tag:blogger.com,1999:blog-84018875632023092712024-03-20T07:55:18.875+01:00Re:placea blog on art, place, media and memoryJWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.comBlogger93125tag:blogger.com,1999:blog-8401887563202309271.post-5345526753633242422015-09-13T20:49:00.001+02:002015-09-13T20:49:41.042+02:00The cover art of the HUBRO label<div class="separator" style="clear: both; text-align: center;">
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And the music is equally worthwhile: <a href="http://hubromusic.com/">http://hubromusic.com/</a></div>
trond lossiushttp://www.blogger.com/profile/11111165109702190270noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-73585279444308363702014-12-06T21:09:00.000+01:002014-12-06T21:09:46.712+01:00Spor og Rester - Traces and Remains<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Gill Sans'; font-size: 14px;">
<a href="http://usf.no/no/program/2014/11/utstilling-jeremy-welshtrond-lossiusbullmiletic/" target="_blank">Visningsrom USF</a>. 6 - 14 December 2014</div>
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12.00 - 17.00 daily. Closed Monday.</div>
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<span style="font-family: 'Gill Sans';"><b>Bull.Miletic: </b></span></div>
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<b><i>Révolution Périphérique</i></b></div>
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<span style="font-family: 'Gill Sans';"><b>Lossius & Welsh: </b></span></div>
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<b><i>The Atmospherics part Two (flags, flames, smoke and bridges)</i></b></div>
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<span style="font-family: 'Gill Sans';"><b>Jeremy Welsh: </b></span></div>
<b><i>Tracings</i></b><br />
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<b><i>More documentation at <span style="color: #0000ee;"><u>jewelsh</u></span>.</i></b></div>
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JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-78045316517426153312014-12-01T21:34:00.004+01:002014-12-01T21:34:56.564+01:00Spor og rester / Traces and Remains<div style="color: #141823; line-height: 19px; margin-bottom: 6px;">
<span style="font-family: Trebuchet MS, sans-serif;">EXHIBITION, VISNINGSROM USF, BERGEN<br />opening Friday 5 December 18.00<br /><span style="font-size: 14px;">Exhibition dates 6 - 14 December, 12.00 - 17.00 daily except Monday</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">3 video and audio installations</span></div>
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<b>Bull.Miletic</b> - Revolution Peripherique. 2 channel video installation & 12" vinyl record)<br /><b>Lossius & Welsh</b> - The Atmospherics part 2 (flags, flames, smoke and bridges): 3 screen video and 16 channel sound installation<br /><b>Jeremy Welsh</b> - Tracings: HD video on LED monitor</div>
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This exhibition continues the close collaboration between all four artists, developed during the research project Re:place at Bergen Academy of Art & Design & Oslo National Academy of The Arts in 2012-2013.</div>
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Supported by: Norsk Kulturråd, Bergen Kommune, Billedkunstnernes vederlagsfond, BEK (Bergen senter for elektronisk kunst)</div>
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JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-9999145313273167112014-11-20T10:58:00.001+01:002014-11-20T10:58:09.577+01:00You are here....<span style="background-color: white;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="color: #333333;"><span style="font-size: 14px; line-height: 18px;">Just rediscovered this review by</span></span><a href="http://www.theguardian.com/culture/2003/sep/16/1" style="color: #333333; font-size: 14px; line-height: 18px;" target="_blank"> Adrian Searle in The Guardian</a><span style="color: #333333;"><span style="font-size: 14px; line-height: 18px;">, of Jane and Louise Wilson's installation <a href="http://www.fvu.co.uk/projects/detail/commissions/a-free-and-anonymous-monument" target="_blank">A Free and Anonymous Monument</a> from 2003. It seems to say a lot about the issues we have worked with in the Re:place project.</span></span></span></span><br />
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<span style="background-color: white; color: #333333; font-size: 14px; line-height: 18px;"><span style="font-family: Trebuchet MS, sans-serif;"> "You are here, the work says, but also elsewhere. The world may seem alienating, but it is the only one we have. Focusing on the local, the near, the unregarded, A Free and Anonymous Monument achieves a kind of universality. Hence, I guess, the title. One might link it with other recent works - such as Gabriel Orozco's reconstruction of Carlo Scarpa's crumbling, 1952 modernist architecture at the current Venice Biennale; or the recent film work of Steve McQueen and Tacita Dean. All, more or less, have been concerned with our sense of place, with the conditions we live in, and how places inhabit us and haunt us. These artists all use - but go beyond - documentary, and invest what they do with a sense of subjective history, and, just as importantly, a sense of what it means to be in the present, which is also the place where we meet the past. That's where we are."</span></span><br />
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<span style="background-color: white; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-41877923579757525462014-11-03T22:42:00.000+01:002014-11-03T22:42:23.943+01:00The Place Sound Builds In Passing<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">Exhibition at </span><a href="http://www.stiftelsen314.com/Exhibition.htm" style="font-family: 'Trebuchet MS', sans-serif;" target="_blank">Stiftelsen 3,14</a><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">, Bergen. Sound installation by Trond Lossius with video projections by Jeremy Welsh. On show from 4 - 9 November.</span></div>
