2009
23.10- 25.10
http://www.certainlynot.com/marc/main.php
2008
23.05 - 01.06
ROGER EGSETH
I 2004 viste Roger Egseth filmen Sigil på Stenersen Museet i Oslo. Filmen viste tre ritualer utført av en gruppe maskerte individer, oppdelt av scener der kameraet alene forflytter seg gjennom tunneler og til slutt ender i en skog foran en opplyst BMW. I denne utstillingen på Bastard har Egseth gått inn i det symboluniverset man ante i Sigil og latt det spille seg ut som tegninger, malerier og skulpturer som står på egne ben uten en ytre fortelling. Det som før var kulisser har nå blitt til selvstendige skulpturer. De maskerte individene er borte og Egseth står igjen som eneste protagonist. Fortellingen har trukket seg inn i arbeidene og skillet mellom en konseptuel narrativ og personlig uttrykk har blitt visket ut. Det er skjulte motiver i Egseths arbeider, i dobbel forstand; billedmotivene og kunstnerens motiver. En borg støpt av makulert avispapir vipper mellom en tilstand av oppløsning og tilblivelse. Fargeflatene i maleriene kjemper om sin posisjon som forgrunn eller bakgrunn, lesbare eller abstrakte. Renskårne geometriske symboler i metall møter amorf papirmasse, ren form versus støy, tanke versus kropp. Dette ligner synkretisme. Voodoo er et klassisk eksempel på synkretisme, der blandingen av katolisisme og åndetro viser hvor relative religiøse symboler kan være. Det som en gang var et symbol på en religiøs hendelse får ny betydning og dermed ny relevans. En familiegud kan byttes ut med en helgen, et offersted med en Maria statue og der krusifikset representerer Jesu død og oppstandelse markerer det i voodooen møtet mellom menneskenes og åndenes verden. Roger Egseth har utsatt sitt eget Sigil univers for en slik prosess. Det som før var symboler for konkrete ritualer gjennomgår en transformasjonsprosess hvis endepunkt ennå er uklart. Symbolene smeltes om og får en ny funksjon, og i mellomtiden ligner billedspråket en blanding av meningløs babling og inspirert tungetale. Monumenter som hyller den urene form og det ufullstendige språket.
- Are Mokkelbost
MORTEN SLETTEMEÅS
"Morten Slettemeås' malerier er ekspressive, med kraftige penselstrøk og farger. Maleriene kan fremstå som direkte inntrykk behandlet gjennom kunstnerens temperament. Som et tradisjonelt, ekspressivt maleri. Men slik er det ikke. Snarere preges Slettemeås' prosjekt av en anti-autoritær holdning til både maleriet og samfunnet. Han fremhever ikke sin egen, opphøyde, kunstneriske kraft, slik så mange malere har gjort før ham. Han bedriver snarere en form for ´territorial pissing´. Han tar utgangspunkt i motiver han finner blant ulike kilder, fra eldre, heroiske malerier til ukeblader, aviser og tegneserier. En blanding av høy- og lavkultur. Alt behandlet likeverdig, uten hensyn til motivenes symbolske tyngde og opprinnelige betydning."
- utdrag fra katalogtekst av kunsthistoriker Einar Børresen
På Bastard viser Morten Slettemeås et uekte barn, dvs. skulpturer, utstoppede dyr som er lakkert med spraylakk i ulike farger. Skulpturene er presentert på en enkelt bygd pidestall, og harselerer med den historiske stilleben tradisjonen med referanser til vanitas begrepet; livets forgjengelighet og den sikre død. Ved hjelp av spraymalingen fratar han stillebenet dets historiske status, og forvandler dyra til meningsløse rekvisitter i en syntetisk drømmeverden.
