News : 2017/11

2017/11/29

Máret Ánne Sara’s 'Pile o' Sápmi' comes to Oslo

Máret Ánne Sara's Pile o' Sápmi installed at Neue Neue Galerie (Neue Hauptpost), documenta 14, Kassel 2017. Photo: Matti Aikio

Norsk versjon Sámegiel veršuvdna

OCA ANNOUNCES

Máret Ánne Sara’s artwork Pile o´ Sápmi, exhibited at documenta 14’s Neue Neue Galerie (Neue Hauptpost), Kassel 2017, to be showcased in Oslo

Tuesday 5 – Wednesday 6 December 2017

Eidsvoll Plass (in front of Stortinget, the Norwegian Parliament)
Karl Johans Gate 22
0026 Oslo, Norway

www.oca.no

Following its presentation at documenta 14 in Kassel, Máret Ánne Sara’s work Pile o´ Sápmi will be displayed in Eidsvoll Plass in front of Stortinget (the Norwegian Parliament), Oslo, on 5 and 6 December. Presented as a curtain of 400 reindeer skulls, the piece was nominated one of the top ten artworks at documenta 14, and received critical acclaim internationally. The hanging is part of a larger, eponymous artistic movement where Sara gathers fellow artists to bring attention to Sámi rights and the challenges Indigenous peoples worldwide face on a daily basis. Oslo’s iteration of the project includes various interventions and projects with Sámi, Norwegian and international peers in an act of fraternity in collaboration with Tenthaus and Samisk Hus (The Sami House). Amongst them are Cecilia Vicuña (the renowned Chilean poet, artist and filmmaker featured at documenta 14) and also a special event conceived by Norwegian artist A K Dolven entitled ‘Wandering with Reindeer Heads’, extending through the city and involving dozens of Norwegian citizens. Máret Ánne Sara has also invited the president of the Sámi Parliament in Norway, Aili Keskitalo, to appeal against the crucial political and legal plight of Sámi reindeer herders and the Sámi culture today. She will speak on 6 December.

According to Máret Ánne Sara, Pile o´ Sapmi started as ‘an extended artistic movement accompanying the trial of my little brother.’ Its first appearance was modelled to emulate a mountain of freshly slaughtered reindeer heads crowned by a Norwegian flag at its peak. This work was conceived in 2016 and installed in front of the Indre Finnmark District Court (Sápmi/Northern Norway), where Jovsset Ánte Sara (the artist’s brother) debated the imposed slaughtering of half of his herd with the Ministry of Agriculture and Food in court. It was here that Jovsset Ánte Sara claimed such a major herd reduction would ensure his inevitable bankruptcy and thereby also force him away from his traditional way of life, his culture and ultimately his inherited rights.

Pile o´Sapmi is directly inspired by a historic photo Sara found on the Internet titled Pile of Bones. This related to the destruction by Americans settlers during the mid-18th century of the livelihood of countless Native Americans, through the enforced near-extinction of tens of millions of buffalo that had roamed freely upon the Great Plains since the last Ice Age.

Jovsset Ánte Sara won the first lawsuit in the Indre Finnmark District Court, as well as the second at the Hålogaland Court of Appeal. The case has now reached the Supreme Court of Oslo, and will be heard on 5 and 6 December.

'Pile o' Sápmi Supreme' by Máret Ánne Sara is produced by the artist together with Tenthaus Oslo, Samisk Hus in Oslo (The Sami House) and Oslo Sámiid Searvi – OSS (Oslo Sameforening / Oslo Sami Association). The project is supported by URO - KORO (Kunst i offentlige rom)'s grant scheme for art in outdoor public places, and Sámiráđđi (Samerådet / The Saami Council).

To read about Máret Ánne Sara’s participation in documenta 14, please click here.
For detailed information about Máret Ánne Sara’s Pile o’ Sápmi please visit the dedicated website here.


