Jørund Aase Falkenberg: An Intervening Substance

An Intervening Substance (Through Which Signals Can Travel As A Means For Communication)

Jørund Aase Falkenberg

24.2.-4.3.12

Prosjektrom Normanns, Stavanger

Cacti and other conceptual art

The room is filled with cactuses (or cacti) in all kinds of sizes, forms and shapes. There is a book with a large circular hole in it, a paper on the wall with text in multiple layers, making it abstract, a pedestal containing layers of glass plates with drawings, and a pile of bamboo sticks and cotton string. This could be a bachelor’s minimalistic apartment or a winter garden. It is not. This is the exhibition ”An Intervening Substance (Through Which Signals Can Travel As A Means For Communication)” by Jørund Aase Falkenberg.

Hermeneuein / 30 years

I have been waiting for this for some time. I knew he was keeping this forest of cactuses in his studio, and I was wondering how he would use them. As they are several decades old and used to belong to the major art critic in town, the succulents are loaded with history and symbolic potential. Cactus is seen as a symbol of something negative, because of its thorns, and often given as a symbol of discontent. But at the same time cactus symbolises persistence and tolerance, being able to live under extreme conditions.

 

30 years

The cactuses of the work “30 years” are not only on display, they are rather inhabiting the room. And on some there is a small piece of paper with a name on. They are all being given away, and those interested must book their favourite for picking up after the exhibition. Instead of the anonymous red sale dots in other galleries, these tags show who is getting it. And here they are given for free, or adopted away. The ”Untitled” piece is a key figure in this matter. The plants have always belonged. First to the art critic, then to the artist, and ultimately to the visitors. Even if the chronology is a bit awkward, they have followed the art cycle from creation to judgment and consumption. But for one moment they are let free. They are even released from the restraining and conforming sticks and strings. But only for a short time. They are already taken by their new owners.  

Untitled / 30 years

It is obvious that the previous ownership of the cactuses is important. The other installations confirm this. Is art existing without viewers? Does a critic or a presentation of art add value to the artwork? Can art critics be an artform itself? 

 

 Black on White

In “Black on White” 100 texts by Norwegian art critics are put on top of each other, becoming unreadable. Too much information is chaos. Today there are rather little information and critics about art in the media. How would it be if art was covered like football is? Would that be to the advantage of art, or would we just suffocate? How would we choose in all the information? Today it is the art critic that chooses for us. We read about what he wants us to read about. But every person would have a different view. Like in the the installation “Hermeneuein” (:the study of the theory and practice of interpretation), where several glass plates with engravings give different views according to the viewers height and sight, and even imagination.

 

 Hermeneuein

The book of  “Art: A New History” is impossible to read, because a major part of the text is missing. What is missing is the most prominent feature of the book. Why is this part missing? What was written there? When exhibitions are not mentioned by the critics, what does it mean? Was it not worth mentioning, was it ignored, or are there other reasons? Voids can be strong measures. Composer Arvo Pärt once said that the silence in music was the most important part.

Art: A New History

30 years

I tagged one cactus for myself. I know that by this I take responsibility for a living plant. It will stay alive as long as I do not forget it. With a cactus, I might even forget it for a while, but when it returns to my concience, it may still survive. Just like the memories and impressions of art. 

Game On 2.0

Game On 2.0
Kinokino, Sandnes
25.2.-9.6.12
An exhibition about the computer games' history,culture and future

From the first computer game to the wild variety of the present games. With 125 games to play, here is more than enough to your nostalgia or curiosity. Even the old cinema hall is filled with arcade games. I had a lot of fun playing the Commodore 64 games from my childhood, and it was a thrill to see the weird games, like being an ordinary Japanese train driver, or games without any plot or purpose.

This is a feast of design and creativity, but is it art? Well, some games may have artistic qualities, and some art may be based on games. But is computer games an art form itself, or is it mainly entertainment? I guess game freaks would say "of course it is art", as a football enthusiast could say "football is culture". But what does the art section say? This will be a topic for debate in the exhibition program, and I am curious about the outcome of that.

Again Kinokino is taking chances in choosing exhibitions. They risk being labelled as "too commercial" or being accused for thinning out the definition of art. But at the same time they really are broadening the definition of art, they will probably set a visit record and get visits from people that never set their feet in an art gallery before. Kinokino is being brave, serious and creative, and I just love them for that.

Björn Therkelson & Bjørn Aurebekk: Bodies and Faces

Bodies and Faces
Björn Therkelson (S) and Bjørn Aurebekk (N)
11.-19.2.12
Petrikjelleren, Stavanger (organized by Neo galleri)
Paintings of bodies and faces

A nice, quiet exhibition in the basement of St.Peter's church in Stavanger. Beautiful watercolor portraits printed on canvas by Björn Therkelson, and wild croquis and portrait drawings/paintings by Bjørn Aurebekk.


