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Artist duo, Martinka Bobrikova (SK/NO/SE) & Oscar de Carmen (ES/NO/SE), has been working together since 2005. Their artistic practice is located in the act of transcending the boundaries between art and social research. The main theme is related to transitory and utopian. They graduated from Malmö Art Academy in 2012 and since then they have been more or less nomadic with major base in Norway.

The presented project is based on our long lasting research of the possibilities of generating the energy from redundant fruit and vegetables. By means of a simple open hardware the energy acquired from fruit and vegetables is transformed through integrated circuits into audio-visual installations.

Apart from an interesting audio-visual form the installations become the social criticism of the current consumerist society and also offer a certain alternative for a further use of fruit and vegetables, which were considered as redundant and unsalable by superstore chains.

more: madefromwaste.org


Mone Noberta Nedberg (f. 1991) går andre året på kunst- og designhøgskolen i Bergen og arbeider med film, scenografi, tekstil, tegning og installasjon. Hun tar utgangspunkt i ensomhet i tillegg til sin egen hverdag og bakgrunn og arbeidene hennes bærer ofte preg av repetisjoner, enten i form av gjentagende handlinger eller objekter og mønstre.

I utstilling "Vi sees i Oslo" viser Mone Noberta to tegninger som er et resultat av arbeider med forlatte hus langs Riksvei 3 i Hedmark, hvor hun selv kommer fra. Prosjektet er en del av en større undersøkelse av hva som skjer med hus når mennesker forlater dem, det fraflyttede og forfalne distrikts-Norge og boligmangelen som hun er få timer unna.

In Freudian psychology, displacement is an unconscious defence mechanism whereby the mind substitutes either a new aim or a new object for goals felt in their original form to be dangerous or unacceptable.

Kobie Nel's 'The Shape of Things to Come' intimately plays with displacement of everyday thoughts of female sexuality, psychology, death and a longing for something to arrive.

"My work is engaged in the ways that falseness/staged can bring us closer to the world. I pursue this through a variety of overlapping strategies that in some way alienate the “natural” view in the hope that the viewer will, by engaging this alienation, come into more active terms with the picture."

South African artist Kobie Nel (b.1984) studied her BA of Art (Photography) in Melbourne at The Royal Institute of Technology. Kobie has participated in a number of group shows most recently she was chosen to exhibit work in Mirror Mirror: Contemporary photographic self-portraiture curated by Linsey Gosper in Melbourne. She was also a finalist for The National Photographic Portrait Gallery in Australia. Kobie is currently working on projects in Scandinavia and is attending the international SIM Residency in Reykjavik this forthcoming March.

Galleri Blunk åpner sesongen med visning av videoverket "Magic Blood Machine" av Ingrid Torvund.

I "Magic Blood Machine" blir vi introdusert for et skrudd eventyrunivers. I løpet av en rekke tablåer ser vi maskekledde karakterer i et skoglandskap som forsøker å gjenopplive en teddybjørnaktig gudeskikkelse, ved å rekonstrure kroppen hans. I dvelende bilder er vi vitne til et mytologisk spill uten dialog men med mystiske ritualer, sorg, tidsreiser, håp og krystallhealing.

Ingrid Torvund ble ferdig med bachelorgraden sin på Kunstakademiet i Oslo i 2012. Arbeidene hennes har blitt vist på Høstutstillingen, Oslo Kunsthall, Oslo S, 0047, Galleri 69 og ulike filmfestivaler.


I could have remained closer to the ‘raw’

data in which these patterns appear. I could

have distilled them further towards an abstract

logico-mathematical calculus. I hope they are not so

schematized that one may not refer back to the

very specific experiences from which they derive;

yet that they are sufficiently independent of ‘content’, for

one to divine the final formal elegance in these

webs of maya.

Två ytor, lika men ändå helt väsensskilda, möts i en rumslig balansakt där lager av associationer och begrepp ömsom binds samman, ömsom bryts upp.

Läge (Kontinuerlig förhandling) är en del i projektet famnad:fjärmad:förändrad, en serie platsspecifika installationer bestående av millimetertunna våder av vit väggfärg. Sinsemellan fristående verk, som med begreppen sensualitet och ett milt vansinne som förtecken tar sin början i en undersökning av vad som händer när ett av de element som utgör rummet lösgörs och intar en helt ny relation till såväl rum som betraktare.


Annika Vilhelmson, (född -79)

Relationen rum-jag-kropp är central i Annika Vilhelmsons arbete. Mellan dessa oupplösligt sammanlänkade element rör sig impulser fram och tillbaka, fritt men inte utan ett visst motstånd. Detta är utgångspunkten både för hennes verk i sig och för hennes sätt att arbeta. Resultatet är installationer präglade av en ständig växelverkan mellan helhet och detalj, tanke och sinnesintryck, skörhet och brutalitet. Rum för betraktaren att kliva in i och ta del av med hela sin varelse.

Bakom Annika Vilhelmsons installationer ligger vanligtvis ett omfattande arbete, där ett utgångsmaterial för hand omvandlas till något nytt, som i sin tur blir del av det färdiga verket. De spår som lämnas i materialet under dess väg från en form till en annan fortplantas genom verket och ger en mänsklig dimension till det som annars kunnat uppfattas som sterilt och opersonligt, en kroppslig koppling som låter betraktaren bli varse sin egen närvaro i rummet.

Annika Vilhelmson är utbildad vid Kungl. Konsthögskolan i Stockholm och har ställt ut på bl a Galleri Mors Mössa och Galleri 54, båda i Göteborg.

