Eirik Senje : Your Strangely Familiar Customs are Alien to Us, Please Consider Revealing the Secret of Their Significance

Your Strangely Familiar Customs are Alien to Us,
Please Consider Revealing the Secret of Their Significance

Eirik Senje

Opening: Saturday May 19th, 12:00 – 18:00

Open: May 20th – 26th, 12:00 – 18:00

An exceptionally long title deserves a short explanation. Anyone who has ever tried to defeat an inanimate object in a staring contest knows; this is not the way. As strategy tells us, always face the stronger opponent on ground where his advantages can be taken away from him. This is why, in order to get anything done, one must always study a thing thoroughly and then walk away from it. Inevitably a thing, tricked into thinking it holds all the cards, will expose itself by carelessly wandering into territory where it can be taken apart and reconfigured.

What is represented through the title is neither a fragment of a sentence nor a study for a question. Nonetheless, there is something to respond to. Theoretically speaking, it is the event horizon of several dark spots pasted onto the fabric of spacetime, which in this case will be represented by pieces of canvas stretched over some odd number of manageably sized frames, and covered with glue, chalk, and patches of pigment mixed with linseed oil. While it is known that human beings tend to empathise with, or indeed react violently to that which bears a resemblance to themselves, the main attraction here seems to be a slightly out of focus alternate center of attention that begs no more than just that. If this becomes possible, it is only because the medium is so specific it can cause the rules of contemporaneity to behave strangely in the immediate area surrounding it.

Why describe a small painting exhibition in such a circuitous manner you ask, in a hypothetical scenario. Could it be that description perhaps, itself is the theme? Here we all believe that there are laws and regulations. I say to you, as the saying goes: You who want across the border; you must try to look inconspicuous as you pass through customs, but if they have dogs they will probably find you out regardless.

-Eirik Senje, 2012

The presentation is part of 20 MA Exhibitions, for more information go to: http://www.kunstakademiet.no and www.kunstnerneshus.no

http://www.eiriksenje.no

 

action will be suspended, space will be laid bare. everything shall be extinguished. time will stop.

Julien Discrit (F) and Marius Moldvær (N)

Curated by Lars Sture

Opening Friday May 4^th, 7pm

Open: May 5^th – 6^th, 12:00 – 16:00

 

Julien Discrit: The Day Trip Project – DV PAL

A moving object made of mirrors is gliding across a park or what seems to be a forest. An assembly of polyhedrons, their specific angles reflecting only what is beneath and what is above, constructs the geometrical machine. As the crystal-like object progresses through the woodlands, it becomes as if transparent reflecting the sky and the ground merge.

Julien Discrit’s work explores geography, cartography and the notion of space. His works involve the perception and the representation of territories looking at the connections between the subject and the world.

Julien Discrit, born 1978, lives and works in Paris (F). Since graduating with an M.A from École supérieure d’art de Reims, he has been exhibiting extensively both in France and internationally. Solo shows includes Diagrammes (2010), Music in Dreams (2009) and Up and down in the end it’s only round and round (2008), Galerie Martine Aboucaya, Paris, and L’atelier, Galerie du Jeu de Paume, Paris (2006). Recent group shows include WANI, Fondation Ricard, Paris,  Une terrible beautée est née, Biennale de Lyon, Nel palzzo di cristallo, CA’ASI, Venice, Entre-temps, Minsheng, Shanghai Loft Project Etagi, St Petersburg and MIS Sao Paolo.

http://www.juliendiscrit.org/?lang=en

 

Marius Moldvær: Cairn, 2012 – photographic print, shelves, archival boxes

Personal and somewhat private diary entries render the construction, the dismantling and the displacement of a cairn in a desolate mountain landscape. The diary notes are being set against the geologist’s scientific approach to the different varieties of rocks and the building of cairns. A photograph depicts the cairn in its various positions in the remote mountain landscape.

