Commissioned by Vara Konserthus
7 nov; Opening cermonies at Sahlgrenska sjukhuset
Livet på landet
2017, May 18 - Aug 19
2017, Marsh 28
2016, Sep 10-11
2016, May 07 – May 29
2016, Feb – May
2015, Oct 19 – Nov 8
2015, May - Sept
2015, Feb 6-7
2014, Nov 20 – Dec 21
As we wake up from our dreams of high-tech as an agent of liberation, and digital utopias of networked democracies are merely a faint flicker beneath the eyelid, we may possibly slide into a darker fantasy. In this vision, technology has become a monster, a fetish, acting in our stead and thereby concealing our own impotence. In an age in which technology has fundamentally changed the world – even for those who do not possess it – the works in this exhibition examine possibilities for linguistic community and the question of what constitutes a self. By presenting the works of artists with different approaches to media, methods and modes of production, the exhibition reflects on the role and potential of aesthetics in an age dominated by communicative capitalism. Read more...
Folkets Hus och Parker – Filmdagar
Member of the jury, Skaraborgsalongen 2014
2014, January 11 – February 1
2013, October 26 – November 24
2013, October 10 – November 17
Helen Petts, Carolina Jonsson, Jason Havneraas, Trond Nicholas Perry
From the ornamental gardens at the Fannestranda beach, to the Schwitters cottage on Hjertøya, from physiocratic ideas to dada - throughout history Molde and the region has been a site for recreation and retreat, but also a place for the testing out of contemporary currents and thoughts. Local climate and soil was often a temporary breeding ground for ideas that largely were international and European, fueled by individual effort and research.
2012, Septemper 1-16
Hans Hamid Rasmussen, Carolina Jonsson, Preben Holst, DJ-prosjektet/Jinan Aljorani
Curator: Anne-Gro Erikstad
Opening: Saturday 1 September, 5:00 pm
The free animal turns its back on its own downfall and looks into the “open,” writes Rainer Maria Rilke in his Duino Elegies (1912–1922). The problem for us human beings is that we always have to turn our attention back to what has been represented and interpreted previously. We see the world as it has been created, but catch only brief glimpses of something more. This “more” is usually hidden from us, but as the veil has been lifted for just an instant, we continuously long for the experience to repeat itself. It is a melancholic form of longing, painful but also beautiful.
What separates the obvious from the hidden, the inner from the outer, the personal from the experience of belonging to something greater, resembles a piece of fabric – a veil, at times only a thin membrane. Melancholy has the tangibility and texture of a fabric, like a gray cloak and a woolen blanket. Allowing oneself to be enveloped by this fabric is not to passively turn away from the world, but to deliberately seek out a different experience of reality.
The works in this exhibition approach the major challenges of our time by using a language rooted in aesthetics and sensuousness. They speak of closeness and distance between people, of reconciliation with a traumatized natural world and all that is natural in us. Common to all the artists is the use of repetition and minor shifts that change our perception of time and space, along with a relentless insistence on one and the same thing, an urge to conjure up a discernible image of a feeling or an intuition – reflection by means of and in tandem with the technology employed. Through minor manipulations and a slight twist of the familiar, these works actively strive to change the way in which we see and experience the world. Additionally, there is a strong underlying political agenda.
This exhibition features works from the period 2006–2012, the second part in a series of exhibitions and events anticipating the opening of LevArt’s own premises in Levanger. The title of the exhibition derives from the prose poem cycle Le Spleen de Paris by French poet Charles Baudelaire. At a time when consumer culture was beginning to emerge, Walter Benjamin considered Baudelaire to be the artist who managed to break the brutality of the commodity by transforming it into a poetic object and thereby humanizing it.