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<br />JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-44221589766643044112014-10-01T16:46:00.005+02:002014-10-01T16:46:33.920+02:00Colour in the City<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Publicity photo from the exhibition</span></td></tr>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Colour in the City is an exhibition currently showing at <a href="http://www.tkf.no/utstiller_2014_fargeibyen.htm" target="_blank">Trondheim Kunstforening</a>, featuring work by artists, designers and architects connected to the <a href="http://www.ntnu.edu/bff/lightandcolour" target="_blank">Light and Colour Group</a> at NTNU, Faculty of Architecture and Fine Art. One aspect of the exhibition concerns the way that colour can determine our sense of place and can establish or underline the identity of a particular place and our responses to it. In the catalogue introduction, co-curator Alex Booker writes:</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><span style="font-family: 'Trebuchet MS', sans-serif;">"Colour and materiality play an essential role in shaping our perception of place and identity, colour and material is information, it tells us stories about history, about identity, about territories and functions, about differentiation or belonging. Colour also informs us of the fluctuations of private and public economy and ideas iof social status </span><span style="font-family: Trebuchet MS, sans-serif;">over time. We absorb colour consciously and unconsciously into our narratives of place and its changing qualities in relation to weather and the seasons make it integral to our personal mythologies of locations and their atmosphere."</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;">The exhibition includes photographic documentation of urban environments, plans and illustrations of architectural projects and public art commissions, and a number of individual artworks relevant to the theme. A large part of the exhibition is devoted to the city of Trondheim itself, and its changing colour characteristics. In addition to the informative catalogue, it would have been good to have a map or walking guide to enable visitors to go to the various sites that are documented in the exhibition. For my own part, I recognise many places, and will take an independent city tour. First I will make an iTunes playlist to accompany my tour. There are plenty of songs about colour and buildings, and first on the list is "Red House" by Jimi Hendrix!</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Second floor gallery at Trondheim Kunstforening</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Paintings by Jostein Kirkerud (left) and relief by Edith Lundbrekke (right)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Two reliefs by Edith Lundbrekke</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Floor installation by Mette L'Orange</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Autumn leaves provide a live element to the exhibition !</span></td></tr>
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JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-82060407770235439622014-09-23T12:28:00.003+02:002014-09-23T12:28:54.307+02:00sonozones article in JAR<div dir="ltr" style="text-align: left;" trbidi="on">
An article on the <i>sonozones</i> project has just been published in <a href="http://www.jar-online.net/" target="_blank">The Journal for Artistic Research</a>.<br />
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<i>sonozones</i> was an artistic research project carried out in Mülheim an der Ruhr in the summer of 2013 in collaboration between Jan Schacher, Cathy van Eck, Kirsten Reese and Trond Lossius. This project also led to the film installation Muelheim an der Ruhr, August 2013 in collaboration between Trond Lossius and Jan Schacher, presented as part of the <i>This must be the place</i> exhibitions at KINOKINO Centre for Art and Film and Sandnes kunstforening in the fall 2013. A binaural (headphone) version of this work can be found <a href="http://trondlossius.no/works/48-muelheim-an-der-ruhr-august-2013" target="_blank">here</a>.<br />
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<b>sonozones. sound art investigations in public places</b><br />
<i>by Jan Schacher, Cathy van Eck, Kirsten Reese, Trond Lossius</i><br />
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The ‘sonozones’ project investigates sound art practices in public places through personal and public acts of listening and sounding. The topic is explored using artistic processes developed on site in Mülheim in the Ruhr region of central Germany. Four sound art practitioners collaboratively explore ideas and concepts that question the significance and impact of listening and sounding in public places and suburban and urban spaces. The project collects traces and artefacts of the artistic processes as a basis for investigations into key elements of the individual and social dimensions of sound art. The exploration of forms sets the stage for experiments, interventions, and performative presences carried out on site by the artists. A continuous dialogue and the collection of verbal reflections frames these activities. In addition to texts, this exposition lays out a collection of audio recordings, photographs, and videos in order to document and convey sensory experiences as well as thoughts.<br />
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<a href="http://www.researchcatalogue.net/view/48986/65823" target="_blank">View article</a></div>
trond lossiushttp://www.blogger.com/profile/11111165109702190270noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-2031725545655045122014-09-03T08:51:00.002+02:002014-09-03T08:51:28.709+02:00Reykjavik, August 2014<span style="font-family: Trebuchet MS, sans-serif;">Some wall paintings and shoes, Reykjavik, August 2014.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-49852026188134982192014-06-07T09:37:00.002+02:002014-06-07T09:37:17.425+02:00London Underground<span style="font-family: Trebuchet MS, sans-serif;">Nice set of vintage photos from the London Underground on Time Out's website.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.timeout.com/london/things-to-do/52-old-timey-photos-of-underground-life-by-bob-mazzer#.U5G2F-4opOw.twitter">http://www.timeout.com/london/things-to-do/52-old-timey-photos-of-underground-life-by-bob-mazzer#.U5G2F-4opOw.twitter</a></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-11542759125055469982014-04-17T10:40:00.000+02:002014-04-17T10:42:29.759+02:00Abandoned shopping malls<span style="font-family: Verdana, sans-serif;">Reposted from <a href="http://failedarchitecture.com/fa-bookmarks/completely-surreal-photos-of-americas-abandoned-malls/">Failed Architecture</a> website and <a href="http://b4uu.blogspot.no/" target="_blank">BUU</a>.</span><br />
