Thursday, 20 April and Friday, 21 April

The Oslo School of Architecture and Design/AHO

Maridalsveien 29, Oslo

ISMS 1. Constructing the “Political” in Contemporary Art

The first of two seminars planned in 2006 dealing with the concept of “isms”, ISMS 1 focuses on the complex and problematic relationships between artistic movements, political movements, and individual works. Specific focus is placed on current dilemmas facing art production and how they relate to formalism, conceptualism, and architecture. Recent curatorial references to left politics are also addressed in exploring what it is for a work to function ’critically’ and how this relates to or in fact, neglects, politics.

Thursday, 20 April 

13:30: Marta Kuzma, Director, Office for Contemporary Art Norway, Oslo 

14:00: Peter Osborne, CRMEP, Middlesex University, London 

Imaginary Radicalism: Notes on the Libertarianism of Contemporary Art 

15:30: Hito Steyerl, Artist and Filmmaker  

Film as a Vehicle for Social Change 

17:30: Marius Wulfsberg, Department of Literature, University of Oslo 

What To Do With What is Left? 

Friday, 21 April  

11:00: Eric Alliez, CRMEP, Middlesex University, London 

Otto Muehl – On Painting Considered as a Communist (non) Art 

12:00: Stewart Martin, CRMEP, Middlesex University, London  Anti-Capitalism 

14:30: David Cunningham, School of Social Sciences, Humanities,  

& Languages, University of Westminster, London 

A Seam with the Economic: Art, Architecture and Metropolis 

16:00: Ina Blom, Department of Art History, University of Oslo  

Art, Television, and Biopolitics 

The full day seminar Draft Deceit (Addendum) was held 18 February at The Oslo School of Architecture and Design/AHO and was attended by 220 persons including members from the art, architectural and academic community. It addressed issues explored within the exhibition Draft Deceit – the relationship between the artist and society via the issues of form and aesthetics explored by Conceptual artists in the 1960s. In a series of discussions, the seminar approached the way in which artists such as Dan Graham and Lawrence Weiner view their work in relation to their practice in the 1970s via the light thrown by the exhibition on the post- conceptual character by contemporary art and through the standpoint of other artists who find these practices relevant to their own. Discussions focused on the use of language as a sculptural device; incompletedness as a project; the investigation of the structural properties of film; and the adoption of architectural tropes as political criticism.

Introduction: Marta Kuzma, Curator, Draft Deceit 

Platform 1: Contradition and Complexity: The Architectural Trope as Redeemer 

Moderator: Peter Osborne, CRMEP, London 

Dan Graham, Artist, New York 

Carol Bove, Artist, New York 

Corey McCorkle, Artist, New York 

Platform 2: The World Is Now Less Noun Than Verb  

(Lawrence Weiner) 

Moderator: Jörg Heiser, Co-Editor, Frieze, Berlin 

Lawrence Weiner, Artist, New York 

Matias Faldbakken, Artist, Oslo 

Olav Westphalen, Artist, New York 

Platform 3: Cinema Written on Itself 

Moderator: Ina Blom, Dept. of Art History, University of Oslo 

Torbjørn Rødland, Artist, Oslo 

Kerry Tribe, Artist, Los Angeles 

Screenings: 

John Baldessari’s Baldessari Sings Lewitt, 1972 

Gordon Matta-Clark’s Conical Intersect, 1975, and Splitting, 1974 

Lawrence Weiner’s Passage to the North, 1981 

Curator: Marta Kuzma

Artists: John Baldessari, Carol Bove, Martin Boyce, Matthew Buckingham, Gordon Matta-Clark, Sam Durant, Matias Faldbakken, Dan Graham, Thomas Hirschhorn, Corey McCorkle, Cady Noland, Mark Manders, Torbjørn Rødland, Kerry Tribe, Olav Westphalen, Jeff Wall, Lawrence Weiner