23.05 - 01.06
ROGER EGSETH
I 2004 viste Roger Egseth filmen Sigil på Stenersen Museet i Oslo. Filmen viste tre ritualer utført av en gruppe maskerte individer, oppdelt av scener der kameraet alene forflytter seg gjennom tunneler og til slutt ender i en skog foran en opplyst BMW. I denne utstillingen på Bastard har Egseth gått inn i det symboluniverset man ante i Sigil og latt det spille seg ut som tegninger, malerier og skulpturer som står på egne ben uten en ytre fortelling. Det som før var kulisser har nå blitt til selvstendige skulpturer. De maskerte individene er borte og Egseth står igjen som eneste protagonist. Fortellingen har trukket seg inn i arbeidene og skillet mellom en konseptuel narrativ og personlig uttrykk har blitt visket ut. Det er skjulte motiver i Egseths arbeider, i dobbel forstand; billedmotivene og kunstnerens motiver. En borg støpt av makulert avispapir vipper mellom en tilstand av oppløsning og tilblivelse. Fargeflatene i maleriene kjemper om sin posisjon som forgrunn eller bakgrunn, lesbare eller abstrakte. Renskårne geometriske symboler i metall møter amorf papirmasse, ren form versus støy, tanke versus kropp. Dette ligner synkretisme. Voodoo er et klassisk eksempel på synkretisme, der blandingen av katolisisme og åndetro viser hvor relative religiøse symboler kan være. Det som en gang var et symbol på en religiøs hendelse får ny betydning og dermed ny relevans. En familiegud kan byttes ut med en helgen, et offersted med en Maria statue og der krusifikset representerer Jesu død og oppstandelse markerer det i voodooen møtet mellom menneskenes og åndenes verden. Roger Egseth har utsatt sitt eget Sigil univers for en slik prosess. Det som før var symboler for konkrete ritualer gjennomgår en transformasjonsprosess hvis endepunkt ennå er uklart. Symbolene smeltes om og får en ny funksjon, og i mellomtiden ligner billedspråket en blanding av meningløs babling og inspirert tungetale. Monumenter som hyller den urene form og det ufullstendige språket.
- Are Mokkelbost
MORTEN SLETTEMEÅS
"Morten Slettemeås' malerier er ekspressive, med kraftige penselstrøk og farger. Maleriene kan fremstå som direkte inntrykk behandlet gjennom kunstnerens temperament. Som et tradisjonelt, ekspressivt maleri. Men slik er det ikke. Snarere preges Slettemeås' prosjekt av en anti-autoritær holdning til både maleriet og samfunnet. Han fremhever ikke sin egen, opphøyde, kunstneriske kraft, slik så mange malere har gjort før ham. Han bedriver snarere en form for ´territorial pissing´. Han tar utgangspunkt i motiver han finner blant ulike kilder, fra eldre, heroiske malerier til ukeblader, aviser og tegneserier. En blanding av høy- og lavkultur. Alt behandlet likeverdig, uten hensyn til motivenes symbolske tyngde og opprinnelige betydning."
- utdrag fra katalogtekst av kunsthistoriker Einar Børresen
På Bastard viser Morten Slettemeås et uekte barn, dvs. skulpturer, utstoppede dyr som er lakkert med spraylakk i ulike farger. Skulpturene er presentert på en enkelt bygd pidestall, og harselerer med den historiske stilleben tradisjonen med referanser til vanitas begrepet; livets forgjengelighet og den sikre død. Ved hjelp av spraymalingen fratar han stillebenet dets historiske status, og forvandler dyra til meningsløse rekvisitter i en syntetisk drømmeverden.
2008
Astrup Fearnley Museum of Modern Art
12.01 - 27.01
Monumento Mori deals with issues related to monumental transformations: death, rebirth and metamorphosis.
Marte Johnsliens two works, Untitled (Pink) and Untitled (Blue) are photographs of eclectic pavillion architecture of Lusaka, Zambia. The pictures are presented as documentation of schizophrenic objects in a grey zome between sculpture and architecture. These objects can be viewed as a type of hybrids (elastic monuments), which has departed from the representation of imperialisms image of ´the other´, ending up as appropriated symbols of independent Zambia, thus ressurected as anti-monmuments; a negation of its former life.
Lina Viste Grønli presents The Conclusion which features Henry David Thoreau’s classic novel: Walden; or, Life in the Woods, with a number of discarded objects (buttons, coins etc.) implanted in the pages. The title refers to a kind of comprised, objectified version / reading of the novel, but speaks on a more spiritual, ideological level. The spesific objects (typical discards found in the woods or in pockets) implanted in the first chapter of the novel, Economy, also hint at a kind of ”alternative” currency / economy.
Anders Smebye includes the textile Hunter´s Funeral with a motive refering to Hunter S Thompsons funeral. The legendary writer committed sucide in 2005, and his last will was executed by shooting his ashes out in the stratosphere with the use of a cannon, followed by a spectacular display of fireworks. In addition Smebye has brought along a poster. Sculpture Kills Top Ten is a top-ten listing with real deaths caused by, with, or in the near proximity of sculptures.
