. . NEUK O L NORW LN EGEN NABROADBERLIN
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NEUKOLLN NORWEGEN Anna Karin Stjernløf Mai Hofstad Gunnes Anna Særnblom Munan Øvrelid Marius Engh Maja Nilsen Liv Bugge Lars Morell Randi Nygård Magnus Bjerk Jannicke Låker Goro Tronsmo Anders Kjellesvik Trygve Luktvasslimo Curated by: Randi Nygård
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10 Foreword: Randi Nygรฅrd 18 Essay: Neighbours in Arts Neukรถlln/Norway Andreas Schlaegel 106 Artists: 122 Credits: 130 Thank You: 132 The Cake: 138 Neukรถlln:
FOREWORD RANDI NYGÅRD More than 160 ethnic groups live side by side in north Neukölln. In recent years a growing number of Norwegian artists have come here to live or to have a studio. Neukölln is best known for its social problems and high unemployment rates. However, there are more sides to Neukölln and one of them is represented by the growing number of Norwegian artists living there. Considering the diverse social and cultural aspects of this area, integration is a difficult subject; how and into what shall we integrate into? The Norwegian artists also face this challenge, on different levels. Do we need to, and in which way can we, adapt to our surroundings? What does it really mean to be integrated in Neukölln, when the mainstream culture is not easy to define? How relevant is it to talk about integration at all? About a year ago, Kulturamt Neukölln announced an open call for cultural projects dealing with integration. I proposed a Project Space focusing on the growing number of Nordic artists
in Neukölln. My idea grew out of the fact that we seldom showed our artworks in the area and in that sense were not seen in our neighbourhoods, thus, not very well integrated. The Head of the Cultural Department of Neukölln, Dr. Dorothea Kolland was interested in my application and arranged a meeting. She informed me about the history of the area and the diverse groups living there, and I informed her about the artists coming to Neukölln. This is how the exhibition with Norwegian artists living and/or working in Neukölln came about, Dorothea invited me to organise the show in Galerie im Körnerpark. She later held a lecture for the artists and we learned interesting facts about our neighbourhood. The Norwegian artists are not in a closed community. We are a small group in Neukölln, almost invisible, and not many of us feel part of a local community there. We belong to different parts of larger international social art environments. We came here because of Berlin’s great art scene, Neukölln’s relaxed environment and affordable living costs. Working and relating to a Norwegian and international art scene, but living in a diverse community, how do these realities meet? Can an exhibition make us more visible and at the same time sensitive to our surroundings? Within the field of Biology it is a well known fact that the larger the diversity of an eco-system, the better its ability to respond to change and be more productive due to the richness of potential within it. Diversity is an advantage! If this could also apply to social environments, the enormous potential of Neukölln would be realised, given that the diverse groups and identities made contact to form larger systems. Research also shows that working environments where differences are acknowledged and valued are the best and most productive ones.
This exhibition communicates diverse perspectives from a small group in Neukรถlln. Instead of asking the artists to work directly with integration or topics relating to Neukรถlln and/ or Norway, I have chosen to openly show who we are and what we are interested in. By letting the artists choose what to show themselves as the exhibition focuses on the works by the individual artists. This means that the artists show works within their own areas of interest. So in the end the themes of the exhitbition are as diverse as those one can find in the artworks. The interpretation of the works should not only be directly linked to the places we come from or live in, they should be open and based on the art. Inescapably we are Norwegians living and/or working in Neukรถlln, but what this means, is still an open question as it has diverse implications, similar to the diverse community of Neukรถlln.