At the top of the staircase of Kunstnernes Hus, a text work by Lawrence Weiner serves as the point of departure for Draft Deceit, an exhibi- tion that celebrates the artist as an invigorated inventor of illusion, a master craftsperson of delusional effects, as well as a credible political satirist as to the state of things. The exhibition speaks about poesies, about the building of stories and actions that steer us out from the rituals of the everyday into the amorphous, or visa versa, how the things of the everyday, as dry and mediocre as they appear, have been presented to us as a kind of fabricated truth. Draft Deceit is as much about the story and about the anticipation of it’s unfolding, as it is about the ultimate futility in the formulation of a concrete narrative as the conscious means to reveal the scaffolding of intention as a veritable skeleton in conveying truth. Carol Bove, installation view of The Night Sky Over Oslo, March 16, 2006, at 9 PM and Dag Energie, both 2005–2006.

As an extension to its seminar and for further information related to the topics explored in the exhibition Draft Deceit, OCA has organized materials, theoretical essays, reviews related to the artists in the exhibition and to the Conceptualist movement. Visitation is by appointment. Please contact Fleur Van Muiswinkel at fleur@oca.no/tel +47 22 93 37 60

Available publications: 

Dan Graham: Works 1965–2000 – R. Verlag 

Six Years: The Dematerialization of the Art Object – L. Lippard 

Odd Lots. Revisiting Gordon Matta-Clark’s “Fake Estates” – J. Kastner 

Thomas Hirschhorn – B. Buchloh 

Conceptual Art – P. Osborne 

Having Been Said. Writings and Interviews of Lawrence Weiner 1968–2003 – G. Fietzek 

Parkett no. 46, 1996: Richard Artschwager, Cady Noland, Hiroshi Sugimoto 

Jesus Christ Says She is in the Sun – Corey McCorkle 

Lawrence Weiner – A. Alberro, A. Zimmerman 

Olav Westphalen E.S.U.S. & Other Works – Olav Westphalen 

The Cocka Hola Company. Skandinavisk misantropi – Abo Rasul 

Macht und Rebel. Skandinavisk misantropi 2 – Abo Rasul 

Snort Stories – Matias Faldbakken 

Two-Way Mirror Power. Selected Writings by Dan Graham on His Art – A. Alberro 

Mark Manders, Parallel Occurence – The Irish Museum of Modern Art 

Below Your Mind – Carol Bove 

Sam Durant – M. Darling 

Jeff Wall. Photographs 1978–2004 – J. Kastner 

Gorden Matta-Clark. A Retrospective – M.J. Jacob 

Dan Graham’s Kammerspiel – Jeff Wall 

The following artists were selected by a designated committee to be included into the OCA Archive:

Kjersti Andvig Born 1978, Oslo Lives and works in Oslo

Unn Fahlstrøm Born 1975, Seoul, Korea Lives and works in Oslo

Bjarte Gismarvik Born 1972, Haugesund Lives and works in Oslo

Ane Graff Born 1974, Bodø Lives and works in Oslo

Mai Hofstad Gunnes Born 1977, Oslo Lives and works in Berlin, Germany

Kathrin Höhne Born 1976, Büdingen, Germany Lives and works in Oslo

Lars Laumann Born 1975, Brønnøysund Lives and works in Oslo

Josefine Lyche Born 1973, Bergen Lives and works in Oslo

Camilla Løw Born 1976, Oslo Lives and works in Glasgow, Scotland

Are Mokkelbost Born 1976, Oslo Lives and works in Oslo

Rakett – Åsa Løvgren and Karolin Tampere Løvgren: b.1975, Bodø Tampere: b.1978, Tallin, Estonia Both live and work in Bergen

