inflytande därefter. I förlängningen hotas konstens frihet och Se annonse på: www.h-avis.no eller mobil: wap.h-avis.no Submit Representation/ Networking

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Power Ekroth

Expectations ran high after seeing the list of artists for ‘Draft Deceit’, curated by Marta Kuzma. Not only were several legendary artists included, such as Gordon Matta-Clark, Dan Graham and John Baldessari, but there were also many new kids on the block, providing potential for re-staging the past in a contemporary setting. Taking Lawrence Weiner’s text piece THINGS MADE TO BE SEEN FORCEFULLY OBSCURED (1996) as her starting point, Kuzma selected artists from different generations who could each be considered a ‘dismantler of illusion and a political satirist’. However, they had little in common other than the stated interest in ‘unveiling something’ about reality, ‘addressing the relationship between the artist and society via the issues of form and aesthetics’. The subjects they unravelled were scattered and sprawling, despite the suggestion of a possible common political agenda among the works.

In one of the two spacious Modernist halls upstairs Dan Graham and Carol Bove’s works dominated, creating a cross-generational dialogue. In his 1978 architectural model of a comfortable suburban house with a transparent front, Alteration to a Suburban House, Graham uses glass and mirrors both to unveil architectural structures and to suggest psychological states. In her sculptural assemblages, meanwhile, Bove holds a mirror to the era when Graham first began creating his works, arranging materials such as photographs, vases, books and other paraphernalia from the late 1960s and early ’70s on shelves (Das Energei, The Energy, 2005–6). Both artists also find ways to prescribe our point of view through abstract spatial relationships. Nearly five metres tall, consisting of hundreds of thin strips of bronze suspended from the ceiling, Bove’s The Night Sky over Oslo, March 16, 2006, at 9pm (2005–6) must be viewed from underneath, as if the strips were stars in the sky. A few metres away, Graham’s small pavilion Triangle with Circular Inserts – Variation B (1991) has to be entered through a ‘rabbit hole’ in the glass. Such effective pairings thickened the exhibition’s plot and suggested a possible narrative of similar dialogues throughout the entire show.

Such expectations were thwarted, however, in the second of the upstairs halls, where the sounds from Matthew Buckingham’s film Situation Leading to a Story (1999) and Torbjørn Rødland’s video Blues for Bigfoot (2005) drowned each other out, irredeemably obscuring the content of both works. Seminal works meant to enter into dialogue with younger works included ten typed letters with photographs by John Baldessari, Ingres and Other Parables (1971), with notes on the art world and its menace, as well as one of Jeff Wall’s light-boxes Boys Cutting Through a Hedge (2003) and the by now multi-reproduced Ozewald (1989), by Cady Noland, portraying Lee Harvey Oswald’s murder. The cross-readings and multilayered intricacies that were tangible between Bove and Graham’s work became impossible here, not only because of the poor acoustics but also because of the scanty amount of work and the vast space between works. I was left disappointed, and not even an alteration of the architecture of the Kunstnernes Hus by Corey McCorkle, Heiligenschein (Halo, 2005), could make up for it. McCorkle inserted a circle inside the plaster wall behind the central rose window in the façade of the building, creating a kind of divine light within the white cube.

On the ground floor Sam Durant’s text piece Like, Man, I’m Tired of Waiting (2001) wryly replied to Weiner’s text piece upstairs. But Kerry Tribe’s double-projection film Here & Elsewhere (2002) was the showstopper. With the experimental and documentary television series by Jean-Luc Godard about two children in France in the 1970s in mind, Tribe explores and perhaps even exploits an adolescent girl’s answers to advanced philosophical questions. The film proposes questions not only about authenticity and the unique, but also about how an audience can be seduced by a narrative and the differing ways we regard the exploitation of people through the medium of television from three decades earlier.

