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 Lecture Performance by CORNELIA SOLLFRANK 

artist, cyberfeminist and hacker, Berlin.

Sound design by Malte Steiner. 

Tuesday 6.9.2016 at 20:00

LANDMARK, Bergen Kunsthal

In her text assemblage the artist takes us on an adventurous trip into the realm of zeros and ones, of data and pure information, of ciphers, signifiers and figures. On the other side of reality, we encounter suspected heroes, leaks and phreaks, engineers of escape who control our secret desires. Rape can be performed in many ways. In a state of total transparency: What shall we eat, when society feeds upon the repressed? Knowing yourself means knowing what to look for.

ALSO

Booklet & web-release by SYNSMASKINEN: a new booklet, BURST, and the new version of the web-site SYN/MASKIN

Antibodies and immune system. Thermosphere, exosphere,atmosphere, inner sphere, biosphere, lithosphere, hydrosphere, cryosphere. Scaly, blue creatures circulating at the bottom of an intelligence. The transition between afternoon and hatred.

 

 

September 2011 Copenhagen
A conversation between Grupo Etcetera: Loreto Garin Guzman & Frederico Zukerfeld and Frans Jacobi

Composed of visual artists, poets and actors, the collective Etcetera began in 1997 in Buenos Aires. They bring art to where social conflict is born, in the streets, and then carry this conflict into the arenas of cultural production, including the media and art institutions. They enter the urban scene as a statement of protest or denunciation, and as a consequence they refer to a time and a specific place. Their practice is characterized by humor, poetic research and deconstruction that shapes a new kind of committed art: free from banal rhetoric and often very sarcastic and “incorrect.” In 2005 they took part in the founding of the International Errorist Movement, an international organization that claims the error as a philosophy of life.

The conversation took place on occasion of Etcetera’s recidency at Kunsthal Charlottenborg in Copenhagen 2011 – and in connection with the phd-project of Frans Jacobi: ‘Aesthetics of Resistance’. We publish this interview now in june 2016 as a prequel to the new collaboration between Etcetera, Frans Jacobi and Thomas Killper. This new collaboration is part of the research SYNSMASKINEN. It is currently evolving and can be followed at:

www.synsmaskinen.net/maskin/thematic:Utopia

 

39.3.2016 Bergen, Norway
A conversation between writer and poet Nathalie Quintane and artist Gitte Sætre
in connection with Quintane’s reading at Audiatur Festival 2016

Nathalie Quintane (b. 1964) is a french poet, living in Digne-les-Bains. She has published a series of books in the borderland between poetry and other litterary genres – play, novel, self-biography, reportage – investigating the relation between representation and reality.

In her reading on march 38th at the Audiatur Festival in Bergen, Quintane insisted on an extra text, departing from her book ’Tomates’ that she was invited to read from. In an urgent adress she told us about the ongoing occupation of Place de la Republique in Paris; NuitDebout. This interview was done hastely, on the day after her reading.

39.3.2016 Copenhagen 

A conversation between Kristian Byskov and Frans Jacobi
as part of the ongoing research of SYNSMASKINEN.

Kristian Byskov is a visual artist and writer based in Copenhagen, DK. He has created the theatre piece Dark Pool together with Sidsel Carré, Kristian Hverring and Maria la Cour. Dark Pool was presented first time in X AND BEYOND in Copenhagen and works with the subject of affective cyborgs and embedded catastrophes in complex systems.

SYNSMASKINEN is a series of inquiries into contemporary political crises. The project will consist of several art-projects, each exploring a certain aspect or manifestation of contemporary crisis. Together these visions are attempts to unfold a contemporary cosmology; a new political horizon.

http://www.synsmaskinen.net

 

SONORO RUGIR & SOCIALLY ENGAGED ART WITHOUT SOCIETY & THIS WEAKNESS THAT I AM 

Martinezphoto by Israel Martínez

Monday 9.11.2015 at 19:00 at LANDMARK, Bergen Kunsthal

ISRAEL MARTINÈZ: SONORO RUGIR 

EKATERINA SHAROVA: SOCIALLY ENGAGED ART WITHOUT SOCIETY

BRANDON LABELLE: THIS WEAKNESS THAT I AM 

ISRAEL MARTINÈZ: SONORO RUGIR (RESOUNDING ROAR). Audiovisual work by Israel Martínez, presenting a mix of pieces by the artist and collaborators plus some excerpts of texts around Mexico’s sociopolitical present. With collaborations by Adela Goldbard, Antena Collective, Chantal Peñalosa, Diego Martínez, Elmer Mendoza, Erick Ruiz Arellano, Félix Blume, Gerardo Montes de Oca, Leonardo Da Jandra, Sandra Sánchez, Sergio González Rodríguez, Tito Rivas and Verónica Gerber Bicecci.