ESSAY Neighbours in Arts Neukรถlln/Norway
ANDREAS SCHLAEGEL What does living in a community stand for and what does it signify? How much responsibility are you willing to accept: as a visitor of the gallery in the Kรถrnerpark, as a resident of Neukรถlln, as a temporary guest in Berlin, as a tourist - or as an artist? And will you be able to do this responsibility justice? Questions like these sparked off a recent fundamental debate on the subject of integration in Neukรถlln. A recurring topic of this borough of Berlin that is often defined by its population, which consists of many people with diverse immigrant backgrounds. Yet, in this context the term integration is often seen provocative, if not inflammatory, implicating exclusion and separation. Furthermore, suggesting a cultural adaption and levelling. Indeed, it is as if integration really meant the ironing over of cultural differences and social conflicts, which exist in any living community. Carrying them out in public is hard work but essentially of vital impor-
tance for the functioning of any society. Since many years, the word integration has sounded like a problem, at best an insufficient remedy for a social deficiency symptom marked by an inadequate exchange inside the community. These were also the questions to be dealt with in this exhibition, as the organiser of this exhibition, the Norwegian artist Randi Nygard started asking herself. What shape does this exchange take in her own immediate surroundings? As Berlin attracts artists from all over the world, inevitably many have chosen to take up residence in Neukölln. However, how and to what extent do they contribute to an exchange with their immediate environment? Nygard found that hardly any of the artists she knew could be regarded as well integrated, rather most played a part in the „parallel society“ of the art circuit. Keeping conspicuously still and to themselves, reluctant if not outright unwilling to engage in the society they are a part of, if not inapt at communicating outside of the restrictions of their art world ghetto. Randi Nygard decided to do something about this - she wanted to draw attention to the works of art that were actually being produced around the corner, not in the format of an open studio tour to put the artists themselves on display, but as a local gallery exhibition. Although, she did not intend to make this a primarily social project, it still has a substantial social dimension with the group of international and local artists participating in a communal presentation at the Galerie im Körnerpark. It was important for Nygard to reflect on the fact that many like to take pride in the number of artists and galleries that dwell in Berlin, to the point of regarding it as the metropolis of the art world. At the same time
the district of Neukölln, even though recently becoming more and more attractive as a trendy place for going out, would hardly do the idea of an art mecca justice. In an idiosyncratic twist, she connected this fate to her home country of Norway, in spite of international observers taking notice of a whole generation of young Norwegian artists pushing into the international art scene. Today, she and many more of them live in Neukölln. The show, which she assembled for the Galerie im Körnerpark does not attempt to offer a complete overview of Norwegian artists working here, nor is it an advance into the global art discourse. In fact, she doesn‘t even try to pass the show off as a big curatorial deal, but she is rather taking pride in aiming for it to be a decidedly local event. In this sense it is simply an attempt to show the neighbours what artists from Norway are working on next door, in Neukölln, be it videos, photographs or installations. Thereby reaching out, giving the artists not only a platform, but also a chance to connect the artists to their local communities. Therefore this show may not function along the usual representational strategies of city marketing or an official part of Norwegian cultural affairs, far removed from a national contribution to some sort of art Eurovision à la the much discussed and over hyped Berlin art overview „Based in Berlin“. Rather it can be regarded as a relaxed and easy alternative draft for an exhibition, which counters the overheated art and gentrification discourse in Berlin. In this it requires none of the ubiquitous rhetorics of selflegitimation that appear to be so much in fashion at the moment, but seeks to do nothing less and nothing more than actively initiate and establish a form of communication between the producers of art and their direct neighbours as a potential audience.
Some works shown here relate directly to specific qualities of the exhibition venue and Neukölln in general. As the artists selected their own works for the show, in terms of what they see fit to represent their general artistic approach, without referring to a larger or super ordinate curatorial concept, they often opted to reflect primarily on facets of their own practice. None of the works uses images, which metaphorically or speculatively exploit the aforementioned topics of national identity, migration or integration. And it is precisely for this that this exhibition can be regarded as a programmatic contribution. As for the artists, this is a demonstration of presence, not only as artists, but also as members of a community, as neighbours. But what forms does this take? Or what forms can sustain a sense of validity in this context? The entrance of the show is marked by what at first appears a surreal installation, „Swan Song“ (2011). But Maja Nilsen‘s swan hanging head down from the ceiling is inspired by a real life event, of a an assassinated swan in a public park which at the time spiked significant controversy. A golden rope around its neck draws the dead swan to the stone that would sink it. An absurd image on many levels, bringing to mind the proverbial swan song as well as the famous solo of the dying swan in the ballet Swan Lake by Peter Tchaikovsky. But rather the installation appears to be a monument to the erratic quality of vandalism, and the neglect of public property, which is basically what the swan was. Thereby it poses questions that reach further into the realm of the everyday, such as: where does vandalism end? In the cuts of public funding of the arts maybe, that will affect young artists first - and established, so-called high art forms later, such as classical ballet or the canon of literature?