Olga Robayo Born 1972, Bogotá, Colombia Lives and works in Oslo and Bogotá

Martin Skauen Born 1975, Fredrikstad Lives and works in Oslo

Elin T. Sørensen Born 1970, Drøbak Lives and works in Oslo and Akershus

Marte Thorshaug Born 1977, Hamar Lives and works in Vang

Øystein Aasan Born 1977, Kristiansand Lives and works in Berlin, Germany

Roger Buergel

Artistic Director 
Documenta 12, 2007 
Kassel Germany

Roger Buergel is the artistic director of Documenta 12. An academic, curator and author, Buergel has curated numerous exhibitions of contemporary art dealing with governance together with his partner Ruth Noack. Among his past projects include: Things We Don't Understand (Generali Foundation, Vienna, 2000), Governmentality: Art in Conflict with the International Hyper-bourgeoisie and the National Petty Bourgeoisie (Alte Kestner Gesellschaft, Hannover, 2000); The Subject and Power – The Lyrical Voice (CHA Moscow, 2001); The Government (Kunstraum der Universität Lüneburg; MACBA-Museu d´Art Contemporani de Barcelona; Miami Art Central; Secession, Vienna; Witte de With, Rotterdam, 2003 – 05). Buergel studied at the Academy of Fine Arts in Vienna, the University of Vienna, MIT and Berkeley. He was the first recipient of the Walter Hopps Award for Curatorial Achievement in 2003.

Lynne Cooke

Curator 
Dia Art Foundation 
New York, USA

Lynne Cooke has been Curator at Dia Art Foundation since 1991. Co-curator of the 1991 Carnegie International, and Artistic Director of the 1996 Sydney Biennale she has also curated exhibitions in numerous venues in North America, Europe and elsewhere. In addition to teaching at Columbia University in the Graduate Fine Arts Department, she is a Visiting Critic at Yale University and is on the faculty for Curatorial Studies at Bard College. Among her numerous publications are recent essays on the works of Rodney Graham, Jorge Pardo, Diana Thater, and Agnes Martin.

Jörg Heiser

Co-Editor of FRIEZE 
Berlin, Germany

Jürg Heiser is co-editor of Frieze Magazine, a frequent contributor to German newspaper Süddeutsche Zeitung, a writer on art and culture (recent essays on Susan Hiller, Glenn Brown), and an occasional freelance curator: Funky Lessons (2004/2005, BueroFriedrich Berlin and BAWAG Foundation Vienna), Romantic Conceptualism (2007/2008, Kunsthalle Nuremberg, and other venues).

Marta Kuzma

Director, Office for Contemporary Art Norway

Marta Kuzma is a curator and critic who more recently co/curated the International Biennale of Contemporary Art, Manifesta 5, in San Sebastian, Spain (June 2004). Formerly, the Director for Washington Project for the Arts (WPA) in Washington, DC, and Director of the Soros Center for Contemporary Art, in Kyiv, she also directed International Exhibitions at the International Center of Photography in NY, NY. A graduate of Barnard College, Columbia University, and post graduate of Art Theory and Aesthetics from the Centre for Modern European Philosophy at Middlesex University, London, Kuzma contributes to various journals of contemporary art and culture including Radical Philosophy, London, and Flash Art International. Kuzma is on the advisory board of Apex Curatorial in NYC and of the Kunsthalle Bern, Switzerland.

Bartomeu Mari

Chief Curator 
Museu d'Art Contemporani de Barcelona (MACBA)

Bartomeu Mari was born in Eivissa, Spain, in 1966, and studied philosophy at the University of Barcelona. He is the Chief Curator at the Museu d'Art Contemporani de Barcelona (MACBA). Previous to holding this position, Mari was Project Director for the International Center for Contemporary Culture in Donostia-San Sebastián, after six years as the director of the Witte de With Center for Contemporary Art in Rotterdam, The Netherlands. Recent projects include The Great Theater of the Worldat the 2002 Taipei Biennial, which included the work of such artists as Oladele Bamgboye, Thomas Demand, and Joan Jonas. Mari has written on the work of David Lamelas, Thomas Schütte, Lawrence Weiner, Marcel Broothaers, Rachel Whiteread, and Juliao Sarmento, among many others.

Dirk Snauwaert

Director 
Wiels 
Brussels, Belgium

Dirk Snauwaert is the founding director of the contemporary art center WIELS, which is due to open at the end of 2006 in Brussels, Belgium. Before this, Snauwaert served as co-director of the Institut d'Art Contemporain in Villeurbanne-Lyon, France; as director of the Kunstverein in Munich and as curator for contemporary art at the Palais des Beaux-Arts in Brussels. Dirk Snauwaert has curated, published and lectured widely on topics related to contemporary art and visual culture He also served on the jury of the internationally reknown award - BlueOrange 06.

