FRAGMENTERING OG KONTROLL
Sławek Rzewuski er dokumentarfotograf og journalist. Siden 2005 har han dokumentert sosiale problemer i Polen og i utlandet. Fra 2011 har han jobbet mye i Palestina og bidratt til publikasjoner for menneskerettighetsorganisasjoner på grasrota. Fotografiene hans har blitt publisert i magasiner og aviser over hele verden. Hvis du vil hjelpe uskyldige sivile i Palestina: https://www.palestinercs.org/en
FRAGMENTATION AND CONTROL
Sławek Rzewuski is a documentary photographer and journalist. Since 2005 he has been documenting social issues in Poland and abroad. From 2011 he has worked extensively in Palestine and contributed to publications for grassroots human rights organisations. His photographs have been published in magazines and newspapers around the world.
If you want to help the innocent civilians in Palestine: https://www.palestinercs.org/en
Curated by Karl Edvin Endresen
LIN PEI-HAN - COUNTER CURRENT
I 2021 slo norsk Høyesterett, som tolket artikkel 27 i ICCPR, fast at to vindparker på Fosenhalvøya gjorde inngrep i beitene til samiske reindriftsutøvere, og dermed krenket deres rettigheter. Per oktober 2023 er det to år siden den norske regjeringen brøt disse menneskerettighetene.
Denne utstillingen fungerer som en katalysator, og viser kunstens potensial som et politisk protestverktøy og initierer diskusjoner om samtidens kulturelle identitet og ytre påvirkninger. Den belyser de felles erfaringene av kolonialisme og kulturell utvisking som både det samiske folket og det taiwanske samfunnet står overfor. Kunsten dykker ned i klimaendringenes og energikrisens innvirkning på samisk kultur og reindriftsutøvere. Gjennom integrering av materialer fra ulike regioner og oppmuntring til kulturell utveksling, dyrker den politisk bevissthet og fremmer dialog om kolonialisme, miljømessig rettferdighet og menneskerettigheter.
Counter CurrentIn 2021, the Norwegian Supreme Court, interpreting Article 27 of the ICCPR, ruled that two wind farms on the Fosen Peninsula were encroaching on the pastures of Sámi reindeer herders, thereby infringing on their rights. As of October 2023, two years have passed since the Norwegian government violated these human rights. This exhibition exploration serves as a catalyst, showcasing the potential of art as a political protest tool and initiating discussions about contemporary cultural identity and external influences. It illuminates the shared experiences of colonialism and cultural erasure faced by both the Sámi people and the Taiwanese community. The art delves into the impact of the climate change and energy crisis on Sámi culture and reindeer herders. Through the integration of materials from diverse regions and the encouragement of cultural exchanges, it cultivates politicalawareness and fosters dialogue about colonialism, environmental justice, and human rights.
The exhibition is produced with support from Kulturrådet and Møre og Romsdal Fylkeskommune.
Curated by Karl Edvin Endresen
CARSTEN ANIKSDAL - TRIANGULATION
TRIANGULERING er filmet på forskjellige steder, og består av fjellandskap, postindustrielt landskap og uforglemmelig vakre solnedganger sidestilt. Forlatte bygninger, åpne landskap, veikryss og ubestemmelige steder som flyktig passerer oss, fungerer filmene hans nesten som et medium for transcendens, og beveger oss mot en form for tidløshet der bare naturen bor, evig. Aniksdal er en mester i sitt håndverk, og selv om denne utstillingen er hans første separatutstilling, har han finpusset sine ferdigheter i mange år som frilansfotograf, både i sitt arbeid for tv, film og i sin kunst. Vi er glade for å presentere TRIANGULERING i Kristiansund Kunsthall.
https://www.carstenaniksdal.com
Utstillingen er produsert med støtte fra Kulturrådet og Møre og Romsdal Fylkeskommune.
