Siri Vinterly Akkeri Siri Vinterly, Akkeri, 2018. Video still

 

OPEN VIDEO X 

filmprogram & kunstverk

 

Vernissage: fredag 26. april 2019 kl 19:00-21:00

Performance fredag 26.april kl 19:30: The Warriors av Karen Nikgol + How’s the weather how’s your health how much did you sleep last night? – Ice Water Eyes av Jóhanna Ellen Ríkharðsdóttir

Screening med introduksjon av Log Lady Lusty & Ellen Christensen lørdag 27. april kl.18:00:
Cabin Economy Contemporary /Sailing Stormy Waters  - En Office for Contemporary Grounding dokumentasjon.

Åpningstider lørdag 27. april kl 12:00-20:00, søndag 28. april kl 12:00-18:00

Tenthaus Oslo: Maridalsveien 3, 0178 Oslo

 

Kunstnere på OPEN Video X

Ayman AlAzraq, Alexander Johan Andreassen, Andrea BakketunTonje Bøe Birkeland, Bobrikova & de Carmen, Margrethe Kolstad Brekke, Lars Brekke, Jonathan Brewer, Per Christian Brown, Petter Buhagen, Yamile Calderon & Edward Cunniffe, Anja Carr, Log Lady Lusty & Ellen Christensen, Silje Storm Drabitius, Kristine Dragland, Anders Eiebakke, Frido Evers, Anneke von der Fehr, Crispin Gurholt, Iselin Linstad Hauge, Damian Heinisch, Christian Hennie, Hilde Honerud, Runhild Hundeide, Henrik Plenge Jakobsen, Astrid Johannessen, Saman Kamyab, Jon Eirik Kopperud, Janne Kruse, Ane Kvåle, Linda Karin Larsen/Linda Lazer, Kaja Leijon, Magne Lyngvær, Tone Myskja, Karen Nikgol, Christian Tony Norum, Yafei Qi, Jóhanna Ellen Ríkharðsdóttir, Jenny Marie Hviding Schjerven, Sigmund Skard, Kristian Skylstad, Ellen Henriette Suhrke & Hilde Skevik, Jared Theis, Kjersti Vetterstad & Georgiana DobreSiri Vinterly og Janne Talstad  
 
 
Open Video curated by Janne Talstad

Open Video derives from the idea of Open Source, which means the open video is a video that can be freely used, changed, and shared. Thus the program in Open Video can be changed by both the curator and the artists involved over time. The program stays the same, with alterations based on natural needs. The program becomes a vessel for content, and in the arbitrary of the diverse content curatorial challenges will become obvious, which again creates the need for curatorial narration in the program. Janne Talstad has summarized the tendencies in the field through the development of the medium, and the curatorial instructions to the different artists became clear; do your best or do what you need. Some has done both.  One can say that this video program is the same as any, which is true in a sense, but it's different in the notion that it lacks a center, an agenda and an intention. The aspiration is both aesthetic, political and dealing with the medium as such, so by mixing the program as a note sheet a video graphic composition becomes apparent. The program bites its own tail, the identity of the artist becomes secondary, and the program turns into a joint effort of showing the variety of how to deal with and produce video. The program transforms into a vessel, a toolbox, which changes through the different venues it's presented, in size, quality and geography. The source code is open; generating a diverse landscape of work, through the media of video. The artists share one thing; a total dedication to their own practice, though video might only be one of their tools, one way of expressing oneself.

Video is easy to carry, because you only need a memory stick. We intend on being the messenger.

Poster PINK CUBE web size sosial media2

Poster by Anja Carr 

 

PINK CUBE (Oslo) proudly presents
BATTLE #22: MAISIE COUSINS (UK) VS. MARIA PASENAU (NO)

Tenthaus Oslo, Maridalsveien 3, 0178 Oslo
6 December 2018 - 13 January 2019

Friday - Sunday 1 - 5pm and by appointment
exhibition opening Thursday 6 December 7 - 10pm
(closed 22 December - 3 January)

Artist talk w/Maria Pasenau & Andrea Kroksnes
(curator "Faithless Pictures", the National Museum)
10 January 5 - 6pm (Norwegian)

London-based MAISIE COUSINS (b.1992) introduces her sickly, sticky and sweet creations, in the form of luxuriant, large photographs from her ongoing "Rubbish"-series, including some brand new works from a very recent trip to Mexico in this exhibition - her first in the Nordic region. The British artist, who has presented two solo exhibitions in London, and at group shows in the US and Italy, proves that one woman’s rubbish is another’s treasure: the installations she constructs for her photographs are made out of things she is seduced but others might be repelled by, from food stuffs to everyday frippery. Her close-up visions are stuffed to the brim with unexpected juxtapositions of textures and colours, so tangible you can almost smell them. In a world where we always consume first with our eyes, Cousins is a complicit creator, but one who doesn’t shy away from the more unsavoury parts of life. Though at first sight her mess appears to be desultory, her compositions are carefully composed to stimulate the viewer’s senses as much as their minds. Always interested in base human desires, whether it´s sex or hunger, Maisie’s images comment on the contemporary need to consume, and the cosmopolitan idea of indulgence - whether it’s in a sausage roll or a Chinese dumpling.