Exhibition view


Björn Therkelson: Coppelia / Par


works by Bjørn Aurebekk


works by Bjørn Aurebekk

Sidetracks

Sidetracks: painting in the paramodern continuum
20.1.-13.5.12
Stavanger kunstmuseum
Paintings joining the abstract and the figurative

Sidetracks is an exhibition of 13 artists that all not only balance on the border between the abstract and the figurative, but even cross the border and combine the two. The span is from the more abstract to the rather conceptual works.

The concept for the exhibition is rather wide. This offers the possibility to display quite different works by a wide range of artists, almost like an exhibition of a museum's collection. As the director of the museum is the curator, this becomes a kind of exhibition of the museum's imaginary ultimate collection.  

Here are some of the highlights:

Hurvin Anderson: Imperial Hotel


Kaspar Bonnén: I dette øyeblik


Toby Ziegler: Conditioned reflex


Leonard Rickhard: Figurer og handlinger mellom furutrær


Jesper Christiansen: Bagside annoncering / Litterær geometri


Daniel Richter: Hey Jack


Dag Erik Elgin: Barnett Newman Onement One


Dag Erik Elgin: Dysfunctional Male Parent


Troels Wörsel: Untitled

I was most impressed by Elgin's works. Because of the ingenuity, of the skill of techniques, and the surprise effect. "Barnett Newman Onement One" are enlarged versions of regular museum infotags, while "Dysfunctional Male Parent" change the apperance as you move along it, and going closer even text appear.

Pernille Kløvedal Helweg: Hvaltegn & dyrespor

Hvaltegn & dyrespor
(Whale signs and animal tracks)
Pernille Kløvedal Helweg
17.2.-8.4.12
Stavanger kunstmuseum
Prints made by and from animals

It all started with a turtle. The artist was interested in turtles and their symbolical mening. Eventually she started having them crawl over print plates, thus creating printworks. This must have been so inspiring that she went on to other animals and birds, like seagulls, penguins, rats, bears, elephants, etc. I guess she started with the small ones and then got bigger and bigger animals. Then at some point she must have wanted to be in control of the prosess, and started printing with dead dolphins and ultimately a whale. Their bodies were hoisted onto print plates, creating a base for etchings. 

It began with a turtle - prints made by turtles

Documentation videos show how seagulls land on the plates and start fighting for the food left there, a bear scratches the bronze plate that covers the entrance, a penguin is forced to walk on a print plate. The process of printing with dead dolphins and the whale is also shown.  


Video documentation

The results are rather abstract prints. On some it is possible to identify the footprints of the species, on others you are kept wondering who it might be. There is a story behind every print: Was the animal tricked there by food, or was it forced there? The process and the "real" artist become as important as the actual prints. I am reminded of artist Morten Viskum that paints with a dead human's hand, where also the tool becomes more important than the artwork. Are the animals only tools to Pernille Kløvedal Helweg? Or are the works rather a praise to the natural movements and traces of animals? At least the animals are not caught or killed to be part of the art. They were already in the zoo or stranded on the beach. But apart from the seagulls being fed, the animals are mostly unvoluntary participants. 

Lion, muskrat, polar bear, elephant etc.


Etching of an entire whale


Whale prints

I am thrilled by the creativity of making these artworks, but I also spot some morally questionable issues. Is it OK to use animals for our own purposes? After all, is not that what we do all the time, using their meat, skin, or just for amusement? And I wonder: after going up in sizes from turtles to whales, what is next? Is this a dead end, or will she move in another direction?

Silje Heggren: Land of Confusion

Land of Confusion
Silje Heggren
Kunstgalleriet, Stavanger
16.2.-15.3.12
Paintings/collages from New York City

How can you visualize the essense of New York City? More than just one view or logo, Silje Heggren shows the mix and abundance of impressions as the essence of the Big Apple.




The Subterraneans

She spent an amount of time in the city, and decided to give in totally to the impressions. She set out to visit 100 exhibitions in one instant. Setting out on a quest like this must be like a catharsis, after that it is surprising she had the strenght to go on painting herself. Apparently she avoided catching the Stendthal Syndrome (also called the Florence syndrome, when tourists collapse after too many impressions in Florence), and turned to large painted collages of what she experienced.


Atlantic

The base for her paintings seems like random spots in the suburbs, in the subway or somewhere unspecific. The information overload and absurdity is added by inserting out-of-place and out-of-scale objects and ad figures. This changes the scene from a boring everyday setting to a burlesque circus. I know that scenes sufficiantly absurd are abundant in NYC, but Heggren has found the need to absurdize further. Somehow I do not understand the purpuse, as reality can be so absurd itself, but I also understand her need to push on layer upon layer of visual information.


