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OCA provides financial support on a quarterly basis for international projects including Norwegian artists and/or cultural producers. This includes extending support to group or single artist exhibitions initiated by international institutions and international curators. International artists who have permanent residence in Norway may also apply for support. The objective is to foster innovative artistic production, expression and the creative process by encouraging and supporting projects that support, exhibit and interpret a broad spectrum of contemporary artistic practices. The funding for International Support is provided by the Ministry of Foreign Affairs. |
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03–Funding is a support program initiated by the Ministry of
Foreign Affairs for enhancing collaboration in the contemporary art
field with professional artists in countries in the South. This
programme is also administered by OCA.
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With the recent closing of NIFCA, the Nordic Ministries of Culture have established the following programmes to further support cultural cooperation and exchange within the Nordic region. For grant applications related to exhibitions, projects, and exchange opportunities, in the Nordic countries please refer to the new programmes made available through Kulturkontakt Nord. |
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Recipients from the September grants review for International
Support is announced.
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In March–April and May–mid June 2008, OCA offers two successive
residencies for Norwegian curators, critics, and artists in Berlin
Mitte. The residency provides a fully equipped apartment located at
Kunstwerke Institute for Contemporary Art in Mitte. OCA also
provides a travel grant up to NOK 4000 in addition to the
residency. Curators and critics are especially encouraged to apply
and their applications will be considered as a priority.
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In collaboration with the Norwegian Embassy in Beijing, China,
OCA offers a studio residency for an artist or curator at the
Platform China Beijing Residency Programme, for two months either
in spring (April/May) or fall (September/October) 2008. The
artist/curator must be a Norwegian citizen, or live and work in
Norway. Travel costs and housing are offered in addition to the
grant. The Office for Contemporary Art Norway covers up to NOK
10000,- for travel expenses in addition to a monthly stipend of NOK
8000,- for living expenses. The residency programme is covered by
03–Funding — Funds for the Exchange with Countries in the South.
This is a support program funded by the Ministry of Foreign Affairs
for enhancing collaboration in the contemporary art field with
professional artists in countries in the South.
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n the upcoming year 2008, OCA makes a three month residency available at Platform Garanti for art critics, for artists working as writers, for curators, as well as for artists. The applicants must be residents of Norway and be available for assuming the residency in Istanbul for the full period of March through end of May 2008. The residency made available at Platform Garanti, is a premiere one at the renown non-profit arts centre directed by Vasif Kortun in Istanbul. Artists applying for the residency are to be those who can respond to the diverse aspects of Istanbul and to an open engagement with other international artists and cultural producers from different disciplines. The terms: Through Platform Garanti, OCA offers one studio grant
at the Platform Garanti Istanbul Residency Programme, in addition
to 4000 NOK for travel expenses and a monthly stipend of 8000 NOK
for living expenses. The residency programme is covered by
03–Funding — Funds for the Exchange with Countries in the South.
This is a support program funded by the Ministry of Foreign Affairs
for enhancing collaboration in the contemporary art field with
professional artists in countries in the South.
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The Guy Fawkes Bonfire Monday, 5 November 20:00
Mark Leckey constructs a bonfire on the beach of Huk in Oslo in
an invitation to celebrate the renegade traditions of Guy Fawkes —
one of the protagonists in the celebrated failure of the Gunpowder
Plot. On the fifth of November in 1605, a group of conspirators led
by one Robert Catesby, and including Guy Fawkes, attempted to blow
up the House of Parliament in an effort to kill James I of England
and to destroy protestant rule and the protestant aristocracy
reigning at the time. Upon a flawed attempt, Fawkes was among those
tortured and executed. The conspiracy of the plot transpired into a
commemorated celebration that burns throughout the UK each year.
Still in 18th century England, it was common for children to parade
the effigy of Fawkes around town streets in celebration of the
anniversary of the plot. In present day traditions, fireworks and
sparklers are set off throughout the night. The conspiracy, its
celebration, and Fawkes have been mentioned in popular songs and
ballads including more notably on the vinyl version of The Smiths'
albumStrangeways, Here We come. Leckey, an artist who
basks in the "chaotic spendor of metropolitan hubris," brings this
most celebrated commemoration of anarchical spirit within London
streets to the beaches of Oslo.
