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

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.

 Poster Hersleb.jpg

 Anne-Liis Kogan i samarbeid med G3A klasse på Herslebs vgs., du vet hvor ulike bildene av verden kan være, 2018. Bilde design - Daniel Hansen.

"du vet hvor ulike bildene av verden kan være"

Performance av Anne-Liis Kogan produsert av Tenthaus Oslo.

Herlseb vgs, Herslebs gate 20b kl 18.00

Deltagere er Diane, Abdishakur, Mashal, Jolie, Reza, Ali, Silje, Balin, Ahmed, Magnhild, Djordje, Ilham og Abdi.

Musiker - Shble Mazid Saleem
Koreograf - Guro Erika Gjerstadberget
Bildedesign - Daniel Hansen

"du vet hvor ulike bildene av verden kan være" - er et samarbeid med en klasse ungdommer fra opptaksklassen på Hersleb skole i Oslo, Tenthaus Oslo og kunstner Anne-Liis Kogan.

Verket ved Hersleb vgs fokuserer på den kulturelle bakgrunnen til hver enkelt elev i klassen. Ulike ferdigheter som den enkelte har, har blitt utgangspunktet for samarbeidet, samt de mange ulike språkene elevene behersker.

Prosjektet har bestått av ulike workshop-baserte møter. Gjennom samtaler og kunstneriske utprøvinger og undersøkelser gjennom lyd og video, har de kommet fram til ulike resultater. Elevene har fokusert på interessene sine som sang, fotball, hoppetau, tekstskriving og poesi.

Generelt arbeider Anne-Liis Kogan med problemstillinger knyttet til nasjonal identitet og tilhørighet. Hun er interessert i det personlige og subjektive, men ofte i en politisk og sosial kontekst. Hun forsker på hvordan man, som menneske oversetter sin identitet fra et geografisk sted til et annet gjennom ulike symboler av lengsel, fantasier og følelser.

Eksterne kunstnere har også blitt invitert til å delta og bidra: Koreograf Guro Erika Gjestearbeidet utviklet koreografi sammen med elevene. Oud-spiller Shble Mazid Saleem komponerer musikk til fremføringen. Han tar utgangspunkt i freskene som er permanente kunstverk på Hersleb skole.

Skolebygget har blitt en viktig del av prosjektet. Skolen ble bygget i 1922 i nyklassisistisk stil og er tegnet av arkitekt Harald Aars. Bygningen er bevaringsverdig og er på Byantikvarens gule liste. I 1927 ga generalkonsul Peter Krag "freskobrødrene" Alf Rolfsen, Per Krohg og Axel Revold i oppdrag å utsmykke Hersleb skole. Som tema valgte de tre kunstnerne ulike skolefag: Alf Rolfsen valgte Historien, Per Krogh Naturen og Axel Revold Geografien.
Disse veggmaleriene er et visuelt bakteppe av norsk historie i prosjektet. Det er også et utgangspunkt Kogan har jobbet med for å finne knutepunkter mellom freskene og elevene.


Takk til Kristine Halmrast, Daniel Hansen, Hans Jørgen Hamre, Trine Christensen, Magnhild Vanem, Eirik Slyngstad, Johanna Raita, Istvan Virag, Pernille Vogt, Kirsty Kross, Regine Stensæth Josefsen, Adnan Basic, Silje Eugenie Strande Øktner, Piret Vasli, Remy Gregory, Tenthaus Oslo og alle på Hersleb vgs.

Kunstverket er støttet av Norsk Kulturråd og NBK.
www.anneliiskogan.com

 

Ph: Kristene Halmrast

 

Jennie Bringaker and Ingrid Eggen

GRIPP

Open: 04.05 - 27.05.2018 

Fri-Sun 1pm-5pm

Tenthaus Oslo, Maridalsveien 3

GRIPP
En utstilling av 
Jennie Bringaker og Ingrid Eggen på Tenthaus med åpning 2. mai kl 19! 


Jeg er ikke en kropp men en harpe

Jeg er ikke en kropp 

men en harpe og

hendene mine! så langt vekk fra meg

det tapte hodet mitt?

en måne

Min bror kasta hodet til himmels

og så skjedde forvandlingen

som om det var jeg som ville drepe vår mor!

det var ikke min idé

men mine hender

Rollen min er ikke å gjøre andre glade

jeg haringen hvile i meg selv

men elsker den reine fortvilelsen! 

Nei, jeg kunne ikke gjort dette på andre måter

og gikk til gamleguden med forsvaret mitt

for jeg kunne ikke stole på hendene mine

Men alt jeg sa blei plukka fra hverandre

historien min

legemet mitt

i små biter og

føttene mine! så ubrukelige

der de ligger 

i en rund

flettet kurv

Tekst: Aina Villanger




Eggen og Bringaker har ved en rekke anledninger vært involvert i hverandres arbeider. 
P
å Tenthaus viser de nå sitt første samarbeid med utgangspunkt i en felles interesse for den performative kroppen som metode og uttrykk.  
Begge kunstnerskapene bruker kropp og objekt som aktive elementer i relasjon til visningsrommet, med en handlingsbasert tiln
ærming til det utstilte i bunn. Noe man kan spore tilbake til begge kunstneres bakgrunn fra scenekunsten. Deres felles prosjekt undersøker kroppens fysiske mulighet og ytterpunkt. En kropp som aktiveres og utfordres i forsøk på å gripe om seg, utover og i seg selv.