When becoming space, the power over a territory spreads like a map. Having maps is knowing about the organization of space: a joint focus on realities and possibilities of domain. To observe above things, through them, inside them and beyond them, concerns the strategic thinking. Sergio González Rodríguez

The work of Israel Martínez (Guadalajara, Mexico 1979) reflects upon several social topics through sound, music and their relation to images. He has produced video installations, site-specific projects, actions, interventions and graphic works. He has also made multi-channel sound installations and composed a music between electroacoustic and spatiality. In 2007 he received a Distinction Award of Prix Ars Electronica. In 2012 he was resident at the DAAD’s Artists-in-Berlin Program, and at Vienna’s MuseumsQuartier in 2014. Some of his works have been acquired by two of the most important collections in Latin America: Jumex and MUAC/UNAM. His aural work is published and distributed worldwide by labels such as Sub Rosa, Aagoo, Musica Moderna and Abolipop. Since 2008 he teaches seminars and workshops focused on sound in a contemporary context. He’s also co-founder of the multimedia platform Suplex and the music label Abolipop Records. www.israelm.com

EKATERINA SHAROVA: SOCIALLY ENGAGED ART WITHOUT SOCIETY. Have the recent explosive artistic strategies really made a change in Russia? What were the mechanisms of including the Russian actionist performances into the contemporary art museum in the West, and then, in Russia? Pierre Bourdieu in his essay “On Television” (1996) argues, “Television, which claims to record reality, creates it instead. We are getting closer and closer to the point where the social world is primarily described – and in the sense prescribed – by television”. Do we really know enough about the social world beyond the screen? How critical can one be to the manipulation mechanisms of the media? What place do the unheard voices take here? These are some of the questions to be discussed at the meeting.

Ekaterina Sharova is an art historian and curator based in Arkhangelsk (Russia) and Oslo (Norway). Ekaterina received her MA in Art History from University of Oslo, after her literature, philosophy and pedagogy studies in Russia, Norway and Italy. She invited some of the key figures in contemporary Russian art and music scene to Norway, such as Pussy Riot (with the First Supper Symposium, 2013 and 2014), Petr Pavlensky (Forrådt, 2013), did screening of the first film about P183 (with Ø-ZONE group, 2014), booked musician Noize MC (Barents Spektakel, 2015). Most of them were outside of Russia for the first or second time. She is interested in questions of media and representation, art in public space, power and popular culture. Grassroot groups, culture of discussion, decentralization, communication between the center(s) and periphery in Russia are important for her current research. She established art groups Ø-ZONE (Oslo) and Arctic Art Institute (Arkhangelsk-Murmansk-Saint Petersburg). Ekaterina has been writing for Klassekampen, Billedkunst, colta.ru, etc.

BRANDON LABELLE: THIS WEAKNESS THAT I AM .The figure of despair, the figure of illegality, the figure whose body is withdrawn, the figure toward which I must turn, the figure of vacancy and of urgency, the figure without papers, the figure that has nowhere else to go, the figure from afar, and who suddenly comes close, the fragile figure, and the one from which these ideas follow, to disappear, to reappear, the figure of a future resistance, of hope and of misery, the figure that forces another citizenry.

Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. He develops and presents artistic projects and performances within a range of international contexts, often working collaboratively and in public. Recent projects include “Sixth Housing Estate”, South London Gallery, London (2015), “Civic Center”, La Casa Encendida, Madrid (2014), and “Hobo College”, Marrakech Biennial parallel project (2014). He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2006).

 

 

22 WOMEN AND OTHER RECENT PROJECTS

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22 Women, 2014, Alfredo Jaar, 22 framed pigment prints. Courtesy the artist, New York

Friday september 4th, 2015 at 11:00 at Stiftelsen 3,14, Vågsallmenningen 12, Bergen

In this talk chilean born, New York-based artist, architect, and filmmaker Alfredo Jaar will present his exhibition 22 Women and other recent projects. 22 Women is a further development of his examination of images and their mediating and supportive structures that in turn form our sensibilities. 