Tue Greenfort (b. 1973, Holbäk, Denmark) discovers the details of city life, which are largely unknown or go unseen due to their normalcy. In his work, Greenfort deals with these kinds of situations in space and in everyday life and reveals the structures behind urbanity through small changes or mechanisms. With the help of artistic intervention, occurrences become visible and their existence questioned.

Naveen Kishore started his career as a theatre lighting designer in 1972 in Calcutta after an honours degree in English Literature. In 1982 he founded Seagull Books, a publishing programme in the arts and media. In 1987 he became Managing Trustee of the non-profit organization The Seagull Foundation for the Arts. He began publishing Seagull Theatre Quarterly in 1995. In 1999 he founded the Seagull Arts and Media Resource Centre. The Seagull Bookstore was established in 1997, an independent arts and social sciences bookstore in Calcutta. Kishore also works as a publisher, lighting designer, graphic designer, photographer, and documentary filmmaker.

Serghiy Bratkov (b. 1960, Kharkiv, Ukraine) found international recognition in solo exhibitions in Berlin, Wisconsin, Madrid, and Amsterdam, in group exhibitions from Finland to New York, at international art fairs, at the Sant Paulo Biennial 2002, at the Venice Biennial and at Manifesta. The great success of the artist is his solo exhibition in Museum of Contemporary Art/S.M.A.K., Ghent, 2005. His works are included in the following international collections: MHKA/Museum of Contemporary Art, Antverp, Belgium; Zimmerli Art Museum, New Brunswick, New Jersey, USA; Museum of Contemporary Art, Milwaukee, USA; S.M.A.K., Gent, Belgium; MARTA HERFORD Museum of Contemporary Art, Germany; Centro Galego de Arte Contemporanea, Spain.

Boris Mikhailov (b. 1938, Kharkov, Ukraine) lives in Berlin. His body of work arrives out of a logic of subtle resistance he adopted in the 1960s while working as a photographer responsible for documenting the factory infrastructure in Kharkiv, Ukraine. Mikhailov takes a writer’s stance, adapting his method in accordance with shifts in the Soviet political climate. During the 1970s and 1980s, Mikhailov’s photographs featured satirical criticism of the Soviet regime. Since the demise of the Soviet Union, he has documented the poverty and social collapse that has enveloped his homeland. His photographs have explored the position of the individual, creating radical and often provocative working methods.

Michael Sailstorfer (b.1979, Vilsbiburg, Germany) takes interest in everyday objects; materials that surround us and the associations they trigger. In inflicting transformations, contextual adjustments and spatial appropriation, Sailstorfer deforms the meaning and function of the original object – leading to a renewed configuration. His work explores the unstable relationship between form and content, emphasizing that the function of an object and its material manifestations are subject to change based on historical dynamic. Solo exhibitions include Attitudes, Geneva, 2004; Welttour, Galerie Markus Richter, Berlin, 2003; D-IBRB, Galerie Transit, Mechelen, Belgia, 2003; Und sie bewegt sich doch!, Städt. Galerie im Lenbachhaus, Munich, 2003; and Heimatlied, [basement], Galerie Markus Richter, Berlin, 2002. Group exhibitions include Bewegte Teile, Kunsthaus Graz, Austria and Museum Tinguely, Basel, 2004; the Liverpool Biennial, 2004; Degree Show 2004, MA Fine Art, Goldsmiths College, London; Sydney Biennial 2004; Manifesta 5, San Sebastian, 2004; Wings of Art, Ludwig Forum für internationale Kunst, Aachen, 2003; Fuori Uso, Ferrotel, Pescara, 2003; At least begin to make an end, W 139, Amsterdam, 2003; Bewegt, Kunstverein Ingolstadt, Germany, 2002; Acht mal anders, Centro de arte joven, Madrid, 2001; and junger westen 2001, Kunsthalle Recklinghausen, Germany, 2001.

