Office for Contemporary Art Norway Annual Report 2011 Director’s Foreword

4 5 The following is an excerpt of a In the year 2011, on behalf of the As a national representation, we presentation made by OCA’s Director Office for Contemporary Art Norway, looked back to the historical for Marta Kuzma in Venice within the we introduced the programme ‘The understanding how the political be- 54th International Art Exhibition, La State of Things’ under the rubric of haviour of a state might migrate to Biennale di Venezia, to introduce Norway’s official representation in some abstraction in art. In Norway’s the conceptual framework of the the 54th International Art Exhibition, case, it was through the historical programme ‘The State of Things’. As La Biennale di Venezia. When dis- traditions of neutral political media- the Annual Report delves extensively cussing ideas about possible exhibi- tion reflected primarily in the exam- into the organisation’s comprehensive tion presentations for Venice in 2011, ple of the individual Fridtjof Nansen, programme for the year 2011, this it was inevitable to reflect on what a polar explorer who located a kind essay is intended as a contemplation could constitute a country’s repre- of fictional instrument in the form of of some issues that have constituted sentation in such a visual platform, a passport to provide the possibility concerns and propositions for the given the political, economic and of migration for those who felt or programme activities this year. philosophical climate of our time – were actually entrapped. one less ambitiously diagnosed and prescribed than lodged within a kind With this, we introduced ‘The State of holding pattern of the eventual and of Things’ as a programme including open-ended. With an acceleration the speakers Jacques Rancière, Leo into a kind of Fukushima syndrome, Bersani, Vandana Shiva, Jan Ege- the reality of events within this world land and Fawas Gergez in the first are set up against a metaphorical week of the Biennale, and those that backdrop of the indeterminable inevi- continued throughout the biennale table that propels us into an absolute period into late November with Eyal deniability or instead to a need to Weizman, Judith Butler, Franco Be- evaluate – to some degree – the very rardi, Saskia Sassen and T.J. Clark. state of things as practitioners within Each speaker proposed individual the field that is bracketed by the departures on how to think about Biennale. This prompts us to ask present dissonances, as a way to questions – ‘What is it that we even help us consider how the field of regard as aesthetically and critically art and aesthetics could remain an valuable at this point in time and emancipatory front. And we have why are we even doing what we do done so by cooperating with leading with a repeated homage to these set academic and research facilities in patterns and rituals?’ ‘The State of Venice, such as the Faculty of De- Things’ was an invitation to consider sign and Arts at the Università Iuav both within and outside the frame of di Venezia and the Istituto Veneto di art and aesthetics – a kind of Mal- Scienze, Lettere ed Arti. larmean attempt to ‘Roll the Dice that Will Never Abolish Chance’ – a way It is an understatement to say that of highlighting the ambiguities on a this programme developed against more abstract level for the purpose a landscape of dramatic events and of rethinking our approaches: not for change since its launch. The aspired the sake of the new, not for the sake reflection over the ‘state of things’ of the innovative, but for the sake of was eclipsed by an impulse gather- understanding the very rupture of ing momentum with each passing coherence that we find ourselves in.

6 7 week. As Jacques Rancière, who ernment in the Netherlands made Statement spoke as the programme’s opening possible by a far-right populist party speaker, elaborated: responsible for immigration and cultural policy that has resulted in of the Board A state of things presents itself an attack on contemporary arts and as an objective given, disre- pedagogical institutions. Within garding other possible states the mobilisation of a neo-regulated of things. And time is the best economic order with its dramatic medium for exclusion. There cuts in education and culture, all is is a simpler way in which time met with relatively little resistance, works as a principle of impos- but with a seismic undercurrent that sibility, the very simple separa- will no doubt make change visible in tion between the present and the coming months, weeks and even the past. ‘Times have changed’ days. It is possible that what we means that things have become read as incomprehensible will make impossible. They don’t belong itself available for interpretation for any more to what the new an expanded field of articulation, times make possible. So the operation and renewed autonomous empirical idea of time as a suc- activity. It may be that THIS IS NOT cession of moments has been ART. But perhaps THIS IS NOT ART substituted by an idea of time JUST YET. as a set of possibilities. ‘Times We speak not in conclusion, but have changed’ means: this is as the very beginning of a consid- no longer possible. And what a eration of something still to come. state of things readily declares We hope. impossible is, quite simply, the possibility to change the state Marta Kuzma of things: there are things you — Director, Office for can no longer do, ideas in which Contemporary Art Norway you can no longer believe, futures you can no longer im- agine. ‘You cannot’ means: you must not. Our present gives us a good illustration of this point.

We faced in the last year the reality of two European countries ruled by technical governments; a right- wing party entering into power with massive support in Spain; a conservative government in the UK that continued to employ draconian austerity measures with limited resistance; the eradication of pro- testors of the occupy movements in the States, forcefully cleared away in the name of sanitation; a gov-

8 9 The year 2011 marked the 10th place independently from the other anniversary of OCA ’s foundation. Scandinavian countries. Norway’s In 2001 the Office for Contem- representation at 54th International porary Art Norway was set up by the Art Exhibition, La Biennale di Venezia, two co-founders, Ministry of Culture consisted of two programmes, run- and Ministry of Foreign Affairs, with ning consecutively throughout the the aim ‘to promote and profes- year: ‘The State of Things’, a series of sionalise Norwegian participation lectures by internationally renowned in international cooperations within intellectuals in various cultural and the field of visual arts’. academic institutions in Venice, and The original OCA Board was ‘Beyond Death: Viral Discontents and appointed in September 2001 and Contemporary Notions about AIDS’, a composed of Tom Remlov, Chair- teaching programme by artist Bjarne man (film and theatre producer, pro- Melgaard at Università Iuav di Vene- fessor at the National Film School of zia. The overall programme aimed to Norway); Aicha Bouhlou (gallerist, build institutional relationships and Bergen); Per Bjarne Boym (Director, expand the reach of the project to The National Museum of Contem- wider audiences than those histori- porary Art); Jeannette Christensen cally attending the Biennale. (artist, Oslo); Ann Ollestad (Director General of Culture Ministry of For- Reflecting upon the possibility that eign Affairs). the image of a nation may in fact be The public opening of the foun- defined by its internationalism, ‘The dation happened one year later, in State of Things’ intended to project September 2002, followed by the the image of Norway as a forward- beginning of OCA’s activities. OCA looking country in cultural and was given its final name, staff were political terms. The public lectures, appointed, and the main aims of the given by internationally respected newly established foundation as a intellectuals, reflected upon themes promoter of international exchange such as diversity, Europe, the (rather than an agent in national environment, peace-making, hu- promotion) were established. man rights, capital, sustainability, migration, asylum, aesthetics and Since its foundation OCA has been war. Each of the papers tackled the responsible for the Norwegian repre- ‘state of things’ of the day, drawing sentation within the Venice Biennale. from the speakers’ fields of activ- The cooperation between Finland, ity and research, and from what Norway and Sweden in Venice was they considered the intellectual initiated in 1962 after the comple- and political priorities of today. tion of the Nordic Pavilion designed Speakers included gender theorist by the Norwegian architect Sverre Judith Butler, environmental activist Fehn within the Giardini of the Venice and author Vandana Shiva, media Biennale. The responsibility for repre- theorist and activist Franco Berardi, sentation in each Biennale alternated art historian T.J. Clark, philosopher between the collaborating countries Jacques Rancière and architectural until 2009. The year 2011 is the first theorist Eyal Weizman. occasion in which Norway’s partici- pation at the Venice Biennale took

10 11 ‘Beyond Death: Viral Discontents national Council generously hosted OCA’s continued its regular pro- nial, UK. Solo exhibitions included and Contemporary Notions about and supported a reception at their gramme throughout 2011 in Nedre Øystein Aasan at FORDE, Geneva, AIDS’ consisted of engaging artist residence in Venice to celebrate the gate 7; the OCA Semesterplan and Switzerland; Marianne Hurum at Bjarne Melgaard as Guest Profes- launch of Norway’s representation its interrelation with the Verksted Lothringer13, Munich, Germany; sor for the Graduate Programme of in the 54th Venice Biennale. The re- publications had a series of high- Marte Eknæs at Between Bridges, Visual Arts at the Faculty of Design ception brought together Norwegian lights during this year, particularly London, UK; Gardar Eide Einarsson and Arts, Università Iuav di Venezia. and international art professionals with the exhibition-project ‘Forms at Bonniers Konsthall, Stockholm, In an attempt to tackle one of the with key international guests. of Modern Life: From the Archives Sweden; and Mette Tronvoll at Haus key issues in the world today, Bjarne of Guttorm Guttormsgaard’, lauded am Waldsee, Berlin, Germany. Melgaard conducted a Masters pro- In 2011, the Office for Contemporary by the Norwegian press for its gramme titled ‘Beyond Death: Viral Art Norway continued the expan- educational, nuanced and inventive The OCA board has met internally Discontents and Contemporary No- sion of its network of international presentation; and with the publica- and with the Ministry of Culture and tions about AIDS’. The programme residencies, which aims to stimulate tion of the anthology Whatever Hap- the Ministry of Foreign Affairs on was structured around a series of the global perspectives of Norwe- pened to Sex in Scandinavia?, which several occasions throughout 2011, lectures and workshops by the art- gian artists and cultural producers launched in December 2011 at Art- in addition to meetings with the ist taking place from mid-February and strengthen collaborations with ists Space in New York and at OCA Kulturrådet. We wish to extend our to mid-May 2011, and concluded renowned international institutions in Oslo. The anthology completes sincere gratitude to both our min- with a public exhibition reflecting and professionals in the field. In the very well received research- istries for their ongoing support as the materials researched during the 2011 OCA offered a studio residen- project and exhibition ‘Whatever well as their collective efforts and course. ‘Beyond Death’ looked at cy for a Norwegian artist at the In- Happened to Sex in Scandinavia?’ ambitions for the strengthening of the history and present of the AIDS ternational Artists in Residency pro- held at OCA in 2008/09. OCA as an institution in an ever ex- crisis, and its reflection within con- gramme at 18th Street Art Center in panding and increasingly demand- temporary art and discourse. the Santa Monica neighbourhood of The benefits of OCA’s strategic ap- ing international art scene. Los Angeles, CA, USA. proach for supporting Norwegian art Finally we would like to thank Melgaard developed, on his own and culture internationally has re- OCA’s director, Marta Kuzma and initiative, a large exhibition with the With the aim to develop its com- sulted in a consistent participation the entire staff at OCA for their students, as a final project for the munication strategy and in order to of Norwegian artists in key Biennals endless energy, intelligence and course. The exhibition, titled ‘Ba- provide easier access to information and institutions within the context passion they put into the institution ton Sinister’, took place at Palazzo about OCA’s different activities, of international contemporary art. – the goals are highly ambitious as Contarini Corfù, Dorsoduro 1057, a OCA launched a redesigned ver- The year 2011 saw the participation always and the results are equally 800-square-metre Palazzo on the sion of its website at the end of May of Ida Ekblad in the main exhibition impressive. West side of the Accademia bridge, 2011. The navigation was improved of ‘ILLUMInations’, the 54th Inter- looking into the Gran Canal. Twelve by grouping International Support national Art Exhibition, La Biennale OCA has convincingly found its students took part in the exhibition and International Residency pro- di Venezia; D.O.R. within the Dan- format and marked its position in- and presented an individual work of grammes under the ‘Grant’ tag. In ish Pavilion for the 54th Interna- ternationally in its first 10 years of art, as well as a big collective wall addition to the ordinary recipient tional Art Exhibition, La Biennale di existence. We have faith in OCA’s and floor painting reflecting on the lists, a ‘Current Projects’ feature Venezia; Gediminas and Nomeda continued success and look forward topics discussed during the four where an up-to-date list of ongo- Urbonas, and Elmgreen & Dragset to the next 10 years. months of their progamme. The ing projects receiving International within the Moscow Biennale; Syn- exhibition attracted a significant Support was made available. All the nøve G. Wetten, Åsa Sonjasdotter, On behalf of OCA’s Board, amount of interest both nation- activities within the public platform Hans Hamid Rasmussen, Jana Wind- Gro Bonesmo ally and internationally, including a are classified under ‘Semesterplan’, eren, Mahlet Ogbe Habte within the — Chair of the Board, Office for comprehensive review in The New including Norway’s official repre- Gothenburg International Biennial Contemporary Art Norway York Times and being highlighted sentation in Venice. OCA was able for Contemporary Art, Gothenburg, by several art critics within Artforum to start selling the ‘Verksted’ publi- Sweden; Jet Pascua at Jakarta Art ‘Best of 2011’. cations online, and the new website Biennale 14, Jakarta, Indonesia; also allows users to browse inside Elmgreen & Dragset at the 12th On 1 June 2011, Aud and Paolo the publications for a preview be- Istanbul Biennial, Turkey; and also Cuniberti, members of OCA’s Inter- fore purchasing. AK Dolven in the Folkstone Trien-

12 13 International Support

14 15 02-FUNDING Recipients during 2011 G: Marte Aas 14 April–19 August 2011 1st Quarter b.1966 in Trondheim, NOK 10 000 The Office for Contemporary Art In 2011, OCA received 251 appli- Grants allocated for Norway, lives and Norway provides financial support cations requesting International International Support works in Oslo, Nor- G: Torpedo Press, Oslo, to applicants on four designated Support in the area of 02-funding. way Norway deadlines throughout the year As a consequence of four juried G: Greg Pope PS: Marte Aas was in- Elin Maria toward international projects that meetings, the annual support in b.1960, London, UK, vited to participate Olaussen, b.1975 include Norwegian artists and/or relation to 02–funding amounted to lives and works in in the group exhibi- in Oslo, lives and cultural producers. Support is 2 231 253 NOK, which constitutes Oslo, Norway tion ‘North by New works in Oslo; Karen extended to non-profit entities, and the earmarked support provided to PS: Greg Pope held a York: New Nordic Tandberg, b.1976 in priority is given to exhibitions taking OCA from the Norwegian Ministry of performance and Art’ at Scandinavia Oslo, lives and works place in premiere international art Foreign Affairs for that allocation. A video screening at House, New York, in Oslo; and Eivind institutions and project spaces. total of 136 applications (54%) were the Institute of Mod- NY, USA. According Slettemeås, b.1974 Support is also extended to solo supported. It should be noted that ern Art, Brisbane, to curators Robert in Bø, Norway, lives exhibitions and group exhibitions the overall request for funding from Australia. Accord- Storr and Francesca and works in Harpe- initiated by international curators the applicants amounted to 9 715 ing to the artist, the Pietropaolo, the exhi- foss, Norway as well as to Norwegian art profes- 863 NOK. performance Light bition ‘drew on many PS: Torpedo Press sionals organizing exhibitions Cipher (in collabora- of these themes and participated in and projects abroad. Norwegian tion with sound artist elements of expres- the PA/PER VIEW artists/curators and international Mike Cooper), ‘har- sion, introducing a Art Book Fair at artists/curators residing in Norway nesses the mecha- primarily American Wiels Contemporary on a permanent basis are eligible nisms of film and cin- audience to ground- Art Centre, Brus- to apply. The objective of OCA’s ema; the projector, breaking art from sels, Belgium. The International Support is designed the film material, the each of the five fair brought together to foster artistic production and darkened room and Nordic countries’. 32 leading artist- international interchange and synchronised sound Aas presented Tor- book publishers to dialogue and to professionalise – creates a live score shovtoppen (2010), present their work. the exhibition of Norwegian artists and a visual and son- a multimedia instal- In conjunction with working abroad. OCA’s funding for ic interaction’. Pope lation that she says the fair, Torpedo International Support is provided by also organised a ret- ‘raises questions Press organised a the Norwegian Ministry of Foreign rospective screening about urban spheres satellite presentation Affairs and the allocation is decided of his single-channel that are made ac- at Gallery D.O.R. in upon by an independent jury of moving image works, cessible to local Brussels to launch Norwegian and international art including Whirl- residents’. Other their latest publica- professionals designated by OCA. wind (1998), Inci- participating artists tions such as Liv dence Room (2003) included Per Kirkeby, Bugge’s You make and Correspondenc- Marja Mikkonen and me want to Die in the es (2011), among Saana Wang, among Countryside ( 2011) others. others. and Marius Engh’s Curator: Robert Leonard, Curators: Robert Storr, An Aggregation of Director, The Institute Scholar, Curator Adversary ( 2011). of Modern Art, Bris- and Dean of the Yale Organiser: Dirk Snau- bane School of Art, New waert, Director, 13 April 2011 Haven, CT, USA and Wiels and Frances NOK 15 000 Francesca Pietropao- Horn, Curator, MER lo, Independent Paper Kunsthalle, Scholar and Cura- Ghent, Belgium tor for Scandinavia 23–25 April 2011 House, New York NOK 8 000

16 17 G. Åsa Sonjasdotter für Bildende Kunst G: Geir Haraldseth Center, Seoul, South lives and works in ing to the curator b.1966 in Helsing- (NGBK), Berlin b.1977 in Oslo, Nor- Korea. The first Oslo) and Kristian Runa Islam, the borg, Sweden, lives 30 April–13 June 2011 way, lives and works workshop, on 5 Skylstad (b.1982 in exhibition revolved and works in Tromsø, NOK 10 000 in Lillestrøm, Norway May, was aimed at Oslo, lives and works around her own Norway PS: Curator Geir Har- children from 8 to 13 in Oslo) were invited ‘research interests PS: Åsa Sonjasdot- G: Ingrid Book and Ca- aldseth was invited years. On 6 May, Jan to participate within into the act of look- ter was invited to rina Hedén (Book & to participate within Christensen opened the group exhibition ing and reflexive participate within Hedén) the symposium ‘New Jan Christensen and ‘The Return of the forms of lens-based the group exhibi- b.1948 in Mora, Swe- Methods’ at the Mu- Anders Fjøsne pre- Losers’. According representation’ as a tion ‘Other Possible den, lives and works seum of Contempo- sent ‘The Seoul Ses- to the curator Martin means to approach Worlds’ at the Neue in Oslo, Norway; rary Art (MOCA), sions 2011’ with a Schibli, many of the other artists’ work Gesellschaft für b.1951 in Malmø, North Miami, FL, sound workshop that artists in the exhibi- ‘for the potential that Bildende Kunst Sweden, lives and USA. The three-day counted on the col- tion could be ‘seen comes out of denying (NGBK), Berlin, works in Oslo international sym- laboration of Korean as provocative’, but or obscuring images’. Germany. Accord- PS: Book & Hedén were posium examined, sound artists. The in- ‘they have not taken Faldbakken present- ing to the curators, invited to participate according to curator stallation assembled the role of the victim; ed his work Untitled the exhibition ‘aimed within the group Ruba Katrib, ‘the various sound mixing on the contrary, they (Outline) (2009), at opening a space exhibition ‘Extreme boom of independ- and distorting de- are embracing the which is described for multiple projects Crafts’ at the Freies ent artistic activity vices with everyday new world and its as ‘an unknown word suggesting and test- Museum, Berlin, in Latin America’ by objects, creating an possibilities, and at sprayed onto the ing other realities of Germany. According focusing ‘on artist- environment where the same time take a wall, layered over and life from small-scale to curator Ulrike Sol- run organisations the audience com- critical stand towards over again, until the artistic tryouts to brig, the exhibition from throughout bined sounds pro- the old ideologies’. paint runs out from larger social experi- investigates ‘current the region that have duced by a variety of Other participat- the can, and the word ments’. Sonjasdotter approaches in art emerged from the objects and sources ing artists included is obliterated be- presented the project that deal with the need for independent into ‘found’ composi- Dahn Vo, Sören Thilo cause of the amount A Potato Perspec- ethical and aesthetic education for work- tions that explored Funder, Klas Eriks- of paint’. Other tive on the Relation dimension of craft ing artists’. ‘sonority, musicality, son, Theis Wendt, participating artists Between Matter and and its potency as an Organiser: Ruba Katrib, participation and col- Elin Magnusson and included Rosângela Content; Part I; The idea in art’. Book & Associate Curator, laboration’. Tamar Guimaraes, Rennó, Ellen Harvey Research, which she Hedén are develop- Museum of Con- Curators: Hyejin Jang and among others. and Helena Almeida, says ‘looks into pow- ing a photo-based temporary Art North Claudia Pestana, In- Curator: Martin Schibli, among others. er and knowledge project around the Miami dependent Curators Director of Exhibi- Curator: Nav Haq, Exhibi- structures in relation new E6 highway 4–6 May 2011 for Artsonje Center, tions, Kalmar Konst- tions Curator and to breeding’ by fo- between Oslo and NOK 6 000 Seoul museum, Kalmar Runa Islam, Co-cura- cusing ‘on the potato Gothenburg, which 5–6 May 2011 7 May–4 September tor, Arnolfini, Bristol plant, since it has will explore what they G: Artsonje Center, NOK 15 000 2011 12 May–3 July 2011 played a major role term ‘mobile vision’ Seoul, South Korea NOK 40 000 NOK 4 100 for the demographic or a new experience PS: Jan Christensen G: Kalmar Konstmuse- and economic de- of landscape from a (b.1977 in Copenha- um, Kalmar, Sweden G: Arnolfini, Bristol, UK G: Kristinehamns Kon- velopment in Europe mobile viewpoint. gen, Denmark, lives PS: Kjersti Andvig PS: Matias Faldbakken stmuseum, Kristine- since The Enlighten- Curator: Ulrike Solbrig, and works in Oslo, (b.1978 in Oslo, (b.1973 in Hobro, hamns, Sweden ment’. Independent Curator Norway) was invited Norway, lives and Denmark, lives and PS: Gardar Eide Ein- Curators: Franziska for Freies Museum, to hold a workshop works in Oslo), Ivan works in Oslo, Nor- arsson (b.1976 in Lesák, Berit Fischer, Berlin and to produce an in- Galuzin (b.1979 in way) was invited to Oslo, Norway, lives Moira Zoitl Hubert Exhibition dates post- stallation at Artsonje Murmansk, Rus- participate within and works in New Lobnig and Dor- poned to August– Lounge Project, a sia, lives and works the group exhibition York, NY, USA), Tor othee Albrecht, the September 2012 space that engages in Oslo), Jumana ‘Magical Conscious- Børresen (b.1963 Curatorial Team for NOK 20 000 with artistic practice, Manna (b.1987 in ness’ at Arnolfini, in Hamar, Norway, Neue Gesellschaft within the Artsonje New Jersey, USA, Bristol, UK. Accord- lives and works in

18 19 Oslo), Snorre Yt- G: Witte de With Centre G: Museum of Contem- b.1979 in Kaunas, Klimasauskas, In- for Gallery Augusta, terstad (b.1968, in for Contemporary porary Art, Roskilde, Lithuania, lives dependent Curator Helsinki Bodø, Norway, lives Art, Rotterdam, The Denmark and works in Oslo, for Gallery Augusta, 16 June–28 August 2011 and works in Oslo) Netherlands PS: Tori Wrånes (b.1978 Norway; b.1974 in Helsinki NOK 2 500 and Monica Winther PS: Toril Johannessen in Kristiansand, Nor- Molde, Norway, lives 16 June–28 August 2011 (b.1976 in Bergen, (b.1978 in Trond- way, lives and works and works in Oslo NOK 5 000 G: Be Andr Norway, lives and heim, Norway, lives in Los Angeles, PS: Ignas Krunglevi- b.1978 in Oslo, Nor- works in Oslo) were and works in Bergen, CA, USA) and Jana cius and Snorre G: Morten Norbye Hal- way, lives and works invited to participate Norway) was invited Winderen (b.1965 Hvamen were invited vorsen in London, UK within the exhibition to participate within in Bodø, Norway, to participate within b.1980 in Stavanger, PS: Be Andr was invited ‘Nordic Darkness’ the group exhibition lives and works in the group exhibition Norway, lives and to participate within at the Kristinehamns ‘The End of Money’ at Oslo, Norway) were ‘More Or Less, A works in Paris, the group exhibition Konstmuseum, Kris- Witte de With Centre invited to participate Few Pocket Uni- France ‘Nominator & Denom- tinehamns, Sweden. for Contemporary within ACTS – Fes- verses’ at Gallery PS: Morten Norbye inator’ at the Herzliya According to the Art, Rotterdam, The tival for Performa- Augusta – in con- Halvorsen was in- Museum of Contem- curators Staffan Netherlands. Accord- tive Arts Support junction with the vited to participate porary Art, Herzliya, Boije af Gennäs and ing to curator Juan at the Museum of Helsinki International within the group Israel. According to Johan Zetterquist, Gaitán, the exhibition Contemporary Art, Artist-in-Residence exhibition ‘More Or curator Tal Bechler, the exhibition looked was a ‘reflection on Roskilde, Denmark. Programme (HIAP) Less, A Few Pocket the exhibition inves- at the development of the different fears, The two-day festival, – on the island Universes’ at Gallery tigated the notion of ‘music genres such hopes and expecta- with an international of Suomenlinna, Augusta – in con- a simple numerical as Drone and Black tions associated with programme, took Helsinki, Finland. junction with the fraction ‘as an act of Metal’ over the last the end of money as place in and around According to curator Helsinki International division’ capable of decade as ‘signifi- the primary standard the museum as well Valentinas Klimasa- Artist-in-Residence describing ‘concepts cant cultural exports of value’, which also as the city centre of uskas, the exhibition Programme (HIAP) of hierarchy, power from Norway and investigated ‘the Roskilde. Wrånes was ‘researching – on the island and repression’. Andr Sweden’ as a means limits that the con- and Winderen each the possibility of the of Suomenlinna, produced a site- to investigate the temporary economic developed new per- functioning of art- Helsinki, Finland. specific text-based ‘common denomina- structure imposes on formances specifi- works and exhibitions According to curator installation for the tors’ between the art the imagination, and cally for the festival. as universes within Valentinas Klimasa- exhibition. Other par- and music scenes. on the imagination as Other participating another universe’ by uskas, the exhibition ticipating artists in- Other participating the cause of the pre- artists included focusing ‘on collabo- was ‘researching cluded Kate Gilmore, artists included Dan- sent conception of Elisabet Apelmo & rations and network- the possibility of the Vito Acconci, Uri iel Andersson, Roger the economy’. Other Marit Lindberg, Jörn ing by artists from functioning of art- Aran and Tom Pnini, Andersson,Veronica participating art- J. Burmester, Lesley across the Nordic works and exhibitions among others. Brovall, Stiina Saaris- ists included Pierre Flanigan, Henrik and Baltic region’. as universes within Curator: Dalia Levin, to and Banks Vio- Bismuth, Peter Fis- Plenge Jakobsen Krunglevicius and another universe’ by Director, and Tal lette, among others. chli and David Weiss, and Jane Jin Kaisen, Hvamen produced focusing ‘on collabo- Bechler, Tsibi Geva, Curators: Staffan Boije Vishal Jugdeo Ag- among others. a public work that rations and network- Zali Gurevich, Cura- af Gennäs and Johan nieszka Kurant and Curators: Sanne Kofod functioned as ‘an ing by artists from torial Team, Herliya Zetterquist, Inde- Lawrence Weiner, Olsen, Director audio guide based across the Nordic Museum of Contem- pendent Curators among others. and Mette Truberg upon a text by the and Baltic region’. porary Art, Herzliya for Kristinehamns Curator: Juan Gaitán, Jensen, Curator, artist Douglas Gor- Halvorsen presented 18 June–10 September Konstmuseum, Kris- Curator, Witte de Museum of Contem- don’, which ‘is heavily a new series of pho- 2011 tinehamns With Centre for porary Art, Roskilde contextualised and tographs of the moon NOK 8 000 14 May–28 August 2011 Contemporary Art, 28–29 May 2011 inspired by literature, as well as an installa- NOK 10 000 Rotterdam NOK 9 000 immateriality and the tion project. G: Den Frie Centre of 22 May–27 August 2011 use of language in Curator: Valentinas Contemporary Art, NOK 20 000 G: Ignas Krunglevicius contemporary art’. Klimasauskas, In- Copenhagen, Den- and Snorre Hvamen Curator: Valentinas dependent Curator mark

20 21 PS: Nils Bech (b.1981 in PS: Marieke Verbiesen rary Animated Arts at (faux) gold suggest engage the public distorters and equip- Oslo, Norway, lives was invited to par- PICA, Norman Klein, their value as the and challenge how ment that modulates and works in Oslo) ticipate within the Professor of Criti- materials of the fine we see, think and and manipulates au- and Ane Lan (b.1972 exhibition ‘Interma- cal Studies at the arts, while ceramic, act’, says the cura- dio’. Other participat- in Oslo, lives in works tion’ at the Portland California Institute of brick and tile pieces tors. Johannessen ing artists included in Oslo) were invited Institute for Contem- the Arts, and Mack invoke the domestic’. presented a new Alejandro Almanza, to participate within porary Art (PICA), McFarland, Curator, The layout of the work at the Vivo Me- Marc Bijl, Piot Breh- the ‘Summer Exhibi- Portland, OR, USA. PICA exhibition has been dia Arts Centre on mer, Erik Bünger and tion 2011’ at the Den According to cura- 7–31 August 2011 completed in consul- Friday 23 September. Kate Gilmore, among Frie Centre of Con- tors Rose Bond, NOK 16 000 tation with the New Curator: Randy Gledhill, others. temporary Art, Co- Norman Klein and York-based feng-shui Executive Director Curators: Julie McKim penhagen, Denmark. Mack McFarland, the G: Alejandra Salinas master Pun Yin. and Jon Tupper, Cu- and Daniel Kingery, The intention of the exhibition ‘embraced and Aeron Bergman Curator: Karl Erickson, rator, LIVE Perform- Indipendent Curators exhibition, according the hybrid-moving b.1977 in La Rioja, Executive Director, ance Art Bienniale, for Kunsthalle Exner- to the curators, was image by combin- Spain, lives and Dumbo Arts Center, Vancouver gasse, Vienna to ‘create the frame ing critical thought, works in Oslo, New York 15–25 September 2011 6 October–5 November for a returning sum- fine art practice and Norway; b.1971 in 8 September–6 Novem- NOK 6 000 2011 mer exhibition, giving digital technologies’. Detroit, MI, USA, ber 2011 NOK 7 000 both a Danish and in- Verbiesen presented lives and works in NOK 15 000 G: Jan Christensen ternational audience Plan 10, an interac- Oslo b.1977 in Copenha- G: Creative Association the possibility to gain tive installation that PS: Alejandra Salinas G: Kurt Johannessen gen, Denmark, lives of Curators TOK, St. insight to selected ‘speaks directly to and Aeron Bergman b.1960 in Bergen, and works in Oslo, Petersburg, Russia current tendencies visitors sense of were invited to hold Norway, lives and Norway PS: Lene Berg (b.1965 in on the Scandinavian perception by com- a solo exhibition works in Bergen, PS: Jan Christensen was Oslo, Norway, lives art scene’. Other bining various media at Dumbo Arts Cent- Norway invited to participate and works in Berlin, participating artists such as interactiv- er, New York, NY, PS: Kurt Johannessen within the group Germany), Leander included Maiken ity, lights, surround USA. Titled ‘Gladly was invited to partici- exhibition ‘You Are Djønne (b.1981 Bent, Thi Trinh sound, sculpture, Will I Sell for Profit, pate within the LIVE Free’ at Kunsthalle in Odda, Norway, Nguyen, Genesis and animation in an Dear Merchants of Performance Art Exnergasse, Vienna, lives and works in Breyer P-Orridge and immersive installation the Town, My Hat Biennale, Vancouver, Austria. According Oslo), Bodil Fu- Olof Olsson, among where various media Laden With Snow’, Canada. According to curators Daniel ru (b.1976 in Askim, others. are intersecting with the project showed to the organisers, Kingery and Julie Norway, lives and Curators: Lilibeth Cuenca installation art’. Users a new body of work LIVE has grown into McKim, the exhibi- works in Oslo), Ivan Rasmussen, Art- control the installa- that according to ‘Canada’s largest tion revolved around Galuzin (b.1979, ist, Dahn Vo, Artist, tion through a control the curator ‘drew and most culturally ‘the intangible notion Murmansk, Rus- Christian Schmidt board, that ‘func- attention to its own diverse celebration of of freedom’, which sia, lives and works Rasmussen, Artist tions like playing an durability and physi- contemporary inter- is ‘most often made in Oslo), Goksøyr as the Independent instrument simulating cality: web content is national performance manifest through the & Martens (Toril Curatorial Team for events in a miniature, burned onto acid-free art’. The seventh edi- visceral experience Goksøyr b.1970 Den Frie Centre of tactile city’. Plan 10 paper with a laser en- tion of LIVE features of music’. Christens- in Norway, lives Contemporary Art, is based on the book graver for maximum performances by en’s project for the and works in Oslo Copenhagen Last City of the Gods longevity, information artists from 15 differ- exhibition, N0th1n6 and Camilla Martens, 2 July–7 August 2011 by Tor Åge Brings- from paper docu- ent countries, occur- 1s f0r Fr, M0ther b.1969 in Norway, NOK 10 000 værd. ments is engraved ring at galleries and Fuckr$ ( 2011), in- lives and works Other participating artists as a series of granite art institutions across vites the audience to in Oslo) and Siri G: Marieke Verbiesen included Greg Barsami- monuments. Tang the city. From 15 to ‘engage in an impro- Hermansen (b.1969 b.1978 in Eindhoven, an, Cassandra C. Jones dynasty poetry is 25 September the vised jam session’ in Geneva, Switzer- The Netherlands, and Duncan Malashock. etched into china- artists ‘explored new, within an installation land, lives and works lives and works in Curators: Rose Bond, ware. Sculptures in experimental and consisting of ‘syn- in Oslo) were invited Bergen, Norway Chair of Contempo- marble, granite and experiential ways to thesizers, samplers, within an exhibition

