Plattform

  1. Dead Language Poetry
    Med dagens hastighet vil omtrent halvparten av verdens 6000 språk forsvinne i løpet av få generasjoner. Hva som går tapt når et språk forsvinner er en mangfoldig problemstilling som blant annet kan belyses fra et kulturhistorisk, lingvistisk og språkfilosofisk perspektiv. Med bakgrunn fra kunst, musikk og filosofi har Espen Sommer Eide brukt forskjellige tilnærmingsmåter for å se på fenomenet. Han er interessert i nettopp kompleksiteten i prosessene bak destruksjon, evolusjon og kreasjon av språk.

    Arkivering av språk kan fungere både som en destruktiv og kreativ prosess. Et av verkene i utstillingen kretser rundt hvordan språklige strukturer lagres i en kollektiv bevissthet, og hvordan stemmen i visse tilfeller kan oppheve tidens og minnets destruktive kraft. De hellige indiske Vedaene har blitt formidlet gjennom generasjoner (fra 1800 år fvt). Til tross for utelukkende muntlige overleveringer, er innholdet bevart ordrett på grunn av den spesielle måten de resiteres på, i komplekse paralingvistiske mønstre.

    I utstillingen behandles tematikken også fra et rent estetisk ståsted. Finnes det for eksempel et unikt lydlig avtrykk nedfelt i alle språk? Hva er et dødt språk,og kan det gjenopplives? Da Edison oppfant den første opptaksmaskinen for lyd, fonografen, ble den raskt sett på som et middel, ikke primært til å gjengi musikk, men til å høre opptak av stemmer fra mennesker som hadde gått bort. Stemmene fra fonografen opplevdes som lyder uten kropp, som ånder i rommet. Gjennom dekonstruksjoner av språket og stemmen berører Sommer Eide spørsmål som omhandler grensene mellom levende og døde språk, mellom mening og lyd, og mellom språkligmetaforiske strukturer og musikalsk organisering av lyd. I tillegg til utstillingen består prosjektet av en serie performancer med utgangspunkt i selvlagde instrumenter («Philosophical Instruments»).

    Espen Sommer Eide har medvirket i en rekke gruppeutstillinger og teaterproduksjoner, i tillegg til en omfattende karriere som utøvende musiker og komponist. Prosjektene Alog (med Dag-Are Haugan) og Phonophani har siden slutten av 1990-tallet vært blant de fremste eksponentene for eksperimentell elektronisk musikk i Norge, med en rekke utgivelser på selskapet Rune Grammofon. «Dead Language Poetry» er Sommer Eides første separatutstilling.

    Utstillingen er en del av et årlig samarbeid mellom Borealisfestivalen og Bergen Kunsthall. Årets Borealis har «The End» som et overordnet tema for sitt program, med stikkord som avslutning, fortid, foreldelse og forfall.

    Espen Sommer Eide (f.1972) er oppvokst i Tromsø. Han bor og arbeider i Bergen.

    Utstillingen er støttet av Bergen Kommune, Norsk Kulturråd og BEK (Bergen senter for elektronisk kunst)

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  2. Barbara Dawson is director of Dublin City Gallery The Hugh Lane. She is the author and editor of several books and texts on modern and contemporary art including Turner’s Watercolours at the National Gallery of Ireland ; Hugh Lane Founder of a Gallery of Modern Art for Ireland; Francis Bacon’s Studio; Trace Elements Francis Bacon Palazzo Reale, ; Barry Flanagan:; Hidden Islands Brian Maguire and The Spade and The Soufflé Richard Tuttle . She has curated several exhibitions including Barry Flanagan on O’Connell Street (2007); Julian Opie Walking on O’Connell Street(2008); Hugh Lane 100 Years (2008), Francis Bacon – A Terrible Beauty (with Martin Harrison ) (2009), Richard Tuttle Triumphs (with Michael Dempsey) (2010) and Civil Rights Etc by Rita Donagh and the late Richard Hamilton (2011) and Francis Bacon e la condizione existenziale nell’arte contemporanea (with Franziska Nori) CCC Strozzina 2012. She secured the donation of Francis Bacon’s Studio and contents for Dublin in 1998 from the artist’s heir John Edwards supported by the executor of the Estate Brian Clarke. The relocated studio opened to the public in 2001.

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  4. A seminar in the wake of Marianne Heier’s Festival Exhibition. With Marianne Heier, Ingrid Hjertaker, Ranjit Hoskote, Trude Schjelderup Iversen, Kim West.

    Venue: Bergen Public Library - the Auditorium

    Platform is Bergen Kunsthall’s series of lectures, presentations and debates. This autumn’s series will take place at the Bergen Public Library during the period when Bergen Kunsthall’s own building is being refurbished.

