Artipedia - Arts News

Preus Museum

Into the Landscape
June 3 - October 7, 2005

Preus Museum
Kulturparken Karljohansvern
Kommandorkaptein Klincks vei 7
Pb. 254 NO-254 3192 Horten

http://www.preusmuseum.no

The exhibition Into the Landscape looks at the genre of landscape, from the 19th century voyage pittoresque to aerial photography, from the postcard to contemporary conceptual landscape pictures. On display are over 100 works by professional and amateur photographers, researchers and artists from other disciplines. With ten international and thirteen national contributors, the exhibition offers a unique opportunity to go Into the Landscape.

The exhibition aims to show the breadth of the tradition of landscape depiction and how our ways of viewing the landscape are conditioned by our culture and interests. In the history of art in Norway, the landscape genre holds a strong position thanks to its associations with national romanticism and Norwegian identity. In many ways, this national gaze dominates our approach to other types of landscape depiction and to the real landscape that surrounds us. This exhibition seeks to expand and challenge this somewhat restricted gaze and to show the diversity of the Norwegian and international landscape tradition.

The exhibition starts out with the distinction between the romantic landscape painting and the more neutral and descriptive vista painting, two different tracks which it follows through to the present. Whereas the romantic landscape has been nurtured in a big way by the tourist industry, the more documentational, vista-type landscape has been dominant in contemporary photography. Pictures of towns, cultivated landscapes and industrial wastelands help to put the magnificence of unspoilt nature in perspective. In addition, we find artists and photographers who engage in dialogue with these traditions, deconstructing what landscape means to them personally, or exposing the consequences of society’s actions by means of striking constructed images.

The exhibition is produced by Preus museum and has been compiled from material in the museum’s own collection, together with loans from artists, private collectors and institutions including the National Library of Norway; Norsk Industriarbeidermuseum; Drammen Museum; SK Stiftung Kultur/Die Photographische Sammlung — August Sander Archive; and Collection C.F.D.R., Paris, provenance gb agency, Paris. Normanns Kunstforlag and Fjellanger Wideroe Foto AS have also contributed pictures.

Artists in the exhibition: Per Berntsen (N 1953-), Elina Brotherus (FIN 1972-), Hans Peter Chr. Dahm (N 1787-1844), Ilkka Halso (FIN 1965 -), the brothers Paul and Prosper Henry (F 1848-1905/1849-1903), Axel Hütte (D 1951-), Anders Kjaer (N 1940-), Halvard Kjaervik (N 1946-), Axel Lindahl (S 1841-96), Bard Loken (N 1964-), Léonard Misonne (B 1870-1943), Raymond Mosken (N 1957-), Ragnar Mork (N 1906-2002), Normanns Kunstforlag (N), Jorma Puranen (FIN 1951-), Ed Ruscha (USA 1937-), August Sander (D 1876-1964), Mari Slaattelid (N 1960-), Stiftelsen Norsk Landskap, Per Olav Torgnesskar (N 1966-), Underwood & Underwood (USA), Fjellanger Wideroe (N) and Rolf M. Aagaard (N 1945-).

For more information, contact conservator Hanne Holm-Johnsen, +47 33 03 16 30 / +47 91 85 03 03

For more information go to: http://www.preusmuseum.no

Astrup Fearnley Museum of Modern Art

Ann Lislegaard
Science Fiction and other worlds
26 May - 26 August 2007

Astrup Fearnley
Museum of Modern Art
Dronningens gt 4
0107 Oslo, Norway

http://www.afmuseet.no

Astrup Fearnley Museum of Modern Art has in recent years presented a series of exhibitions with younger Norwegian artists.

This year we have the pleasure of presenting Ann Lislegaard (b. 1962).

Ann Lislegaard’s artistic media are architecture, sound, video, installation, drawing and photography. Her works deal with the experience of time and space, and open up for alternative readings of our environment. In simple but concentrated spatial installations, Lislegaard challenges viewers’ visual references and ability to orient themselves. Through sound and light, she creates a consciousness of pictures seen only with the mind’s eye, and conjures forth different images and other possibilities for orientation. Language — as speech, text and sound — is an important factor in her art. One could say that through works touching on both the cognitive and perceptual world of experience, she explores language as a physical entity.

Some of Lislegaard’s works invite us into a cinematic or virtual space in which uncomplicated means such as spatial displacement, the combination of traditional film and animation, or the interplay between light and shadow, capture us in an almost meditative experience. Although often constructed in simple ways, these works contain striking aesthetic qualities. Lislegaard moves about in a digital landscape, exploring the possibilities of her media in order to create alternative experiences of place. In the new works Crystal World (after J.G. Ballard) and Bellona (after Samuel r. Delany), viewers are invited to enter a fascinating cinematic room in which they encounter monumental digital animations. It is science-fiction literature’s ability to create alternative places that fascinates Lislegaard and functions as a backdrop for some of her best works.