Máret Ánne Sara

Máret Ánne Sara is an artist whose work deals with political and social issues affecting the indigenous Sámi people and its reindeer-herding communities. Sara has created posters, CD / LP covers, stage visuals and fabric prints for a number of Sami artists, designers and institutions, and has exhibited in the field of visual arts since 2003. Furthermore, she is an editor, journalist and published novelist. Her debut book Ilmmid gaskkas (In Between Worlds) was nominated for the Nordic Council’s Children and Young People’s Literature Prize in 2014, and recently presented along with other works by the artist on the Southbank, London. She is one of the founding members of the Dáiddadállu/ Artists Collective Kautokeino. Sara’s ongoing project Pile o’Sápmi was one of those showcased as part of the documenta 14 exhibition at the Neue Neue Galerie (Neue Hauptpost), Kassel 2017.


About the Office for Contemporary Art Norway (OCA) 
 

The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and the international arts scene, and support artists in Norway in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.

2017/11/26

The Arctic as the Planetary Oracle

Left: Willem Barents's map of the northern area, 1598–99. Courtesy of Erling Walsøe. Right: Christian Houge, Listening, Spitsbergen (2002)

Norsk versjon

OCA ANNOUNCES

‘The Arctic as the Planetary Oracle’

Two lectures by Dr Knut Ljøgodt and OCA Director Katya García-Antón, on the occasion of the annual lecture series of Norsk kritikerlag (Norwegian Fellowship of Critics)

Wednesday 6 December 2017 / 19:00

Office for Contemporary Art Norway
Nedre gate 7, 0551 Oslo
www.oca.no

OCA is happy to invite you to two lectures by Dr Knut Ljøgodt and OCA Director Katya García-Antón, as part of the annual lecture series of Norsk kritikerlag (Norwegian Fellowship of Critics) on Wednesday 6 December at 19:00. In their lectures, Ljøgodt and García-Antón will address past and future relations between the arts, the Arctic and its peoples.


"By a route obscure and lonely,
Haunted by ill angels only,
Where an Eidolon, named Night,
On a black throne reigns upright.
I have reached these lands but newly
From an ultimate dim Thule –
From a wild weird clime, that lieth, sublime,
Out of Space – out of Time.”

For centuries, the far North – Ultima Thule – and in particular the Arctic, has been swathed in mystery and perceived as a remote and dangerous place. This was strengthened by the Romantic cultivation of the Sublime in nature, and it is a view that still influences how we look at the Arctic today.

Edgar Allen Poe's introductory stanza to his 1844 poem Dreamland, reflecting a 19th-century vision of the North, encompasses the Arctic as a place at the edge of reason. As a key exponent of the Romantic movement of the time, his vision was inflected by the uncertainties that the onset of modernity brought with it: notably, the rise of the Industrial Revolution and the scientific rationalisation of nature. Poe envisaged an edge of the world beyond space and time where the fears, prejudices and hopes of civilisation might be articulated.

As the limits of modernity and growth are being put to the test in our age, the ineffable condition of the Arctic as the visionary locus of the world persists with compelling force. Gone are the Cold War days of an Arctic designed as a frozen diplomatic buffer between East and West. Today it is the board game of a forthcoming power system, a future model for life that traverses the fields of technology, politics, economics, the environment, international relations, science, culture, race and gender.

From this viewpoint, Norway’s Arctic is at the heart of radical shifts that are configuring our collective future. Already home to a Global Seed Vault, 1.5 million seeds strong, Svalbard is now also home to the Arctic World Archive, storing high-priority global data for up to a millennium. The International Arctic Council has declared the essential role Indigenous Knowledge (acknowledged as a systematic body of thought) has in addressing the various challenges of Arctic change. Further afield, China – which defines itself an Arctic nation – launched the ‘Belt and Road Initiative’ (BRI) this year: a massive infrastructure programme encompassing 60 countries designed to link it with the world, and vice versa. BRI anticipates the wealth of resources which will become accessible with the melting of the ice caps in the Arctic, estimated to come about by 2050.

Despite these significant developments, a kind of ‘Arctic fatigue’ persists with numbing force across society. As Norwegian psychologist and economist Per Espen Stoknes declared recently, the biggest obstacle to dealing with the urgencies entangled within the Arctic ‘lies between our ears’. Like in time immemorial, developments in the Ultima Thule of old herald the major social, political, technological and economic agendas of tomorrow. And yet, one key factor is being overlooked by current global attention: the arts.

