Arr/Dep (catalogue): Some Words About the Works and the Artists


Anne Berntsen
(Norway, 1967)
The camera's eye shoots a steel bullet through the room where the individual is the investigated object. Home is here the platform where individuality is become deformed, in the attempt to find an existential stability. We watch through the key-hole, turned into voyeurs, stuck inside the chaos of everyday life, submitted myriads of inputs to which we do not lend more attention because they are too familiar to be notice, too common. And like our glances, we too are fleeting, open to all seductions from a world that doesn't waste sweetness really, knowing that this is all we are, and that we are it in a ridiculously short time-span.

Britt Sorte
(Norway, 1957)
An investigation into the rural environment : The women who set local life into motion. Britt has portrayed the women who with their engagement influence the local environment. All of them, each bringing her own experiences, origin and social position - from the kindergarten assistant and the lady at the checkout counter, to the politician and the administrator - they trace the outlines of a rural society in constant development: The limited geographic space where different localities, like those these persons represent, are met. Britt's portraits bring us on a journey between different realities, expanding our experience of the world we inhabit.

Cristina David
(Bucharest, 1979) comes from a non-central country, in the Western European sense. Her cultural references are nevertheless shared by an increasing number of people, and these are references defining our world as a global society. Tingvoll Kunsthall presented three videos where conceptions in connections with mass media engages with experienced reality, unveiling a gap between reality and our conception of it. She discloses in a simple, direct and poetic manner the states of our existence.

Gunn N. Morstl
(Norway, 1963) has documented with a video work her friendship with Karl Wrs, a man living a frugal life at his overgrown farm, entertaining his guests with old stories and old hymns sung with empathy - knowing that his life soon will turn into dust. The project has taken some years, and testifies a world bygone and lost. But the video not only testifies a local world attached to farming, with a taste of fairy-tale because it belongs to a lost era: The story about Karl and his special way of life, suggests a perspective in a time without a sense of past as well the present age, where we are transformed in even better units of consumption.

Heidi Rdstl
(Norway, 1973)
Heidi has sewn women's dresses using camouflage material, and the patterns which originally were produced for hunting and sporting return in the everyday clothing in an unexpected way. The camouflage thought in metaphorical sense and adopted to the human society suddenly can acquire an other value, from an ideological, political or economical camouflage, to the individual need or desire to disappear into the background, vanish. Or perhaps it is the imprint of a social imaginary which in the landscape finds a shelter from a present too complicated.

Ingvild Fagerli
(Norway, 1968)
Her video work Devotion examines one among many small events occurring inside the frame of the private sphere.

Sada & Cristina at KMR, Jan 19th 2008

Liv Dysthe Snderland
(Norway, 1967)
In the back seat is a video story where imagination is the bridge linking the everyday life world with a vaster one. The daily drive out and home again becomes a journey in time and geography: At the end of the tunnel waits the Promised Land. Imagination is the vehicle taking us far away, dampening the yearning and the gap between wishful thinking and reality.


Magnar Fjrtoft
(Norway, 1957)
Because rain is pouring and winds from the ocean are raging in the western parts of Norway, the walls facing southwest are seldom equipped with windows. When Magnar points at this aspect through a series of pictures depicting closed-off walls and well-kept gardens, our attention is drawn towards our environmental surroundings. The walls' astonishing incommunicability lead us spontaneously to suspect that the photos truly comment the people?s attitude towards the world. This impression deepens when we understand that these pictures show areas threatened by depopulation: Perhaps behind those walls the empty one is alone, because the daily life disappearing from the outskirts is substituted by an unstable presence - the one which a holiday place can offer.

mariannetondoMarianne Skjong (Norway, 1958)
Location exercise
I home (norw: m1 heim- from norr heimr): the world.
II a. An environment offering security and happiness.
b. A valued place regarded as a refuge or place of origin.