Lars Laumann premiers the film La Reine Est Morte. The film portrays a drunken taxiride and decadent pilgrimage in Lady Di´s footsteps, from Hotel Ritz to the scene of the accident in the Point d´Alma tunnel, altogether accompanied to the tune of Morrisey´s The Queen is Dead. Laumann also shows the fanzine Morrisey Foretelling the Death of Diana which lists several conspiracy theories speculating whether Morrisey´s lyrics contained hidden predictions about Diana´s death. The handwriting used throughout Laumann´s fanzine is a font created by The Smith´s fans, based on Morrisey´s own handwriting.
Jan Bünnig and Simon Rühles installation piece Fountain of Youth is a mobile fountain consisting of a plastic pool, a pump and clay. The mud is the healing type used in beauty spas. The original fountain of youth was a baroque idea; an era obsessed with eternal life. Fear of death is a symbol of the human tragedy - our limited time, the weakness of the flesh and the end of the cycle. Fountain of Youth is a reminder that we will all become dirt again at some point.
Astrup Fearnley Museum of Modern Art
12.01 - 27.01
Monumento Mori deals with issues related to monumental transformations: death, rebirth and metamorphosis.
Marte Johnsliens two works, Untitled (Pink) and Untitled (Blue) are photographs of eclectic pavillion architecture of Lusaka, Zambia. The pictures are presented as documentation of schizophrenic objects in a grey zome between sculpture and architecture. These objects can be viewed as a type of hybrids (elastic monuments), which has departed from the representation of imperialisms image of ´the other´, ending up as appropriated symbols of independent Zambia, thus ressurected as anti-monmuments; a negation of its former life.
Lina Viste Grønli presents The Conclusion which features Henry David Thoreau’s classic novel: Walden; or, Life in the Woods, with a number of discarded objects (buttons, coins etc.) implanted in the pages. The title refers to a kind of comprised, objectified version / reading of the novel, but speaks on a more spiritual, ideological level. The spesific objects (typical discards found in the woods or in pockets) implanted in the first chapter of the novel, Economy, also hint at a kind of ”alternative” currency / economy.
Anders Smebye includes the textile Hunter´s Funeral with a motive refering to Hunter S Thompsons funeral. The legendary writer committed sucide in 2005, and his last will was executed by shooting his ashes out in the stratosphere with the use of a cannon, followed by a spectacular display of fireworks. In addition Smebye has brought along a poster. Sculpture Kills Top Ten is a top-ten listing with real deaths caused by, with, or in the near proximity of sculptures.
Lars Laumann premiers the film La Reine Est Morte. The film portrays a drunken taxiride and decadent pilgrimage in Lady Di´s footsteps, from Hotel Ritz to the scene of the accident in the Point d´Alma tunnel, altogether accompanied to the tune of Morrisey´s The Queen is Dead. Laumann also shows the fanzine Morrisey Foretelling the Death of Diana which lists several conspiracy theories speculating whether Morrisey´s lyrics contained hidden predictions about Diana´s death. The handwriting used throughout Laumann´s fanzine is a font created by The Smith´s fans, based on Morrisey´s own handwriting.
Jan Bünnig and Simon Rühles installation piece Fountain of Youth is a mobile fountain consisting of a plastic pool, a pump and clay. The mud is the healing type used in beauty spas. The original fountain of youth was a baroque idea; an era obsessed with eternal life. Fear of death is a symbol of the human tragedy - our limited time, the weakness of the flesh and the end of the cycle. Fountain of Youth is a reminder that we will all become dirt again at some point.
2007
19.10 - 28.10
Tarje Gullaksen
Kul Shee Maku
The work Untitled ("It's always kul shee maku,
said Sgt Rob Hammer, a 32-year-old squad leader
from Kansas, reciting the Arabic phrase for
"there is nothing," which the entire platoon knows.)
consists of a white foil with cut-out letters
covering the windows in front of Bastard.
Inside the space Gullaksen shows six prints of
randomly chosen pages from Louis-Ferdinand Céline´s
book Guignol´s Band, magnified and emptied for words –
all that remains are different constellations of
ellipses (…) The exaggerated use of ellipses and
the splintered sentences in Celine´s book reflects
his own impotence and rage when confronted with the
fragmented existence of experiences and memories.