22 23 focused on Norwe- and audio-sculptural laborative project at Recipients during 2011 and Oscar Tuazon, Bell erected in May gian artists as part installation consid- Spiral Gallery, Tokyo, 1st Quarter among others. 2011 is a perma- of the ongoing series ering the distance Japan. Organised by Grants allocated for Curator: Bice Curiger, nent site-specific ‘Nordic Art Today’ between historical the Japanese curator International Biennials Director for the installation made in at the Creative As- truths and fiction ask- Hiroko Wakai, the and Institutional Grants Visual Arts section of memory of the Finn- sociation of Curators ing about what role project deals with for Solo Exhibitions the 54th International ish modernist thinker TOK, St. Petersburg, the artist should play ‘various aspects of Art Exhibition, La and painter Helene Russia. According during watershed migration, compris- G: Fondazione La Bien- Biennale di Venezia, Schjerfbeck in to the curator Kari political moments. ing an exhibition of nale di Venezia, Ven- Venice Ekenäs, Finland, Out Brandtzaeg (b.1966 According to curator Rasmussen’s textile ice, Italy 4 June–27 November of Tune in Folkestone in Oslo, lives and Peter Russo, Leu’s works with accom- PS: Ida Ekblad (b.1980 in 2011 was a temporary works in Oslo), the project ‘unfolded in panying texts written Oslo, Norway, lives NOK 140 000 installation and bor- exhibition developed two distinct forms: by Terje Nordby and and works in Oslo, rowed a grounded a ‘frame for explor- his exhibition at Tri- photographic docu- Norway) was invited G: A K Dolven 16th century bell ing the close con- ple Canopy’s venue mentation by Kiyoshi to participate within b.1953 in Oslo, Nor- from Scraptoft nections between featured several Sakasai’. the 54th International way, lives and works Church, Leicester. Norway and Russia sound sculptures Curator: Hiroko Wakai, Art Exhibition, La in Leknes, Norway According to the art- – cultural, historical dramatizing Brecht’s Independent Cura- Biennale di Venezia, PS: A K Dolven was ist, the idea of being and political’. Look- appearance in front tor and journalist for Venice, Italy, titled invited to participate out of tune is ‘an ap- ing into the history of the House Un- Spiral Gallery, Tokyo ‘ILLUMInations’. within the 2011 propriate metaphor of cultural exchange American Activities Exhibition dates post- According to curator Folkestone Trien- for the theme of the between these two Committee in 1947; poned to 19 Novem- Bice Curiger, ‘the nial, Folkestone, 2011 Folkestone Tri- states, Brandtzaeg his project for the ber–5 December term “nations” in “IL- UK, titled ‘A Million ennial, which invites sought ‘new potential magazine drew 2012 LUMInations” applies Miles From Home’. artistic responses to for connections be- together research NOK 5 000 metaphorically to This exhibition of the situations of dis- tween aesthetics and on the playwright’s recent developments newly commissioned placement, migration, politics’ in the work dramatic and political in the arts all over the public art explored, and not belonging of contemporary work, archival record- world, where overlap- according to curator – drawing on Folke- Norwegian artists. ings of courtroom ping groups form Andrea Schlieker, stone’s own geo- Curator: Anna Bitkina, proceedings, and collectives of people ‘the sense of being graphical position on Director of TOK, St. original writing, in an representing a wide between worlds, of the southeastern tip Petersburg online art-book pres- variety of smaller, displacement and of England, and its 5 November–11 Decem- entation’. more local activities separation, of transi- symbolic position as ber 2011 Curator: Peter Russo, and mentalities’. The ence and having to a gateway to Europe NOK 35 000 Editor and Program artist’s contribu- find bearings in an and further afield’. Director, Triple Cano- tion consisted of an unknown elsewhere’. Curator: Andrea G: Per-Oskar Leu py, New York installation mostly Dolven’s project, Out Schlieker, Curator, b.1980 in Oslo, Nor- 10–19 February 2012 created during a of Tune, is a con- Folkestone Triennial, way, lives and works NOK 20 000 residency in Bali, ceptual site-specific Folkestone in Oslo, Norway Indonesia, taking sound installation in 25 June–25 September PS: Per-Oskar Leu was G: Inger Johanne Ras- Ekblad’s own poem dialogue with Dol- 2011 invited to hold a mussen A Caged Law of the ven’s previous works NOK 42 000 solo exhibition titled b.1958 in Kris- Bird the Hand the Untuned Bell (2010) ‘Crisis and Critique’ tiansand, Norway, Land (2011) as a and The Finnish G: Åsa Sonjasdotter at Triple Canopy, a lives and works in starting point. Other Untuned Bell ( 2011). b.1966 in Helsing- magazine, workspace Oslo, Norway participating artists Untuned Bell was borg, Sweden, lives and curatorial plat- PS: Inger Johanne Ras- included Monica temporary installed in and works in Tromsø, form in New York, mussen was invited Bonvicini, James a city square in Oslo Norway NY, USA. Crisis and to participate in ‘Re- Turrell, Nicholas in spring 2010, while PS: Åsa Sonjasdotter Critique is a video told Stories’, a col- Hlobo, Carol Bove, The Finnish Untuned was invited to par-

24 25 ticipate within the outside the Röda using mainly embroi- produced for an ex- sponse to the other, Halden, Norway, 2011 Gothenburg Sten Art Centre. dery but also sculp- hibition at ZKM | so that the person lives and works International Biennial Curators: Sarat Maharaj, ture, photography Museum of Contem- is automatically in Oslo; and Arild for Contemporary Chief Curator, Dor- and installations’. porary Art, Karlsruhe, wrong regardless Tveito, b.1976 in Art, Gothenburg, othee Albrecht, Stina Curators: Sarat Maharaj, Germany. of response’. Aasan Oslo, lives and works Sweden. Titled ‘Pan- Edblom and Gertrud Chief Curator, Dor- Curator: Peter Weibel, illustrates this in two in Svolvær, Norway demonium: Art in a Sandqvist, Curatorial othee Albrecht, Stina Curator of the 4th narrative film scripts. PS: The artist collec- Time of “Creativity Team, Gothenburg Edblom and Gertrud Moscow Biennale, They both describe tive Institutt for De- Fever’’’, the biennial, International Biennial Sandqvist, Curatorial Moscow and director the same scene, but generert Kunst was according to curator for Contemporary Team, Gothenburg of ZKM, Karlsruhe while one is the origi- invited to hold a solo Sarat Maharaj, inves- Art, Gothenburg International Biennial 23 September–30 Octo- nal script that was exhibition at Gallery tigated the notion of 10 September–13 No- for Contemporary ber 2011 written before the D.O.R., Brussels, ‘turbulence less as a vember 2011 Art, Gothenburg NOK 40 000 film was produced, Belgium. The exhibi- point of utter termina- NOK 7 500 10 September–13 No- the other is the tion titled ‘Give it All tion and more as a vember 2011 G: Øystein Aasan artist’s view of the Up Again’ was built phase of a dynami- G: Hans Hamid NOK 7 500 b.1977 in Kris- story, written after in collaboration with cal system in which Rasmussen tiansand, Norway, he watched the final the gallery staff, who negative and positive b.1963 in Alger, Al- G: Moscow Biennale Art lives and works in product. Similarly assisted with ‘unfore- pass over into each geria, lives and works Foundation, Moscow, Berlin, Germany to Double Bind, All seen problematics’. other’. Sonjasdot- in Oslo, Norway Russia PS: Øystein Aasan was fun and games (until The Institutt de- ter presented her PS: Hans Hamid Ras- PS: Elmgreen & invited to hold a solo someone looses scribed it as a ‘dubi- project The Order mussen was invited Dragset (Ingar exhibition at FORDE, an eye) deals with ous auto-destructive of Potatoes (2010), to participate within Dragset, b.1968 in Geneva, Switzerland. what the artist calls entity’ developing which is the result of the 2011 Gothen- Trondheim, Norway, Within the exhibition, ‘the confusion of projects that often a research project burg International lives and works in Aasan showed two language and space’. result in public ac- on ‘biopolitical ques- Biennial for Contem- Berlin, Germany) works, Double Bind In the shape of an tions and exhibitions tions on power and porary Art, Gothen- were invited to par- (2004–2011), and All ‘acoustic platform’, ‘against the Institutt’s knowledge in relation burg, Sweden, ticipate within the 4th fun and games (until built right under the own inner will’. to breeding’. By col- which used the city Moscow Biennale someone looses an ceiling spanning the Curator: Sverre Gullesen, lecting and cultivat- itself as a source of of Contemporary eye) ( 2011). Accord- area where Double Curator, Gallery ing various species inspiration for the Art, Moscow, Rus- ing to the artist, Dou- Bind is installed, it D.O.R, Brussels of potatoes, Son- development of art- sia titled ‘Rewriting ble Bind, which was reduces the sound 19 March–2 April 2011 jasdotter examines ists’ projects. Hans Worlds’. According presented for the first from the room un- NOK 5 000 the historical and Hamid Rasmussen to the curator Peter time in 2004, and derneath, thereby cultural lineage of presented a new Weibel, the exhibition re-created especially creating a ‘confusing G: Stein Rønning the potato plant. As work, Appareil explored the notion for this exhibition, is understanding of b.1953 in Askim, a migrant with roots (2011), in which he that ‘art, as a sphere ‘a text work mounted space’. Norway, lives and in South America, has used sculptural of human activities, on an architectural Curator: Vincent Nor- works in Oslo, Nor- the potato has played embroidery to collect gives individual art- structure’. ‘As a psy- mand, Co-director, way a significant role in the memories and ists the chance to chological term, FORDE, Geneva PS: Stein Rønning was colonial conquest, stories of sailors, convert their ideas “double bind” refers 18 March–21 April 2011 invited to hold a solo industrialism, devel- ships, harbors and into reality and “re- to a situation where NOK 10 000 exhibition at Gallery opment of a global their mutual relation- write” the world a recipient receives D.O.R., a new non- market economy and ships. ‘Since the mid- by means of their two conflicting G: Institutt for Dege- profit artist-run space the production of 1990s, Rasmussen works’. Elmgreen & pieces of informa- nerert Kunst Anders in Brussels, Belgium. national identity. The has revealed intricate Dragset restaged tion. This creates a Nordby, b.1975 The artist produced Order of Potatoes links and unexpected their project Celeb- situation in which a in Oslo, Norway, new photographs was launched in May dilemmas in relation rity – The One & successful response lives and works in that he defines to be 2011, when the po- to language, identity The Many (2010), to one message re- Asker, Norway; Eirik ‘about formal repeti- tatoes were planted and dual cultures, which was originally sults in a failed re- Sæther, b.1983 in tion and situational

26 27 difference’. Sverre Gullesen, curator of the exhibition, said that ‘ever since Stein Rønning first exhib- ited photographs in 1979, he has devel- oped a tactile and sculptural approach to the photographic medium that in part seems to negate the Warburgian context dependent iconicity of image and signs’. A series of eight postcards with a run- ning text on the art of Stein Rønning written by Stian Grøgaard were published at the time of the exhibition opening. Curator: Sverre Gullesen, Gallery D.O.R, Brus- sels 16 April–1 August 2011 BE ANDR NOK 5 000 Installation view of Something and Nothing (2011) / vinyl lettering / 3.3x5 m / Courtesy of the Artist

ALEJANDRA SALINAS & AERON BERGMAN Installation view of the exhibition ‘Gladly Will I Sell For Profit, Dear Merchants of the Town, My Hat Laden With Snow’ at Dumbo Arts Center, New York / Courtesy of the Artists

28 29 A K DOLVEN Installation view of Out of Tune (2011) at the 2011 Folkestone Triennial / Steel pillars, wire, rope, found ELMGREEN & DRAGSET untuned bell from 1560 / From left to right: Cupid 20×30 m / triumphant (Sneakers); Photo: Thierry Bal / Mercury (Socks); Ganymede Courtesy of the Artist (Shorts)(2009) / laserchrome color prints mounted on aluminium with plexiglass / 149,5×200 cm each / Photo: Yackov Petchenin / Courtesy MATIAS FALDBAKKEN of the Moscow Biennale Art Installation view of Untitled Foundation and the Artists (O utlin e) (2009) at Arnolfini, Bristol / Courtesy of the Artist

STEIN RØNNING Sett M. (2009) Lambda print / 59×46 cm / Courtesy of the Artist

30 31 ØYSTEIN AASAN Installation view of All fun and games (until someone looses an eye) (2011) at FORDE, Geneva / Courtesy of the Artist

IVAN GALUZIN Installation view of Kalmar Alesha (2011) / Courtesy of the Artists

IGNAS KRUNGLEVICIUS AND SNORRE HVAMEN Installation view ofYou Are Not Here. After Samuel Beckett and Douglas Gordon (2011) at Gallery Augusta in Helsinki / GREG POPE Site specific sound Documentation of the installation, 16 minutes performance and video screening (loop) / Photographer: Ignas held on 13 April 2011 at Krunglevicius / Courtesy of the Institute of Modern Art, the Artists Brisbane

32 33 TORI WRÅNES Documentation of the performance Oo held on 29 May 2011 at the Museum of Contemporary Art, Roskilde / Duration 6 minutes / Photo: Andreas Rosforth / Courtesy of the Artist

KURT JOHANNESSEN Documentation of the performance The Almost Secret (2011) held on 24 September at LIVE Performance Art Bienniale, Vancouver / duration: 25 minutes / Photo: Hua Jin / Courtesy of the Artist

MARTE AAS Installation view of Torshovtoppen (2008) at Scandinavia House, New York / Poster-book: offset print, 24 pages, 42 × 59.4 cm, table, chairs, 200 books in pile / Photo: Marte Aas / Courtesy of the Artist

34 35 INSTITUT FOR DEGENERERT KUNST Universal Idleness # a project at Gallery D.O.R, Brussels / Performance / Photo: I.D.K / Courtesy of TORIL JOHANNESSEN the Artists M ean Tim e (2011) / Reprogrammed Clock / 65×53×65 cm / Photo: Toril Johannessen / Courtesy LAUTOM and the Artist

JAN CHRISTENSEN AND ANDERS FJØSNE The nothing is for free at Artsonje Center in Seoul / Photo: Artsonje Center / Courtesy Artsonje Center and the Artists

36 37 Recipients during 2011 to present his project place at the Centro titled Machine that Cultural Recoleta in 2nd Quarter uses a thousand Buenos Aires, Argen- Grants allocated for years to shut itself tina from 5–8 May. International Support down (2006) at Ikon The artist presented Gallery, Birmingham, the site-specific G: Endre Aalrust UK. According to piece Mientras tanto b.1973 in Hamar, curator Jonathan en otro lugar made Norway, lives and Watkins, the work especially for ‘Fase’. works in Hamar and ‘essentially is a ma- The artist also par- Berlin, Germany chine that runs for no ticipated in a round PS: Endre Aalrust was reason except that, table discussion invited to participate after one thousand during the event. MORTEN NORBYE HALVORSEN in the ‘URRA resi- years, it will turn According to the Installation view of dency programme’ itself off. Powered curator ‘Fase’ was a Switzerland of America (2010) in Buenos Aires, by light, a sequence ‘compact and intense at Gallery Augusta, Helsinki Argentina. According of geared wheels exhibition, conceived / 3×35 mm slide projectors, to the curator Melina rotate increas- as a laboratory, a stand, 240 glass slides, Berkenwald, ‘URRA. ingly – exponentially place that allowed lenses, color filter, AVL brought together a – slowly, so that the continuous ex- disolve unit, program track, MARIEKE VERBIESEN group of approxi- movement of the last perimentation, a test sync sound / Duration 20 Installation view of Plan mately 15 interna- one is imperceptible’. platform dominated minutes (approx.) / Photo: 10 (2011) at the Portland tional visual artists to The presentation of by the idea of open Morten Norbye Halvorsen / Institute for Contemporary live and work in Bue- Kristoffer Myskja’s work concluding with Courtesy of the Artists Art / Courtesy of the Artist nos Aires city for the work coincides with the experience and period of one month’. the presentation of interaction of a new The residents par- two other artists’ kind of audience’. ticipated in a group work, namely Tadasu Curator: Graciela Taquini, show at Gallery Del Takamine and John Curator, Centro Infinite Arte, which Salt. Kristoffer Mysk- Cultural Recoleta, opened on 5 May, ja’s work was shown Buenos Aires where there was also by itself in the small 5–8 May 2011 an extensive public tower room gallery of NOK 5 000 presentation followed the Ikon Gallery. by a panel discus- Curator: Jonathan Wat- G: Hilde Methi sion. The programme kins, Curator and b.1970 in Kirkenes, culminated in an Director of the Ikon Norway, lives and open studio event. Gallery, Birmingham works in Kirkenes Curator: Melina Berken- 4 May–17 July 2011 PS: Hilde Methi was­ wald, Director URRA, NOK 6 000 invited – as a mem- Buenos Aires ber of the curatorial 1–31 May 2011 G: Anna Martine Nilsen platform Mobile Kul- NOK 7 000 b.1974 Oslo, Norway, tur Byrå (along with lives and works in Kirsten Dufour and G: Ikon Gallery, Birming- Oslo Ulrike Solbrig) – to ham, UK PS: Anna Martine Nilsen develop an exhibition PS: Kristoffer Myskja was invited to partici- at the YNKB, Copen- (b.1985 Oslo, Nor- pate within the event hagen, Denmark and way, lives and works ‘Fase – Zona de UQBAR, Berlin, Ger- in Oslo) was invited prueba’, which took many. At the YNKB

38 39 in Copenhagen the ‘the sculpture con- Istanbul, Turkey. at The FotoDeparta- cording to curator, artists ‘speculated title of the exhibi- sists of 200 wooden The curator Nazli ment Foundation, Jamie Eastman ‘Nils on the emerging tion was be ‘Small manufactured Gurlek explained that Saint Petersburg, Bech’s work and evolutionary traits of Scale Trade’, and soapboxes with burn ‘Rehearsal’ ‘spoke Russia. The exhibi- showmanship illus- human agency and at UQBAR the title marked texts pre- to our psyche and tion titled ‘Black and trates the hybridisa- artistic expression in was ‘Market Update sented as a large pile urges us to reflect Blue’ also contained tion at play between the world defined by – russianmarket. or pyramid. The artist upon relationships new images from art, music and dance perpetual “neo-ma- info – Mobile Kultur allows the audience between imaginary a new book about today’. The perform- terialist translation” Byrå’. The group will to ‘dismantle the pile realities and real Oslo. The FotoDe- ance was part of a processes between be also having exhibi- by borrowing a box fictions, loss and ap- partament Founda- series of contem- matter and informa- tions in Norway at the in order to perform pearance, obscurity tion has developed porary music hap- tion’. Borderland Museum, their own Speakers and emergence’. Jan this exhibition as ‘a penings hosted by Curator: Katja Novit- Kirkenes, Norway Corner somewhere Freuchen presented continuing cultural the ICA on Thursday skova, Independent and at the Tromsø in the park’. Ramberg his project (Works and educational ex- evenings. Artist and Curator Kunstforening, refers to the fact that from) the Capgras change that intends Curator: Jamie Eastman, for the W139 Artist Tromsø, Norway. The ‘President Medvedev Collection. The artist to pursue further Head of Live Pro- Foundation, Amster- curators indicate that has called for a states that ‘the work cooperation between gram and Rhythm dam they ‘envision Mobile Speakers Corner in consists of recogniz- photographers and Section organiser at 16 June–21 August 2011 Kultur Byrå as a flex- Moscow after visiting able fragments from photography-re- the Institute of Con- NOK 5 000 ible art platform that Hyde Park in 2009. recent art history, lated professionals temporary Arts (ICA), fosters small-scale So far it has not been mashed up into new from the Northern London G: Human Resources, cultural endeavors realised, because of hybrids’. The project countries, and the 23 June 2011 Los Angeles, CA, while simultaneously political resistance was initiated in 2007 Northwest region of NOK 8 000 USA contemplating their from the Duma’. for the exhibition Russia’. PS: Fine Art Union, a per- own condition and Other participating ‘Come Into the Open’ Curator: Nadezhda G: W139 Artist Founda- formance duo con- situation as cultural artists included Kalle at 0047, Oslo. For Sheremetova, Direc- tion, Amsterdam, The sisting of Synnøve producers’. Purhonen, Kaarina the exhibition at Gal- tor, The FotoDeparta- Netherlands G. Wetten (b.1978 Curator: Jole Wilke, Kaikkonen, Laura lery NON, Freuchen ment Foundation, PS: Yngve Holen (b.1982 Akershus, Norway, Curator for the Feldberga, Lars Ram- developed several Saint Petersburg in Braunschweig, lives and works in UQBAR, Berlin berg and Hrafnkell new works under the 24 June–29 July 2011 Germany, lives and Oslo, Norway) and 22 May–5 November Sigurgsson, among same title and con- NOK 3 200 works in Stavanger, Annette Stav Jo- 2011 others. cept. Norway and Berlin, hannesen (b.1979, NOK 10 000 Curator: Anna Bitkina, Curator: Nazli Gurlek, G: Institute of Contem- Germany) was in- Kristiansand, Norway Founding Director of Independent Curator porary Art (ICA), vited to participate lives and works in G: Lars Ramberg Creative Association and Critic for Gallery London, UK within the exhibition Oslo, Norway), was b.1964, Oslo, Nor- of Curators TOK, St. NON, Istanbul PS: Nils Bech (b.1981 ‘TruEYE surView’ invited to participate way, lives and works Petersburg 10 June–15 July Oslo, Norway, at the W139 Art- within the group in Berlin, Germany 2–26 June 2011 NOK 5 000 lives and works in ist Foundation, exhibition ‘Queering PS: Lars Ramberg was NOK 5 000 Oslo) was invited to Amsterdam, The Sex’ at the Human invited to participate G: The FotoDeparta- present a perform- Netherlands. Accord- Resources, Los within the group exhi- G: Jan Freuchen ment Foundation, ance at the Institute ing to curator Katja Angeles, CA, USA. bition ‘Critical Mass’ b.1979 Stavanger, Saint Petersburg, of Contemporary Art Novitskova, the exhi- Fine Art Union pre- at TOK creative asso- Norway, lives and Russia (ICA), London, UK. bition presented two sented their project ciation of curators in works in Oslo, Nor- PS: Photographer Morten The ICA perform- artists, Yngve Holen Demo Demonstra- St. Petersburg, Rus- way Andersen (b.1965 ance is related to Nils and the Dutch artist tion (2008–2011). sia, where he pre- PS: Jan Freuchen was Lorenskog, Norway, Bech’s new album, Anne de Vries, both ‘Queering Sex’ sented his interactive invited to participate lives and works in which explores ‘the working in a variety of presented perform- sculpture Last Dying within the group Oslo, Norway) was healing process’ and media – mainly pho- ances and videos Speech ( 2011). Ac- exhibition ‘Rehearsal’ invited to hold a ret- the healing effect of tography, sculpture by artists who deal cording to the artist, at Gallery NON in rospective exhibition different rituals. Ac- and installation. The with issues of gender

40 41 and sexuality, thus ing at PrintRoom, individual areas were specific work, which, “Live Performance”, photography where considering how Rotterdam, The carefully analysed for according to Dagnall, “Documentation” and memory and culture artists across gen- Netherlands. Hegart characteristics in as- functioned as ‘an “Remake”, through is an integrated part erations use sex as presented the maga- pect of a local smell artistic evaluation of shows, exhibitions of seeing’. Rødland a way to understand zine together with a identity for each site’. the current economic and a seminar’. Tori reveals that the skulls and explore what lies selection of drawings She also explains political situation in Wrånes participated are photographed at the core of one’s from the contribu- that ‘In our society, the UK for galleries, within the ‘Live Per- while burning in identity. According to tors. According to at least, smell is too museums and art formance’ category. cremation ovens. ‘I curator Sarvia Jasso the artist, ‘the display underdeveloped a institutions and a Other participating longed to deal with ‘Fine Art Union’s was settled up as an sense for it to speak consideration of their artists included Leif reality in a more di- progressive stance installation together for itself, despite the future roles’. Other Holmstrand, Klara rect way. What can on feminism, gender with the publications’. claims of perfume participating artists Hobza, Lilibeth be more real than and queer politics In connection with ads’. The results of included Jonathan Cuenca Rasmussen a person on fire?’ not only aligns them the exhibition Hegart the analyses led to Allen, Simon Faithfull, and Frederik Auster, The curators, Solvej with the other art- held an artist talk the development of Thomas Kilpper, among others. Helweg Ovesen and ists, but their unique concerning his artis- a vocabulary, which Christian Jankowski, Curators: Kirse Junge- Katerina Gregos, voice will undoubt- tic practice and the was used in the Bik van der Pol and Stevnsborg, Artistic state that the theme edly have a profound publishing project. presentation of the Richard Wentworth. Director, Malene ‘unfolds as a photo- impact in ‘Queering In addition, the new project. Other par- Curator: Nick Aikens, Natascha Ratcliffe, graphic testimony of Sex’ because Demo issue of Fukt number ticipating artists in- Pumphouse Gallery, Director of Develop- insights into all the Demonstration is the 10 was launched. cluded Mayo Nissen, London, UK ment, Marie Thams, stages of life from kind of project that Curator: Karin de Jong Electronic Ink, Evan 28 January–15 March Event Coordinator, birth to coming of is both engaging and Ewoud van Rijn, Roth, Emily Read and 2011 Den Frie Udstillings- age, adulthood, old and critical’. Other Directors, PrintRoom, Chen Hsu, among NOK 5 000 bygning, Copenha- age, and death’. The participating art- Rotterdam others. gen Festival organised ists included Theo 3 July 2011 Curator: Paola Anton G: Den Frie Udstillings- 17–24 August 2011 artist-talks, discus- Adams, Skip Arnold, NOK 6 000 Elli Senior, Curator, bygning, Copenha- NOK 4 600 sions and screen- Genesis Breyer P- Department of Archi- gen, Denmark ings. The curator Orridge, Cosey Fanni G: Sissel Tolaas tecture and Design, PS: Tori Wrånes (b.1978 G: 4th Fotofestival Man- further added that Tutti, Kathryn Garcia, b.1961 Stavanger, Museum of Modern in Kristiansand, Nor- nheim Ludwigshafen ‘Rødland has been Kalup Linzy, and Norway, lives and Art, New York way, lives and works Heidelberg, Germany making work that Lovett/Codagnone, works in Berlin, Ger- 24 July–7 November 2011 in Oslo, Norway) was PS: Torbjørn Rødland baffles, finding com- among others. many NOK 30 000 invited to participate (b.1970 in Stavanger, monality between Curator: Sarvia Jasso, PS: Sissel Tolaas was within the festival Norway, lives and nudists, priests, Independent Curator invited to participate G: Rachel Dagnall ‘Performance-Art’ works in Los Ange- Nordic landscapes and Kathryn Garcia, in the group exhibi- b.1972 in Liverpool, at Den Frie Udstill- les, CA, USA and and curious still-lifes Artist and Co-organ- tion ‘Talk To Me’ at UK, lives and works ingsbygning, Co- Oslo, Norway) was of food, such as one iser for Human Re- the Museum of Mod- in Nesoddtangen, penhagen, Denmark, invited to participate of George W. Bush’s sources, Los Angeles ern Art, New York, Norway where she presented within the exhibition favourite things: Diet 24 June–2 July 2011 NY, USA. Within PS: Rachel Dagnall – in Flash Face ( 2011) ‘The Eye Is A Lonely Coke, tortilla chips, NOK 15 000 the exhibition Tolaas the context of the art- in collaboration with Hunter’ at the 4th The Very Hungry presented her work ist group Henry VIII’s the songwriter and Fotofestival Man- Caterpillar, Häagen- G: Bjørn Hegardt Berlin, City Smell Wives ­– was invited artist Hanne Kolstø. nheim Ludwigshafen Dazs “Pralines & b.1974 Ørebro, Swe- Research (2004). to participate in the According to the Heidelberg, Germa- Cream” and Field of den lives and works Tolaas has done ex- group exhibition ‘A curators, ‘“Perform- ny. Within the festival Dreams’. in Berlin, Germany tensive research on Future Pump House’ ance-Art” aimed to Rødland presented Curators: Katerina PS: Bjørn Hegardt was the local smell iden- at the Pumphouse explore the different his work Burning Gregos, Independ- invited to present tity of four different Gallery, London, expressions of the Skull (2008-2010). ent Art Historian Fukt Magazine-for areas of Berlin. She UK. Henry VIII’s field in four catego- The artist says: ‘I and Museologist contemporary draw- states that ‘the four Wives realised a site- ries: “Production”, represent a type of and Solvej Helweg

42 43 Ovesen, Independent G: Printemps de Sep- Artistic Director, identity and collec- is constituted on two of Russia. The main Curator for the 4th tembre, Toulouse, Printemps de Sep- tive memory’. Other levels, one in terms focus of the project Fotofestival Man- France tembre, Toulouse participating artists of acoustics and is to discover cu- nheim Ludwigshafen PS: Fredrik Vaerslev 23 September–16 Octo- included Eva Arn- thereby changing the ratorial and artistic Heidelberg (b.1979 Moss, ber 2011 qvist, Annika Eriks- architecture and one reflections on the 10 September–6 Novem- Norway, lives and NOK 21 000 son, Roza El-Hassan, visual also chang- most challenging ber 2011 works in Drøbak, Andreas Fogarasi, ing the architecture social issues that the NOK 10 000 Norway) and Matias G: Grazer Kunstverein, Folk Archive / Jer- and the display of Nordic region faces Faldbakken (b.1973 Graz, Austria emy Deller and Alan the works in the in the first decade of G: Kunstmuseum Bern, in Hobro, Denmark, PS: Helene Sommer Kane, among others. exhibition’. Other the 21st century’. Bern, Switzerland lives and works in (b.1978 Oslo, Nor- Curator: Søren Gram- participating artists Curators: Birta Gud- PS: Knut Henrik Hen- Oslo, Norway) were way, lives and works mel, Artistic Director, included Stephane jonsdottir, Iceland, riksen’s (b.1970 invited to participate Oslo and Berlin, Grazer Kunstverein, Barbier Bouvet, Anna Bitkina, Russia, in Oslo, Norway, within the group Germany) was in- Graz Paolo Chiasera, Jan Power Ekroth Swe- lives and works in exhibition ‘D’un autre vited to participate in 24 September–7 Decem- De Cock, Martino den, Aura Seikkula, Berlin, Germany) monde’ at the con- the group exhibition ber 2011 Gamper, Jeppe Hein, Finland and Simon was invited to par- temporary art festival ‘Public Folklore’ at NOK 8 000 Lisa Lapinski and Sheikh, Denmark, ticipate in the group Printemps de Sep- Grazer Kunstverein, Rodney LaTourelle, International Curato- exhibition ‘Rectangle tembre, Toulouse, Graz, Austria. Ac- G: Øystein Aasan among others. rial Team for Loft and square: From France. According to cording to curator b.1977 Kristiansand, Curator: Dr. Elena Project Etazhi, St. Picasso to Judd’. the curator, ‘the art- Søren Grammel, ‘the Norway, lives and Aguido, Member of Petersburg Within the exhibition ists chosen to partici- project was pivotal works in Berlin, Ger- the Curatorial Team, 5 November–11 Decem- Henriksen presented pate in this exhibition and necessary be- many Museum Quartier, ber 2011 A Story about the all have in common a cause a constantly PS: Øystein Aasan was Vienna NOK 4 000 Sun, the Moon and tendency not to rep- increasing tendency invited to participate 30 September–20 No- the Water Leak, a resent the world as to national self-con- within the group vember 2011 G: Arnolfini, Bristol ,UK special site-specific it is, but to propose struction has been exhibition ‘Totem NOK 8 000 PS: Danger Museum project in dialogue abstract, imaginary evident in culture and Taboo’ at Mu- – consisting of with the other works universes that are and politics in all the seum Quartier, Vi- G: Bodil Furu Øyvind Renberg and artists of the anchored in an else- countries of Europe enna, Austria with his b.1976 Askim, Nor- (b.1976 in Oslo, Nor- Rupf Collection. where, or otherwise’. for several years’. project Lord Melody. way, lives and works way, lives and works According to curator The exhibition was The works included The work is an as- in Oslo, Norway in Berlin, Germany) Susanne Friedli ‘Knut dispersed across in ‘Public Folklore’ sembly of acoustic PS: Bodil Furu was in- and Miho Shimizu Henrik Henriksen is the city, and also in critically explored platforms that were vited to participate in (b.1976 in Tokyo, Ja- – because of his in- its environs. Artists the phenomena of made with the inten- the exhibition ‘Nordic pan, lives and works terest and his close- chosen for the exhibi- folklore in current sion to create a dif- Art Today’ at Loft in Oslo) – was invited ness with abstract tion work in various politics, media, tour- fusion of the ambient Project Etazhi in St. to participate within and constructivist art techniques, as they ism, popular culture sounds in the rooms Petersburg, Russia. the group exhibition – a perfect “partner” are painters, sculp- and commercialism. of the Museum The Norwegian cura- ‘Museum Show: Part to develop and real- tors, performance Sommer presented Quartier. Accord- tor Kari Brandtzæg 2’ at Arnolfini, Bristol, ise this site-specific and video artists who A Tale of Stone and ing to the artist, ‘the selected Furu’s work UK. According to project’. present wide possi- Wood (2009), which platforms are brought Zero (2009) for inclu- the artists, ‘Danger Curator: Susanne Friedli, bilities of expression. she describes as forward equally as a sion in the exhibition. Museum approached Curator, Kunstmu- Other participating ‘more than relevant conceptual idea, as According to the their participation in seum Bern, Bern artists included for the concept well as underlining artist, ‘Nordic Art the “Museum Show: 13 September–8 January Ei Arakawa, Karla of the show as it the functional aspect, Today’ is a ‘collabora- Part 2” with the crea- 2011 Black, Joe Bradley examines the role with the changes it tive project between tion of a mini-retro- NOK 15 000 and Roberto Cuoghi, of film production makes to the ambi- curators and artists spective’. According among others. in the construction ent sound of the from Nordic coun- to curator Nav Haq, Curator: Anne Pontegnie, of history, national space. This change tries and North West ‘Museum Show’ was

44 45 ‘a large-scale exhibi- role of art’. Jurman Recipients during 2011 exchange between a ‘a call for a wild de- tion – a museum of stated that ‘while 2nd Quarter range of events in the mocracy in the form museums – display- the artist’s drawings Grants allocated for programme and its of a social sculpture’. ing a comprehensive confront the specta- International Biennials public viewers’. Other participating selection of highly tor with the social and Institutional Grants Curator: Katerina Gregos, artists included Örn idiosyncratic, fictional reality of living here for Solo Exhibitions Curator, Danish Alexander Amunds- institutions’. and now, the sculp- Pavilion, the 54th son, Zarina Bhimji, Curator: Nav Haq, Ex- tures raise issues G: D.O.R. International Art Exhi- Wim Botha, Mat- hibitions Curator, connected with the Kristian Øverland bition, La Biennale di thew Buckingham, Arnolfini, Bristol artist’s own identity Dahl (b.1968 in Venezia, Venice Chen Chieh-jen, 9 December 2011–19 that is never uniform Asker, Norway, lives 1 June–27 November Chimurenga and Yoel February 2012 or stable, but flows and works in Borgen, 2011 Diaz Vázquez, among NOK 10 000 between different Norway), Sverre NOK 15 000 others. anchor points: gen- Gullesen (b.1980 in Curators: Sarat Maharaj, G: Sambolec Dubravka der identity, family Mo i Rana, Norway, G: Synnøve G. Wetten Chief Curator, Dor- b.1949 in Ljubljana, genealogy, (cultural) lives and works in b.1978 in Akershus, othee Albrecht, Stina Slovenia, lives and place, and art’. ‘Situ- Brussels, Belgium) Norway, lives and Edblom and Gertrud works in Oslo, Nor- ation Report’ was and Steinar Haga works in Oslo, Nor- Sandqvist, Curatorial way also presented at the Kristensen (b.1980 way Team, Gothenburg PS: Dubravka Duba Sam- Gallery of Contem- in Oslo, Norway, lives PS: Synnøve G. Wetten International Biennial bolec was invited porary Art and the and works in Brus- was invited to par- for Contemporary by curator Urška Likovni Salon Gallery sels) ticipate within the Art, Gothenburg Jurman to present a in Celje, Slovenia, PS: The Brussels based Performative Excava- 10 September–13 No- solo exhibition titled from 9 March to 24 artist collective tion Programme at vember 2011 ‘Situation Report’ April 2012, where D.O.R. was invited to the Gothenburg In- NOK 3 500 at the Škuc Gallery, the exhibition was participate within the ternational Biennale Ljubjana, Slovenia extended to include Danish Pavilion at the of Contemporary Art G: Gothenburg Inter- from 27 January to works in other media. 54th International Art 2011. Wetten con- national Biennale of 24 February 2012. A bilingual catalogue Exhibition, La Bien- tributed with a social Contemporary Art, The exhibition con- following the exhibi- nale di Venezia as art project that en- Gothenburg, Sweden sisted of a selection tions, and including curated by Katerina gaged with the local- PS: Jana Winderen of sculptures and photographic docu- Gregos under the ity and the geography (b.1965 Bodø, lives drawings created mentation of the art- title ‘Speech Mat- of the city. In collabo- and works in Oslo, in 2010 and 2011, ist’s work and texts ters’. D.O.R.’s partic- ration with SVEAS Norway) was invited which according by the artist, curator ipation consisted of SFI, a group of to participate in the to the curator, ‘re- and the artistic direc- constructing a mini- women from different Gothenburg Inter- sponds to the current tor of Škuc Gallery, pavilion titled ‘Osloo’ backgrounds that live national Biennale of political, economic Tevz Logar, is sched- as an extension of and study Swedish Contemporary Art, and social situation, uled for publication in the Danish Pavilion in in Gothenburg, she Gothenburg, Swe- deconstructs gender autumn 2012. the Giardini. Docked gathered for a com- den, within the three identities, surveys Curator: Urška Jurman, at the island of San mon procession at day performance pro- natural phenomena Independent Cura- Servolo, this floating Redbergsplatsen in gramme ‘Pandemo- and disasters, and tor for Škuc Gallery, pavilion comprised Gothenburg, ‘explor- nium: Art in a Time questions the status Ljubjana a bar, a daily event ing notions of sister- of Creativity Fever’. quo and social pas- 27 January–24 February programme and a hood and group dy- Winderen contrib- sivity, while confront- 2012 radio station. The art- namics’. In this work, uted to the festival ing the viewer with NOK 15 000 ists describe ‘Osloo’ Synnøve G. Wetten with Survivors of the philosophical ques- as ‘an architectonic ‘experimented with Water World – meas- tions about human structure that came the documentary per- uring pollution by existence and the to life through the formance format’, as sound in the River

