Notes:

 

(i) including works by Sofia Eliasson, Moa Franzén, Emily Illett and Hélène Førde.


Related artworks:


Everything Began And Ended (2013),
 
Site-specific Installation produced for the group show pOTSYd, located in "the bowels of Bergen".

 

Whiteout III (2013), Site-specific installation for exhibition "Det Ruinrelaterte" at Prosjektrom Normanns, Stavanger.

Whiteout II (2012), site-specific installation produced for my BA-graduate exhibition, located inside a freight container at the Bergen Town Square.
 

Whiteout I  2011

PREMISS, BERGEN.

Site-specific, performative and interactive installation.

Materials: Slide projector showing no images (directed outwards through dirty window) on pidestall and layers of found, untreated plywood, hanging painting (latex, ashes, strips), heliotherapy lamp (white light) on shelf; painting (latex, ashes) mounted in window of a recovered one-man sauna, computer, projector, staircase, text on wall (masking tape, acrylic and ashes), glass bottle with ashes and water.  

From the group show 'Limen', December 2011 (i). 
 

 

 

Ever since the beginning of my artistic career I have observed the dirty politics of groups shows, especially the part relating to the allocation of available space. The "best spots" are quickly proprietised by the loudest and least flexible voices. Humbleness will only grant the corteous artist with crumbles. After feeling repeatedly 'pushed out' of the white cube, so to speak, I decided not to be victimised, but rather to take advantage of that which is least valuable to the majority. There is nothing more wonderous than the unexpected in order to rethink one's thinking. I then reframed my artistic aphorism to embrace the methods of alchemical transformation of neglected spaces and materials. 

 

In the group show Limen, whilst the other artists make use the main space of the artist-run gallery space Premiss, I have occupied Premiss' 'non-spaces': the hallways, the windows, the used one-man sauna left behind by its previous owners.

Upon entering the hallway, reads: "Whiteout (n.) [wait-out] is a mental condition arising from excessive exposure to white spaces (...)". On the shelf rests a bottle; its contents: water and ash = lye. PS: drinking lye is not recommended to those of you whose life is worth living. As the solid pieces in the dirty solution will settle on the bottom, perhaps (or perhaps not) reminding the viewer of the sands of time in an hourglass (a symbol used, for instance, on pirate flags to strike fear into the hearts of their victims: memento mori - time will run out for every human). From the ceiling hangs an Eva Hesse-looking semi-transparent painting made of latex and ashes. This combination of material produces a pugnant fish-like or decaying flesh smell. The painting is lit/backlit (depending on your viewpoint) by a heliotherapy lamp, often used in the Nordic countries to help against winter-depressions. A grey character flips through empty slides on a slide projector, illuminating a squared spot of dirt on the window glass, transforming the glass from something to look through to something to look at in rythmic morse-like intervals. The light signals can be seen from far, far away. Next to to the main venue stands a fully functional one-man sauna where the visitor can regain some heat in the otherwise unheated Premiss. Once upon a time a martial arts' center, its sauna was probably used to loose a few extra pounds before a fight. Inside it the visitor may sit down and sense (observe/smell/touch) yet another latex and ash-painting, until the stench and temperature become unbearable. 

 

The sauna, measuring approximately 1x1x2m, was soon after Limen to become my very own curatorial poject within the curatorial project Premiss by Rasmus Hungnes and Tarald Wassvik. The second Sauna-artist to exhibit here was Eric Wangel. His video loop was screened through my latex-painting (see video below):

 

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