In the 13-minute video „A sense of Beginning“ (2011) by Munan Øvrelid, the artist takes on one of the most iconic figures of German culture altogether, the poet and playwright Friedrich Schiller. In a tour de force of a sculptural and aesthetic deconstruction, the pits three plaster busts of the poet not only against his own words on poetry, but also the logics of reason and economy, in other words, the reality of the assembly line. Placed on a conveyor belt, the busts eventually fall and burst apart, and in more of the same treatment Schiller himself is subsequently reduced step by step to smaller and smaller shards. Finally, only a mountain of a crystalline white dust is left, while excerpts of Schiller‘s text „On naive and sentimental poetry“ run as subtitles, bringing nature and culture together with ideas of the sublime and perfection. The white dust, conjures up conflicting images, say, of sand in an hourglass, or, alternatively, of mountains of cocaine, both ultimately symbolising futility and vanity. The artist Anna Særnblom also works with seemingly simplistic forms, but employs a completely different set of existential references. She shows an enigmatic ensemble of bleak prints on canvas, in an installation titled after herself „Saernblom“. Her work appears to constitute a nearly hermetic self-portrait culled from disparate modernist and mythological fragments, ranging from Jean Arp to symbolist rays and a spear to material collages. Having lived in Neukölln for a while, she already exhibited here, alongside Liv Bugge, among others, in the legendary local basement gallery of the Café Warschau. Here, on Tuesdays at nine, the barkeeper allows groups of three (maximum) into the incredibly cheesy but cheerful basement, to experience the show in relative privacy. She also collaborated with Liv Bugge on the video piece „An average satisfaction“ (for flute
and piano). Bugge replies with the installation „Stigma Erection“(2011) , which picks up on the role of sexuality and social patterns, featuring a small watercolour on paper, installed on a wooden board, of a long haired figure carrying a stone in her (or his?) hand. The words „Ritual #2 Your Nipple Becomes a Stone“ are wrapped half around it, addressing ritualised aspects of sexuality as much as the inadequacies of the metaphor itself, emphasised by two stones lying on a shelf at the bottom of the board. A photograph of a hand with crossed fingers adds an element of narrative and suspense to the enigmatic arrangement - who is lying and to whom? Is the ritual a lie or the metaphor? Or is it the artist? Who will cast the first stone? While Bugge incorporates the photograph into her installation, the photographer Magnus Bjerk created his own space by arranging a boothlike arrangement with four large photographs from his 12 piece series „The Inside Of The Outside Of The Inside“. Shot with an analogue camera in medium format and without the commonplace digital manipulation we have become accustomed to. Taken from inside trailers, the images construct never ending horizons, as the reflection of the landscape outside of the trailers expands seemingly infinitely inside. Thereby the trailer becomes part of a perception apparatus, an extension not only of the central perspective of the camera, but also of the eye of the photographer - and the beholder. The artist printed two of the photographs on transparent film and hung them into the room and off the wall, facing each other, a woman in the nude and a dog. They become characters in an ambiguous narrative of perspective and perception, presence and absence, domestication and sexuality. In comparison to Bjerk‘s ambitious
photographic craftsmanship the found collage „M.D.“ presented by Mai Hofstad Gunnes is an exercise in economy, with physical reduction expanding poetic potential. Picking up on another German icon, she reveals an unexpected storyline. She makes use of a damaged copy of the pocket book edition of Wolfgang Noa‘s seminal Marlene Dietrich biography, that she found at the flea market. Its purple, black and white cover features a photograph of Dietrich that is missing to a large part. Having been cut out it leaves only her long legs visible and reveals the first page of the book with a hand written note by an anonymous previous owner. The scribbles in hastily pencilled lines express self-doubts, and concerns about the feelings of his or her lover, that contrast vividly with the self-assured and conscious sexuality of the film diva, palpable even in what is left visible here, the tip of her toe. The strategy of reusing found imagery is also employed by Marius Engh but to completely different ends, in a panel of ten photographs, arranged to a grid. It constitutes a cluster of haunted imagery, including a dramatic tomb, a door with a hole filled with the iconic film still from Stanley Kubrick‘s „The Shining“ of a mad Jack Nicholson breaking through a door, a tour poster for the 2008 Berlin show by American rock band KISS, a billboard advertising a pumpkin sale next to church in what appears to be a rather derelict area or the scenario of a horror movie, a cracked church bell with a swastika. The imagery shares formal qualities, such as the size and the snap shot look. But while the photographs seemingly innocently capture specific details of existing objects, they also mark different aspects of a popular fascination with the darker aspects of the irrational, death and evil. The artist allows the viewer to connect the dots to render the sketch of a larger cultural landscape of drab