Transportation to the Event: Bus number 30 to Bygdøy from Nationaltheatret:
This is the first of two projects Mark will realize in Oslo. The second entitled Cinema in the Round will be held on Tuesday, 11 December 19:00 at Frogner Kino in Oslo. |
An effigy is paraded during a Guy Fawkes celebration |
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Film as a Critical Practice Thursday, 8 November
This two-day seminar and additional screening programme organized by Marta Kuzma, Director of the Office for Contemporary Art Norway (OCA), brings together artists, critics and theorists to discuss "film as a critical practice" by looking into the political and psychoanalytic dimension of film. Topics will range from strategies of the integration of documentary techniques and narrative rupture, delving into the development of these methods, employed by, for example, Guy Debord in The Society of the Spectacle. The seminar will work through references found in the cinematographic scope of work produced throughout the 1960s and '70s through to more recent examples of how artists structure works that are politically and critically engaged. At the same time, the seminar will explore repositioning of the spectator in relation to the image. The supplemental film programme curated by Ian White, Adjunct Curator of Film from the Whitechapel in London, will be held in conjunction with the seminar and on the evening of 10 November. The seminar is moderated by Marta Kuzma, Pablo Lafuente, Managing Editor of the London based contemporary arts journal Afterall, and Peter Osborne, Director, Centre for Research in Modern European Philosophy, Middlesex University, London, Editor of the journal Radical Philosophy. Admission is free, but requires R.S.V.P. for each day, and also
for the screening programme to info@oca.no by Monday, 5 November
2007.
The programme has been supported with a generous grant from Fritt Ord — The Freedom of Expression Foundation. |
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Tower of Shadows Thursday, 15 November 19:00
Corey McCorkle (b.1969) is interested in the utopian ideas of nature and transcendence which he pursues in many of his installations. McCorkle's work has been included in the surveys Make It Now at Sculpture Center and Greater New York 2005 at PS1, and was featured in a solo exhibition in 2006 at Kunsthalle Bern in Switzerland. McCorkle's work has also been included in The Plain of Heaven by Creative Time in NYC and in Monopolis at Witte de With in Rotterdam. Most recently, his work was included in Just Kick It Till It Breaks at The Kitchen in NYC. McCorkle will have upcoming exhibitions at Pompidou Center, Paris and SMAK in Gent. |
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Art, Sociality and Media Culture Friday, 16 November, 19:00
Ina Blom is an Associate
Professor at the Institute of Philosophy, Classics, History of Art
and Ideas at the University of Oslo. Her field of interest has been
modernism/avant-garde studies and contemporary art, with a
particular focus on intermedial or postmedial practices and
event-oriented aesthetics. A former music critic, she has also
worked extensively as an art critic and curator. Publications
include The Touch through Time. Raoul Hausmann, Nam June
Paik and the Transmission Technologies of the Avant-garde,
in Leonardo Journal of Art and Technology, no.3,
2001, MIT Press, Joseph Beuys. An Essay. Oslo:
Gyldendal, 2001, Visual/televisual, in Bice Curiger
(ed.) The Expanded Eye, Hatje Cantz Verlag 2006. Her
new book, On the Style Site. Art, Sociality and Media
Culture is published by Sternberg Press, New York in
October 2007. |
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Bachelor Machines Tuesday, 20 November 19:00
Rosalind Nashashibi (b.1973)
uses her 16mm camera as a catalyst, an accelerator of the real. Her
films investigate the divide between reality and its
extra-dimension — which could be fiction, the world of archetypes
or spiritual realms, combining an interest in epic narrative with
close observation of details. Throughout her work, she has observed
small communities (Hreash House, 2004
and Midwest, 2002); investigated the unconsciously
symbolic function of objects (Park Ambassador,
2004, Proximity Machines, 2007) and of a human
standing in for an idea (Ambassador, 2004, in
collaboration with Lucy Skaer); she has found mythological figures
in the urban fabric of New York (Eyeballing, 2006) and
attempted to reanimate encased objects in a museum (Flash in
the Metropolitan, 2006, in collaboration with Lucy Skaer). Her
recent production focuses on the notion of bachelor
machines. Bachelor Machines Part 1 combines the
observation of a closed community — a cargo ship crew — with the
attribution of an anthropomorphic character to the ship as a
machine in itself. Conversely, Bachelor Machines Part