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="background-color: white; line-height: 32px;">"This </span>blog post by <a href="http://www.buzzfeed.com/mjs538/completely-surreal-pictures-of-americas-abandoned-malls">BuzzFeed</a><span style="background-color: white; line-height: 32px;"> features some incredible imagery from redundant shopping centers in the United States. The series of photos reminds us of how quickly capital moves through space, temporarily settling in places where it offers the highest returns. Obviously resulting in the constant construction of, among others, new shopping malls, and leaving many of them to rot away. The post by BuzzFeed has been incredibly popular on social media over the last week, reaching an audience far beyond the small group of architecture geeks. Once again, this emphasises the widespread fascination with urban and architectural decay, which we have been discussing </span><a href="http://failedarchitecture.com/capturing-transcience-urban-exploration-photography/" style="background-color: white; background-image: -webkit-linear-gradient(bottom, rgb(218, 75, 75), rgb(218, 75, 75) 2px, transparent 0px); background-position: 0px -1px; border: 0px; color: #202020; line-height: 32px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank">in another article</a><span style="background-color: white; line-height: 32px;"> recently. Most photos are sourced from the blogs </span><a href="http://architecturalafterlife.com/" style="background-color: white; background-image: -webkit-linear-gradient(bottom, rgb(218, 75, 75), rgb(218, 75, 75) 2px, transparent 0px); background-position: 0px -1px; border: 0px; color: #202020; line-height: 32px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank">Architectural Afterlife</a><span style="background-color: white; line-height: 32px;"> and </span><a href="http://detroiturbex.com/" style="background-color: white; background-image: -webkit-linear-gradient(bottom, rgb(218, 75, 75), rgb(218, 75, 75) 2px, transparent 0px); background-position: 0px -1px; border: 0px; color: #202020; line-height: 32px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;" target="_blank">Detroiturbex</a><span style="background-color: white; line-height: 32px;">, which are both worth following as well."</span></span><br />
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: white;"><span style="line-height: 32px;">As I'm preparing a piece in collaboration with <a href="http://langhamresearch.co.uk/">Langham Research Centre</a> for the <a href="http://nymusikk.no/no/hva-skjer/only-connect-jg-ballard-1">Only Connect</a> festival (Oslo 22 - 24 May) devoted to the influence and heritage of JG Ballard, this series of images comes at a very appropriate moment. I will also be visiting Tate Britain's "<a href="http://www.tate.org.uk/whats-on/tate-britain/exhibition/ruin-lust">Ruin Lust</a>" exhibition next week, and attending an artist talk there by <a href="http://www.theguardian.com/artanddesign/2012/oct/22/jane-and-louise-wilson-exhibition">Jane and Louise Wilson</a>, whose projects have a distinctly <a href="http://www.ballardian.com/%E2%80%8E">Ballardian</a> character.</span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWi_z2TiJGpfaWin59QcyE8-rYSACk2nNQMcQuvJYO0tLc9LBLlzGDoX5yQRNvoZptZZcdNOYf_dsFZP8GIhYC5wtSiw-5YqtFEoVx0BXiQHtiZGEZsoWlVR1pW5s7JhPIY3X2AUIEBna6/s1600/enhanced-25342-1396219836-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWi_z2TiJGpfaWin59QcyE8-rYSACk2nNQMcQuvJYO0tLc9LBLlzGDoX5yQRNvoZptZZcdNOYf_dsFZP8GIhYC5wtSiw-5YqtFEoVx0BXiQHtiZGEZsoWlVR1pW5s7JhPIY3X2AUIEBna6/s1600/enhanced-25342-1396219836-2.jpg" height="428" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Image from the Buzzfeed series</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDoF6MBSPImL4ZD9z621i7yzTD_LhWw7WypTkFIwtaTlTC1KNRIyclP5bCGyNs-DdaGcMFJM0oX4vWeC9RZb38dEVXjoil0XMeZpO4VXgwvVDaUS6kpSPWpft-Ow3vsCR58Egvv4r43yjJ/s1600/enhanced-29364-1396450428-10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDoF6MBSPImL4ZD9z621i7yzTD_LhWw7WypTkFIwtaTlTC1KNRIyclP5bCGyNs-DdaGcMFJM0oX4vWeC9RZb38dEVXjoil0XMeZpO4VXgwvVDaUS6kpSPWpft-Ow3vsCR58Egvv4r43yjJ/s1600/enhanced-29364-1396450428-10.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Image from the Buzzfeed series</span></td></tr>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="background-color: white;"><span style="line-height: 32px;">And here is a sneak preview of some of the images I will use in the "Muffled Ciphers" performance in Oslo with <a href="http://langhamresearch.co.uk/" target="_blank">Langham Research Centre</a>. They will be projected as 35mm slides.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1q2Cfc9kAPmOZMCtJzvc6o0ua-jgY2ONcQyg9unqxX6wdhu2gKdmjVR3TLUV9gFPPRPFqGeARVhq5fLDZnZTSQFmY0A6TXGea5rwYXu_Bsx2Dxzw0n9b2RTIjZxUdA5rXCX5lSwGqoLl/s1600/jgb+001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1q2Cfc9kAPmOZMCtJzvc6o0ua-jgY2ONcQyg9unqxX6wdhu2gKdmjVR3TLUV9gFPPRPFqGeARVhq5fLDZnZTSQFmY0A6TXGea5rwYXu_Bsx2Dxzw0n9b2RTIjZxUdA5rXCX5lSwGqoLl/s1600/jgb+001.jpg" height="449" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">the face of the dead actress appeared in windows across the city....</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWY3ZZVbfbY9ifURIaJdoPwFxR6selRcU9EjsWBgMx6zia0TqSpTyIc3pC70fNlYr5ZukXVgwcSRFPSAGWcNk6QZgLnPs6qILN9IfH5PMPrVP3BRIbOpbZIluqXXpQ-dMUWEfLWzpPoYr/s1600/jgb+002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWY3ZZVbfbY9ifURIaJdoPwFxR6selRcU9EjsWBgMx6zia0TqSpTyIc3pC70fNlYr5ZukXVgwcSRFPSAGWcNk6QZgLnPs6qILN9IfH5PMPrVP3BRIbOpbZIluqXXpQ-dMUWEfLWzpPoYr/s1600/jgb+002.jpg" height="410" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">we were entering a zone of permanent monitoring</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92Y8QFuxCRo1v4IpOS_IwSj5FD3fdxvSFR1b5K6R80Z6DPqrhgXaHJU8KpgeQcrcFFjoyX37y4BwCtqa65EsDVJCThOx2VCJc-vWqknIB8KDf7oU2XwHwSYOyDAeX4MKYMlIXHKmSie5-/s1600/jgb+003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92Y8QFuxCRo1v4IpOS_IwSj5FD3fdxvSFR1b5K6R80Z6DPqrhgXaHJU8KpgeQcrcFFjoyX37y4BwCtqa65EsDVJCThOx2VCJc-vWqknIB8KDf7oU2XwHwSYOyDAeX4MKYMlIXHKmSie5-/s1600/jgb+003.