Altering Fotogalleriet’s exhibition space into a sensorial installation, the project Depot. Depository. Rays aims at challenging traditional views on gender roles, while addressing historical paradigmatic shifts connected to personal collapse.
Depot. Depository. Rays will tell the story of her encounter with the Czech photographer František Drtíkol (1883-1961), an artist internationally celebrated as a master of Modernism, and widely known for his studio work on portraits and nudes. Drtíkol explored geometrical and organic forms at the interplay of light and shadow using objects and lighting to stage models, and to shape bodies into forms.
By looking at Drtíkol, Vinje’s work raises questions on how representations of historical views are still relevant today. Can we remake a historical situation, to deconstruct a gaze that has institutionally been imposed upon us? The projects points towards alterations from an external to an internal perspective, where the possibility to withdraw and dedicate ones’ life to an idea comes as a natural response to crisis and disorder within a society or personal life.
Photos: István Virag
MMM MM ...
MMM MM... was created as a temporary sculptural platform installed on Blindern Campus. An associated programme consisting of lectures, artworks, performances and readings from invited scholars and artists was part of the art-project and open to the public. The installation was raised on the premises of University of Oslo by invitation from Department of Linguistics and Scandinavian Studies and the research project Marian Words and Marian Images.
MMMMM … aims to bring visitors into contact with the notions and view on the female as creator and political being, in opposition to the narrow understanding of the symbol Mary as a mother and virgin. The title MMMMM… Alone (of all her sex) refers to Marina Warner’s book Alone of all her sex. The myth and cult of Virgin Mary (Oxford Press, 1976).
Installation and programme by Petrine Vinje Photos: Istvan Virag Videostills: Roar Midtlien
Leg mir die Hand auf.
The illuminations of Hildegard von Bingen in the manuscripts Scivias and Physica are the state of departure for this exhibition. Consisting of threedimensional drawings in aluminium and steel, sculptural works and text this exhibition also included the video «Endliches und Ewiges Sein» made in collaboration with Maren Dagny Juell.
The film comes with no given narrative, and no solutions but raises questions on gender in creativity, alienation, and the reliance on solitude. The division between the creating subject and the made object (Artifact/ Machwerk (Ger.)) is a central point in both art and philosophy discourse. The intangibility and elusive nature a few subjective German singular sentences are forming a poetic and personal motif through the film, that comes with no given solution only a tableau of thoughts and artifacts - Machwerk.
The «artistic structure» (Gebilde) has its immanent organic law to which the «master» must submit if his or her creation is to be a work of art rather than a mere «artifact» (Machwerk). The formal structures which artists mold have their own nature, a nature which «unfolds» before their very eyes. Edith Stein Finite and Eternal Being – An Attempt at an Ascent To the Meaning of Being, transl. by Kurt F. Reinhardt, ICS Publications, Washington, 2002
Photos: Øystein Thorvaldsen
The works exhibited in Z.E.I.C.H.(N.)E.N., reflects over complexities embedded in language, through my continuing research on the futhark (Norse written language) and the transition to the Latin alphabet in the Middle Ages. The connections between the Germanic speaking countries of Europe, how the geopolitical shifts resonates in our body, as our main communicative resource, has political potential. The private, baroque garden of Internationales Künstlerhaus Villa Concordia in the city of Bamberg was made open to the public with site-specific installations and interactive sculptures.
Photos: Petrine Vinje / Jürgen Schabel
In the project Agla Hagla examines the National Runic Archive´s content and sources, and is an interdisciplinary art- and science project supported by the Art Council Norways initiative -Hva er det med arkiv?
With a basis in the runic alphabet, the futhark, the project raises questions on the subjective use of the runes, and the language as a rhetoric cultivator or symbolic beholder. Agla Hagla questions the Nordic as an isolated and deserted enclave, and the myths that is constantly surrounding our collective history, what is included in the archive, and what is not.