Utstillingen GRIPP består av et felles videoarbeid og to separate skulpturelle prosjekter.


_________


Jennie Bringaker arbeider hovedsakelig med skulptur, tegning og performance. Hennes arbeid tar som regel form som et resultat av en undersøkende metode med materialer som påulike måter får fram nye skulpturelle aspekter i framstillingen av kvinnekroppen. Hun jobber ofte med utgangspunkt i seg selv og egne erfaringer som gravid kvinne og mor til småbarn, men påen måte som abstraherer og koker ned tematikken til noe allmen-menneskelig. Hun er opptatt av åfinne en slags skulpturelle grunnform som viser til noe universelt ved bestemte typer av relasjonerog tilstander for menneskekroppen. Graviditet, fødsel, mor og barn, seksuelle forhold er en slags gjentagende tematikk i arbeidene hennes. Bringaker leter alltid etter interessante former som gjerne peker i retning av noe abstrakt, men som samtidig beholder det figurative og følelsesladete uttrykket.

Bringaker  er utdannet med en MFA Studio Art fra New York University og en 

BFA Scenografi 2000-2003, Akademi for Scenekunst, Høgskolen i Østfold

Bringaker har tidligere vist arbeider ved blant annet Museet for Samtidskunst, Vigeland Museet, Kunstnerforbundet, Harstad Kulturhus for Kulturrådets jubileumskonferanse, Kristiansand Kunsthall,  i tillegg til en rekke internasjonale gallerier og visningssteder som Hacienda, Zurich, Paris Internationale med Galleri 1857, Spring Break Art Show, NYC med flere.

Hunhar de siste 4 årene drevet performance-plattformen Trollkrem sammen med kollega Tor Erik Bøe, og gjort prosjekter som påulike måter fremhever og representerer ulike fasetter ved performance-sjangeren. Som blant annet Trollkrem-Juleshow påUKS, 2014, plakatserien Trollkrem Fan-Poster Series, 2014-2015, Separatutstilling påFotogalleriet 2016, Performancefestivalen Soppen i Ekebergparken, 2016, VR-videoarbeid i forbindelse med nominasjonsutstilling til Kunstpris påSandefjord Kunstforening 2017,  og 360 video og installasjon påMomentum 9, 2017.


Ingrid Eggen jobber i hovedsak med analogt fargefotografi og video, og har det siste året startet eksperimentering med skulptur. Gjennomgående i Eggen sin kunstneriske praksis er en konseptuell holdning til kroppen, i både abstrakt og konkret forstand. 

Hun undersøker kroppens funksjon og dysfunksjoner. Ved hjelp av performative metoder undersøker hun intime gester og bevegelser i menneskekroppen i forhold til kommunikasjon, representasjon, kontroll og bevissthet. Studier der kroppens naturlige anatomi, nonverbale språk og bruk av gester og symboler forskyves, oppløses og fordreies er et hovedanliggende i Eggen sitt arbeid. Eggen er interessert i den informasjonen kroppen lagrer ukritisk og hva som skjer når dette danner hovedgrunnlaget for  kroppens bevegelse og ytring. Hun undersøker kroppens ubevisste reflekser og ser pådette som en mulighet for ådanne nye nonverbale språk og ytringer.

Eggen er utdannet med en BFA grad fra Kunsthøgskolen i Oslo, Institutt for Farge; Konstfack, Stockholm og med et selvstendig prosjektstudie fra Akademin Valand, Gøteborg. 
Eggen har tidligere vist arbeider ved blant annet Haugar Vestfold Kunstmuseum, Lillehammer KunstmuseumUlterior Gallery, New York, Centro de la Imagen, Mexico City, Fotogalleriet, Oslo, galleri 1857, Oslo og Rake visningsrom, Trondheim. De seneste separatutstillingene inkluderer «Kneganger»påGalleri Galleberg og Landskrona Fotofestival, Sverige,«Knax»pågalleri Melk, Oslo og«Knex»påAkershus Kunstsenter, Lillestrøm. I 2017 var hun nominert til SparebankstiftelsenDNBsstipend pris.

 

GRIPP 

Photos:  Øystein Thorvaldsen

 


Jennie Bringaker, Astrid. 2018

Älvdal Kvarsitt og Iddefjordgranitt

158 x 180 cm.

 

Jennie Bringaker, Inger.  2018

Älvdal kvartsitt

ca. 58 x 56 cm.

 

Jennie Bringaker, Miriam.  2018

Sort jesmonite

36 x 43 cm.

 

Ingrid Eggen, Ryggsåle. 2018

Microcrystaline wax 2002

88,50 x 93 cm.

24 x16,6 x12,5 cm.
24 x 10 x 12 cm.

 

 

 

Ingrid Eggen, Ryggsåle. 2018

Microcrystaline wax 2002

88,50 x 93 cm.

24 x16,6 x12,5 cm.

Ingrid Eggen, Ryggsåle. 2018

Microcrystaline wax 2002

24 x 10 x 12 cm.

 

 

 

 

 

Jennie Bringaker og Ingrid Eggen

GRIPP I
HD Video. 2018. 5.56 min.
GRIPP II
3D-skann video. 2018. 2.14 min.