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">a sign indicating the cancellation of the future</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZfsGH2gjAFW1d5rfp5mYe4PXYVRl6tvAyqEKXMYeJu37W8JEqZzy3H80NmQcDZUiy19MrECDB41bj4EIggMJDhKelfeH90fxJayubz5K0dvLk6yb5GCRvtPi4fL0tj9VJIw4vsdAsKIMy/s1600/jgb+004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZfsGH2gjAFW1d5rfp5mYe4PXYVRl6tvAyqEKXMYeJu37W8JEqZzy3H80NmQcDZUiy19MrECDB41bj4EIggMJDhKelfeH90fxJayubz5K0dvLk6yb5GCRvtPi4fL0tj9VJIw4vsdAsKIMy/s1600/jgb+004.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">a lone pilot approached the lagoon in his seaplane</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdi_e5vY5e3CaGqqQa7Dp8P5jrIYxERjQ1BT_fPOy7TrlisB_21DucbB8PNfIusjl-Ny_pRjvU3zSpxwtDakwASCvWlyRVIg0kPwVevNPkt0SkjAkD6zjU_XtKS6Ix8U6buoiAsV8py7I6/s1600/jgb+005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdi_e5vY5e3CaGqqQa7Dp8P5jrIYxERjQ1BT_fPOy7TrlisB_21DucbB8PNfIusjl-Ny_pRjvU3zSpxwtDakwASCvWlyRVIg0kPwVevNPkt0SkjAkD6zjU_XtKS6Ix8U6buoiAsV8py7I6/s1600/jgb+005.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">from a lookout point above the storage tanks, he could observe the final departure of the residents</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj28hmAnM-gAfBzcbXPVR49lDsBchZ-7G3w-0jIHbgckfE65WkyLhpK3H4xWuDA_7a7WRToKeqJPBGRP5cQTJd814cfm3eeINz27k_HLrk5DsqU2H5ZixfzIW0UqrMQ0m7dFCyw7j2OUu9k/s1600/jgb+006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj28hmAnM-gAfBzcbXPVR49lDsBchZ-7G3w-0jIHbgckfE65WkyLhpK3H4xWuDA_7a7WRToKeqJPBGRP5cQTJd814cfm3eeINz27k_HLrk5DsqU2H5ZixfzIW0UqrMQ0m7dFCyw7j2OUu9k/s1600/jgb+006.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">for days he had wandered through empty pedestrian subways and abandoned car parks</span></td></tr>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><span style="background-color: white;"><span style="line-height: 32px;"><br /></span></span></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-6959252516445852332014-04-13T10:22:00.004+02:002014-04-13T10:22:24.982+02:00Altered Route<span style="font-family: Verdana, sans-serif;">Beautiful short film shot in an abandoned water park in the Mojave desert</span><br />
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.wimp.com/alteredroute/">http://www.wimp.com/alteredroute/</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhosx2il3ygvJbCsjLwcSEWoDZXaKSLdAvHtpVFp8TTPJ5_f_lEZwJwY0gec0FagDbb14oacxF_EywVfVaf5BAfrPrAWb4KEAAQ-U2L7U6XkSELRKJenImaeG4_q2kcFhtICc_pe2DpqDOl/s1600/skate.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhosx2il3ygvJbCsjLwcSEWoDZXaKSLdAvHtpVFp8TTPJ5_f_lEZwJwY0gec0FagDbb14oacxF_EywVfVaf5BAfrPrAWb4KEAAQ-U2L7U6XkSELRKJenImaeG4_q2kcFhtICc_pe2DpqDOl/s1600/skate.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-45103568446652129722014-04-10T08:05:00.002+02:002014-04-10T08:08:17.540+02:00Without Waiting for Her Reply<div class="separator" style="clear: both; text-align: center;">
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by Apichaya Wanthiang</div>
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USF Visningsrommet, Bergen 4.-13. April </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIBvaFN2yE0LKRwNRNL2FmQ_9AMtJLhk_dRmGPrpzEDPdOeiwWvXsKBlIyuMQfmjyjM2x1m-20XJuxM_U3GJ4OhGBrh4qV1LH3Wx-EJ6sWaH3f2gY1bTxe1_HUnoucjTXnAzUi_qVUyzpN/s1600/wwfhr-pt3-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIBvaFN2yE0LKRwNRNL2FmQ_9AMtJLhk_dRmGPrpzEDPdOeiwWvXsKBlIyuMQfmjyjM2x1m-20XJuxM_U3GJ4OhGBrh4qV1LH3Wx-EJ6sWaH3f2gY1bTxe1_HUnoucjTXnAzUi_qVUyzpN/s1600/wwfhr-pt3-2.jpg" height="435" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQfh5OD7CuiphCBHhHWVMMQCdOkavlA5UIy2BVEx4DR7f-2dvbNQv8cjH2QQ1gLj3kaZtc7OIPZ0r5X1a5UCdY20R4Z9gGBFKXqqNcKoACVTdRKQ_JzRXP9lW4WHTFnwLKrTeYnEQy0mQ/s1600/wwfhr-pt3-7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQfh5OD7CuiphCBHhHWVMMQCdOkavlA5UIy2BVEx4DR7f-2dvbNQv8cjH2QQ1gLj3kaZtc7OIPZ0r5X1a5UCdY20R4Z9gGBFKXqqNcKoACVTdRKQ_JzRXP9lW4WHTFnwLKrTeYnEQy0mQ/s1600/wwfhr-pt3-7.jpg" height="425" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkhF6LST2XGSPDYFnvKcoJnyfZqqdAoihxlI4JxAy9040xLomE9ktrkOXDZaP9Z1jy7o1rAV8oIlZwjuTz0xQPdZHn-KYBWAXuS3BE8M5kMR2RDANcV1bVltwSun4dacArV2osz6QyMRpW/s1600/wwfhr-pt3-5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkhF6LST2XGSPDYFnvKcoJnyfZqqdAoihxlI4JxAy9040xLomE9ktrkOXDZaP9Z1jy7o1rAV8oIlZwjuTz0xQPdZHn-KYBWAXuS3BE8M5kMR2RDANcV1bVltwSun4dacArV2osz6QyMRpW/s1600/wwfhr-pt3-5.jpg" height="425" width="640" /></a></div>
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In the dark of night we enter a sparsely lit space. A red hue emanates from the dark structure</div>
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that we are guided through. Looking in from the outside, it seems recognizable as a kind of<br />
shed, its rough outlines contrasting against the slightly infernal light escaping from under the<br />
roof. Once inside, the structure reveals its particular materiality: the corrugated iron plates<br />
with their rusty patches that make up the roof, the worn timber, the lighting itself which<br />
envelops the structure in a surreal half-light. This space is neither here nor there. It creates an<br />
atmosphere that is at once intimate and stifling, recognizable and unfamiliar. Like the liminal<br />
space in a ritual, it opens the way to transformation. During the three hours of Apichaya<br />
Wanthiang’s nightly exhibition Without Waiting for Her Reply, work and beholder meet each<br />
half way in order to establish a new, temporary community.<br />
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The structure, built together with Christian Stefanescu, is reminiscent of so-called rest houses </div>
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that are frequently found in the landscape of a Thai rice field. It is an architectural form </div>
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indigenous to the artist’s native country, yet its execution in the exhibition space also </div>
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transcends this particular cultural reference. It provides the orientation for the visitors as they </div>