Oslo-based MARIA PASENAU will hang a new series of small photographs at PINK CUBE - a sort of analogue stop motion, that deal with our disoriented state of self in her unique diaristic style, as well as presenting new sculptures and a text-based work. Working with different medium, her practice is rooted in analogue photography. Where Cousins seduce using objects and the absence of models for this exhibition, Pasenau does the opposite, shooting portraits of people she knows and herself - but both belong to the same frenetic, fully-charged environment. Sharing a sense of playfulness, delight and intimacy with Cousins, Pasenau, 23, was recently included in "Faithless Pictures" at the National Museum, Oslo, alongside the likes of Richard Prince, Cindy Sherman and Hito Steyerl; a cross generational exhibition examining the ways images dominate and manipulate our sense of reality and ourselves. In photography, there is no longer any truth, and Pasenau is part of a generation that has grown up knowing this. Instead she uses the camera as a disrupter, to agitate, and as a stage for the theatre of the self. Fiction narrates the truth more closely than reality. Like Cousins, Pasenau collects things, images with an interest in interplay of surfaces, as well as contemporary excess and desire - often presented as multiple images and objects - an overload of visceral emotions, viscous bodies, and unexpected encounters.

- Charlotte Jansen, Editor at Large, Elephant Magazine (London, UK)


PINK CUBE is a pink exhibition space with walls coated in paint containing bodily fluids - an alternative to the sterile, male dominated white cube, founded by CEO and artist Anja Carr in January 2011. Situated at Grønland, Oslo until 2016, it is now a nomadic space, with the possibility of traveling to different venues and countries with it's unique wall-paint, in this case to Tenthaus Oslo. The exhibitions are art-battles between two artists or groups, aiming to boost fruitful artistic dialogue among artists from different generations and/or locations. Welcome to the game! In addition there will be a slide-show with images from PINK CUBE's 21 previous battles and some other special treats.

TENTHAUS OSLO is a project space initiated by Oslo-based artists Helen Eriksen, Ebba Moi and Stefan Schröder. From spring 2016, Mechu Rapela joined the Tenthaus team. Tenthaus Oslo's profile is characterized by an open, process-oriented form of participation from an internationally orientated group of artists. The context of contemporary art practice is re-examined through a broader field of activity with exhibitions, workshops, artist's talks and live performances. As PINK CUBE, Tenthaus has a large proportion of female exhibitors.

The exhibition is funded by Arts Council Norway and The Municipality of Oslo, The Agency for Cultural Affairs

Presse WEB

Ayatgali Tuleubek, Fadlabi and Saskia Holmkvist/Ellen Nyman/Corina Oprea

Opening: Thursday, 7 February, 7 – 10pm
Exhibition: 7 February – 3 March 2019
Opening hours: Fri – Sun 1 – 5pm and by appointment

Artist talk Sunday 24 February 7pm at Khartoum with the artists.


What if the image is shown next to an historical fact? questions the way that we interpret history through media, as well as our embodied understanding of that history; our situated experience within the now.

It draws on Andrea Phillips, art researcher, thoughts on artist practice and asks: where do we stand if we situate our physical as well as mental bodies in this place amongst these images and artefacts? Can we go beyond an intellectual understanding of the questions raised within the exhibition space?
 
"Maintain the role of the artist who, only ever collaboratively, poses the question: what if we placed this image next to this historical fact? What if we went there and learned what those people do and think about it in our terms? In other words, clarify the role of the artist outside of her own privatization, her own property-making." A. Phillips (2018)



Ayatgali Tuleubek
Great Things are Done when Men and Mountains Meet (2014) and Declarations (2014)
Take terrain/a piece of land as a base and explore the symbolic and ideological layering by the structures of the state. Unlike in the case of familier map representations, terrain does not appear to the naked eye with a load of political designations of state borders and ideological luggage. This buildup is a result of a historical process and tensions associated with a sense of human presence, longing and belonging.

Fadlabi
You are here (2019)
Questions our ability to understand our own and others´position in the world we understand, through concepts such as unfolding history, politics and morals. Where am I now? and How do I make sense of the information that I am continually bombarded with?