46 47 Göta Älv, a concert individuals and the Haus am Waldsee, artistic means’ with of two and three and works in Oslo, based on record- societies in which Berlin. Within the the active participa- dimensional works Norway and Berlin, ings of insects in the they live and that exhibition, titled ‘At tion of an audience. that, according to the Germany) and In- river Göta that flows focuses on authority Eye Level’, she pre- At the opening curator, ‘explored and gar Dragset (b.1969 through Gothenburg. and alienation. Paint- sented unpublished ceremony of the expanded the idea Trondheim, Norway, The artist indicates ings and a number material from the last biennial Habte ‘drew of sculpture’. Con- lives and works, Oslo that ‘by returning to a of graphic works eight years. The art- on her cooking skills nected through vari- and Berlin, Germany) river or lake or area of and prints interacted ist states, ‘I always acquired at the Italian ous manifestations of were invited to par- the ocean over time with sculptures, light worked with seriality Scuola di Arte Culi- circular shapes and ticipate at the 12th you can also record boxes and neon writ- and this time I wish naria Cordon Bleu, motion presented Istanbul Biennial. the variations of the ing, as well as spa- to break it up, to inviting the audience in the looped video Within the exhibi- sound environment cious installations’. dissolve the serial to spice the soup and mechanics of tion the artist-duo in the specific site, The exhibition was a element and make a by adding the ingre- the escalator, the presented their work which will tell you collaborative project more fluid connection dients themselves’. works came together The Incidental Self about the life and the between the Astrup between the images’. Other participating in a multi-faceted (2006). The curators variation of life in the Fearnley Museum of According to the artists included Örn formal investigation. described the work specific area’. Modern Art, Oslo, curator, Tronvoll’s Alexander Amunds- By including urban as a ‘large shelving Curators: Sarat Maharaj, Norway; the Rey- practice ‘is based on son, Zarina Bhimji, planning elements system that occupied Chief Curator, Dor- kjavik Art Museum, a great respect for Wim Botha, Mat- designed for protec- a wide wall space othee Albrecht, Stina Reykjavik, Iceland; her sitters and brings thew Buckingham, tion and control of with 500 smaller Edblom and Gertrud Bonniers Konsthall, out traces of pure Chen Chieh-jen, our movement such framed photographs Sandqvist, Curatorial Stockholm, Swe- joie de vivre which Chimurenga and Yoel as anti-slip tape, a of various gay cultural Team, Gothenburg den and Kunsthalle shine forth in the mo- Diaz Vázquez, among bollard and a panic and everyday life situ- International Biennial Fridericianum, ment of isolation and others. bar, ‘Eknæs raised is- ations on display. The for Contemporary Kassel, Germany, distance to modern Curators: Sarat Maharaj, sues of how devices display references Art, Gothenburg presented at each event culture’. Chief Curator, Dor- and objects are used the standard family 10 September–13 No- institution through- Curator: Katja Blomberg, othee Albrecht, Stina to shape behaviour in photo set-up found vember 2011 out 2010 and 2011. Director, Haus am Edblom and Gertrud public space’. These in almost any home NOK 3 500 For the exhibition in Waldsee, Berlin Sandqvist, Curatorial features taken out of around the world, but Kassel, Gardar Eide 26 June–28 August 2011 Team, Gothenburg their original context is exaggerated both G: Kunsthalle Frideri- Einarsson produced NOK 15 000 International Biennial were not only present in terms of quantity cianum, Kassel, Ger- a new billboard in- for Contemporary in the exhibition as and in its definition many stallation specifically G: Mahlet Ogbe Habte Art, Gothenburg a political comment, of “family”’. Focus- PS: Gardar Eide Einars- for this venue. b.1972 Asmara, Erit- 10 September–13 No- but simultaneously ing on artworks that son (b.1976 in Oslo, Curator: Rein Wolfs, rea, lives and Works vember 2011 claimed their pres- were both formally Norway, lives and Artistic Director, Kun- in Bergen, Norway NOK 8 000 ence as sculptural innovative and politi- works in Oslo, Nor- sthalle Fridericianum, PS: Mahlet Ogbe Habte objects’. cally outspoken, the way and New York, Kassel was invited to partici- G: Marte Eknæs Curator: Wolfgang Till- 12th Istanbul Bien- NY, USA) was invited 25 June–11 September pate in the Gothen- b.1978, Elverum, mans, Artist and nial ‘explored the rich to present the solo 2011 burg International Norway, lives and Director of Between relationship between exhibition ‘Power has NOK 20 000 Biennale for Contem- works in Berlin, Bridges, London art and politics’, tak- a fragrance’ at Kun- porary Art with her Germany 24 September–30 Octo- ing as its point of sthalle Fridericianum, G: Mette Tronvoll project Mushroom PS: Marte Eknæs was ber 2011 departure the work of Kassel, Germany. b.1965 Trondheim, walk and Audiences invited to hold her NOK 13 000 the Cuban American According to curator Norway, lives and cooking perform- first solo exhibition artist Felix Gonzalez- Reins Wolf, ‘Gardar works in Oslo, Nor- ance. According to at Between Bridges G: 12th Istanbul Bien- Torres (1957–1996). Eide Einarsson cre- way the artist, she sought London, UK. Esca- nial, Istanbul, Turkey Curators: Adriano ated a scenario that PS: Mette Tronvoll was to gather her cook- late was the title of PS: Michael Elmgreen Pedrosa, Founding illustrates social invited to hold a ing experiences and a site specific instal- (b.1961, Copenha- Director of Programa conflicts between solo exhibition at the ‘exhibited them by lation consisting gen, Denmark, lives Independente da

48 49 Escola São Paulo space is located audience’. Other (PIESP), Sao Paulo, under the elevated participating artists Brazil and Jens Hoff- railway tracks in the included Kjersti And- mann, Director, CCA old shopping district vig, Ane Graff, Kim Wattis Institute for in the city of Kobe. Hiorthøy and Magnus Contemporary Arts, The curator stated Vatvedt. San Francisco, CA, that ‘he wanted to Curator: Naoshi Okura, USA provide a platform Project Director for 17 September – 13 No- to introduce the ‘VOID289’, official vember 2011 younger generation project of the Kobe NOK 15 000 of Norwegian artists Biennial 2011, Kobe that have been ac- 25 September–16 Octo- G: Kobe Biennale 2011, knowledged for their ber 2011 Kobe, Japan innovative oeuvre’. NOK 12 000 PS: Kjersti G. Andvig Curators: Naoshi Okura, (b.1978, Oslo, Nor- Project Director, G: dOCUMENTA (13), way lives and works VOID289 for the Kassel, Germany in Oslo), Are Blytt Kobe Biennial 2011, PS: Support provided (b.1981 in Bergen, Kobe for the participation Norway, lives and 25 September–16 Octo- of Norwegian artists works in Oslo), Ane ber 2011 within the dOCU- Graff (b.1974, Bodø, NOK 20 000 MENTA (13). Accord- Norway, lives and ing to the curator, works in Berlin, Ger- G: Are Blytt one of the main chal- many), Kim Hiorthøy b.1981 Bergen, Nor- lenges is ‘to move (b.1973 in Trond- way lives and works exhibition planning heim, Norway, lives in Oslo, Norway and presentation and works in Oslo) PS: Are Blytt was beyond a traditional and Magnus Vatvedt invited to participate format – from being (b.1981 in Bærum, within the Kobe Bien- an “exhibition” to Norway, lives and nale 2011 in Kobe, becoming a “constel- works in Oslo) were Japan. Are Blytt lation” of interrelated invited to participate contributed to the temporalities, cul- within the group biennale as an artist, tural fields, spaces, exhibition ‘Morgen- and as a co-curator places, histories, røde’ at VOID289 of ‘VOID289’, which, artworks and other project space as part according to the possibilities of en- of the Kobe Biennale artist, ‘is a temporary gaging with art and 2011. VOID289 was space focusing on the world at large’. selected as one of Scandinavian con- Curator: Carolyn Chris- the official competi- temporary art’ for tov-Bakargiev, Artis- tion programmes of which Blytt exhibited tic Director, dOCU- the biennial, and is three paperworks MENTA (13), Kassel ‘a temporary space installed on the floor. 9 June–16 September focusing on Scandi- According to curator 2012 navian contemporary Naoshi Okura, the NOK 150 000 art’. Situated in the goal of the biennale premises of a post- is ‘to build a meeting war black market place between global furniture retailer, the and local artists and

50 51 TORBJØRN RØDLAND Installation view of Burning Skull no. 1, no. 2, no. 4 (2008–2010) at Kunstverein Heidelberg / 3 C-Prints on Alu-Dibond / 55×70 cm each / Photo: Heidelberger Kunstverein and Fotofestival Mannheim Ludwigshafen Heidelberg / Courtesy the Artist and Nils Staerk, Copenhagen

TORBJØRN RØDLAND Burning Skull no. 1 (2008– 2010) / Fuji Crystal Archive Paper mounted on Dibond framed with Museum Glass / 55×70 cm / Courtesy der Künstler, the Artist and Nils Stærk, Copenhagen

TORBJØRN RØDLAND Burning Skull no. 2 (2008– 2010) / Fuji Crystal Archive Paper mounted on Dibond framed with Museum Glass / 55×70cm / Courtesy der Künstler, the Artist and Nils Stærk, Copenhagen

TORBJØRN RØDLAND Burning Skull no. 4 (2008– 2010) / Fuji Crystal Archive Paper mounted on Dibond framed with Museum Glass / 55×70 cm / Courtesy der Künstler, the Artist and Nils Stærk, Copenhagen

ANNA MARTINE NILSEN Installation view (detail) of Mientras tanto en otro lugar (2011) Centro Cultural Recoleta in Buenos Aires / Mixed Media / Courtesy the 52 Artist 53 GARDAR EIDE EINARSSON Installation view of ‘Power has a fragrance’ at the Kunsthalle Fridericianum, Kassel of Untitled (Dining Cluster) (2006) MDF, aluminium and hardware / 80×172.7×172.7 cm each / Courtesy of the Astrup Fearnley Collection, Oslo / Stainless Steel (Fine) II (2010) / acrylic paint on canvas / 213×183×4 cm / Private collection of Joey and Ragnar Horn, New York / Courtesy of STANDARD (OSLO), Oslo / Stainless Steel (Fine) III (2010) / acrylic paint on canvas / 213×183×4 cm / Private collection of Irene Sævik, Oslo. Courtesy of STANDARD (OSLO), Oslo / Stainless Steel (Fine) IV (2010) / acrylic paint on canvas / 213×183×4 cm / Courtesy of the Artist and Nils Stærk, Copenhagen / Photo: Nils Klinger

54 55 METTE TRONVOLL Wrestler, Khenti (2004) / C-print / 76.5×60.1 cm / Courtesy of Mette Tronvoll

HELENE SOMMER Installation view of A Tale of Stone and Wood at Grazer Kunstverein, Graz / Courtesy the Artist

FREDRIK VAERSLEV Installation view of Shelf Paintings (Dew Problems) (2011) at Printemps de YNGVE HOLEN JAN FREUCHEN Septembre, Toulouse / Mixed Installation view of ‘TruEYE Ding (2011) / earphones, Media / 76×54×16 cm each / surView’ at the W139 Artist cable, audio track / Courtesy of the Artist and Foundation, Amsterdam / 150×150×120 cm (approx.) / Printemps de Septembre Courtesy of the Artist Capgras Collection / Photo: Serkan Tunc / Courtesy of the Artist

56 57 BJØRN HEGARDT ‘“How to select” part 2’ as part of the Launch of Fukt Magazine # 10 at PrintRoom, Rotterdam / Courtesy of the ØYSTEIN AASAN Artist Installation view of All fun and games (Until someone looses an Eye) (2011) at Museum Quartier, Vienna MATIAS FALDBAKKEN / acoustic platforms / Installation view of Jerry Courtesy the Artist can sculptures 1-3 (2011) at Printemps de Septembre, Toulouse / Three groups of welded jerricans / Courtesy of the Artist and Printemps KRISTOFFER MYSKJA de Septembre Machine that uses a thousand years to shut itself down (2006) / Photo: Ikon G allery, Bir m in g ha m D.O.R. Collection of Centers – good vs. bad models of collaboration at Osloo as part of ‘Speech Matters’, The Danish Pavilion at the 54th International Art Exhibition, la Biennale di Venezia / Courtesy of the Artists 58 59 ­Recipients during 2011 8–11 September 2011 Karlsruhe 3rd Quarter NOK 7 000 17 September 2011–5 Grants allocated for February 2012 International Support G: Anawana Haloba NOK 7 000 b.1978 in Zambia, G: Marianne Zamecznik lives and works in G: IMT Gallery, London, b.1972 in Trondheim, Oslo, Norway UK Norway, lives and PS: Anawana Haloba was PS: Vibeke Tandberg works in Oslo, Nor- invited to participate (b.1967, Oslo, Nor- way within the group ex- way, lives and works PS: Curator Marianne hibition ‘The Global in Oslo,) was invited Zamecznik in- Contemporary – Art to participate within vited Josefine Lyche Worlds After 1989’ the group exhibition (b.1973, Bergen, at ZKM | Museum of ‘Epilogues: It started Norway, lives and Contemporary Art in with a car crash’. works in Oslo) to Karlsruhe, Germany. According to curator participate within According to curator Charles Danby, the ‘The Feast’, a group Andrea Buddensieg, exhibition sought exhibition at the the exhibition ‘sur- ‘to question how European Culture veyd the global eco- artists actively think Congress in Wro- nomic and socio-po- about the artworks, claw, Poland. The litical changes since contexts, ideologies exhibition presented 1989 as well as the and histories that the work of Pawel way in which these surround them in Jarodzki, Oliver Laric changes are reflect- the works of their ENDRE AALRUST and Josefine Lyche, ed in the art world’. In contemporaries Sweaty Palms (bent over) who, according to this thematic context, and predecessors’. / Black and white print / Zamecznik, ‘all con- Haloba presented Tandberg presented 45×30 cm / Courtesy of the tribute to create a her work The Greater photographs from Artist peaceful atmosphere G8 Advertising Mar- her series Old Man for relaxation and ket Stand (2009), Going Up and Down reflection’. Lyche which was first exhib- a Staircase (2003). presented the instal- ited within the 2009 Other participating lation Color in which Venice Biennale. artists included Ray ‘emitted coloured Other participating Johnson, Alastair light acquires a new artists included Bani MacKinven, Thomas form, but is not ne- Abidi, AES Group, Raat and The Bruce gating its origin (the Halim Al-Karim, Halil High Quality Founda- physical colour filter Altindere, Francis tion. and daylight) through Alÿs, Rasheed Curator: Charles Danby, the creation of some- Araeen, Kader Attia, Independent Artist, thing new’. Lyche Yto Barrada, Richard Writer and Cura- also presented the Bell, Guy Ben-Ner, tor for IMT Gallery, BODIL FURU installation Phi. Tamy Ben-Tor, among London Zero (2008) / video / Curator: Marianne others. 17 September–23 Octo- 19 minutes / Courtesy Zamecznik, Inde- Curator: Andrea Budden- ber 2011 the Artist pendent Curator and sieg, Project Curator NOK 10 000 Art Critic for Europe- and Coordinator, an Culture Congress, ZKM | Museum of G: Rachel Dagnall Wroclaw Contemporary Art , b.1972, Liverpool,

60 61 England, lives and G: Museum of Contem- las Paris and Nick G: Ahmad Ghossein bes and Azzeddine Centre, Oslo, Nor- works in Nesodden, porary Art, Miami, FL, Relph, among others. b.1981 Beirut, Leba- Meddour. way Norway USA Curator: Ruba Katrib, non, lives and works Curator: Jytte Jensen, 14 October 2011–15 PS: Rachel Dagnall was PS: Anders Smebye Associate Curator, in Oslo, Norway Curator, Department January 2012 invited to participate (b.1975 in Oslo, Nor- Museum of Contem- PS: Ahmad Ghossein of Film, Museum of NOK 4 000 within the group way, lives and works porary Art, Miami was invited to screen Modern Art (MoMA), exhibition ‘Rewrit- in Oslo) was invited to 22 September–13 No- his filmMy father is New York G: Karen Kipphoff ing Worlds: Dada participate within the vember 2011 still a communist 5–23 October 2011 b.1958, Hamburg, Moscow’, a special group exhibition ‘Mod- NOK 20 000 (2011) at the Mu- NOK 10 000 Germany, lives and project organised ify, as needed’ at the seum of Modern Art works in Bergen, by the Swiss-based Museum of Contem- G: Liv Bugge (MoMA), New York, G: Marthe Thorshaug Norway gallery Cabaret porary Art, Miami, FL, b.1974 in Oslo, Nor- NY, USA. Accord- b.1977 Hamar, Nor- PS: Karen Kipphoff was Voltaire in asso- USA. According to way, lives and works ing to the artist, the way, lives and works invited to participate ciation with the 4th curator Ruba Katrib, in Oslo background mate- in Hamar within the exhibition Moscow Biennal in the exhibition ‘exam- PS: Liv Bugge was in- rial for the video is PS: Marthe Thorshaug ‘Fairground’ at Kjubh Moscow, Russia. ined the forays some vited to launch her a large number of was invited to screen e.V. in Cologne, Dagnall worked with artists have made artist book You make radio cassettes sent her filmLegenden om Germany. Kipphoff’s artists Lucy Skaer into the industries me want to Die in between his parents Ygg (The Legend of duotone and colour and Simon Polli to that produce visual the Countryside: during the years of Ygg) (2009) as part photographs of fair- produce three new culture, for the pro- A Meditation on civil war in Lebanon, of the ‘Art in the Au- ground and amuse- works specifically for fessionalised realms Heart of Darkness by when his father was ditorium’ programme ment park scenes the exhibition, one of of fashion, art and Joseph Conrad with- working abroad. The at the Whitechapel were juxtaposed which was shown on music to consumer in Torpedo Press’ screening was part of Gallery, London, with the graphic national TV, another level contributions by booth at the New the film festival ‘Map- UK. According to wood engravings by was presented at the commercially available York Art Book Fair, at ping Subjectivity Part the artist, the film is Ferdinand Gropius space ARTPLAY, and software, the Internet PS1 Contemporary II: Experimentation in a ‘modern legend of (1796–1830) from the last one was an and other tools’. Sme- Art Center in New Arab Cinema 1960- death riders in Nor- the collection of intervention at the bye produced new York, NY, USA. A Now’ at MoMA, way, in which a group Werner Nekes. Dat- Tretyakov Museum in works specifically for screening of Bugge’s giving New York of girls drive them- ing to around 1820, Moscow. Curator Ad- the exhibition, includ- video Hyperborean audiences the oppor- selves to extremes, the engravings depict rain Notz described ing Home Invaders Room Ballads coin- tunity ‘to experience to conquer their fear colourful costumed ‘Rewriting Worlds: (2011), a series of cided with the book a large, carefully and test their horses’ characters perform- Dada Moscow’ as a four large canvas launch. A meditation selected programme courage’. The project ing in carnivals. The festival that ‘brought quilts wrapped on Conrad’s Heart of of innovative works ‘Art in the Auditorium’ curator states that Dada to Moscow around a column in Darkness (1902), the from the Middle involved eleven inter- ‘the works of Kip- some 95 years af- the exhibition space, book is, according East’ – according to national institutions phoff and Gropius ter the opening of and Beautiful People to the artist, ‘dealing curator Jytte Jensen. in which each institu- provide historical the famed Cabaret (2011), a series of with post-colonialism Jensen says also tion nominates one and contemporary Voltaire’. Other makeshift barbells and its storytelling, that Ghossein’s artist for presentation imagery attesting the participating artists made out of concrete history-writing and presence ‘helped at the other par- legacy of this cultural included Lucy Skaer and spare pieces of language’. to facilitate a wider ticipating institutions. phenomenon’. and Simon Polli, metal. Other partici- Curator: AA Bronson, dialogue on filmmak- Other participating Curator: Doris Frohnap- among others. pating artists included Director, New York ing and culture to artists included fel, Curator, Kjubh Curator: Adrian Notz, Kathryn Andrews, Art Book Fair, New the public and the Cristóbal León, Niles e.V., Cologne Director, Cabaret Darren Bader, Nina York wider film community Atallah and Joaquín 15–30 October 2011 Voltaire, Zurich, Swit- Beier, Karl Holmqvist, 30 September–2 Octo- in New York’. Other Cociña,Rachel Rak- NOK 3 000 zerland Adriana Lara, Natalia ber 2011 participating artists ena and Kelly Nipper. 14–27 September 2011 Ibáñez Lario, Jose NOK 8 000 included Akram Zaa- Curator: Caroline Ugel- G: Maia Urstad NOK 10 000 Carlos Martinat, tari, Yto Barrada, Ali stad, Chief Curator, b.1954 in Kris- Amilcar Packer, Nico- Essafi, Hakim Belab- Henie Onstad Art tiansand, Norway,

62 63 lives and works in Norway ty of artistic practices ‘Nordic Art Today’, Nordic countries and tions between artists Bergen, Norway PS: Morten Kvamme was including perform- which focused Russia. Berg pre- and curators in the PS: Maia Urstad was invited to participate ance, drawing, paint- on collaborations sented her video and Nordic countries and invited to participate within the Cornwall ing and sculpture’. between artists book project Stalin Russia. Hermansen within the sound art Workshop in Fal- The Kobe Biennale, and curators in the by Picasso (2008), presented her instal- exhibition ‘Reso- mouth, UK, which according to its or- Nordic countries for the first time in lation Bipolar Hori- nance Riga’ at Skanu provided space for ganisers, ‘served to and Russia. Hansen Russia. According to zon (2006), which Mezs | Sound For- the discussion of a spark an interactive produced the project the artist, the project is comprised of pho- est Association for wide range of inter- communication of Nostalgisk Kapital, explores ‘artistic free- tography, video and Adventurous Music national independ- kira (onomatopo- which he describes dom, or un-freedom, objects and focuses in Riga, Latvia. The ent and artist-led etic expression for as ‘a series of video and ways of reading on the abandoned artist presented her initiatives, organised ‘sparkle’), where one interviews with Rus- and using images’ Russian mining town work Meanwhile In in partnership with discovery could have sian school children, by a visual analysis of Pyramiden, on the Shanghai…, which the Tate St. Ives. inspired others, cre- where they are asked of ‘how two icons island of Svalbard, she describes as Morten Kvamme is ating a new paradigm to answer questions from the 20th century, Norway on the 79th employing ‘sev- an artist and member in Kobe, its people regarding their rela- Stalin and Picasso, parallel. According enty-five portable of Tag Team Studio and arts’. Other tionship to brands once were perceived the artist, the project radios to transmit in Bergen, Norway, participating artists and their logos, both and how much their underscores ‘the sound via local FM an artist-run gallery included Brent Hal- national and interna- public personae have notion that power frequencies’ so that for contemporary art, lard, Ivar Smedstadt, tional’. changed’ over time. structures and rapid, ‘the polyphony of which includes art- Kristofer Henriksson, Curator: Anna Bitkina, Curators: Anna Bitkina, large-scale political voices, tones and ists’ studios, an of- Mari Kubota, Melissa Kari J. Brandtzaeg, Kari J. Brandtzaeg, change can influence white noise forms a fice and workshops. Matsuki Lillie and Birta Gudjonsdottir, Birta Gudjonsdottir, the conditions under backdrop for specific Curator: Teresa Glad- Tracie Washington- Aura Seikkula, Ole- Aura Seikkula, Ole- which both indi- on-air explorations owe, Curator, The Stefansson. sya a Turkina, Simon sya a Turkina, Simon viduals and groups of about time and Cornwall Workshop, Curator: Naoshi Okura, Sheikh and Power Sheikh and Power people live in a topo- place’. ‘Resonance Falmouth Project Director and Ekroth, Curatorial Ekroth, Curatorial critical context’. Riga’ focuses on the 15–21 October 2011 Curator, Void 289, Team for ‘Nordic Art Team for ‘Nordic Art Curator: Anna Bitkina, production, presenta- NOK 4 000 Kobe Biennale 2011, Today’, St. Peters- Today’, St. Peters- Kari J. Brandtzaeg, tion, documentation Kobe burg burg Birta Gudjonsdottir, and exchange of G: Tammo Rist 25 September–16 Octo- 4 November–11 Decem- 4 November–11 Decem- Aura Seikkula, Ole- experience in the b.1976, Ravensburg, ber 2011 ber 2011 ber 2011 sya a Turkina, Simon field of contemporary Germany, lives and NOK 3 500 NOK 10 000 NOK 10 000 Sheikh and Power sound art. Other works in Oslo, Nor- Ekroth, curatorial participating artists way G: Bjørn Kowalski G: Lene Berg G: Siri Hermansen team for ‘Nordic Art included Pierre Ber- PS: Tammo Rist was Hansen b.1965 in Oslo, Nor- b.1969, Geneve, Today’, St. Peters- thet, Esther Venrooy, invited to participate b.1979 in Nesttun, way, lives and works Switzerland, lives burg Paul Devens, Stefan within the Kobe Bien- Norway, lives and in Berlin, Germany and works in Oslo, 4 November–11 Decem- Rummel and Evelina nale 2011 in Kobe, works in Oslo, Nor- PS: Lene Berg was in- Norway ber 2011 Deicmane. Japan as part of the way vited to participate PS: Siri Hermansen NOK 10 000 Curator: Viestarts Gaili- venue Void 289, as PS: Bjørn Kowalski within the group exhi- was invited to partici- tis, Curator, Skanu part of the official Hansen was invited bition ‘New Horizons’ pate within the group G: Jan Christensen Mezs, Riga biennale programme. to participate within at the ETAGI in St. exhibition ‘New b.1977, Copenhagen, 14 October–6 November Rist presented The the group exhibition Petersburg, Russia Horizons’ at Loft Denmark, lives and 2011 Black Portrait as ‘New Horizons’ at the as part of the large- Project ETAGI in St. works in Berlin, Ger- NOK 10 000 part of his ongoing Creative Associa- scale project ‘Nordic Petersburg, Russia many Eruption Series of tion of Curators TOK Art Today’, which as part of the large- PS: Jan Christensen G: Morten Kvamme paintings, which, ac- in St. Petersburg, focuses on collabora- scale project ‘Nordic and Anders Fjøsne b.1971, Bergen, lives cording to the artist, Russia as part of the tions between artists Art Today’, which (b.1981 in Oslo, Nor- and works in Bergen, ‘incorporates a varie- large-scale project and curators in the focuses on collabora- way, lives and works

64 65 in Oslo) were invited Norway, lives and G: Marieke Verbiesen G: Nils Bech G: Svein Flygari were commissioned to participate within works in Oslo, Nor- b.1978, Eindhoven, b.1981, Vikersund, Johansen to produce A Sud- the group exhibition way; b.1969 in Oslo, The Netherlands, Norway, lives and b.1959, Alta, Norway, den Surge of Current ‘Let the Rhythm Hit lives and works in lives and works in works in Oslo, Nor- lives and works in or How to Make Any- Em’ at Kunstraum Oslo Bergen, Norway way Oslo, Norway thing Signify Any- Kreuzberg/Bethanien PS: Toril Goksøyr and PS: Marieke Verbiesen PS: Nils Bech was in- PS: Svein Flygari thing at Beaconsfield in Berlin, Germany. Camilla Martens was invited to par- vited to present a Johansen was com- in London, UK. The According to cura- were invited to partic- ticipate within the performance at the missioned to produce artists took the novel tor Matthias Mayer, ipate within the group group exhibition New Museum in a site-specific art- Gulliver’s Travels the project revolved exhibition ‘New ‘Space Invaders’ at New York, NY, USA, work titled Am I Mak- (1726) by Jonathan around the questions Horizons’ at Loft Kunsthallen Nikolaj in association with ing up What Really Swift as a point of ‘Is it possible to ar- Project ETAGI in St. in Copenhagen, Performa 2011 and Happened? as part departure. Swift’s rive at a musical form Petersburg, Russia Denmark. Curator ‘Art Since the Sum- of the ‘Phase’ series satirisation of the from a visual art start- as part of the large- Andreas Brøgger mer of ‘69’. Titled for mid-career artists values and political ing point? And the scale project ‘Nordic indicated that the Look Inside, the per- at Beaconsfield in events of England other way around?’ Art Today’, which exhibition brought formance was a con- London, UK. Ac- and Ireland at the Christensen and focused on col- together artists who tinuation of Bech’s cording to the artist, time is used, accord- Fjøsne produced an laborations between ‘explored the relation- performance within the project ‘revolves ing to the artists, ‘installation consist- artists and curators ship between the real the 2009 edition of around the common ‘to draw parallels to ing of several synthe- in the Nordic coun- and the virtual, high- Performa, developed fears we have for Norwegian society sizers and samplers, tries and Russia. The lighting the effects of in collaboration with the extermination of today’. The artists audio distorters artist duo presented blurred boundaries the musicians Bendik mankind… an anxiety produced three and equipment their project Sit between gaming en- Giske and Sergei that can often give distinct installations that modulates and down, listen ( 2011), vironments and phys- Tcherepin. ‘Through us the inability to act, inspired by the sto- manipulates audio’. a sound recording ical environments’. voice, movement, but can also give ries and characters Visitors to the exhibi- which they describe Verbiesen presented music and text’, ac- us the catalyst to depicted within tion were generating as ‘an echo of the her installation Pole cording to curator overcome problems’. Swift’s novel. sound by interacting despair and grief Position, which, Hanne Mugaas, The ‘Phase’ series at Curator: Naomi Siderfin, with the installation. that you wish you according to the ‘Bech creates rituals Beaconsfield com- Director, Beacons- Other participating could shout out loud artist, allows ‘view- (sometimes in com- missions site-specific field, London artists included Oni when the worst thing ers to interactively bination with objects projects by mid-ca- 12 November 2011–12 Ayhun, David Blandy, imaginable has hap- inhabit the space as and sculptures) as reer artists in tandem February 2012 Matthew Burbidge/ pened to you’, but, a dimension that they tools allowing him to with a retrospective NOK 4 000 Sonja Ostermann, in reality, the sound control themselves’. re-enact emotional view of earlier works. Diego Castro, So- is ‘the recording of a Other participating circumstances from Curator: Naomi Siderfin, G: Janne Kruse phie Clements, Die birth that took place artists include Jeremy his life’. Other partici- Director, Beacons- b.1979, Aarhus, Den- Tödliche Doris and in Oslo in 2011’. Bailey, Aram Bartholl, pating artists includ- field, London mark, lives and works Jérôme Chazeix. Curator: Anna Bitkina, Kari Katsumoto Yuichiro, ed Julieta Aranda and 12 November–12 Febru- in Oslo, Norway Curator: Matthias Mayer, J. Brandtzaeg, Birta Cao Fei and Bill Carlos Motta, Robert ar y 2011 PS: Janne Kruse was Freelance Curator Gudjonsdottir, Aura Viola. Ashley, Tyler Ashley NOK 4 000 invited to participate for Kunstraum Kreuz- Seikkula, Olesya a Curator: Andreas and Tarek Atoui and within the group berg/Bethanien, Turkina, Simon Sheikh Brøgger, Curator, Eleanor Bauer. G: Jorid Lekve Eide and exhibition ‘The Poetry Berlin and Power Ekroth, Kunsthallen Nikolaj, Curator: Hanne Mugaas, Frode Halvorsen of Continuity’ at the 4 November 2011–15 curatorial team for Copenhagen Curator, ‘Art Since b.1982, Bergen, Nor- Orange Gallery in January 2012 ‘Nordic Art Today’, St. 12 November 2011–29 the Summer of ‘69’, way, lives and works Guangzhou, China. NOK 4 000 Petersburg January 2012 New York in Oslo, Norway; Curator Fan Lin 4 November–11 Decem- NOK 7 000 11 November 2011 b.1980, Bergen, lives invited the artist to G: Toril Goksøyr and ber 2011 NOK 12 000 and works in Oslo create a site-specific Camilla Martens NOK 20 000 PS: Jorid Lekve Eide and installation for the b.1970 in Ålesund, Frode Halvorsen exhibition. The artist

66 67 describes her work ticipated in a panel other party and the muth, Yvette Brack- nise digital effects of as being ‘concerned discussion and pre- situation itself, as man, Tova Carlin, their music in order with flatness as ten- sented her work with well as an ability to Krysten Cunningham, to create a compre- sion between the ‘underwater sound become – at least for Jeremiah Day, Joe hensive audiovisual two-dimensional and recordings and inau- a moment – someone Day and Chto Delat. experience that is the three-dimen- dible frequencies to else’. Curator: Elena Bajo and painstakingly docu- sional’, which results the human ear’. Curator: Maria Anna Warren Neidisch, mented for future use in her work evolving Curator: Ute Meta Bauer, Potocka, Director, Artist Initiators, and in video’. from ‘monochrome Associate Professor Museum of Contem- Amanda Hunt, Asso- Curator: Zach Layton, and minimalistic and Head of the MIT porary Art, Krakow ciate Curator, LAX- Curator, Issue towards an expres- Program in Art, Cul- 8 November 2011–21 ART, Los Angeles Project Room, New sionistic language’. ture and Technology January 2012 March–April 2012 York Other participating 22 October 2011 NOK 3 000 NOK 25 000 18–22 April 2012 artists included Liu NOK 2 180 NOK 30 000 Yin Yuan, Li Bang G: Tori Wrånes G: KILLL Yao, Huang Ming and G: Eivind Reierstad b.1978, Kristiansand, Are Mokkelbost Feng Feng. b.1972, Oslo, Nor- Norway, lives and (b.1976 in Oslo, Nor- Curator: Fan Lin, Cura- way, lives and works works in Oslo, Nor- way, lives and works tor, Orange Gallery, in Kløfta, Norway way in Oslo), Espen T. Guangzhou PS: Ane Lan – alias PS: Tori Wrånes was Hangård (b.1974 3–31 December 2011 Eivind Reierstad – invited to participate in Bergen, Norway, NOK 15 000 was invited to hold a within the public lives and works solo exhibition at the project series ‘Art in in Oslo), Martin G: Jana Winderen Museum of Contem- the Parking Space’ Hortveth (b.1977 in b.1965, Bodø, Nor- porary Art in Krakow, at LAXART in Los Oslo, lives and works way, lives and works Poland. Titled All the Angeles, CA, USA. in Oslo), Kyrre Heldal in Oslo, Norway World’s Women Are According to cura- Karlsen (b.1972 in PS: Jana Winderen was in Me! the exhibition tors Elena Bajo and Oslo, lives and works invited to participate – according to the Warren Neidich, the in Oslo) and Erlend within MIT’s ACT curator – was ‘a male series invites artists Mokkelbost (b.1980 programme for the edition of a feminist ‘to create temporary in Stockholm, Swe- Maryanne Amacher’s exhibition’. ‘It showed and ephemeral art- den, lives and works Tribute. According to woman’s presence works, performances in Oslo) organiser Ute Meta in the world, her and installations in PS: KILLL was invited Bauer, the tribute versatility and her one or many park- to present a per- honoured ‘the sec- ability to adapt to all ing spaces across formance at Issue ond anniversary of circumstances. The the vast open space Project Room in New the late Maryanne exhibition highlighted of Los Angeles’ York, NY, USA. The Amacher’s death’. commonly prevailing throughout one cal- members of KILLL Amacher had a ‘pro- stereotypes in the endar year. Wrånes describe themselves found impact in the treatment of women has proposed to as ‘a tightly knit sonic field of sound art and and their helpless- develop what she and visual assault on experimental music’. ness in standing up terms ‘a moving the senses, where Together with com- to them. This wass sound sculpture’ in formalism and chaos posers and artists a statement about the form of a choir blend in a confus- Marina Rosenfeld, the changing role on bicycles. Other ing but thrilling mix’. Florian Hecker, Chris of gender at a time participating artists Employing hard edge Shea, Micah Silver of “in-depth democ- include Eric Angles, lighting and elaborate and Robert The, racy”, which requires Nathan Baker, Sarah geometric visuals, Jana Winderen par- empathy with the Beadle, Pierre Bis- the band ‘synchro-