Today, like throughout history, the arts’ abilities to harness the oracular powers of the Arctic and engage society with the urgent questions raging at its core remain unparalleled. With the accelerated pace of change in the Arctic, the time to activate each one of our imaginations to re-imagine the future of this region and its peoples, as well as its global impact, is now. Ultimately, it is all about us.

The event is a collaboration between Norsk kritikerlag (Norwegian Fellowship of Critics) and Office for Contemporary Art Norway (OCA), and is supported by the Arts Council Norway and Fritt Ord.


For more information about this event, please contact OCA’s Communication Manager Tara Hassel.

For information about Norsk kritikerlag (Norwegian Fellowship of Critics), please contact Monica Holmen.

About Knut Ljøgodt
Dr Phil. Knut Ljøgodt is an independent art historian and scholar, who has been a curator at the National Gallery of Norway, Director of Northern Norway Art Museum, as well as Founding Director of the Kunsthall Svalbard in Spitzbergen. He studied art history at the University of Oslo, the Courtauld Institute of Art, London, and the Norwegian Institute in Rome, and received his Doctorate from the University of Tromsø - Norway's Arctic University. Ljøgodt has worked widely with art related to the Northern region and has curated exhibitions on Peder Balke, Joan Jonas and others.

About Katya García-Antón
Katya García-Antón is Director of OCA. She previously worked for The Courtauld Institute of Art, BBC World Service, Museo Nacional Reina Sofía Madrid, ICA London, IKON Birmingham and Centre d’Art Contemporain Genève. She has managed more than 90 exhibitions, including the Spanish Pavilion (at the São Paulo Biennial 2004), the Spanish Pavilion and the Nordic Pavilion (Venice Biennale 2011 and 2015 respectively) and the Qalandiya International (Jerusalem/Ramallah 2012). In OCA during 2017 she has headed a programme on indigenous thought and practice, in collaboration with ‘Pile o´Sapmi’, Tromsø, the exhibition/symposium ‘Museums on Fire’, and the Indigenous Arts Residency in Maze, Sápmi. In 2018 OCA will launch ‘Sovereign Words’ (during the Dhaka Art Summit) and the exhibition ‘Let the River Flow. The Sovereign Will and the Making of a New Worldliness’.

About Norsk kritikerlag (Norwegian Fellowship of Critics)
Norsk kritikerlag (Norwegian Fellowship of Critics) is a members’ organisation working to maintain and improve Norwegian critics’ professional and financial interests and rights. The fellowship also advocates the independence and quality of their critique. Currently, the fellowship has more than 300 members divided into three sections: visual arts, performing arts and literature. Each section has its own elected executive committee, organising round-table talks, seminars, debates and lectures on relevant topics in the field.

Over the past two years the committee of visual arts has been looking into different ways to discuss visual arts from a critical perspective, resulting in an annual lecture series. The first lecture was held in June 2016, with gallery owner Eivind Furnesvik talking about STANDARD (Oslo) and the Norwegian art scene’s connections to the international art world.


About the Office for Contemporary Art Norway (OCA) 
 

The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and the international arts scene, and support artists in Norway in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.

2017/11/20

Lecture by Britta Marakatt-Labba at OCA, Oslo

Britta Marakatt-Labba. Photo: Andreas Wälitalo / Norrbottens-Kuriren

Norsk versjon Sámegiel veršuvdna

OCA ANNOUNCES

A presentation by Sami artist Britta Marakatt-Labba
recipient of the 2017 John Savio Prize

With a welcome from OCA’s Director Katya García-Antón and Hege Imerslund, Director of BKH, responsible for the John Savio Prize; and introductory words from Karin Hindsbo, Director of the National Museum of Art, Architecture and Design in Oslo

Thursday 7 December 2017, 16:30 (doors open 16:00)

Office for Contemporary Art Norway
Nedre gate 7
0551 Oslo
www.oca.no

OCA is pleased to invite you to a presentation by the artist and former member of the Mázejoavku: Sámi Dáiddajoavku (Sámi Artists’ Group) Britta Marakatt-Labba on Thursday 7 December at 16:30. Marakatt-Labba is the recipient of the John Savio Prize 2017, given to a Sami artist as a recognition of his or her practice. The prize is allocated by The Relief Fund for Visual Artists (Bildende Kunstneres Hjelpefond), and organised in collaboration with Sámi Dáiddáčehpiid Searvi – SDS (Samisk kunstnerforbund / Sami Artists’ Union) and the Northern Norwegian Art Museum (Nordnorsk Kunstmuseum). The official ceremony for the presentation of the award was held at the Northern Norwegian Art Museum in Tromsø on 21 September 2017.

