Leg mir die Hand auf.
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. (Stein, 157-158)
The illuminations of Hildegard von Bingen in her 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.
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 by Øystein Thorvaldsen
In this exhibition, Z.E.I.C.H.(N.)E.N., I reflect over complexities embedded in language, through her 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 this relates to the Body as our main communicative resource, with 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
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 sought to raise questions on 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. An artist book was released, design by Eller med a.
Photos: KHM, UiO / Stills: Cecilie Semec, FNF
I constructed a full scale model of the anatomical theatre built for Gustavianum, Uppsala University, in 1662. The installation was executed in the Vigeland Park, close to the Monolith. Anatomical Theatre explored principle of «body in space» as well as the qualities of this particular historical architecture with all of its physical extremities on view. <em>Anatomical Theatre</em> 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.
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 is an abstract version of Bernini`s baldachin of St. Peter’s Basilica in Rome (erected bw. 1623-1634), built as a rhetorical exaltation of the Pope as God’s messenger and is a image of the distance between people and God. The exhibition as a whole brings together architectural and visual elements from the in 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)
Photos: Øystein Thorvaldsen
MARIA(NN) / M.A.G.D.A.L.E.N.A.
The sculpture MARIA(NN) and wall-hung objects M.A.G.D.A.L.E.N.A. collects its inspiration from visual expressions from the 60`s and 70`s. Handicrafts from that time was used as intuitive tools of abstraction and formal construction of the sculpture and objects. Female heritage and transmission of handicrafts and methods of self-sufficiency, household and healing has been an important inspiration in the work.
These works was made for the Sparebankstiftelsen DNBNORs stipendutstilling, 2012 in OK, Oslo Fine Art Society.
Photos: OK /Petrine Vinje
The sculptures was also followed by 15 poems.
Public commissions for KORO – Public Art Norway
Created for the Research Council Norway, at their new localities in Drammensveien 288, Oslo. The commission is consisting of two major works entitled Prosjekt and Helga, Dagfinn, Judith, Rita, Nawal.
Prosjekt is a relief with 59 elements, each made out of two pieces of birch-plywoodset together in different angles. The elements is covered with acrylics and natural oil.
The relief draws together the architectonical essence of the postmodern architecture in Drammensveien 288. Helga, Dagfinn, Judith, Rita, Nawal is a series of sculptures in welded steel and wooden constructions covered with pigmented cement-stucco. The sculptures are based on the classical amphi-theatre - a dialogue theatrein ancient times (600-200 B.C) and later on in the Roman Empire. The installation in the public area of the Research Council Norway continues the thought of science as an arena for discussion and participation.
Photos: Werner Zellien