Filmed in different locations, TRIANGULATION is composed of mountainous landscapes, post-industrial scenery and hauntingly beautiful sunsets juxtaposed. Abandoned buildings, open landscapes, intersections and nondescript locations fleetingly passing us by, his films functions almost as a medium for transcendence, moving us towards some form of timelessness where only nature reside, eternal..Aniksdal is a master of his craft, and even if this exhibition is his first solo exhibition, he has honed his skill for years and years as a freelance photographer, both in his work for tv, film and in his art. We are thrilled to present TRIANGULATION in Kristiansund Kunsthall.
https://www.carstenaniksdal.com
The exhibition is produced with support from Kulturrådet and Møre og Romsdal Fylkeskommune.
Curated by Karl Edvin Endresen
MATILDE WESTAVIK GAUSTAD - HUMAN DAYS PÅ AIAIA
Det er en underforstått ting, i forkant av en utstilling, og noen ganger formulert med adresse til et forventet kritisk publikum – eller, man krever det av dem - at deres del av kontrakten er «å komme kunsten i møte». Ikke sjelden blir dette gnidd inn med et bastant «på kunstens egne premisser» som et definitivt punktum for all videre diskusjon. En brå parkering som effektivt stenger for alle andre eventuelle tilnærmingsmåter. På den ene siden for virkelig å skjerpe blikket til de oppmøtte. På den andre siden av slapp rutine og et ønske om minst mulig bråk. På den tredje siden – fordi det i ni tilfeller av ti er nettopp det som kreves. Fordi det ikke er noen annen måte å gjøre det på. Så er dette det tiende tilfellet, og jeg vil forslå en bypass-operasjon forbi tanken om et møte. Du er allerede en del av denne ekvasjonen, og sinnet ditt har for lengst flettet seg inn som den del av denne veven. Det er ingen sjokkerende konfrontasjon å spore, og det er heller en forunderlig form for gjenkjennelse som åpner for en dialog mellom menneske og teppe. Fordi du vet du har sett det før, men bare når du ikke var obs. Den gangen du la fra deg boken på nattoget og ble sittende våken og stirre ut av vinduet i flere timer, blinkingen av blålys som vekket deg den gangen politiet kom og hentet naboen din, og refleksjonen i øynene hennes den der gangen du med en gang visste at nå slo du henne jaggu på tjukka. Den type ting. Lag på lag av oppsamlet visuell erfaring, mot en på samme tid vennligsinnet, logisk og fullstendig nådeløs svart bakgrunn. Et mørke som i utgangspunktet er likegyldig, men jeg velger å se annerledes på det. Kanskje nettopp fordi dette er det tiende tilfellet, og fordi du vinner mest på å tenke over dine egne premisser innenfor disse rammene.
Matilde Westavik Gaustad har abstrahert det materialet drømmene våre er laget av, og markert et kunstnerisk oppholdssted på kanten av den uendelige natt vi kom fra og skal vende tilbake til. Noen vil ha det til at livet er et lys mellom to mørke. Det er selvsagt ikke noe man skal være så sikker på, og det å lese Samuel Beckett har bestandig gjort meg i godt humør sånn sett, og helt ærlig; jeg blir mer munter av å tenke på livet som noe mørkegrå grums mellom to lys. Eller som her, et mørke mellom to mørke, kontinuerlig utfordret av uventede fargeflater og sekundkjappe lyn.
Trondheim, 23. februar 2023
Tommy Olsson
MATILDE WESTAVIK GAUSTAD - HUMAN DAYS AT AIAIA
It is an implicit thing, in advance of an exhibition, and sometimes formulated with an address to an expected critical audience – or, one demands it of them – that their part of the contract is "to meet art". Not infrequently, this is rubbed in with a solid "on art's own terms" as a definitive end to all further discussion. An abrupt parking that effectively closes off all other possible approaches. On the one hand, to really sharpen the gaze of the attendees. On the other side of lax routine and a desire for as little noise as possible. On the third side – because in nine cases out of ten, that is exactly what is required. Because there is no other way to do it. Then this is the tenth case, and I would suggest a bypass operation past the idea of a meeting. You are already part of this equation, and your mind has long since intertwined itself as part of this tapestry. There is no shocking confrontation to be traced, and it is rather a strange form of recognition that opens up a dialogue between person and carpet. Because you know you've seen it before, but only when you weren't paying attention. The time you put your book down on the night train and sat awake staring out the window for hours, the flashing of blue lights that woke you up the time the police came to pick up your neighbor, and the reflection in her eyes that time you knew right away that you were hitting her on the face. That kind of thing. Layer upon layer of accumulated visual experience, against a simultaneously friendly, logical and completely unforgiving black background. A darkness that is initially indifferent, but I choose to look at it differently. Perhaps precisely because this is the tenth case, and because you gain the most from thinking about your own premises within these frameworks.