68 69 Recipients during 2011 Curatorial Team, included BlueSoup, bastian Mayer, Studio (b.1961, Ørland, lery of Contemporary 3rd Quarter Lothringer13, Munich Alexei Borisov & 35 Minutes, Tokyo Norway, lives in Art and the Liko- Grants allocated for 7–15 October 2011 Olga Nosova, VTOL, 12–18 November 2011 works in Stjørdal, vni Salon Gallery in International Biennials NOK 5 000 Roberto Cabot, Jim NOK 10 000 Norway) was invited Celje, Slovenia, from and Institutional Grants Campbell, Daniel to present a solo 9 March to 24 April for Solo Exhibitions G: Nomeda & Gedimi- Canogar, Rejane G: Kaia Hugin exhibition at Västerås 2012. The bilingual nas Urbonas Cantoni & Dan- b.1975, Oslo, Nor- Konstmuseum in catalogue includes G: Marianne Hurum b.1966, Vilnius, iela Kutschat, Chen way, lives and works Västerås, Sweden. photographic docu- b.1978 in Oslo, Nor- Lithuania, lives and Chieh-jen, Valery in Kolbotn, Norway Since the artist’s mentation of the art- way, lives and works works in Trondheim, Chtak, Stan Douglas PS: Kaia Hugin was public project Sara ist’s work and texts in Oslo Norway; b.1968, and Claire Fontaine. invited to hold a was inaugurated the by the artist, curator PS: Marianne Hurum Kaunas, Lithuania, Curators: Peter Weibel, solo exhibition at year before in the Urska Jurman and was invited to hold lives and works in Curator of the Main Muratcentoventidue centre of the city, the Tevz Logar, the direc- a solo exhibition at Trondheim Project, 4th Moscow Artecontemporanea museum sought to tor of SKUC Gallery. Lothringer13 in Mu- PS: Nomeda & Gedi- Biennale of Contem- in Bari, Italy. The art- develop an in-depth Curator: Urška Jurman, nich, Germany. Titled minas Urbonas were porary Art, Moscow ist presented several exhibition of her Independent Cura- ‘Free Verse: A Mind invited to participate 23 September–30 Octo- video works from the work. According to tor for Škuc Gallery, Like Compost’, the in the 4th Moscow ber 2011 series Motholic Mob- curator Åsa Grön- Ljubjana and Gallery exhibition ‘shaped Biennale of Con- NOK 20 000 bles, a title invented lund, the exhibition of Contemporary Art in the prints and temporary Art in by the artists in rela- ‘focused especially and the Likovni Salon painted sculptures Moscow, Russia. The G: Benjamin Alexander tion to the videos, on the large-scale, Gallery, Celje derived from things artist duo presented Huseby which she defines closely cropped im- 27 January–24 February that were scattered their project Splitnik, b.1978 in Oslo, Nor- as ‘the movement ages of faces taken 2012 around in the immedi- an installation that, way, lives and works between the space from archival photo- NOK 10 000 ate surroundings. according to the in Berlin, Germany we are unable to see graphs’. Furunes also These things became artists, ‘examines PS: Benjamin Alexander and the space we are produced a new work G: Else Marie Hagen brushes and other the deployment of Huseby was invited unable to reach’. Em- specifically for the b.1963, Stavanger, tools in abstracting culture on both sides to hold a solo exhibi- ploying performance, exhibition. Norway, lives and and composing. The of the ideological tion titled ‘Weeds humour and horror Curator: Åsa Grönlund, works in Oslo, Nor- palette picked up on divide during the and What They Tell movie aesthetics, Curator, Västerås way surrounding colour Cold War and con- Us’ at 35 Minutes in the videos ‘create Konstmuseum, PS: Else Marie Hagen combinations found siders the legacies of Tokyo, Japan as part scenarios that relate Västerås was invited to hold a in the design of local this now and for the of the art festival ‘Wir to different bodily 26 November 2011–12 solo exhibition at Gal- newspapers, shop future’. The curators Kinden vom UENO experiences in the February 2012 lery 44, Centre for signs, clothing and Peter Weibel and Zoo’. Comprised of borderland between NOK 20 000 Contemporary Pho- house colours. Hu- Joseph Backstein a series of photo- what we perceive tography in Toronto, rum’s work in Munich labelled the theme graphs of common as rational and ir- G: Sambolec Dubravka Canada. Titled ‘The further developed of the biennale as weeds growing in rational’. b.1949 Ljubljana, Visible’, the exhibition ‘a way of painting ‘Re-writing Worlds’ close proximity to the Curator: Angela Gonnel- Slovenia, lives and of photography and that she started in and described it as Huseby’s studio in la, Founder, Gallery works in Oslo, Nor- photo-based instal- between the woods how ‘one of its prin- Berlin, the exhibition Muracentoventidue, way lations, according to of Norway and the cipal missions was to merged that artist’s Bari PS: Sambolec Dubravka the artist, ‘investigate desert of California show how artists are stated interests in 19 November–30 De- was invited to pro- surface as material- and continued in doing this, how they ‘natural history, food cember 2011 duce a catalogue in ity (skin, wrapping, Paris in the summer think and express production and the NOK 4 500 relation to her solo décor) and contex- of 2011’. their ideas on differ- more formal ideas of exhibitions at Škuc tualise it in relation Curator: Sebastian Stein, ent levels of technol- photography’s use of G: Västerås Konstmu- Gallery, Ljubjana, to the wider social Shirin Botas, Mitra ogy, politics and colour and composi- seum, Västerås, Slovenia, from 27 sphere’. In addition, Wakil, Adrian Djukic psychology’. Other tion’. Sweden January to 27 Febru- she extended this and Stephan Janitzky, participating artists Curator: Hanayo and Se- PS: Anne-Karin Furunes ary 2012 and at Gal- investigation into ‘the

70 71 object as a motif and the artwork itself as an object’. Curator: Alice Dixon, Ex- hibition Coordinator, Gallery 44 Centre for Contemporary Pho- tography, Toronto 1 September–31 Octo- ber 2012 NOK 20 000

JANNICKE LÅKER Still from Sunday Mornings (2007) / Courtesy of the Artist

JANA WINDEREN Quadrophonic live sound (2011) as part of the MIT’s ACT programme for the Maryanne Amacher’s Tribute / Photo: René Block / Courtesy of the Artist

72 73 SAMBOLEC DUBA DUBRAVKA BJØRN KOWALSKI HANSEN Drawing (2010) / Paper, A2, Installation view of Elegy China ink, acrylic paint / (2011) at the Creative Courtesy of the Artist Association of Curators TOK in St. Petersburg / sound installation / 12 min / Photo: TOK, St. Petersburg / Courtesy the Artist

SAMBOLEC DUBA DUBRAVKA Useful Art (2010) / Paper, A3, pigmented wax, acrylic pen, China ink / Courtesy of the Artist

SAMBOLEC DUBA DUBRAVKA Capitalism (2010) / Double paper, A3, mineral oil, acrylic pen & paint, glue, staples/ Courtesy of the Artist

SAMBOLEC DUBA DUBRAVKA Situation Report #5 (2010) Paper, A3, mineral oil, wax, acrylic pen, turmeric powder, glue, China ink / Courtesy of the Artist

ANDERS SMEBYE Installation view of ‘Modify, as needed’ at the Museum of Contemporary Art, Miami / Photo: Steven Brooke / Courtesy of the Artist

74 75 MORTEN KVAMME Workshop in Falmouth with artist Mark Dion

JOSEFINE LYCHE Installation view of Colors NILS BECH (2011) at the European Look Inside / Performance Culture Congress in Wroclaw at the New Museum, New York / Color filters and daylight held on 11 November 2011 / / Courtesy of the Artist Photo: Geir Haraldseth / Courtesy of the Artist

MARIANNE HURUM Installation view (detail) from ‘Ancient Trail: The Steinstraße series’ at Lothringer13, Munich / Courtesy of the Artist

76 77 Recipients during 2011 Eva Engelbert, Ann etris and Teatr Laznia Brøgger, Curator, surrounds the prolif- er from their home 4th Quarter Guillaume and Akiko Nowa. Kunsthallen Nikolaj, eration of one-night countries by posting Grants allocated for Hoshina. Curator: Nieves Correa, Copenhagen exhibitions by using visual material that International Support Curator: Elsy Lahner, Artistic Director, 12 November 2011–29 the metaphor of can be important for Curator, Albertina ‘Accion! MAD 2011’, January 2012 the ‘walk of shame’, the development of G: Åsil Bøthun Museum, Vienna Madrid NOK 28 000 which she described the work’. After col- b.1971 in Stavanger, 10–26 November 2011 10–26 November 2011 as ‘leaving some- laborating remotely Norway, lives and NOK 12 900 NOK 6 000 G: Line Halvorsen one’s house with the via the blog, the art- works in Gan, Nor- b.1976 in Oslo, Nor- same clothes you ists came together in way G: Agnes Nedregård G: Marieke Verbiesen way, lives and works had the night be- Berlin for one week PS: Åsil Bøthun was b.1975 in Bergen, b.1978 in Eindhoven, in Oslo, Norway fore, full of affect on to produce a per- invited to participate Norway, lives and The Netherlands, PS: Anders Dahl Monsen carelessness, fear of formance. within the exhibition works in Bergen lives and works in (b.1977 in Oslo, STD’s and pregnan- Curator: Marcio Carvalho, ‘Le Choix de Paris’ at PS: Agnes Nedregård Bergen, Norway Norway, lives and cy’. Other participat- SAVVY Contempo- the Cité Internation- was invited to par- PS: Marieke Verbiesen works in Oslo), ing artists included rary, Berlin ale des Arts in Paris, ticipate within the was invited to partici- Aurora Passero Anastatisa Ax, Tova 10–16 December 2011 France. According International Perform- pate within the group (b.1984 in Oslo, lives Mozard and Kristoffer NOK 6 928 to curator Elsy Lah- ance Art Festival exhibition ‘Space and works in Oslo), Svenberg. ner, the exhibition ‘Accion! MAD 2011’ Invaders’ at Kunsthal- Bård Ask (b.1976 in Curator: Line Halvorsen, G: Marius Engh ‘showed works in in Madrid, Spain. len Nikolaj in Co- Kongsberg, Norway, Independent Cura- b.1974 in Oslo, Nor- which artists – from In her performance penhagen, Denmark. lives and works in tor for WIP:STLHM, way, lives and works different countries titled You, me and Curator Andreas Berlin, Germany), Stockholm in Berlin, Germany with a different cul- the other – YOU, Brøgger indicated Sverre Strandberg 9 December 2011 PS: Engh was invited to tural background Nedregård explores that the exhibition (b.1977 in Oslo, NOK 20 000 participate within – dealt with their stay her interest in ‘how brought together art- lives and works in the exhibition ‘Post- in Paris, responding we perceive each ists who ‘explore the Oslo), Sveinn Fannar G: SAVVY Contempo- Dimension’ at the to the city, its every- other – who we de- relationship between Johannsson (b.1976 rary, Berlin, Germany Torrione Center for day life, referring to fine as us, and who the real and the in Reykjavík, Iceland, PS: Kurt Johannessen Contemporary Art current happenings are the others’. Tak- virtual, highlighting lives and works in (b.1960 in Bergen, in Molfetta, Bari, and events of the ing place at venues the effects of blurred Oslo) were invited to Norway, lives in Oslo, Italy. According to day, and to their own throughout the city, boundaries between participate within the Norway) was invited curator Giacomo experiences’. Bøthun including the Museo gaming environments group exhibition ‘One to participate within Zaza, the exhibition produced three- National Centro de and physical environ- Night Stand: Walk ‘Co Lab Editions ‘is focused on a kind dimensional objects Arte Reina Sofia, the ments’. Verbiesen of Shame’ at WIP: 6: Nazaket Ekici of practice which is that reference the festival used the new presented her instal- STLHM in Stock- – Kurt Johannessen’ developing toward ‘ready-made’ through economic and politi- lation Pole Position, holm, Sweden. The at SAVVY Contem- elaboration of forms, what she describes cal realities in Europe which, according project is part of the porary in Berlin, contents and con- as a re-invention as a backdrop for a to the artist, allows series of ‘One Night Germany. According texts that are “in the of ‘the so-called diverse programme, ‘viewers to inter- Stands’ that has to curator Márcio middle” of present ordinary object which, according to actively inhabit the been running for a Carvalho, Co Lab cultural and ontologi- through a series of curator Nieves Cor- space as a dimen- year at WIP:STLHM, Editions ‘is dedicated cal arguments’. Engh interventions and rea, focused on ‘ab- sion that they control where the board in- to exchange between will contribute with subversions’. Other solute independence’ themselves’. Other vites different artists artists that use per- three installation participating artists as an urgent ‘national participating artists and curators to do formance art as one works to the exhibi- included Ovidiu An- and international included Jeremy exhibitions for a day. of their primary work- tion, including No ton, Guillaume Aubry, reference’. Other Bailey, Aram Bartholl, According to cura- ing media’ by using Surrender (2002), Alexandra Baum- participating artists Katsumoto Yuichiro, tor Line Halvorsen, the blog as a point Utah Drain ( 2011) gartner, Catrin Bolt, included Colectivo Cao Fei and Bill the exhibition inves- of departure through and Moon ( 2011), Eva Chytilek, Audrey Federica, Felix Fern- Viola. tigated ‘the party which ‘artists can which, according Cottin, Jakob Emdal, andez, Michela Dep- Curator: Andreas and art culture’ that start working togeth- to the artist, ‘share

78 79 the qualities of the Petersburg, Russia. which then in turn artists who ‘look to Thomas Falstad UK, lives and works use of simple forms According to curator lead to further itera- the natural sciences, (b.1977 in Trond- in Nesodden, Norway with a reflective Nadya Shereme- tions of the project’. literature and art his- heim, lives and works PS: Rachel Dagnall was surface that makes tova, the project is Beginning at Malmö tory to underline and in Oslo), Christer invited to participate the work’s content the result of a new Konsthall, the project explore the impact Glein (b.1984 in in a lecture seminar shift between visible ‘programme of cul- continued on to the ideas about nature Trondheim, lives and titled ‘(in)flexible and invisible’. Other tural and educational Museo Tamayo in on contemporary works in Oslo), Oda cities: The City Semi- participating artists exchange between Mexico City and the life’. Nygård devel- Broch (b.1982 in nar’ at the Centre for include Olga Cherny- North-West of Russia Zurich University of oped ‘an installation Oslo, lives and works Research in the Arts, sheva, Wolfgang and Northern coun- the Arts before ar- where still images Oslo), Tara Rolfsen Social Sciences Plöger, Grazia Toderi tries, which begins riving in its new it- from films about bi- (b.1982 in Oslo, lives and Humanities and Thomas Zipp. with the invitation of eration in Stockholm. ology and scenes and works in Oslo), (CRASSH) at the Curator: Giacomo Zaza, four key figures in Faldbakken pro- from fiction films are Hans Christian Sko- University of Cam- Project Manager, Tor- Norwegian contem- duced a new series mixed’. Øvrelid devel- vholt (b.1982 in Oslo, bridge, Cambridge, rione Passari Center porary photography of screen prints spe- oped a video project lives and works in UK. According to the for Contemporary to hold lectures and cifically for the exhibi- using ‘monuments/ Oslo) were invited organisers, the dis- Art, Molfetta workshops’. tion. Other participat- statues representing to participate within cussion centres on Postponed to 15 Sep- Curator: Nadya Shereme- ing artists included figures from Romanti- the group exhibition artist Anish Kapoor’s tember–28 October tova, Director, The Doug Ashford, Claire cism’, which ‘breaks ‘Crystallomancy’ at proposed ArcelorMit- 2012 FotoDepartament Barclay, Yto Barrada, down and open the Control-Room in Los tal Orbit project in NOK 20 000 Foundation, Saint- Pia Camil, Jose Leon static image they Angeles, CA, USA. London’s Olympic Petersburg Cerillo and Zachary represent’. Other According to curator Park ‘as a symbol of G: The FotoDeparta- 1 January–1 October Formwalt. participating artists Zac Tomaszewski, urban change and as ment Foundation, 2012 Curator: Maria Lind, included Jane Hugh- the artists in the ex- a partial realisation of Saint-Petersburg, NOK 10 000 Director, Tensta Kun- es, Bjarte Alvestad, hibition were ‘all Tatlin’s unbuilt Monu- Russia sthall, Stockholm Sarah Jane Gorlitz, working around the ment to the Third PS: Artist Morten An- G: Tensta Konsthall, 11 January–22 April 2012 Wojciech Olejnik and ideas of perception International’. Dagnall dersen (b.1965 in Stockholm, Sweden NOK 26 700 Katie Paterson. and expanded reality, was invited to speak Lørenskog, Norway, PS: Matias Faldbakken Curator: Rebecca Par- whether by referenc- in relation to her on- lives and works in (b.1973 in Hobro, G: Randi Nygård and tridge, Independent ing sci-fi tropes or going project Tatlin’s Oslo, Norway), pho- Denmark, lives and Munan Øvrelid Artist and Curator the paranormal, or by Tower and The World tojournalist Jonas works in Oslo, Nor- b.1977 in Bergen, for Kunstraum T27, trying to craft per- (in association the Bendiksen (b.1977 way) was invited to Norway, lives and Berlin ceptual experiences artists’ group Henry in Tønsberg, Norway, participate within the works in Oslo, Nor- 21 January–19 February that are surprising to VIII’s Wives). Other lives and works in group exhibition ‘Ab- way; b.1978 in Oslo, 2012 apprehend, whether participants in the Oslo, Norway) and stract Possible: The lives and works in NOK 16 500 for their novelty, seminar included curators Ingrid Nils- Stockholm Syner- Oslo confounding nature, Karen Till, Ash Amin, son, director, Preus gies’ at Tensta Kon- PS: Randi Nygård and G: Tommy Høvik or overwhelming Anique Hommels, Fotomuseum, and sthall in Stockholm, Munan Øvrelid were b.1979 in Trondheim, aspect’. Owen Hatherley and Jan Erik Lundstrom, Sweden. According invited to participate Norway, lives and Curators: Zachary Romola Sanyal. director, Samisk Kun- to curator Maria within the group exhi- works in Oslo, Nor- Tomaszewski and Curator: Michal Muraw- stsenter were invited Lind, ‘Abstract Pos- bition ‘New Horizons, way Tommy Høvik, Inde- ski, PhD Candidate, to participate within sible’ is a ‘research Landscape and the PS: Tommy Høvik, Javier pendent Artists and Social Anthropology, the ‘Nordic Photog- project in the sense Contemporary Ro- Barrios (b.1979 Curators for Control- University of Cam- raphy Experience’, that it evolves over mantic’ at Kunstraum in Oslo, lives and Room, Los Angeles bridge, Cambridge a cultural collabora- a longer period of T27 in Berlin, Ger- works in Oslo), 21–29 January 2012 24 January–6 March tion and educational time, exploring a set many. According to Zac Tomaszewski NOK 35 000 2012 programme at the of questions in rela- the curator Rebecca (b.1987 in Los An- NOK 7 000 FotoDepartament tion to physical and Partridge, the exhibi- geles, USA, lives G: Rachel Dagnall Gallery in Saint- spatial articulations tion brought together and works in Oslo), b.1972 in Liverpool, G: Tor Navjord

80 81 b. 1974 in Melbu, way) and Annette Bergen) and Maya Centre, Fotogalerie Supermarket 2012, NOK 15 000 Norway, lives and Stav Johanssen Økland (b.1980 in Wien, MUU galleria Stockholm works in Oslo, Nor- (b.1979 in Kris- Bergen, lives and and Zolder Museum. 17–19 February 2012 G: Stine Gonsholt way tiansand, Norway, works in Bergen) Curator: Pontus Raud, NOK 7 000 b.1973 in Skien, Nor- PS: Tor Navjord was lives and works in PS: The artist-run space Project Manager, way, lives in works in invited to participate Oslo) KNIPSU was in- Supermarket 2012, G: Small Projects Oslo, Norway within the group PS: Fine Art Union was vited to participate Stockholm Jet Pascua (b.1969 PS: Stine Gonsholt was exhibition ‘In Our invited to participate in Supermarket, an 17–19 February 2012 in Manila, Philipines, invited to participate Gardens Forests Are within ‘Axis, Allies international art- NOK 15 000 lives and works in in the exhibition Getting Ready’ at the and Neutrals’, a ist-run art fair in Tromsø, Norway) ‘Atlas –Measures Museo de Arte Con- screening and per- Stockholm, Sweden. G: Volt Marie Nerland and Laurent Faucon- of Dreams’ at the temporáneo de Cas- formance event at the According to curator (b.1972 in Bergen, nier (b.1959 in Paris, Kunstraum Kuhturm tilla y Leon (MUSAC) Overgaden Institute Pontus Raud, Super- Norway, lives and France, lives and in Leipzig, Germany. in Castilla y Leon, for Contemporary Art market provided ‘a works in Bergen, works in Tromsø) According to cura- Spain. According to in Copenhagen, Den- showcase for artists’ Norway), Founder PS: The artist-run space tor Nina Lundstrom, curator Eneas Bernal, mark. According to initiatives from all PS: The artist-run Small Projects was the exhibition used the purpose of the curator Anna Holm, over the world and to space Volt was in- invited to participate the atlas as a point project was ‘to con- the event presented create opportunities vited to participate in Supermarket, an of departure to for vey, show, transmit, ‘hybrid projects that for new networks in in Supermarket, international artist-run assembling artists objectify, set in mo- utilise storytelling as the Swedish as well an international art fair in Stockholm, whose work asks tion, through art, the a way of introducing as the international artist-run art fair in Sweden. According questions such as explosions of sensi- alternative accounts art scene’. KNIPSU Stockholm, Sweden. to curator Pontus ‘How does one ori- tivity that have taken of past, present has invited the artist According to curator Raud, Supermarket entate as a nomadic, place and continue and future’. Fine Art group Ytter –consist- Pontus Raud, Super- provided ‘a showcase contemporary human to do so today from Union presented two ing of Julie Lillelien market provided ‘a for artists’ initiatives being in a global the North Pole to performances that Porter (b.1975 in Ply- showcase for artists’ from all over the world?’ and ‘What Greece, from the un- deal with ‘identity, mouth, UK, lives and initiatives from all world and to create processes take place precedented forces gender and borders works in Bergen), over the world and to opportunities for when one takes root of beauty of Charles through the use of Anne Marthe Dyvi create opportunities new networks in the somewhere new, find Fourier’s clairvoy- a handcrafted flag’. (b.1979 in Bærum, for new networks Swedish as well as a new home and try ance’. Tor Navjord Other participating Norway, lives and in the Swedish as the international art to integrate into al- collaborated with artists included Maria works in Bergen) and well as the interna- scene’. Small Projects ready existing social artists Miriam Martín Lusitano, Shirin Anngjerd Rustand tional art scene’. Volt presented works by a systems?’ The artist and Rafael Sánchez- Sabahi and Jeuno (b.1982 in Bergen, presented a book variety of Norwegian describes her prac- Mateos Paniagua to Je Kim. lives and works in project that includes and international tice as an ‘animation produce the exhibi- Curator: Anna Holm, Bergen and Berlin, artworks by over contemporary artists of documentary ma- tion and accompany- Curator, Overgaden, Germany) to par- 30 Norwegian and as well as a perfor- terial’ through draw- ing catalogue. Copenhagen ticipate in an ongoing international con- mance programme. ing and video. Other Curator: Eneas Bernal, 16–17 February 2012 collaborative project, temporary artists as Other participants in participating artists Cultural Manager and NOK 19 000 which they described well as a discursive the Supermarket fair included Nicole De- Curator, MUSAC, as ‘thematically programme. Other included Candyland, genhardt and Nina Castilla y Leon G: KNIPSU linked by keywords participants in the Ed Video Media Arts Lundström. 28 January–3 June 2012 Hilde Jørgensen such as positions, Supermarket fair Centre, Fotogalerie Curator: Nina Lundström, NOK 30 000 (b.1973 in Mosjøen, economy and author- included Candyland, Wien, MUU galleria Independent Art- Norway, lives and ity in both art life and Ed Video Media Arts and Zolder Museum. ist and Curator for G: Fine Art Union works in Bergen, society in general’. Centre, Fotogalerie Curator: Pontus Raud, Kunstraum Kuhturm, Synnøve G. Wetten Norway), Kristin Other participants in Wien, MUU galleria Project Manager, Leipzig (b.1978 in Akershus, Tårnesvik (b.1964 in the Supermarket fair and Zolder Museum. Supermarket 2012, 1–31 March 2012 Norway, lives and Birtavarre, Norway, included Candyland, Curator: Pontus Raud, Stockholm NOK 7 500 works in Oslo, Nor- lives and works in Ed Video Media Arts Project Manager, 17–19 February 2012

82 83 G: Marte Danielsen G: Aurora Passero International Festival Norway, lives and G: Maija Rudovska, Jølbo b.1984 in Oslo, Nor- for Visual Arts, Glas- works in Oslo, Kim? Contemporary b.1974 in Stavanger, way, lives and works gow Norway; b.1985 in Art Centre, Riga, Norway, lives and in Oslo 20 April–7 May 2012 Ulstein, Norway, lives Latvia works in Stavanger PS: Aurora Passero was NOK 20 000 and works in Bergen PS: Lars Cuzner (b.1974 PS: Margrethe Aanestad, invited to participate PS: Heidi Kårtveit and in Södertälje, Swe- Else Leirvik (b.1972 in the Glasgow In- G: Arne Skaug Olsen Magnhild Øen Nor- den, lives and works in Stavanger, lives ternational Festival b.1974 in Gjøvik, dahl were invited to in Oslo, Norway) was and works in Sta- for Visual Arts in Norway, lives and participate within the invited to participate vanger) and Ole Glasgow, Scotland. works in Bergen, exhibition ‘Spatial in a series of semi- Martin Lund Bø Titled ‘Manifesto Norway Displacements: The nars and workshops (b.1973 in Stavanger, Without A Title’, the PS: Curator and pub- Space In Between’ at Kim? Contempo- lives and works in exhibition is organ- lisher Arne Skaug at Tin Sheds Gallery rary Art Centre in Stavanger) were ised by The Mutual, Olsen was invited within the Faculty of Riga, Latvia as part invited to participate an artists’ co-opera- to participate in the Architecture, Design of the Baltic Cute within the exhibition tive in Glasgow. Nine book launch of We and Planning at the Curators network. ‘Between Mountain’ artists were invited Who Feel Differ- University of Sydney One of the founders at Open Source Gal- to create a rule for ently by artist Carlos in Sydney, Australia. of the network, Maija lery in New York, NY, a manifesto, which Motta at the New Mu- According to the Rudovska, describes USA. According to will be collected and seum in New York, curator William Seeto, it as a platform for curator Marte Dan- sent out to each art- NY, USA. Olsen is the ‘exhibition exam- curators from the ielsen Jølbo, the ex- ist so that they can a co-founder of the ines spatiality in built ‘Nordic and Baltic hibition ‘is a project develop a project as Bergen-based pub- environments with countries whose about giving and a response to the lishing house Ctrl+Z. artworks possessing ‘working field is taking space, starting overall manifesto. Ac- He states that the elements of both ar- broad, encompass- with how personal cording to the artist, ‘main concern’ of chitecture and sculp- ing both local and space is affected by she is developing a Ctrl+Z ‘is to inde- ture’. Seeto describes international rele- the nature and the site-specific instal- pendently investigate Kårtveit’s practice vance’ with the aim of culture one is com- lation in response to structural conditions as an examination of ‘gaining recognition ing from’. The artists the manifesto, which for art production, ‘human relationships and acceptance as are going to produce is incorporating her art mediation and art and social interaction well as learning from site-specific projects ‘tradition-oriented discourse in the form in built environments already existing prac- for the exhibition, textile techniques like of printed matter’. A that hints at prox- tices and institutional which is going to oc- weaving, braiding collection of 300 of emics, and incorpo- structures’. Other cur at Open Source and dying’ in order the books will also be rates kinaesthetics participants in the Gallery as well as to develop ‘an ex- shown as an instal- and sound to enable project include John a few private apart- perimental form using lation within Carlos a shift in experience’. W Fail and Joachim ments in close prox- non-traditional mate- Motta’s exhibition at Nordahl’s is de- Hamou. imity to the gallery. rials such as nylon, the New Museum. scribed as ‘analogous Curators: Maija Rudovska Curators: Marte Dan- rubber and acrylics’. Curator: Eungie Joo, to space as metaphor, and Juste Kostiko- ielsen Jølbo, Inde- Other participating Keith Haring Director with a spatiality re- vaite, Independent pendent Curator, artists include Iben and Curator, New quiring movement and Curators for Kim? Margrethe Aanestad Elstroem, David Museum, New York duration’. Contemporary Art and Else Leirvik, Co- Shushan, Tisa Pick- 4 May–1 July 2012 Curator: William Seeto, Centre, Riga, Latvia curators and Artists ering, Fabien mar NOK 20 000 Independent Cura- 23–26 October 2012 for Open Source Ques and Katrine tor and Artist for NOK 4 220 Gallery, New York Holmgren. G: Heidi Kårtveit and Tin Sheds Gallery, 24–31 March 2012 Curator: Katrine Holm- Magnhild Øen Nor- Sydney NOK 20 000 gren, Independent dahl 12 July–4 August 2012 Curator, Glasgow b.1983 in Bergen, NOK 26 000

84 85 Recipients during 2011 G: Hariton Pushwagner G: Jet Pascua tiansand, Norway, to participate within 4th Quarter b.1940 in Oslo, Nor- b.1969 in Manila, lives and works in the Nordic Pavilion at Grants allocated for way, lives and works Philippines, lives and Kristiansand and the Dak’Art Biennial International Biennials in Oslo, Norway works in Tromsø, Oslo, Norway; in Dakar, Senegal. and Institutional Grants PS: Hariton Pushwagner Norway b.1978, Kristiansand, According to cura- for Solo Exhibitions was invited to hold PS: Jet Pascua was in- lives and works in tors Power Ekroth his first international vited to participate Oslo and Marita Muuko- G: Mai Hofstad Gunnes institutional solo within the Jakarta Art PS: Erik Pirolt and Tori nen, the exhibition, b.1977 in Lørenskog, exhibition at the Mil- Biennale 14 at the Wrånes were in- titled META-RE- Norway, lives and ton Keynes Gallery in National Gallery of vited to participate ALITIES, ‘poses in a works in Brussel, Milton Keynes, UK. Fine Art in Jakarta, within the 2012 playful way the ques- Belgium According to cura- Indonesia. Accord- Colombo Art Bien- tion of whether or PS: Mai Hofstad Gunnes tor Natalie T. Hope ing to curator Eileen nale in Colombo, Sri not can art function was invited to hold O’Donnell (b.1979 in Legaspi Ramirez, the Lanka. According as a meta-structure a solo exhibition Lørenskog, Norway, overall theme of the to curator Roman of the realities we project at WIELS lives in works in Lon- biennale, ‘Maximum Berka, the biennale’s live in, and is that the Contemporary Art don, UK), the exhibi- City’, ‘logically creat- theme of ‘Becom- only meta-structure Centre in Brussels, tion ‘is a focused ed a picture of a city ing’ investigated ‘the we have despite of Belgium. The result presentation of early bursting at its seams, idea of potentiality geo-cultural etc. dif- of her nine-month work, arranged in this trope of develop- within transforma- ferences?’ Hansen, residency at WIELS, three groupings: ment also suggested tion or movement, a the curators write, is a project titled Bike “Soft City” provides an implied need – for transformation that a part of a group of and Bolex, consists the narrative content new people, new is initiated and in artists who are ‘shak- of a 16mm film and of much of the artist’s expertise that may progress’. Pirolt and ing realities more a series of collages. work; the “Family of not have initially been Wrånes developed directly by creating According to the art- Man” section focuses present amidst an a site-specific instal- alternative cultures ist, the film features on his prints, sketch- initially homogenous lation and perform- driven by dreams, by ‘five women operat- es and process; and population’. Pascua ance project for expanding, question- ing professional the “Apokalypse contributed with their contribution to ing and re-creating Bolex 16mm film Frieze” demonstrates works that reference the biennale. Other boundaries between cameras while bicy- the zenith of his tech- the complex issues participating artists economy, corporate cling in a park – an nical and imaginative related to migration included Vimukthi Ja- ideas, utopia, society action which seems accomplishments’. and assimilation. yasundara, Anomaa and art’. Other partic- almost impossible’. The exhibition is Other participating Rajakaruna and Pala ipating artists include A catalogue with scheduled for travel artists included Ai Pothupitiye. Nathalie Djurberg, an essay by French to the Boijmans Mu- Weiwei, Cai Zhisong, Curator: Roman Berka, Matti Kallioinen, art historian Benoît seum in Rotterdam, Dylan Martorell, Felix Curator, Colombo Parfyme, Jesper Just, Lamy de La Chapelle The Netherlands, and Bacolor, Julie Rrap Art Biennial 2012, Teemu Mäki and Egill accompanies the the Vestfold Haugar and Sandra Nyberg. Colombo Säbjörnsson. exhibition. Kunstmuseum in Curator: Eileen Legaspi 15–19 February 2012 Curators: Power Ekroth Curator: Devrim Bayar, Tønsberg, Norway. Ramirez, Guest Cu- NOK 30 000 and Marita Muuk- Residency Curator, Curator: Natalie Hope rator, Jakarta Biennial konen, Curators, WIELS Contem- O’Donnell, Independ- 2011, Jakarta G: Bjørn-Kowalski Dak’Art Biennial porary Art Centre, ent Curator for Milton 15 December 2011–15 Hansen 2012, Dakar Brussels Keynes Gallery, Mil- January 2012 b.1979 in Nesttun, 11 May–10 June 2012 18 February–11 March ton Keynes NOK 20 000 Norway, lives and NOK 28 000 2012 29 June 2012–1 June works in Oslo, Nor- NOK 24 500 2013 G: Erik Pirolt and Tori way NOK 300 000 Wrånes PS: Bjørn-Kowalski b.1977 in Kris- Hansen was invited

86 87 JET PASCUA Excessive Delicacy (2007) / Mixed Media / Variable Dimensions / Courtesy of the Artist

AURORA PASSERO !e Sun’s Corona (2011) / Woven and hand dyed nylon / 320×110×50 cm / / Courtesy of the Artist

ELSE LEIRVIK Installation view of I am place (2011) / Wood, paint, AURORA PASSERO aluminium / Courtesy of the Fan Their Hearts, Inflame Artist Them More (2010) / Woven and hand dyed nylon / MAGNHILD ØEN NORDAHL 500x700 cm / Courtesy of Installation view of the Artist Velkommen til damsgårdsundet (2010) / Mixed Media / Courtesy of the Artist

88 MARIUS ENGH No Surrender (2002) / Wall painting, glossy, transparent acrylic painting medium / Variable dimensions / Courtesy of the Artist

RANDI NYGÅRD Growt and Movement Freidrich and Minerals (2010) / books / Courtesy of the Artist

ERIK PIROLT and TORI WRÅNES Stills from the video The Eccobrothers (2012) and from the documentation of the MAI HOFSTAD GUNNES performance The Opposite is Bike and Bolex (2011) / also True 2 / Photo: Petter Production stills / Courtesy Napstad / Courtesy of the of the Artist 90 Artists 91 HEIDI KÅRTVEIT Installation view of Lost value (Discarded frames from a museum) (2011) / Mixed Media / Courtesy of the Artist