present haunted by history and a future foreboding doom. This conjures up the idea of a „palimpsest“, a multilayered locale of possibly conflicting narratives. The neat horizontal arrangements of historical narratives are brought into disarray by Randi Nygard‘s paper works. They consist of two books that treat different readings of ideas of history and evolution. Pushing the books into each other, and cutting out and folding up the images to create what at first looks like figures of a fold-out book. But here there is a twist: these images can‘t be put back into their place back into the horizontal image, they stand out, jar into each other, creating a complex structure of dinosaurs and buildings, confined to the small space defined by the layout of the books. The title links these works to the idea of teeth, and brings to mind the German term „verzahnen“ using the image of the teeth of a cogwheel to describe the phenomenon of interlocking levels or events. Thereby she creates a striking image for the way that evolution, and all of history for that matter, today, cannot be regarded as a linear narrative anymore, but as a complex process of interlocking occurrences, that happen for a plethora of reasons. Hardly anything can be seen as merely a singular event. Works like these stand in stark formal contrast to the narrative video „Sunday Morning“ (2007) by Jannicke Låker, It shows the painful minutes of a large lady after what must have been a long night out, stumbling into her beautifully spacious Berlin flat, in a drunken stupor. In the course of the video, she gets herself into increasingly awkward positions, which develop from mishaps to destruction and eventually disaster. As a parody the story may represent different clichés to different audiences: the bohemian lifestyle of an artist to a regular citizen
of Neukölln, or maybe a lifestyle that is only possible where the booze is cheap, to a regular Norwegian? Although it is not long and often quite comical, it is not so easy to stand the humiliating situation of the protagonist, even if it is not real, but simply well acted. Her overweight implies an often-used stereotype of physical comedy, made famous by pioneers of the silent film era, such as Fatty Arbuckle or Oliver Hardy. In spite of these references, the main focus of this work is clearly not the history of comedy, but the existentialism of a contemporary way of life, where personal excess is only a reflection of a larger social status quo. One can see this as a portrait of a life of abundance that extends into every niche of our western society. It reminds the viewer that it is actually true, that the private is political. And most of all, exactly the part one tries to hide or run away from, because that‘s where things go wrong. This inherent idea of not wanting to see certain things, or of editing the domain of the visual is where Lars Morell‘s work becomes increasingly interesting. “The Symbolic Order Circle” is a series of still life photographs, with arrangements from objects and printouts from his research on the aesthetics of magic, such as posters and flyers announcing public performances by magicians or the legendary escape artist Harry Houdini. „Be Aware of Invisibility“, reads one flyer, another leaflet advertises the Dye Box Book, a legendary compendium of magician‘s tricks, while a glass bell and a rope are reoccurring props in all but one of the images, where they are substituted by a glove. Houdini is a key figure in this arrangement, as his artistry had nothing to do with magic, but with his albeit secretive skills. He considered it his mission to demonstrate, that magic is in the eye of the beholder, and essentially an
illusion. It is created
illusion. It is created and therefore an art of presentation. This division between magic and illusion, or an object and its subjective perception, introduces the age we live in today, that appears to be dominated by a fixation on facts and reality, but can only process them as simplistic narratives, having become addicted to stories and their presentation, having created a whole culture based on showing or storytelling - but not on understanding. The inability to create an own narrative of relevance is what agitates the characters in Goro Tronsmo‘s video „Muscle Temple“ part of a five week project documenting different young actors while they struggle trying to come up with an idea of their own, for the project they are part of. Selfmockingly the artist described her work as depicting „a bunch of hipsters that talk about projects without ever getting anything done“, which sounds like a caricature of much of Berlin‘s self-celebratory youthful art scene. As an artist who is also a director of staged events, she devised a kind of happening for the opening of the exhibition, by having a huge cake produced in a local bakery. Again she hardly gave instructions but went with the flow, leaving it to the shop assistants to decorate the tart, in a „Norwegian style“, with the standardised decorative elements they had available. As the final product turned out too big for delivery or transportation, the artist resorted to the spontaneous help of some young men passing by in their convertible, who drove it to the gallery. Here it was given away for free, to the bewilderment of the local kids, who after having their piece immediately left again, only to drag their friends into the exhibition. In effect, the cake became a vehicle for the arts, by attracting many people, who under normal circumstances would hardly have visited the gallery, thereby turn-