Saskia Holmkvist/Ellen Nyman/Corina Oprea
Sicherheit (Security) (2016/17)
The video installation Sicherheit (22 min) stresses the construction of colonial modernity in the Swedish imaginary. Sweden is one of the world’s largest weapon exporters per capita, while at the same time promoting itself as a peace-making nation worldwide and claiming global neutrality. Sicherheit points to the Swedish relationship to war and weapon industry by examining how it is expressed on an individual level. The work also links western security with paths of migration and tests history in terms of the present. It links people to important sites of arms production such as Karlskoga, Luleå and Göteborg. More info at KHIO web page.

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Ayatgali Tuleubek (born in Kazakhstan) is an artist based in Oslo. His recent group shows include Glee, Shiryaevo Biennial, Russia; Oslo Museum of Contemporary Art at Kunsthall Oslo; Internal storage – Not Enough Space? in Garage Museum of Contemporary Art, Moscow and Participation Effect at Stieglitz Museum, Saint Petersburg. He had solo shows at Akershus Kunstsenter, Studio 17, Stavanger and NoPlace, Oslo. In 2014 Tuleubek graduated from The Academy of Fine Art/Oslo National Academy of the Arts.

Fadlabi grew up and studied in Khartoum, Sudan. He now lives in Oslo where he studied for his MA in visual arts. In 2016, he and Karin Erixon initiated Khartoum Contemporary Art Center.

Saskia Holmkvist lives and works in Stockholm, Sweden and Oslo, Norway. She is an artist and Professor at KHiO. Holmkvist employs performance, orality, moving image and improvisation to explore questions of agency and professionalized language and translation. In the process strategies of the documentary are retooled with performative interaction to focus on verbal speculation. Her most recent works include; Procession Action Tour, a perfromative city tour for The Riga Biennale 2018, Back Translation a film and installation on the text communicating Procession Action Tour. www.saskiaholmkvist.com

Ellen Nyman lives and works in Stockholm, Sweden. She is an actor, director and visual artist. Her research and practice bears an interdisciplinary focus on performativity and blackness within performing and visual art. Recent work and collaborations include: Black revolutionaries don’t fall from the moon (2017, Stockholm) a play influenced by the biography of Assata Shakur, and the video works Sicherheit (2017) shown alongside with Danish Election (2004) with Corina Oprea and Saskia Holmkvist and featured at GIBCA Gothenburg Biennial, 2017. Nyman is currently a Ph.D. candidate at Stockholm University of the Arts and at the moment plays part of playwright Tracy Letts, Mary Page Marlowe at the Royal Dramatic Theatre, Sweden.

Corina Oprea is a Stockholm-based curator and researcher in the fields of visual and performing arts. She is Managing Editor of http://www.internationaleonline.org and former Artistic Director at Konsthall C in Stockholm. She holds a PhD from University of Loughborough-UK, with the thesis 'The End of the Curator - on curatorial acts as collective production of knowledge'.

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Quote from Andrea Phillips publication Forgetting the Public, in Public Enquiries/ PARK LEK and the Scandinavian Social Turn - Editors Giorgiana Zachia, Mick Wilson, Helena Selde, Blackdog publishing London, 2018

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The Camouflage Society - We Who Can Transform

Organized by Gabo Camnitzer with Mehdi Torkaman.
Featuring Simon Rezene, Wari Paiz, Hamza Mohamed Ali, Farrah Algul, Huda Algul, and Maha Algul.
 
19.10-18.11.2018
Open every Friday to Sunday from 13-17 or by appointment
Maridalsveien 3
 
Opening 6 pm. Friday 19th October

   Image Credit: Hamza Mohamed Ali

 

Vi som kan forvandle (We who can transform), is the culminating exhibition of Kamuflasjefellesskapet (The Camouflage Society), a summer school for young immigrants in Norway, organized by Gabo Camnitzer with Mehdi Torkaman, at Tenthaus Oslo in the summer of 2018. The exhibition features documentation from the schools activities, and process-based work by its participants, Simon Rezene, Wari Paiz, Hamza Mohamed Ali, Farrah Algul, Huda Algul, and Maha Algul.

Assuming the name of a collective of civilian artists who developed modes of concealment during WW1, participants in Kamuflasjefellesskapet experimented with modes of transformation, literal and metaphorical, to explore questions of representation and assimilation in Norwegian society. Drawing links between processes of cognitive assimilation and cultural assimilation, the participants unpacked the ways that abstract conceptual schemas predetermine how we encounter difference.

Kamuflasjefellesskapet sought to expose the false premise of a bounded Norwegian society and to reveal the internal contradictions of the socialization model of immigrant education more broadly. Rather than focusing on fitting into Norwegian society, participants in Kamuflasjefellesskapet experimented with methods to elude it’s grasp, and exceed the constituting projections of its representational logic.