2 revolves around Thomas Bayrle's, an OCA ISP Resident in
winter 2007, and his meditation on the invention of the machine, in
particular the diesel engine, as man's materialisation of the
desires once conveyed abstractly through the repetition of the
rosary. Nashashibi conceives her practice more as a tool offered to
the viewer to interrogate the world with her, than a report on our
current state of affairs. Winner of Beck's Futures in 2003,
Nashashibi has had solo shows at Kunsthalle Basel and CCA Glasgow
(2004). In 2006 she participated in Momentum, Nordic Biennial of
Contemporary Art in Moss, Norway and in 2007 in an OCA residency in
February with a later solo show at the Chisenhale. She is currently
representing Scotland at the 52nd Venice Biennale, and showing in
Contour, third Biennial for Video Art in Mechelen, Belgium and at
Matrix, Berkeley Art Museum Berkeley
California. |
Rosalind Nashashibi, Bachelor Machines Part 2, 2007 |
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Tuesday, 27 November 19:00
This rarely screened film, 491, is Vilgot Sjöman's second film released in 1964 and based on a novel by Lars Görling. Dealing with the issues of homosexuality and juvenile delinquence, the title is sourced from the Bible citing Peter question to Jesus in how many times it is possible to sin with the promise of forgiveness. Jesus' responds by with the number seventy times seven (490) inferring that forgiveness is unlimited. Sjöman proposes the film as the 491st sin in a story about the impossibility of redemption. The story evolves around a sociological experiment in Sweden were six delinquent youths are housed within a private home rather than within an institution. Initially banned in Sweden upon initial release, the film was banned in Norway until 1971. Wednesday, 28 November 19:00
The presentation by OCA's director Marta Kuzma marks an incursion into an expansive research project that addresses the international perception of Scandinavia as a sexual utopic territory as exemplified in the late 1960s and early 1970s. Kuzma's presentation delves into the reasons behind these representations with the aim to investigate their mythical status or rightful claims, while also exploring how obscenity edicts served as effective door openers to the pornography industry. The talk further explores the origins of sexual reform initiated by the respective women's movements in Scandinavia at the beginning of the 20th century, through to the radical revisionism in psychoanalysis prevalent in Oslo in the 1930s led by researchers Otto Fenichel and Wilhelm Reich, and eventually into the political thinking of Herbert Marcuse that arose in the 1950s. The presentation takes as its point of departure the Swedish film, I Am Curious Yellow, I Am Curious Blue to incrementally build the logic around how the "sexualization" of Scandinavia was largely a media construct initiated by the West for the purposes of developing a wider pornography industry. Screening examples will include clips from Vilgot Sjöman's I Am Curious (Yellow) (1967), Torgny Wickman's Language of Love (1969) and Bo Vibenius' Thriller — A Cruel Picture (1974). Thursday, 29 November 19:00
Freud's controversial pupil, the psychoanalyst Wilhelm Reich lived in Norway from 1934–39, a period when he launched psychoanalysis as an experimental laboratory science and coined the concept of the "Orgone". Remaining active politically as a Communist, he kept in contact with other political dissidents in Norway, such as Jacob Walcher, Willy Brandt and Leon Trotsky. Taking modern science studies and the notion of the social construction of science as a starting point, Håvard Nilsen revisits the first public debate related to the experiments Wilhelm Reich conducted in Norway in the 1930s, which was essential to shaping the perception of Reich as a pseudoscientist. Reopening many of the contextual dimensions of Reich's stay in Norway, Nilsen argues that political aspects were far more important than the scientific issues at stake in the debate, especially the so-called Trotsky-affair and the beginning of the Moscow Trials. Håvard Nilsen (b.1969) is a historian and social scientist educated at the Universities of Oslo, Strasbourg and Cambridge. He is affiliated with a project group writing the History of the University of Oslo for the bicentenary in 2011. Nilsen was a Research Fellow at Dept. of History, University of Oslo 1999–2005. In 2000–2001 he was a Visiting Fellow at the University of Cambridge. Nilsen has published articles in Norwegian and international journals, as well as several books. He has been the Norwegian Broadcasting Corporation's book reviewer of nonfiction, and worked as Editor of Nonfiction at Cappelen, a main publishing house in Norway. Nilsen is today also editor at Res Publica, a publishing house and think tank. |