Marius Moldvær’s work starts out as an investigation; an investigation of occurrences that will unfold another set of ideas and explorations of related occurrences. The focus in Marius’s work is on the personal thoughts, ponderings and experiences. This investigation could be described as a space where the cultural and social world is fused with the personal.

Marius Moldvær, born 1985 lives and works in Bergen (N). He graduated from Bergen National Academy of the Arts with an M.A in 2011. He is a founding member of artist collective Gruppe 11. Recent exhibtions include The Ocean Unseen, CirkulationsCentralen, Malmoe (with Hedevig Biong), Følgene, Gruppe 11, Bergen Kjøtt, ONO – UKS, Oslo, Across the Bering Strait and other tall tales, Nottingham and Fluktforsøk, Gruppe 11, KNIPSU, Bergen.

 http://mariusmoldvaer.com/

 

 

Linda Lerseth : Bereitschaftspotensial

Bereitschaftspotensial

Linda Lerseth

Åpning: 20. april, 19:00

Åpent: 21. april og 22. april, 12:00 – 16:00

 

Lammelse som utgangspunkt

Jeg står her i en lammelse av ideer. Frigjøringen er aldri den jeg tror, men fører meg dit jeg ønsker meg bort. Jeg forstår ikke lenger hva som skal til og hvordan det endte slik det gjorde. Jeg slapp og det holdt. Det stod stille og behaget ble tilslutt så stort at det sprakk.

Det er mange overkommelige illusjoner. De fleste er det. De har grader. Knær i buksene, hentesveis, pepsi max, snus på tilbud, full i treningsdress. I det endeløse blikket ser jeg meg selv. Alt syns på sitt vis, alt dømmes stadig i grøten av inntrykk. Det er bra. Det er sånn det skal være.

Innvendig syns ut, og illusjonen av selvet oppstår. Det er nå umulig å opprettholde seg selv. Står man helt i ro går det allikevel nedover.

Jeg har levet lenge nå. Og det er på tide og stoppe opp å sanse. Det er alle de ubetydelige manglende valg som stikker seg ut. Jeg klarer ikke sette fingeren på hva det gjaldt eller hvorfor de ble unngått. De sitter i meg som en vag følelse av ubehag, en sikker fornemmelse av at alt kunne vært veldig annerledes. Det er for sent. Jeg har holdt ut lenge, snart er det over. Men hvordan kan et valg ha en egenverdi? Det handler om tro. Noe ikke konkret. Jeg står selv å tror. Det går alltid tilslutt, men hjelper aldri. Jeg må alltid stå i denne spenningen som tvinger meg til å handle. Vegringen er nær.

Et valg

Osv.

Tilstedeværelsen

Tro

Håp og kjærlighet

Død

Restene er nå blitt alt

 

www.lindalerseth.com

Øystein Wyller Odden : Progressive Entrapment

Progressive Entrapment

Øystein Wyller Odden

Åpning: 30. mars, 19:00

Åpent: 31. mars og 1. april, 12:00 – 16:00

Øystein Wyller Odden skaper scenarier hvor undersøkelse av magiske og symbolske egenskaper ved fenomener er mulig, samtidig som det hele foregår på en svært rasjonell måte gjennom å vise frem rammene som skaper opplevelsen. Maskinene han bruker danner en evigforandrende lyd- og bildekomposisjon basert på tilfeldighetsprinsipper og enkel automasjon. Det institusjonelle rammeverket, rammene for kunstproduksjonen eller rammene for selve persepsjonen avsløres, gjerne ved å gjøre virkemidlene så små, få og tydelige at verket til en hver tid står i fare for å gå i oppløsning mens virkemidlene holder funksjonen i gang.

Kontrollen over maskinene er i Wyller Oddens praksis overlatt til enkle tilfeldighetsprinsipper, noe som gjør at installasjonene alltid er i konstant forandring. Slik kan det oppstå en situasjon der publikum projiserer liv og menneskelige egenskaper inn i elementene i arbeidet, samtidig som de er klar over at det er nettopp dette som skjer.