ing the opening into a veritable block party. In this, her work finally fulfilled the unspoken promise of the show, and established contact. But Tronsmo‘s cake wasn‘t the only one at the show. A second “Cake” (2011), is a contribution by sculptor Trygve Luktvasslimo, and consists of a multi-layered structure, reminiscent of display furniture for shop windows from the 1950’s. Not at all edible, but with a surface cold and black, it is also quite the opposite of what a birthday or wedding cake usually represents, a joyous occasion. It appears to be more of an inversion, pretty, but gothic, and dark, as if in mourning. A second piece, a wooden structure entitled “That Way”, a man-sized capital “T” leans against the wall, covered in drips of oozing goo, consisting of melted wine gums. It could be regarded as reminiscent of a cross, as if one would get crucified for being „That Way“, not „This way“, italic instead of regular. But this also work suggests a more personal reading: the artist is plannning to use the structure for a happening on occasion of his 33rd birthday, the age Jesus had when he was nailed to the cross. The artist‘s first name begins with the letter T, and after all, even if it looks like a prop from a horror movie, the melted wine gum is still not only edible, but also probably still quite sweet, making for a sculptural self portrait, that has all the charm of a complex idea quickly and easily executed, with the narcissism of a sprayed tag, yet in full three dimensions. Like the one Anders Kjellesvik found on a piece of wood in a public park, that inspired the painter and printmaker for his installation, that crosses over into sculpture. Similar to a whole tree that the artist had charred, turning it into a gigantic stick of charcoal, so big it is rendered unusable, and was shown at a biennale in Moss dedicated to drawing. His current piece is posi-
tioned in front of an assemblage of images, that appear like a vault of the motifs he has exploited for his paintings and silk screen work in the past, ranging from private snaps to landscape imagery. The tagged tree trunk in front of the piece on the wall could be seen as an act of vandalism turned into exhibition furniture. Yet, it also addresses the difficulty of approaching nature as a topic in art - and painting in particular - without resorting to traditional perspectives and stereotypes. In this sense this work is a piece of true contemporary romanticism, an attempt of artistic appropriation as much as any tag, but also a painterly claim, to reach out and grasp - or at least touch - what defines nature or landscape today. There is a similarity here to the work of Anna Karin Stjernløf, as evident in her video titled „Closing in“ (2011), showing a hardly moving scenery accompanied by a meditative soundtrack, to be listened to over headphones. It appears to invite the viewer to become immersed, to consume the landscape offered on the screen as a place of projection of yearning. Somehow, the image refuses this. Pretty as it may seem, it resists an easy identification, staying immobile - neither near nor far, but removed from the actual site of the exhibition. As if it was about addressing the impossibility of being in two places at once, however much one would dream of transgressing the obstacle of the space that separates one from the object of desire. References to nature, classical and popular culture helped to make the works on display if not comprehensible so in any case accessible, even to an audience completely unacquainted with strategies of analysing the complex language of visual art. But education was never an issue here. Still, with more than fifteen hundred visitors at the opening weekend alone
it can be safely said, that the mission of establishing an initial contact of the local Norwegian artists with their immediate surroundings has been achieved. Now, it is a question of expanding this relationship, and the question arises, who will be next? Certainly, the success of this exhibition has helped to put the location of the Galerie im Körnerpark on the extensive Berlin map of art spaces to look out for. But for the artists, the show has already achieved much more - it has marked a point of arrival, not only as artists in Neukölln, but in this sense, as real people, as neighbours.
Andreas Schlaegel is an artist and writer. As an artist, he has shown and performed expansively, in Europe, Asia and the US, and recently at the Venice Biennial as part of the Gelitin Pavilion. He has written numerous essays on contemporary artists for publications edited by The UCLA Hammer Museum (Los Angeles), the Aspen Museum (Aspen, Colorado), Thyssen Bornemisza Contemporary (Vienna), Schirn Kunsthalle (Frankfurt/M), Temporäre Kunsthalle Berlin, to just mention a few. He contributes regularly to international art magazines such as Frieze d/e (Berlin), Spike Quarterly (Vienna), Flash Art (Milano), Programma (Tel Aviv) and others. In 2003, he founded the Art Critics Orchestra, who since have given playing songs written by themselves and artists. Their new EP with songs by Lawrence Weiner/Peter Gordon, Peter Weibel and Tom Wesselman will be published by Little & Large Editions later this year. He is also a member of the allartist band B-Men, who earlier this year published “Amen” on Sick Fuck Records, and will be giving their collaborative debut at Galerie Diane Kruse in Hamburg in September.
