On May 22nd Marthe Elise Stramrud opened her exhibition Crooked Trinkets at Fotogalleriet in Oslo. Simultaneously she is showing the exhibition Sponge Relief at MELK as a dual solo show. Though, each exhibition functions as a separate entity in itself, with MELK showing recently produced work and Fotogalleriet showing Stramrud’s photographs from the period 2011 to 2013.
Read Kunstkritikks review on both exhibitions here: http://www.kunstkritikk.no/kritikk/unreadymades/
The Positive Void
Azar Alsharif, Gardar Eide Einarsson and Matias Faldbakken, Ida Ekblad, Mohamed Ali Fadlabi, FRANK, Kim André Hagen, Lars Laumann, Lotte Konow Lund, Jon Benjamin Tallerås, Fredrik Værslev
To celebrate Morten Krohg’s retrospective and his work with the GRAS group, Kunsthall Oslo is pleased to announce The Positive Void, a series of ten new screenprint commissions from Norwegian artists. The prints are being produced at Fellesverkstedet, and the project will be launched with a temporary flyposted exhibition on the side wall of Møllergata 37 in central Oslo (alongside the shop Flirt – on the pedestrian path between Møllergata and Grubbegata). There will be an open air reception from 7-7.30pm on Friday 4th April, all welcome, refreshments will be served.
The title of the project, ‘The Positive Void’, is taken from Katanyi and Vaneigem’s 1961 Basic Program of the Bureau of Unitary Urbanism, Section Six, ‘All space is already occupied by the enemy…’. The title also describes the process of screenprinting, in which a void on the screen produces a positive imprint.
Åpning torsdag, 20. mars 19.00-21.00.- Offisiell åpning ved statssekretær Knut Olav Åmås- Utdeling av BKHs Fotokunstpris
Forbundet Frie Fotografer og Fotogalleriet har gleden av å invitere til den årlige Vårutstillingen 2014 som finner sted på Fotogalleriet fra 21. mars til 27. april 2014. Utstillingsåpningen sammenfaller med annonseringen av Fotokunstprisen fra BKH – Bildende Kunstneres Hjelpefond, som deles ut til den kunstneren som deltar på Vårutstillingen med det verk som ansees som mest betydningsfullt. Fotokunstprisen som ble etablert i 2010 pålyder 100.000 NOK og er dermed en av de største kunstprisene som deles ut i Norge. Prisvinneren annonseres på åpningen av utstillingen, torsdag 20. mars kl. 19.00.
Vårutstillingen ble etablert av FFF i 1976, og er en juryert gruppeutstilling som viser samtidige tendenser i kamerabasert kunst. Juryen velger ut deltakende kunstnere basert på åpen innsending. Juryen er valgt av FFF og i 2014 består av Maren Juell Kristensen (juryleder), Kjetil Kausland og Jon Benjamin Tallerås sammen med kunstnerisk leder ved Fotogalleriet Stephanie von Spreter. Juryen for fotokunstprisen fra BKH består i år av Oda Bhar (kunstkritiker), Stina Högkvist (kurator, Nasjonalmuseet) og Maren Juell Kristensen (leder av Vårutstillingens jury).
Deltakende kunstnere på Vårutstillingen 2014 er: Morten Andersen (født 1965, bor i Oslo), Line Bøhmer Løkken (født 1970, bor i Oslo), Ole Hagen (født 1967, bor i London), Saman Kamyab (født 1981, bor i Oslo), Vilde Salhus Røed (født 1981, bor i Bergen), Sandra Vaka Olsen (født 1980, bor i København) og Kristine Øksendal (født 1977, bor i Oslo).
Cameron releases his graffiti drone at Vestlandsutstillingen in Kunsthall Stavanger!
This year’s winner of the Norwegian Association of Art Societies’ Debutant Prize is Marthe Elise Stramrud. She won the prize for her photo series ‘Livingroom Poetics’.
The prize is awarded each year to a debutant at Høstutstillingen, Norway’s annual National Art Exhibition. In addition to prize money of NOK 50,000, the winner is given an opportunity to hold an exhibition at selected art societies in Norway, in collaboration with the Norwegian Association of Art Societies. A catalogue is produced, artist talks are organised and an information package is developed in connection with the exhibition tour. The aim of the prize is to turn the spotlight on young Norwegian contemporary artists.
‘I am very flattered, not to mention surprised! It’s a great honour to win the prize and I’m looking forward to working on my first solo exhibition,’ says prizewinner Marthe Elise Stramrud.
Excerpt from the jury’s grounds
‘The series consists of seven photographs, in which familiar everyday objects are removed from their intended context and rearranged into pure compositions that come across as sensitive, authentic and ostensibly simple. The compositions reveal the everyday objects’ inherent potential to serve as architecture, figures, landscape or fantastic creatures. The neutral photographic approach in this small format creates a uniquely intimate space that invites the viewer to closely observe form, texture and materiality, light and shadow. Interesting meeting points arise in informal connections in Marthe Elise Stramrud’s work.’
Flaggfabrikken is oh, so very proud..!!
Pedro Gómez-Egaña (Co/De), Donna Kukama (SA), Cameron MacLeod (Ca/No), Toril Johannessen (No), James Webb (SA), Phillip Raiford Johnson (UK/SA), Magnhild Øen Nordahl (Se/No)
Machine Worries, Machine Hearts is a group exhibition about the possibilities of human-machine empathy. Featuring works by artists from Norway, Sweden, Colombia, South Africa, Canada and the United Kingdom, the exhibition is inspired by an ancient Chinese story.
In the fourth century B.C.E., the Chinese philosopher Zhuangzi, wrote a fable of a traveling scholar who encountered a farmer struggling to retrieve water from a well to irrigate his crops. The farmer’s toils were exacerbated by his refusal to use a simple mechanical process to extract the water. He explained his position to the scholar as follows: “I heard my teacher say that where there are machines, there are bound to be machine worries; where there are machine worries there are bound to be machine hearts. With a machine heart in your breast you’ve destroyed what was pure and simple… It’s not that I don’t know about your machine. I would be ashamed to use it!”
The farmer in this story is wary of the ways in which machines might corrupt some essentially human quality in him. This anxiety, and the territory of human-machine relations more broadly, is well-explored in science fiction and cybernetics, and also in recent exhibitions. However, in this exhibition, we take the phrases “machine worries” and “machine hearts” at face value and imagine them as real emotional states or ways of feeling. What are “machine worries”, or what might it be like for a machine to “worry”? Can we imagine our way into the “hearts” of machines?
The suggestion of machines possessing emotions is tethered to much larger questions concerning signification and communication, the mechanisms of feeling, and the idea of ‘being’ as a uniquely human quality. In this exhibition, different works imply processes or states such as demise, competition, confusion, expression, antagonism and affection in ways that narrow the gap between human and machine subjectivity.
Machine Worries, Machine Hearts is generously supported by the Office for Contemporary Art in Norway, the Contemporary Art Development Trust in South Africa, and blank projects.
Curated by Anthea Buys