Øystein Wyller Odden (f. 1983, Notodden) er utdannet ved Statens Kunstakademi i Oslo (2009), og bor og arbeider i Oslo. Wyller Odden arbeider hovedsaklig med objekter og installasjoner, ofte med vekt på lyd og musikk. Tidligere har han hatt separatutstillinger på Fotogalleriet (Oslo) og Kurant Visningsrom (Tromsø), og deltatt på gruppeutstillinger blant annet på Galleri Rekord (Oslo), Henie Onstad Kunstsenter (Oslo), Ciant Gallery (Praha), Supermarket Art Fair (Stockholm) og Høstutstillingen (Oslo).

Utstillingen er støttet av Norsk Kulturråd

www.wyllerodden.com

Ida Lennartsson : Lö Grån Blö

Lö Grån Blö

Ida Lennartsson

Opening Friday March 16^th, 7pm

Open: March 17^th – 18^th, 12:00 – 16:00

First, oil paint was mixed to emulate the colors reflected on the water surface. The paint was then poured onto that same surface directly off the boat or shore. Being oil, it wouldn’t dissolve but instead formed a thin, translucent film over the surface. Then paper sheets were placed on top of these spills and allowed to soak up the colors. The resulting «prints» then left to dry. The most striking thing about this ephemeral printing-technique is the way it mirrors the ocean’s surface with an almost Trompe l’oeil accuracy. This unmediated transposing of surface, via the oil color onto the paper, is the ocean painting itself.

This mirroring (painting/printing) of what is itself a sort of primeval mirror (the ocean), is interesting in the context of subjecthood: Lennartsson of course instigates and gives form to the process by making the necessary preparations, mixing colors etc., but she is not in any significant way involved in the actual mark making. The ocean does the work, like a hired assistant. Here, by dissociating from the interpretative function involved in conveying sensory input, the subject sets up the process of mimesis as an automatism. She, supine – with sheets of paper floating around her little boat, becoming images – is an image also, the image of leisure.

The unsublimated subject, who results from leisure, enjoys an emotive connection to the world rather than one premised on productivity or skill. The choices made, what to do and where to do it, are made based on how they resonate with this emotional chore. The choice of location is not motivated by traits residing in the places themselves, the ocean behaving more or less the same where ever you go, but by their mnemonic significance in the artist’s biography. The specificity of these places is contrasted with the generic image of water that she brings back. These images of the sea shows imaging is incapable of capturing anything other than what is ultimately vacuous and abstract. The dissolving properties of water can also work on the self, which is what is indirectly proposed here: the subject has been erased from the surface of the work.

Ida Lennartsson has her BFA degree from the National Academy of the Art in Oslo and is currently an MFA student at Hochschule für bildende künste in Hamburg. Solo shows by Lennartsson include Hiding behind the horizon at Ringstube, Mainz, Sleep in a waking state of awakening at Galleri LundÅstrand, Stockholm, Dear unheimlich helmet (with Angela Anzi) at Foto Folgendes, Hamburg and Singular Identity at One Night Only, UKS, Oslo. She has also shown work at Friends and lovers in underground, Hamburg, Brunnenstraße 54, Berlin, Sjokoladefabrikken, Oslo and the National Museum of Art, Oslo.

http://curiousfinger.tumblr.com

Kristin Nordhøy : Layers

Kristin Nordhøy : Layers

Åpning: 2. mars, 19:00

Åpent: 3. og 4. mars, 12:00 – 16:00

Kristin Nordhøys praksis involverer alt fra veggarbeider og objekter til maleri og tegning. Noe som imidlertid kjennetegner arbeidene hennes er bruken av repetitive elementer. Nordhøy søker å kommunisere innhold gjennom monokromatiske strukturer, geometriske former og romlige problemstillinger. Til utstillingen på Holodeck har Nordhøy utformet veggarbeider som tar utgangspunkt i gallerirommets arkitektur. Store flater mot mindre detaljerte streker og former skaper en tydelig struktur på veggene i rommet som vitner om et grid, eller et underliggende grunnlag hvor mangelen på informasjon er fremtredende, men hvor formale avgjørelser har blitt tatt.