Se fler bilder på ArtSceneTrondheim

Rina Eide Løvaasen - Resolution Revolution feat. Eva Ballo

Concur. Abuse. Create an image and let the future know this was the
truth.

A stir so good, an inseparable blend.
A cocktail berry atop of the swirl makes the mend.
There’s a constant flow of applications manifesting through time.
They archive under the layers of history for no one ever to find.
Still being the genesis of our spine.

I am a witness, a medium and a source.
I am a brick in the construction of our force.
A skeleton of a horse states the prefix.
I produce the remix.

I see, perceive, memorize and remain.
The appearance of time through violation of itself is what I obtain.
Fiction has mass consumed history and left the origin in disdain.
The composing, the colors, the setting of lights, the tendency I fight,
the inescapable perception of your own sight.
The coating over what you actually see is the retina’s incapability.
So what contradiction appears in the bodily reflection of what you
observe?
The relay is depending on liability.
What you adapt, presence will preserve.

Modesty. Retrace.
Discover the satisfaction of the haze.

We’re all tangled up in a masquerade.
Come embrace the phenomenon. There’s no evade.
Notoriously we’re unaware of the parallel between it’s derivation,
and our process through levels of degradation.
Under the structure of a hidden core we stray.
To the Gods we may pray for a clearer way.
But they can’t do shit, can they?

Rina Eide Løvaasens Website
See images from the exhibition at ArtSceneTrondheim


Full Moon Friday October 18th

An international group show featuring works by:

Janicka Ravenhirst (NL)
Prana Estu (BE/ID)
Maia Lyon Daw (UK)
Mathias R. Samuelsen & Andreas Schille (NO)
With secret contributions by Egil & Einar Asprem (NO).

:: Refreshments for earlybirds :: flying carpet performance at 8pm ::

TIME LAPSE & THE VISUALIZATION OF ENTROPY

The point of view enabled by time-lapse transcends the limitations of ordinary human perception. The way we experience time is determined and shaped by our bodies and brain, and through the technology of time-lapse we can enhance and expand our perception of time. In this manner we can experience duration in a magnitude beyond our normal phenomenal life-worlds. In this manner we can witness SPACE-TIME WORMS.

The way that nature’s forms extend through time can be represented in two different ways. They may appear as stable time-lines, fixed structures, Platonizing forms, order and stability. These endless and stable forms are bound up in space-time worms, four-dimensional creatures previously known only to metaphysicians. But nature also expresses itself through change; endless cycles of birth, growth, and decay. Extension in time thus appears as instability and entropy, old forms withering and new ones emerging. Both understandings provide ways of seeing and visualizing nature in time that transcends our limited, everyday perception. By utilizing the idea of time-lapse one can aim to expose nature’s hidden stories of stability/order vs. chaos/complexity, veiled from our ordinary perceptions.

Northern Light Residency Exhibition is anchored in these concepts, and we invite the audience to use these ideas as a point of orientation when engaging with the exhibited works.


Paintings by Olli Piippo

Decoration is a sin. It is not allowed, not tolerated. The decorative touch and trace are on the eternal top of the list of do not acts. Fundamentally, positively and totally to be avoided.

Or are they?

What if the decorative touch and the trace, what if they are like that original notion of a sin? Not anymore a completely commodified object of fetish, but an open-ended conflictual process that seeks chances and challenges, confrontations and collisions? A touch and a trace that has re-generated, re-won, re-actualized its inherent elements of surprises, its sense and sensuality that cannot be reduced to just a flat sorry sordid image?

In the works of Olli Piippo, the decorative mode and mood is strongly present. To be precise: It is thrown straight at our face. With no mercy, and no apologies they do exactly that what one should not do. But not with any kind of annoying violent frenzy, or an outburst of an aggressive take. These paintings talk to us, they take us for a ride with full and beautiful persuasion that has a name: seduction.

The notions, in and through emotions and motions, used in these acts of seduction are as simple as they are effective. What’s more, and what’s the very point of this particular strategy of a seduction, it is done with the inherent means of the act of painting. They are works of art that painstakingly claim to be nothing more and nothing less than paintings.

Olli Piippo (b.1980, Fin) lives and works in Berlin. This is the first time he exhibits his paintings in Norway.

Read the interview with ArtSceneTrondheim
Or view more photographs.

Åpning Fredag 11. Oktober kl. 20

Øvrige åpningstider er:
Lørdag 12. Oktober 12-16
Søndag 13. Oktober 12-16

The Infinite Vanishing er en installasjon om en sløv form for eskapisme, sjarmerende pessimisme, og svimmelheten som følger med når man innser at man har kastet bort mer tid enn gjort nytte av den. Når tiden har gått for fort, men ting har skjedd for sakte.

Bente Ånestad (f.1985) fullførte bachelorgrad i samtidskunst på Kunstakademiet i Tromsø i år. Dette blir hennes første soloutstilling.

Se mer på ArtSceneTrondheim

"Selv om tyngdekraften påvirker tilstanden i liv og objekter, kan motorikken i menneskekroppen eller en maskin skape motvekt – manipulere. Natur og menneske. Menneske og natur. I dette samspillet er bevegelse kultur og kommunikasjon."

Joakim Holm Toreg (f. 1983) går nå 2. år ved kunstakademiet (NTNU) i Trondheim.

Toreg arbeider innenfor mange teknikker/uttrykk, og ved siden av visuelle inspirasjonskilder trekker han fram den siste norske arbeiderpoeten Bjørn Aamodt (1944 – 2006).

Jan Olav Gram Hemsing studerer det tredje året ved kunstakademiet i Trondheim og har sin første separatutstilling hos galleri blunk 6-8.sept.
 
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