You are all very welcome to a sneak peek on thursday afternoon as part of the group meeting.
Opening will be at 19:00 thursday.
Right now I am ……
If you are in Olso next week come and see me at the Technical Museum or/and Black Box (check out the links for date/time).
Three works are shown in the Exhibition „Trails of Water behind a Passing Boat“ by the Azerbaijani Iranian-American artist Farhad Kalantary, who is based in Oslo.
The classical description which fits the Presentation of the works is video installation. Even if it is perhaps intended to experience the three parts as a kind of oneness, the piece “Migrations”gets out of the line. But to understand this I have to introduce the other two works, which are called “Massive Waves of Independence” and “The Day of Removal”. The latter is the first work the visitor of the exhibition gets to see. It´s a LCD-monitor laid on the ground of the staircase of the gallery. The screen shows scenes of workers on an building site from the bird´s eye view. The video is edited in a kind of cut-up technique. Loops of short movements are often repeated, reversed, slowed down or speeded up. Thereby the video gets a rhythmical character which is supported by the sound which is also cutted up. By using this technique the video reminds a bit of a music video clip. This held me off to search for a deeper sense in the video and I stopped at the point of consuming a rhythmical pattern arrangement. As that it worked quite well, for example in the seconds where a worker digging with a spate enters a kind of dialog with a dredger. The most confusing part of the video was the digitally created picture frame in the style of the 19th century or older, which framed the video. On this virtual frame also the title of the work is written and could be read by the visitor.
This Frame is one of a lot of things the second work, with the name “Massive Waves of Independence”, has formally in common with the first one. The difference is that the title of this piece is unreadable because of the bad resolution of the video. I don´t think that this is a problem what was impossible to solve. It´s a pity that this wasn´t done. The screen is also laid down on the floor, which underlined the bird´s eye view, which is used in this videowork too. The video works with smoother movements which are edited more floating compared to “The Day of Removal” . A cutout of a kind of pavement or pedestrian zone is shown. Groups of people are entering and leaving the picture all the time. They are moving forward but often they are pushed back by reversing the video picture. The cutout the camera makes is too small to get a feeling of great masses of people but it´s possible to abstract group building and splitting. It´s an often seen picture used when it get´s to deal with the individual and the crowd. Added with the title(if you are able to decipher it) and the more or less to the picture synchronized sound of natural waves in the water coming out of some speakers, the work becomes just an illustration. An illustration seen many times before.
Now we are at the third work. As announced in the beginning, it also deals with movements and yes it also uses the bird´s eye view but there are differences. Just the size of room, the four projections claim on the wall, makes this video installation dominating the exhibition mere physical. Contrary to the former two works the four video pictures are projected on the wall, although of the use of the perspective from above. The video picture shows vehicles of different kinds, moving from right to left. So the vehicle comes into the picture on the right side of the right projection passes the two projections in the middle and leaves through the left side of the left projection. This makes the four single projections becoming one picture, like a great screen in the cinema just interrupted by three slender columns standing in front of the screen. The vehicles are changing. Sometimes they are cars on a road and sometimes ships on the sea but the movement and direction seems to be always the same. These movements blown up in these huge projections are attracting the eye quite well and by watching a bit something seems curious an you are trying to get behind the technical way this all is realized. The problem is that you will get behind this very fast. And when you got it the work is abruptly quite uninteresting. Not because it would not be made well in an aesthetic and formal way but because of the fact that the whole work is based on a technical effect. So after first being impressed and then getting the technical secret of the work, it has nothing important to say.
At the end there are three videoworks dealing with movement, speed and rhythm, optically as well as acoustically. But for me they don´t become more than researches in abstract movements and the concrete scenes and motives, like workers, crowds,vehicles and the streets, places and seas, stay without a voice in these works. And this is a pity because if you read the handout, which gives you some information about the artist, his background and the background of the shown works it is clear that he has something to say. But the works have to speak not the handouts.
The exhibition is opened till 27. 02. 2009. So visit it in Stiftfelsn 3.14 gallery in Bergen to get your own impression.
A review of “adaptation now” Linda Soh Trengereid Galley Fisk
In several Star Trek episodes and movies Captain Jean luc Picard and the crew of U.S.S Enterprise is faced of against the BORG, an alien cybernetic race witch main purpose is to assimilate and incorporate everything in their way as a part of the Borg collective.
This might seem like a far fetched reference, but I see many parallels to the paintings Linda is presenting at fisk , young korean girls that have been assimilated to Norwegian culture, dressed in traditional Bunad for the conformation of there Christian beliefs.
And to top that of they have been equipped with moose horns.
Although the assimilation to Norwegian culture hopefully have been less violent then the methods of the Borg Im sure that its not entirely painless.
Placing moose horns on Korean girls in Bunad gives us a comical approach and insight to a very personal experience of being adopted.
Growing up in a small town in sweden with a friend that was adopted, I often encountered the, and was partly on the receiving end of small town racism.
My friend and his sister both adopted from south america handled there adoptions very differently,
He showed no interest what so ever to find out where he came from or who his biological parents where, while his sister struggled a lot with issues of identity and belonging.
Some of these issues can possibly be read not in the very well executed portraits them self but in the borders around the paintings, where typical Korean and Norwegian patterns are either perfectly inter weaved or crash, not violently (at least not in my eyes), but I wonder how someone more familiar with either of the traditions would read it.
I also wonder if these patterns tell a more personal story about the girls in the portraits and how they have experienced the assimilation.
She also lets the cultures clash in a more subtile way by placing a white silhouette cut out of a young moose in front of a black Seoul city scape painted directly on the wall, turning things around, but also seems to be saying ” yes its a crash but look how beautiful it works together”. And that Is actually something I would like to say about the whole exhibition.The paintings are technically very well executed and the “flower lights” hanging from the ceiling ties the room together making it in to a spatial installation more than an exhibition of paintings.