Parts of the project was exhibited in the Museum of Cultural History, Oslo. Artist book on AlfabetProdukt, design by Eller med a
Photos: KHM, UiO / Stills: Cecilie Semec, FNF
AKLA HAKLA KALES FALES
For Norwegian Sculpture Biennale 2013 I constructed a full scale model of the anatomical theatre built for Gustavianum, Uppsala University, in 1662. The installation was executed in the Gustav Vigeland Park, close to the Monolith. Anatomical Theatreexplored principle of «body in space» as well as the qualities of this particular historical architecture with all of its physical extremities on view. Anatomical Theatre served as a platform for the exploration of the mind and body through a program of lectures, discussions and conversations, a video/ film, and performance program as well as execution of different practices in physical and mental training. The events took place inside the theatre, and the sculptural structure thus became a dialogue-theatre with historical reference.
Participating artists and lecturers: Fernanda Branco, Berit Heir Bunkan, Martijn van Beek, Prof. Jens Braarvig, Ingrid Eggen/ Ellesiv Selseng, Dagfinn Føllesdal, Jason Havneraas, Liv Kristin Holmberg, Maren Dagny Juell, Erle C. Kenton, Roskva Koritzinsky, Bruno Laeng, Lars Jørun Langøien, Dušan Makavejev, Karen Høybakk Mikalsen, Karen Nikgol, Jean Painlevé, Dr. Tom Slevin, Christian Suhr, Espen Stueland, Aina Villanger, Kristine Øksendal, Hanne Ørstavik, Ina Åsheim. Associated programs was curated by Petrine Vinje and filmprogramme curated by VUXIA.
The project was further developed and published in Anthology - Anatomical Theatre in 2018 by Uten Tittel Forlag
Photos: Jon Benjamin Tallerås, Petrine Vinje and Anne Valeur
Backdrop for absolute sovereignty
Kulisse for absolutt suverenitet / Backdrop for absolute sovereignty is an abstracted reproduction of the drapery behind G.L. Bernini`s baroque portrait of Constantin the Great in the Scala Regia, St. Peters Basilica, Rome. For this project the particular historical reference was taken through time and juxtaposed to a photograph titled ...Hell, a photography of a typical 80`s denim-jacket with writings on its back, examining the symbolic meaning and expressions of textiles and the hidden language defined by popular culture and time.
Photos: Øystein Thorvaldsen
The right finds the Pearl
The sculpture Baldacchino was an abstracted version of Bernini`s baldachin of St. Peter’s Basilica in Rome (erected bw. 1623-1634), built as a rhetorical exaltation of patriarchy of the Church. The exhibition The Right Finds the Pearl brought together architectural and visual elements from the Italian Baroque as well as Futurism, formed in the fascistic era of the twenties. The title of the exhibition is taken from constructivist F. T. Marinettis poem ”La droite trouve la Perle”.
Photos: Anders Valde
The Solomon, the Josephine
A sailor`s tradition as old as the seas.
The use and meaning of handicraft has changed with global and socio-cultural movements throughout history, and have inspired to this marginal study of the handicraft’s mathematics and poetry.
For example, the way in which the square, primary, and it`s centre secondary, provide the coordinates for the division of the sides of the square, tertiary, may have been seen by early monks as a symbol of tri-unity, three in one. The single square, 1x1 primary, spontaneously and simultaneously contains a centre point, yet the square is a unity, and the centre 1x1 secondary, is equally one in principle with the square: they are as inseparable as the circle and its centre. The centre and the periphery of the square are further related by the third, the tertiary unit, the cross which passes through the centre, the arms of which divides the sides of the square. So the wholeness of the unity is acted upon from within itself by the action of its own centre, one divided by one, resulting in one. To the monks of early Christianity, the geometry of the square symbolizes the creation of the manifold universe, and it was important to them to contemplate how the Two - the infinite and the finite, indeed all opposites- could be engendered by the One: the passage from One to Two must have been a reference of the symbol associated with «Divine Inscrutability» and the epitome of wisdom, King Solomon. The passage from One To Two is symbolized by the grid: 1x1 primary, secondary, tertiary= 2x2. Aidan Meehan