Poster Page web
 
Pablo Helguera

Pablo Helgueras Teatro del Incomprendido

Opening 6 pm. Friday 29th June
29.6 - 19.8 2018
Open every Friday to Sunday in July and August until the 19th, from 13-17

 

To understand is to forget about loving.
Fernando Pessoa

Teatro del Incomprendido (Theater of the Misunderstood) is a project that explores empathy, the complexity of social relationships, and the potentials and pitfalls of interpretation.

This project seeks to understand and juxtapose the delicate relationship between objective thinking and that which overwhelms our sense of reality, often resulting in the uncanny. It is inspired by theater as education models such as Theater of the Oppressed and the post-war form of plays known as Theater of the Absurd.

The notion of misunderstanding /being misunderstood will be explored in various ways. In a more direct form, it is a feeling that every individual experiences, and many times is not able to resolve. We all have felt misunderstood at some point in our lives, either because of our set of beliefs, or because out actions (things we have said or done) are interpreted in a way that we did not intended for them to be interpreted. There are small misunderstandings, longer-term interpersonal misunderstandings (as if in conflict in a relationship or a family) and collective misunderstandings (as in political, religious, or ideological positions and debates).

The project explores also the notion of misunderstanding from a cognitive standpoint. In education, the subject of explanation is intrinsic to learning, as it is the process by which ideas are made clear and understood. Yet the process of explanation is subject to interpretation and discussion, and in art in particular, very fraught (given that there is never one single “explanation” for an art work). Because the process of interpretation is always subjective, it often leads to a variety of misunderstandings. In art, these misunderstandings can be productive and lead, sometimes unintentionally, to new ideas.

Teatro del incomprendido is an art project that proposes to test out a problem through a system of discussions, performances, pedagogical approaches, and artistic actions that encourage a community to think about what it means to be misunderstood and go beyond the confessional and egocentric to better understand how misunderstanding in fact bring us together in ways we had not thought about before.

Pablo Helguera (b. 1971, Mexico City) is an interdisciplinary artist working with installation, sculpture, photography, drawing, socially engaged art and performance. Helguera’s work focuses on a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical and theatrical performances, and written fiction. Helguera’s work as an educator has usually intersected his interest as an artist, making his work often reflect on issues of interpretation, dialogue, and the role of contemporary culture in a global reality. This intersection is best exemplified in his project, The School of Panamerican Unrest, a nomadic think-tank that physically crossed the continent by car from Anchorage, Alaska to Tierra del Fuego, making 40 stops in between. Covering almost 20,000 miles, it is considered one of the most extensive public art projects on record as well as a pioneering work for the new generation of artworks regarded under the area of socially engaged art.

 

Tenthaus Exhibition

Room I  

The Arlington Heights Suite 

2008 – on going.

This is a selection of works from a growing series of 3000 collages.

“Perhaps the greatest fallacy in theories of human communication is that statements have to have a causal correlation, that our innermost anxieties have a standard verbal equivalent, and that we can only explain a experience through the narration of a logical sequences of events. The overwhelming evidence is that there is no final explanation to any incident, no correlations between them, and that our attempts at understanding any given sequence of events are at best provisional and at worst, hopeless.”

– P. H. 2008

Room II  

Rogaland

2012

65 prints, 40 cm. x 50 cm. eac.

Bookstand, & book

Dimensions variable

Courtesy of Kent Fine Art

Rogaland (2012) is a project made through a process of mistranslation. The project departs from the book, Gamle Gårdsanlegg i Rogaland (1936), by Norwegian archaeologist, Jan Petersen. The captions have been translated without knowledge of the original language (Norwegian), imagining the relationships that the sound of the words suggest.

 Room III  

Chipilo,
2008
Video, black and white.
 15 min.

Chipilo is a documentary based on the story of a town of the same name, located in the vicinity of the city of Puebla, Mexico. Toward the last quarter of the nineteenth century, the government of Porfirio Díaz sought to populate some areas of Mexican land with European immigrants, with the hopes that these groups would enrich the culture and the economy of the region. Amongst these groups were a community of northern Italians that spoke Veneto and agreed to settle in these new lands. The unusual geographic, social and political circumstances of this arrangement resulted in the Italian settlers to remain in isolation without much other choice. To this day, most of the population of Chipilo speak the original Véneto dialect. Chipilo documents, in the original language, the story of this community that resulted from a utopian social experiment in nineteenth century Mexico.


The artist wants to acknowledge the generous support of Galerie Gabrielle Maubrie, Paris.
Tenthaus Oslo would also like to thank Preus Museum for generous support.