KRISTINA BRÆIN
En rosinboks.— Se på denne maskeringsteipen! Er ikke gulfargen utrolig vakker? Jeg har kun med meg tre små pappesker med forskjellige hverdagsting til Venezia. Jeg skal nemlig lage kunsten der nede. En farrisflaske, noen teppefliser, en krakk, en rosinboks og mye teip er noe av det jeg planlegger å bruke. Kanskje jeg bare benytter rosinboksen, forteller Oslo-kunstneren Kristina Bræin. For noen måneder siden ble det kjent at Bræin skulle representere Norge på den neste Venezia-biennalen. Hun har aldri stilt ut i utlandet, og har kun drevet med billedkunst i 10 år.
På en utstilling stilte hun ut en stol med masse klær på, i en annen sto en hybelkomfyr på gulvet med et kjøkkenhåndkle over. - Jeg opplever ofte at folk går fra utstillingene mine. "Her var det ingenting," sier de. Eller de tror det ikke er åpnet ennå.
https://kunstkritikk.no/kartets-makt/
HANS RAGNAR MATHISEN
Da Keviselie, som er Mathisens kunstnernavn, i 1978 var med på å etablere kunstnergruppen Mázejoavku sammen med blant andre Britta Marakatt-Labba og Synnøve Persen, banet de vei for nye retninger i den samiske kunsten ved å ta med seg sin samiske kultur og identitet inn i samtidskunsten.
urfolkskartografien (såkalt indigenous cartography)
https://www.nasjonalmuseet.no/samlingen/objekt/NMK.2018.0078
Europeans are, however, traditionally more tied to the Beaux-Arts Academy idea of there being proper materials for art production. I remember how most people in Europe during the early ’70s, when I first spent time there, still had definite ideas about this— Marcel Broodthaers’s mussel shells, for instance, were not yet widely known or accepted—and, moreover, these ideas were tied to still other prohibitive opinions.
And yet many objects really are beautiful, aren’t they? Is there anyone who does not love oak barrels, with their beautiful shape, texture, and technology? I love metal oil barrels in the same way.
https://www.artforum.com/features/1000-words-jimmie-durham-189918/
I LIKE TO MAKE THINGS that are more or less portable—nothing much bigger than my own body. But, as people say, one thing often leads to another: Ever since I dropped a five-ton piece of marble onto a Ford Festiva for the 2004 Sydney Biennale,
Beginning in the mid-1960s, I worked with everything I found, whether it was objects or material. In general, though, I find man-made objects too talkative and boring, while I am a fanatical lover of all that material is—plastic, bone, iron, wood. In the United States, the poor stuff of our continent has been so degraded and feared; I am not sure that anyone over in Europe, for example, would have had the idea to carve giant heads of national leaders into the side of a mountain. That kind of pragmatic
contempt for the natural environment seems a product of the colonists of the Americas.
And so when I eventually moved back to Europe in 1994, I decided to work primarily with stone, as an antiarchitecture, antimonument tool.
I love metal oil barrels in the same way.
In January 1966 I began creating precarios (precarious), installations and basuritas, objects composed of debris, structures that disappear, along with quipus and other weaving metaphors. I called these works "Arte Precario", creating a new independent category, a non colonized name for them. The precarios soon evolved into collective rituals and oral performances based on dissonant sound and the shamanic voice. The fluid, multi-dimensional quality of these works allowed them to exist in many media and languages at once. Created in and for the moment, they reflect ancient spiritual technologies—a knowledge of the power of individual and communal intention to heal us and the earth.
https://www.ceciliavicuna.com/introduction
Personal note
2409 2025
Personal influences:
Anders Elsås took me in under his wing when I had just started to paint. He gave some space at Knust and encouraged me to exhibit what I had.
It's good when it looks like it was made in the thirties, or the twenties.
I mention this, it has stuck with me, because the 20's and 30's meant absolutely nothing to me at the time.
We looked at the huge coffe table art book he had lying around. I remember Nude descending...
I was only trying to see if I could paint like that. I saw that I could. That was a big part of seeing art for a long while.
Later came Grunnvann and talked about Mondrian and DeStijl. And I had no idea, and he couldnt understand that I was doing what I was doing without knowing about these guys.
That happened in the beginning of Kit also. Several times but most exemplatory was the Phd who couldnt get the fact that I didnt know of Lucio Fontana, while we're discussing a painting I made that had a cut canvas.
Like relational aesthetics isnt known. Art is already there. Fontana cut the canvas ages ago. Just the idea that something like cutting could be confined within art histroy. And that shpuld be som important for as an artist know, is.. i dunno.. i dont function that way
not to say its not important to know...
the uninterrupted flow of little experiences, observations, disturbances, small ecstasies, or barely perceptible discouragements that make up day-to-day living." (Etel Adnan)
discuss Adnan’s several trials to construct a borderless world and her ability to create a surrealist picture of a borderless world where the individual self could absorb the other with its conflicts and contradictions; thus, turning into a hybrid Self; i.e.,
a borderless world in which there are no walls to separate people but always open windows and doors to connect with the other.
As Adnan says, “The elements I’m most interested in are the void, emptiness, framed spaces, passages, I mean doors and windows. Walls usually disappear from my memory, or, if they linger, turn into wavery surfaces, moving patches of pale colors”
the de-colonization of the inner self by portraying an inner borderless world where one can enjoy “open doors, open seas, once in a while an open heart: dwellings”
Gunstein Bakke - Murskueteknikkane
I Iliadens tredje song ser Helena ned på kampane frå Trojas bymur, og må peike ut dei greske krigarane. Denne scena har sidan blitt omtala som murskuet, og i dramaet inneber eit murskue at eit eller fleire vitne fortel om kva som går føre seg utanfor scena. Slik skriv desse dikta seg ut av det kjende, ut av det overbelyste og inn mot det som beveger seg i skuggane av det vi er vande med å sjå etter
Frå Audiatur . no bokhandel
Protesterende tunger | Vinduet.no
Ida M. Andenæs
Om poesiens kraft og Etel Adnan og Cecilia Vicuña
Anmeldelse: «Kvenbiennalen 2025» ved Nordnorsk kunstmuseum – Anmeldelser og anbefalinger
Markus Llanto's kiste på Kvenbiennalen
https://www.nasjonalmuseet.no/aktuelt/2022/Disse-kunstverkene-kjopte-Nasjonalmuseet-fra-jeg-kaller-det-kunst/
2022
A stick in the forest by the side of the road
Jimmi Durham
Dokumentafifteen
https://documenta-fifteen.de/en/lumbung-members-artists/jimmie-durham/
https://www.kodebergen.no/en/whats-happening/exhibitions/indigenous-histories
From Sao Paolo to Bergen