Monday, 8 June 2015

"Horizon. No Horizon" performed at Kunstmuseet Nord-Trøndelag 06.06.2015 PART 2


"Horizon. No Horizon" performed at Kunstmuseet Nord-Trøndelag 06.06.2015 from Cecilie Jordheim on Vimeo.


Documentation of the performance entitled "Horizon. No Horizon" (part 2). Performed at Kunstmuseet Nord-Trøndelag, June 6th 2015 by membes of three local choirs: Namsos Kammerkor, Cygnus and Salt, under direction by Elina Karpinska.

The drawings, taken from YouTube, of a boat's repetitive vertical movement at sea, produced in the spirit of surrealist automatic writing, seeks to be a score of movement; also carrying the possibilitiy to be reproduced in sound. From the boat's bridge point of view, the horizon appears and disappears. More here.

This was the last performance of three during this exhibiton.
You can find part 1 of "Horizon. No Horizon" here and "REMAKE: Grafitti Composition" here.

Wednesday, 3 June 2015

Kunstverksted for barn // Art workshop for kids

Til alle med barn i Namsos-området:

På søndag arrangeres det Kunstverksted for barn og unge (fra ca. 3 år og oppover) på Kunstmuseet Nord-Trøndelag kl.11.
Tema og inspirasjon denne gangen er utstillingen min «Hele Verden Er Et Noteark», som har sin siste dag på søndag.
Kunstverkstedets Yvonne H. Antonsen vil sammen med musiker Stig Hollup gjennomføre et spennende opplegg hvor barna får være med på å komponere og fremføre sitt eget verk.

Gratis er det jaggu, òg. Kom, kom!

FB-event: https://www.facebook.com/events/380983395423769/

//

To all parents in the Namsos region:

This Sunday's art workshop for kids, 11:00 at Kunstmuseet Nord-Trøndelag, is inspired by my exhibition «Hele Verden Er Et Noteark» (All The World's a Stave).
Yvonne H. Antonsen, together with musician Stig Hollup, will carry out an exciting program where kids get to compose and perform their own composition.

And it's all free of charge!

Facebook event: https://www.facebook.com/events/380983395423769/

Sunday, 24 May 2015

Seminar Quotes

Hele Verden Er Et Noteark -et seminar om overlappinger av kunstsjangre.
7. mai 2015

Et seminar som setter fokus på tverrfagligheten i kunsten og prosjekter som er vanskelige å låse inn i noen bestemt sammenheng - ofte til frustrasjon for både byråkrater, kritikere og publikum.
Nedenfor er noen sitater fra seminaret.
Seminaret er støttet av Norsk Kulturråd, Fond For Lyd og Bilde og Billedkunstnernes Vederlagsfond.

//ENG

All The World's A Stave -a seminar on the overlap of genres in art.
May 7th 2015

A seminar questioning the interdisiplinarity in art and looking at art and art projects that are difficult to lock into any particular context - often to the frustration of both bureaucrats, critics and audience.
Here's some quotes from the seminar.


 «Vår tidligere ståltro på kategorisering, på at det ene kommer etter det andre, av referanser til det foregående av en historisk tidslinje, det faller. Den linære forståelsen må ha blitt etablert for å skape ro inne i hodene våre. For å skape orden i kaoset satte vi ting etter hverandre. Og så laget vi grupper av alt mulig. Og så har hyperkoblingen kommet og pulverisert dette. Vi klikker oss mellom nestensammenhenger, går mellom ulike plattformer mellom virkelighet og virtualitet dagen igjennom. Og dette går virkelig ut over vår evne til å oppleve en felles tid. For skal vi oppleve en felles tid så må vi jo være sammen, med kropp og oppmerksomhet. Våre to kjære eiendeler.
Og her i rommet for kunst, så gjør vi nå det.
Men jeg tror det er noe fint med denne pulveriseringen av det liniære. Det er mulighet for en grunnstruktur av sirkulær tid. Det er for meg naturlig. Året er et hjul, prosesser reprosesserer, åndedrettet går inn og ut og vann blir til damp og til vann i gjen. Det er uliniære prosesser vi kanskje er tettere på og i mere synk med enn den liniære og kategoriserte. Kanskje var den liniære og kategoriserte et sidespor som vi er på vei til å forlate?»

