Um Sequences
Um lei? og Sequences-h?t??in notar hugtaki? raunt?mi til a? v?sa til mi?lunar ? t?ma, felur teygjanlegur t?mi ? s?r hvernig nota m? hugtaki? um ?? reynslu og upplifun a? skapa list, me? ?v? a? sko?a hvernig listamenn eiga vi? t?mann sem hr?efni. Hugtaki? raunt?mi kallar svo ?sj?lfr?tt fram or?i? ?raunt?mi og varpar ?annig fram spurningum um hvers vegna afstrakt m?lit?ki eins og klukka teljist raunverulegri en t?minn eins og einstaklingurinn upplifir hann. Klukkan veitir vissulega samstillingu, en engu a? s??ur er hugmynd okkar um t?mann takm?rku? ?egar teki? er tillit til sm?s?rra e?a jar?fr??ilegra t?makvar?a. Me? ?v? a? teygja, bergm?la og sn?a upp ? t?mann fara verkin ? Sequences VIII oft handan sta?la?ra m?linga til a? kanna ?hef?bundin kerfi. ?essi verk minna okku ? a? hrynjandi hversdagsins ?kvar?ast ekki eing?ngu af hef?um og sta?, heldur getur h?n l?ka veri? einstaklingsbundin, s?rsni?in jafnvel, e?a r?tgr?in ? n?tt?ru?flum sem vi? h?fum enga stj?rn ?. N?nar
?vi?gip listamanna
Jessica MacMillan?(b. 1987) lives and works in Oslo. She holds a Master of Fine Art from the Academy of Fine Art in Oslo, and a Bachelor of Fine Art in sculpture and art history from the Massachusetts College of Art and Design in Boston.?Through the medium of sculpture and installation, Jessicas artistic production investigates concepts in astronomy and their relationship to the actuality of daily life on our planet: not only the tangible, physical directions and orientationsbut also the distances and structures we can never fully experience with our limited senses. Here Jessica presents four kinetic sculptures from her installation?Antiplanet?(2017), which have been constructed using found objects and the same equipment and techniques that are used for guiding telescopes. The four sculptures in this installation are aligned with the axis of the planet, and rotate at the same speedbut in the opposite direction. Counteracting the rotation of the planet, these sculptures become physically aligned with fixed points in the sky.
There is a gap in the relationship between our everyday experience and our larger context: on a planet, in a solar system, within a galaxy. It can be argued that in astronomy, reality and appearance are more disconnected than in any other area of human experience.This creates a necessity for metaphor, and also the opportunity to explore the structure, materialities, and significance of our human experience from different angles. Scientific instruments often require calibration to keep them precise. To calibrate in this sense, is to take external factors into account while making adjustments for accuracy. This is what I hope to accomplish with my artto offer a different kind of calibration: an opportunity for assessment of the scale of human life, the limits of experience, and our collective concept of (and hope for survival in) the future. (Jessica MacMillan)
Maiken Stene?(b. 1983) graduated from Malm? Art Academy and lives and works in Oslo and Sokndal, Norway.?Maiken uses painting, installation, text, video, and sound to?research the connection between geology and landscape painting. Her work studies how both disciplines have gradually formed nature and our understanding of it.?In the video?This Land is My Land?(2014, HD video, 7 min.), Maiken uses, and irreversibly transforms one of her previous works, a scenographic painting based on a print from 1840 which depicts a Cornish tin-mine.
I?packed up the painting/set and drove it to a gravel pit in northern Sk?ne where, with good help from photographers and pyro-technicians, I blew up the landscape with dynamite.?The sound is from a real blast recorded in the iron mine?Titania in southwest Norway. ?(Maiken Stene)
Presented as a video installation, the work includes the original print of the tin-mine, hung upside-down. It can be viewed through an old theodolite, a land survey tool used by mining companies, which flips the image by 180 degrees.
Malin Franz?n?(b.1982) studied at Malm? Art Academy. Working with video, objects, and installations, she often uses documentary material to explore her interest in myth, expansion, and the desire to achieve utopian change and convert others to ones own vision. In a series of installations, she explores the role of legends in the emergence, expansion, and maintenance of religious and political movements. The most recent work in this series,?L?nge bor vi p? ruinerna av det f?rg?ngna [For long we live on the ruins of the past]?(2017), focuses on Swedish writer, feminist, and public intellectual Elin W?gner. In 1937, W?gner went on an archaeological field trip to Crete in search of historical examples of peaceful coexistence suggesting alternatives to the violent and war-torn times in which she lived. Following W?gners footsteps,?L?nge&?asks what happens when one attempts to merge historical fragments into a new narrative about the past in order to point to an alternative way forward.
Yen Noh?(b.1983) has received a BFA from Hongik University in Seoul and a MA in Transdisziplin?re Kunst from the University of Applied Arts Vienna. Looking into the gap between the original and translation in cultural relativity, Noh takes language and translation as her themes to produce speech performance , in which a spoken language becomes a critical agent to rethink the relationship between spoken language, speaking body and its mind. She is concerned with an?archival mind?in action and togetherness, in order to create a temporary, yet intimate community of thinking, dialogue and discourse.
When A Form Withdraws Itself?is a speech performance series that deals with the gesture of withdrawal as affirmative. The series developed from a long-term artistic research into the performance and text works of the artist Theresa Hak Kyung Cha who explored spoken language, voice, and body as a critical intervention of identity. In this exhibition here, the objects of the performances documentation are shown, questioning what it means to document performance and what makes it so attractive to think of the relationship between documentation and performance. While a speaking body dominated the space during the performance, Yen is here interested in the ontological question of the visible and invisible transformation of objects in the post-performance. How does the spoken word resist being materialized, yet its technical information and transformation appear by and after performance??Yen experiments with these questions as a preparation for her artist book,? When A Form Withdraws Itself .
