<img height="1" width="1" style="display:none" src="https://www.facebook.com/tr?id=797583897089809&ev=PageView&noscript=1" />
MFA18_tkmg_cua_1.jpg

GAS

KiT Masterutstillingen 2018

TKM Gråmølna
15. mai  - 3. juni 2018

Mariko Takahashi – a grand affair

  • Mariko_takahashi.JPG

book, a series of photographs, installation, 2017-18 

An escaping from reality is the theme I have been working for many years.  a grand affairis a project I aimed to connect this theme with my depression that I started to go through after losing my father. I inherited some money from him but because of his death, I have this mental disorder. So I decided to spend this money to pay off my depression. Thinking about an escaping, I came up with an idea of staying in a hotel, as that’s what people do when they ‘escape’; go somewhere and stay in a hotel. I visited expensive hotels and alternative places in London to experience the persona of different characters (such as a posh traveler, a journalist, a hipster) to become someone other than myself, to escape from the depressed self. I changed my makeup, clothes and bags, according to each character I was playing and area I was in. My book contains my drawings, writings, photographs, maps, information such as where, when and how much I spent.

a grand affair is my statement. This is what I do with my depression.

Veslemøy Lilleengen – Portrait of Gregus 11.

  • Veslemy_lillengen.png

Mixed media installation. Materials; Urine, indigo, silk, glass, wood, cabinet, potteblå and a neighbourhood at Svartlamon.

What does it mean to belong to a place?

For years I have been fascinated by the person Hannah Ryggen and the way she created her materials. Locally sourced plant dyes and the making of potteblå shows her appreciation for the place she lived. I have tried to connect the dots and draw lines between her and my own sense of finding my place in the world. I have not aimed to answer the question of belonging but tried to find a way to show my appreciation and connection to a place both mentally and physically through potteblå as a method.

Urine is more precise than a fingerprint, it contains DNA and a mix of bacteria that varies from person to person. Age, health, use of medication, food, and drink imprints our urine. It is therefore specific to both person and time.

Hannah Ryggen never reviled her way of making potteblå but through research, old recipes and experiments I have found my own method. I have used potteblå with the intention of making a portrait of my neighbourhood. This involves collecting urine from each person living there and making individual dye baths. The end results are 16 unique shades of blue

Susann Jamtøy – The winding and demanding road that leads you all the way home

  • Photography, “The winding and demanding road that leads you all the way home”, 2016, Susann Jamtøy.
    Photography, “The winding and demanding road that leads you all the way home”, 2016, Susann Jamtøy.

In a society where people leave the countryside to migrate to the cities, I felt the duty to document one of the last heroes that keeps maintaining his farm in balance with the nature: my father.  I went to the Leirvik farm to document the symbiosis between my father and the farm. How each of them depend on the other and how, together, they are much more of the sum of the parts. When he inherited the farm from his parents for being the oldest son, he also inherited with it the principles of the generations that lived there before, the caring for the nature, the helping of the neighbor farms, the simplicity of life. All the effort that my father puts into cutting the old trees in the forest, keeping the deer population healthy and under control, fixing the drainage in the mountains and cutting the weed in the garden, rewards the farm with fresh water and wood for the chimney and rewards him with venison, berries, mushrooms, fish and a place of meditation. 

Magdaléna Manderlová – Lines of flickering light stretching across terrain

  • Magdalena_Manderlova.jpg

Sound installation for glass, ventilation system, transducers, microphones and loudspeakers.

Lines of flickering light stretching across terrain is a site-specific sound installation reflecting on physicality and spatiality of sound, and looks at sound as an open matter. The building and its materials are examined as a membrane - by tactile transducers and microphones creating a feedback loop. The feedback operates as a trigger for activating the resonant frequencies. The glass, the ventilation and the voice, they breathe together, they get in and out of tune, they tremble and phase each other.

A set of performances is going to be developed through the exhibition period, in which I am going to build up a dialogue, a vocal response to the sounds of the building at present moment. The sound of my voice is going to emanate from and with the glass panes, the voice and the building vibrating from within.

Sebastian Schumacher – 51°00'00.8"N 6°52'27.4"E

  • Sebastian Schumacher, Angelus Novus after Paul Klee, 2018
    Sebastian Schumacher, Angelus Novus after Paul Klee, 2018

the lie of the land mixed media installation, archival material

Walter Benjamin, On the Concept of History 
“The tradition of the oppressed teaches us that the 'state of emergency' in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight. Then we shall clearly realize that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against Fascism. One reason why Fascism has a chance is that in the name of progress its opponents treat it as a historical norm. The current amazement that the things we are experiencing are 'still' possible in the twentieth century is not philosophical. This amazement is not the beginning of knowledge"”unless it is the knowledge that the view of history which gives rise to it is untenable.
{…}
A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.”

Gard Aukrust – The Current Current

  • gard_aukrust.jpg

Installation of photographs

A photographic installation which reflects on the process of photography, the interval between things and the undetermined space of the present. The work consists of four photographs: two in the landscape format and two in the portrait format.

Mariia Drachuk – AreIWeam

  • mariia-drachuk.jpg

Mixed media installation. Pastel, dirt, lead pencil on linen and wall. 

In a world built of matter, nothing exists separately or completely isolated. Our bodies do not exist separately either. We are an array of bodies, inhabiting and inhabited. And only through our intra-actions the active properties of all participants become empowered. It is one of the peculiarities of our existence, to make distinctions between us, and things. Nevertheless, if we could only try to abolish the binary, oppositional, dichotomous approach in our intra-existence and move towards a more horizontal self-positioning, we would approach a new sensibility and responsibility. We have to acknowledge the affectiveness and agency of actors of all scales in order to feel responsibility and engagement. Therefore, we should sense the material constellation of our bodies, the open and colonized nature of it.

Casey Asprooth-Jackson – A monument proposed

  • Casey_Mandela-and-Samfundet.jpg

Multimedia installation
In April 2016, a two-story bronze statue of Nelson Mandela is inaugurated at “Mandela Square” in Ramallah.  A gift from the mayor of Johannesburg to the people of Palestine, the monument is received with a state’s ceremony, celebrating the history of solidarity between the two nations.  At the event, a cameraman wonders to himself: if a statue of Yasser Arafat were erected in Johannesburg, what color would his suit be?

A year later, a cultural festival in Norway has announced a “monument competition.”  In celebration of its 100-year anniversary, UKA is seeking proposals for a public sculpture.  Shortly before the deadline, a group of art students submit an application by email, proposing a replica of Ramallah’s Mandela, to be installed outside the student union in Trondheim later that Fall.  

A monument proposed presents the research that produced that application, outlining the beginnings of an odd triangle linking Palestine to South Africa, onto Norway and back again.  The connection between the first two is better understood, and embedded in the gifted monument.  Mandela’s towering presence in Ramallah recalls a shared history of anti-colonial struggle, handshaking leaders, and racist regimes.  Viewed in Norway, the statue reveals other links, to neoliberal transition, human rights discourse, and international boycott.

Against indeterminacy, this exhibition traces the life of a proposal, for a monument that cannot be. But it is also a proposal itself – a series of suggestions pointing toward a plan, solidified in a space somewhere before realization.