Corner Shop

The visual languange of street art is strongly present in her paintings, both in method and motive. She uses the technique of stencils to extract the crucial lines of the motive. But she also have direct references to murals by painting graffiti and street art, for instance a squirrel motive by Belgian artist ROA.


Untitled

The touristic elements are almost visible by not being present. No Empire State Buildings here. As a visitor in a foreign country, the obvious motives are important enough, but often everyday motives leave equally strong impressions. Like an ATM sign, a hamburger ad figure, gas station signs.


Land of Confusion

KAWS in Atlanta

Down Time
KAWS
High Museum of Art Atlanta
18.2.-20.5.12
Street art goes gallery



I wish I could be in Atlanta this weekend, as a show of artist KAWS is set to open the 18.2.12. At least I had a preview by the gigantic statue in front of High Museum of Art Atlanta, where the exhibition is scheduled.

Collection of High Museum of Art Atlanta

High Museum of Art
Atlanta, Georgia, USA
Collection exhibition

It is always interesting to see the collection of an art museum. In addition to the artwork itself, it is interesting to see which artists are chosen, and which selections are made. The great High Museum of Art in Atlanta exhibits its collection in the upper floor, with skylights designed by architect Renzo Piano. The house installation by Roy Liechtenstein is a eye-opener by the entrance, and I was impressed to see several great pieces by Anish Kapoor. Here are some highlights:


Roy Liechtenstein: House III


Interior by architect Renzo Piano


Anish Kapoor: Pot for Her


Anish Kapoor: Untitled


Anish Kapoor: Marsupial


Ellsworth Kelly: Untitled


Thomas Struth: Museum of Modern Art I, New York


Matthew Day Jackson: June 6, 1969


Edward Ruscha: Home Power


Anselm Kiefer: Dragon (Drache)


El Anatsui: Taago


Spencer Finch: Bright Star (Sirius)

Lights On - Bakspeilet 2012

Lights On
Bakspeilet 2012
Rogaland Kunstsenter, Stavanger
9.2.12.-
Brede Korsmo (NO) The Search / Susanne Christensen (DK) The Himation / John Smith (UK) Leading Light / Sidsel Christensen (NO) Light
Curated by Daniela Arriado
Outdoor video art



Video art is a demanding art form. It requires the viewers to spend their time and patience to see the whole video. You never know, some videos are uniform from start to end, some contain surprises. Thus video art is depending on the surroundings of how it will be percieved. A comfortable seat may trigger a different perception than an uncomfortable surrounding.

The "Lights On" exhibition takes the environment to the extreme. The videos are shown on the facade of Rogaland Kunstsenter at Nytorget in Stavanger. The viewers must stand between parked and moving cars in temperatures below zero for 27 minutes to see the entire program. This exhibition will get two types of viewers: Those who deliberately come here and those who happen to notice it passing by. If you want people to stop and see the artworks, the videos must be really interesting and tempting. To attain this, Daniela Arriado has curated an exhibition focusing on what is really missing in a Stavanger winter: Light. In all videos light is a crucial element.


John Smith: Leading Light

In "Leading Light" the sun rays are shining into a room, increasing in strength. Instead of revealing, light is at first a disturbing element, showing only parts of the interior. Light is a disturbance, showing some fractions of what is there, but not enough to understand what it is. But slowly the lit areas grow until all is revealed. It is a rather long video for outdoor shows (11 minutes), so instead of seeing a story of change, most viewers will see fractions, appearing as abstract forms. In this way the video gets a new appearance in this context.


Sidsel Christensen: Light

In "Light" we see a bright light that appears to emerge from a female mouth. Knowing that this is part of a series Sidsel Christensen made of women in nightclubs holding a mirror inside their mouth, gives a feeling of freezing time. Being able to make a person in party mood stand still for five minutes instead of dancing and partying is impressive, and add the glow, and the moment becomes magic. Not knowing where and what is happening, the figure appears as a mystical alien or saint spreading her holy light of knowledge or magic words.

"The Himation" shows a sculpture/person partly hidden in strongly lit curtains, barely moving. In this setting, where the video is shown on a window, you feel like looking into a home. You see something moving in the curtains, but cannot really make out if it is a person or not. It shows nothing of the background or interior. The video itself has no references to any geographical place, but when the location is known, it changes my perception of it. Susanne Christensen filmed this in Damascus, Syria. My limited knowledge of Damascus is triggered: cultural heritage, ancient history, dictatorship, civil war. How is this video related to ancient or present Damascus, or is it related at all? Would I react differently if I was told it was filmed in Barcelona?

The background story of "The Search" is even greater than the video itself. The artist lost his camera into the water in Rio, and it kept filming until he found it again. We see the shifting light through the water surface, swimmers passing over, and the happy ending where the artist picks up the camera.

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exhibition web page here