I hennes praksis står det industrielt fremstilte materialet tape sentralt, enten det er gjennom prosessen, hvor tapen har fungert som rutenett som siden har blitt fjernet, eller den er materialet i selve verket. Materialet står i tydelig kontrast til utførelsen av verkene, som er preget av langsomme prosesser og håndverk.

Nordhøy skaper verk som forholder seg til op-art og minimalisme,  samtidig som de synliggjør prosesser som forsøker å nå et nytt nullpunkt i en kreativ prosess. På Holodeck blir selve galleriveggene synliggjort som nok et eksempel på en slik struktur. Gjennomsiktigheten i den standardiserte gule maskeringstapen hun har lagt stripe for stripe er med på å synliggjøre veggen i rommet, med alle sine bulker, riper, og rester fra tidligere utstillinger. Slik aktiverer hun også i like stor grad de negative rommene i rommet, de uberørte feltene.

Kristin Nordhøy (1977, NO) er utdannet ved Kunsthøgskolen i Oslo. Hennes utstillingsvirksomhet inkluderer blant annet deltakelse på Liste 16 Basel representert av galleriet Lautom Contemporary, 2011, soloutstilling på visningsstedet Volt i Bergen, 2011, separatutstilling på Tegneforbundet i Oslo, 2010, soloutstilling på Lautom Contemporary, 2010, Tempo Skien, 2009 og utstillingen Norwegian Summer på Galerie Gabriel Rolt i Amsterdam, 2009.

www.nordhoy.com

Elderly anonymous artist : “From the Shadows of a mask”

Elderly anonymous artist

“From the Shadows of a mask”

Opening Friday February 3^rd, 7pm at HOLODECK

Open: February 4^th – 5^th, 12:00 – 16:00

 

To keep in the shadows: “During the plague in the Middle Ages, some doctors wore a primitive form of biohazard suit called “plague suits”. The mask included red glass eyepieces, which were thought to make the wearer impervious to evil. The beak of the mask was often filled with strongly aromatic herbs and spices to overpower the miasmas or “bad air” which was also thought to carry the plague.” How can you be able to cure if you yourself are spreading the disease?

The phenomenon trans-relational is altering the boundaries between author and actionist through the conductor and the recipient. It offers various insights and perspectives on cultural practices, language, politics, labor and individual explorations of questions surrounding identity. Here artistic works will yield an inherent fragmentation, demonstrating a keen awareness typical of “the post-script”. Trans-relational art sums up the spirit of this practice – means being in favor of the defeat of the logo-centrism in culture and seeking a pragmatism regarding the restoring of the importance of instinct to the work of art” Maintaining this idea forms the scope which shows a wide range of possible responses to a set of artistic dilemmas and takes the subject of artistic temperament and history beyond the general pragmatism of today.

Elderly anonymous artist (EAA) works with a variety of mediums including; video, painting, prints, drawing, writing, sculpture and collaborative performative works. The artist is doing meditations on religious and political rhetoric and practice, examining the idea of cultural consensus and challenging intellectual denial. EAA is juxtaposing contemporary art practices with more primitive modes of work to make an interplay that reveals confusion in the world and within the art institution itself. EAA subscribes to the idea that fine art is engaged in the process of programming or even re-programming the future and that art: it´s tentacles reaching into all parts of life, exposes multilayer paradoxes to it´s recipients. “To me art has to un-convince, to the best of it´s ability”.

EAA have been collected and shown in Museums, taken part in several biennials and art fairs. All works in the exhibition are new and made specially for this event.

Kuk & Parfyme zine # 3 JULESHOW feat. Kaja Cxzy Andersen & Tor Erik Bøe m. venner

Kuk & Parfyme zine # 3

JULESHOW

feat. Kaja Cxzy Andersen & Tor Erik Bøe m. venner

❄☃☺☆❅♡❆♫

***** performance ***** sing-a-longs ****** disco ********

 

16. Desember på Holodeck

Dørene åpner kl. 20:00

Performance-program presis kl. 21:00

 

Så sitter vi her med hendene i fanget.