Michael Johansson
Monolit
Johansson methodically constructs a 3.5 m tall monolith consisting of any kind of material, tools and artworks he can find rummaging through Bastard´s storage room and closets. The found objects and items are reset and transformed into elements of a monument.
Tarje Gullaksen
Kul Shee Maku
The work Untitled ("It's always kul shee maku,
said Sgt Rob Hammer, a 32-year-old squad leader
from Kansas, reciting the Arabic phrase for
"there is nothing," which the entire platoon knows.)
consists of a white foil with cut-out letters
covering the windows in front of Bastard.
Inside the space Gullaksen shows six prints of
randomly chosen pages from Louis-Ferdinand Céline´s
book Guignol´s Band, magnified and emptied for words –
all that remains are different constellations of
ellipses (…) The exaggerated use of ellipses and
the splintered sentences in Celine´s book reflects
his own impotence and rage when confronted with the
fragmented existence of experiences and memories.
Michael Johansson
Monolit
Johansson methodically constructs a 3.5 m tall monolith consisting of any kind of material, tools and artworks he can find rummaging through Bastard´s storage room and closets. The found objects and items are reset and transformed into elements of a monument.
2007
16.03 - 25.03
The installation Disco Wilhelm Reich (1998/2007) takes its vantage point from the laden interiors of discotheques. The work consists of a wooden box, the interior covered with metallic paint . It is illuminated by colorful hobby-room disco lights and thus poses as a dance floor. With its succinct form and materiality the makeshift discotheque, moreover, contains a hidden reference to the Orgone accumulator, the Orgone box developed by the psycho-analyst Wilhelm Reich in 1939. Based on Freud's theory of the "Libido", Reich advanced a theory of the orgasm and believed to have found a scientific explanation of the orgasmic reflex in so-called Orgone radiation. In accordance with the assumption that organic matter was attracting Orgone energy while metals were refracting them again, he constructed a metal box enclosed in timber - the Orgone accumulator which he used in the therapy of neuroses, later also in healing physical ailments.
The installation is flanked by a slideprojection showing a series of filmstills from classic seventies dancemovies like Saturday Night Fever, Thank God It´s Friday and Carwash, combining these with images from the movie on Reich "W.R.-Mysteries of the Organism" by Dusan Makavejev.
Schlamm (2001) is a video consisting of two parallel narratives presented as a splitscreen; one showing mediations on the interior of Haludovo Hotel, built in the early 1970's on the Croatian island Krk, back then still part of the communist, but non-aligned (block-free) Yugoslavia. The architect was Boris Magas, and one of the investors Bob Guccioni, the publisher of the Penthouse magazine. The other narrative is a reenactment of the activities taking place in the former Yugoslavian communist youth camps, where kids were frolicking in the grass, drinking, eating apples and rolling around in the mud all day. At least according to Lulic.
16.03 - 25.03
The installation Disco Wilhelm Reich (1998/2007) takes its vantage point from the laden interiors of discotheques. The work consists of a wooden box, the interior covered with metallic paint . It is illuminated by colorful hobby-room disco lights and thus poses as a dance floor. With its succinct form and materiality the makeshift discotheque, moreover, contains a hidden reference to the Orgone accumulator, the Orgone box developed by the psycho-analyst Wilhelm Reich in 1939. Based on Freud's theory of the "Libido", Reich advanced a theory of the orgasm and believed to have found a scientific explanation of the orgasmic reflex in so-called Orgone radiation. In accordance with the assumption that organic matter was attracting Orgone energy while metals were refracting them again, he constructed a metal box enclosed in timber - the Orgone accumulator which he used in the therapy of neuroses, later also in healing physical ailments.
The installation is flanked by a slideprojection showing a series of filmstills from classic seventies dancemovies like Saturday Night Fever, Thank God It´s Friday and Carwash, combining these with images from the movie on Reich "W.R.-Mysteries of the Organism" by Dusan Makavejev.
Schlamm (2001) is a video consisting of two parallel narratives presented as a splitscreen; one showing mediations on the interior of Haludovo Hotel, built in the early 1970's on the Croatian island Krk, back then still part of the communist, but non-aligned (block-free) Yugoslavia. The architect was Boris Magas, and one of the investors Bob Guccioni, the publisher of the Penthouse magazine. The other narrative is a reenactment of the activities taking place in the former Yugoslavian communist youth camps, where kids were frolicking in the grass, drinking, eating apples and rolling around in the mud all day. At least according to Lulic.
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