Tildelinger Kunstakademiet 2014
Det ble delt ut 8 atelierstipend til MA og BA avgangsstudenter fra Kunstakademiet. Stipendmottagerne disponerer atelier i bakbygningen på Kunstnernes Hus, Wergelandsveien 17, for perioden august 2014-august 2015:
Knut Ivar Huseby Aaser (15.august 2014 – 1.august 2015)
Tiago Bom (15.august 2014 – 1.august 2015)
Serina Erfjord (15.august 2014 – 1.august 2015)
Ina Hagen (15.august 2014 – 1.august 2015)
Martin Titus Boguslav (6. oktober 2014 – 1.sept 2015)
Chandra Sen (6. oktober 2014 – 1.sept 2015)
Sigbjørn Pilskog (6. oktober 2014 – 1.sept 2015)
Urd J. Pedersen & Calle Segelberg (6. oktober 2014 – 1.sept 2015)
Daisuke Kosugi, 20 000,-
Daisuke receives support for his project titled Meeting with uncle Yu j i (working t i t le).
The project is a performative presentation of video documentary and musical production. The main material for this project will be a video documentary of meeting with his uncle who lives in NewYork. The conversation will follow the uncles story of migration for his dream of playing music, juxtaposed with Daisuke’s story of migration and current position as a newly graduated art student.
The documentary will start with a portrait of both his uncle and Daisuke. It will also include research topics such as aspirations to urban cities and “survival of the fittest” in the cultural scene, in relation to the role of ethnic communities. During and after the research he would like to direct and produce his uncle’s musical production here in Oslo.
Daisuke wants to investigate how this research will affect both the collaborative production and the performative presentation.
Carl Mannov, 20 000,-
Receives support for his proposal to go on a 10 day study trip to Saint Petersburg during The European Biennial of Contemporary Art, Manifesta†10. Focusing on the curatorial aspects of the exhibitions in relation to the current political climate of Russia, the project functions as an investigation that will be documented and shared through an open presentation. His interest involving this project lies mainly with the relationship between the political stance of Russia concerning freedoms of expression and the premise of Manifesta, being a European exhibition of expressions. Having been the imperial capital of Russia for little over two hundred years, the historical architecture from before the stalinist USSR remains and is one of the strongest motivations related to Mannov’s own practice and his work with formal structures that connote architecture.
Helena Lund Ek 20 000,-
In the upcoming year after her graduation Helena wishes to make a book. Taking a standpoint from one or two of the female artists in the Vasari Corridor collection. The starting point would be a trip to the Vasari Corridor in Firenze in Italy, a one kilometer long corridor containing only portraits, mostly self portraits, something with which Helena has been working since first starting painting. The outcome of her visit would be a book with drawings, paintings, academic research and personal notes on the female selfportraits seen in situ, along with the history of the artists. This project is a continuation and an advance on her thesis for graduation where she made a close reading of Gustave Courbet’s painting ‘L’Atelier du peintre’. The trip is the starting point for an artistic and an academic work, as an investigation into the spiritual as well as political possibilities for their art, and to concentrate on a few of the female artists in the collection. Hardly any of the female artists working in renaissance Italy have taken a place in the history of art, though their importance and art are equal to the men of their time.
Stipend utvikling av egen praksis BA
Mikael Lo Presti, 5 000,-
Thomas Bergsten, 5 000,-
Mimmi Mattila, 20 000,-
As background research for her MA thesis she started to gather definitions of expression that relate to her practice, mainly around linguistics and different forms of humor, and collect them together in the form of a glossary. Mimmi wishes to continue the process and make it into a longer term project getting deeper into what she started touching upon. She plans to expand the work and broaden the specter of the research during next year, in order to build a more extensive list of expressions and explanations. She wishes to use the glossary as a tool for more disciplined learning that can serve as a framework for further work but also become a work of its own. Mimmi receives support for her plan to develop the material further and the result will take the form of a publication.
Vikram Uchida-Kanna, 20 000,-
In September 1913, the Austrian philosopher Ludwig Wittgenstein traveled to Norway in order to restructure his thinking and person through a type of monastic desocialization, and he decided to spend the winter in a guesthouse in Skjolden, a small village north of Bergen. In the 100th anniversary of Wittgenstein’s departure for Skjolden, Vikram receives support to make a journey to the site, and to camp for a period of two weeks, starting in June of 2014, at the still intact stone foundation of Wittgenstein’s cabin and use a direct experience with the site and the living conditions in Skjolden as the starting point for a performative examination of the relationship between Wittgenstein’s work and its isolated context, or more broadly, between thinking and place. Wittgenstein’s time in Norway remains understudied both academically and artistically and Vikram would like to use this time as a form of research, during which he intends to produce plein-air landscape painting and read texts by Wittgenstein—and others on philosophy, solitude, and monasticism.
Tarald Wassvik, 20 000,-
During his MA studies Tarald has made a lot of water colours, and he receives funding to develop this way of working to a book in 25 copies. He wants to make 300 paintings in 41x30cm for the book, which will then get 300 pages. This work will give him the opportunity to follow the loose ends from his Masters program and to gather his watercolor production in one work which can be conveyed in its entirety. The book is intended as a natural extension of the personal format pictures are painted in. The contents of the book will span the introverted and psychological, to the participatory and descriptive. The paintings are also titles that will be listed in the back of the book. These offer a key to the reading of individual works and book whole. The book will contain no text other than the titles, because Tarald wants this to be perceived as a work in itself, more than cataloguing of watercolor paintings.
Stipend utvikling av egen praksis MA