MAGO would like to invite you to How far is here, with works by Emma Waltraud Howes, Kaia Hugin, Stine Marie Jacobsen, Lynne Marsh, Sam Smith and Ciarán Walsh. Resident curator: Charlotte Lalou Rousseau.
Where is here? What does it mean to be here? What happens when you’re not where ‘it’s happening’? How far do we have to go to know where we are?
As resident curator at MAGO for the summer of 2015, Charlotte Lalou Rousseau aims to address exactly her situation, namely questions of contemporary art (epi)centres, specifically issues related to the implantation of international art residencies. What kind of knowledge is produced by displacement for a resident curator, artist, and for the local community? Who is that community? What are the conditions under which such exchanges grow and how to effectively keep them alive? These questions seem particularly relevant in the context of the burgeoning project of MAGO in the communities of Eidsvoll Verk, Oslo and Norway.
How far is here is about potentials of dislocation. The exhibition takes place on the second floor of an obsolete hydroelectricity power plant. We hope to open up artworks by bringing them into a new environment and, conversely, unfold the potentiality of structures through art. In a time when the idea of the international is highly cherished, immobility globally depreciated, and the quest of personal refocusing spreading like plague, we feel the need to make a distinction between agitation and displacement.
NOTES is a live video essay/performance in which a constellation of images from cinema are brought together into a stream of collaged audio-visual vignettes. Fragmented scenes draw together key reference points from Smith's practice, including the mediation of object via the camera eye's flattening gaze, the cinematic framing of landscape, and, through architecture, an audience's complicity in the projection image.
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Your Time Is Not My Time lays the question of blurred boundaries between viewer, author and user within the current habitual fear of missing out and hyper-circulation of images. The exhibition uncovers a thorough pace and tacit admission within the changing lexicon of the public sphere, data-driven economies and forms of usership. Participating artists include: Alexandra Navratil (CH), Sam Smith (AU), Riley Harmon (US), Andrés Galeano (ES), Bruno Zhu (PT), Lav Diaz (PH), Wu Tsang (US).
Curators: De Appel Curatorial Programme 2014 - 2015 participants: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga Lace, Lian Ladia, Rani Lavie.
with Josephine Callaghan, Andrea De Stefani, Felix Melia, Sam Smith and Marco Strappato. Curated by Carolina Ongaro.
The myth of wilderness. A nowhere, imagined place; a territory still suitable for intervention. A construction.
Spaces we create, a projection of meanings; but what meanings, whose ones?
A grid extends in front of us, upon us and with us, absorbs bodies; it divides up space, unequally, unevenly, and creates the illusion of a permanent, stable position in the world.
I stare at a landscape painting, I no longer recognise this stability. I feel surrounded by picturesque screens, dizziness. The frame falls apart, I need another perspective.
'this place is really nowhere' invites artists Josephine Callaghan, Andrea De Stefani, Felix Melia, Sam Smith and Marco Strappato to reflect on present modes of engaging with space from the viewpoint of a Western-landscape tradition. Framing nature and the surroundings has defined an aesthetic, visual experience that calls for new paradigms of vision and thought. Reflecting upon current ways of experiencing architecture and the lived environment, a state of transition and mobility is opposed to stable certainties and fixed parameters of inhabiting the world.
Here, Jupiter Woods is conceived as a space-in-becoming. A container hosting potentiality on the inside, and affected by processes of endless development and transformation on the outside. Through a contemplation of landscape as modern construction, the human/nature divide it fosters becomes material to reflect upon; to soften the rigidity of framing systems and envision new spaces for intervention - elsewhere or nowhere.
to think with Thabiso Sekgala
“Symphonic Node” is a project inviting artists to write a letter referring to real space, physical, imaginary or otherwise, in all possibilities of identifying it, and which has infused their research and practices, generating concepts and material for their artwork. An all day open-air gathering will be dedicated to the act of reading these letters. Imbuing whispering words of temporary soundscapes into the landscape of Paliomylos, considers ways of valuing experiences of echoing narratives. In this sense, we explore the idea of reading letters in convivial gatherings as an exhibition format. The letters become perceivable not through a means of “display” but by their embodiment via a reading given by the audience present.
Petra Bauer, Daniel Gustav Cramer, Assaf Zeev Gruber, John Holten and Sam Smith, Marina Kassianidou, Runo Lagomarsino, Oda Projesi, Christodoulos Panayiotou, Ana Tiscornia.
For »Framework 6: parallelisms« insitu presents 2 exhibitions taking place consecutively and both featuring works by three artistic positions: Eli Cortiñas, Ingo Mittelstaedt and Sam Smith.
With the desire to draw out different threads between the multi-layered practices of these artists, insitu has invited an additional curator to see how shifts of curatorial perspectives can produce different exhibitions and ideas while working with the same trio of artists. The first part of the show is curated by An Paenhuysen, followed by the second part curated by insitu’s team consisting of Nora Mayr, Lauren Reid, Marie Graftieaux and Gilles Neiens. Paenhuysen and the insitu team have been working separately on their respective shows, maintaining only a shared blog to generate associative ideas, without telling each other what they will show from the respective artists.
A group exhibition on the theme of the void with Andreas Tellefsen, Marit Roland, Aiko Tezuka, Marianne Heier, Iselin Linstad Hauge, Christina Leithe Hansen, Mattias Härenstam, Rikke Lundgreen, Ignas Krunglevicius, Sam Smith, Joakim Blattmann, Anders Sletvold Moe &Tanja Koljonen.
Curated by Maria Veie Sandvik
9 May - 7 June
Sandefjord Kunstforening, Norway
23 May - 21 June
Larvik Kunstforening, Norway
KW Institute for Contemporary Art have uploaded a five minute excerpt from the video documentation of 'NOTES' to their new YouTube channel. The performance happened on Thursday December 4th 2014 as part of their PERFORMATIVE MINUTE series.
FOKUS is Denmark’s largest video art festival, taking place at Nikolaj Kunsthal and selected venues in Copenhagen and arranged by Nikolaj Kunsthal in co-operation with a number of artists, organisations and other festivals.
Nikolaj Kunsthal presents a curated programme of video works by notable international names as well as by up-and-coming budding talents, along with the works submitted for the popular and prestigious open call competition. To supplement this, there is a programme of events and talks, and the Festival tries out new technological platforms. In co-operation with various external partners, FOKUS also features video art events in many parts of Copenhagen.
Compiled by Shane Anderson, derek bealieu, Ida Bencke, Isabel Carvalho, Ann Cotten, Lars Mørch Finborud, Adam Fearon, FuchsBorst, John Holten, Katie Holten, Eduardo Kac, Hanne Lippard, Stine Marie Jacobsen, Filippa Petterson, Antoine Renard, Cia Rinne, Lorenzo Sandoval, Sam Smith, Oliver Spieker, Jon Ståle Ritland, Morten Søndergaard et al…
Books shape existence: some have been the teachers of our pasts, some have set the stage for how we have come to perceive our present, and some will be the guides to our future(s). There are the old, worn books we have read over and over throughout life; the books we wish we’d read and then there are all the potential, hypothetical books - the ones we dream about holding in our hands, and then there also those ones we can only hope will never materialize, those books of nightmares, impossible books.
For the opening of the new Büro BDP we have asked former and future collaborators to contribute to a generative library, a collective curriculum for the past and future practices of BDP, the books that have and will guide us through our future. The range is telling, from the old and manhandled to the paperless PDF, the school book that offered clandestine secrets to active assistants in current research projects. With this opening gesture, we hope to establish Büro BDP as an active space for book research, publishing and indeed reading.