Tildelinger Kunstakademiet 2017
Juryen bestod av:
Therese Veier (programansvarlig master Kunstakademiet), Rike Frank (Associate professor, Kunstakademiet), Ida Kierulf (kurator Kunstnernes Hus), Anna Daniell (FKDS atelierstipend 2016/17).
Stipend er avstemt mot Blix fondet og BKH stipend stipend, 24.04.17
Juryen er blitt enige og foreslår følgende fordeling av stipend for perioden høst 2017/ vår 2018:
FKDS ATELIERPROGRAM – 8 ATELIERSTIPEND PÅ KUNSTNERNES HUS:
The jury is happy to award a studio stipend to Ane Kvåle. Kvåle works mainly with large sculptural constructions where she appropriates an idiom associated with exhibition architecture and interior to the manufacturer’s instructions and formulations of viewer’s / public’s movement and experiences in the face of artistic expression. The sculptures, based on the exercising purely functional operations, exceeds occasionally into a vague and incidence based ornamentation and details that seek to undermine or complicate those new objects. Through a formal repertoire, largely comprised of materials emblematic of historical and contemporary art production, she wants to implement the exhibition situation as a model for a reflection on how statements, expressions and inquiries are configured. Her practice alternates between specialization in / and preparation of text and planning / building the artworks. The sculptures are often large and it is a process that requires a lot of time and space. A studio at Kunstnernes Hus would facilitate that she can devote her concentration and effort to continue to develop her projects further. To be part of an atelier community where they will work in context and exchange with other young artists in an interesting and dynamic phase, is also very inspiring and stimulating.
Therese Frisk writes that a starting point of work is her own ignorance that has come to be developed to a meeting between herself and the expert. Frisk invests a lot of time in observation in order to understand the new field she wants to learn about and find people with whom she can have a dialogue and consult with. Her interest in improvisational jazz began with an earlier project called A Study of Musical Instruments, since then she has worked with sound. Sound is something she feels a strong urge to continue to immerse herself in, the interest lies in listening, the musician’s gaze and thoughts contrary to her own, as well as to release control during the process. Frisk wants to use the studio stipend to further develop the opera project that she has worked on during her master and to continue to explore the voice as an instrument, but this time involve more people and also work with a choir. She plans to contact various choirs in Oslo and study them during their exercises. She will observe both professional and amateur choirs. What particularly interests her is how the choir singers acts as a unison voice.
Ronak Moshtaghi has been awarded a studio stipend. Her relation to art is coming from her back ground in painting but she is working with different medias and materials such as collages, text, video, performance and in one of her recent projects, radio as a format for her work. Struggling within the space between secrecy and frankness, abstraction as a conceptual process has been appearing in most of her work in relation to both text and image materials. In this process Moshtaghi has been dealing with the moments where the rudeness of a narration and aggressive silence of an abstract image meet. Abstraction appears in her work as a resistance to transparency and not to reduce or simplify things but to complicate them and protect them. In addition to having a studio base practice studio for her it is also a very important professional social space. Since working with people, having dialogue with other artists, initiating collaborative projects and discussing our mutual local and international political concerns within artistic environment is an inevitable part of her character and big interest for her. She hopes by having the opportunity of a year of stay at Kunstnernes hus studio she can stablish her carrier as an artist independently from school and be able to extend and continue her connections and collaborations within Oslo art scene after graduating.
The FKDS jury would also like to award a studio stipend for Lykourgos Porfyris, whose practice is focusing on sound, performances and painting. He states that his work is a playground of failures, provocation and misinterpreted narratives. The purpose of his artworks is to subvert masculine standards and stereotypes, to propose more complex
and multilayered identities. He is also interested in the clichés of pop culture and how these elements are interacting with his minoritarian identity. Porfyris works with a variety of mediums, from painting to drawing and from performance to sound. The studio has been a striking element of his work as it has been the base of his whole practice. Large scale paintings, which need space to be created, as well as my drawings which work as blueprints for bigger projects, both require a studio for their development. Being in my studio for more than 9 hours a day, I might also get the chance to test my sound projects. Lykorgos writes that a studio in Kunstnernes Hus will provide him with an extremely convenient workspace, not only because of its location, which he is familiar with, due to the exhibitions and the Academy room but also in that It will give him the opportunity to coexist with people that he knows and has had cooperated with for two years. In addition, a safe environment will provide a smoother transition from a student to a professional artist in a foreign country.