It is not clear what ‘Draft Deceit’ is communicating or how the artists were selected – there

134 135 Marta Kuzma Velaug Bollingmo Sten Are Sandbeck London, UK, OCA’s Verksted seminar London, UK, OCA’s Verksted seminar Tromsø Film Festival, Norway, Art of Welfare at the Goethe Art of Welfare at the Goethe accompanying Barbara London, Institute Institute curator, MOMA, meeting director Kassel, Germany, meeting with the Copenhagen, Denmark, 4 meetings Lise Dahl, Tromsø Kunstforening, Nordic Committee and appointed with the Nordic Council of curator Knut Ljøgodt and director curator of Nordic Pavilion, Ministers in 2006.** Anne Aaserud, Nordnorsk René Block, to discuss Nordic Basel, Switzerland, Basel Art Fair.* Kunstmuseum, and artists. Representation in Venice 2007 Belgrade, Serbia, opening of the Bergen, Norway, accompanying Berlin, Germany, visitation of the Berlin October Salon.* Terrie Sultan, director, Blaffer Biennale and for a meeting with Sao Paulo, Brasil, opening of the 27th Gallery, meeting director international members to discuss Bienal de São Paulo Solveig Øvstebø, Bergen the further development of the London, UK, OCA’s Verksted seminar, Kunsthall,curator Anne Szefer OCA Trust ISMS2 at Tate Britain and OCA’s Karlsen, Flaggfabrikken and London, UK, meeting with Radical Board Meeting at the Norwegian artists. Philosophy to develop Verksted Embassy Lofoten, Norway, accompanying Serhiy Seminars/Series for 2006 Berlin, Germany, Ifa arranged a EU Bratkov, Artist, Ukraine, meeting Lofoten, Norway, LIAF06 conference for the Institutions director Svein Ingvoll Pedersen, Berlin, Germany, to meet with Alice dealing in art within EU. Nordnorsk Kunstnersentrum, Creischer, the 2006 recipient director Annika Wiström, LIAF of Edvard Munch Award Ida Lykken Ghosh and artists. for Contemporary Art, to London, UK, OCA’s Verksted seminar London, UK, OCA’s Verksted seminar discuss Award ceremony and Art of Welfare at the Goethe ISMS2 at Tate Britain presentation in November 2006 Institute New York, USA, to conclude on the Lofoten, Norway, LIAF06 * [OCA, NYC] space New York, USA, setting up [OCA Partly fi nanced privatly or by another London, UK, OCA’s Verksted seminar NYC], meetings at PS1, The institution ISMS 2. Populism and Genre at America-Scandinavia Foundation, ** the Tate, and for an OCA Board Opening, Børre Sæthre at Fully fi nanced privatly or by another meeting Participant Inc. institution Belgrade, Serbia, to attend and visit the London, UK, OCA’s Verksted seminar October Salon (the Belgrade ISMS2 at Tate Britain Biennale) Bergen, Norway, to participate in Erikka Fyrand seminar with Laura Horelli at the Bergen and Trondheim, Norway, Art Academy accompanying Dan Graham for Venice, Italy, to research and identify lectures at the Art Academies in alternative locations for both towns. Research for OCA’s Norwegian Representation in International Visitors Programme. future Venice Biennale London, UK, OCA’s Verksted seminar New York, USA, to develop plans ISMS2 at Tate Britain around Tom Sandberg’s exhibition scheduled to open at Heidi Marie Sellevold P.S. 1, NYC in February 2007. London, UK, OCA’s Verksted seminar Meetings with P.S.1’s Director Art of Welfare at the Goethe Alanna Heiss Institute

136 137 Key Figures Key Figures & Comments & Expenses 2005 2006 Administration/ Salaries 2.476.770 2.653.679 Variable Costs 268.988 184.876 Comments International Studio Programme 1.233.642 1.549.176 International Support 1.155.888 1.444.143 Biennials 396.465 598.085 International Visitor Programme 205.398 353.411 Public Programming 12.332 89.273 Travels/ Representation 335.745 365.834 Communication 87.537 147.204 OCA NY 0 222.455 Total 6.172.747 6.308.136

