Barney Rosset (1967) in Obscene, an Arthouse Films release, 2007
Courtesy of Arthouse Films
Marta Kuzma, director of the Office for Contemporary Art Norway in conversation with Barney Rosset, the influential publisher of Grove Press and the Evergreen Review.
In 1951, Barney Rosset acquired the then fledgling Grove Press, under which he published acclaimed authors such as Samuel Beckett, Kenzaburo Oe, Tom Stoppard, Che Guevara and Malcolm X. Rosset also published and distributed controversial works such as Allen Ginsberg's Howl, the Swedish film I Am Curious (Yellow) and the provocative Evergreen Review. He battled the US government in the highest courts to overrule the obscenity ban on groundbreaking works of fiction such as Lady Chatterley's Lover, Tropic of Cancer and Naked Lunch.
The talk will be followed by the first Norwegian screening of Obscene (2007). Directed by Neil Ortenberg & Daniel O'Connor, this documentary is a film biography of Barney Rosset, feraturing previously unseen footage and music by Bob Dylan, The Doors, Warren Zevon and Patti Smith.
*prior r.s.v.p. is required for this event to fleur@oca.no
Sanja Iveković, from Triangle, 1979
Courtesy The Kontakt Art Collection of Erste Bank Group, Vienna
and the artist
Artist Sanja Iveković, OCA's guest at ISP in November, will discuss her work with Pablo lafuente, OCA's associate curator, dealing with the differences between the political and art context between the East and the West, and the notion of art practice as resistance (in the 1970s and today). The artist will also present a selection of her works, focusing on feminist politics of representation, media and activism.
Sanja Iveković (b. 1949) graduated from the Academy of Fine Arts in Zagreb, Croatia. Her art production has spanned a range of media such as photography, performance, video and installations. She belongs to the artistic generation that emerged after 1968 and was raised in Socialist Federal Republic of Yugoslavia, and whose post-object art was usually referred to with the umbrella term 'New Art Practice'. In the Yugoslav/Croatian art scene she was the first woman artist to adopt a clearly feminist attitude. In 1973 she started to work with video, and her videos were selected for numerous international video festivals (among others in The Hague, San Sebastián, Los Angeles, Berlin, Paris and Montreal). She has had solo exhibitions and video presentations in art institutions such as the ICA, London; Kölnischer Kunstverein, Cologne; MoMA, New York; and Taxispalais Gallery, Innsbruck. Her work has also been shown at international exhibitions such as Documenta IX, Documenta11 and documenta 12 in Kassel, Manifesta 2 (Luxembourg), Body and the East (Ljubljana and New York), After the Wall (Stockholm and Berlin), Double Life (Vienna) or How do We Want to be Governed? (Barcelona, Miami and Rotterdam). Iveković founded in the late 1980s the non-governmental organization Elektra – Centre for Women's Studies, the Women's Art Centre, based in Zagreb. She is also a member of a number of non-governmental organizations in Croatia, including B.a.B.e Endash; The Women's Human Rights Group. From 1999 to 2001 she taught Contemporary Women's Art Practice at The Center for Women's Studies in Zagreb. Iveković has received awards such as the Canada Council Grant for Visiting artists (1979, 1982 and 1994) and the Artslink Grant (US). She is currently working in Berlin as part of a DAAD grant.
** this project is made possible with funds from 03 (Norwegian Ministry of Foreign Affairs)The Office for Contemporary Art Norway is a private foundation and was founded by The Norwegian Ministry of Culture and Church Affairs and The Norwegian Ministry of Foreign Affairs in fall 2001. The main aim of the Office for Contemporary Art Norway is to develop collaborations in contemporary art between Norway and the international art scene. The Office for Contemporary Art Norway aims to become a key contributor to the discourses of contemporary art.
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