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move through the installation, imposing certain movements and attitudes that might not be </div>
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natural to them, but that belong to the life originally lived in these buildings. Images of this </div>
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life can be seen upon first entering the installation. A video consisting of a sequence of still </div>
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and contemplative images evokes the rhythm of daily life in the artist’s native community. </div>
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We can see its inhabitants carry out their labors and perform their rituals, as well as its </div>
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surrounding landscape. More than painting a mere picturesque image, the video works </div>
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together with the rest of the installation to install a specific temporal experience. On the one </div>
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hand, its slowness requires a level of engagement on the part of the viewer. On the other hand, </div>
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it is part of a collection of elements, including the installation structure itself and the subtitles </div>
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to the video that are consciously presented as fragments, discouraging a linear reading.</div>
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Text: Esther Tuypens (extract) </div>
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Full text: <a href="http://apichayawanthiang.files.wordpress.com/2012/08/without-waiting-for-her-reply-text-by-esther-tuypens.pdf">Without Waiting for Her Reply</a></div>
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<span style="background-color: white; font-family: inherit; line-height: 18px;">And documentation here: <a href="http://apichayawanthiang.wordpress.com/2014/04/08/without-waiting-for-her-reply-documentation/">http://apichayawanthiang.wordpress.com/2014/04/08/without-waiting-for-her-reply-documentation/</a> </span></div>
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<span style="background-color: white; line-height: 18px;"><span style="font-family: inherit;">BEK, Bergen Kommune and the Arts Council Norway generously supported this exhibition. Thanks to USF-visningsrommet, and the installation has been developed and realised in collaboration with </span></span><span style="font-family: inherit;"><span style="background-color: white; border: 0px; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Cristian Stefanescu, </span><span style="background-color: white; border: 0px; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sindre Sørensen, </span><span style="background-color: white; border: 0px; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Roar Sletteland and </span><span style="background-color: white; border: 0px; line-height: 18px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">BEK.</span></span></div>
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<br />Signe Lidén Re-placehttp://www.blogger.com/profile/01817656943456964151noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-89081145680906288432014-04-04T08:31:00.000+02:002014-04-04T08:31:09.954+02:00Art of the Edgelands<br />
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Symposium: Art of the Edgelands<br />Saturday 26 April</h2>
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<strong style="font-family: 'Relative Bold', sans-serif;">10.00am to 4.00pm, free, b</strong><strong style="font-family: 'Relative Bold', sans-serif;">ooking is essential via Eventbrite, <a href="http://www.eventbrite.co.uk/e/symposium-art-of-the-edgelands-tickets-11085652485" style="color: #303030; text-decoration: none;">book online here </a></strong></div>
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<strong style="font-family: 'Relative Bold', sans-serif;"></strong><strong style="font-family: 'Relative Bold', sans-serif;">Venue: Exploration Lab 1, The Forum, University of Exeter, </strong><strong style="font-family: 'Relative Bold', sans-serif;">Stocker Rd, Exeter, Devon EX4 4SZ</strong></div>
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This interdisciplinary symposium will consider the significance of ‘edgelands’ and other marginal spaces, neither urban nor rural, as sites for artistic inquiry, and as cultural spaces. Spacex’s current exhibition ‘Soft Estate’ (open until Saturday 3 May 2014) features artworks exploring the marginal spaces of contemporary motorway landscapes.</div>
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Defined as a type of terrain ‘apparently unplanned, certainly uncelebrated and largely incomprehensible’ by environmentalist Marion Shoard, ‘edgelands’ have frequently been a source of inspiration for artists and writers.</div>
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Symposium speakers include Edward Chell, academic and lead artist of Spacex’s current exhibition ‘Soft Estate’; Dr. Caitlan DeSilvey, geographer and senior lecturer in Environmental Social Science, University of Exeter; Laura Oldfield Ford, artist and psycho-geographer; Joanne Lee, artist, writer, publisher and senior lecturer in Fine Art, Nottingham Trent University; Dr Jos Smith, associate research fellow, University of Exeter.</div>
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<a href="http://spacex.org.uk/events/symposium-art-of-the-edgelands-saturday-26-april/" target="_blank">More information</a></div>
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JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-44119219494015665182014-02-03T10:03:00.004+01:002014-02-03T10:03:36.519+01:00The Roaring Twenties<div dir="ltr" style="text-align: left;" trbidi="on">
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Emily Thompson and Scott Mahoy has created a fascinating <a href="http://vectorsdev.usc.edu/NYCsound/777b.html" target="_blank">interactive mapping of the sounds of New York in the 1920s</a> for the multimedia journal Vectors.<br />