ARTISTS
Marius Engh
born 1974, Oslo Norway, studied at Oslo Academy of Fine Arts (1996- 2001) and The Royal Danish Art Academy in Copenhagen (1999-2000). Solo exhibitions at STANDARD, Oslo, Galleria Gentili, Prato, Supportico Lopez, Berlin, Galerie Emanuel Layr, Vienna and Preus Museum The National Museum of Photography, Horten Norway. Group exhibitions at Witte de With Center of Contemporary Art, Rotterdam, Westfälischer Kunstverein, Münster, Kunsthalle Bern, Mehdi Chouakri, Berlin, Brussels Biennial, Bergen Kunsthall and Bergen Art Museum. Engh’s work is represented in collections at The National Museum of Art in Oslo, Fondazione Mora Grecco in Napoli, Deka Bank in Frankfurt am Main, Preus Museum - the National Museum of Photography in Horten. Publications: “An Aggregation of Adversary” published by Torpedo Press 2011. Link: http://www.standardoslo.no/en/artist/marius_engh
Magnus Bjerk
born 1980, Sarpsborg Norway, awarded with Fine Art Photography, Edinburgh College of Art (20012004). Solo exhibitions at Blomqvist Kunsthandel, Oslo, Oslo Central Station, Galleri 5, Lund Sweden, 340 Old Street Gallery, London, Galleri S12, Bergen, Ă˜stfold Kunstsenter, Fredrikstad Norway. He has participated in group exhibitions internationally and presented works at Fokus Biennale in Lodz Poland and National Museum of Poland Warsaw. Bjerk’s work is represented in numerous national, corporate and private art collections. Link: http://www.magnusbjerk.com/
Liv Bugge
born 1974, Oslo Norway, awarded with Fine Arts, Oslo Academy (2001) and The Royal Academy of Fine Arts Antwerp, Belgium (2003). Solo exhibitions at WE, Brussels, Galleri Trafo, Asker Norway, Gallery Annie Gentils Antwerpen, Rijeka, Croatia, Galleri 21:25, Oslo. Group exhibitions at Tate Modern, Momentum Biennial, HEDAH, Mastricht, LLS 387, Antwerp. Bugge has participated in artist residencies in Brussels and Antwerp and her work is in the collection of Art Council Norway. Publications: “You Make Me Want To Die in The Countryside” published by Torpedo Press, 2010. Link: http://www.livbugge.com/
Mai Hofstad Gunnes
born 1977, Lørenskog Norway, studied at Universität der Kunste, Berlin, CCA Kitakyushu, Japan and Trondheim Academy of Fine Art, Norway, where she was awarded an MFA in 2004. Group exhibitions at Cneai de Paris, Museum of Contemporary Art, Oslo, Sils, Rotterdam, Oslo Fine Art Society. Gunnes was awarded the OCA (Office for Contemporary Art Norway) residency at Wiels Contemporary Art Centre, Brussels, Belgium. Upcoming exhibition includes “Oh how time flies” at Bergen Kunsthall (2011).
Trygve Luktvasslimo
born 1978, Mosjøen Norway, awarded with Master of Fine Arts, Malmö Art Academy (2006) and Edinburgh College of Art, Scotland (2003). Trygve Luktvasslimo has participated in exhibitions and festivals in Norway, Spain, Sweden, Denmark, Finland and Scotland. In 2011 Luktvasslimo took part in a research trip to the Arctic Sea followed by the PolArt exhibition at Tromsø Kunstforening, and he concluded a residency at Persbo Studio, Sweden with his solo exhibition and performance 33. Link: http://www.trygveluktvasslimo.com/
Jannicke Låker
born 1968, Drammen Norway, studied at Trondheim Art Academy (1993-1997), The Royal Academy of Fine Art Copenhagen, Denmark (1995-1996) and The Royal Academy of Fine Art/ Video Dep. Stockholm, Sweden (1997-1998). Solo exhibitions at Kunstlerhaus Bethanien, Berlin, DUMBO, New York, Stenersen Museum, Oslo. Group exhibitions at Whitney Museum, New York, Moderna Museum, Stockholm. Låker received the ‘Terje Vigen Film Award’ and the ‘Film Critics Award’, Grimstad Film Festival 2008, and was nominated for the Arte prize Hamburg 2009. Låker’s work is represented in collections of Oslo Museum of Contemporary Art and The National Museum in Oslo, Bomulldfabrikken and Norwegian Arts Council. Link: http://www.jannickelaker.com/
Anders Kjellesvik
born 1980, Stord Norway, studied at Bergen National Academy of Arts (2001-2004), The Royal Danish Academy of Fine Arts Copenhagen, Denmark (2003-2005). Solo exhibitions at Giga, Stord, Galleri Hartwich, Sellin, Rügen, at GAD, Oslo, Danske Grafikeres Hus, Copenhagen and at Kuvataideakatemian Galleria, Helsinki. He has exhibited in group shows internationally. Kjellesvik’s work is represented in collection of Malmö Art Muesum in Sweden, Statoil ASA in Norway and private collections in Norway and Germany. Since 2004, Anders Kjellesvik and Andreas Siqueland have been working together under the name “aiPotu”. Link: http://www.anderskjellesvik.com/