The project is an expansion of Three Women (2010), an installation in which miniature photographic portraits of three women – Graça Machel (Mozambique), Ela Bhatt (India), and Aung San Suu Kyi (Burma) – are brightly illuminated with an assembly of tripod-mounted, fluorescent spotlights placed in near proximity to each image. 22 Women presents more subjects from around the world who predominantly are relatively unknown activists unseen by the powerful amplification of the mass media. Jaar’s installation is not solely a research project into women leading specific social causes – putting them into the spotlight – but also gestures towards that very spotlight as a key factor in the dynamics of our attention and the invisible hand ‘manufacturing consent’. Typically for Jaar’s work, 22 Women presents a difficult tension in which the mediating structures of art and the media rub shoulders, giving no easy answers and instead present a constellation of elements that are both celebratory and contradictory.

22 Women is a work in progress as Jaar´s goal is to expand the project to incorporate one hundred extraordinary and outstanding women, which he can shed bright light on. At 3,14 the installation with Amira Hass (Israel/Palestine), Bertha Oliva (Honduras), Camila Vallejo (Chile), Hawa Abdi (Somalia), Jenni Williams (Zimbabwe), Kalpona Akhter (Bangladesh), Lina Ben Mhenni (Tunisia), Lydia Cacho (Mexico),Mahnaz Mohammadi (Iran), Malalai Joya (Afghanistan), Mathilde Muhindo (Democratic Republic of the Congo), Nawal El Saadawi (Egypt), Ni Yulan (China), Olayinka Koso-Thomas (Nigeria/Sierra Leone),Razan Zaitouneh (Syria), Sandra Gomes Melo (Brazil), Susan Burton (United States), Svetlana Gannushkina (Russia), Ta Phong Tan (Vietnam), Tetyana Chornovol (Ukraine), Vandana Shiva (India),and Zainab Alkhawaja (Bahrain), is on view.

Alfredo Jaar’s work has been presented worldwide. He has participated in the Venice Biennale (1986, 2007, 2009, 2013) and Sao Paulo Biennale (1987, 1989, 2010), as well as in Documenta (1987, 2002). He has had major exhibitions at The New Museum of Contemporary Art, New York; Whitechapel, London; The Museum of Contemporary Art, Chicago; and the Moderna Museet, Stockholm, to name but a few. A major retrospective of Jaar’s work took place in three institutions across Berlin in 2012 (Berlinische Galerie, Neue Gesellschaft für Bildende Kunst e.V., and Alte Nationalgalerie), and, in 2014, the Museum of Contemporary Art Kiasma, Helsinki, hosted the most extensive retrospective of his career to date. 22 Women was previously shown at Sørlandets Kunstmuseum, Kristiansand, Norway, in 2014-2015.

This lecture is presented in collaboration between Stiftelsen 3,14,  Bergen Academy of Art and Design and the artistic research project Synsmaskinen.

22 Women, 2014, Alfredo Jaar.
22 framed pigment prints. Courtesy the artist, New York

A LECTURE AROUND WALTER BENJAMIN’S ESSAY ‘THE AUTHOR AS PRODUCER’

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Gerald Raunig  in TONIGHT 🙂 SYNSMASKINEN at Rom8, same friday.

Friday, May 23, 13h, 2014 at KHiB, 4th floor, C.Sundtsgaten 53

Gerald Raunig is a philosopher and art theorist. He works at the Zürich University of the Arts, Zürich and the eipcp (European Institute for Progressive Cultural Policies), Vienna. He is co-editor of the multilingual web journal Transversal and the Austrian journal for radical democratic cultural politics, Kulturrisse. Raunig has coordinated a number of transnational research projects connected to eipcp including Creating Worlds, which investigates the relationship between art production and knowledge production in the context of cognitive capitalism. His recent books include: A Thousand Machines: A Concise Philosophy of the Machine as Social Movement (2010); Art and Contemporary Critical Practice: Reinventing Institutional Critique (co-edited with Gene Ray) (2009); Art and Revolution: Transversal Activism in the Long Twentieth Century (2007); and Factories of Knowledge, Industries of Creativity (2013)

Gerald Raunig lives and works in Zürich.