    Marianne Heier’s Festival Exhibition “Surplus”, which was concluded in July, had the character of a contribution to a debate, or a call for discussions of themes such as value, criticism and economics. The remains of the trawler Vima were placed outside Bergen Kunsthall. Seeing the installation was unavoi¬dable for all Bergen residents and tourists in the proximity of the idyllic city park in the summer months.

    The conspicuous position in public space was an important element in the artist’s wish to appear in a wider public context with an incitement to further discussion at several levels. As a new stage in the dialogic development of the project we present a seminar that looks back on the exhibition and some of the reactions that arose in its wake. The seminar is an attempt to break down the traditional dynamics of the exhibition format, where the exhibition as postulate is answered by public discussion, criticism from the expert milieux and coverage in the media, but where it is rare to return to the exhibition and look at it again in the light of these reactions. To what extent can such a project contribute to public debate beyond the traditional art-critical discourse? What is the potential of art to engage in criticism with the artwork as language, and to make an impact in the larger public forum?

    The title of Heier's exhibition made use of the concept of 'surplus.' The complexity of the concept is exploited in the exhibition to shed light on different value systems set up in opposition to one another, and thereby also on the dialectic between scarcity and surplus.

    A central element in the exhibition was the story of Vima, a trawler built in 1977, first registered in Bergen, and later sold to Russian owners. When Vima was sent to the breaker’s yard in Trondheim in 2011, she had been seized for illegal fishing and had incurred such large fines that it was no longer profitable to ope¬rate her. The story of Vima shows how an economic logic makes the trawler unseaworthy, while the ship itself should have been refitted for further use. The account doesn’t quite balance.

    kunsthall.no/default_e.asp?AID=1396&ID=31&K=6&a1=Landmark&a2=Arkiv&a3=Plattform:%20Surplus&act=ark&aar=

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  5. A seminar in the wake of Marianne Heier’s Festival Exhibition. With Marianne Heier, Ingrid Hjertaker, Ranjit Hoskote, Trude Schjelderup Iversen, Kim West.

    Venue: Bergen Public Library - the Auditorium

    Platform is Bergen Kunsthall’s series of lectures, presentations and debates. This autumn’s series will take place at the Bergen Public Library during the period when Bergen Kunsthall’s own building is being refurbished.

    Marianne Heier’s Festival Exhibition “Surplus”, which was concluded in July, had the character of a contribution to a debate, or a call for discussions of themes such as value, criticism and economics. The remains of the trawler Vima were placed outside Bergen Kunsthall. Seeing the installation was unavoi¬dable for all Bergen residents and tourists in the proximity of the idyllic city park in the summer months.

    The conspicuous position in public space was an important element in the artist’s wish to appear in a wider public context with an incitement to further discussion at several levels. As a new stage in the dialogic development of the project we present a seminar that looks back on the exhibition and some of the reactions that arose in its wake. The seminar is an attempt to break down the traditional dynamics of the exhibition format, where the exhibition as postulate is answered by public discussion, criticism from the expert milieux and coverage in the media, but where it is rare to return to the exhibition and look at it again in the light of these reactions. To what extent can such a project contribute to public debate beyond the traditional art-critical discourse? What is the potential of art to engage in criticism with the artwork as language, and to make an impact in the larger public forum?

    The title of Heier's exhibition made use of the concept of 'surplus.' The complexity of the concept is exploited in the exhibition to shed light on different value systems set up in opposition to one another, and thereby also on the dialectic between scarcity and surplus.

    A central element in the exhibition was the story of Vima, a trawler built in 1977, first registered in Bergen, and later sold to Russian owners. When Vima was sent to the breaker’s yard in Trondheim in 2011, she had been seized for illegal fishing and had incurred such large fines that it was no longer profitable to ope¬rate her. The story of Vima shows how an economic logic makes the trawler unseaworthy, while the ship itself should have been refitted for further use. The account doesn’t quite balance.

    kunsthall.no/default_e.asp?AID=1396&ID=31&K=6&a1=Landmark&a2=Arkiv&a3=Plattform:%20Surplus&act=ark&aar=

    # vimeo.com/50617895 Uploaded 196 Plays 0 Comments

Plattform

Bergen Kunsthall PRO

Plattform series includes presentations, lectures and debates involving some of the leading artists, curators and theoreticians on the contemporary art scene.
Follow live stream from Plattform events here: kunsthall.no/default_e.asp?k=8&id=144&a1=Video&a2=Live+stream#.VFDiJNSG-zA

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