Olav Westphalen (b.1963, Hamburg) breaks with the standards of art by setting up an insidious competition between high-minded autonomy and lowly pleasure, where highbrow art is undermined by vicious jokes and burlesque actions. But although there is a parodying element to his art, it never produces parody. Rather, his objects and performances shake up art’s logic by over- fulfilling all the standards employed by critics and the public to gauge and exploit the work of art. Westphalen had his first solo show in Künstlerhaus Bethanien, Berlin in 1995. Since then, he has been exhibiting internationally in exhibitions and venues such as Monument for America, Wattis Gallery, Oakland, USA (2005); Global Players, Bankart, Yakohama, Japan (2005); Millikan Art Gallery, Stockholm, Sweden, (2005); and the Whitney Biennial, Whitney Museum of American Art (2004). In 2006 he will have a solo exhibition in Micheal Neff Gallery in Frankfurt (May); Galerie Georges-Philip and Natalie Vallois in Paris, France; and at Kunstverein Brandenburg, Potsdam, Germany.

Pooja Sood is the chairperson and coordinator of KHOJ International Artists’ Association, an autonomous, artist-led registered society aimed at promoting intercultural understanding through exchange. Sood has coordinated the KHOJ International Artists’ Workshop in Delhi from 1998–2001, facilitated the workshop in Bangalore 2002–2003 and is currently developing a international residency programme at KHOJ . As coordinator of KHOJ, she has developed core competencies in fundraising, strategic planning and capacity building. Sood is also the regional coordinator of the international artists’ network, facilitated by the Triangle Arts Trust, UK. She works with artists’ communities in Pakistan, Sri Lanka, Bangladesh, and Nepal, facilitating exchange through workshops and residencies in the region. Over the past 4 years, she has actively facilitated the development of the South Asian Network by building capacity and facilitating fundraising, communication and networking strategies. She is working towards the inclusion of South East Asian artists groups. Sood is also the Director of the corporate sponsored Apeejay Media Gallery, the first new media gallery in India since 2002 . She has curated /programmed several large Indian and international video art exhibitions over the past 3 years. As independent curator, she co-curated the exhibition Have we met? with curators from Indonesia, Japan, and Thailand for the Japan Foundation. She was invited to curate a video art exhibition for the Musee D’Ethnographie in Geneva and is a guest curator for the Freewaves Media Festival in Los Angeles, USA. She has travelled several exhibitions in India and abroad. The exhibition From Goddess to Pinup: Icons of Femininity in Indian Calendar Art, which she co-curated with anthropologist Dr Patricia Uberoi, has toured Fukuoka, Amsterdam, Vienna , Vancouver, and New York. She was the Indian commissioned researcher for the Fukuoka Asian Art Museum in 2002–2003 and curator in residence at the museum from Dec 1999–Jan 2000. She has participated in various forums on Indian contemporary art, art management and South Asian art in India and abroad. Amongst others, she has made presentations at the Asia Pacific Triennale in Brisbane; at the Winternachten Festival in The Hague and at the ArtSouthAsia seminar in Manchester, UK. She has written on art for the Art India magazine and is the editor of several catalogues including the first publication of Indian video art, Video Art in India, 2003.

Lívia Páldi, Curator, Mücsarnok/Kunsthalle, Budapes

Lívia Páldi has been curator at Mücsarnok/Kunsthalle, Budapest since Sept 2005. She was co-director of Institute of Contemporary Art Dunaújváros, Hungary, 1997–2000. After having taking part in the De Appel Curatorial Training Programme, Amsterdam (2000–2001), she started working as a freelance curator and critic, contributing regularily to various publica- tions. She has curated, among other exhibitions, Modesty (with Gregor Podnar), Pavel Haus, Laafeld and Mala galerija/Galerija Škuc, Ljubljana, 2002–2003; green box, Trafo Gallery, Budapest, 2004; and Surfacing, Episode 1 of the Who if not we?? exhibition series, Ludwig Museum of Contemporary Art, Budapest, 2004; and Second Present, Trafo Gallery, 2005. She was the editor of the exhibition catalogue Marjetica Potrc: Last Stop: Kiosk, Moderna galerija, Ljubljana and Revolver, Frankfurt, 2003; and was working as a collaborating editor in East Art Map, a project by Irwin, 2002–2005.