Matilde Westavik Gaustad has abstracted the material our dreams are made of, and marked an artistic residence on the edge of the endless night we came from and will return to. Some would say that life is a light between two dark ones. Of course, it's not something you should be so sure of, and reading Samuel Beckett has always put me in a good mood in that sense, and quite honestly; I become more cheerful when I think of life as some dark gray murk between two candles. Or as here, a darkness between two dark ones, continuously challenged by unexpected colour surfaces and lightning bolts in seconds.
Trondheim, 23. februar 2023
Tommy Olsson
https://matildewestavikgaustad.no
Curated by Karl Edvin Endresen
SEBASTIAN HELLING - DID YOU SEE ME?
Det er en konstant i arbeidet til Sebastian Helling, kanskje – overfladisk sett – lettest å se i insisteringen på kunstnerens signatur: S.H. Noe som stiller seg mer enn lovlig til for å bli misforstått hvis man ikke kjenner til kunstnerens bakgrunn. Vi skriver 2022 og det er ikke få billedkunstnere som deler denne bakgrunnen av nattlige tokt med spraymaling og adrenalin, men det Sebastian Helling har klart, og overhodet ikke gitt slipp på, er det å ha maktet å dra gatens realitet inn i samtidskunstens hvite kube, igjen og igjen. Dette var bestandig et spørsmål om hastighet, og det er ingen annen måte å gjøre det på; noen ganger får du bare signaturen, andre ganger er det ferdig når det er nødvendig å stikke av. Det rare med det er at det aldri blir feil, det som står igjen er uten unntak perfekt. Som om han er en av de få som på en måte er «touched», en av prototypene til den eneste og sanne guden. Jeg har helt ærlig aldri sett et bilde av han som ikke har gitt meg ereksjon og fått blodet til å koke. Hver eneste gang får jeg lyst til å finne meg noe tungt å løfte. Helst noen kilometer og i sprutregn. Jeg tuller ikke.
-Tommy Olsson-
SEBASTIAN HELLING - DID YOU SEE ME?
There is a constant in Sebastian Helling's work, perhaps – superficially – easiest to see in the insistence on the artist's signature: S.H. Something that is more than legally liable to be misunderstood if one does not know the artist's background. We are writing 2022 and there are not a few visual artists who share this background of nocturnal raids with spray painting and adrenaline, but what Sebastian Helling has managed, and not let go of at all, is to have managed to drag the reality of the street into the white cube of contemporary art, again and again. This was always a question of speed, and there is no other way to do it; Sometimes you just get the signature, other times it's done when it's necessary to run away. The strange thing about it is that it never goes wrong, what is left is without exception perfect. As if he is one of the few who is somehow "touched", one of the prototypes of the one and true god.
I've honestly never seen a picture of him who hasn't given me an erection and made my blood boil. Every single time I feel like finding something heavy to lift. Preferably a few kilometers and in pouring rain. I'm not kidding.
-Tommy Olsson-
KRISTIANSUND KUNSTHALL.
Curated by Karl Edvin Endresen
Produced with support by Kulturrådet and Møre and Romsdal Kunstsenter.