Eller vi ligger på baderomsgulvet med trusa på knærne.

Og vi venter.

Vi tenner lys, spiser sjokolade og ser på TV.

Og vi lurer på om pakkene under treet er myke eller harde.

Vi håper de er harde.

Og vi håper nissen  har husket på våre få men tapre forsøk på å være “snill pike”.

___

Kuk og Parfyme har produsert filmklubb, fanziner og utstillinger. 

Kuk & Parfyme zine #1 kom ut i mai 2011 i 300 eksemplarer som pocketbok. 

Kuk & Parfyme zine #2 kom ut august 2011 i 1 eksemplar fastmontert på Holodeck .

Kuk & Parfyme zine #3 kommer nå ut i 0 eksemplarer, framført live av Tor Erik Bøe og Kaja Cxzy Andersen m. venner på Holodeck.

Redaktører for Kuk & Parfyme er Ingrid Forland og Vebjørn Guttormsgaard Møllberg.

 

Kaja Cxzy Andersen og Tor Erik Bøe har bakgrunn fra Kunstakademiet i Tromsø. De er interessert i dekor (Panduro hobby, blingee.com) og Décor (Broodthaers). Jobber performativt, online og offline. 

 

Vel møtt

(ta på finstas)

 

Richard Alexandersson : Aequātus

Aequātus

Richard Alexandersson

Opening December 9^th at 7pm

Open: Saturday December 10^th and Sunday December 11^th, 12:00 – 16:00.

In optics,”Fermat’s principle” proves that the path traversed by a ray of light from source to reception, always is that which takes the least time, independent of how many times and through what mediums it is refracted. In it’s time it was a magnificent discovery and a great source of Cartesian panic and tantrums. But fear not. This is no common Lovecraftian horror awakening in the ancient dark beyond. This one has a much more subtle beauty. It seeps through any mechanical defence like some sort of martian time-slip. It rear-ends you with massive ethereality. Causality is and was whiplashed, in reversed slow motion. It’s a wave rolling off-shore. A bone thrown in the general direction of the sun, coming down as a meteorite in the general direction of ones temple. A heightened sensation of orbit, of centripetal and centrifugal pull. A reminder that once we were human.

Richard Alexandersson (1982) graduated with a MA in Fine Art from Oslo National Academy of the Arts in 2011. In his work with animation, sculpture and text, he explores the possibilities of art as a communicator between the virtual, physical and spiritual planes, in the digitised age of endless possibilities and endless responsibilities.

Tonje Bartnes Andersson : Echoes

ECHOES

Tonje Bartnes Andersson

Opening November 18^th at 7pm

Open: Saturday November 19^th and Sunday November 20^th, 12:00 – 16:00.

People are living their lives according to fixed patterns that tend to repeat themselves endlessly. We eat the same thing, we go to the same place, we buy the same thing. Over and over again, like an echo. Man leaves behind more and more tracks as time goes on. An increasing amount of these tracks do not disappear. They pile up and take more and more space. While the tracks are growing, we seem to diminish. In order to gain some sort of control over our own existence, we try to free our thoughts by creating new patterns. The exhibition is a study of traces that time has left behind. By doing something that is really just a completely pointless repetativ action, Tonje Bartnes Andersson questions whether it is possible to create space for our own mind. Can we physically take back our time? The exhibition will consist of textile work, drawing and photography.

Tonje Bartnes Andersson is currently a student at the Master program at the Art Academy in Trondheim. Based on the textile craft traditions, her works circles around ideas that deal with time, consumption and recognition. Her work is currently featured in the group show Sammen om det? at Galleri KiT, Trondheim, Trøndelagsutstillingen 2011 at Levanger Kunstforening, and she will do a show at Snake Mountain Gallery in Oslo, December 2011.