//ENG
"Our previous strong belief in categorization, that one thing comes after another, with references to the preceding by a historical timeline, is falling. Our linear understanding must have been established to create peace in our minds. To organize chaos we put things in order. And so we created groups of all sorts. And then hyperlink came and crushed it. We click our way between adjacent contexts, run between different platforms of reality and virtuality all day long. This really undermines our ability to experience a common time. If we'd like to experience a common time, we have to be together, with our body and our attention; our two beloved possessions. And here, in this art space, we're doing just that. But I think there's something nice with this pulverization of the linearity. It's the possibility of a basic structure of circular time. For me, that's natural. The year is a wheel, processes reprocesses, our breathing goes in and out, the water turns into steam and returns back to water. Perhaps we're more in sync with the non-linear processes, it feels closer to us, than with the linearity and the categorized. Perhaps the linearity and categorized is a side track that we're about to leave? "

Å være og å lengte / To B-e-l-o-n-g, Anne Marthe Dyvi
Kunstmuseet Nord-Trøndelag, Namsos, May 7th 2015




«Veldig mye av historien skjer i mellomrommet mellom etablerte sjangre og begreper. Det er sånn verden går videre og utvikler seg. I Norge har vi som kunstnere hatt en unik og priviligert situasjon i mange tiår, mye takket være de forskjellige kunstnerorganisasjonenenes iherdige og effektive lobbying mot politikerne. Baksiden av medaljen er imidlertid at det har oppstått «laug» med mye aktivitet innad og ditto skylapper hva gjelder nysgjerrighet og åpenhet for andre uttrykk.»

«Å komme fra akademia, musikk- og teaterverdenen inn i billedkunsten var først en enorm befrielse, inntil jeg ganske fort lærte at hindrene var like store her som i andre «bransjer». Boblene var like intakte, og nysgjerrigheten på verden utenfor var tilsvarende liten.»

«Failure er lik success er lik failure. Det illustrerer for meg det innmari fine forholdet med det der å være i kunsten, som er noe vi ikke forstår. Og jeg tror at den dagen kunstnen bare blir en kreativ virksomhet som måles i hvor mye vi kan bringe inn til et samfunn eller til et antall arbeidsplasser eller økonomi eller noe sånt; den dagen vi finner svaret på hva kunst er og hvorfor vi har det, er vi litt på farlige veier. Så jeg vil prøve å fortsette å forholde meg som barnet og ikke bry meg om sjangrene.»
//ENG

«History takes place in the gap between the established genres and concepts. That's how the world goes on and develops. In Norway, we artists have had a unique and privileged situation for many decades, largely due to the different artistic organization's untiring and effective lobbying against politicians. The downside is that it has occurred "guildes" of activity within and ditto blinders when it comes to curiosity and openness to other expressions.»


    «Coming from academia, and from the music and theater world into visual art was initially a huge relief, until I learned pretty fast that the hurdles were as big here as in other "industries". The bubbles were equally intact, and the curiosity of the outside world was correspondingly small.»


    «Failure equals success equals failure. This illustrates, for me, that really nice relationship to be in the arts, which is something we do not understand. And I think that the day art is just a creative activity that measured how much we can bring into a community or to a number of jobs or finances or anything like that; the day we find the answer to what art is and why we have it, we are a bit on the dangerous roads. So I will try to continue to relate to the child in me and not caring about genres. »

Per Platou
Kunstmuseet Nord-Trøndelag, May 7th 2015

Link til Kunstmuseets sider



The New Concrete // London

I'm excited to announce my participation in this nice little (quite big actually!) publication. 

The New Concrete: Visual poetry in the 21st Century.

Edited by Chris McCabe and Victoria Bean, published by Hayward Publishing at Southbank Centre, London. Essay by Kenneth Goldsmith.
Lots and lots of briliant artists are involved in this project.

Launch July 25th at Whitechapel Gallery, London, where I'll be participating in the program.

More info about this TBA.

Available for preorders now!
 