MARGRETHE AANESTAD Installation view of Lig ht Breaking (2011) / Colour pencil on paper / Courtesy OLE MARTIN LUND BØ of the Artist Installation view of Untitled (2011) / Glass and canvas / 120×100×30 cm / Courtesy of the Artist

92 93 03-FUNDING Recipients during 2011 architecture. The 1st Quarter visual and linguistic OCA was allocated 03–funds to In 2011, OCA received an overall Grants allocated for narratives of both frame a programme of support un- request for funding from 35 sub- International Biennials films featured in the derwritten by the Norwegian Minis- mitted applications in the amount and Institutional Grants exhibition focus on try of Foreign Affairs for enhancing of 1 460 946 NOK in the area of for Solo Exhibitions the “parallax gap” in collaboration in the contemporary 03–funds. As a consequence of four with 03–funding the relation between art field with professional artists juried meetings, 330 200 NOK was subjectification and in countries designated by the allocated toward 21 projects (60%), G: Pelin Tan for DEPO, space, and the range MFA. The purpose of the 03–funds, residencies, and exchanges associ- Istanbul, Turkey of vision between as allocated to OCA, is to further ated with countries designated by PS: Knut Åsdam (b.1968 subject, object, develop cooperation and profes- the MFA as 03. in Trondheim, Nor- space and gaze’. sional networking between OCA way, lives and works Curator: Pelin Tan, Inde- and the constituency of artists, in Oslo, Norway) was pendent Writer and independent cultural producers, invited to hold a solo Curator, Istanbul and organizations located in desig- exhibition at DEPO, 18 June–23 July 2011 nated countries or associated with Istanbul, Turkey. NOK 35 000 these countries. This includes, but Titled ‘The long gaze is not limited to, ‘professional re- – The short gaze’ search visits by cultural producers, the exhibition was artists, and curators’, ‘short-term curated by Pelin Tan residencies for cultural producers presenting Åsdam’s and artists’, ‘the development of films produced in seminars, conferences, art projects, the last two years: workshops, etc. that focus on the Abyss (2010) and further development of professional Tripoli (2010). These exchange and networking between films were previously and among countries’, and ‘project presented at Tate development (and pilot projects) on Modern (2011) and an international scale’. at Bergen Kunsthall (2010) as well as in several film festivals. ‘The films are set in urban environments marked by dramatic change and they focus on disruption of perception and the distance between individuals, objects, places, and other inhabitants in their environments. In his works Knut Åsdam explores the limits of subjectification in urban and po- litical space through sound, film, video, photography and

94 95 Recipients during 2011 ‘Life in Schools #2’, of five thirty-six hour proaches to social, 1st Quarter a seven-day work- residencies as part political and econom- Grants allocated for shop and exhibition of the project ‘Space ical issues that affect International Support at the International Station’. Conceived the voiceless and with 03–funding Academy of Art, in collaboration with marginalised groups Ramallah, Palestine. nOffice – based in society who are G: Kunsthall Oslo, Oslo, According to the in Berlin, Germany ironically the majority Norway project curator the and London, UK –, in numbers alone’. In PS: Nigerian artist Lemi main purpose of ‘Space Station’ in- addition to using the Ghariokwu (b.1955 the workshop and vited artists to work art space as a base in Lagos, Nigeria, exhibition is to place within a specifically of operations, the lives and works in ‘greater emphasis on designed ‘Space artists are producing Lagos, Nigeria) was self-reflection and Enabler’ that incorpo- public interventions invited to participate discussion about rated different func- in the streets and within the group pedagogy, student tional elements and parks of Nairobi as a exhibition ‘Another and teacher roles reconfigured 0047’s means to ‘retrace the Music’ at Kunsthall and art education, gallery space. Istan- hotspots of violence’ Oslo, Oslo, Norway. in the art academy’. bul-based artist Can during the contested According to the Developed in col- Altay is interested ‘in elections of 2008. curator Will Brad- laboration with art- unorthodox appro- Organiser: Danda Ja- ley, the exhibition ists Jeanette Chris- priations of the built roljmek, Director, presented ‘works by tensen (b.1958 in environment’. Kuona Trust, Nairobi artists whose prac- Oslo, lives and works Curator: Markus Miessen, 8–23 May 2011 tice concerns with in Oslo) and Jesper Ralf Pflugfelder and NOK 15 000 the complex relation Alvær (b.1973 in Magnus Nilsson for between image, Copenhagen, Den- nOffice and Suzana music and politics’. mark, lives and works Martins for 0047, A frequent collabora- in Oslo), the project Oslo tor with the musician also highlighted the 27 May–25 June 2011 Fela Kuti, Ghariokwu very different ‘situ- NOK 5 000 has designed over ational frameworks’ two thousand record of art education in G: Victor Mutelekesha covers and is widely Norway and Pales- b.1976 in Chililabom- credited with de- tine as a reflection bwe, Zambia, lives veloping the visual of the ‘wider political and works in Oslo, identity of Afro-beat and international eco- Norway culture. nomic realities of the PS: Artists Victor Mutele- Curator: Will Bradley, two countries’. kesha and Samuel Curator, Kunsthall Organiser: Ane Hjort Ghitui organised the Oslo, Oslo Guttu, Artist and project ‘A Thin Line 23 February–1 March undertaker for the In- Between Art and 2011 ternational Academy Activism’ at the Kuo- NOK 10 000 of Art, Ramallah na Trust Art Space, 14–21 March 2011 Nairobi, Kenya. Ac- G: Ane Hjort Guttu NOK 30 000 cording to the artists, b.1971, Oslo, Nor- this two-week festival way, lives and works G: 0047, Oslo, Norway of ‘unhindered ex- in Oslo PS: 0047, Oslo, Norway pression’ articulated PS: Ane Hjort Guttu was invited Turkish art- ‘more progressive, invited to present ist Can Altay in one positive and fair ap-

96 97 ANE HJORT GUTTU GEIR HARALDSETH KNUT ÅSDAM VICTOR MUTELEKESHA ‘Life in Schools II’ / Participation of Geir Installation of Abyss (2010– ‘A Thin Line Between A one-week workshop at Haraldseth within ‘New 2011) at Depo Instanbul / Art and Activism’ / International Academy of Art Methods / Nuevos Métodos Chain-link fence projection A project organised Palestine, Ramallah / 14–21 / Novos Métodos’/ A installation with back- by the artists Victor March 2011 Symposium at the Museum projection screen, cement Mutelekesha and Samuel of Contemporary Art, Miami seating and film / Ghitui at the Kuona Trust organised by Ruba Katrib / 43 min, colour, 5.1 audio / art space, Nairobi 4–6 May 2011 35 mm film to HD / 1:1,77 aspect ratio / Courtesy of the Artist

98 99 Recipients during 2011 Theodor Ringborg, Recipients during 2011 tiansand, Norway Street Festival 2011, 2nd Quarter Artistic Director 2nd Quarter PS: Milena Bonilla was Beirut, Lebanon, Grants allocated for of Milliken Gallery, Grants allocated for invited to participate with the performance International Biennials Stockholm, Sweden; International Support in the ongoing series A Perfectly Safe and Institutional Grants Aura Seikkula, PhD with 03–funding ‘Opus Incertum’ in Hide-out. According for Solo Exhibitions Student Fellow at the group exhibition to Halsøy, the work with 03–funding the Finnish Doctoral G: Art Video Exchange, titled ‘Screaming drew upon ‘ques- Programme in Social Oslo, Norway From The Moun- tions and situations G: Punkt Ø AS, Moss, Sciences, Helsinki, PS: Igor Bošnjak and Elie tain’ at Sørlandets inspired by “real life” Norway Finland; Christian Souaiby were invited Kunstmuseum, Kris- conditions, politics, PS: Naeem Mohaiemen Skovbjerg Jensen, to participate within tiansand, Norway. social structures and was invited to par- Independent Cura- Art Video Exchange According to the (hi)stories of society’. ticipate at the 6th tor and Writer; and (AVE), a two-day in- museum, ‘Opus In- Together with Sara Momentum Biennial, Marianne Zamecznik, ternational exchange certum’ was a series Christophersen and Moss, Norway, titled Independent Curator, programme hosted of installations where Helle Siljeholm she ‘Imagine Being Here Exhibition Designer by Atopia, Oslo, works by artists from created a site-spe- Now’. For the exhibi- and Writer for the 6th Norway. According near and far were set cific performance tion, Naeem Mohaie- Momentum Biennial, to AVE, their goal of into a dialogue with combining dance, men has been in- Moss the programme was our own collection’. visual art and music. vited to continue and 18 June–2 October 2011 to ‘foster a greater Previously invited The project was pre- develop his latest NOK 17 000 appreciation of video artists include Cho sented in the Barakat project ‘The Young art and an exchange Duck Hyun and Rhee Building/Beit Beirut Man Was No Longer of ideas between Ki Bong (South Ko- on 1 and 2 October A...’ (2006-2011). artists, curators and rea) and the Danish 2011. Built in 1924, According to the audiences world- collective A Kassen. Beit Beirut used to curators, ‘Mohaie- wide’. As a nomadic The curator Pontus house upper middle men uses text, photo, programme, AVE Kyander states that class families until video and archives to does not have a dedi- Bonilla ‘contributed the outbreak of the explore histories of cated space so they with several series civil war in 1975, the international left, rely instead on col- from her previous when it became a utopia/dystopia slip- laborations with dif- collection and pro- vantage point for page, post-partition ferent organisations duced a new work for snipers due to its South Asia, and glob- and spaces. For the the third installment strategic location on ally interlinked secu- AVE programme at of “Opus Incertum”’. the dividing ‘Green rity panic. Working Atopia, eight artists/ Curator: Pontus Kyander, Line’. In 1997 it between two coun- curators were invited Director, SKMU was sentenced for tries, Mohaiemen from Lebanon, Bos- Sørlandets Kunstmu- demolition, but was sometimes explores nia & Herzegovina, seum, Kristiansand saved in 2003 by the the contradictions Serbia, Russia, USA, 25 June–25 September efforts of officials, between Bengalis Hong Kong, Sweden 2011 architects, heritage in marginal migrant and Norway. NOK 15 000 activists, journalists status, and majoritar- Curator: Mona Bentzen, and NGOs. This was ian (and authoritar- Artist and Organizer, G: Mari Meen Halsøy the first and last time ian) roles in their own Art Video Exchange, b.1978 in Porsgrunn, a performance was country’. Oslo Norway, lives and being staged in the Curators: Markús Þór 3–4 June 2011 works in Oslo, Nor- building, which is Andrésson, Inde- NOK 4 400 way scheduled for resto- pendent Curator, PS: Mari Meen Halsøy ration to accommo- Writer and Docu- G: SKMU Sørlandets was invited to par- date the ‘Museum of mentary Filmmaker; Kunstmuseum, Kris- ticipate in the Beirut Memory’, tracing the

100 101 7000-year history of Recipients during 2011 Oldfield Ford, Søren pated in a number of the city. 3rd Quarter Thilo Funder, Ahmad workshops and lec- Curator: Moustapha Grants allocated for Ghossein, Jean-Luc tures and presented Yamouth, Director, International Support Godard and Anne- their work with the The Beirut Street with 03–funding Marie Miéville, Mari- Pad.ma. Other partici- Festival 2011, Beirut anne Heier, Runhild pating artists included 1–2 October 2011 G: Kunsthall Oslo, Oslo, Hundeide. Shambhavi Kaul and NOK 9 000 Norway Curators: Per Gunnar Josh Gibson, Ran- PS: Hassan Khan and Eeg-Tverbakk, Elisa- jani Mazumdar, Ira Dina Danish were beth Byre, Will Brad- Bhaskar and Devyani invited to participate ley, Curatorial Team, Saltzman. MARI MEEN HALSØY within ‘Run, comrade, Kunsthall Oslo, Oslo Curator: Madeleine Park, Set Location: The Egg (2011) / run, the old world is 16 September–16 Octo- Manager, Trøndelag Beirut Street Festival ‘Edition behind you’, a series ber 2011 Senter for Samtids- 9’, Beirut, Lebanon / Photo: of 23 presentations NOK 12 000 kunst (TSSK), Trond- Mari Meen Halsøy / Courtesy of of artists’ work, heim the Artist screenings, readings G: Trøndelag Senter 1–30 October 2011 and performances for Samtidskunst NOK 12 000 during a month peri- (TSSK), Trondheim, od at Kunsthall Oslo, Norway G: Anders Smebye Oslo, Norway. Ac- PS: Artists Shaina b.1975 in Oslo, Nor- cording to curators Anand and Ashok way, lives and works Per Gunnar Eeg-Tver- Sukumaran – part in Oslo bakk, Elisabeth Byre of Public Access PS: Anders Smebye and Will Bradley, part Digital Media Ar- was invited to par- of the inspiration for chive or Pad.ma for ticipate in ‘La Otra the project ‘came short – were invited – Contemporary Art from the events of to participate in the 2011’ in Bogotà, the so-called “Arab collaborative project Colombia. According Spring”, in particular ‘India on Film’ organ- to curators Alejandro the revolutions in ised by the Trøndelag Burgos, Carla Machi- Egypt and Tunisia, Senter for Samtid- avello and Marius and the proposition skunst (TSSK) in Wang, the ‘main made by theorists Trondheim, Norway in curatorial frame of that the world was association with Kos- La Otra focused on entering a potentially morama Cinemateket site-specific con- transformatory cri- Trondheim and the temporary art in an sis more profound Norwegian University architectural conser- than that of the late of Science and Tech- vation building from 1960s and early nology in Trondheim, the 1950s located in 1970s’. A key part of Norway. According a peripheral part of MARI MEEN HALSØY the project was the to the organisers, downtown Bogotà’. I Was Told to Patch all involvement of artists ‘“India on Film” fo- Smebye presented Waking Moments / Beirut from Egypt such a cused on popular a textile sculpture Street Festival ‘Edition 9’, Hassan Khan and cinema, documentary titled Eldorado, a Beirut, Lebanon / Photo: Dina Danish. Other film and experimental project he describes Mari Meen Halsøy / Courtesy participating artists film produced in India as ‘based on the of the Artist included The Art and by the Indian mobile toilets the Militia, Øyvind Berg, Diaspora’. Anand and USA military use in Marius Engh, Laura Sukumaran partici- Afghanistan’.

102 103 Curator: Elisabeth Vollert, Ramallah and Elisa- G: Per Teljer PS: Claudia Reinhardt Director, La Otra, beth Byre, Curator, b.1970, Smögen, participated within Bogotà Kunsthall Oslo, Oslo Sweden, lives and the exhibition and 19–26 October 2011 1 December 2011–1 May works in Oslo, Nor- seminar ‘Bygdedyret NOK 10 000 2012 way –criticus infernalis’ NOK 15 000 PS: Per Teljer was invited at META House in G: Jumana Manna and to participate within Phnom Penh, Cam- Sille Storihle G: Jannicke Låker the exhibition and bodia. ‘Bygdedyret’ b.1987 in New b.1968, Drammen, seminar ‘Bygdedyret (the village animal) is Jersey, USA, lives Norway, lives and – criticus infernalis’ not, as the curators and works in Los works in Berlin, Nor- at META House in Claudia Reinhart and Angeles, CA, USA; way Phnom Penh, Cam- Per Teljer describe, b.1985, Tromsø, Nor- PS: Jannicke Låker was bodia. ‘Bygdedyret’ ‘an animal in a regu- way, lives and works invited to participate (the village animal) is lar sense, but rather a in Los Angeles, USA within the exhibition not, as the curators mental monster com- PS: Jumana Manna and and seminar ‘Bygd- Claudia Reinhart posed of a corporate Sille Storihle were edyret – criticus infer- and Per Teljer de- state in small com- invited to conduct a nalis’ at META House scribe, ‘an animal in munities’. Reinhardt’s Study for Eldorado lecture at the Inter- in Phnom Penh, Cam- a regular sense, but contribution to the ANDERSLa Otra 2011 SMEBYE national Academy bodia. ‘Bygdedyret’ rather a mental mon- seminar and exhibi- Study for Eldorado (2011) of Art Palestine in (the village animal) is ster composed of a tion focused on ‘her / La Otra, Fondacion Ramallah, Palestine, not, as the curators corporate state in personal develop- Valenzuela y Klenner, Bogotà in relation to their Claudia Reinhart and small communities’. ment as an artist and / Courtesy of the Artist

research and prelimi- Per Teljer describe, Teljer’s contribution how she uses her The Stonewall Nation, 2011 Sille Storihle

nary shooting for the ‘an animal in a regular to the seminar and individual history in Project about gay nationalism in California in the 1970s. production of their sense, but rather exhibition focused art’. Other participat- filmOsloånden: The a mental monster on ‘male problems ing artists included Oslo Peace Accords. composed of a cor- in a wealthy, spoiled Morgan Schager- According to the art- porate state in small society where the berg, Per Teljer and ists, the project ‘ex- communities’. Låker’s concept of solidar- Jannicke Låker. plores Norway’s role contribution to the ity has died away’. Curators: Claudia Rein- as a rising interna- seminar and exhibition Other participating hardt and Per Teljer, tional political player, focused on ‘female artists included Mor- Artists and Inde- examining notions figures in her work gan Schagerberg, pendent Curators for Detail, “Brother Don Has a Dream“ of peace-making, concerning power Jannicke Låker and META House, Phnom solidarity and inter- and fear, sexuality and Claudia Reinhardt. Penh Installation view, Kuk og Parfyme no. 2 ventionism through shame’. Other partici- Curators: Claudia Rein- 3–21 February 2012 JUMANA MANNA AND SILLE the case study of pating artists included hardt and Per Teljer, NOK 10 000 STORIHLE the Oslo Peace Ac- Morgan Schagerberg, Artists and Inde- Lecture at the IAAP and cords’. The resulting Per Teljer and Claudia pendent Curators for Research and preliminary docu-fiction film will Reinhardt. META House, Phnom filming for short film: The be presented in an Curators: Claudia Rein- Penh Oslo Peace Accords (working exhibition scheduled hardt and Per Teljer, 3–21 February 2012 title) at Kunsthall Oslo, Artists and Inde- NOK 10 000 Oslo, Norway in pendent Curators for 2012. META House, Phnom G: Claudia Reinhardt Curators: Khaled Hou- Penh b.1964, Viernheim, rani, Arts Director, 2–21 February 2012 Germany, lives and International Acad- NOK 10 000 works in Bergen, emy of Art Palestine, Norway

104 105 Recipients during 2011 4th Quarter G: Art Video Exchange Grants allocated for (AVE), Oslo, Norway International Support PS: Igor Bošnjak and with 03–funding Elie Souaiby were invited to participate G: Jorunn Hancke within the Art Video Øgstad Exchange (AVE), a b.1979 in Bærum, two-day international Norway, lives and exchange programme works in Oslo, Nor- in collaboration with way Small Projects in PS: Jorunn Hancke Øg- Tromsø. According stad was invited to to AVE, the goal of present a perform- the programme is to ance project and ‘foster a greater ap- exhibition at the El preciation of video Parche Artist Resi- art and an exchange dency programme in of ideas between art- Bogotà, Colombia. ists, curators and au- According to the diences worldwide’. artist, her work ‘cites As a nomadic pro- the formal language gramme, AVE does JET PASCUA of abstraction and not have a dedicated Installation view of minimalism, but the space so they rely Excessive Delicacy (2007) / focus is not on the instead on collabora- Mixed Media / Courtesy of analysis of form and tions with different the Artist content, but rather organisations and

on playing through spaces. For the AVE these elements of programme at Small style in order to Projects, eleven art- go beyond their ists/curators have logic’. At El Parche, been invited from she used Samuel nine countries. Beckett’s play Quad Curator: Mona Bentzen, (1981) as a point of Artist and Organiser, departure to engage Art Video Exchange, local performers in Oslo the development of 20–22 April 2012 a collaboration the NOK 12 800 manifests itself in a performance and exhibition. Curator: Olga Robayo and Marius Wang, Founders and Cu- rators, El Parche, Bogotà 1–28 February 2012 NOK 20 000

106 107 Biennials and Ida Ekblad at the 54th Interna- of contemporary artists. According to tional Art Exhibition, La Bien- the curator, Ida Ekblad not only fit per- nale di Venezia fectly into this context, but is also to be Major Solo Exhibitions ‘ILLUMInazioni – ILLUMInations’ considered as ‘one of the key figures 54th International Art Exhibition, of her generation’. La Biennale di Venezia Curated by Bice Curiger About the artist Giardini and Arsenale, Venice, Ida Ekblad (b.1980 in Oslo, Norway, Italy lives and works in Oslo) has a Masters 4 June–27 November 2011 degree from the National Academy of Art, Oslo, Norway, in 2007, and Bice Curiger, Director of the 54th In- in 2008 she attended the Mountain ternational Art Exhibition, La Biennale School of Arts, Los Angeles, CA, di Venezia, invited artist Ida Ekblad to USA. Recent solo exhibitions include participate in the 2011 edition of the ‘Poem Percussion’, Bergen Kunsthall, biennale entitled ‘ILLUMInazioni – IL- Bergen, Norway; ‘Digging. Treas- LUMInations’ on view in Venice from ure’, Bonniers Konsthall, Stockholm, 4 June trough 27 November 2011. Sweden; ‘A Clothespin Left Behind Ekblad’s contribution within ‘ILLUMI- on a Line’, Herald Street, London, nazioni – ILLUMInations’ consisted of UK; ‘Entschlafen zum Hafen Glück an installation mostly created during und Leid Vergangenheit’, Galerie Giti a recent residency in Bali, Indonesia, Nourbakhsch, Berlin Germany and taking Ekblad’s own poem A Caged ‘What Leaf? What Mushroom?’, New Law of the Bird the Hand the Land as Jersey, USA and Basel, Switzerland. a starting point. She has participated in group exhibi- tions at institutions such as the New ‘ILLUMInations’ drew attention to the Museum, New York, USA; the Museum importance of the development of of Contemporary Art, Miami, FL, USA; international art in a globalised world. the Swiss Institute, New York; White ‘I am particularly interested in the Columns, New York; Art in General, eagerness of many contemporary art- New York; the National Museum, Oslo; ists to establish an intense dialogue La Kunsthalle, Mulhouse, France; the with the viewer, and to challenge the Astrup Fearnley Museum of Modern conventions through which contem- Art, Oslo; Fotogalleriet, Oslo; UKS, porary art is viewed’, said Curiger. Oslo; Preus Museum, Horten, Norway The exhibition gave special attention and MOMENTUM 2009, 5th Nordic to the generation of younger artists Biennial of Contemporary Art, Moss, mixing traditional techniques such as Norway. oil painting and casted sculptures, and performative attitude into their art practice. This response resulted for in- stance in exhibiting three paintings by the Venetian baroque master Jacopo Tintoretto as an entrance to the entire concept. ‘ILLUMInations’ looked for parallels in Tintoretto’s ‘energetic art’ and the ecstatic painting technique

108 109 Nomeda & Gediminas Urbonas One & The Many (2010), which was MCA Chicago, New Museum, Musée Åsa Sonjasdotter, Hans Hamid and Elmgreen & Dragset at the originally produced for an exhibition d’Art moderne de la Ville de Paris, Rasmussen, Mahlet Ogbe Habte Fourth Moscow Biennale at ZKM | Museum of Contemporary Hamburger Bahnhof, MMK Frankfurt, and Jana Winderen and Synnøve ‘Rewriting Worlds’: The Fourth Art, Karlsruhe, Germany. According Louisiana Museum, Moderna Museet, G. Wetten at the Göteborg Inter- Moscow Biennale of Contempo- to Weibel, Celebrity ‘thematises the Bergen Kunsthall and Kunsthalle national Biennial for Contempo- rary Art mechanisms of medial ensnarement Zürich. In 2009 they were officially rary Art Curated by Peter Weibel and contemporary myth building, and representing Norway at the 53rd Inter- ‘Pandemonium: Art in a Time Moscow, Russia how the tabloid press pushes count- national Art Exhibition, La Biennale di of Creativity Fever’, Göteborg 23 September–30 October 2011 less people into a state of disinterest Venezia. International Biennial for Contem- and non-participation in the face of porary Art The theme of the Fourth Moscow social injustices and urgently needed Curated by Sarat Maharaj, Dor- Biennale, according to curator Peter social changes’. othee Albrecht, Stina Edblom and Weibel, ‘can be formulated in a way Gertrud Sandqvist close to but not identical with the About the artists 10 September–13 November famous Karl Marx’s phrase, “Philoso- Nomeda & Gediminas Urbonas both 2011 phers have only interpreted the world attended the Art Academy of Vilnius, in various ways – the point, however, is where they completed their studies in Göteborg International Biennial for to change it”’. He goes on to describe 1994. From 1993–97, they created the Contemporary Art’s theme ‘Pandemo- ‘Art as a sphere of human activities art project Jutempus, which centres nium: Art in a Time of Creativity Fever’ gives individual artists the chance on the interfaces between social and was inspired by John Milton’s epic to convert their ideas into reality and artistic practice and enquires after the Paradise Lost (1671). According to “re-write” the world by means of their position of contemporary art in (post- Sarat Maharaj, he sought to give the works. Art is the medium of individual Soviet) society. In 2000, they founded participating artists a platform ‘to mull agency and as such it can act as a the interdisciplinary laboratory for over the turbulence and turmoil that is model for all individuals’. media art, Vilma. In 2005, they initiated today’s world. Is it only about a sense the Pro-Test Lab, a project abolishing of hurly-burly, disorder and dismal According to Urbonas and Urboniene, the borders between art, protest and confusion – of sheer pandemonium? their installation for the biennale, titled civil commitment. Nomeda & Gedimi- Or is it also about transformation and Splitnik, ‘is a device to facilitate dis- nas Urbonas have received numerous creative emergence – the making of cussion about the future, ideologies fellowships and awards. In 2002, they new worlds, possibilities and para- and culture. It is a performing and a were represented at Documenta11 in digms?’ While we in Europe witness rewriting of the book, The Passing Age Kassel, and in 2007, with Villa Lithua- ‘risk, uncertainty and disequilibrium’ (1974), by Russian theorist Aleksandr nia, they were the Lithuanian Pavilion with the economic crash of countries Kukarkin, which analysed Western artists at the 52nd Venice Biennale. like Iceland, Ireland and Greece, non- culture, focusing on film, music and Western modernities such as Asia and visual art’. The project manifests a Michael Elmgreen (b.1961, Copen- the global South are gaining economic process of research by artists Nom- hagen, Denmark) and Ingar Dragset ascendancy. eda & Gediminas Urbonas and writer, (b.1969, Trondheim, Norway) live and Tracey Warr, tracking down Kukarkin work in Berlin and have been collabo- Against this backdrop Åsa Sonjasdot- and his context. Splitnik examines the rating since 1995. Their work explores ter presented her project The Order deployment of culture on both sides of the relationship between art, architec- of Potatoes, which is the result of a the ideological divide during the Cold ture and design through a wide range research project on ‘biopolitical ques- War, and considers the legacies of this of installations, performances and tions on power and knowledge in now and for the future. environmental works. Through the last relation to breeding’. By collecting and decade, they have been showing their cultivating various species of potatoes, Elmgreen & Dragset restaged their works in numerous institutions includ- Åsa Sonjasdotter examines the histori- monumental project Celebrity – The ing Tate Modern, Serpentine Gallery, cal and cultural lineage of the potato

110 111 plant. The Order of Potatoes was curators, ‘City Excavations’ ‘sought to 2005 she was represented at the Expo Elmgreen & Dragset and Nils launched in May 2011, when the po- explore and excavate Gothenburg’s 2005 in Aichi Prefecture, Japan. Bech with Bendik Giske and tatoes were planted outside the Röda significant vein of connections with Sergei Tcherepnin at Performa Sten Art Centre. the world and highlight them in an Jana Winderen (b.1965, lives and 11 interplay with present day events and works in Oslo, Norway) is a sound Performa 11: the 4th Visual Art Hans Hamid Rasmussen presented concerns’. Wetten organised a gather- artist educated in Fine Art at Gold- Performance Biennial Appareil, in which he used sculptural ing of a group of women from different smiths College in London, UK, and Curated by RoseLee Goldberg embroidery to collect the memories backgrounds who joined in a docu- with a background in mathematics and New York, NY, USA and stories of sailors, ships, harbors mentary performance that took the chemistry from the University in Oslo. 1–21 November 2011 and their mutual relationships. Since shape of a procession developing into Her recent works include ‘Energy Field the mid-1990s, Rasmussen has re- a ‘dynamic demonstration’. Installation’ and ‘Scuttling around in For Performa 11, the artists Elmgreen vealed intricate links and unexpected the Shallows’, Galerie B-312, Mon- & Dragset presented a theatrical dilemmas in relation to language, About the artists tréal, Canada and The Issue Project performance titled Happy Days in the identity and dual cultures, using mainly Åsa Sonjasdotter (b.1966 in Hels- Room, New York, NY, USA; ‘Between Art World in the opening days of the embroidery but also sculpture, photog- ingborg, Sweden, lives and works in Dry Land’, commissioned for the instal- festival at the Skirball Center for the raphy and installations. Tromsø, Norway) is a professor at the lation ‘The Morning Line’ by Matthew Performing Arts. Commissioned by Tromsø Academy of Art, The University Ritchie for the Thyssen-Bornemisza Performa, the play is ‘a darkly comic In Mushroom Walk and Audiences of Tromsø. She has exhibited in venues Art Contemporary, Istanbul, Turkey; self-portrait of the two artists’, drawing Cooking Performance, Mahlet Ogbe such as the Los Angeles County Mu- ‘Colonizers of the undergrowth’, Bo- references from Samuel Beckett’s play Habte seeks to gather her cooking ex- seum of Art, Los Angeles, CA, USA; tanic Sounds, Göteborg, Sweden and Happy Days (1961). The play tells the periences and ‘exhibit them by artistic Konsthall C, Stockholm, Sweden; ‘North Atlantic Drift’, JunKroom, Kyoto, story of two main characters, played means’ with the active participation of Tromsø Kunstforening, Tromsø; The Japan. by actors Joseph Fiennes and Charles an audience. At the opening ceremony Tea Pavilion, 3rd Guangzhou Trien- Edwards, directed by Toby Frow. Ac- of the biennial Habte drew on her nial, Guangzhou, China; Yerba Buena cording to Performa’s founding direc- cooking skills acquired at the Italian Center for the Arts, San Francisco, tor and curator RoseLee Goldberg, Scuola di Arte Culinaria Cordon Bleu, CA, USA and at the Centre for Con- ‘the characters use a droll sensibility inviting the audience to spice the soup temporary Graphic Art, Fukushima, to unveil their personal history togeth- by adding the ingredients themselves. Japan. er, their experience of being a “single work of art”, and their fears about Jana Winderen’s sound installation is Hans Hamid Rasmussen (b.1963 in what will happen to their substantial based on recordings from the Göta Alger, Algeria, lives and works in Oslo, art careers when they break up’. In the Älv river, sampled with recordings of Norway) is an associate professor tradition of Beckett’s absurdist theater, fish and insects from other waters. in the textile department of the Oslo the production took place on a tradi- Together they form a resounding choir National Academy of the Arts. He has tional proscenium stage with minimal of underwater life. With sensitive hy- had solos exhibitions at the Forum Gal- sets designed by the artists. Happy drophones, Winderen listens to sub- lery, Malmö, Sweden; Nordic Art Cen- Days in the Art World also featured a aqueous life, sounds that give us in- tre, Helsinki, Finland; Contemporary cameo by the artists themselves, and formation about the health of the river, Art Centre of Vilnius, Vilnius, Lithuania expanded on the artists’ ironic take on and where the degree of pollution can and the Stenersen Museum, Oslo. contemporary art and the art world’s be measured by monitoring the sounds intrigue with celebrity in general. from surviving insects. Mahlet Ogbe Habte (b.1972 Asmara, Eritrea, lives and works in Bergen, Presented at the New Museum in Artist Synnøve G. Wetten participated Norway) holds a diploma from the collaboration with Art Since the Sum- in ‘City Excavations’, a pre-event to Bergen Academy of the Arts. She has mer of ‘69 and Rhizome, Look Inside the Göteborg International Biennial for participated in group exhibitions at the is based on Nils Bech’s upcoming Contemporary Art, held in the week- Museo Revoltella, Trieste, Italy and at album, which includes collaborations end of 17-19 June. According to the USF Verftet, Bergen, among others. In with Bendik Giske (saxofone and elec-

112 113 tronics) and Sergei Tcherepnin (piano Elmgreen & Dragset About the artists Mette Tronvoll at Landesgalerie and electronics). According to curator ‘Untitled’ (12th Istanbul Bien- Michael Elmgreen (b.1961, Copen- Linz and Haus am Waldsee Hanne Mugaas, ‘the songs are a ret- nial), 2011 hagen, Denmark) and Ingar Dragset ‘Mette Tronvoll: Photographs rospective of sorts, of the chronology Curated by Jens Hoffmann and (b.1969, Trondheim, Norway) live and 1994-2010’ of events of the last six months which Adriano Pedrosa work in Berlin and have been collabo- A Solo Exhibition at Landesgalerie include Bech meeting and breaking up Istanbul, Turkey rating since 1995. Their work explores Linz, Austria with his boyfriend, as well as figuring 17 September–13 November the relationship between art, architec- Curated by Stefanie Hoch and out how to be able to keep doing what 2011 ture and design through a wide range Martin Hochleitner he always knew he loved: performing of installations, performances and 17 February–8 May 2011 and making art’. The 12th Istanbul Biennial explored environmental works. Through the last the rich relationship between art and decade, they have been showing their and About the artists politics, focusing on artworks that works in numerous institutions includ- ‘Mette Tronvoll: Photographs Michael Elmgreen (b.1961, Copen- are both formally innovative and po- ing Tate Modern, Serpentine Gallery, 1994-2010’ hagen, Denmark) and Ingar Dragset litically outspoken. It took as its point MCA Chicago, New Museum, Musée A Solo Exhibition at Haus am (b.1969, Trondheim, Norway) live and of departure the work of the Cuban d’Art moderne de la Ville de Paris, Waldsee, Berlin, Germany work in Berlin and have been collabo- American artist Felix Gonzalez-Torres Hamburger Bahnhof, MMK Frankfurt, 26 June–28 August 2011 rating since 1995. Their work explores (1957–1996). Gonzalez-Torres was Louisiana Museum, Moderna Museet, the relationship between art, architec- deeply attuned to both the personal Bergen Kunsthall and Kunsthalle Mette Tronvoll was invited to present ture and design through a wide range and the political, and also rigorously Zürich. In 2009 they were officially an exhibition at Landesgalerie Linz of installations, performances and attentive to the formal aspects of artis- representing Norway at the 53rd Inter- from 17 February to 8 May 2011. environmental works. Through the last tic production, integrating high mod- national Art Exhibition, La Biennale di Curated by Stefanie Hoch and Mar- decade, they have been showing their ernist, minimal, and conceptual refer- Venezia. tin Hochleitner, curator and head of works in numerous institutions includ- ences with themes of everyday life. the Landesgalerie Linz respectively, ing Tate Modern, Serpentine Gallery, ‘Mette Tronvoll: Photographs 1994- MCA Chicago, New Museum, Musée The biennial was composed of five 2010’ was the artist’s first solo exhibi- d’Art moderne de la Ville de Paris, group exhibitions and more than 50 tion in Austria and a continuation of Hamburger Bahnhof, MMK Frankfurt, solo presentations, all housed in Landesgalerie’s exhibition series on Louisiana Museum, Moderna Museet, a single venue. Each of the group portrait photography, following ‘August Bergen Kunsthall and Kunsthalle shows – Untitled (Abstraction), Un- Sander: Linzer Jahre 1901–1909’ and Zürich. In 2009 they were officially titled (Ross), Untitled (Passport), ‘Fiona Tan: Mirror Maker’. The photo- representing Norway at the 53rd Inter- Untitled (History), and Untitled (Death graphic portraits on display were taken national Art Exhibition, La Biennale di by Gun) – departed from a specific in the period 1994 to 2010 in Norway, Venezia. work by Gonzalez-Torres. Within the USA, Japan and Mongolia among oth- Untitled (Ross) group, Elmgreen & er locations, and include photographs Nils Bech is a singer who focuses on Dragset presented their work The from the series AGE Women 25–90 the performative aspects of music. Incidental Self (2006) which is a large (1994), Couples (1996), Double Por- A key actor in the Norwegian art and shelving system that occupies a wide traits (1998), Isortoq Unartoq (1999), music scene, he has participated in wall space with 500 smaller framed New Portraits (2000–2002), Portraits exhibitions of contemporary art both in photographs of various gay cultural and Architecture (2002), Mongolia Norway and internationally, as well as and everyday life situations on display. (2004), Rena 006 (2006) and Goto performing with his band, Nils Bech, The display references the standard Fukue (2008). In her projects, Mette with musician Bendik Giske, at a wide family photo set-up found in almost any Tronvoll examines the possibilities variety of festivals. Bech combines home around the world, but is exag- of the medium of photography in her sparse a capella versions of contem- gerated both in terms of quantity and immediate environment through her porary and classical music with elec- in its definition of ‘family’. encounters with often marginalised tronica, in a conceptual stage show cultures. Tronvoll’s pictorial language laced with cabaret, contemporary is ‘direct, sober and restrained’. In her dance and sculptural elements. confrontational approach, the very

