Påskelektyre #1 Kunstløftet 1/2015

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«Gjennom statlig sensur stenges en del av virkeligheten for barnet – den blir i praksis et tabu-område i kulturen, et blindfelt enkeltmennesket ikke trenger ta stilling til.»

«Generelt kan vi si at bildene som kan være skadelige ikke bare har med hvor brutale de er, men også med vår e evne til å forklare barnet hva hun ser. Om vi ikke kan bygge en bro over gapet mellom det brutale bildet og det inntrykket det etterlater, vil potensialet for et sår eller traume bli større, og det ubegripelige kan innkapsles som rent ubehag.»

Kjetil Røed, Praktisk fornuft og kulturelle blindfelt

«Og sannheten er at veldig mange får lov, slik at hvis jeg legger begrensninger på slike opplevelser for mine barn, begrenser jeg samtidig deres muligheter for å ha felles referanserammer med sin egen generasjon.

Er det sikkert at det er klokt å begrense mine barns kulturelle kompetanse? Som lektor i mediefag burde jeg være mer enn kompetent til å besvare spørsmålet, men som mor er jeg stadig usikker på om jeg gjør rett.»

Grethe Melby, Når «alle de andre» får lov

Mer info http://www.kulturradet.no/barn-og-unge/vis-artikkel/-/ny-avis-fra-kunstloftet-sensur-og-skjerming

Notes on Location

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DSC_8979Nanna Debois Buhl

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Nanna Debois Buhl

DSC_8982Nanna Debois Buhl

DSC_8951Amalie Smith

DSC_8967Amalie Smith, Tove Storch, Tanja Koljonen

DSC_8985Tanja Koljonen

DSC_8948Tove Storch, Anngjerd Rustand

DSC_8957Anngjerd Rustand

DSC_8987Tove Storch, Cia Rinne

DSC_8972Cia Rinne

DSC_8974Cia Rinne

DSC_8988Cia Rinne, Kasper Hesselbjerg

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Notes on Location

Den Frie Udstillingsbygning, København

14. mars–19. april 2015

Med Cia Rinne (SE), Amalie Smith (DK), Anngjerd Rustand (NO), Kasper Hesselbjerg (DK), Tove Storch (DK), Nanna Debois Buhl (DK) og Tanja Koljonen (FI)

Kuratorer: Nanna Stjernholm Jepsen og Signe Kahr Sørensen

Nettpublikasjon: notesonlocation.dk

Mer info: denfrie.dk

(Foto av Eirik Lande & Anngjerd Rustand)

Departure, absence, flight, emigration

UTOPIA / KREUZBERG PAVILLON 14.03.15

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One’s time, the idea has failed, as if he had been given a box of time, brimful of hours and minutes for usage just like cash.

He could for example carve. He could sculpt chess pieces, play a game against himself.

He could do as old fashioned sea captains – the ship is wrecked from a storm, the captain sits hopelessly lost in the cabin yet fearlessly filling in the logbook.
There were films with these kinds of scenarios.

Or repelled on an deserted island, keeping a diary every single day into the eternal. Equipment lists, weather reports, small duties being done: the sewing in of a button, the eating of a seashell.

A single word surfaces from nowhere: Mesozoic. He can visualise it, hear it, but he can not grasp it. The word has no connotations for him. This often happens: significance dissolves, his treasured glossary spreads evaporate.

She raised her eyebrows over the disparity between her thoughts and her doings– ladling soup – and ever stronger the feeling of being outside the whirlpool; or that somehow a shadow had fallen over it all and that presently, without the colours, seeing everything as it truly was.

Which skeletal nerve pool in the mind did all this come from? Hours in Social Learning at school.

Learning digital double entry bookkeeping, logging into the bank, how to boil eggs in the microwave without exploding them, filling out an application for residence in this or that Module, or for working in this or that Enclave, heredity research on your family, negotiating one’s own marriage and divorce contract, genetically sensible pair matching, correct condom use to prevent sexually transmitted lifeforms. Hours in Social Learning had consisted of this.

The text is written freely after the early 2000s novel Oryx and Crake by Margaret Atwood and the 1900s novel To the Lighthouse by Virginia Woolf.

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