This must be the place (Pick me up and turn me round)
13 September–24 November
KINOKINO Centre for Art and Film
Olav Kyrresgt. 54307 Sandnes, Norway
Olav Kyrresgt. 54307 Sandnes, Norway
Sandnes kunstforeningOlav Kyrresgt. 5 (KINOKINO)4307 Sandnes, Norway
With: Bull.Miletic / Andreas Bunte /Anne Marthe Dyvi / Signe Lidén /Trond Lossius / Morten Eide Pedersen / Ellen Røed / Jeremy Welsh/ Eamon O´Kane/ Line Løkken
The two exhibitions investigate (relationships between) place, time and memory as manifested in artistic works exploring image, sound, text—or combinations of these. How “place” is constituted, reconfigured, deconstructed, augmented, discussed, described, experienced—through a variety of signifying practices—is the core theme and question. The issue of place is considered both in terms of how artistic practices encounter and interact with actual places and, conversely, how creative acts can take the form of “place-making”. The artists represent both of these positions, often combining aspects of both in their investigations of the complex relationships between image (representation) and memory as lived experience of a specific space or place. The artistic strategies range from the interpretive, through the investigative, to the constitutive.
This must be the place: Pick me up and turn me round (part I)
In Bull.Miletic’s life-long project Heaven Can Wait, the revolving restaurant is treated as an optical device where attributes of elevation, enclosure and mechanical motion evoke a unique cinematic experience, a cinéma trouvé. Specifically designed for this exhibition, 24 slowly revolving projections display a selection of 24 views in their original speed and direction, overlapping and dissolving into each other to create new versions of natural and urban landscapes.
Tracings by Jeremy Welsh combines video and slides collected at the disused Spode ceramics factory in Stoke on Trent. The recordings are slowly moving close-ups of plaster moulds, used in the production of ceramic objects. On the surface, information is inscribed, such as date, names, descriptions or signatures. Inscriptions and objects are subjected to a roving gaze, an exploration and abstraction of the place in which the objects are encountered.
Les Conseilles by Ellen Røed and Signe Lidén reflects on the genesis and geography of CERN by searching archives for traces of the work of the late Odd Dahl and Kjell Johnsen, central to the construction of the Proton Synchrotron—the first proton collider at CERN.
Muelheim an der Ruhr, August 2013 by Trond Lossius and Jan Schacher is a series of audio-visual field recordings presented as “slow cinema.” Devoid of plot and characters, the suburban soundscape takes centre stage.
Two films about pressure by Andreas Bunte revolve around the human attempt to reproduce the high and low pressure observed in nature. This seemingly scientific concern becomes an investigation into two particular sites and technologies affected by the fall of the Berlin Wall and the re-unification of Germany.
Beyond by Signe Lidén transforms the floor of the large cinema into a resonating loudspeaker. A scenery of auditory archaeology from the Polish city of Bytom unfolds, a place where buildings, roads and fields slowly collapse into a decades-old labyrinth of coal mine tunnels.
Supernumerary is a series of interventions throughout KINOKINO by Anne Marthe Dyvi. The ‘supernumerary’ denotes a structure or organ present in excess of the normal.
A multichannel sound installation by Trond Lossius, Morten Eide Pedersen and Signe Lidén is present throughout the exhibition space.
This must be the place: I love the passing of time (part II)
And time begins again by Eamon O ́Kane is a series of video works relating to a derelict plant nursery. Samuel Beckett’s Text for nothing, read by Jack MacGowan, accompanies footage of different parts of the nursery complex, expressing the friction between the natural and the human made.
Tøyen Center is a series of photos by Line Bøhmer Løkken. The construction of Tøyen Center in Oslo in the 1970s was guided by ambitious and classic urban planning. Over the last 15 years, Tøyen has developed into a location for marginalized groups in Norwegian society, with almost half of the center’s retail space empty.
The opening at Sandnes kunstforening is part of the program for Screen City, a festival dedicated to the moving image presented in public spaces, curated by Daniela Arriado and Mirjam Struppek.