114 115 meeting between the photographer, Gardar Eide Einarsson at the About the artist Knut Åsdam the portrait subject and the spectator Bonniers Konsthall and at Gardar Eide Einarsson (b.1976 in A retrospective programme at Tate is essential. The exchange of gazes Kunsthalle Fredericianum Oslo, Norway, lives and works in Oslo Modern, London, UK is identified by a concentration that is ‘Power Has A Fragrance’ and New York, NY, USA) studied at Tate Modern, London fundamental to the artist’s practice. A Solo Exhibition at Bonniers the National Academy of Fine Art in 15–16 February 2011 Her serial approach to portraiture de- Konsthall, Stockholm, Sweden Bergen, Norway; Staatliche Hochs- cisively exposes the tensions between Curated by Sara Arrhenius and chule fur Bildende Künste-Städels- Tate Modern, London, UK, presented the individual and stereotype, between Camilla Larsson chule in Frankfurt am Main, Germany; UK premiere of Knut Åsdam’s two new similarities and differences. 16 February–12 June 2011 the Whitney Museum of American Art films, Abyss (2010) and Tripoli (2010), Independent Study Program in New along with a selection of earlier works: ‘Mette Tronvoll: Photographs 1994- and York and the Architecture and Urban Filter City (2003), Blissed (2005), Final- 2010’ was organized by Stavanger ‘Power Has A Fragrance’ Studies Program at the Cooper Union ly (2006) and Oblique (2008). The film Art Museum, Stavanger, Norway, A Solo Exhibition at Kunsthalle in New York. Einarsson’s work has and video installations of Knut Åsdam are and is a collaboration with Bergen Fredericianum, Kassel, Germany been exhibited in many internationally known to explore the politics and poetics Art Museum, Bergen, Norway; 24 June–11 September 2011 acclaimed institutions such as Witte of architecture, space and community. Landesgalerie Linz, Haus am Waldsee, de With, Rotterdam, The Netherlands Youth culture, politics, linguistic psychol- Berlin, Germany and Brandts Museet Gardar Eide Einarsson presented his and Centre Pompidou, Paris, France. ogy, music and everyday life are some of for Fotokunst, Odense, Denmark. An touring solo exhibition ‘Power Has a the coordinates in Åsdam’s network of English/German catalogue published Fragrance’ at Bonniers Konsthall in complex urban narratives. Drawing and by Schirmer/Mosel accompanied the Stockholm and Kunsthalle Frederi- expanding on feminism, queer theory and exhibition. cianum in Kassel during 2011. The Lacanian psychoanalysis, the artist con- exhibition was a collaborative project tinuously explores and exposes subjec- About the artist between the Astrup Fearnley Museum tivities defined by language, public space Mette Tronvoll (b.1965 in Trondheim, of Modern Art, Oslo, Norway; the Rey- and political authority. lives and works in Oslo) studied at kjavik Art Museum, Reykjavik, Iceland; Both programmes were introduced by The New School for Social Research, Bonniers Konsthall and Kunsthalle George Baker, Associate Professor of Parsons School of Design, New York, Fridericianum. Each venue commis- Art History at UCLA. The screenings NY, USA. She has exhibited exten- sioned the artist to create a new piece were followed by Q&A between Knut sively on a national and international of work especially for the exhibition’s Åsdam, George Baker and Tate Curator level for two decades, and her works presentation in their respective spac- Stuart Comer. are represented in a number of public es. ‘Power Has a Fragrance’ explores collections such as The Metropolitan fundamental structures of social con- Abyss portrays an urban reality char- Museum of Art, New York; Moderna flicts in modern societies, presenting acterised by migration and change, the Museet, Stockholm, Sweden and The what the curators call ‘a catalogue movement of people, the movement of National Museum of Contemporary of images of repression while mixing money and power, and the drift of the im- Art, Oslo. architectural, urban and art historical agination. Filmed in East London, includ- references with a specific emphasis ing the Thames Gateway and the fringes on American post-war art, from ab- around the 2012 Olympic construction stract expressionism to Pop art’. By site, the film is set within spaces of the re-contextualizing societal logos, graf- modern city; markets, gyms, parking fiti and slogans from popular culture in lots, parks, squares, streets and stores. the art system, Einarsson constructs The main character, O, negotiates her adept and powerful political ironies, material world, but the city’s economical, which simultaneously serve to criticise political and social demands appear to this manipulation with complex over- have been absorbed into her movements, laid meanings. speech and psychology.

116 117 Tripoli emphasises the relationship Film Festival, Locarno, Switzerland; Inter- between urban identities, political his- national Short Film Festival Oberhausen, tory and architectural traces through Oberhausen, Germany and International the preserved relics of our recent Film Festival Rotterdam, Rotterdam, the past. Tripoli in North Lebanon holds Netherlands. the remains of one of the world’s most distinctive and ambitious construction projects, a stranded vision in the form of an international market place designed by the Brazilian architect Oscar Niemeyer in 1966. On the outbreak of the civil war in Lebanon in 1975 all the work on the extensive project ceased, and the build- ings were never completed. The site is an unfinished monument of an optimistic time in the Middle East and a historic fantasy, in contrast to the ‘real’ everyday modernism of Tripoli, which rises like a wall of apartment blocks behind. Tripoli is part architectural documentary and part theatrical drama.

About the Artist GALLERY D.O.R Knut Åsdam (b.1968 in Trondheim, From Processology to Neo- Norway, lives and works in Oslo, Nor- Relationalism — Chaos to way) studied at Goldsmiths College, Consensus / Performance at University of London, London, UK; the Osloo (2011) / Photo: Jon Jan van Eyck Akademie, Maastricht, the Ove Steihaug Netherlands and in the Independent Study Program, The Whitney Museum of American Art, New York City, NY, USA. He has exhibited at Tate Britain, London, UK; in Manifesta 7, Trentin, Italy; the 2003 International Istanbul Biennial, Istanbul, Turkey; the 1999 and 2003 Venice Biennale, Venice, Italy; Moderna Museet, Stockholm, Sweden; P.S.1, New York, NY, USA and Musée d’Art Moderne de la Ville de Paris, Paris, France. Åsdam has had solo exhibitions in several venues including Bergen Kunsthall, Bergen, Nor- way; Museum Boijmans van Beuningen, Rotterdam, the Netherlands; the Astrup Fearnley Museum of Modern Art, Oslo and Kunsthalle Bern, Bern, Switzerland. HARITON PUSHWAGNER HARITON PUSHWAGNER His films have been presented at film fes- Self-p o rtrait (1993) / 135×85 Installation view of Soft tivals including the Locarno International cm / Pushwagner Collection, City (1969–75) / Pictorial Oslo / Courtesy of the novel, 154 pages / Double Artist pages 41.8×59.7 cm each / Pushwagner Collection, Oslo / Courtesy of the Artist and 118 Milton Keynes Gallery ELMGREEN & DRAGSET Happy Days in the Art World (2011) / Work-in-progress / Courtesy the Artists HANS HAMID RASMUSSEN Studies for Appareil (2011) / Media digital embroidery and wood / Photo: Hans Hamid Rasmussen / Courtesy of the artist

120 121 ÅSA SONJASDOTTER Installation view of The Order of Potatoes (2009– 2011) / Mixed Media / Photo: Åsa Sonjasdotter / Courtesy of the Artist Knut Åsdam Stills from Tripoli (2010) premiered at ‘Knut Åsdam Retrospective’, Tate Modern, London / 24 min, colour, stereo / RED to HD / 1:1,77 aspect ratio / Courtesy of the Artist

122 123 IDA EKBLAD Para-pavillion by Oscar Tua- zon with wallpainting by Ida Ekblad at the 54th Inter- national Art Exhibition, La Biennale di Venezia, Venice / Photo: Luca Campigotto / Courtesy of the Artist ELMGREEN & DRAGSET Installation view (detail) of M e rc u ry (So cks) (2009) at the fourth Moscow Biennale, Moscow / 200×149.5 cm / Laserchrome color print mounted on 4 mm aluminum with 8 mm plexiglass / Photo: Yackov Petchenin / Courtesy Moscow Biennale Art Foundation and the Artists

ELMGREEN & DRAGSET Installation view of The Black and White Diary (2009) / 365 black-and-white and desaturated color prints / Variable Dimensions / Photo: MUSAC and the Artists / Courtesy Galeria Helga de Alvear, Madrid, Spain and IDA EKBLAD the Artists Installation view of A Caged Law Of The Bird The Hand The Land (2011) at the 54th In- ternational Art Exhibition, La Biennale di Venezia, Ven- ice / Mixed Media / Photo: Luca Campigotto / Courtesy of the Artist 124 125 International Studio Programme

NOMEDA & GEDIMINAS URBONAS in collaboratin with Tracey Warr Installation view of Splitnik (2010) / Discursive structure, MDF, video projection, sound, dimensions variable / Courtesy of the Artists

126 127 International residents (artists, February September ISP ACTIVITY IN OSLO curators and critics) are invited to OCA’s International Studio Pro- AMAR KANWAR SVEN AUGUSTIJNEN OCA provides the opportunity for gramme (ISP) for a period of up to Artist Artist ISP residents to meet with artist, three months. The length of the stay b.1964 in New Delhi, India, lives b.1970 in Mechelen, Belgium, curators and critics within different depends on the respective resi- and works in New Delhi lives and works in Brussels, Bel- fields of the cultural scene in Oslo dent’s schedule needs. The resident gium to initiate exchange and cooperation is provided with a professional stu- Amar Kanwar is an artist and filmmaker with institutions and academies. dio, an apartment in a central Oslo based in New Delhi. Emerging from Sven Augustijnen is an artist and film- OCA also invites ISP residents to location, and additional research the Indian sub continent, his films are maker who seeks to enact a paradigm organise lectures, presentations or possibilities during his or her stay. complex, contemporary narratives that shift in terms of the history of cultural workshops open to the public. The residency can be used for inde- connect intimate personal spheres representations of power by exploring pendent research, work on a project of existence to larger social political the specificity of familiar places usually Sven Augustijnen taking place in Norway, teaching processes. His work maps a journey of located in or associated to the history During his stay in Oslo, Augustijnen purposes or for other activities in exploration revealing our relationship of Brussels. Renowned as a subtle was invited to screen his most re- relation to Norwegian contemporary with the politics of power, violence, chronicler of the city, Augustijnen cent feature film Spectres (2011) at culture. OCA maintains three stu- sexuality and justice. Recent solo exhi- recently premiered Spectres (2010), OCA. OCA also organized an addi- dios in its location at Nedre gate 7. bitions have been at the Stediljk Mu- his first feature film, which establishes tional screening of his previous works seum, Amsterdam, The Netherlands, a link between the city of Brussels, its L’Ècole des Pickpockets (2000), In 2011, OCA’s ISP programme saw and the Haus der Kunst, Munich, Ger- current role as administrative capital Le Guide du Parc (2001) and Une the participation of 2 artists who many. He has participated in 11 and of Europe and its country’s colonial Femme Entreprenate (2005) was also extended their residency par- documenta 12 in Kassel, Germany and past. Augustijnen studied at the Royal organised at UKS, the Young Artists ticipation into networked activities is also the recipient of the 1st Edvard Academy of Fine Arts in Antwerp, Bel- Society in Oslo. in the form of public talks, seminars Munch Award for Contemporary Art, gium; the Hoger Sint-Lukas Instituut and presentations organised by Norway and an Honorary Doctorate in in Brussels, and at the Jan van Eyck While in Oslo, Sven Augustijnen held OCA and/or at the invitation of other Fine Arts, Maine College of Art, ME, Academy in Maastricht, the Nether- meetings and research trips to local institutions throughout Norway. USA. His films are also shown at film lands. His films have been included historical museums. He visited the festivals and he has received several in exhibitions and festivals in Athens, Munch Museum with art historian awards like the Golden Gate Award, Greece; Basel and Fribourg, Switzer- Sigrun Rafter, the Henie Onstad Art San Francisco International Film Fes- land; San Sebastián, Spain; Siegen, Centre with the director Tone Hansen, tival, the Golden Conch, Mumbai In- Germany; Rotterdam, the Netherlands; the Kon Tiki Museum with the respon- ternational Film Festival, Jury’s Award, Tunis, Tunisia; Tel Aviv, Israel; Tokyo, sible of information Halvdan Tangen Jr. Film South Asia, Nepal. Japan and Vilnius, Lithuania, among and the Vigeland Museum with curator others. In 2007 he participated in the Trine Otte Bak Nielsen. He also visited This visit was supported by 03–funds documenta 12 magazines project, in the Emanuel Vigeland Mausoleum, the as underwritten by the Norwegian collaboration with A Prior, and in 2011 Fram Museum and Oslo’s City Hall. Ministry of Foreign Affairs for enhanc- he was awarded the Evens Prize for Augustijnen met with artist Mohamed ing collaboration in the contemporary Visual Arts. Ali Fadlabi at the House of Develop- art field with professional artists in ment. He also met with art historian countries designated by the MFA. Ina Blom, film scholar Paula Amad, the Norwegian explorer, art collector and publisher Erling Kagge and Susanne Jaschko from The National Academy of Fine Art in Oslo.

128 129 International Residencies

Artist Sven Augustijnen at the Vigeland Sculpture Park, Oslo Photo: OCA / Asle Olsen

Artist Sven Augustijnen at the Vigeland Museum, Oslo, with curator Trine Otte Bak Nielsen Photo: OCA / Asle Olsen Artist Sven Augustijnen at House of Development, Oslo Photo: OCA / Asle Olsen

130 131 In 2011, the Office for Contemporary 18TH STREET ART CENTER, Art Norway continued the expansion LOS ANGELES, CA, USA of its network of international residen- In 2011 OCA offered a studio resi- cies, which aims to stimulate the glo- dency for a Norwegian artist at the bal perspectives of Norwegian artists International Artists in Residency and cultural producers and strengthen programme at 18th Street Art Center collaborations with renowned interna- in the Santa Monica neighbourhood of tional institutions and professionals in Los Angeles, CA, USA. the field. 1 October/15 November 2011 15 November/30 December 2011* Over the past year, OCA was respon- sible for the continuing Norwegian TERJE NICOLAISEN KRISTIAN SKYLSTAD participation in the Platform China Artist Artist Residency in Beijing, the International b.1964 in Drammen, Norway, lives b.1982 in Oslo, Norway, lives and Studio Programme at Künstlerhaus and works in Oslo, Norway works in Oslo Bethanien in Berlin, the Residency Terje Nicolaisen received his edu- Kristian Skylstad has been working Berlin Mitte, the International Studio cation at the Academy of Fine Art as a photographer, gallerist, cura- and Curatorial Program (ISCP) in New (KHIB), Bergen, Norway, and tor, fiction writer, art critic and video York, the International Artist in Resi- the Academy of Fine Art (NTNU), artist and is dealing with an ongoing dence Programme at WIELS Contem- Trondheim, Norway. He has since conceptual art practice that is mostly porary Art Centre in Brussels and the exhibited extensively in Norway and connected to poetry, which lately has Capacete Residency Programme in abroad. Among his recent exhibitions been built down to give more time Rio de Janeiro and São Paulo, Brazil. are ‘Starving Artist Super Star’ (2011), for his documentaries. The last three Archive Books, Berlin, Germany; ‘Pa- years he’s been working on the 97 min In 2011 OCA offered a studio residen- perwork’, Henie Onstad Art Centre, long documentary Violence of Silence, cy for a Norwegian artist at the Interna- Høvik, Norway (2011); ‘Young Melan- which is made in the aftermath of the tional Artists in Residency programme colic Society’ Kunstnerforbundet, Vietnam War, and is dealing with the at 18th Street Art Center in the Santa Oslo, Norway (2011); ‘Tegneklubben’, ongoing great depression. One year Monica neighbourhood of Los Ange- Grimm Museum, Berlin (2010); ‘The ago he started the artist run gallery les, CA, USA. OCA developed this mind of this death is unrelentingly NoPlace (Oslo) together with Stian residency programme in Los Angeles awake’, Office for Contemporary Art Gabrielsen, Petter Buhagen and Karen between 2010/2011, and announced Norway, Oslo (2009); ‘Museo De Nikgol. His work is mimicking a strong- it in early 2011. The first deadline for Pasatiempo Enlargement’, Kunsthall ly subjective approach, but this is just applications was on 1 May 2011. A Oslo, Oslo (2010); ‘Drawingbiennale’, a method for getting attention towards live/work studio within the 18th Street Momentum Kunsthall, Moss, Norway an extensive output of the collective Art Center complex is provided for a (2010); ‘Books, Texts and Drawing’, research, aesthetics and political period of 3 months: 1 October–31 Galleri Riis, Oslo (2008); ‘Bokaktig’, standpoints of his own generation. December. Fotogalleriet, Oslo (2006); ‘Stilleben/ Rakett’, Projekt 0047, Berlin, Germany * Due to unforeseen circumstances, (2005) and ‘Tegneklubben’, Bergen Terje Nicolaisen was required to Kunsthall/No.5, Bergen (2005). leave the residency. Kristian Skylstad The reader ‘Supplementary Notes replaced him as the pre-selected 1994– 2011 on Selected Proposals alternate. 1995–2005’ was published in con- nection with ‘Paperwork’ at the Henie Onstad Art Centre.

132 133 INTERNATIONAL STUDIO AND CAPACETE, RIO DE JANEIRO CURATORIAL PROGRAM, NEW AND SÃO PAULO, BRAZIL YORK OCA offers a four-month residency OCA offers two studio grants – one programme for artists, curators, cul- for a Norwegian artist and one for a tural producers, independent art crit- Norwegian curator – at the Interna- ics or artists working as writer at Ca- tional Studio and Curatorial Program pacete, a forum and interdisciplinary (ISCP) in New York City. The Ameri- project operating in Rio de Janeiro can Scandinavian Foundation provides since 1997. The residency is divided additional support for the residency between Rio and São Paulo, including programmes at the ISCP. two-month stays in each city. September 2010/May 2011 September 2011/August 2012 September/November 2011 August/November 2011 ELINE MUGAAS ØYSTEIN AASAN PETER AMDAM OLGA ROBAYO Artist Artist Curator Artist b.1969 in Oslo, Norway, lives and b.1977 in Kristiansand, Norway, b.1971 in Molde, Norway, lives b.1972 in Bogotá, Colombia lives works in Oslo lives and works in Oslo, Norway and works in Oslo, Norway and works in Ås, Norway and Eline Mugaas works primarily with the Øystein Aasan received his educa- Peter Amdam is an Oslo-based critic, Bogotá mediums of photography and video to tion at the National Academy of the writer and curator. He has written on Olga Robayo’s works and projects examine urban spaces and vernacular Arts, Oslo. He has since exhibited in contemporary art, literature and fash- deal with issues of migration, ap- architecture. Mugaas brings forth a a number of venues both on a national ion, with a specific interest in where propriation and marginality in the web of connections between different and international level, such as the art intersects with certain poststruc- urban space. Robayo was educated images that combine the private and Astrup Fearnley Museum of Modern turalist and contemporary theories. He at Universidad de Los Andes and subjective with topographic depictions Art, Oslo, Norway; Rogaland Art is also an occasional collaborator of Universidad Nacional de Colombia in of urban environments and architec- Center, Stavanger, Norway; Stenersen the artist Matias Faldbakken. Amdam Bogotá and Statens Kunstakademi, ture. Recently, her work has been Museum, Oslo, Norway; Sørlandets has a diverse background having Oslo where she completed her MFA. shown at Bergen Kunsthall and Preus Art Museum, Kristiansand, Norway; worked in fashion magazines, and is Since 2005 she has worked with the Museum, Horten, Norway. Her film Sparwasser HQ, Berlin, Germany; a well-known figure in the hardcore artist group El Parche (with Herman Skin Flick was screened at MoCAV Kunstverein Arnsberg, Arnsberg, Ger- music scene. Mbamba and Marius Wang) and has Novi Sad, Serbia in 2010. Mugaas many and La Vitrine, Paris, France. He realised diverse installation projects also participates in the zine Album, has also published texts in magazines that seek to make room for perceiving produced with Elise Storsveen. such as Spike Art Quarterly, Neue and understanding different aesthetic Review, Umelec, Billedkunst and Kun- and political experiences. Their work stkritikk.no. have been presented at W139, Am- sterdam, the Netherlands; Al-Mahatta Gallery, Ramallah, Palestine; UKS and Museet for Samtidskunst, Oslo, Nor- way. Since 2009, Robayo has been running El Parche Artist Residency- Bogotá together with Marius Wang.

134 135 KUNSTLERHAUS BETHANIEN, BERLIN MITTE, BERLIN, BERLIN, GERMANY GERMANY OCA offers a year-long residency In 2011 OCA offered four residencies programme for an artist at the Interna- for curators, critics and artists in col- tional Studio Program Künstlerhaus laboration with the KW Institute for Bethanien, Berlin. During the resi- Contemporary Art, Berlin. dency the artist is offered an exhibition at Künstlerhaus Bethanien, directed by January/February 2011 March–April 2011 Christoph Tannert. NATALIE HOPE O’DONNELL MARIE NERLAND December 2010/November December 2011/November Curator Curator 2011 2012 b.1979 in Lørenskog, Norway, b.1972 in Molde, Norway, lives lives and works in London, UK and works in Bergen, Norway STIAN ÅDLANDSVIK LINN PEDERSEN Natalie Hope O’Donnell studied Marie Nerland received a master’s Artist Artist Modern History and Politics at Jesus degree in theatre science from the b.1981 in Bergen, Norway, lives b.1982 in Sortland, Norway, lives College, Oxford and History of Art at University of Bergen and also studied and works in Oslo, Norway and works in Oslo, Norway the University of Oslo. She also holds theater at the University of Antwerp Stian Ådlandsvik graduated in 2006 In Linn Pedersen’s photographic work, a PGDL/LPC postgraduate degree and theatre and performance at the and holds a degree from HfBK in Ham- the documentary merges with poetry in Law and graduated from the Royal State University of New York. She burg and the National Academy of Fine in depictions of discarded consumer College of Art with an MA in Curating studied at the curating programme Arts in Oslo. Through an interplay of goods, landscape sceneries, con- Contemporary Art in 2008. She has at Bergen National Academy of the historical fact and artistic expression structions and human figures demon- worked for the Norwegian National Arts from 2008 to 2010. In 2008, Stian Ådlandsvik maps up unusual stratively turned away from the camera. Touring Exhibitions, the DSV Network Nerland founded Volt, a gallery for connections in international trade and The images are examinations of the in Oslo, and the Whitechapel Art contemporary art based in Bergen, production systems questioning their unstable border between the common Gallery in London. She is currently which presents new art projects by organisational form and examining and the idealised, where atmospheric undertaking a PhD at the London Norwegian and international artists. their infliction on society. He process- conditions, emotional projections and Consortium on institutional curatorial Volt has presented new projects by, es historical and contemporary events contemporary cultural phenomena practices since 1989, while work- among others, PARFYME (Denmark), and objects, which he evaluates and taint the motifs. ‘De innbygde’ in 2010 ing as a freelance writer, curator and aiPotu (Norway), szu szu flying art gal- re-contextualises in the form of draw- at Maria Veie Gallery was her first translator. Her recent curated projects lery (Poland), Jan Christensen (Nor- ings, photographs and sculptures. solo show in Norway, which included include: Tris Vonna-Michell perform- way), Josefine Lyche and Henrik Pask Recent exhibitions include ‘Unfinished photography, sculpture, collage and ance London, UK (2008); ‘Of This Tale (Norway), Milena Bonilla (Colombia) Business’, Waterside Project Space, video/film as well as the artist book I Cannot Guarantee a Single Word’, and Pedro Gomes-Egana (Colombia/ London, UK, ‘The Barentz Triennale’, Stub (Lord Jim Publishing). Other Royal College of Art, London (2008); Norway). Nerland is also a curator and Oslo/Tromsø, Norway/Rovaniemi, recent exhibitions include ‘Scandina- ‘Chelpa Ferro performance’, SPACE, producer at BIT Teatergarasjen. She Finland/Helsinki, Finland/Murmansk, vian Forest’, Akershus Kunstnersenter, London (2007); ‘On - Off Poltergeist’ is co-editor of the Norwegian Art Year Russia/Moscow, Russia, The Draw- Lillestrøm, Norway (2011); ‘X Artworks Mezkalito, Hollybush Gardens, London Book 2010 and editor of the anthology ing Biennale 2010, Moss, Norway, in a straight line (Seeking the perfect (2007); ‘An A - Z of Doubt’ Serpen- 25 with essays on contemporary art. In and W17, Kunstnernes Hus, Oslo with sphere)’, CRISP, London, UK (2010); tine, London (2007). Her curatorial addition, she was co-editor of the Nor- Lutz-Rainer Müller. and ‘Weird Science’, Waterside research interests include issues of wegian journal for performance and project space, London (2010). She cross-cultural translation, feminisms, contemporary art from 1997-2007. holds a BA from the Bergen National approaches to historiography and con- Academy of the Arts, Bergen, Norway temporary conceptions of ‘community’. and an MA from Central Saint Martins in London. Pedersen is currently the curator of ‘LIAF 2011’ (Lofoten Inter- national Art Festival, Lofoten, Norway) together with Thora Dolven Balke.

136 137 PLATFORM CHINA, BEIJING, CHINA In collaboration with the Norwegian Embassy in Beijing, China, OCA of- fered two studio residencies for artists or curators at Platform China Beijing Residency Programme, from 1 March September–October 2011 November–December 2011 until 31 April and from 1 September until 31 October 2011. VICTORIA PIHL LIND MARIT K. FLÅTTER Artist Artist/Curator March/April 2011 September–October 2011 b.1981 in Oslo, Norway, lives and b.1975, Voss, Norway, lives and works in Oslo works in Trondheim, Norway TORGEIR HUSEVAAG PER BJARNE BOYM Victoria Pihl Lind graduated with a MA MARIT K. FLÅTTER graduated from Artist Curator degree from the Academy of fine art in the Department of Fine Arts of the b.1967 in Oslo, Norway, lives and b.1946, Nord-Fron, Norway, lives Oslo in 2008, and a BA from Chelsea Bergen National Academy in 2005. works in Oslo and works in Oslo, Norway College of Art in London. Lind works She works within a social discursive Torgeir Husevaag works with science- Per Bjarne Boym is a curator and art with a variety of media such as video, art practice in which the non-linear based projects in which systematised historian based in Oslo. He served text, photography and performance and cognitive bi-effects of texts and information and game-like activity as director of the National Museum and her recent production investigates ‘forced’ reflection is a performative generates geographical, mental and of Contemporary Art in Oslo (1996- the performative and text-image rela- medium. Since 2010 Flåtter has been social maps, diagrams and educa- 2003). Previously, he worked as a cu- tion in video and performance. Recent working as writer and editor for the tional charts; visualisations of data rator for the collections of the Bergen group shows include, ‘HOLOGHOST, art-discourse initiative and knowledge presented through drawings, artist (1994-1995) and Oslo (1995-1996) Performance in Radom city’, Na- distributor Trondheimkunsthall.com. books and installations. Among his municipalities. Boym has been working tional Center for Sculpture, Oronsko, Her recently curated projects include solo exhibitions are ‘Fluxroutes’, as an independent curator since 2003. Poland, and ‘Endring og stillstand the ongoing text series ‘Artistic Com- Bærum Kulturhus, Sandvika, Norway The exhibitions he curated at the Na- – Hagen som materiale og motiv i promises in Public Space’, for readers (2010); ‘Inflations and expirations’, tional Museum of Contemporary Art in kunsten’ at Galleri F15, Moss, Norway. of the website, with contribution from, Akershus Kunstsenter, Lillestrøm, Nor- Oslo include ‘Illuminations. Art From In 2009 and 2010, Lind co-edited the among others, Dag Wiersholm, Niels way (2009); ‘SuperSystematic’, Trafo Two Millenniums’ (2000), ‘Robert issues Dreampolitics (1-2, 2009) and Henriksen and Simon Harvey. Gallery, Asker, Norway (2008). He has Adams’ (2001) and ‘Shanghai Assem- On Contemporary Art (1-2, 2010) of participated in several group exhibi- blage’ (2003). More recent curatorial UKS-Forum Magazine for Contempo- tions, ‘Swap’, SIM Office, Reykjavik, projects include ‘Summer Art Bjørvika rary Art. Iceland (2010); ‘Drawing-biennial 2005’, Oslo, Norway; ‘14 + 1 Story. 2008’, Kunstnernes hus, Oslo (2008); Touching the Practise’, Museo das ‘Contemporary Scandinavian Art’, Peregrinacions, Santiago de Compos- SMoCA, Scottsdale, USA (2007); tela, Spain (2006); and ‘Yang Fudong’, ‘Schutz und scham’, Gallery COMA, KinoKino, Sandnes, Norway (2010). Berlin, Germany (2006).

138 139 INTERNATIONAL RESIDENCY PROGRAMME AT WIELS CONTEMPORARY ART CENTRE, BRUSSELS OCA offers a residency programme for an artist at WIELS Contemporary Art Centre, Brussels. The programme includes participation within an exhibi- tion organised by WIELS, and an on- line archive of the artist’s work within the institution’s residency blog.

April/December 2011 BERLIN MITTE ISCP NEW YORK CITY MAI HOFSTAD GUNNES Artist: MARIT K. FLÅTTER Artist: ELINE MUGAAS ISCP NEW YORK CITY Artist Knights of the yellow Lig htb ox (2009) / C-print on b.1977 in Lørenskog, Norway, tooth (2010) / Courtesy of pvc / Courtesy of the Artist Curator: PETER AMDAM / lives and works in Oslo, Norway trondheimkunsthall.com Photo: Iris Celine Endresen and Berlin, Germany Through 16mm film, installation and collage, Mai Hofstad Gunnes, has developed a personal imagery based on a type of associative logic, where different layers of reality are tested against each other. Her artistic point of departure derives from an interest in concrete systems of categorisation and the translation of these into a more non-hierarchical formalist language. Her recent films, as attempts to exter- nalise inner worlds, involve perform- ers to focus on the embodiment and personification of architecture and science. Recent exhibitions include ‘Le choix du titre est un faux problème’, Cneai de Paris, Paris, France and ‘Oh how time flies’ at Bergen Kunsthall, Bergen, Norway (both 2011); ‘God- desses’, Museum of Contemporary Art, Oslo, Norway and ‘Pyrrhic For- tune’, Sils, Rotterdam, the Netherlands ISCP NEW YORK CITY (both 2010); and ‘A shape of love you can never imagine’, Oslo Fine Art Artist: ØYSTEIN AASAN Society, Oslo (2009). Gunnes was Installation view from educated at Universität der Kunste, ‘Spot-On’, Sørlandets Berlin, Germany; CCA Kitakyushu, Kunstmuseum, Kristiansand, Japan and Trondheim Academy of Fine Norway (2011) / Courtesy of Art, Norway, where she received her the Artist MFA in 2004.

140 141 KÜNSTLERHAUS BETHANIEN, BERLIN

Artist: LINN PEDERSEN Installation view from ‘De CAPACETE, RIO DE JANEIRO innbygde’ at Galleri Maria AND SÃO PAULO, BRAZIL Veie, Oslo, Norway (2010) /

Courtesy of the Artist Artist: OLGA ROBAYO Inverted North (2007) / Courtesy of the Artist

18th STREET ART CENTER

Artist: TERJE NICOLAISEN Sick Artist II - IV (2011) / Ink and watercolour on paper / 290×420 mm / Courtesy of the Artist

18th STREET ART CENTER WIELS RESIDENCY PROGRAMME Artist: TERJE NICOLAISEN No More Corner Art (2011) Artist: MAI HOFSTAD GUNNES / Inkjet print on paper / Knights of the yellow 210×297 mm / tooth (2010) / Courtesy of 142 Courtesy of the Artist trondheimkunsthall.com 143 International Visitor Programme

144 145 The International Visitor Programme March 2011 April/May 2011 May 2011 (IVP), as initiated by the Office for Contemporary Art, serves as the pri- EUNGIE JOO CHARLES ESCHE LAUREN CORNELL mary research mechanism by which b.1969 in Bellefonte, PA, USA, b. 1962 in Harrogate, UK, lives Lives and works in New York, NY, international curators are provided lives and works in New York, NY, and works in Eindhoven and Edin- USA the opportunity to become familiar USA burgh, UK Adjunct Curator of the New Mu- with individual artist production by Director and Curator of Education Director of the Van Abbemuseum, seum and Executive Director of artists working within Norway and and Public Programs, New Mu- Eindhoven, the Netherlands Rhizome, New York by Norwegian artists working inter- seum, New York Charles Esche is a curator and writer. In her joint position as Executive Direc- nationally. In 2011, the IVP hosted Eungie Joo spearheaded the Museum He is Director of the Van Abbemuse- tor of Rhizome and Adjunct Curator nine curators from international mu- as Hub project at the New Museum, um, Eindhoven and co-editor of Afterall at the New Museum, Lauren Cornell seums, kunsthalles, project spaces, New York, NY, USA, a partnership Journal and Books, based at Central tracks developments in contempo- and non-for-profit initiatives. of six international arts organizations St. Martins College of Art and Design, rary art. She oversees and develops that supports art activities and experi- London, UK. He is also an advisor at Rhizome’s programs, all of which are mentation; explores artistic, curatorial, the Rijksakademie, Amsterdam. In the support the creation, presentation and institutional practice; and serves last years, he curated major exhibitions and preservation of emerging artistic as an important resource for the pub- including the 2nd and 3rd Riwaq Bien- practices engaged with technology. lic to learn about contemporary art nials, Palestine (2007 and 2009); the Cornell recently curated ‘Free’, her first from around the world. As part of the 9th Istanbul Biennial (2005) with Vasif major exhibition for the New Museum, Museum as Hub, Joo commissioned Kortun, Esra Sarigedik Öktem and which opened in October 2010. At the the yearlong Night School project November Paynter and the Gwangju New Museum, she has co-curated ex- by Anton Vidokle; a ‘Post Living Anti Biennale 2002 in Korea with Hou hibitions including ‘The Generational: Action Theater’ (PoLAAT) residency Hanru and Song Wang Kyung. Before Younger Than Jesus’; the Museum’s with My Barbarian; and launched the he was co-curator of ‘Intelligence inaugural exhibition ‘Unmonumental’; Propositions seminar series – a public – New British Art’ at the Tate Gallery, and has also curated a solo show of forum that considers contemporary London and ‘Amateur – Variable Re- works by Young-Hae Change Heavy artists’s ideas in early development; search Initiatives’ at Konstmuseum and Industries. In addition to her curato- among other commissions. In 2009, Konsthall, Göteborg (both in 2000). rial work at the New Museum, Cornell she served as commissioner for the From 2000–2004 he was Director of organizes the monthly ‘New Silent Korean Pavilion at the 53rd Venice the Rooseum Center for Contempo- Series’, featuring screenings, events Biennale, presenting the solo exhibi- rary Art, Malmö, where he made solo and performances by emerging art- tion ‘Condensation: Haegue Yang’. Joo exhibitions with Surasi Kusolwong, ists. Previously, Cornell worked as a was previously Director and Curator of Nedko Solakov and Superflex a.o. and curator and writer in London and New the Gallery at REDCAT, Los Angeles, group shows including ‘Baltic Babel’ York. She worked in the Andy Warhol from 2003 to 2007. She received the and ‘Intentional Communities’. From Film Project at the Whitney Museum Walter Hopps Award for Curatorial 1998–2002 he organised the interna- and, from 2002–2004, she served as Achievement in 2006. tional art academic research project director of Ocularis, an organization called ‘protoacademy’ at Edinburgh dedicated to avant-garde cinema and College of Art. From 1993–1997 he experimental video. Her writing has was Visual Arts Director at Tramway, been published in a range of interna- Glasgow where he curated exhibitions tional publications. by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Lauren Cornell’s visit was co-funded Jonathan Monk, Stephen Willats with the Royal Norwegian Consulate and Richard Wright as well as group General, New York, NY, USA. shows such as Trust and The Unbe- lievable Truth.