"The New Concrete is a long-overdue survey of the rise of concrete poetry in the digital age. The accessibility of digital text and image manipulation, modern print techniques and the rise of self-publishing have invigorated a movement that first emerged in an explosion of literary creativity during the 1950s and 1960s. This new volume is a highly illustrated overview of contemporary artists and poets working at the intersection of visual art and literature, producing some of the most engaging and challenging work in either medium.

Featuring an introductory essay by renowned American poet Kenneth Goldsmith and edited by celebrated poets Victoria Bean and Chris McCabe, The New Concrete is an indispensable introduction to the breadth of concrete poetry being produced today.


The New Concrete features new works by poets and artists including Jordan Abel, Vito Acconci, mIEKAL aND, Tauba Auerbach, Fiona Banner, Simon Barraclough, Michael Basinski, Erica Baum, Victoria Bean, Derek Beaulieu, David Bellingham, Caroline Bergvall, Jen Bervin, Cecilie Bjørgås Jordheim, Jaap Blonk, Christian Bök, Sean Bonney, Jean-François Bory, Pavel Büchler, Augusto de Campos, Francesca Capone, Antonio Claudio Carvalho, Bariş Çetinkol, Henri Chopin, Paula Claire, Thomas A. Clark, Bob Cobbing, Tom Comitta, Judith Copithorne, Simon Cutts, Natalie Czech, Bob Dahlquist, Wally Depew, Johanna Drucker, Jesse Patrick Ferguson, Peter Finch, Alec Finlay with Ray DiPalma, Ian Hamilton Finlay, Rachel E. Foster, S.J. Fowler, John Furnival, Philip Gallo, Ilse Garnier, Pierre Garnier, John Giorno, Marco Giovenale, Eugen Gomringer, Roel Goussey, Scott Helmes, Family Press Henningham, Sophie Herxheimer, James Hoff,  Karl Holmqvist, Jenny Holzer, Susan Howe, Geof Huth, Serkan Işın, Tom Jenks, Julie Johnstone, Leandro Katz, Sarah Kelly, Ronald King, John Kinsella, Anatol Knotek, Christopher Knowles, Márton Koppány, Richard Kostelanetz, Daniel Lehan, Ruark Lewis, Simon Lewty, Liliane Lijn, Tony Lopez with John S. Webb, Donato Mancini, Toby Martinez de las Rivas, Hansjörg Mayer, Chris McCabe, Steve McCaffery, Kevin Mcpherson eckhoff, nick-e melville, David Miller, Stuart Mills, Franz Mon, Robert Montgomery, Edwin Morgan, Gustav Morin, Rick Myers, Clemente Padin, Tom Phillips, Décio Pignatari, Jörg Piringer, Cia Rinne, Colin Sackett, Aram Saroyan, Richard Skeleton, W. Mark Sutherland, Greg Thomas, Nick Thurston, Sue Tompkins, Andrew Topel, Cecil Touchon, Barrie Tullett, André Vallias, Nico Vassilakis, Emmanuelle Waeckerlé, Sam Winston, Cerith Wyn Evans, Ercan y Yılmaz and Eric Zboya."


REMAKE: Grafitti Composition



Documentation of the performance entitled REMAKE: Grafitti Composition. The project is based upon a work by Christian Marclay, where 100 sheets of blank staff paper was hung up in the town Namsos during spring 2015. Later, the notation and the scribblings of passersby was documented and performed at Kunstmuseet Nord-Trøndelag, May 7th 2015 by Eirik Øien and Martin Langlie.



Thursday, 21 May 2015

"Horizon. No Horizon" performed at Kunstmuseet Nord-Trøndelag 18.04.2015


Documentation of the performance entitled "Horizon. No Horizon" (part 1). Performed at the opening at Kunstmuseet Nord-Trøndelag, April 18th 2015 by membes of three local choirs: Namsos Kammerkor, Cygnus and Salt, under direction by Elina Karpinska. The drawings, taken from YouTube, of a boat's repetitive vertical movement at sea, produced in the spirit of surrealist automatic writing, seeks to be a score of movement; also carrying the possibilitiy to be reproduced in sound. From the boat's bridge point of view, the horizon appears and disappears. More here.

Part 2 will be performed June 6th at Kunstmuseet Nord-Trøndelag.