The global displacement of populations from rural to urban areas - from agriculture to industry - shapes new geographies, and people in motion forms hybrid territories and localities mingling with the old, cultural homogenous boarders. What is home in a world of global connections where every centre or home is someone else's periphery or Diaspora?
Returning home involves movement to and from places: Towards one place belonging to recollection, from another which is the present (but which soon will return to memory). You find yourself searching in the dust of an out-dated vocabulary. "Home" becomes a misunderstanding from muddled experience, events, meetings, places where we find ourselves in constant dislocation : A non-place. Maybe that's where we all belong.


Sada Tangara
(Mali/Senegal, 1981) came to Norway as a political refugee with a handful of photographies from his past in his luggage. These memories constitute his dearest vocabulary. In his hands the camera becomes an instrument to document misery and social degradation. When this photographic documentation was presented in the press, he was persecuted in his homeland.The pictures of neighbourhoods in the outskirts of Dakar bear witness of a global policy based on economic and cultural imbalance. The pictures' disenchant has nothing to do with an aesthetic approach on reality. This is not the work of the travelling photographer with a taste for the picturesque: the cabins of the urban and human outskirts, erected behind grand houses, and the children sleeping on the pavements of the African metropolis, isn't a distant phenomenon in time and place, but a harsh reality experienced by the photographer. It is the tale of the world we move through, a time where different social realities live in symbiosis - simultaneously, but without

Kurt Schwitters
(Germany 1887- England 1948)
Schwitters is surely one of the most influential artists of 1900. His work ranges from collage to sound art, from painting to installations, from poetry to typography. From the Artists Center in Molde (KMR) you can see the island of Hjertya: Schwitters lived there for the most part of the 1930s, first as a tourist then in exile from the Nazis, before fleeing further to England in 1940.

The whole world is your palate.
But only if you touch it -- take hold!

Paolo Manfredi
(Italy, 1968) is the project's curator:
The borderline work of culture demands an encounter with "newness" that is not part of the continuum of past and present. It creates a sense of the new as an insurgent act of cultural translation. Such art does not merely recall the past as social cause or aesthetic precedent; it renews the past, refiguring it as contingent "in-between" space, that innovates and interrupts the performance of the present. The 'past-present' becomes part of the necessity, not the nostalgia, of living.
H. K. Bhabha, The Location of Culture, 1994

Tone Olaf Nielsen (Denmark, 1967), supervisor:
Tone Olaf Nielsen is an independent curator, educator, and co-founding member of the artist-curator collective Goll & Nielsen and the curatorial collective Kuratorisk Aktion. For the past ten years, her practice has critically engaged notions of difference and resistance, and could be seen as a continual attempt to unpack questions of diversity and otherness, intolerance and conviviality, agency and protest in the age of global capitalism, migration, and war. To that aim, she has developed a transnational, interdisciplinary, and site-specific exhibition format, which provides a collective but agonistic space for the articulation and exchange of alternative representations of the world. Merging postcolonial, feminist, queer, activist, pluralist democracy, and sustainable development theories, Nielsen?s methodology stresses the socio-political dimension of curatorial work and its potential to promote positive social change through the transformative process of acquiring new objects of knowledge. Her most recent projects include: Democracy When!? Activist Strategizing in Los Angeles (Los Angeles Contemporary Exhibitions, Los Angeles, 2002), Minority Report: Challenging Intolerance in Contemporary Denmark (different locations in the city of Aarhus, Denmark, 2004), Niagara Falls Artist Host Program (Mercer Union, A Centre for Contemporary Art, Toronto, 2004), Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts (Iceland, Greenland, The Faroe Islands, Finnish Spmi & the Scandinavian Centers, 2006), and Those Who Control the Past Command the Future ? Those Who Command the Future Conquer the Past (Overgaden, Institute of Contemporary Art, Copenhagen, 2007). Nielsen holds a Cand.Phil. in Art History from the University of Copenhagen (1994) and a MA in Critical and Curatorial Studies from UCLA (2002). She has held various fixed-term institutional positions, most recently as curator at NICFA, Nordic Institute for Contemporary Art and as lecturer in art theory and criticism at the newly established Troms Academy of Fine Art in Norway.


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