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The sonic content at the heart of the journey consists of fifty-four unique excerpts of sound newsreel footage, Fox Movietone newsreels from 1926 through 1930. Fog horns, shouting peddlers, rumbling elevated trains, pounding riveters, and laughing children were all captured by the microphones and cameras of the Movietone men as they traversed the city searching for news. Much of the footage deployed here was never edited into the published newsreels shown in motion picture theaters at that time, thus it is seen and heard on this website for the first time since those images and sounds were captured onto film.</div>
trond lossiushttp://www.blogger.com/profile/11111165109702190270noreply@blogger.com1tag:blogger.com,1999:blog-8401887563202309271.post-43525200232321570372014-01-30T21:12:00.001+01:002014-01-30T21:12:07.977+01:00Video documentation of Heaven Can Wait<span style="font-family: Trebuchet MS, sans-serif;">Video from Bull.Miletic posted on Vimeo</span><br />
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<span style="background-color: #f4f5f7; color: #71767a; font-size: 16px; line-height: 21px;"><span style="font-family: Trebuchet MS, sans-serif;">In our life-long project Heaven Can Wait the revolving restaurant is treated as an optical device, where the attributes of elevation, enclosure and mechanical motion evoke a unique cinematic experience –– a cinéma trouvé. In the on-going process of documenting the 360-degree “moving” views from each revolving restaurant in the world, we have studied this unique architectural phenomenon through video, photo, collage and text since 2001. Specifically designed for KinoKino, 24 slowly revolving projections displayed a selection of 24 views in their original speed and direction, periodically overlapping and dissolving into each other to create new versions of natural and urban landscapes from above.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-48882898137108865652013-12-20T18:27:00.002+01:002013-12-20T18:27:37.391+01:00Two places, winter, city lights<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutkwTqACSSZlfGAkhkGM_c1c2D9w4c7mxYlcL0iwUiHFOaljQZ3InKkKJbL5O-x03BVVup-8DT1-uD20F0bwDYw0JVU_kB2uzaY0uz8m2XxWIyy5a1_ePRM3W6-NI_g-zpfBtJTDqV64F/s1600/5g12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutkwTqACSSZlfGAkhkGM_c1c2D9w4c7mxYlcL0iwUiHFOaljQZ3InKkKJbL5O-x03BVVup-8DT1-uD20F0bwDYw0JVU_kB2uzaY0uz8m2XxWIyy5a1_ePRM3W6-NI_g-zpfBtJTDqV64F/s1600/5g12.jpg" height="408" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Lysverket, Bergen Kunstmuseum, courtesy Fredrik, Datarock</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiamOH9kTHdY480hW9EKe4MystcnjgACYBo7etruga93z4-pgYXwZzcwHNj0aKDtxWU0URXgdONu2gIqDnPW6c7RDe_hv4xAIxXJ2mzgylSqjxqM88Bjs4UGcnq9DnP3jvFJ3NId5JiZYie/s1600/IMG_0395+-+julekort.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiamOH9kTHdY480hW9EKe4MystcnjgACYBo7etruga93z4-pgYXwZzcwHNj0aKDtxWU0URXgdONu2gIqDnPW6c7RDe_hv4xAIxXJ2mzgylSqjxqM88Bjs4UGcnq9DnP3jvFJ3NId5JiZYie/s1600/IMG_0395+-+julekort.jpg" height="390" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">TSSK, Fjordgate, Trondheim, courtsey Anita Björklund</span></td></tr>
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<br /><br />JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-81551317728403790822013-12-19T09:10:00.001+01:002013-12-19T09:10:36.526+01:00Article by Ellen Røed in InFormation<div dir="ltr" style="text-align: left;" trbidi="on">
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The article “ ’Skyvelære’ (While Attempting to Balance)” by Ellen Røed is published in <a href="https://journals.hioa.no/index.php/information/issue/view/93/showToc" target="_blank">the latest issue of InFormation (Vol. 2 issue 2)</a>. The article consists of a short text and a video. This is a special issue on Contemporary Art Didactics, edited by Associate professor Boel Christensen-Scheel. Editorial assistant has been Ph.D. Candidate Charlotte Blanche Myrvold.</div>
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Abstract: Visual artist, Ellen Røed, developed her practice by combining technological experimentation with images and an interest in how those images function in a performative context. As a research fellow in visual arts at Bergen Academy of Art and Design, from 2009–2013, Røed employed a variety of instruments to explore parallels and contradictions between video art and natural sciences, all centered on how we relate to our surroundings. In her own research, she interviewed scientific researchers as a basis for making art. She also experimented by using scientific instruments to create images. The result was a number of works that reflected on randomness, gestures, improvisation, and other informal aspects of formal knowledge. These works were shown in the Skyvelære exhibition at Gallery 3,14 in Bergen from June to August 2013. This text has been developed on the basis of material written at Bergen Academy of Art and Design on the occasion of the exhibition. </blockquote>
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Keywords: art, video, gesture, standards, science, knowledge, performativity, rhythm, artistic research, Sarabande, International Pyrheliometer Comparison.</blockquote>
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trond lossiushttp://www.blogger.com/profile/11111165109702190270noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-42422050414299160502013-12-15T23:45:00.000+01:002013-12-16T00:05:55.405+01:00STRATIGRAFI av Cecilia Jonsson og Signe Lidén<div style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; line-height: 22px; margin-bottom: 10px; padding: 0px;">
Exhibition at <a href="http://www.lydgalleriet.no/" style="color: #772124; font-weight: bold; line-height: inherit; text-decoration: none;">Lydgalleriet</a>, Bergen 6th December-12th January</div>