Income 2005 2006

Ministry if Cultural and Church Affairs 5.482.000 6.092.000 Ministry of Foreign Affais 3.052.403 4.150.000 Arts Council Norway 0 245.000 Other 14.151 136.851 Total 8.548.554 10.623.851

Balance

2004 15.020 2005 1.418.839 2006 - 589.809*

138 139 Comments Key fi gures 2006 OCA Board/ Salaries and external services, specifi cations 2005 2006 International Board/

Salaries 2.096.968 2.264.661 Social Securitiy 328.352 323.667 Staff Other salaries 51.450 60.057 Total 2.476.770 2.648.385

Fixed and variable costs, specifi cations

Rent, electricity 580.428 External fees 462.865 Travel 115.914 Other costs 535.428 Telephone 102.193 Offi ce 1.198

Offi ce machines 61.030 Communication 45.610 Hardware 77.038 Total 1.981.704

Specifi cation Allocated support (expenses excluding salaries, administration and variable costs) Allocated support 2006

International Studio Programme 1.549.176 International Support 1.444.143 Biennials 574.348 Visitor Programme 353.441 Travel/ Representation (Incl. board members) 365.834 Communication 147.204 Ekely/ Munch Award 1.035.662 Total 4.169.808

* Balance for 2006 is considerably lower than the previous years. This is due to an in- crease in programming compared with 2005, where there was a change in management. Expenses are booked at the time the underlying activity is performed or at the time OCA has an obligation to support the activity.

140 141 OCA Board 2006 Siri Koren Furre, Informations Offi cer Offi ce for Contemporary Art Norway Tom Remlov Chairman (Film and theatre (from April)* Annual Report 2006 producer, professor, Norwegian Erikka Fyrand, Programme Coordinator Publisher: OCA Academy of Film, Lillehammer) for International Visitor Editor: Ida Lykken Ghosh Knut Brundtland (Lawyer, Oslo) Programme (from August)* Layout and design: Hans Gremmen Deputy: Siri Meyer (Art Historian, Birgitte Lie, Visitors Programme (until (Roma Publications) Department of Cultural Studie March)** Proof reading: Paul W. Brewer and Art History, University of Sten Are Sandbeck, Programme Bergen) Coordinator for International Hilde Hauan Johnsen (Artist, Tromsø/ Studio Programme** Bergen National Academy of Claudia C. Sandor, Newsletter Editor the Arts) (until November)*** Deputy: Ragnfrid Stokke (Head of Unit Heidi Nilsen Sellevold, Programme Visual arts, Arts Council Norway, Associate (maternity leave from Oslo) June)* Øystein Ustvedt (Curator, The National Ole Slyngstadli, Head of Museum of Art, Architecture and Communication (until February)* Design, Oslo) Deputy: Eva Klerck Gange (Curator Research assistants Exhibition and Collection, Tonja Boos*** The National Museum of Art, Elisabeth Weihe*** Architecture and Design, Oslo) Bente Sætrang (Artist, Oslo) Consultants Deputy: Tiril Schrøder (Artist, Oslo) Paul W. Brewer Peter Osborne Edvard Munch Award Jury Lars Bang Larsen Roger Buergel, Artistic Director, Documenta 12, 2007 Kassel, Intern Germany Fleur van Muiswinkel (until June)** Lynne Cooke, Curator, Dia Art * Foundation,New York, USA Working full time Marta Kuzma, Director, Offi ce for ** Contemporary Art Norway working part time Jörg Heiser, Co-Editor of FRIEZE *** Berlin, Germany working by hours Bartomeu Mari, Chief Curator, Museu d’Art Contemporani de Barcelona, (MACBA), Spain Dirk Snauwaert, Director, Wiels, Brussels, Belgium

Staff Marta Kuzma, Director* Velaug Bollingmo, Head of External Relations** Ida Lykken Ghosh, Head of Internal Relations*

142 143 Image on the inside cover:

From LARS BANG LARSEN’s talk on Psychodelia Bill Ham Liquid Light show, late 1960’s