Peter Eleey, Curator and Producer, Creative Time, New York

While at Creative Time, Peter Eleey has organized a diverse range of artworks and events including Light Cycle (2003), a pyrotechnics project by Cai Guo-Qiang for Central Park, New York; Jenny Holzer’s first xenon projections in USA, For New York City (2004); and sculptures, murals, performances, and conferences with Jim Hodges, Alex Katz, Zhang Huan, Marjetica Potrc, Song Dong, and Gary Hume, among others. He has also organized multi-artist projects and exhibitions for Creative Time such as The Dreamland Artist Club (2004–2005)with Stephen Powers and 24 other artists in Coney Island, and The Plain of Heaven (2005), an international exhibition situated in a vacant meatpacking warehouse in Manhattan. As a critic, he is a regular contributor to Frieze Magazine, London, and has lectured internation- ally on issues regarding public art practices.

John Rasmussen, Director, Midway Contemporary Art, Minneapolis 

John Rasmussen is the founder and curator of Midway Contemporary Art, Minneapolis,a non for profit gallery committed to encouraging innovation and diversity in the visual arts. He has curated exhibitions in the gallery’s initial 5 years that have included artists such as Guyton/ Walker, Aaron Young, Omer Fast, Michaela Meise, Rebecca Morris, Brice Dellsperger, Jorge Queiroz, Santiago Cucullu, Carter, and Jesper Just. Forthcoming Midway exhibitions and publications include Nate Lowman, Jay Heikes, Lisa Lapinski, and Todd Norsten.

Artist residency: Ole Martin Lund Bø (Stavanger)

Ole Martin Lund Bø was awarded the artist residency to proceed with the development of his work which “involves a recontextualization of the authoritarian elements of power rhetoric that is being used in political, religious and commecial mass media.” Interested in the con- struction and by the surface of rhetoric and visual language of mass communications, Bø expresses an investigation of the architecture of the content as shaped by aesthetic norms and traditions.

Curator residency: Geir Haraldseth (Oslo)

Geir Haraldseth was awarded the curatorial residency to provide him the opportunity to pro- ceed with further research having graduated from the M.A. Programme of Curatorial Studies at the Center for Curatorial Studies at Bard College, New York. Haraldseth received his B.A. from Central Saint Martins College of Art and Design, London. Haraldseth had formerly been the Head of the bookshop at the National Museum of Contemporary Art/National Museum of Art, Oslo. His recent exhibition, Making the Band opened in March at the Center for Curatorial Studies at Bard College at Annandale on the Hudson (see page 19). His recent interview with Richard Prince appeared in Acne Paper.

Artist residency: Tom Sandberg (Oslo)

Tom Sandberg was selected based on his contributions in the field of photography and his interest to continue to develop his work. As Sandberg wrote, “since the 1970s, I have been exploring the inherent qualities of the photographic language. Departing from the subject matter of the portrait, I have through titantic abstractions and unstaged visual reality been interested in the increasing limits of the photograph with an authenticity regarding the medium. With visual economy and a profound interest in complex reality, I have tired to address ambiguous surfaces and visual paradoxes that attract my eye to explore the possibilities of the photographic image.”

Artist residency: Ane Graff (Asker)

Ane Graff is predominantly known for her drawings which reflect the artist’s interest in the lifelike and the lifeless in accordance with drawing as representation; for the historical and culturally conditional index of symbols; and for the tableaux as allegory versus a specific scientific consideration.