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Coal and iron, modernity’s most important ingredients. Taken from the earth’s pits and potholes, they are transformed into the most marvellous things. Coal is used for casting iron that goes into the railways where the coal-fueled trains carry coal and iron to the most remote corners of the world. The world is shrinking. Poland, Brazil and Bosnia, exotic places on each side of the globe, nevertheless common destinations, places that provide the world with raw materials. The railway lines bring with them a new phenomenon, mass tourism, which transforms the landscape into something beautiful and exotic, placing one outside it; making it an object to contemplate. Nothing to do here, one can only look. And the world becomes a reservoir of things and experiences: look, how strange everything is. Unfamiliar cultures, unfamiliar landscapes. The homes accumulate souvenirs, memories, stories from journeys one would endlessly bother relatives and friends with, slide shows proving one was actually out there, in the foreign land. Safely at home in the intimate zones and cavities of culture, the impressions from outside are sorted, processed and inscribed with meaning.</div>
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Culture was once called man’s metabolism with nature. Nature offers raw materials, exquisitely shaped by the ablest of hands; from this civilisations are made. Hence a distance is introduced, making nature an object of contemplation or exploitation, something beautiful or useful. The brutal materiality of nature becomes painfully present in the landscapes of the mining districts, an ugly and open wound which no tourist would come near. It offers nothing to look at, almost shameful in its exposure of subterranean secrets. The mine is neither nature nor culture, only potential. The extracted matter goes into culture, and the remains return to nature. Ore is nothing in itself, only the possibility of becoming something, a promise of future value. But today coal and iron are relics from a time long gone, the heavy, slow and outdated 19th century modes of production, so remote from our own digital, disembodied hyper-reality. Or maybe that is just the way our culture wants to look at itself, suppressing its own dependence on materiality, which is thereby displaced to the distant nooks of culture.</div>
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And then, this place: a small cave, a staged environment. Scent, sound. One is taken inside and introduced to impressions from these places. Representations, imitations, recordings and photographs from the sites, processes reproduced, fixed potential. Like a slice of the infinite timespan of geology, but also of the persistent work of industry and extraction, fixed in one condensed instant.</div>
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<em style="line-height: inherit;">Signe Liden, Cecilia Jonsson</em></div>
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<em style="line-height: inherit;">Bytom, Minas Gerais, Kakanj</em></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Text by Roar Sletteland</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The exhibition is supported by: Bergen Kommune and Norsk Kulturråd</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Thanks to: BEK, Tolga Balci, Roar Sletteland, James Jackson Griffith, Sabine Popp,</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 18px;">Thomas Edler Paulsen and </span><span style="background-color: white;">Re:place </span></span></div>
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Signe Lidén Re-placehttp://www.blogger.com/profile/01817656943456964151noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-59220282072353429182013-12-10T14:11:00.002+01:002013-12-10T14:57:35.969+01:00Explore Everything: place-hacking the city<span style="font-family: Trebuchet MS, sans-serif;">Currently reading <a href="http://www.versobooks.com/books/1473-explore-everything" target="_blank">Explore Everything</a> : place-hacking the city, by Bradley Garrett, a book on urban exploration, documentation of ruins and experiences of place. Well worth investigating! It also has numerous footnotes and references that point to other interesting and relevant texts and resources, for example his own <a href="http://www.placehacking.co.uk/" target="_blank">blog</a> and the <a href="http://www.talkurbex.com/forum/" target="_blank">Talk Urbex</a> forum. The blogs and forums contain quite a lot of the usual bragging, flaming and other forms of online squabbling, but in amongst the ranting there are some interesting references.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i>"It is both a celebration and a protest. It is a melding, a fusing of the individual and the city, of what is allowed and what is possible, of memory and place."</i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span>
<span style="font-family: Trebuchet MS, sans-serif;"><i>"Thus it can be seen how the many possible histories of a place are constructed through experience, memory, forgetting, political agendas, spontaneous encounters and myth-making processes. When we allow a place to teach us about itself, when we give it agency, we begin to build rich tapestries that enticingly near-range images of the past"</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i>"As we anticipate their transience, ruins, like dreams, pull us both toward our innermost yearnings and towards a life beyond the constraints of the material world. In that tension we find a darker component of an imagined ruined future, a Ballardian formulation of urban apocalypse where the remains of our everyday existence become the archeology of the future."</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i>"It is in these moments….. that we might make the decision to leave our mark, to take more than photographs, to inscribe a place with our own feelings and memories."</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-33731223128437741672013-12-08T17:26:00.000+01:002013-12-08T17:26:04.912+01:00The End<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://replace-project.blogspot.no/p/the-end.html">http://replace-project.blogspot.no/p/the-end.html</a></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-26102296998049993642013-12-08T10:00:00.003+01:002013-12-08T10:01:02.985+01:00B-Open seminar<span style="font-family: Trebuchet MS, sans-serif;">The <a href="http://www.b-open.no/default12_e.asp?k=28&id=181&a1=Program&a2=Seminar%202013" target="_blank">B-Open seminar</a>, held at Lydgalleriet, Bergen, on 7 December, in connection with Signe Lidén and Cecilia Jonsson's exhibition <a href="http://www.lydgalleriet.no/" target="_blank">Stratigrafi</a> at the gallery. Below: images from the seminar and from a short introduction to the Stratigrafi installation. Open until 12 January.