146 147 September 2011 October 2011

ARAM MOSHAYEDI ROGER BUERGEL ANGE LECCIA TRISTAN BERA Lives and Works in Los Angeles, b.1962 in Berlin, Germany, lives b.1952, lives and works in Paris, b.1984, lives and works in Paris, CA, USA and works in Berlin France France Curator REDCAT and doctoral Artistic director of the Busan Bi- Artist Tristan Bera lives and works in Paris. candidate in the department of art ennale 2012, South Korea Ange Leccia lives and works in Paris, Bera received a MA in philosophy history at the University of South- Roger Buergel received his educa- France. A former resident of Villa and a BA in art history in 2009. He ern California, Los Angeles tion from the Academy of Fine Arts Medici in Roma and Villa Kujoyama in has a particular interest in decadent Aram Moshayedi currently lives in Los Vienna, Austria and studied under the Kyoto, Ange Leccia’s career started in aesthetics and crossover exhibitions Angeles where he is assistant curator Austrian artist Hermann Nitsch for 3 the 1980’s with his ‘arrangements’. His and has worked on mainstream exhibi- of the Gallery at REDCAT and a doc- years. He served as a guest curator works are constantly questioning dif- tions such as ‘Dada’ at the Centre toral candidate in the department of for the Museum of Contemporary Art ferent media, combining them, mixing Pompidou, Paris, France (2005/06); art history at the University of South- Barcelona and the artistic director of them, even exhibiting them through a ‘Richard Wagner: visions d’artistes’ ern California. Since joining REDCAT Documenta Ⅻ Kassel. He also curated range of themes such as the sea (La (2005) and ‘Gainsbourg’ (2008) at in October 2010, he has organized exhibitions that won critical acclaim, Mer) and other atmospheric elements Cité de la Musique, Paris. He has also the west coast premier of A.K. Burns such as ‘Barely Something. On Ai that are fascinating because of their worked for fashion sound designer and A.L. Steiner’s Community Action Weiwei’, Museum DKM, Duisburg, rhythmic character. Between 2002 Frédéric Sanchez (2008). Currently, Center and curated the first major in- Germany(2010); ‘The Government’, and 2009, he directed the film sce- Bera is curating a one-year project at stallation in the United States by Van- University Art Gallery Luneburg, Ger- nography for the shows of Christophe Zürich Kunsthalle titled ‘Human Valley’ couver-based artist Geoffrey Farmer. many; Museum d’Art Contemporari de together with Dominique Gonzalez- after Balzac and ending the editing of Between 2005 and 2010, Moshayedi Barcelona, Spain; Miami Art Central, Foerster. In 2010, he directed his first a short film based on Luis Buñuel’s was a curator at LAXART, where he Miami, FL, USA; Witte de with Center feature film Nuit Bleue, which was Belle de Jour both together with Do- produced exhibitions and public for Contemporary Art, Rotterdam presented at Rotterdam International minique Gonzalez-Foerster. Bera is projects with artists such as William Secession, Rotterdam, the Nether- Film Festival. In 2001, he founded Le currently working at Le Pavillon/Palais Leavitt, Uri Nir, Vishal Jugdeo, Susan lands(2003–2005); and ‘The Subject Pavillon, Palais de Tokyo’s creation de Tokyo’s creative lab. Silton, and caraballo-farman. He has and Power’ Central House of the Art lab, for which he is still the director. contributed with texts to numerous ex- (2001). He taught in Luneburg Univer- Tristan Bera’s visit was co-funded with hibition catalogues and has written for sity, Luneburg, Germany (2002–2005) Ange Leccia visit was co-funded with the Royal Norwegian Embassy, Paris, Metropolis M, Art in America, Art Lies, and the Academy of Fine Arts, Karl- the Royal Norwegian Embassy, Paris, France. Reading Room, Art Papers, Artforum. sruhe, Germany (2007–2009) con- France. com, X-Tra Contemporary Art Quar- tributing significantly to the education terly and Bidoun Magazine, for which of young artists. Recently he has been he is also a contributing editor. appointed the artistic director of the Busan Biennale 2012.

148 149 November 2011 December 2011

MARGARITA GONZÁLEZ Margarita Gonzalez Lorente’s vist was REBECCA MAZZEI LORENTE co-funded with the Royal Norwegian Lives and works in Detroit, MI, b.1962 in Havana, Cuba, lives and Embassy, Havana, Cuba. USA works in Havana Deputy Director of the Museum of Assistant Director of the Havana This visit was supported by 03–funds Contemporary Art Detroit Biennial as underwritten by the Norwegian Rebecca Mazzei is the Deputy Di- Margarita González Lorente com- Ministry of Foreign Affairs for enhanc- rector and Special Projects at the pleted her BA in Art History, Faculty ing collaboration in the contemporary Museum of Contemporary Art Detroit, of Arts and Letters at the University art field with professional artists in a five-year-old institution located in of Havana in 1985 and received her countries designated by the MFA. the heart of Detroit’s Cultural Center PhD in the same field from the School neighborhood. As Deputy Director, of Geography and History, University Mazzei manages the museum’s opera- of Santiago de Compostela, Spain tions and oversees special projects, in 1998. She worked as a specialist including publications, events and in the Department of Art and Design offsite curatorial projects. She is the from the Ministry of Culture, Current former Assistant Dean at the College Development Center of Visual Arts for Creative Studies, Detroit, a private until 1999, when she was appointed art and design school; Mazzei also as director, a position she held until worked previously as the award-win- 2005. She has been deputy director ning Arts and Culture Editor at Metro of the Center for Contemporary Art Times newspaper, Detroit’s largest Wifredo Lam and has participated alternative news weekly. She has writ- in the organisation and development ten for ARTNews, Raw Vision, Under of different editions of the Havana the Influence and several other pub- Biennial. She has curated exhibitions lications, and is the author of ‘Devil’s such as ‘Indoor’, on the occasion of Night In Detroit’, The Business of the Fourth Biennial of Havana (Gallery Holidays (The Monacelli Press, 2004). Development Center of Visual Arts, Mazzei is a co-founder of Signal-Re- 1991), ‘drawing, do not forget’ (Centre turn letterpress shop and Bohemian- for Development of Visual Arts, 1993, in-exile, a performance art space, both and Municipal Public Library Alcalá located in the Eastern Market district, de Henares, Madrid, Spain, 1998), and serves as a Board member of ‘Current Cuban Plastic’ (Photocentre INCA, a Detroit-based residency for Gallery, Union of Journalists of Russia, Norwegian artists. She received her Moscow and in the Cuban Embassy Master’s degree in Modern Art His- in Beijing, China, 1996), ‘Cuban Art: tory. Theory and Criticism from the from canvas and paper’ (Hall Miro, School of the Art Institute of Chicago, UNESCO Headquarters, Paris, IL, USA. France, 2001), and ‘Latest trends of art in Cuba: 20 artists’ (III International Congress on Culture and Develop- ment, International Conference Center, 2003), among others.

150 151 CHARLES ESCHE Photo: Dejan Habicht LAUREN CORNELL Photo: Michael Wilson

REBECCA MAZZEI ARAM MOSHAYEDI Photo: David Perez

ANGE LECCIA

EUNGIE JOO Photo: Lorna Simpson

ROGER M. BUERGEL Photo: Egbert Trogemann

152 153 OCA Semesterplan

154 155 OCA semesterplan functions as Semesterplan 2011 OCA’s public programme of talks, lectures, seminars, and symposia as JANUARY MARCH APRIL presented by participating artists, curators, and critics within OCA’s Practice Project Theory ISP and IVP programmes. The OCA Autumn 2010–Spring 2011 Wednesday, 9 March Wednesday, 13 April semesterplan also incorporates a Residency at OCA, OCA Studio 1 Opening: ‘Forms of Modern Life: Speaker: Franco Berardi public platform related to OCA’s Residents: Runhild Hundeide and From the Archives of Guttorm Subject: Knowledge Against Financial wider discursive frame as devel- Joakim Martinussen Guttormsgaard’ Capitalism oped within the context of OCA’s (250 Attendance) (87 Attendance) public projects and the Verksted publication series. The main pro- Project Theory grammatic framing structures of Wednesday, 9 March–Saturday, Thursday, 28 April the 2011 OCA semesterplan were 25 June Speaker: Charles Esche the projects ‘Forms of Modern Exhibition: ‘Forms of Modern Life: Subject: The End of Education As Life: From the Archives of Guttorm From the Archives of Guttorm Gut- We Know It Guttormsgaard’ and ‘The State of tormsgaard’ Location: Oslo National Academy Things’. Unless otherwise noted, all (1,299 Attendance) of the Arts semesterplan events occurred in (37 Attendance) OCA’s public space.

156 157 MAY JUNE AUGUST SEPTEMBER

Practice Event Practice Practice Monday, 23 May Wednesday, 15 June Wednesday, 31 August Wednesday, 21 September Speakers: Thomas Bayrle and Roger Subject: Recital of Vevnad by Arne Subject: ‘A Green Gathering of Local Speaker: Sven Augustijnen M. Buergel Nordheim Producers’ Screening: Spectres (2010), dir. Sven Subject: Of Weaving and Jellyfish Performers: Hans Josef Groh, Sverre (82 Attendance) Augustijnen (63 Attendance) Riise and Asbjørn Blokkum Flø (36 Attendance) (74 Attendance) Theory Wednesday, 31 August Speaker: Vandana Shiva Subject: The Art of Living (93 Attendance)

158 159 DECEMBER

Practice Event Thursday, 22 September Wednesday, 2 December Speaker: Sven Augustijnen Speakers: MM Serra, Jonas Mekas, Screening: L’École des Pickpockets Barney Rosset, Marta Kuzma, (2000), Le Guide du Parc (2001), Pablo Lafuente Une Femme Entreprenante Project: Book Launch of Whatever (2005), dir. Sven Augustijnen Happened to Sex in Scandinavia? Location: UKS (Young Artists Soci- Screening: Christmas on Earth ety), Oslo (1963), dir. Barbara Rubin (13 Attendance) Location: Artists Space, 38 Greene St, 3rd Floor New York, NY Theory 10013, USA Wednesday, 21 September (250 Attendance) Speaker: Christoph Menke Subject: What is Aesthetic Freedom Event Today? Wednesday, 14 December (128 Attendance) Project: ‘A Celebration of the Winter Solstice’ Subject: A Book Launch of Whatever ‘Knowledge Against Financial Happened to Sex in Scandina- Capitalism’ via?; a Selection of books on Situ- A lecture by Franco Berardi ationism by Torpedo; the original Wednesday, 13 April 2011 soundtrack of the 1964 contesta- Photo: OCA / Mikael Øvstedal tional interview of Brakhage with Fakhri New Yorker film critic Pauline Kael together with the remake of the interview realised by Norwegian director Birgitte Sigmundstad in 2011; a Late Night Performance by Center Of The Universe. Screening: Dog Star Man: Prelude (1961), dir. Stan Brakhage Performer: Lasse Marhaug Performance: Homage to Stan Bra- khage (191 Attendance)

‘Of Weaving and Jellyfish’ Thomas Bayrle and Roger M. Buergel in Conversation Monday, 23 May 2011 / Photo: OCA / Espen Hagestrand

160 161 ‘What is Aesthetic Freedom Today?’ A lecture by Christoph Menke Wednesday, 28 September 2011 162 Photo: OCA / Asle Olsen 163 Launch of dOCUMENTA (13) notebook series 100 Notes - 100 Thoughts Wednesday, 28 September 2011 Photo: OCA / Espen Hagestrand Wednesday, 28 September 2011 Photo: OCA / Asle Olsen

‘What is Aesthetic Freedom Today?’ A lecture by Christoph Menke Wednesday, 28 September 2011 Photo: OCA / Espen Hagestrand

Recital of Vevnad by Arne Nordheim Wednesday, 15 June 2011 Photo: OCA / Jin Fan

Chus Martínez, Head of Department, Member of Core Agent Group, dOCUMENTA (13) introducing dOCUMENTA (13) notebook series 100 Notes - 100 Thoughts Wednesday, 28 September 2011 Photo: OCA / Espen Hagestrand

164 165 A Book Launch of Whatever Happened to Sex in Scandinavia? as part of ‘A Celebration of Winter Solstice’ Wednesday, 14 December 2011 / Photo: OCA / Espen Hagestrand

‘The Art of Living’ A lecture by Vandana Shiva Wednesday, 31 August 2011 Photo: OCA / Espen A Screening of Stan Hagestrand Brakhage’s Dog Star Man: Prelude as part of ‘A Celebration of Winter Solstice’ Wednesday, 14 December 2011 / Photo: OCA / Espen Hagestrand

166 167 Publications

A Late Night Performance by Center Of The Universe as part of ‘A Celebration of Winter Solstice’ Wednesday, 14 December 2011 Photo: OCA / Espen Hagestrand

168 169 Verksted #12 ström, Erkki Kurenniemi, Poul Gernes, Wednesday, 2 December / Wednesday, 14 December / Whatever Happened to Sex in Gruppe 66, Gunvor Grundel Nelson, 19:00 19:00 Scandinavia? Claes Oldenburg, Stan Brakhage, Lee Speakers: MM Serra, Jonas Me- Project: ‘A Celebration of the Lozano, Paul Sharits and Barbara T. kas, Barney Rosset, Marta Kuzma, Winter Solstice’ Whatever Happened to Sex in Scandi- Smith. Whatever Happened to Sex Pablo Lafuente Subject: A Book Launch of What- navia? reflects upon the juncture of the in Scandinavia? also includes visual Project: Book Launch of Whatever ever Happened to Sex in Scan- political and erotic in the 1960s and material from key publications from Happened to Sex in Scandinavia? dinavia?; a Selection of books 70s in relation to the image of Scan- the time such as Evergreen Review, Screening: Christmas on Earth on Situationism by Torpedo; the dinavia as a sexually and politically Screw, Suck, Puss, Haetsjj, Aamu- (1963), dir. Barbara Rubin original soundtrack of the 1964 utopic territory during those decades. rusko and Gatevisa. Location: Artists Space, 38 contestational interview of Stan With a close reading of the cultural Greene St, 3rd Floor New York, Brakhage with New Yorker film and political history of Scandinavia The anthology is co-edited by Marta NY 10013, USA critic Pauline Kael together with through the writings of Wilhelm Reich, Kuzma and Pablo Lafuente, designed As the first public presentation of the the remake of the interview real- Herbert Marcuse, Norman O. Brown, by NODE Berlin Oslo, and published anthology, the Office for Contempo- ised by Norwegian director Bir- Daniel Guérin, Jacqueline Rose and by the Office for Contemporary Art rary Art Norway, in collaboration with gitte Sigmundstad in 2011; a Late others, and through the obscenity Norway and Koenig Books, London, Artists Space, screened Barbara Ru- Night Performance by Center Of bonanza that emerged around Swed- with generous support from Fritt Ord. bin’s double-projection film Christmas The Universe. ish film director Vilgot Sjöman’s I Am on Earth, from 1963. The film was Screening: Dog Star Man: Prel- Curious (Yellow), the publication of- introduced by MM Serra, Executive Di- ude (1961), dir. Stan Brakhage fers a plethora of historical material rector of the Film-Makers’ Cooperative Performer: Lasse Marhaug that presents an investigation of the in New York, and screened from two Performance: Homage to Stan political motivations behind naming a overlapping projectors following the Brakhage cultural form obscene or pornograph- artist’s original instructions. Christmas On the occasion of the presentation ic. The publication also offers material on Earth is the filmic record of an orgy of the anthology in Oslo, the Office for that contributes to the understanding that took place in a New York apart- Contemporary Art Norway screened of how the cultural activism and the ment in 1963. One of the first sexually Stan Brakhage’s Dog Star Man: Prel- underground of the 1960s contributed explicit film works produced by the ude, from 1961, accompanied by a to a development of a pornography postwar avant-garde in the US, Christ- performance by Norwegian experimen- industry both in the United States and mas on Earth premiered at the Fac- tal musician Lasse Marhaug. in Scandinavia. tory under the title Cocks and Cunts, accompanied by a live performance Following the post-war American Whatever Happened to Sex in Scandi- by the Velvet Underground. Rubin, 19 tradition of redefining the body as a navia? is introduced by a thesis essay when she shot the film, was described metaphor for landscape, Brakhage’s by Marta Kuzma and includes histori- by Andy Warhol as ‘one of the first Dog Star Man: Prelude attempts, cal writings by Susan Sontag, Herbert people to get multimedia interest go- through the hyperbolisation of mon- Marcuse, Wilhelm Reich and early ing around New York City’. tage, the radical suppression of the feminists Katti Anker Møller and Elise still shot, and the systematic use of Ottesen-Jensen; new texts by Håvard The presentation in New York was close-up, to create cosmic extrapola- Friis Nilsen on the sexual politics of generously supported by the Norwe- tions from the body. Andreas Meland Norway in the 1930s as relating to the gian Consulate General in New York and Lasse Marhaug paid homage to relationship between Wilhelm Reich and by Fritt Ord. Stan Brakhage’s Dog Star Man in a and Leon Trotsky and by Knut Ove live performance in 2003. Their album Arntzen on the legacy of Scandinavian Brakhage (2005) has been described Situationism; and visual contributions as ‘cultivated sound-art noise, with and archival material from artists and blowing whistles and a vibrant pres- collectives such as Thomas Bayrle, ence’. Marie-Louise Ekman, Öyvind Fahl- This presentation was generously supported by Fritt Ord.

170 171 Project: ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’

172 173 ‘Forms of Modern Life: Masereel took advantage of technical The materials included in the exhibi- PROGRAMME From the Archives of Guttorm innovations and new forms of produc- tion were on loan from Guttorm Gut- Guttormsgaard’ tion and distribution to make their work tormsgaard’s archives, with additions Wednesday, 13 April / 19:00 available to those who couldn’t afford from the collection of Kristine Jærn Speaker: Franco Berardi ‘Forms of Modern Life’ considered the costly publications – the masses Pilgaard and the Norwegian National Subject: Knowledge Against process by which the graphic form of people who, since the industrial Museum of Art, Architecture and De- Financial Capitalism became, in the nineteenth and twenti- revolution, emerged as a fundamental sign. The exhibition was curated by As drastic budget cuts hit European eth centuries, a universal, egalitarian political force. OCA’s director Marta Kuzma and universities over the first months of form of expression, moved both by OCA’s associate curator Pablo La- 2011, students and teachers alike a development of formal and techni- Following the impulse of print capital- fuente, with additional research by protested in the streets of several Eu- cal concerns and by the intention to ism, these artists created a new ver- OCA’s Senior Coordinator, Marthe ropean cities. With this background, communicate to wider audiences and nacular that reached audiences whose Tveitan, and OCA’s Research Associ- Franco Berardi presented a lecture heighten art’s political efficacy. The size was previously unheard of. Be- ate, Tonja Boos. The project produc- titled ‘Knowledge Against Financial project explored how artists such as wick’s reflection on the common within tion and design was developed by Capitalism’, discussing the current Thomas Bewick, Frans Masereel and his miniature vignettes of landscape Gunnar Moen and Asle Olsen. situation of Europe’s education sys- Albert Jærn in printed form, Hannah and everyday life, Masereel’s direct tems. In his lecture, Berardi addressed Ryggen through her tapestries and portrayal of the working class in the ‘Forms of Modern Life’ was gener- issues such as capitalism’s limiting Peder Balke and Lars Hertervig in their modern city, or Jærn’s depiction of the ously supported by Fritt Ord. effect on the autonomy of knowledge paintings employed graphic forms to Nazi occupation of Norway combined and the possibilities of knowledge address the world in which they lived, a critical approach to their own society production in the universities, alterna- picturing their environment and the with a democratising impulse. The tive educational strategies, and the cultural and political changes of their project integrated the work of other role of art in education and its ability time, and trying to intervene in their artists who had recourse to traditional to link conscious mental activity and contexts by combining narration and techniques instead, in order to reflect sensibility. Presenting the new Eu- the vernacular and embracing the role an engagement with popular, vernacu- ropean School of Social Imagination of the artist as a modern, self-reflective lar and proletarian forms of culture. For (SCEPSI) in San Marino as a pos- subject. instance, Lars Hertervig rendered his sible alternative to current education gouaches of female riders and stags systems, Berardi asked: ‘What is our The project drew from and expanded on leftover, industrial materials such imagination of Europe in the very mo- upon Guttorm Guttormsgaard’s ar- as tobacco or wrapping papers, and ment of its possible dissolution?’ chives, which includes publications Peder Balke, a member of the radical and printed matter that Guttormsgaard workers’ movement, revisited national has been gathering from nearly six romanticism by means of small-scale centuries of history, in an attempt to landscapes. The exhibition also includ- always select ‘the modern’. Reflecting ed two tapestries by Hannah Ryggen this principle, the artists included in from the 1930s, in which the artist ‘Forms of Modern Life’ all share the weaves concrete social and historical goal of increasing consciousness relationships between figures and set- and through it the agency of those tings in order to portray and denounce whom their work reaches. They also the emergence of fascism in Norway have in common a will to overcome and Europe. Despite the differences existing barriers to cultural production between these artists’ work, their ap- in the form of technical means and proaches to naturalism and figuration subjects, codes, languages and ideas. offered an intense tactile and textural The project paid special attention to intimacy, creating a tension between the intimate relation of these artists’ motif and form that urgently responds graphic forms to technique: reflecting, to the dialectics of modern life. for example, on how Bewick, Jærn and

174 175 Arne Nordheim premiered Vevnad on the opening of the 100th year anniver- Thursday, 28 April / 13:00 Monday, 23 May / 18:00 Wednesday, 15 June sary exhibition at Nordenfjeldske Kun- Speaker: Charles Esche Speakers: Thomas Bayrle and Subject: Recital of Vevnad by stindustrimuseum on 2 October 1993, Subject: The End of Education Roger M. Buergel Arne Nordheim together with cellist Ingrid Stensland, As We Know It Subject: Of Weaving and Jel- Performers: Hans Josef Groh, trombonist Arne Johansen and Sigurd Location: Oslo National Acad- lyfish Sverre Riise and Asbjørn Blok- Saue who steered the MIDI-file for the emy of the Arts OCA hosted a conversation between kum Flø Disklavier. The concert was held in the During his stay in Oslo within the artist Thomas Bayrle and curator and In connection with the closing of the Hannah Ryggen Hall surrounded by frame of OCA’s International Visitor writer Roger M. Buergel on 23 May exhibition ‘Forms of Modern Life’, her tapestries. Programme, curator and writer Charles to explore the poetry of teaching and which included two major works by Esche gave a lecture at the Oslo Na- learning in art. While the neoliberal Hannah Ryggen (1894-1970), OCA This event was possible thanks to the tional Academy of the Arts. The lecture tenets of many arts education institu- commissioned the recreation of a re- generous permission by Rannveig was part of ‘TEOAEAWKI’, a series of tions currently place increased value cital of Vevnad as originally composed Getz Nordheim to perform Vevnad, to reflections on art education in the 21st on knowledge production, Bayrle and by Arne Nordheim (1931-2010), which Sigurd Saue from NTNU for the MIDI- century, initiated by the Oslo National Buergel explored alternative possibili- was performed with Hans Josef Groh file, to NOTAM – Norwegian center Academy of the Arts. ‘TEOAEAWKI’ ties by emphasising the imponderable on cello and Sverre Riise on trombone. for technology in music and the arts sought to analyse and understand ways in which meaning happens in art Asbjørn Blokkum Flø steered the – for technical assistance and to Jan recent developments and structural but is equally bound to disappear. MIDI-file for the Disklavier. This recital Bjørnar Sture/KHIO for lending of the changes within the educational sector marked the first and only time this Disklavier, to Jan-Lauritz Opstad from by gathering important examples of This event was possible with the kind experimental composition was revis- Nordenfjeldske Kunstindustrimuseum, relevant initiatives and orientations to support of The Kistefos Museum and ited and reperformed publicly since Harald and Peter Herresthal from better define the Academy’s goals and the Embassy of the Federal Republic the introduction to audiences in 1993. NMH and Øyvind Nyvoll from Ensem- ambitions as a state educational art of Germany in Oslo. Arne Nordheim composed Vevnad in ble Ernst. This event was curated by institution. conjunction with Nordenfjeldske Kun- Tonja Boos from OCA. stindustrimuseum’s 100th year anni- versary as a tribute to Hannah Ryggen, an artist who for nearly four decades created tapestries based on a commit- ted social and political engagement. The piece is a homage to the artist, her approach to her medium, and reflects the concept of weaving on several levels: the score consists of three sec- tions, all named after technical terms of weaving: ‘Woven piece’, ‘Weft’ and ‘Warp’. The piano part is composed and drawn in a manner that visually makes the notes in the original score resemble woven material. During the actual performance Nordheim steered a Disklavier from a computer with the front of the instrument removed facing towards the audience. The strings and the mechanical movements inside the Disklavier thus resembles a shuttle moving through the warp of a loom.

176 177 About the Speakers and generating superstructures through cycle Aftonland (Evening Land, 1957), the Norwegian Radio Orchestra and the Performers geometric patterns of images with a followed by Canzona (1960) and Epi- the Oslo Sinfonietta. Sverre Riise is Franco Berardi (b.1949, Bologna, variety of techniques and materials. In taffio (1963). His work has since then currently a teacher at the Barratt Due Italy) is a contemporary writer, media doing so, his work reveals contradic- been played by leading orchestras and Institute of Music in Oslo. theorist and media activist. He found- tions within the forms of organisation musicians around the world, and he ed the magazine A/traverso (1975–81) upon which society rests. Bayrle is considered the Norwegian contem- Asbjørn Blokkum Flø holds a diploma and was part of the staff of Radio Alice taught at the Academy of Fine Arts, porary composer who has achieved in composition from the Norwegian (1976–78). After being involved in the Stadelschule in Frankfurt from 1975 to the greatest recognition beyond the Academy of Music. Since 1999 he has political movement of Autonomia in 2002. He has received several awards boarders of his own country. Nordheim worked as a freelance composer and Italy during the 1970s, Berardi fled to and prizes including the Prix Arts Elec- received a large number of prices and sound artist with focus on instrumental Paris, where he worked with philoso- tronica, Linz (1995) and the Cologne honors including the Arts Council music, electronic music and sound art pher and psychoanalyst Félix Guattari Art Prize (2000). Bayrle’s work has Norway Honorary Award (1990). From for radio and installations. Flø’s works in the field of schizoanalysis during the been shown in over thirty solo exhibi- 1981 he was the tenant of Grotten, have been performed in a number 1980s. He currently teaches social tions internationally including in Docu- the honorary residence offered by the of festivals, including DEAF (Dutch history of the media at the Accademia menta III and VI. State to the nation’s most outstanding Electronic Arts festival, Rotterdam, the di Belle Arti di Brera in Milan, and is creative artist. In 1997 he was elected Netherlands), Synthése (International the founder of the European School of Roger M. Buergel is a curator and honorary member of the International Festival of electronic music and sonic Social Imagination (SCEPSI), which writer and he was the Artistic Director Society for Contemporary Music. art - Bourges, France), Ultima, Oslo will be inaugurated in San Marino in of documenta 12 in 2007. Buergel has and the Ibsen Festival, Oslo. He has May 2011. curated numerous exhibitions includ- Hans Josef Groh studied cello with represented Norway in Ars Acustica ing ‘Things we don’t understand’, with Valentin Erben and Martin Ostertag in twice. Charles Esche (b.1962) is a curator Ruth Noack, Generali Foundation, Germany. Until 1992 he was a member and writer. Since 2004, he has been Vienna (2000); ‘Governmentality. of Ensemble 13, one of Germany’s Director of the Van Abbemuseum, Art in conflict with the international leading ensembles of contemporary Eindhoven, Netherlands. He is co- hyper-bourgeoisie and the national music. He is currently a cello player founder and co-editor of Afterall Jour- petty bourgeoisie’, Alte Kestner Ge- with the Oslo Philharmonic Orchestra, nal and Afterall Books. His main work sellschaft, Hannover (2000) and ‘The in addition to being a regular player in has involved working on the constitu- Subject and Power – the lyrical voice’, the Oslo Sinfonietta, and a member of tion of art institutions, most recently CHA Moscow (2001). Most recently, the Norwegian Chamber Orchestra. the museum but also the qualities of he curated ‘The Government’ (2003- He has taught at the Badisches Con- the art centre or biennial. His writings 05) with Ruth Noack, which was pre- servatoir, Karlsruhe, Germany and The on institutional possibility and policy sented at Kunstraum der Universität Barratt Due Institute of Music, Oslo, are useful aids to rethinking the rela- Lüneburg, Museu d’Art Contemporani Norway. In 2010 he was awarded tion between art and social change. de Barcelona, Miami Art Central, Se- Spellemannsprisen for his CD Die 7. A valuable book is the reader Art and cession, Vienna and Witte de With, Himmelsrichtung, in the category for Social Change published by Afterall Rotterdam. He has also written several contemporary music. and Tate Publishing and co-edited by books including Peter Friedl, Leipzig Esche and Will Bradley. and Amsterdam (1999) and Abstrakter Sverre Riise studied trombone with Expressionismus. Konstruktionen professor Ingemar Roos at the Norwe- Thomas Bayrle is an artist who was ästhetischer Erfahrung, Leipzig and gian Aacademy of Music, and has held trained as a weaver and currently Amsterdam (2000) and contributes the position as principal trombone works with drawings, collages, film regularly to Texte zur Kunst and spring- in the Norwegian Opera Orchestra and computer graphics. Bayrle focus- erin – hefte für gegenwartskunst. and the Norwegian Radio Orchestra, es on ideas around the masses in his where he still is today. In 2000-2001 drawings, photocopy collages and film Arne Nordheim (1931-2010) made and 2006 he was playing with the Ma- animation sequences dating from the his international breakthrough in the laysian Philharmonic Orchestra, and 1960s, and further into ideas around beginning of the 1960s with the song he has occasionally been playing with

178 179 Opening of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ Office for Contemporary Art Norway Wednesday, 9 March Photo: OCA / Espen Hagestrand

180 181 Installation view of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ / Office for Contemporary Art Norway / 9 March–25 June 2011 Photo: OCA / Martin Johansen 182 183 Installation view of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ / Office for Contemporary Art Norway / 9 March–25 June 2011 Photo: OCA / Martin Johansen 184 185 Installation view of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ / Office for Contemporary Art Norway / 9 March–25 June 2011 Photo: OCA / Martin Johansen 186 187 Detail of Thomas Bewick Detail of Thomas Bewick A History of British Birds Containing the History and Description A General History of Quadrupeds (1790) as part of ‘Forms of of Land Birds, Vol. I (1832) as part of ‘Forms of Modern Life: Modern Life: From the Archives of Guttorm Guttormsgaard’ / From the Archives of Guttorm Guttormsgaard’ / Office for Office for Contemporary Art Norway / 9 March–25 June 2011 Contemporary Art Norway / 9 March–25 June 2011 Photo: OCA / Martin Johansen Photo: OCA / Martin Johansen

Detail of Thomas Bewick Detail of Thomas Bewick A History of British Birds Containing the History and Description A History of British Birds Containing the History and Description of Land Birds, Vol. I (1797) as part of ‘Forms of Modern Life: of Land Birds, Vol. I (1805) as part of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ / Office for From the Archives of Guttorm Guttormsgaard’ / Office for Contemporary Art Norway / 9 March–25 June 2011 Contemporary Art Norway / 9 March–25 June 2011 Photo: OCA / Martin Johansen Photo: OCA / Martin Johansen 188 189 Norway at the Venice Biennale: ‘The State of Things’ and ‘Beyond Death: Viral Discontents and Contemporary Notions about AIDS’

190 191 Norway’s representation at the ‘The State of Things’ PROGRAMME 54th International Art Exhibition, La In June 2011, Office for Contemporary Biennale di Venezia, consisted of Art Norway launched ‘The State of Wednesday, 1 June / 17:00 two programmes, running consecu- Things’ during the opening of La Bien- Speaker: Jacques Rancière tively throughout 2011: ‘The State nale di Venezia, as Norway’s official Subject: In What Time Do We of Things’, a series of lectures by contribution to its 54th edition of the Live? internationally renowned intellectu- biennale. In lieu of an exhibition, OCA Location: Istituto Veneto di als in various cultural and academic organised a series of public lectures Scienze, Lettere ed Arti, Campo institutions in Venice, and ‘Beyond by leading intellectuals, who were Santo Stefano, San Marco 2842, Death: Viral Discontents and Con- asked to offer their perspective on the Venice temporary Notions about AIDS’, state of things – in relation to the cur- In this inaugural lecture that officially a teaching programme by artist rent state of Europe, a politics of re- opened the lecture series ‘The state Bjarne Melgaard at Università Iuav sistance, immigration, diversity, human of things’ in Venice, Jacques Rancière di Venezia. rights, capital, asylum and aesthetics. argued that the state of things is This programme aimed to reflect on always a state of time. Issues of domi- the increasing social friction and nation and emancipation can be en- intolerant atmosphere worldwide in capsulated in some basic questions: respect to difference and complexity. in what time do we live? To what form of historical evolution does our present Reflecting upon the possibility that belong? What futures does it open? the image of a nation may in fact be From this point of view, this lecture defined by its internationalism, ‘The analysed the paradigms of temporality State of Things’ intended to project that ground the dominant descriptions the image of Norway as a forward- of our present, and the ways in which looking country in cultural and political political action and artistic invention terms. The public lectures, given by can reframe and disrupt them. internationally respected intellectuals tackled the ‘state of things’ of the day, drawing from the speakers’ fields of activity and research, and from what they considered the intellectual and political priorities of today.

The programme begun in the opening days of the Biennale in June 2011, and continued until its closure six months later, in late November. It was organ- ised by OCA and hosted by Venetian cultural and academic institutions, such as the Università Iuav di Venezia, the Istituto Veneto di Scienze, Lettere ed Arti, the Fondazione Querini Stam- palia and the Università Ca’ Foscari Venezia.