Lars Morell
born 1980, Kristiansand Norway, studied Academy of Fine Arts, Oslo (2005). Solo exhibitions GAD in Oslo, Perla Mode, Zürich, Kunstnerforbundet, Oslo, Galleri S.E.,Bergen, Kunstmuseet Kube, Ålesund, Point Éphémère, Paris. He has exhibited in group shows internationally. Morell took part in the Deutsche Börse Residency Program, Frankfurter Kunstverein, Frankfurt. Morell’s work is represented in collections of StatoilHydro, Sørlandets Kunstmuseum, Malmø Kunstmuseum, Bergen Kommune and in various private collections. Link: http://www.larsmorell.net/
Maja Nilsen
born 1978, Klæbu Norway, awarded Master of Fine Arts from Trondheim Art Academy (2005). Nilsen was one of the founders of ‘Marienborg’, an artist organised studio and exhibition space for emerging artists in Trondheim. Nilsen has participated in several group exhibitions in the Nordic countries, but also in Scotland, Iceland, Japan, Germany and England. Nilsen has lately won competitions for public commissions in Norway. Upcoming solo exhibitions at Rogaland Kunstsenter, Stavanger, Gallery Noplace, Oslo and Nordnorsk Kunstsenter, Svolvær. Link: http://www.majanilsen.com/
Randi Nygård
born 1977, Bergen Norway, awarded Masters of Fine Art from Malmö Art Academy, Sweden (2005) and Trondheim Art Academy (2006). Randi Nygård is the initiator and curator of “Neukölln Norwegen”. Group shows at The National Museum Castel Sant’Angelo, Rome, Italy, La Centrale Electrique, Brusseles, Belgium, Tessaloniki Centre of Contemporary Art, Greece, at Tromsø Kunstforening, Norway, Fotogalleriet, Oslo, Norway and the Nordic House in Reykjavik, Iceland. In 2011 Nygård participated in the artist residency at Nordic Artists Center Dalsåsen, Norway, and she is part of the W17 studio programme at Kunstnernes Hus in Oslo. Nygård’s work is represented in public and private collections in Norway, Denmark, Germany and France. Link: http://randinygard.blogspot.com/
Anna-Karin Stjernløf
born 1978, Drammen Norway, studied at Trondheim Art Academy (Master of Fine Arts 2001-2006) and Estonian Art Academy (2005) and (Art History) University of Bergen (2000-2001). She has participated in group shows in Barcelona, Tallin, Kukora ( Japan), Berlin, Bergen, Trondheim, Oslo, Florø and Vevring (Norway). Stjernløf, together with Randi Nygård and Munan Øvrelid, curated the video programme Up North for Casa del Mig and Cuando el video llego del frio for Loop-05 in Barcelona, Spain. Stjernløf organised and curated the group exhibition under the title Seeing Is Believing at Sogn og Fjordane Coastal Museum in Florø, Norway.
Anna Særnblom
born 1977, Oslo Norway, studied philosophy at the University of Oslo (1996-1999) and at Oslo Academy of Fine Arts (2004-2008) and Trondheim Art Academy (2003-2004). Solo exhibitions at Galleri 24:25, Oslo, Gallery Babel, Trondheim and Grünerløkka Kunsthall, Oslo. Særnblom has participated in group exhibitions internationally, GAD, Maria Veie, Rod Bianco, Kunstarena ØstCarl Berner Project Room and Rubber Soul, Trafo, Asker, Bar Moskwa Exhibition Room, Berlin and Haugar Vestfold Kunstmuseum in Tønsberg. Link: http://www.jimmibeat.blogspot.com/
Goro Tronsmo
born 1975, Tromsø Norway, studied at the University in Oslo (1994-1997) and at s.e.t.-Stockholm Fundamental Theatre School (1999-2000). Goro Tronsmo works as an artist and stage director with performances at Black Box Theatre and Showbox, Oslo, Teaterhuset Avantgarden, Trondheim, BIT-Teatergarasjen, Bergen, Dublin Fringe Festival, LIDO/ Teatertribunalen, Stockholm. Tronsmo participated in the performance installation at The Collapsable Hole, New York and Parken festival in Bodø, Norway (August 2011). Link: http://gorotronsmo.com/
Munan Øvrelid
