Künstler: Marte Eknæs
Veranstaltungsort: Kunsthall Stavanger
Ausstellungstitel: Marte Eknæs – Air Conditions Kunsthall 2025
Veranstaltungsdatum: Oktober 15 - November 22, 2020
Hinweis: A dialog between the artist and Kirsty Bell is obtainable genau hier.
Full gallery of photographs, press launch and hyperlink accessible after the bounce.
Images courtesy of Kunsthall Stavanger, Stavanger
Kunsthall Stavanger presents an exhibition by Marte Eknæs as a part of the exhibition venture Kunsthall 2025.
The venture Kunsthall 2025, invitations artists to supply new works in response to Kunsthall Stavanger’s constructing and its Centennial in 2025. In the years main as much as the celebrations, the constructing is present process a number of renovations, which the artists are additionally invited to react to. As the primary artist participating within the venture, Eknæs initiates a dialogue with Kunsthall Stavanger’s constructing and its historical past. The exhibition follows a venture by Eknæs proven within the fall of 2019 at Kunsthall Stavanger, the place she introduced the sculpture Air Body (2019) within the staircase of the constructing.
In the present exhibition, titled Luftbedingungen, Eknæs works with the constructing as a system, activating the exhibition as one other part within the constructing’s construction. The title has a number of references: Air as a fabric and sculpture as an unstable entity that takes completely different types in response to altering conditions. The plural type of the phrase ‘conditions’ within the exhibition title additionally emphasizes the various and unequal states of this primary useful resource.
Taking as her start line the newly put in air flow system at the kunsthall, Eknæs has created the work Atmen (2020), which connects on to the operational air circulation within the constructing. As an alien limb it extends the air duct into the gallery house, the place it ends as a sculptural work on a plinth. Through the duct, Atmen is in direct reference to the surface, and the fixed circulate of air is one among its materials parts.
Während Air Conditions, Eknæs works with concepts of system-thinking, extra exactly pointing to how the artworks are elements in a better system. According to Eknæs, the roles they maintain might be manifold: activator, connector, occupant, vessel, communicator, physique and materials. The technique of observing and studying from an industrial language and types that outcome from utility processes, is a steady thread by means of the exhibition and in Eknæs’ follow. This might be exemplified within the collection of Inflatables put in all through the gallery areas. Custom-made in PVC by a ship fender producer, they’re inserted into the gallery by means of the skylight, or are in a state of deflation or resistance – displaying air as a fabric in itself.
Originally meant as a site-specific exhibition, Eknæs has employed the time period situation-specific in response to the constraints laid on the set up of the present. Due to the pandemic, the mounting of the artworks has occurred by way of digital platforms, with Eknæs in Berlin and the set up workforce in Stavanger. Situation-specificity is right here used as a response, not simply to the bodily website, but in addition to the circumstances which can be shaping the making and exhibiting of the paintings.
Following the thought of situation-specificity, Eknæs factors to the local weather emergency and the function oil extraction performs within the deterioration of the atmosphere. Here, Norway and the town of Stavanger – also known as the oil capital of Norway – play central roles. As this accelerates, Eknæs considers the function all of us play on this scenario, and significantly the function of artists and artwork establishments. In a direct response and an act of giving up exhibition house, Eknæs dedicates elements of one of many galleries to data regarding a lawsuit introduced in opposition to the Norwegian Government for his or her granting of latest licenses to drill for oil within the Barents Sea. The case, introduced ahead by a gaggle of environmental organizations, might be heard within the Norwegian Supreme Court on the 4th – twelfth November, and data might be added to the exhibition because it progresses.
This additionally gives a selected context to different works within the present, significantly the video work aƒ12 Flares, Currents (2020), which is a collaboration between Eknæs, filmmaker Michael Amstad and musician Powell. Partly shot within the Stavanger space, it combines the vastness of the seascape and the feel of its floor with industrial spill management processes of chemical socks absorbing fluids. The sounds are elongated and hypnotic, giving the looks of liquids coagulating and time retracting.
In the identical gallery, Eknæs presents a collection of wall-hung sculptures from the collection Insular (2017- ongoing), constituted of insulation materials foam glass, which is commonly used to insulate rooms for artwork storage. Normally this materials stays hidden inside partitions, however right here Eknæs brings it into the gallery, emphasizing the pendulum impact between the paintings and the system it sits inside.
Another utilitarian object that usually options in Eknæs’ work is the trash can. Here, her curiosity is predicated in how these objects cater to essentially the most primary on a regular basis exercise, the disposal of waste, thus drawing a considerably skewed connection between artwork and trash. Although, current at reverse ends of the worth scale, these classes usually share the widespread categorization of not being “useful”.
For this exhibition, Eknæs mixes the materiality of sculptures with the materiality of the constructing itself. In alternative ways the works resist or adapt to the structural layers of the constructing, and finally pushes by means of the structure to point out it as a respiration entity – quickly internet hosting the circumstances created by Eknæs’ work.
MARTE EKNÆS lives and works in Hamar, Norway and Berlin, Germany. Her follow is essentially context primarily based, and he or she usually works collaboratively and cross-disciplinary. Selected exhibitions by Eknæs embody Kunsthall Oslo; Between Bridges, London; Bonner Kunstverein, Bonn; Kunstnerforbundet, Oslo; Kunstnernes Hus, Oslo; What Pipeline; Detroit; and Trondheim Kunstmuseum. Her subsequent exhibition “!” opens at Efremidis Gallery, Berlin in November this 12 months.
Addressing the constantly altering context of her work, Eknæs launched the transdisciplinary internet platform, formsofflexibility.house (FOF) by way of Kunsthall Stavanger’s web site in 2019, and continues to develop it along with her personal and others’ contributions.
Together with Swiss filmmaker Michael Amstad, she has produced a number of video initiatives, together with People Mover(2017) which was screened at UKS, Oslo; Grüner Salon / Volksbühne, Berlin and The Kitchen, New York. They even have an ongoing audio visible collaboration with the musician Powell, which is revealed on the platform afolder.studio.
The exhibition has acquired beneficiant assist from Arts Council Norway.