192 193 Thursday, 2 June / 11:00 Friday, 3 June / 10:00 Friday, 3 June / 11:00 Saturday, 4 June / 11:00 Speaker: Leo Bersani Speaker: Vandana Shiva Speaker: Jan Egeland Speaker: Fawaz A. Gerges Subject: Illegitimacy Subject: The War Against the Subject: Ten Lessons from Ten Subject: A Perfect Storm: An Location: Istituto Veneto di Earth Peace Processes Arab Revolution in the Making? Scienze, Lettere ed Arti, Campo Location: Istituto Veneto di Location: Istituto Veneto di Location: Aula Magna, Univer- Santo Stefano, San Marco 2842, Scienze, Lettere ed Arti, Campo Scienze, Lettere ed Arti, Campo sità Iuav di Venezia, Tolentini, Venice Santo Stefano, San Marco 2842, Santo Stefano, San Marco 2842, Santa Croce 191, Venice Bourdieu’s lifelong work of expos- Venice Venice As the Arab revolutions are sweep- ing the hierarchical classifications Vandana Shiva, with this lecture, On behalf of the Norwegian Govern- ing away autocrats in Tunisia, Egypt by which the social order identifies titled The War Against the Earth ment, the United Nations and several and elsewhere, the omnipotence of and legitimises our social existence spoke about the dominant economy NGOs, Jan Egeland has been a facili- the Mukhabarat, or security-control- was the starting point for Bersani to who myopically focuses on the work- tator or mediator in numerous peace led state, appears to be crumbling. address questions such as: ‘To what ing of the market, ignoring both na- efforts in the Middle East, Africa, In particular, the inability of former degree might an effective resistance ture’s economy and the sustenance Europe and Latin America. He was President Hosni Mubarak’s much- to oppressive social orders depend on economy, on which it depends. In part of the team behind the secret feared security apparatus to suppress our making ourselves unnamable? And analysing the dominant growth model Norwegian Channel between Israel protesters and retain the status quo to what extent does this in turn depend that ignores nature, Shiva founded the and the PLO that led to the Oslo Ac- signals the beginning of the fall of on our refusing to be socially, morally basis to name this a war against the cords in 1993, and was involved in the the Arab authoritarian wall. Against and sexually legitimated by the net- Earth. Shiva spoke about this war, and Guatemala Peace Accords in 1996. all odds, millions of Arabs – men and works of power we inescapably inhab- proposed instead manners of making Although each war and conflict party women – have taken to the streets and it?’ With this lecture, titled Illegitimacy, peace with the Earth through the no- is unique, there are some general les- called for change and freedom, risking Leo Bersani – referring to Bourdieu, tion of ‘Earth democracy’. This notion sons that can be drawn from every their lives. Emboldened, protesters are Jean Genet and Todd Haynes’s film was articulated through the concrete peace effort for the benefit of a more no longer satisfied with minor reforms. Safe – attempted to examine strate- practices of Navdanya, the movement effective approach in the future. This They are demanding substantive politi- gies of negativity as pre-conditions for for biodiversity conservation and lecture took such experience as the cal change – restructuring of closed inventing what Michel Foucault called ecological agriculture. As Navdanya’s basis for ten hard-won lessons. Arab societies along pluralistic lines. ‘new relational modes’. experience shows, paradigms and This lecture addressed the current practices that make peace with nature prospects of a democratisation of the also address issues of poverty and Arab world, challenging the pretence hunger. that Islam and Muslims are incompat- ible with democracy.

194 195 Thursday, 30 June / 17:30 Wednesday, 7 September / Thursday, 8 September / 18:00 Thursday, 20 October / 17:30 Speaker: Eyal Weizman 18:00 Speaker: Franco Berardi Speaker: Saskia Sassen Subject: Forensic Aesthetics Speaker: Judith Butler Subject: The ‘Movimento Stu- Subject: When the Acute Chal- Location: Aula Tafuri, Palazzo Subject: The Politics of the dentesco’ and Pier Paolo Paso- lenges of Our Epoch Materialise Badoer, Università Iuav di Ven- Street and New Forms of Alli- lini: A Misunderstanding in Cities ezia, Calle della Lacca, San Polo ance Location: Laboratorio Occupato Location: Aula Tafuri, Palazzo 2468, Venice Location: Fondazione Querini Morion, Salizada San Francesco Badoer, Università Iuav di Ven- The last decades of the twentieth Stampalia, Campo Santa Maria della Vigna, Castello 2842, ezia, Calle della Lacca, San Polo century, often referred to as ‘the era of Formosa, Castello 5252, Venice Venice 2468, Venice the witness’, were saturated with rep- Judith Butler argued that although In 1968 the relation between Pier Cities have long been sites for con- resentation of testimonies of trauma some have said that the politics of Paolo Pasolini and the Student Move- flicts, including wars, racism, religious – written, recorded, filmed archived the street has been replaced by new ment in Italy was a troubled one. In the hatred and exclusion of the poor. And and exhibited. This primacy of trauma media politics, it seems that the public midst of the controversy, Pasolini was yet, while national states have histori- as a site of history also lead to a de- sphere within which politics takes accused by the students of being a cally responded by militarising conflict, politicised ‘politics of compassion’ place has to be defined by a specific populist representative of a backward cities have tended to triage conflict apparent in the forums of transitional mode of bodies interacting with me- culture, nostalgic of a legendary pre- through commerce and civic activity. justice, truth commissions, human dia. Hannah Arendt once argued that modern time. This paper argued that, Major developments in the current rights and humanitarianism. However, there could be no exercise of freedom from today’s perspective, things seem global era signal that cities are losing a recent shift of emphasis from human without the creation of a ‘space of ap- different, and Pasolini can be under- this capacity, and becoming sites for testimony to material forensics means pearance’ and even ‘a right to appear’. stood not to have been looking to the a whole range of new types of con- that science has begun invading some Butler answered to question such us, past but to the distant future that is flicts, such as asymmetric war, urban of the legal and cultural grounds previ- ‘How do we understand those new now our present: an age characterised violence and acute environmental chal- ously reserved for the speech of hu- forms of democratic insurgency that by barbarianism and of ignorant ag- lenges. Further, the dense and conflic- mans. Potentially, therefore, at its most form alliances that are not in coalitional gressiveness. In the age of the televis- tive spaces of cities, overwhelmed by extreme, new ways of using forensic forms? And who is the embodied ‘we’ ual and financial dictatorship, reading inequality and injustice, can become science have blurred a previously held on the street transported through me- Pasolini can be a way to retrace the the sites for a variety of secondary, distinction: between evidence, when dia, and yet in place and at risk?’ genesis of Italy’s present situation. more anomic types of conflicts, from the law speaks of objects, and that drug wars to the major environmental of the witness, referring to subjects. disasters looming in our immediate Such shift has aesthetic, political futures. All of these challenge the tra- and ethical implications, dangers and ditional commercial and civic capacity potentials that have been unpacked in that has allowed cities to avoid war this lecture. more often than not, when confronted with conflict, and to incorporate di- versity of class, culture, religion and ethnicity.

196 197 Thursday, 17 November / 18:00 Speaker: T.J. Clark Subject: The Experience of Defeat Location: Auditorium Santa Mar- gherita, Università Ca’ Foscari Venezia, Campo Santa Margher- ita, Dorsoduro 3689, Venice Whether or not the present Restora- tion is invulnerable, the Left in ad- vanced capitalist countries has lived for the past two decades looking failure square in the face. The disap- pearance of a Left alternative from the space of politics, or even from the space of political imagination, remains the great fact of our time. Taking its title from Christopher Hill’s great study of radical writing after the English Civil War, this lecture was concerned, as part of that work, with the Left’s sense of progress. It was asked what it could mean to a Left politics for it no longer to consider itself ‘on the side of history’ – not to imagine its task, in other words, as the realisation of the baulked potentials of capitalism and/ or modernity, not to see its eventual victory written into the DNA of an eco- nomic order, not to posit some version of utopia, not, in a word, to ‘have the future in its bones’. Is a Left with no future a contradiction in terms? If not the future, then what? Is it only the Right that can (imaginatively, political- ly) dispense with the myth of freedom in full possession of technics? What aims and imagery might there be for an ‘un-modernity’ to come?

‘In What Time Do We Live?’ A lecture by Jacques Rancière as part of the programme ‘The State of Things’, held at Istituto Veneto di Scienze, Lettere ed Arti, Venice / Wednesday, 1 June 2011 198 Photo: Giulio Squillacciotti 199 ‘Ten Lessons from Ten Peace ‘A Perfect Storm: An Arab ‘Illegitimacy’ ‘The War Against the Earth’ Processes’ Revolution in the Making? A lecture by Leo Bersani as A lecture by Vandana Shiva A lecture by Jan Egeland as A lecture by Fawaz A. Gerges part of the programme ‘The as part of the programme part of the programme ‘The as part of the programme State of Things’, held at ‘The State of Things’, State of Things’, held at ‘The State of Things’, Istituto Veneto di Scienze, held at Istituto Veneto di Istituto Veneto di Scienze, held at Università Iuav di Lettere ed Arti, Venice Scienze, Lettere ed Arti, Lettere ed Arti, Venice Venezia Thursday, 2 June 2011 Venice Friday, 3 June 2011 Saturday, 4 June 2011 Photo: Giulio Squillacciotti Friday, 3 June 2011 Photo: Giulio Squillacciotti Photo: Giulio Squillacciotti Photo: Giulio Squillacciotti

200 201 ‘Forensic Aesthetics’ ‘The Politics of the Street A lecture by Eyal Weizman as and New Forms of Alliance?’ part of the programme ‘The A lecture by Judith Butler State of Things’ held at as part of the programme Università Iuav di Venezia ‘The State of Things’, Thursday, 30 June 2011 held at Fondazione Querini Photo: Andrea Avezzù Stampalia, Venice Wednesday, 7 September 2011 Photo: Giulio Squillacciotti

‘When the Acute Challenges of Our Epoch Materialise in Cities’ A lecture by Saskia Sassen as part of the programme ‘The State of Things’, held at Università Iuav di Venezia Thursday, 20 October 2011 Photo: Giulio Squillacciotti

‘The “Movimento Studentesco” and Pier Paolo Pasolini: A Misunderstanding’ A lecture by Franco Berardi as part of the programme ‘The State of Things’, held at Laboratorio Occupato Morion, Venice Thursday, 8 September 2011 Photo: Giulio Squillacciotti

202 203 ‘The Experience of Defeat’ A lecture by T.J. Clark as part of the programme ‘The State of Things’, held at Auditorium Santa Margherita, Venice Thursday, 17 November 2011 204 Photo: Giulio Squillacciotti 205 ‘Beyond Death: Viral Discon- The programme was followed by Paola and Galleria d’Arte Moderna, Bologna tents and Contemporary No- Angelini, Michelangelo Corsaro, Ce- (both 2002); and at commercial galler- tions about AIDS’, a postgradu- cilia Divizia, Elisa Fantin, Marco Fellini, ies in New York (Green Naftali, 2010 ate programme led by Bjarne Corinne Mazzoli, Nicole Moserle, Bea- and 2008), Vienna (Galerie Krinzinger, Melgaard at the Faculty of Design trice Piva, Valeria Romagnini Solfato, 2008 and 2006), and Berlin (Guido and Arts, Università Iuav di Ven- Valentina Roselli, Alessio Sacchetto W. Baudach, 2008 and 2006). ezia, Venice and Davide Spillari. 14 February–13 May 2011 About the organisers As part of the course, each of the Norway’s representation in Venice for The Office for Contemporary Art Nor- students developed a project under the 54th International Art Exhibition, La way (OCA), as commissioner of Nor- the supervision of Melgaard, and pro- Biennale di Venezia, in 2011 was com- way’s representation at the 54th Inter- duced a written thesis about specific missioned by the Office for Contem- national Art Exhibition of La Biennale topics. The projects were included porary Art Norway and organised by di Venezia, organised ‘Beyond Death: in ‘Baton Sinister’, an exhibition that its director, Marta Kuzma and OCA’s Viral Discontents and Contemporary Melgaard, in collaboration with the associate curator, Pablo Lafuente, Notions about AIDS’, a postgraduate students, organised at Palazzo Con- together with Peter Osborne, director programme led by Bjarne Melgaard at tarini Corfù, Dorsoduro 1057, Venice. of the Centre for Research in Modern the Faculty of Design and Arts, Univer- The exhibition included a series of European Philosophy at Kingston sità IUAV di Venezia,Venice. Running artworks, events and displays, all of University in London. The teaching from 14 February to 13 May, ‘Beyond which emerged from the lectures, programme was developed at the in- Death’ consisted of a series of lectures workshops and seminars from the vitation of and in cooperation with An- and workshops, organised and taught course. ‘Baton Sinister’ was on view gela Vettese, Director of the Graduate by Melgaard as Guest Professor, look- from 2–30 June 2011. Programme of Visual Arts, Università ing at the history and present of the Iuav di Venezia. AIDS crisis, and its reflection within About the artist contemporary art and discourse. Bjarne Melgaard (b.1967, Sydney, Australia, lives and works in New York, The course examined how AIDS has NY, USA) is a Norwegian artist whose become a key lens through which to work has been widely exhibited inter- investigate some of the key transfor- nationally for over two decades. He mations affecting the world today, studied at the Rijksacademie in Am- especially in relation to identity forma- sterdam from 1991 to 1992 and at the tion, the use of violence and the pos- Jan van Eyck Academie in Maastricht sibility of collective action. This was from 1992 to 1993, and has taken part done through the close study of the in large-scale group exhibitions such work and ideas of a series of thinkers, as the 5th Biennale de Lyon (2000), writers and artists – including Leo Manifesta 2 in Maastricht and the 24th Bersani, the Black Panthers, Doug- Bienal de São Paulo (both 1998). las Crimp, Guillaume Dustan, Hervé His work has been the subject of solo Guibert, Eve Kosofsky Sedgwick, Guy exhibitions at public institutions such Hocquenghem, Chris Kraus, Tiqqun as de Appel, Amsterdam, Bergen and David Wojnarowicz. The course Kunstmuseum, Bergen and Astrup also included the participation of Leo Fearnley Museum of Modern Art, Oslo Bersani as Guest Lecturer. (all 2010), Bergen Kunsthall, Bergen (2003), and MARTa Herford, Herford

206 207 BJARNE MELGAARD Installation view of ‘Baton Sinister’ (2011) at Palazzo BJARNE MELGAARD Contarini Corfù, Venice / The postgraduate Installation with video, programme ‘Beyond Death: paintings, drawings / Viral Discontents and Courtesy of the Artist / Contemporary Notions about Photo: Giulio Squillacciotti AIDS’ led by Bjarne Melgaard at the Faculty of Design and Arts, Università Iuav di Venezia (2011) / Photo: Miriam Haile / Courtesy of the Artist

208 209 Touring Project: ‘Nasreen Mohamedi: Notes - Reflections on Indian Modernism (Part 1)’

210 211 The Office for Contemporary Art Nor- A complete list of the hosting venues About Nasreen Mohamedi About Mohamedi’s Work way presented in 2009 the first solo and dates iclude: Nasreen Mohamedi (1937–1990) Mohamedi worked in various media, in- exhibition in Europe of Nasreen Mo- occupies a unique position within cluding drawing, painting and photog- hamedi, as part of a wider programme Office for Contemporary Art Norway, Indian art history and the history of raphy. Her works, produced from the tracing alternative modernisms. Moha- Oslo, Norway international modernism. Born in Kara- time of her studies until her death in medi (1937-1990) is regarded as one 6 March–20 June 2009 chi, she moved to Mumbai as a child, 1990, are rarely dated, but fall roughly of the most important Indian artists Milton Keynes Gallery, Milton Keynes, and travelled abroad to study – in into three different periods. Her early of her generation, and her paintings, UK London at Saint Martin’s School of Art works, which include watercolour and drawings and photographs, produced The 5 September–15 November (1954–57) and in Paris on a scholar- ink on paper, oil on canvas, collage from the early 1960s to the late 1980s, Lunds Konsthall, Lund, Sweden ship from the French government. and lithography, are lyrical and semi- constitute a key body of work within 27 November 2009–24 January After her return to India in 1972, she abstract. Influenced in part by Japa- the modernist canon. 2010 settled in Baroda, where she became nese calligraphy, they often suggest Kunsthalle Basel, Basel, Switzerland a teacher in the prestigious Faculty plant life or landscapes with trees. This exhibition, curated by Suman 7 February–4 April 2010 of Fine Arts, MS University; her col- Gopinath and Grant Watson, brought Culturgest, Lisbon, Portugal leagues there included many notable In the 1970s Mohamedi moved closer together for the first time Mohamedi’s 28 May–29 August 2010 artists of the time. to abstraction, and by the end of the rarely seen drawings, paintings and The Academy of Visual Art Leipzig, decade she was producing serial photographs with unique archival ma- Germany In Baroda, Mohamedi produced what works based on the grid on square terial from her studio, and provided the 10–29 January 2011 have come to be seen as her classic sheets of paper, which have become occasion to further position her prac- Wiels Art Centre, Brussels, Belgium works: small-scale, abstract geometric a hallmark of her practice. By then tice both within the history of Indian 26 May–14 August 2011 drawings, painstakingly composed she had stopped using paint wash, art and in relation to an international using pencil and pen – working with and constructed her compositions by avant-garde. Previous exhibitions of ‘Nasreen Mohamedi: Notes - Reflec- the grid and deviating from it with the means of lines rendered in pen and her work include the Third Indian Trien- tions on Indian Modernism (Part 1)’ use of diagonal lines. Virtually alone ink, using technical drawing equip- nale (New Delhi, India, 1975), Jehangir was part of ‘Reflections on Indian amongst her peers in India, who gen- ment. Art Gallery (Mumbai, India, 1991), Modernism’, a comprehensive pro- erally favoured a figurative narrative ‘Drawing Space: Contemporary Indian gramme of public projects and resi- style, her lineage can be traced back During the final phase of her work in Drawing’, inIVA (London, UK, 2000), dencies organised by Gopinath and to an earlier generation of Indian art- the 1980s, Mohamedi abandoned the ‘Nasreen Mohamedi: Lines among Watson for OCA and CoLab Art & ists engaged with abstraction, such as grid, and began to compose geometric Lines’, The Drawing Center (New York, Architecture, Bangalore, India. This V.S. Gaitonde. shapes, including combinations of USA, 2005), documenta 12 (Kassel, programme aimed to revisit recent In- diagonal lines, triangles and spheres, Germany, 2007) and ‘Nasreen Mo- dian art history, recuperating legacies Other parallels for her practice can be which were suspended within an hamedi: The Grid Unplugged’, Talwar of avant-garde practice and archiving drawn with works on paper by Agnes empty ground. Throughout her career, Gallery (New York, 2008). The exhibi- lesser-known bodies of work that slip Martin, or with the utopian abstraction Mohamedi consistently produced tion included important loans from the between genres and schools. of Kazimir Malevich and the Supre- photographs as a visual record of the Sikander family, Mumbay, India, the matists, whom she admired greatly. places she visited. Although she never Glenbarra Art Museum Collection, Despite Mohamedi’s cosmopolitanism, regarded them as works in their own Japan, and Chemould Prescott Road, her work also reflects her identity as a right, today these spare black-and- Mumbai, India. female Indian artist working during the white shots of architecture – including second half of the twentieth century, Le Corbusier’s Chandigarh or the The exhibition, initiated by OCA, was as the subcontinent, its landscapes, Moghul city of Fatehpur Sikri – desert on view at the Office for Contemporary urban centres and Islamic heritage are landscapes and experimental Rayo- Art Norway from 6 March to 20 June often intimated in her work, particularly grammes constitute a key part of her 2009 and toured in European venues her photographs. oeuvre. While her photographs pro- throughout 2009–2011, closing with vide insights into the world which she the last hosting institution, the Wiels inhabited, her diaries, filled with reflec- Art Centre in Brussels, Belgium 26 tions on her work and her personal life, May to 14 August 2011. attest to the link between her struggle for equilibrium and a disciplined com- mitment to her practice.

212 213 The ephemera from her studio, which Acknowledgements includes calendars, letters from the The Office for Contemporary Art Nor- Arabic alphabet and magazine cut- way expresses its sincere appreciation tings, along with notations, sketches to the curators – Suman Gopinath and photographic experiments, reveal and Grant Watson who conceived of her working process and the way she this unique project and who further developed a language that is both contribute to the devoloping coopera- visual and conceptual., tion with the institution. Further thanks on the part of the institution and the About the Guest Curators curators are expressed to the collec- Suman Gopinath is a curator and tors and lenders who made it possible founder director of Colab Art & Ar- to organise this first retrospective on chitecture based in Bangalore, India Nasreen Mohamedi´s work in Europe (2005). She worked in a private gal- including Shrileka Sikander and family, lery for many years and studied at Masanori Fukuoka, Shireen Gandy, Goldsmiths, University of London, UK, Shreyas Karle & Himali, Mortimer before setting up Colab. Suman has Chatterjee & Tara Lal, Roshini Vade- collaborated with Grant Watson and hera, Arun Vadehra & Vidya Shivadas Anshuman Dasgupta on the exhibition and Amina Patel. OCA further appreci- ‘Santhal Family: Positions around an ates the support from its Board and Indian Sculpture’, MuHKA – Museum founders, especially the support pro- of Contemporary Art, Antwerp, Bel- vided by 03-funds from the Norwegian gium (2008) Ministry of Foreign Affairs.

Grant Watson coordinates Iniva’s re- search programme and publications, Exhibition venues – and is also involved with exhibitions. Attendance Until April 2010 he was Projects Cura- tor at MuHKA, Antwerp, where he was Office for Contemporary Art Norway, involved in curating exhibitions and Oslo, Norway artist projects at the museum. Grant 1387 Watson was Visiting Curator for docu- Milton Keynes Gallery, Milton Keynes, menta 12 where he researched the UK participation of contemporary Indian 3948 artists in the exhibition. He studied Lunds Konsthall, Lund, Sweden Curating and Visual Cultures at Gold- 9459 smiths College London. Kunsthalle Basel, Basel, Switzerland 2517 Gopinath and Watson have been col- Culturgest, Lisbon, Portugal Installation vieuws of laborating on exhibitions of modern 3017 ‘Nasreen Mohamedi: Notes - and contemporary Indian art since The Academy of Visual Art Leipzig, Reflections on Indian 1999. Germany Modernism (Part 1)’ at 450 The Academy of Visual Art Wiels Art Centre, Brussels, Belgium Leipzig, Germany 4656

Total: 25434

214 215 OCA in the Press

Installation vieuws of ‘Nasreen Mohamedi: Notes - Reflections on Indian Modernism (Part 1)’ at Wiels Art Centre, Brussels, Belgium

216 217 In 2011 projects granted International International Press mentioned the Selected International Press 2011 Support from the Office for Con- Office for Contemporary Art Norway temporary Art Norway received 44 36 times, especially in relation to Ursula Maria Probst, ‘Ein Biennale in Roberta Smith, ‘Art gets bigger but not significant mentions within the interna- ‘The State of Things’ and to Bjarne 5 akten – 8. Shanghai Biennale’, necessarily better’, International tional press. Press coverage of group Melgaard’s teaching programme Kunstforum, 1 February 2011 Herald Tribune, 17-18 December exhibitions and biennials included the ‘Beyond death: Viral Discontents and A.Di G. ‘Testimonianze Rom e la Nor- 2011 8th Shanghai Biennial, which saw Contemporary notions about AIDS’ at vegia politica’, Il Manifesto, 31 Holland Cotter, ‘Complacency butts the participation of the Norwegian Università Iuav di Venezia, and to the May 2011 up against game changers’, The artist-group Verdensteatret, AK Dolven following exhibition ‘Baton Sinister’. Jacqueline Davies ‘Gardar Eide Einars- New York Times, 16 December within the Folkstone Triennial, Kaja ‘Baton Sinister’, consisting of works by son’, Artforum, 24 April 2011 2011 Leijon in ‘Monitoring 2010’, Kassel, Melgaard and his students, attracted Roberta Smith, ‘Artists Decorate Pal- as well as the participation of Ida a significant amount of interest both azzos, and Vice Versa’, The New Ekblad in ‘ILLUMInations’, as part of nationally and internationally, including York Times, 9 June 2011 the main exhibition of the 54th edition a comprehensive review in The New Paul Teasdale, ‘Postcards from Ven- of the Venice Biennale curated by its York Times. The exhibition was also ice’, Frieze, 9 June 2011 Director Bice Curiger. Reviews of solo reviewed by Jerry Saltz for the New Marinella Venanzi, ‘Fare jogging sul exhibitions included Elmgreen & Drag- York Observer and highlighted by sev- carrarmato americano’, Domenica set at ZKM Museum, Karlsruhe, Knut eral critics in Artforum in the lists ‘Best de Il Sole 24 Ore, 8 August 2011 Åsdam at Depo Istanbul and Gardar of 2011.’ John Kelsey, ‘The Ignorant Schoolmas- Eide Einarsson at Bonniers Konsthall, ter’, Artforum, September 2011 Stockholm. Max Delany, ‘Reflections on “Illumina- tions”: The 54th Venice Biennale’, Norwegian Press coverage of the Art & Australia, 2 September 2011 Office for Contemporary Art Norway Andrew Russeth, ‘The Fall of Rela- measured 102 mentions in 2011, a tional Aesthetics’, The New York majority of which concerned the exhi- Observer, 15 September 2011 bition ‘Forms of Modern Life: From the Esperanza Rosales, ‘Going north’, Archives of Guttorm Guttormsgaard’ Spike Quarterly, September 2011 and the official Norwegian participa- ‘The State of Things – Saskia Sassen’, tion within the 54th International Art Abitare, 17 October 2011 Exhibition, La Biennale di Venezia, with ‘A Virtual Biennale – Norway’, Line the extensive lecture series ‘The State Magazine, 17 October 2011 of Things’. Claudia Faraone, ‘The challenges of our time in the city’, Domus, 17 November 2011 ‘Whatever Happened to Sex in Scan- dinavia’, Artterritory, 2 December 2011 Scott Rothkopf, ‘Best of 2011’, Artforum, December 2011 Matthew Higgs, ‘Best of 2011’, Artforum, December 2011 Jerry Salz, ‘The Year in Art’, New York Magazine, 4 December 2011 Dan Duray, ‘Goodwill Towards Men at Artists Space on Friday’, Gallerist. ny, 8 December 2011

218 219 Selected National Press 2011

Lars Korff Lofthus, ‘Reise ut av landet’, Kjetil Lyche and Linus Sundahl-Djerf, Billedkunst No. 1, 2011 ‘Venezia-suksess som agn’, ‘Trondhjemmer i Tate Modern’, Dagens Næringsliv, 6 October Adresseavisen, 12 February 2011 2011 Arve Rød, ‘Ut av arkivskapet’, Dagens Børrea Schau-Larsen, ‘Første Næringsliv, 12 March 2011 norske bidrag på 20 år’, Dagens Kjetil Røed, ‘Tydelig om bøker og Næringsliv, 2 November 2011 kunst’, Aftenposten, 15 March Heidi Taksdal Skjeseth, ‘Norsk- 2011 dansk kunstsatire i New York’, Tom Inge Andersen, ‘Først Harstad, Dagsavisen, 4 November 2011 så Manhattan’, 24 Mach 2011 Håkon Gundersen, ‘Samtale i de Line Ulekleiv, ‘Fingeravtrykk i høyere luftlag’, Morgenbladet, 4 modernitetens bokmarg’, November 2011 Kunstkritikk, 1 April 2011 Jonas Ekeberg, ‘Kulturministeren Peter Amdam, ‘Vi har løfter å holde’, uttykte søtte til OCA’, Kunstkritikk, Kunstkritikk, 5 April 2011 17 November Erlend Hammer, ‘Stillhet = død’, Johanne Nordby Wernø, ‘Sex og Dagbladet, 28 April 2011 smorgasbord’, Dagbladet, 27 Olav André Manum, ‘Med kunst som December 2011 verktøy mot hiv og aids’, Positiv, June 2011 André Gali, ‘Samtidskunst som opplyser’, Kunstforum, 6 June 2011 Lotte Sandberg, ‘Alle viser seg frem – Norge sparer’, Aftenposten, 4 June 2011 Ida Karine Gullvik, ‘Å improvisere i Betong’, Klassekampen, 4 June 2011 Øystein Hauge, ‘Å stirre på kunst i Venezia’, Bergens Tidende, 6 June 2011 Mona Pahle Bjerke, ‘Tidens puls’, NRK Kultur, 19 July 2011 Lillian Bikset, ‘Norge, avdeling Venezia’, Dagbladet, 27 August 2011 Geir Haraldseth, ‘Øko på OCA’, Kunstkritikk, 9 September 2011 Terese Søgard, ‘Norsk kunst på Documenta’, Billedkunst No. 5, 2011 Kjetil Røed, ‘Collaterali eventi’, Vinduet, October 2011

220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 Key Figures 2011

242 243 Key Figures & Comments

Income 2011 2010

Ministry of Culture 11.216.000 10.878.000 Ministry of Foreign Affairs 5.692.529 6.305.547 Foundation Fritt Ord 250.000 100.000 Other contribution KUD 448.796 286.422 Other income 148.088 379.324

Total 17.755.413 17.949.293

Expenses

Salaries/fees 5.196.129 4.893.969 Projects/biennales/applications 7.962.970 7.949.964 Rent, administration, office 5.349.952 5.081.816

Total 18.509.051 17.925.750

Result -753.638 23.544

Finance income 15.903 63.328

-737.735 86.872

Balance

Property 1.146.420 1.368.095 Claims 293.307 269.160 Bank deposit 1.639.911 2.822.087

Total 3.079.638 4.459.342

Own capital ownership 50.000 50.000 Earned capital ownership -122.303 615.432 Debths 3.151.941 3.793.910

Total 3.079.638 4.459.342

244 245 International Support & International Residencies: Statistics Attendance Figures

International Support in the Last Five Years Project ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’

02–funding 2007 2008 2009 2010 2011 Total visitors Semesterplan events and exhibition: 1,299 Number of days with open exhibition: 61 Numbers of applications 213 150 184 201 251 Average visitors per day in exhibition: 17 Number of grants 77 69 83 98 136 Average number of visitors per month 259 % of awarded applications 36% 46% 45% 49% 54% Total visitors to Semesterplan events: 511 Total amount applied for 6.930.000 9.090.619 7.025.372 7.408.760 9.715.863 Total number of Semesterplan events: 5 Total amount granted 1.700.000 2.100.000 2.259.988 2.141.036 2.231.253 Average visitors per Semesterplan event: 102 Granted amount in % of amount applied for 25% 23% 32% 29% 23% Total Visitors 1,925

International Support in the Last Five Years

03–funding 2007 2008 2009 2010 2011

Numbers of applications 54 75 80 62 35 Number of grants 33 37 33 21 21 % of awarded applications 60% 49% 41% 34% 60%

Total amount applied for 2.500.000 2.972.927 4.653.011 2.257.391 1.460.946 Total amount granted 1.100.000 900.000 800.000 388.633 330.200 Granted amount in % of amount applied for 44% 30% 17% 17% 23%

International Residencies

2010 2011 Applicants Residents Applicants Residents

Bethanien, Berlin, Germany 39 1 52 1 Berlin Mitte, Berlin, Germany 21 4 26 4 [Artist] ISCP New York, NY, USA 32 1 47 1 [Curator] ISCP New York, NY, USA 5 1 5 1 Wiels Contemporary Art Center, Brussels, Belgium 21 1 22 1 Platform China, Beijing, People’s Republic of China 21 1 16 1 Capacete, San Paulo, Brazil 22 2 23 1 Los Angeles, CA, USA 35 1

246 247 Website Statistics 2011 Organisation 2010 Pages Pages 2011 Pages Pages visited visited visited visited and the Board a month per day a month per day

Jan-10 42214 1407 Jan-10 41775 1393 Feb-10 35964 1198 Feb-10 37357 1245 Mar-10 40758 1359 Mar-10 44868 1496 Apr-10 38021 1267 Apr-10 42294 1410 May-10 43024 1434 May-10 58501 1950 Jun-10 32877 1095 Jun-10 24246 808 Jul-10 29435 981 Jul-10 9645 97 Aug-10 38715 1290 Aug-10 24194 807 Sep-10 40534 1351 Sep-10 21374 713 Oct-10 46969 1566 Oct-10 23480 783 Nov-10 44867 1496 Nov-10 21335 711 Dec-10 35702 1190 Dec-10 13825 461

Total 469080 15634 Total 362894 11874

* Upon the launch of the new website in May 2011, OCA changed its web hosting service. Accordingly, there is a different method of counting traffic to the website, which in addition to the change of site structure could lead to statistical discrepancy from the previ- ous years.

248 249 OCA Board 2010 OCA Jury Gro Bonesmo, Chair (Architect and Roger M. Buergel, Director, Johann partner of Space Group, Oslo) Jacob Museum, Zurich, Switzer- Gavin Jantjes, (Curator for Internation- land al Contemporary Art, The National Artistic Director, Busan Biennale Museum of Art, Architecture and 2012, Busan, Korea Design in Oslo) Ann Demeester, Director, de Appel Deputy Øystein Ustvedt (Curator, The Arts Centre and de Appel Curato- National Museum of Art, Architec- rial Programme, Amsterdam ture and Design, Oslo) Frank Falch, Art Historian and Curator, Øystein Hauge (Assistant Professor / SKMU Sørlandets Kunstmuseum, Theory Coordinator, Bergen Na- Kristiansand, Norway tional Academy of the Arts) Marta Kuzma, Director, Office for Con- Deputy Gunvor Nervold Antonsen (Art- temporary Art Norway ist, living and working in Oslo) Hege Nyborg, Artist, living and work- Hilde Hauan Johnsen (Artist and Pro- ing in Oslo fessor, Tromsø / Bergen National Dirk Snauwaert, Founding Director, Academy of the Arts) WIELS Contemporary Arts Cen- Deputy Birgit Bærøe (Head of tre, Brussels Visual Arts Section, Arts Council Angela Vettese, Director, Graduate Norway, Oslo) Programme in Visual Arts, Iuav Knut Brundtland (Chief Executive University of Venice, Venice, Italy Officer, ABG Sundal Collier, President of Fondazione Bevilac- Oslo) qua la Masa, Venice, Italy Deputy Siri Meyer (Professor, Depart- ment of Linguistic, Literary and Aesthetic Studies (LLE), Univer- sity of Bergen)

250 251 OCA Staff External consultants Marta Kuzma, Director Anne Gunnæs Anne Gunnæs, Head of Finance and (from July to December 2011) Administration (until June 2011) Interns Toril Fjelde Høye, Head of Finance and Anna Katharina Haukeland Administration Jin Fan (from December 2011) Pablo Lafuente, Associate Curator OCA hosts for events at OCA’s (P/T) Public Space Marthe Tveitan, Senior Programme Tone Berg Størseth Coordinator Jade Boyd (until October 2011) Ann Iren Buan Antonio Cataldo, Publications and Sophie Greve archive Manager Hanne Grieg Hermansen (until October 2011) Gunnhilde Høyer Senior Programme Coordinator Vera Lid (from November 2011) Iga Perzyna Tonja Boos, Research and Programme Jørn Tore Egseth coordinator (P/T) Tiril Mår Johansen Tara Ishizuka Hassel, Information and Øystein Wyller Odden Web Manager Elin Marie Rødseth Maria Moseng, Press Officer (P/T) Zac Tomaszewski (from October 2011) Alexandra Cruz, Coordinator for Inter- national Relations (until September 2011) (Maternity leave: July 2010-May 2011) Paul Brewer, Head of International Relations (from October 2011) Anne Charlotte Hauen, Administrative Associate Elisabeth Weihe, Facilities Manager (P/T) Asle Olsen, Production Coordinator Kristine Dragland, Assistant (P/T) (from January to June 2011)

252 253 254 255 Office for Contemporary Art Norway Annual Report 2011 Publisher: OCA Editor: Antonio Cataldo Layout and design: Hans Gremmen Proof reading: Paul W. Brewer Picture Editors: Tonja Boos, Tara Ishizuka Hassel, Maria Moseng, Asle Olsen

Oslo 2012 © Office for Contemporary Art Norway

Image on the inside cover: Detail of Thomas Bewick, Figures of British Land birds and Foreign Birds. Newcastle upon Tyne: Printed by S. Hodgson (1800) as part of ‘Forms of Modern Life: From the Archives of Guttorm Guttormsgaard’ / Office for Contemporary Art Norway / 9 March–25 June 2011. Photo: OCA / Martin Johansen

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