born 1978, Oslo Norway, awarded Masters of Fine Art from Malmö Art Academy, Sweden (2005) and Trondheim Art Academy (2006). Solo exhibitions at Gallery Galuzin, Oslo, Skånes Kunstforening, Malmö, Sweden and Young Artist Society, Oslo (UKS). Group exhibitions at Prosjekt 0047, Oslo, Kunst i Nordland, Bodø, Kristiansand Kunstforening, Kristiansand, Babel, Trondheim, Dortmund Bodega, Oslo, Kino Kino, Sandnes, Tou Scene, Stavanger and Tegnebiennalen Norway 2010. Øvrelid is part of the W17 studio programme at Kunstnernes Hus, Oslo 2011. Link: http://munanovrelid.blogspot.com/
CREDITS
pg 1 Maja Nilsen Swan Song 2011 Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay. 5,5 m l x 0,8 m pg 4, 5, 6, 7, 8, 9 Munan Øvrelid Sense of a beginning 2011 Blue ray dvd 13:00 min pg13 Maja Nilsen Swan Song 2011 Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay. 5,5 m l x 0,8 m pg 14, 15, 16, 17 Trygve Luktvasslimo Cake 2010 Sculpture pg 22, 23 Exhibition overview pg 24, 25 Bugge and Særnblom An average satisfaction (for flute and piano) 2011 Dvd, color and sound 5,5 min Per Platou - Piano Eivind Sandgrind – Flute pg 30, 31 Overview and Trygve Luktvasslimo Gehry 2010 Toilet paper, composite board, metal grid pg 32, 33, 35 Jannicke Låker Sunday Morning 2007
HD 1080i sound and color 09:00 min pg 39 Trygve Luktvasslimo Gehry 2010 Toilet paper, composite board, metal grid pg 40 Magnus Bjerk The Inside Of The Outside Of The Inside 9 2004-2010 Durst UV print on 1 cm Acrylic (plexi glass). 90x110 cm pg 42, 43 Magnus Bjerk The Inside Of The Outside Of The Inside 3 and 2 2004-2010 C-type lambda print laminated and mounted on aluminium. 90x110 cm pg 44, 45 Magnus Bjerk The Inside Of The Outside Of The Inside 4 and 9 2004-2010 Durst UV print on 1 cm Acrylic (plexi glass) 90x110 cm pg 46, 47 Randi Nyg책rd Die Z채hne sind mit der Erinnerung eng verbunden Fossillien und Vision, Memory and Media 2011 Object & Randi Nyg책rd Die Z채hne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kieferheilkunde 2011 Object
& Mai Hofstad Gunnes M.D. 2011 Collage 13,6 x 19,7cm & Mai Hofstad Gunnes Untitled 2011 Collage 22 x 28,5cm pg 48, 49, 50, 51 Mai Hofstad Gunnes M.D. 2011 Collage 13,6 x 19,7cm pg 52 Mai Hofstad Gunnes Untitled 2011 Collage 22 x 28,5cm pg 54, 55 Randi Nygård Die Zähne sind mit der Erinnerung eng verbunden Fossillien und Vision, Memory and Media 2011 Object & Randi Nygård Die Zähne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kieferheilkunde 2011 Object pg 56, 57 Randi Nygård Die Zähne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mundund Kieferheilkunde
2011 Object pg 58, 59 Randi Nygård Die Zähne sind mit der Erinnerung eng verbunden Fossillien und Vision, Memory and Media 2011 Object pg 60, 61, 62, 63, 64, 65 Anders Kjellesvik Ohne titel (Waldblick Berlin) 2011 Tree trunk, xerox prints, laquer pg 66, 67, 68, 69, 70, 71,72, 73 Marius Engh Figureheads 2010 10 photographs 36,6 x 29,8 cm pg 74, 75, 76, 77 Goro Tronsmo Muscletemple 2011 Video 20:00 min pg 78, 79, 80, 81 Anna-Karin Stjernløf Closing in 2011 Video loop pg 82 Trygve Luktvasslimo Cake 2010 Sculpture & Trygve Luktvasslimo That Way 2011 Sculpture pg 84, 85 Trygve Luktvasslimo That Way 2011 Sculpture
& Anna Særnblom Saernblom 2011 Bleak prints and canvas 85x65 cm pg 86, 88, 89 Anna Særnblom Saernblom 2011 Bleak prints and canvas 85x65 cm pg 90, 91 Exhibition overview Maja Nilsen Swan Song 2011 Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay. 5,5 m l x 0,8 m pg 92, 93 Maja Nilsen Swan Song 2011 Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay. 5,5 m l x 0,8 m pg 94, 95, 96, 98 Lars Morell Symbolic Order Circle 2011 Photo34.5 x 23 cm (11 stk) pg 100, 101, 103, 104, 105 Liv Bugge Stigma erection 2011 Mixed media pg 107 Anna Særnblom Saernblom 2011 Bleak prints and canvas 85x65 cm (Detail)
pg 123 Randi Nyg책rd Die Z채hne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mundund Kieferheilkunde 2011 Object pg 131 Goro Tronsmo Muscletemple 2011 Video 20:00 min pg 133, 134, 135, 136, 137 Goro Tronsmo The Cake 2011 Performance and video pg 142 Maja Nilsen Swan Song 2011 Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay. 5,5 m l x 0,8 m
THANK YOU
Dr. Dorothea Kolland Kulturamt Neukölln The Royal Norwegian Embassy in Berlin Andreas Schlaegel NABROAD (Norwegian Artists Abroad) Jasmina Bosnjak Anna-Karin Stjernløf Magnus Bjerk Simon Menner Technicians, Galerie im Körnerpark
THE CAKE performance by
GORO TRONSMO
..
Kornerpark
NABROADBERLIN WWW.NABROAD.ORG