In her presentation at OCA, Britta Marakatt-Labba will elucidate her storytelling process, built through embroidered images, a technique inherent to her Sami heritage, which allows her to ‘move easily’ and be mobile with the work she is doing at any given time.

Growing up with ‘duodji’ (Sami crafts), textiles constitute a common thread throughout Marakatt-Labba’s life, highlighting the artist’s refusal of the prejudices constructed against Sami culture. By conveying an image of the world she is part of, she provides an understanding of Sami culture and history with which to illuminate its future.

The numerous embroideries and other work that she has produced since the 1970s have highlighted nature, Sami living conditions, spiritual perspectives and mythology, fairy tales and sayings, as well as both political and everyday events. Today this entire belief system is under threat, as Sami and Indigenous peoples globally are the first to be menaced by the consequences of changes in climate and the environment due to the massive mining exploitation and industrialisation of nature. Britta Marakatt-Labba, who lives in one of these emblematic areas, will speak about her over forty-year commitment to these pressing issues.

The event is organised in collaboration with The Relief Fund for Visual Artists (BKH).

For more information about this event, please contact OCA’s Communication Manager Tara Hassel.

For information about The Relief Fund for Visual Artists (BKH) and the John Savio prize, please contact Marius Meli.


About Britta Marakatt-Labba
Britta Marakatt-Labba is a visual artist living in Övre Soppero, Sápmi, Northern Sweden. She grew up in a family of reindeer herders and then studied art at Sunderby Folkhögskola and at the School of Design and Crafts at the University of Gothenburg, receiving a Bachelor’s Degree in Textile Art in 1978. Marakatt-Labba became a member of the influential artist collective Mázejoavku: Sámi Dáiddajoavku (Sámi Artists’ Group 1978–83) in 1979. Her primary medium is embroidery and her epic, 24-metre-long piece Historja (2003–07), which narrates the history and cosmology of the Sami people, was featured in the documenta Halle in Kassel as part of documenta 14. She has exhibited widely, both nationally and internationally. In addition to having fulfilled many public commissions, Marakatt-Labba has worked extensively with book illustrations, scenography and graphic design. The retrospective ‘Cosmos’ at the Bildmuseet in Umeå in 2008 included over 100 of her works, and a major monograph, Embroidered Stories. Britta Marakatt-Labba (Broderade berättelser. Britta Marakatt-Labba), was published in 2010. Marakatt-Labba’s work forms part of many public and private collections throughout Scandinavia.

About The Relief Fund for Visual Artists (BKH)
Established in 1948 by the Norwegian Parliament, The Relief Fund for Visual Artists (Bildende Kunstneres Hjelpefond) is an organisation that provides project support, grants and scholarships to artists working in Norway. BKH collaborates with local institutions throughout the country with the aim to strengthen Norwegian art production. BKH also administers The John Savio Prize in addition to four other major art awards. The prize is named after one of the most influential Sami artists, John Savio (1902–38). Having disbursed funds for almost 400 million NOK since its inception, the BKH is a major economic partner on the Norwegian art scene, making an important contribution to ensuring artistic diversity and innovation throughout the country. The funds are generated through a five percent tax on all public sale of art and art commissions in Norway.


About the Office for Contemporary Art Norway (OCA) 
 

The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and the international arts scene, and support artists in Norway in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.