Curator residency: Trude Iversen (Oslo)

Provided the curatorial residency located at Kunstwerke Berlin, Iversen is proceeding with research for her book Contemporary Criticality, intended, according to Iversen, “to explore the possibilities of curating and exhibition where the point of departure is critical strategies within the art practice often referred to as the third generation of institutional critique (self organization)… Contemporary institutional critique is practiced by well known artists as – among others – Andrea Fraser, Felix Gonzalez-Torres and Santiago Sierra. In Norway, this practice is associated with artists like Matias Faldbakken, Gardar Eide Einarsson, Marianne Heier, Ingrid Book and Carina Hedén, Søssa Jørgensen and Geir Tore Holm, among others. This contemporary art practice can often be more general social-critical, as opposed to the more relational orientated art practice that is recognized by attempts to develop and improve the structures and ideologies of the museum. In what way these practices can be linked to what Jonas Ekeberg described as New Institutionalism (Verksted 2003) is a relevant question in a time this practice is very established as a norm within the art institution.” Ane Graff, Untitled (Snake with plant), 2005.

Artist residency: Siri Hermansen

Artist residency: Anne-Karin Furunes

Grants are given on a project basis to curatorial programmes and artist projects placed at museums, artists’ organizations and other cultural institutions, to facilitate innovative and scholarly presentations of contemporary visual arts. Projects may include exhibitions, catalogues, and other organizational activities directly related to these areas. The programme also supports the production of new work. Interdisciplinary projects are occasionally funded when the visual arts are an inherent element of that production. The event must be held at a reputable international venue. Remaining deadlines for 2006 are 15 May, 15 September, and 15 November. 

Fondazione Ratti is currently accepting applications and portfolios for next July’s artist residency workshops. 20 young artists will be selected and visit- ing artist Marjetica Potrc will lead the 3-week session, the focus of which engages with the urban dynamic in the region.

Museo de Arte Contemporaneo de Castilla y Léon, Spain, offers grants for artistic creation and management: 5 grants for projects to be undertaken in the next 6 mths and 5 grants for those interested in undertaking work in the field of museum management. Info: becas@musac.org.es

Post-academic Institute for Research and Production Fine Art, Design, Theory. Artists, designers and theoreticians are invited to submit research and production proposals to become a researcher at the Jan van Eyck Academie, Maastrich. Candidates can either apply with a topic of their own or for a project formulated by the institute itself. In order to realise these projects, the academy offers the necessary made-to-measure artistic, technical and auxiliary preconditions.

The Taoh Residency is an opportunity for performance artists to spend up to 2 wks at Tou Scene, a major centre for contemporary art in Stavanger, on the south west coast of Norway. The residency provides an alternative art space promoting underground artworks by performance artists, anarchists, subvertors, activists. Tou Scene is also home to the largest electronic music festival in the Nordic region.

Siri Hermansen Bipolar Horizon Stenersen Museum, Oslo Closing date postponed to 30 Apr

Galleri MGM has relocated to Haxthausensgate 3, Oslo Opening exhibition 11 Feb–26 Mar

Eline Mugaas, Bridge and Tunnel Galleri Riis, Oslo 16 Feb–26 Mar

Benjamin Alexander Huseby, Natur & Ungdom, Fotogalleriet, Oslo, 6 Feb-19 Mar

Huseby is also known as a fashion photographer for magazines such as Vogue, Another Magazine and Dazed&Confused. His work as an artist has been exhibited internationally.

Høvikodden 9.3.06  Crispin Gurholt, Live Photo Henie Onstad Kunstsenter, Høvikodden 9 Mar–9 Apr. See also www.transparent.nu

Kjersti Sundland and Anne Bang-Steinsvik, Monstrous Little Women, Live video event and exhibition 23 and 24 Mar, 19:00 Utkanten series at the Young Artists’ Association/UKS, Oslo

The title Monstrous Little Women is based on the film theoretician Barbara Creed’s book Monstrous Feminine, a study of female stereotypes in horror movies, where the woman is represented as a monster. In Monstrous Little Women, a selection of scenes from these films are edited together, where “feminine” evil is presented as hysterical and unstable. Utkanten is a new exhibition series initiated by Beathe Rønning, Hjørdis Kurås, and Linn Ulvin. Presenting projects on short notice, Utkanten wishes to express the spontaneity of every day artist practises, take chances and make room for artistic stunts.