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Destroy Athens — The Athens Biennial The Athens Biennial, entitled Destroy Athens as curated by Xenia Kalpaktsoglou, Poka-Yio and Augustine Zenakos runs through 18 November, 2007. Invited artists from Norway include Jan Freuchen, Narve Hovdenakk, Lotte Konow Lund,Torbjørn Rødland, Martin Skauen, and Bjarne Melgaard. The Norwegian participation in the biennial is partially funded by OCA's International Support Programme. 10th International Istanbul Biennial Bodil Furu and Beate Petersen was invited by Hou Hanru to participate in the 10th International Istanbul Biennale with their work Kabul Ping Pong. The video work is exhibited in one of the main venues of the biennial; Santralistanbul. Ane Lan will participate in Nightcomers — one of the night programme projects of the biennial, with her work Europe. The biennial opens on 8 September, and runs through 4 November 2007. OCA funded this exhibition with 03-funding, specifically designated funds made available by the Norwegian Ministry of Foreign Affairs. |
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Karolin Tampere participates in Closed Session — a short term residency in NYC offered to individual artists at the invitation of the Office for Contemporary Art Norway. The purpose of Closed Session is to provide invited artists with the opportunity to achieve broader knowledge into other artist practices, to enlarge their network of associations, and to enter into a dialogue with other curators, artists and professionals within a one week period. During the artist's stay, meetings and critiques are coordinated by [OCA, NYC]. Closed Session is a one week residency held at minimum once per semester. Tampere will stay in New York from 31 October to 9 November. Karolin Tampere (b.1978) is a recent graduate of De Appel in Amsterdam, with a BA in Visual Arts from Bergen National Academy of Arts (2005). Together with the artist Åse Løvgren, Tampere initiated the ongoing collaboration Rakett in 2003 as a mobile platform for various activities ranging from curatorial practice to initiating own collaborative artistic projects. Rakettprojects function as temporary platforms for collaborative, often interdisciplinary, production; where the role of the initiator/curator is not only to create a framework and a stage but also to bring together different cultural producers, to create a moment of potentiality. Implicitly and explicitly, the projects touch on a range of questions around (co)authorship, (im)material production, the role of artist and curator, and the potential of mobile and changeable platforms in the institutional infrastructure for art. |
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The International Studio Programme Oslo is available for international artists and curators by invitation for a stay from two weeks up to six months, independently or in connection with research in Norway. The programme comprises four studios located in the city centre of Oslo. |
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Claire Fontaine
Claire Fontaine is a Paris-based collective, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. Pierre Bismuth
Pierre Bismuth tackles the challenges of contemporary art by addressing the representation and the reception of a work of art; by playing on the modalities and power of language and image; and by reappropriating art history and modern cultural references, from fashion to cinema. In doing so, he incorporates all artistic mediums available, from origami and collage to screenwriting and art installations. Bismuth has exhibited his works extensively throughout Europe, and North America. He earned an Academy Award in 2005 for co-authoring the screenplay Eternal Sunshine of the Spotless Mind. One of Bismuth's works will be screened in a film programme curated by the Norwegian curator Hanne Mugaas entitled Extended Animation: Digital Effects, Corporate Logos and Style. This programme is one of three film programmes in the exhibition Animotion atGalleri F15, from 1 September to 11 November. Dessislava Dimova
Dimova focuses on the possibility of the social existence and recognition of the artist, without offering any art production as such. Dessislava Dimova is a PhD fellow at the Institute of Art Studies in Sofia with a thesis on Bulgarian art after 1989. She has published numerous essays on contemporary art and culture, including The Cultural Learnings of Ivan Moudov, the catalogue of the Bulgarian Pavilion at the Venice Biennial, 2007; Supernaturalism in Postcommunist Bulgaria, The Weird but True Book, 2005. She is currently curating The Spam Show, an email project that risks to be never seen, discarded by spam filters. |
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Mark Leckey