In his artist statement Pete writes that he is approaching the digital image from a materialist position, his work engages with the cables, optics, and processes that interweave virtual and physical space. In a situation that does not differentiate between digital and analogue, whereby language, objects, and datum flow interchangeably, he finds himself looking at the image as a subjective accomplice, following as it accelerates through fragmentary processes of dispersal and mutation. The multidisciplinary nature of his practice—from photography, to sculpture, to reading groups —is a test site for the development of a poetics of the haptic: a physical and emotional economy of image-touch. Pursuing a diffractive methodology, his work forms an aperture for reading research through, with, and around visual media. Fleming writes that an FKDS Studio Grant at Kunstnernes Hus, would give him the opportunity to fabricate new works and develop exhibitions that are scheduled for the coming year in Oslo—it is here that he is dedicated to establishing himself as an artist.
Julie Karine Schie Olsen
Julie Karine Schie Olsen works mainly with photography and text. The work attempts to look more closely at what is left if we take away what binds a story together, how you can still bind together and find new ways to create unity and coherence. Memory, narrative and the possibility / impossibility of seeing anything other than one’s own perspective. During a studio stipend period she will work with thoughts about narrative, alternate histories or alternative ways of telling stories. She will explore it in video format, in a work further with the relationship between text and picture. She would also like to write a script for a movie that will be based on the idea of a person who does not remember anything, or who remembers everything. She wants to work more with the installation and explore the narrative in how the works are displayed. An example would be the room for her fictional person. The room would be a place to store and sort. To sort the information, to look at it and try to determine what something is, to find a new logic in assemblages of things. Schie Olsen also works with filming from people’s perspective in the same way that she has taken pictures before. She will work more with perspective, expand it, move in and out of it, kind of like a ghost, who can approach unmarked, but that still is not able to enter completely and fully. These are some of the things she will continue to work with in a given studio space stipend period.
Peder Horneland writes in his application that since his early twenties he has under taken a study of the practices of occultism, ritual magic and people hoodoo, wooden interests him greatly not only as a weird shit generator, but also as a very good mirror of the many pitfalls and traps in human reasoning and perception. The two fields of art and magic are often closely related, with a constant borrowing back and forth. This has been downplayed in art history until recently, it’s still remained presented throughout. Over the last three years he has found his installation and performance work moving to a situational aesthetic, and an interest in engaging rather than presenting. The act of offering a challenge or problem to the viewers or participants, often but not necessarily a social one, has become very relevant. Effects like group synchronization, mob behavior, and initiatory practices has come up. Horneland is also gathering a contact network of scandinavian artists (primarily based in Oslo so far) in the intersection of magic and art, towards creating a study group on the subject, and out of this possibly an art collective.
Linnea wishes to use the studio sttipend to continue working on the same topics and themes she has explored during her bachelor studies. Her materials include oil painting, drawings, 3D renderings, dance, performance, lectures and moving pictures. She is concerned with folk art and uses decorative techniques such as marble, one stroke painting, cultivation and drying of flowers, wigs and faux-bois painting (trompe-l`æil). During her studio stiopend period, she wants to look deper into quilting, an ancient women’s art that has 21 million practitioners in the United States alone, all women who do not earn money on this work according to Linnea.
PROSJEKTSTIPEND MASTER, BELØP 20 000,- NOK:
In her artist statement Myrstad writes that in her work she collects and tells stories on the topics of sociality and self; she is interested in tropes of work, value and contribution. How our occupation (or lack of) becomes a social role which plays a part both in how we imagine ourselves but also inherently in how we are viewed by others; and how these two perspectives seemingly often fail to correlate. Myrstad wants to talk about what it can mean to contribute or be part of a community or society and who it is that gets to define these terms. Currently her work and research is focused on fantasies of the artist/poet as an emancipatory or disruptive figure in both the political, the personal and the common: Looking at historical and contemporary examples of the societal role of the artist and how she is defined both through her relation to institutional and defining powers but at the same time as part of the precariat. In the next year she will devote her time to collecting material, talking and writing. She has begun to work on a novel which will be one outcome of her research.
Together with the artist and peer Siri Wohrm, this summer Daniel Hansen will begin working towards an exhibition at the Natural History Museum in Oslo, where they want to carry the show in 2018 or 2019. He therefore applies for contributions to the production of works. I’m coming use the grant to purchase materials, such as rare minerals and other things, that photographing and making installations. Hansen sees it as a good chance to work over a longer period to a major exhibition. The interventions they plan to perform in the museum will be out of context, but may also be read as part of the museum’s collections. They will not mark their works with titles because it is interesting for visitors to see the works as a little absurd part of the collection. The exhibition will only be announced at the entrance and some works will have the lyrics to side of himself, which will not be referred to as just artwork. By taking the starting point of the museum’s exhibitions, we want to do in-depth questions about reproduction, anachronistic historical readings and how different forms of life is valued. The first thing that meets most visitors as they enter the museum’s main hall is a large dinosaur fossils, or, it looks like a fossil. Actually, it’s a cast of other fossils that probably not even complete, it is namely very rare that all parts of a fossil is found.