2017/11/15

Lecture by Simon Castets and Hans Ulrich Obrist

OCA ANNOUNCES

A lecture by Simon Castets and Hans Ulrich Obrist on the occasion of 89plus’s research in Norway

Sunday 26 November 2017, 14:00


Office for Contemporary Art Norway
Nedre gate 7,
0551 Oslo

OCA has the pleasure of inviting you to a public lecture by Curator and Director of Swiss Institute New York Simon Castets, and Curator and Artistic Director of Serpentine Galleries, London, Hans Ulrich Obrist, on Sunday 26 November at 14:00. The lecture is held in connection with Castets and Obrist’s visit to Norway to conduct research on the local art scene for 89plus. In their lecture Castets and Obrist will discuss the 89plus project in general, as well as the fruits of their research in Norway in particular.

The public lecture is free and open to everyone. Refreshments will be served after the event.


About 89plus
89plus is a long-term, international, multi-platform research project co-founded by curators Simon Castets and Hans Ulrich Obrist, investigating the generation of innovators born in or after 1989. Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals, exhibitions and residencies, bringing together individuals from a generation whose voices are only starting to be heard, yet which accounts for more than half of the world’s population.
Marked by several paradigm-shifting events, the year 1989 saw the collapse of the Berlin Wall and the start of the post-Cold War period, and the introduction of the World Wide Web and the beginning of the universal availability of the Internet. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring protagonists.

Please contact OCA's Communication Manager Tara Hassel for more information.


About Office for Contemporary Art Norway (OCA)
The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and on the international arts scene, and support Norwegian artists in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.

2017/11/02

OCA Pop-Up Kristiansand

SKMU Sørlandets Kunstmuseum. Photo: Kjartan Bjelland

OCA ANNOUNCES

OCA Pop-Up in Kristiansand

Guest Speaker: Randi Grov Berger, Director, Entrée gallery

Thursday, 23 November 2017 / 19:00 


SKMU Sørlandets Kunstmuseum
Skippergata 24 B
Kristiansand

OCA has the pleasure of announcing the seventh OCA Pop-Up in collaboration with SKMU Sørlandets Kunstmuseum in Kristiansand on Thursday 23 November at 19:00. The Pop-Up presentations form part of OCA’s focus to reach out to art communities in cities outside the capital, such as Trondheim, Kirkenes, Tromsø, Bergen, Stavanger and Bodø in collaboration with local art institutions and guest speakers. On the occasion of OCA Pop-Up Kristiansand, curator and founding director of the independent, non-profit gallery Entrée, Randi Grov Berger, will share some of her international experiences as a curator.

The OCA Pop-Ups have been designed in order to connect with local art communities, present OCA's activities, facilitate the use of OCA as a tool for art professionals in their internationalisation process, as well as further the transmission of information on the dynamics of the international art world. The aim of OCA Pop-Up is to strengthen the position of OCA as a discussion partner with art communities nationwide. The series was inaugurated in May 2014 at Trondheim Kunstmuseum. The second, third and fourth meetings were held in collaboration with Pikene på Broen in Kirkenes, Northen Norway Art Museum in Tromsø, and Bergen Kunsthall in October and November 2014. In 2016 OCA Pop-Up was held in Stavanger in collaboration with Rogaland Kunstsenter, and in Bodø, in collaboration with Nordland County Council. Click here for more information.

For more information, please contact OCA's Communication Manager Tara Hassel.


About Randi Grov Berger
Randi Grov Berger is a curator and founding director of Entrée in Bergen. She has worked for Performa Biennial, Printed Matter, KORO, and has been appointed artistic director of Vestlandsutstillingen (Western Norway Exhibition) 2018. She has an MA in Art in Public Realm from Konstfack University College of Arts, Crafts and Design in Stockholm, and Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen.

About SKMU Sørlandets Kunstmuseum
SKMU Sørlandets Kunstmuseum was established in 1995, and covers the entire region of Agder. This means that the museum is a regional resource centre for art. It is engaged in a wide range of activities, which include displaying the art collection and temporary exhibitions with Norwegian and international art. In 2015 the museum entered into a collaboration with the art collector Nicolai Tangen. The Tangen collection comprises a large number of Norwegian and Nordic art from the 1930s and onwards. Both the museum collection and the Tangen collection will be housed in a converted silo-building, forming a cultural powerhouse, situated next to the Kilden perfoming arts centre, on the waterfront in Kristiansand. The new museum location will open in 2021.

About Office for Contemporary Art Norway (OCA) 
 

The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and on the international arts scene, and support Norwegian artists in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.