Mark Leckey is currently Professor of Film Studies at the Staelschule in Frankfurt am Main in Germany. Born in 1964, Leckey is an artist whose obsessions range from the utmost refined fin-de-siecle decadence to '80s clothes and club culture. He is together with Ed Liq, Bonnie Camplin, and Enrico David, the founder of the band donAtelier. His video Fiorucci Made Me Hardcore which has reached cult status is a rigorous research on the world of dance and identification constructed through labels and tones. Music escapism and ambiguous sexual identities are the pivots around which Leckey constructs a succession of images whose fascination has to do with an ungraspable visual seduction. Leckey has exhibited widely in the UK (at Tate Britain, the ICA) as well as in the United States, and Europe. He is represented by Cabinet in London, Gavin Brown in NYC, and Buchholz Galerie in Cologne. |
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The Office for Contemporary Art Norway runs an International Visitor Program to support international curators and cultural producers in their research in Norway for upcoming exhibitions and projects. |
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Shamim M. Momin
Momin has been Director and Curator of the Whitney Museum at Altria since October 2000. In addition to co-curating the 2004 Whitney Biennial, she has recently organized the solo exhibitions Mark Grotjahn (2006), Raymond Pettibon (2005–06), and Banks Violette: Untitled (2005), for which she also authored the catalogue. At the branch museum, Momin is responsible for organizing exhibitions and focusing on commissioning new work by emerging artists for both solo and thematic presentations, as well as writing essays for exhibition brochures, producing gallery talks, artists' talks, symposia, and panel discussions, and supervising the production of the annual Performance on 42nd Street series. Momin's exhibitions at Altria have included projects with artists such as Andrea Zittel, Rob Fischer, Sue de Beer, Luis Gispert, Katie Grinnan, Mark Bradford, Dario Robleto, Ellen Harvey, Do-Ho Suh, and E.V. Day. As part of The Contemporary Series, which she organizes, Momin's latest exhibition for the Whitney was Terence Koh, which closed in May of 2007 and was accompanied by a catalogue co-authored by Momin. She oversaw the New York installation of Lorna Simpson, a touring exhibition organized by the American Federation of Arts, which opened this past spring, for which she also contributed to the catalogue. She was also recently named co-curator for the upcoming 2008 Biennial exhibition. Recent outside curatorial projects have included No Ordinary Sanctity (2005), a group exhibition at the Deutschbank project space, Salzburg, as well as Will Boys be Boys?: Examining Adolescent Masculinity in Contemporary Art (2004-2007), organized in conjunction with Independent Curators International (travelling to six venues nationally). In addition to her Whitney exhibition publications, Momin has contributed essays to numerous other monographs, art periodicals, and exhibition catalogues, most recently as an invited author for the next in the Phaidon Cream series. Momin has participated on numerous juries and panels throughout USA. She has served as Visiting Professor for NYU's MFA Senior Seminar (Fall 2005), and is currently Adjunct Professor of Contemporary Art for Williams College 2007 Semester in New York program. |
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Corinne Diserens
Diserens has graduated from Art history studies, University of Paris, and Independent Study Program of the Whitney museum of American art. She was curator at IVAM, Valencia; freelance curator and founder of Carta Blanca Editions, Madrid/Paris; Director of the Museums of Marseille, and then of the Fine Arts Museum of Nantes; Currently she is Director of Museion, Bolzano. |
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Gijs Frieling, Director of W139 in Amsterdam has invited the artist group Kultivator (Kalle Runeson and Marlene Lindmark) featuring El Parche (Herman Mbamba, Olga Robayo, Marius Wang) and Floor Wesseling into a solo exhibition entitled Supermodel that opens on 12 October and runs through 11 November. The subject of Kultivator's work is agriculture and ecology, rural versus urban culture, food production and distribution, global trading and economy. At the Yerba Buena Center for the Arts in San Francisco: Bull.Miletic were invited by René de Guzman to participate in a group exhibition entitled Dark Matters: Artists See the Impossible that will run through 11 November. Bull.Miletic participate with the installation Heaven Can Wait, a larger project that delves into "the obscure and often sinister, testing the limits of the imagination to offer a range of work including internet-eavesdropping