Martin White is awarded the third project stipend to continue an investigative project which he has undertaken for the last 12 months, and produce new works from this continuing research. Over the course of my research, he hopes this project will have many outcomes, and as such it is a perfect project through which he can establish his artistic voice within a specifically Norwegian context, and using a specifically Norwegian subject. The subject of this ongoing project is Dr. Carl Wilhelm Sem-Jacobsen (1912–1991) who, at Gaustad Hospital in Oslo, experimented upon patients by placing electrodes deep into their brains, applying current and measuring the results. Through his investigation White has discovered primary evidence that hSem-Jacobsens experiments were conducted without the consent of patients. During his investigation of the archival material White has discovered thousands of slides of patients, which were previously unknown. No index exists of these images, or of the patients. He is in the process of indexing the images and the patients’ names and dates, which will provide the most comprehensive index of the individuals that Sem-Jacobsen experimented upon. No index has previously been available. Due to privacy law, the images and their presentation are highly restricted by the image archive at Teknisk Museet. The tension in this case between public interest, concealment, bureaucracy, personality rights, personal data and Sem-Jacobsen’s commercial gain based on personal data is of great interest to him. The first outcome of this research is the work ’Are We Not Drawn Onward, We FeW, drawn OnwarD to NeW erA’ (2017), which is a lecture performance / live video essay in which he will present a selection of images from Sem-Jacobsen’s professional archive, whilst navigating through his career following the logic of the images and the legal restrictions surrounding what can and cannot be shown. The next step in this project for which he is allocated support will be to contact the former patients, or their families to inform them of his project and the existence of these archival images. White would like to research the former patients and/or their families. Currently the control of the images rests with the archive – however, the images could be ‘re-patriated’ with the families or individuals photographed, who would then maintain legal control over their use and distribution. As this subject operates at the edges of the law, he will seek legal consultation to guide what can and cannot be shown and what constitutes a breach of personality rights according to Norwegian law.
STIPEND FOR UTVIKLING AV PRAKSIS STIPEND, MASTER, À 5000,- NOK:
Siri Helene Wohrm Fossum
Has been allocated the stipend for development of practice. Her artistic practice is situated at the crossroads of the scientific and rational and the poetic and sensual. She works to identify where in the world the mineral gypsum occurs, and travel to these places to do different interventions. It may be pristine places, tourist attractions, gypsum mines where there has been productive industrial exploitation, or where it has been attempted to execute commercial operations. Based on the place’s history and character, the projects change and develop depending on the people, issues, and other external factors she hits on. She finds that completion in a white gallery space is both difficult and problematic, and is always looking for other ways of thinking and showing art. Not to say that she opposes the exhibition situation, but that a bureaucrat at the National Archivist must adhere to her whim have equal value in her practice as an object that she displays in an exhibition context. Together with artist Daniel Hansen she plans an exhibition at the Natural History Museum in Oslo. During the Master’s program they have been in close dialogue with the museum, which has been open for a partnership. A realization of this project is something they will be working towards from summer 2017, and they have ambitions to implement the project during 2018.
Rahraw has been awarded the development of practice stipend. He states that his art exists between the spaces of politics, war, and personal lives. Through his artistic activities he has expressed his reaction against war as a political creation. His role in protests against the Government and the Russian aggression in Afghanistan brought imprisonment for artistic activities.Rahraw`s fight against the anti-art government and fundamentalism was not only through publishing but also his creation of free art courses for young male and female Afghan refugees. To encourage youth to create art he began a competition for young artists. Also on that time he started a discussion about establishing a Women art center, and in 2006 the women art center for afghan women was initiated.
PROSJEKTSTIPEND BACHELOR, BELØP 20 000,- NOK:
Eva Rosa Hollup Roald
Eva Rosa Hollup Roal is awarded the project grant from FKDS to further development of her project “Sleneset”. Hollup Roald`s desire is to expand and comple the project. She would like to present the material in a book consisting of text and photography, as well as an exhibition. She is am seeking support for study trips and further development of this project. Sleneset is an island in the ocean on the coast of Helgeland. Hollup Roald visited this island the first time in July 2015. During this visit, she found a flat area surrounded by rocks; an intermediary between countries and water. Scattered throughout there was something that could resemble leather from animals, plaster, plastic or cardboard, but that turned out to be algae. These algae had been washed up on the shore, from its natural habitat, the sea, during rough weather. When the algae remains on the land, expelled from the sea, they are broken down and changes in color and shape, until they eventually become completely broken down and disappear. This is happening in fairly frequent cycles. She wants to draw up a text and photography based story about what she experience as an almost absurd impermanent nature process. With photography as a tool she will personify the lived algal process. With this interest and point she wants to develop a poetic-documentary with Photography, text and narrative, who takes residence on this island.