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Panel: James Griffith, Roar Sletteland, Toril Johannessen, Esther Leslie, Edvin Østergaard</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-44875514166523392112013-11-19T17:49:00.002+01:002013-11-19T17:49:17.295+01:00Kunstneraksjon / artist demonstration in Norway today against culture cuts<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWE0nuYdguBgwdljHw49ET0tHA0yhl-EMrS28ycjdh6XEfwZs4D2tcFYYeaW_iaMdTs0Q5fLBwPyDjdGk0DyFTNYAh09PzfPNfHjfjzvyQEFGq_PS-EoKZOOGhb-GAUs9Wxw-6flQS4Dqk/s1600/blk.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWE0nuYdguBgwdljHw49ET0tHA0yhl-EMrS28ycjdh6XEfwZs4D2tcFYYeaW_iaMdTs0Q5fLBwPyDjdGk0DyFTNYAh09PzfPNfHjfjzvyQEFGq_PS-EoKZOOGhb-GAUs9Wxw-6flQS4Dqk/s1600/blk.jpg" height="198" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Restart</span></td></tr>
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<br />JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-83872502467807588752013-11-19T17:33:00.000+01:002013-11-19T17:33:16.647+01:00Seminar 19 November, KHIB<span style="font-family: Trebuchet MS, sans-serif;">Trond Lossius presenting his recent projects within a staff research seminar at KHIB. As the Re:place project draws to a close, the focus shifts to presentation, discussion and reflection. Questions and comments from colleagues attending the seminar encourage us to think that there are many more strands of our research that can be further developed in future. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPumZxbtm7Aj8H9h2nlJFWYpGh64zbojiStEBFWJGxhDK_uaxBFQw_U5GLzxjpnFP0dvihaZWHlT-Wy-mGoGkOnl2QhQ78OPQ3kYVNc0zn3hSozAFLpxVAaBHoGTLx8g2woqh2nLBOE0m/s1600/KU-sem-topo+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPumZxbtm7Aj8H9h2nlJFWYpGh64zbojiStEBFWJGxhDK_uaxBFQw_U5GLzxjpnFP0dvihaZWHlT-Wy-mGoGkOnl2QhQ78OPQ3kYVNc0zn3hSozAFLpxVAaBHoGTLx8g2woqh2nLBOE0m/s1600/KU-sem-topo+1.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Mulheim, in the Ruhr region of Germany. Closed-down shops, a common sight in many cities</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgkAWD3oR2QrZ3ACZbmU3dvWRnQeGHcMzbtzbroib12G81s7XCnO00pLcfQgvDCEN-pNrENUkFx1xRJhxZqpM_HiuPatXPTwH9501x1LJTSWxgfgN40N2V46G87j9PdiqZDZn1MEuupQ6f/s1600/KU-sem-topo+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgkAWD3oR2QrZ3ACZbmU3dvWRnQeGHcMzbtzbroib12G81s7XCnO00pLcfQgvDCEN-pNrENUkFx1xRJhxZqpM_HiuPatXPTwH9501x1LJTSWxgfgN40N2V46G87j9PdiqZDZn1MEuupQ6f/s1600/KU-sem-topo+2.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Field recordings at the edges of the city, where natural sounds and urban sounds merge</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiAZS-svK0XsZ9B01fzeipNYAo_wGxZWgjbKMQieW4B3Jzq9ZzGk2ZsH5-hZoDdeAcIc3Oih8D_QA5Va6U0iqAMxFw-QLHVHs5dxHrL1N4h9GIgTZFLUxdFYw84zyH4pVyXiq-zBt_qIkK/s1600/KU-sem-topo+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiAZS-svK0XsZ9B01fzeipNYAo_wGxZWgjbKMQieW4B3Jzq9ZzGk2ZsH5-hZoDdeAcIc3Oih8D_QA5Va6U0iqAMxFw-QLHVHs5dxHrL1N4h9GIgTZFLUxdFYw84zyH4pVyXiq-zBt_qIkK/s1600/KU-sem-topo+3.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Projection of the soundscape video recordings at Kino Kino</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFtc0voDpXYhhhUIeTJazVIGm80hjNQZwtVQWUyH7LyO6ualidEvIeALAG57I6uemE-gCmBiXGe7MCwnUeKZ87iAW1JlUpoQ0fFWUalzGrNmEAdYm4TIejfAOtjM7AR8ZyIdhvBvU7qMu/s1600/KU-sem-topo+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFtc0voDpXYhhhUIeTJazVIGm80hjNQZwtVQWUyH7LyO6ualidEvIeALAG57I6uemE-gCmBiXGe7MCwnUeKZ87iAW1JlUpoQ0fFWUalzGrNmEAdYm4TIejfAOtjM7AR8ZyIdhvBvU7qMu/s1600/KU-sem-topo+4.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Experiments in the anechoic chamber at Haukeland Hospital in Bergen</span></td></tr>
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JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-35851022756666909782013-11-18T10:42:00.000+01:002013-11-18T10:42:01.095+01:00In Hemingway's Garden<span style="font-family: Trebuchet MS, sans-serif;">Exhibition at <a href="http://www.kabuso.no/kunsthuset-kabuso/norsk/aktuelt/program/2013/10/utstilling-heli-rekula-in-hemingway's-garden.aspx" target="_blank">Kabuso</a>, Øystese, by photographer <a href="http://helsinkicontemporary.com/artist/helirekula/" target="_blank">Heli Rekula</a>. She travelled to Florida to visit the <a href="http://www.hemingwayhome.com/" target="_blank">Ernest Hemingway</a> house and made a series of photographs of his garden reflected in the swimming pool. These images are combined with archive materials that she has collected. A very special sense of place emerges in this work, where the history of the site and its contemporary representation merge together and create a resonance that absorbs the viewer. The exhibition will move to Oslo Kunstforening in January 2014.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0tag:blogger.com,1999:blog-8401887563202309271.post-58833755673122510962013-11-15T12:39:00.001+01:002013-11-15T12:41:03.955+01:00Society of The Spectacle (again)<span style="font-family: Trebuchet MS, sans-serif;">Guy Debord's <a href="http://www.nottinghilleditions.com/books/the-society-of-the-spectacle/201" target="_blank">Society of The Spectacle</a> is about to be republished in English. An article in <a href="http://www.theguardian.com/books/2013/nov/14/guy-debord-society-spectacle-will-self?CMP=fb_gu" target="_blank">The Guardian</a> by Will Self discusses its continued relevance and the heritage of <a href="http://www.cddc.vt.edu/sionline/" target="_blank">situationism</a></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><a href="http://www.theguardian.com/books/2013/nov/14/guy-debord-society-spectacle-will-self?CMP=fb_gu" target="_blank"><br /></a></span>
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<a href="http://www.theguardian.com/books/2013/nov/14/guy-debord-society-spectacle-will-self?CMP=fb_gu" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivYaxbvh2bCZydrmeK2h8SDNvUCgxq9B4fjEzJlE7JovTXTWTdzJkowXuI8cGD1OygDSqyPPXHtX6_Pfov-yd0MOg_QptvujKswwctlHq-Vk3N6aiovVtH7fYWbkSWzs2D7s1bGDW3EID/s1600/Guy-Debord-009.jpg" height="384" width="640" /></a></div>
<br />JWhttp://www.blogger.com/profile/12948418044973045608noreply@blogger.com0