Skate Culture, Preus museum, Horten 25 Mar–21 May Opening: Sat, 25 March, 14:00 Debate: “Skateboard and High Culture”, Sat, 25 Mar, 12:30

Artists: Pontus Alv (SE), Cheryl Dunn/Mark Gonzales (USA), Gardar Eide Einarsson (NO/USA), Marius Engh (NO), Wiebke Groesch/Frank Metzger (DE), HSK, Tuukka Kaila (FI/UK), Jakob Kolding (DK/DE), Fred Mortagne (FR), Mike O’Meally (AUS), Scott Pommier (CA), Tommy Solstad (NO), Craig Stecyk (USA), Deanna Templeton (US), Ed Templeton (USA) Curators: Jonas Ekeberg, Gardar Eide Einarsson

Torbjørn Rødland P.S.1 Contemporary Art/MoMA, New York 26 Feb–31 April

P.S.1 presents the artist’s latest film production, 132 BPM, shot in Croatia in 2005. The exhibition coincides with others at P.S.1, including Wolfgang Tillmans. Both exhibitions are curated by Robert Nickas.

Jan Braar Christensen* Exit Basel, Kunsthaus Baselland, Basel 27 Jan 06–31 Dec 07

Gardar Eide Einarsson and Matias Faldbakken, Down By Law, Whitney Biennial 2006 Whitney Museum of Art, New York 21 Jan–21 May

Org. by the Wrong Gallery (Maurizio Cattelan, Massimiliano Gioni, Ali Subotnick), for the biennial. Down by Law assembles works that celebrate and degrade the dark heroes of the American Dream.

Kristina Bræin, Rachel Dagnall* (Henry VIII’s Wives), Gardar Eide Einarsson, and Marius Engh* VILLA JELMINI – The Complex of Respect Kunsthalle Bern, Bern 27 Jan–26 Mar

Curator: Philippe Pirotte Othar

Artists: Balthasar Burckhardt, Ivan Grubanov, Boy Stappaerts, Tommy Simoens, Wim Delvoye/ArtFarm, Stammerstudio, Roberto Cuoghi, Michael S. Riedel, Tonico Lemos Auad, Armen Eloyan, Sung Huan Kim

Villa Jelmini is an exhibition that deals with Harald Szeemann’s intellectual and spiritual legacy, and the notion of rebelliousness within provincial situations. According to the exhibi- tion, the project includes “Kristina Bræin’s improvised interventions with everyday materials that challenge the governing logic of the room. Her works express potentials of another sort and formulate a way out of the suffocating sense of the overly programmed, instrumental- ized space within our built environment. Gardar Eide Einarsson works with the subversive contextual strategies of the subcultural operator but contaminates politics of style and the representation of social facts through artistic fiction, while Marius Engh records particular situations in which the random archiving forces of nature violate the artificial order of con- structed environments. Rachael Dagnall within Henry VIII’s Wives promotes the proposal to build Vladimir Tatlin’s Tower, originally conceived for the 3rd International and only exists in model forms to the people of Bern through a parody of the propoganda machine and through debate.”

Anne-Karin Furunes, Pictures Of Portraits/Finland 1918 Galerie Anhava, Helsinki 11 Mar–2 Apr

Making the Band, Center for Curatorial Studies at Bard College, Annandale on Hudson, New York 12–26 Mar

Geir Haraldseth* is a post graduate at the Center. The exhibition, the culmination of work for the master’s degree, shows video and other documents from performances by Black Leotard Front and My Barbarian, that straddle the line between art and music.

Knut Åsdam, FRAC Bourgogne, Dijon 18 Mar–20 May

Showing the video works Psychasthenia: The Care of the Self (1999–2006), Blissed (2005), and Filter City (2003).

Kjetil Berge, Gillian Carson, Sissel Tolaas and Morten Viskum, 9th Havana Biennial 2006, Havana 27 Mar–27 Apr

Curators: Nelson Herrera Ysla, José M. Noceda Fernández, Ibis Hernández Abascal, Margarita Sánchez Prieto, José Fernández Portal

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