Hugo Hedberg is awarded a project grant. In his work Hedberg focuses on rhythm, movement, language and communication. Through dance, performance and video he explores these complex topics. He is currently interested in the experience of seeing and being seen. In September 2017, he wishes to travel to Japan to develop a new project. The idea is to stay two weeks on the Reversible Destiny Lofts, an apartment complex in Tokyo designed to challenge and stimulate the senses. The house created in 2005 by artists / architects Shusau Arakawa and Madeline Gins. In the 1990s, Arakawa & Gins developed a theory called “procedural architecture.” The theory is all about architecture that can transform one’s personal well-being and longevity. The duo created the concept “Reversible Destiny” and built an apartment complex based on these theories. People who live here get the chance to discover the full potential of one’s body and a powerful experience of living and working in different rooms. (Http://www.rdloftsmitaka.com) The reason Hedberg wants to go there is because of the project “To see yourself from the outside.” Since September 2016 he has, along with choreographer-student Karen Eide Bøen, collaborated on a dance performance where they explore movements associated with speech. They have created a piece where they verbally describe their own movements and describes and instructs the other. The piece premieres in March 2017 to the Khio. They examine the communication, the power of language, and what impact this will have on our
movements. Hedberg is interested in how speech and movements affecting his self and his self-esteem. The project based on a feeling that he wanted to see himself from outside. Parallel to the show, Hedberg works on a “bodily diary” where he writes about how he experiences his body, thoughts and memories. He is trying to use the instruction and description method for influencing the flow of the text.
Fatou Madelen Åsbakk
Fatou Madelen Åsbakk has been awrded the FKDSs project grant to develop, launch and establish one of her projects called, Valgfri Virkelighetsoppfatning Forlag (Optional Reality Perception Publishing) (VVF). The publishing house will be led by her and a graduate student from Arts & Crafts at KHIO. They will publish books and artist books, but also audio books, posters, and films. The publications VVF will publish should “seek to surpass, and be beyond, the rational, using academic / artistic excellence, honesty, experience and knowledge. The aim should be to reach a “higher” reality, where fantasy, the unconscious, dream and nightmare should have the intention to merge with the “ordinary reality / reality”, but without any kind of limitations.” Fatou will use the project grant for a study trip to Documenta, equipment the publishing needs to produce and disseminate projects, as well as an exhibition / launch of the publishing company. As the film is her main ambition, the biggest expenses in her project is aimed at equipment she is lacking to produce, publish, and disseminate film. In the graduation exhibition this year Valgfri Virkelighetsoppfatning Forlag / Optional Reality Perception Publishing will be introduced with her graduation project «Tredveaarene».
STIPEND FOR UTVIKLING AV PRAKSIS STIPEND, BACHELOR, À 5000,- NOK:
Ylva Kemi is awarded the development of practice stipend. She is interested in the image’s unresolved conflict between narrative and essence. Kemi`s storytelling therefore moves through the exploration of materials, through a historically designed idea around surface and space. She utilizes surface, copies, borrows, cooks or dry cleans something she thinks has been distorted, overlooked or misread. Her approach to painting and creating art is performative. She saves her makeup wipes, spills and wipe up liquids from the floor. She sits in her studio and chewing gum, trying coming up with new ideas. She stares at a canvas and pastes the chewing gum on it before she goes home. Her work usually begins with producing ideas at home in her bed, which she then moves back and forth between her home and her studio. Kemi loves to play with the material and allows it to change its place. She tries to think that food is color, dirt is color, makeup is color and color is color. All materials she uses has a role, the function is to satisfy her.
Kristian Suvatne is awardee the development of practice stipend. In his work Suvatne is interested in personal values and tastes around objects, and how our environment is a part of shaping this. This past year he has worked primarily with painting and sculpture. In a way, painting works as a result of managing his own studio situation. Previously, he worked more site specific with found and constructed objects, installations, and sculptures based on the object’s function and materiality in dialogue with the architectural. This is something he found to arise as problematic to bring into a studio situation, when he first got his own studio. Now he feels his s paintings work as a result or an objectification of his studio and process. He explores ideas he has about painting as an object and the subtle and tactile situations that arise in such a process. Suvatne wants to continue working with these thoughts, and develop new ideas and experiences around his own practice.