JOSEFINE LYCHE STARGAZE
1: to gaze at stars:
2: to gaze raptly or contemplatively
3: to daydream
In Lyches work we are met with a plethora of different expressions, but they do all have these defining characteristics that makes it a easily definable piece of Lyches: -they all contain biodegradable glitter.. Josefine Lyches Untitled Series is the foundation for this exhibition. A series that she has been working on since 2006 until present day. Anyone who has been in the presence of one of her Untitled Series works know that they are both mindbogglingly mesmerizing, beautiful and contemplative at the same time. Its tempting to see them as modern day Rothkos. Huge, expressive works, true, but they also do promote a kind of deep introspection in the viewer. I think Tommy Olsson once called Josefine Lyches works Psychedellic Minimalism, and if he didn´t, well..I just did.
-Karl E-
KRISTIANSUND KUNSTHALL.
Curated by Karl Edvin Endresen
Produced with support by Kulturrådet, Gjøco, Malia and Møre and Romsdal Kunstsenter.
HERMAN MBAMBA
In Line With: a selection of drawings
In Mbambas colourful drawings we find that there is entwined in between all the colours, shapes and the lines, a discerning concern about the world we live in. Mbamba, maybe more known for his large paintings, is by o means a stranger to the medium of drawing. To the contrary: he is a master of his craft, as it always has been an integral part of who he is.The a4 series of incredible 51 marker drawings all have intricate titles, often humorous, smart and insightful, taking the viewer even further in on Mbambas imagination and observations.Through lines, colours and shapes he investigates the world surrounding him, and it is our priviledge to be able to take part of it.
KRISTIANSUND KUNSTHALL.
Curated by Karl Edvin Endresen
Produced with support by Kulturrådet and Møre and Romsdal Kunstsenter.
SINDRE FOSS SKANCKE
En gjennomgang av forskjellige innfallsvinkler til et høyere nivå av en symbiotisk eksistens med betong, tåke og jern, bunnløse hav og endeløse fjell.
A walkthrough of different angles for a higher level of symbiotic existence with concrete, mist, and iron, bottomless oceans and endless mountains.
..is an exhibition of grand scale from one artist. Sindre has worked on painting his piece for a week in the gallery, and together with his paintings, he literally bombards us with impressions in this exhibition. Rust, glass, toxic chemicals and steel, paint, glue and plastic...it all melts together into some kind of abstract and grotesque landscape.
26.11.21 - 07.01.22
KRISTIANSUND KUNSTHALL.
Curated by Karl Edvin Endresen
Produced with support by M&R Fylkeskommune.
KAREN NIKGOL - «METAL GEAR GOETIA5000»
THE DRAWINGS ⚔️🔩⚙️💿
The show includes 3 drawings based on alchemical and masonic working tools, each mirroring the face of the viewer. The drawings are based on the principles of birth, life and death, combining chrome aesthetics, graffiti, occultism and the idea of new age narcissism and artificial life.The large and shiny drawings hold the space almost entirely on their own. Silver marker has been used to paint a sigil on the wall, and mirrors are placed around the gallery space. A portrait of Kim Kardashian in aluminum foil, drawn using a lighter to soot the foil. The symbols are in abundance, speaking the eternal tale of life, death and rebirth..
KRISTIANSUND KUNSTHALL.
Curated by Karl Edvin Endresen
Produced with support by M&R Fylkeskommune.
EGODEATH
Amir Amadeus
A K Dolven
Linn Halvorsrød
Sebastian Helling
Joar Nango
Karen Nikgol
Josefine Lyche
Sindre Foss Skancke
"In the Wind of the mind arises the turbulence called I.It breaks; down shower the barren thoughts.
All life is choked.
This desert is the Abyss wherein is the Universe. The Stars are but thistles in that waste.
Yet this desert is but one spot accursèd in a world of bliss.
Now and again Travellers cross the desert; they come from the Great Sea, and to the Great Sea they go.
As they go they spill water; one day they will irrigate the desert, till it flower.
See! Five footprints of a Camel!
V. V. V. V. V.""
Dust Devils"
The Book of Lies-Aleister Crowley
Curated by Karl Edvin Endresen.