installations and surveillance projects." Other artists participating include Ben Rubin and Mark Hansen, Sergio Prego, Walid Raad, Kambui Olujimi, Alison Sant, Richard Johnson, Richard Barnes, Alex Schweder and Charles Mason. Also in San Francisco: Lars Laumann participates in the interactive exhibit of work sourced from and inspired by the Internet, There is always a machine between us, through to 17 November at SF Cameraworks galleries. Organized by curators Kate Fowle, Karla Milosevich, Chuck Mobley and Dan Orendorff, the project is designed to generate new material as it evolves. At the non-profit space Midway Contemporary Art in Minneapolis, Matias Faldbakken has a solo exhibition entitled I don't think so from 8 September through 27 October, 2007. The exhibition, curated by John Rasmussen, Director of Midway, notes that for his solo presentation "Faldbakken presents a recently completed body of new work. Prominent within the installation are two large-scale photographic works that are pasted like billboard advertisements to the gallery walls. Radically dialed back on content, the images are enlarged digital scans of the margins and ads of newspapers. Through this zeroing out, the reverse text from the back side of the originals gain (an albeit illegible) prominence amidst the overall pattern of visual static picked up via the scans." Ingrid Book and Carina Hedén are having a solo exhibition through to 25 November at the Salzburger Kunstverein in Austria by invitation of its director, Hemma Schmutz. The project entitled Stories for Empty Shopwindows originates from a series of stories from Scheibbs in Austria in exploring "how it is possible to construct evidence and to play on the questioned capacity of photography to act as a testimony of truth." Jan Freuchen participates in the exhibition Objet Perdu in Pierogi, Leipzig, through 10 November 2007. Unni Gjertsen participates in the final episode of the second edition of If I Can't Dance I Don't Want to Be Part of Your Revolution focusing on Feminist Legacies and Potentials in Contemporary Art Practice within a large scale exhibition at the MuHKA — (Museum of Contemporary Art, Antwerp). The exhibition assembles works by artists who were expressive about feminist issues during the '60s and '70s, such as Sanja Ivekovic, Lili Dujourie, Jef Geys; artists who built up a critical body of work during the '80s, such as Jutta Koether; the generation born around 1968 including Hito Steyerl, Cathy Wilkes, Karl Holmqvist, and a younger generation including Frances Stark. The exhibition is curated by Frédérique Bergholtz opens on 27 October, 2007 and runs through 6 January, 2008. Anna Sigmund Gudmundsdottir presents a solo project in the non profit spaceGalleri 54 in Gotenburg in Sweden from 23 November through 16 December. The expansive project includes a theatre performance, wall paintings and installation objects. Kjell Bjørgeengen and Salvatore Panatteri collaborate on Project 33 in a composition of images from disjointed areas of logic to refer to a common interest in the economy of noise and its conceptual underpinnings. The project will open at SNO (Sydney Non Objective) Contemporary Art Projects in Sydney, Australia from 2 November through 7 December. Rachel Dagnall within the context of Henry VIII's Wives (together with Bob Grieve, Sirko Knupfer, Simon Polli, Per Sander, and Lucy Skaer) realize a new work at Spike Island in Bristol through to 25 November. The new work is entitled The Returning Officer and is inspired by people and their relationships to specific places. In this specific film, the locations were all in eastern Europe: The Legacy House in Belgrade, an organ builder's adapted house and workshop outside Vilnius, and an opium poppy field in Austria. Trine Lise Nedreaas and Jannike Låker participate in Reality Crossings in Mannheim, Ludwigshafen and Heidelberg, Germany, as curated by Christoph Tannert, director of the Künstlerhaus Bethanien in Berlin. The project which takes the form of a photography festival which runs through 21 October 2007 to focus on current trends in the areas of photography and video, concentrating here on the documentary perspective. Adriana Alves at Fuzuê Arte e Cultura in Rio de Janeiro: José Loyola has invited Adriana Alves to exhibit in the new art center Fuzuê in Rio de Janeiro. In addition to Alves' two floor-exhibition there will be a Norwegian contemporary video art programme and a seminar. The exhibiton will run from January 2008. Adriana Alves will exhibit two installations and three sculptures. Her project is entitled Tragedy of the Common Man. The exhibition is supported by 03–Funding — Funds for the Exchange with Countries in the South. Stefan Schröder participates in Über Tage_07, which is a site specific project, reflecting urban landscape