In relation to the exhibition “Emma & Edvard: Love in the Time of Loneliness” that I have curated for the Munch Museum, I will distill one of the many aspects of curating as a cultural act. Although establishing connections and resonances among art works is the most obvious aspect of curating, I want to take this one step further. Once such connections are put in place, by means of skillful and artistically meaningful juxtapositions, confrontational oppositions, and convergences, I also find an important aspect of curating to make these aspects contribute to, but not as the only means of focusing of the viewer’s attention. All the preceding aspects, applying wall texts and captions or refraining from doing so, the placement of works, and additionally, also the creation of the possibility of look durationally can do this. Looking durationally is looking longer than is usual, which can be stimulated for example by providing seating and establishing groupings while at the same time, giving each work ample space. As a result, the visitor’s response can become so intense, detailed, and surface-oriented as much as meaning-seeking, that the act of looking results in seeing ‘with a magnifying glass’. In this lecture, I will give a few examples from the exhibition of places and works placed there, where such durational looking leads to a vision of the art works that is substantially different from the ‘first sight’ that is too often the only sight.
Multi-media artist Camille Norment represented Norway in the 56th Venice Biennial of Art (2015), with a three-part project that included a large-scale sound and sculptural installation, a publication series, and a sonic performance series.
Norment’s artwork often uses the notion of cultural psychoacoustics as both an aesthetic and conceptual framework. She defines this term as the investigation of socio-cultural phenomena through sound and music, particularly instances of sonic and social dissonance, and sound as a force over the body, mind, and society. (more…)
Pop is known for its everyday and banal iconography mostly derived from advertising and media, altered and duplicated in paintings which scale was often challenging the billboards of the American cityscape. Hence its reputation of being glamorous and futile, seductive and superficial, allegedly accomplice of the evils of the consumer society.
Sharifi is Norwegian, with roots from Iran. He is a former graduate of
Oslo National Academy of the Arts, in choreography. Sharifi is especially interested in artistic expressions in the intersection of dance, theater and visual arts. In 2000 he established his own company, Impure Company, which specifically works with making visible social commitment, engagement and politics in art. (more…)
The Centre for Islamic and Middle East Studies at the University of Oslo and the Academy of Fine Art at Oslo National Academy of the Arts are pleased to present a series of lectures and workshops on the modern intellectual history of the Middle East. Focusing on Walter Benjamin’s reception in the Middle East, this event brings together two keynote speakers, Jens Hanssen and Sami Khatib, who will discuss various imaginaries of history and the ambiguous notion of violence in the work of Benjamin as well as Mahmud Darwish and Hannah Arendt, and others.
Rike Frank and Tirdad Zolghadr revisit their recent project SLOHAGENHALLAH, which unfolded in Palestine on May 5, 2016 in collaboration with the art academies of Oslo, Copenhagen and Ramallah. The project was an exploration of the student show as a format and genre which is very much undertheorized and underhistoricized, and thus completely underestimated in the field of contemporary art, and even in art pegagogy itself.
The Academy of Fine Art in Oslo is proud to present its upcoming Academy Lectures programme. Among the speakers are Rike Frank, Dora García, Emily Jacir, Bouchra Khalili, Maria Lind, Apolonija Šušteršič, Anne Szefer Karlsen and Tirdad Zolghadr. (more…)