Ann Lislegaard has, in the course of the last decade, distinguished herself as a significant international artist. She represented Denmark at the Venice Biennial in 2005, and has exhibited at prestigious institutions such as Kunsthalle Wien, Louisiana Museum of Modern Art, Musee d’Art Moderne de la Ville de Paris and Statens Museum for Kunst, Copenhagen.

The exhibition Science Fiction and other worlds contains sound and light installations, drawings, photo and video works from the last ten years, and is presented in on the Museum’s lower level. The exhibition is curated by Gunnar B. Kvaran, Hanne Beate Ueland and Grete Årbu, and organized in close collaboration with the artist.

A catalogue with essays by Gunnar B. Kvaran, Lars Bang Larsen, Erik Granly Jensen, Bill Arning, Matthew Buckingham, Barbara Clausen and Simon Sheikh is available. info@fearnleys.no

For more information go to: http://www.afmuseet.no

The Contemporary Art Centre of South Australia

CONTEMPORARY VISUAL ART+CULTURE BROADSHEET VOLUME 36 NO 2

http://www.cacsa.org.au

The Contemporary Art Centre of South Australia (CACSA), is one of Australia’s leading contemporary visual art spaces presenting an annual program of commissioned national and international projects, lecture series and symposia; and publisher, with artist monographs, anthologies and especially CONTEMPORARY VISUAL ART+CULTURE Broadsheet magazine–with the view to promote and develop contemporary visual art practice, critical analysis, debate and writing in the Australasian and Southeast Asian region.

CONTEMPORARY VISUAL ART+CULTURE Broadsheet magazine has established in recent years a major regional profile, further determining its ongoing commitment to the publication and dissemination of contemporary cultural critical analysis and debate.

In 2005, Broadsheet was launched at the Palazzo Gritti by Greg Burke, New Zealand Commissioner for 51st Venice Biennale (then Director of the Govett-Brewster Art Gallery, New Plymouth). Broadsheet has also been launched at the 2004 and 2006 Biennales of Sydney, and the 2006 Singapore Biennale (as the sole international magazine Media Partner). The current issue Broadsheet volume 36 number 2 was presented at the Australian Pavilion, Il Giardini, 52nd Venice Biennale Vernissage.

In keeping with Broadsheet’s acute scrutiny of national and international art events and regional cultural developments, editor Alan Cruickshank presents an analysis of documenta 12’s magazine project and its relationship with the Asian and Australasian region in "Australia Too Far Away"; while three feature texts look at this year’s Australian representative artists at the 52nd Venice Biennale, Daniel von Sturmer, Susan Norrie and Callum Morton–the largest Australian contingent ever at Venice, with Rosemary Laing, Shaun Gladwell and Christian Capurro also in Robert Storr’s exhibition, Think With the Senses–Feel the Mind: Art in the Present Tense.

In conjunction with Singapore’s FOCAS (Forum on Contemporary Art & Society) collaboration with the documenta 12 magazines project, Broadsheet reproduces two texts from FOCAS 6-Regional Animalities by academic Kevin Chua and artist Ho Tzu Nyen investigating the ‘role’ of tigers in Malaysian/Singaporean cultural history. This collaboration complements Broadsheet’s presentation of two ‘parallel’ texts taken from the Visual Animals Symposium held in Adelaide in April– a reading of Darwin’s and Kant’s very different theories of taste in conjunction with the current interest in the role of nature in art, in "Against the Grain: Towards a Natural History of Art and Taste" by Ian McLean and "For Art: Against Aesthetics" by Donald Brook, his lament concerning the reparative effort being made by some art-theorists to restore beauty to trans-historical centrality.

Plus: Mercedes Vicente looks at the ’strategic position’ in the world of biennales of the 3rd Auckland Triennial: Turbulence; Robert Cook articulates Singaporean/Australian artist and newly appointed Singapore Biennale curator Matthew Ngui’s two decade survey Points of View at Sydney’s Museum of Contemporary Art; Natasha Conland with "The Oedipus Compost" looks at David Hatcher’s recent work and residency at Govett-Brewster Art Gallery, New Zealand; Alex Gawronksi analyses the Australian political and cultural landscape and its use and abuse of the "politically correct"; and Alan Cruickshank further presents an interpretation of the ‘dysfunctional marriage’ of Australia-Southeast Asian cultural and political relations in "Cultural Faultlines", the title of an anthology published this year by the Contemporary Art Centre of South Australia with texts by Indonesian poet and cultural critic Goenawan Mohamad, Malaysian historian and academic Sumit Man
dal, and Australian cultural commentators Rex Butler, Yao Souchou and David McNeill (edited by Lee Weng Choy, Artistic Co-director The Substation, Singapore and Alan Cruickshank).

Visit Broadsheet online at http://www.cacsa.org.au

To subscribe, email admin@cacsa.org.au or visit http://www.cacsa.org.au

For more information go to: http://www.cacsa.org.au