development and site specific interventions after several decades of coalmining activities in the former East-German region of Sachsen. The project opened 1 September, and will expand into the summer of 2008. The project is curated by Susanne Altmann. Centre D'Art Contemporain Geneve will hold the first solo exhibition of work by Gardar Eide Einarsson in Switzerland as scheduled from 18 January through 16 March, 2008. The exhibition, co-produced with the Frankfurter Kunstverein, is curated by Katya García-Antón. García-Antón writes: "The theatrical vocation of the artist's practice reveals correspondence, art historically speaking, to modernity's crisis with the social". A full catalogue co-produced by the Kunstverein Frankfurt and published by Revolver will be released in December 2007. Verdensteatret has been invited to exhibit a large-scale installationFortellerorkesteret — The Telling Orchestra in the China International New Media Arts Exhibition 2008 at the National Art Museum of China in Beijing. The exhibition curated by the NY based media curator, Zhang Ga, is organized around 4 distinctive yet interrelated themes that testify to the incessant and obsessive pursuit of an ideal world through artistic intervention into media and communications technologies as well as bio-cultural spheres. The 4 themes are: Beyond Body, Emotive Digital, Blur: The Recombinant Reality, and Here, There and Everywhere. The exhibition will include approximately fifty media works and is scheduled from 30 June through 30 July, as one of the more important cultural events leading up to the Olympic Games in Beijing. The project is supported by 03–Funding — Funds for the Exchange with Countries in the South. Norwegian curator Hans Askheim together with Claire Davies, Tom Keogh and Miranda Pope, graduates of the 2007 MA Creative Curating from Goldsmiths University of London, are developing a curatorial research project entitled Overland: London to Beijing. The curators will travel for six week in 2008, by train from London to Beijing, transporting a commissioned artwork. Along the route, the work of art will be exhibited at local venues. Through the physical transportation of the artwork Overland: London to Beijing, the curators strives to challenge the practical, geographic, historical and political connotations and value of the artwork. The project is supported by 03–Funding — Funds for the Exchange with Countries in the South. |
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Films from Contemporary Iran: Screening of Iranian films 6–7 November at Soria Moria Cinema, presentation of the magazine Pages 7 November at Torpedo Bokhandel: Films from Contemporary Iran is an initiative from Display in Prague and Pages in Rotterdam, organised in Oslo by UKS, Soria Moria, and Torpedo Bokhandel and will take place from 6–7 November. Pages is a bilingual, Farsi and English, magazine with the aim to function as a platform for exchange, dialogues and projects, a place for collaboration between artists and writers from Iran and elsewhere. The programme consists of screening of three movies, and a presentatation of the magazine Pages. |
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April 1 2008 is the deadline for applications for
the Whitney Independent Study Program in
New York City which consists of three interrelated parts: Studio
Program, Curatorial Program and Critical Studies Program. The ISP
provides a setting within which students pursuing art practice,
curatorial work, art historical scholarship, and critical writing
engage in ongoing discussions and debates that examine the
historical, social, and intellectual conditions of artistic
production. The program encourages the theoretical and critical
study of the practices, institutions, and discourses that
constitute the field of culture. Each year twelve students are
selected to participate in the Studio Program, four in the
Curatorial Program and six in the Critical Studies Program. The ten
students participating in the Curatorial and Critical Studies
Programs each year are designated as Helena Rubinstein Fellows in
recognition of the substantial support provided by the Helena
Rubinstein Foundation. The program begins in early September and
concludes at the end of the following May.
Helsinki International Curatorial Programme currently offers
curatorial residencies in Helsinki for international visual arts
curators. The programme is collaboration between HIAP — Helsinki
International Artist-in-residence Programme and FRAME Finnish Fund
for Art Exchange.
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![Week 48 at [OCA NYC]](http://www.oca.no/img/oca/h4nl/ffffff/000000/Week%2048%20at%20%5BOCA%20NYC%5D+.gif)
![[OCA, NYC] Closed Session](http://www.oca.no/img/oca/h2nl/ffffff/000000/%5BOCA%2C%20NYC%5D%20Closed%20Session.gif)
