1 JORDENS SALT DOES OPEN ACADEMY
2 A BAG FULL OF EAGLES AND DREAMS
3 Hageland - life and death of a meaningful time spent painting and exhibiting in the urban wild
4 making whitecube exhibitions vårjevndøgn/ i en dagbok
5 Painting after meeting Maria Holm Thomsen doing graffiti
6 Taking notes and reworking curriculum
7 THE BOUNCER
Performing the part of the bouncer. With the main task of enforcing a queue and letting one person at the time n to the black box. There awaited a disco from hell and a unique seven minute solo concert by Steinar Stensen. This lasted for three hours and 21 concerts. Steinar played from a Leddik-room that could be see from the street.
the medicine dosett was lying around the corridor. I wrote a note and put it on a not so randomly chosen first person. It spent over a year on tour before it came back my studio. I gave it the name dugnad.
The coices the artists has made. The obvious limitation here is the box, hence scale. A connection to hands.
I believe that som many of the artists has chosen objects that has a cnnection to the fingers, carries an important message. This isnt the medicindosett as metaphor: that art can be terapueutic. I know many of these artists as co--students and I know that art has a terapeutic function for several of us, but this is saying that is not so simple, and it is not only cnfined to this.
the hair, the fingernail, the face leaning on the hand, the buttons, jewelly, screws, the rings from a chainmail, photography the finger on the button
are you willing to medicate?
This happens when art tocuhes upon functionaltiy
I see working with non-function as a main theme
deflating capitalist neoliberalist schemes
Petite Cherie. Another reason is that I see that alot of my colleagues at Kit appreciates small objects. Trinckets are apart of the zeitgeist. A nod to care and selfcare. I see a need for sharing small acts of love and tenderness.
One exhibiton from last year that has made a certain impact was Margit Seeland Kapsul. A fabolous wooden ...axel... with maybe around hundred small handmade sculotures, a plethora of colour and shape. Work done more for passing time, waiting.
These little inconceivable moments turned to lvely and imaginative art. The act itself has a capaicity fro thoughtprovocation. This
sensitive and delicate objects. also brute and piercing
on the limit of what is nature and culture
I fluctuate between drawing and painting according to my own mood and needs. Painting is generally more connected to affect and whirling emotions. But also calmer and slower, more meditative and contemplative. My main fixation is composition. A spatial interest in the possibilites of the twodimensional plane. Drawing is everyday and painting is occasitional. I see them both as having mysterious and spiritual potential as well as cotidian practical function.
I have had a notetaking habit since school age, but i’ve never done it to reread them.
a way of reading
Jordens Salt performance was an example of this. JS is based on the simple fact that we both care intensely about what we do. It is not a medium to convey something specific. We facilitate a insight by simultaneously disclosing and leave a crack open.
Open Academy is a yearly tradition run by the students. This was the first year were there were actual student engagement in organising and well planned and run. This gave the possibility to do something outside of the programme a surprise. Normally these activities are difficult to foresee because of instantoeus and erratic planning(both for the good and the bad). = site specific soundscape.
A
Fluxux-connection art festival new york 1964
Taking possibilities and letting situations unfold. Curate sparingly to leave open space. My main motivation for curating is too see what happens when artists have time and space.
Facilitating role, igniting.
A way of learning offcourse. Getting close to others practice.
Can moments like these be facilitated and curated. Im both interested in art for a non-art audience as I am for art for the art-interested. In my examples this comes to show most directly in the collage A BAG FULL OF EAGLES AND DREAMS. This work is made especially for the academic setting I have put my art in. COntrasting my everyday surroundings today at Kit and the bachelor degree with those of only five years ago. When example 3 was made I had no taught about what it actually was that I made, more than to do a painting.
Art-specific references. References to colonialism and its direct involvement in art.
