OCA is currently accepting applications for the 2014 First Quarter Application Review for International Support. Forms are due on 1 February 2014. Applications are accepted from Norwegian artists, international artists residing in Norway and non-profit arts organisations. Priority is given to exhibitions taking place in key international art institutions and project spaces. Support is also extended to solo exhibitions, group exhibitions and major biennials initiated by international curators as well as to Norwegian art professionals organising exhibitions and projects abroad. The funding for International Support is provided by the Norwegian Ministry of Foreign Affairs and the allocation is decided upon by an independent jury of Norwegian and international art professionals designated by OCA.
For the upcoming deadline of 1 February 2014, OCA accepts applications from Norwegian artists, curators and critics to the International Studio Program Künstlerhaus Bethanien in Berlin, Germany and International Studio and Curatorial Program (ISCP), New York, NY, USA. Click here to read more about OCA's International Residencies Programme.
OCA commissioned the first English translation of Indigo, a poem written by artist Sidsel Paaske and published for the first time in 1979. Having used at this time the surface of the canvas as a limited space for expression, Paaske aimed to create another space that could generate phases and repetitions. As the artist states in a note to the poem from the same year, 'by the stamping-technique I achieve a repetition of the same element that points towards infinity (like snow-crystals, leaves, ants, reindeer, stars) and by printing in an increasing number from page to page I include the time aspect in a way that a painted picture would not be able to represent'.
Edited by OCA's Antonio Cataldo, the publication brings together the original manuscript correlated by notes and archival material. The book, part of the ongoing Office for Contemporary Art Norwayʼs Verksted series, is published on the occasion of the lecture series ʻFashion: the Fall of an Industryʼ, as held at the Office for Contemporary Art Norway from 17 October to 12 December 2013. Sidsel Paaske was one of several artists subject of the investigation within the lecture series.
BIG SIGN – LITTLE BUILDING is a publication which reflects the exhibition by the same title that had been held at the Office for Contemporary Art Norway from 15 September to 15 December 2010 and departs from and extends beyond the seminal project developed by the architects Robert Venturi, Denise Scott Brown, and Steven Izenour, who in their book, Learning from Las Vegas (1972) attended to the notion of landscape as a fluctuating phenomenon – as a shift from a dominance of signs in space at a pedestrian scale to the perspective of the horizon perceived while in motion. The exhibition and publication considers the steady encroachment of commercial vernacular that made itself ever present throughout the 1960s and that lent to a commercial persuasion of the roadside eclecticism to provoke a revision in the notion of landscape as an expression of the artifactuous. BIG SIGN – LITTLE BUILDING also addresses how artists such as Charlotte Posenenske, Ed Ruscha, Robert Smithson, and Jeff Wall, who further challenged such traditional notions of space in order to explore new interpretations of landscape within the fields of aesthetics, art and architecture without succumbing to any one category. Other artists, such as Claes Oldenburg and Allan D'Arcangelo, cited as inspiration by the three architects, contested the sign system altogether, which increasingly reflected an attempt on the part of capital to claim nature, landscape, and public space as commodities.
Edited by the project’s Curator Marta Kuzma, BIG SIGN – LITTLE BUILDING is published by the Ofﬁce for Contemporary Art Norway and Koenig Books, London.