ANDY ROCKET AND THE FLYING FISH NO. 1
BY ANDRE SMOGE
The carton ‘Andy Rocket and the Flying Fish’ is written and drawn out by the local artist Andre Smoge.
45 pages have been produced over 50 days and came from the printer the day before the opening of 'Fallen Fruit' by David Allen Burns and Austin Young at Kunsthall 3.14.
As fresh as it gets, talking about what we all are thinking about these days.
What happens next?
Bergen/Copenhagen Papers no. 1
Intended to reach and create a small circle of engaged and committed readers who will be able to relate to the output in a direct, informal manner. The Papers are produced in collaboration between Kunstakademiet – institutt for samtidskunst, Kunsthall 3.14 and Lydgalleriet in Bergen, and RSS Press and SixtyEight Art Institute in Copenhagen. For each issue, these institutions will host these social circles around each essay and where the issues at hand can be discussed and oriented to new responses or dialog.
The first issue contains an essay by Gitte Sætre and images by Kent Klich. The images 'Birdfly' and the text 'Syvende etasje, Synkront' share the format of the fable. Instead of describing the political issues in a direct, journalistic manner, both artworks use an allegory to describe urgent political issues, thus opening a poetic entry into a potential discussion. The paper also contains open peer reviews by artists Ane Hjort Guttu and Stine Marie Jacobsen. The launch of this new essay as event and publication initiative will take place at Lydgalleriet in Bergen, Norway the 6 of June 2019.
Bergen/Copenhagen Papers is a new print-only journal on art & politics; and a new initiative and dialogue between cities; published by Really Simple Syndication Press, Copenhagen, and organized in collaboration between:
Lydgalleriet, Bergen; 3.14 Kunsthall, Bergen; Kunstakademiet - Institutt for Samtidskunst / KMD / UiB, Bergen; and SixtyEight Art Institute, Copenhagen.
Bergen/Copenhagen Papers is a low-tech artistic research magazine, made fast and directly without a long and expensive process of design and printing. The magazine will be published in a small print runs, measured to the circumstances. It will arrive at irregular intervals, whenever a relevant need to publish arises.
The name Bergen/Copenhagen Papers is to be taken quite literally; the publication springs from an already ongoing process of traveling and thinking in and out of these two cities. Through a mutual interest, the editor Frans Jacobi and RSS Press have set out to facilitate a certain strand of artistic/political thinking. How can art engage in a politically-charged horizon, scorched by apocalyptic abysses and systemic entanglements? How can art add creativity and vision to societal debate?
The journal is edited by visual artist and professor Frans Jacobi.
Journal design by THE WINTER OFFICE.
Opening speech for 'Between Red' by Tonje Haugland Sørensen
Tonje Haugland Sørensen, Postdoctoral fellow at Department of Linguistic, Literary and Aesthetic Studies, University of Bergen, Norway.
The connection between of war, landscape and art is and old and established triumvirate. Perhaps we should start by asking why, because when you approach it from a military perspective this trio seldom gives either strategical or tactical insights. By this I mean it is not directly applicable in a manner which can help formulate military plans or battle maneuvers. Subsequently, the triad of war, landscape and art is seldom included when politicians and generals draft their plans and strategic approaches. But perhaps it should be.
Opening speech for 'Murmuri' by Sofie Marhaug
Sofie Marhaug (1990) is the leader of the party group of the Red party in Bergen City Council, and also a PhD fellow in comparative literature at the University of Bergen.
Humans have been making ceramic bowls for thousands of years. They have been found in the ruins and excavations of ancient China, Greece and Crete, as well as in some Native American cultures—and we even find traces of ceramic bowls from the old Mesopotamian empire. This particular way of shaping and changing the world around us, and of interacting with nature, seems to be widespread across the world from the very beginning of what might be defined as human culture or civilization.
Booklet EARTH sharing - Publishing, 2018
Authored and designed by Vibeke Jensen in collaboration with Dino Karabeg for the opening of EARTH lab Bergen, June 22, 2018
A world report on # Metoo
a collaboration text project
Theater of Operations: Hakim Bishara and Hagar Ophir
Hakim Bishara and Hagar Ophir give a brief outline of their Kunsthall 3,14 exhibition, It Is Only Through Your Thoughts That I Can Remember Who I Am, in response to question from Johnny Herbert.
by Sohrab Mahdavi
Like in the many-worlds interpretation in quantum mechanics, where the outcome of a dice throw opens the possibility of any one of the six numbers to emerge as true, Letters I Never Wrote opens the possibility of an alternate reality, one in which a different history (absence) is hinted at. (...)
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Jinoos Taghizadeh talks with Johnny Herbert about the difficult and unending work of “narrating the silences” within an atmosphere of willful and imposed forgetfulness and state propaganda, an atmosphere from which Letters I Never Wrote, here exhibition at Kunsthall 3.14, emerges.
by Apichaya Wanthiang
(...) By telling stories or producing work we cultivate biases. We value and pay attention to our intuitive preferences, while keeping a critical eye. In general, biases are associated negatively with falsely or unfairly advancing or promoting self-interest. However, I would argue that we are made out of such complex motives and interests. It is impossible not to be biased. By sharing our preferences we may be pointing towards what we believe to be of value or what we think is good. Both in terms of what we think constitutes good art, but also what is good in a larger philosophical thinking. To be unbiased in this sense would nearly mean to stop existing. We do not even know most of the time what we promote in what we produce, but we have gut instinct and automatic preference… and yes, sometimes they are wrong. (...)
To correspond with her solo exhibition, While the Light Eats Away at the Colours, Apichaya (Piya) Wanthiang converses with Johnny Herbert about ideas central to her work, including how we might think empathy in a consumer society, and how a concept of affordance has helped her fine-tune the exhibition at Kunsthall 3.14.
Quarries of Wandering Form
by Judy Price
Quarries of Wandering Form explores the limestone quarries in the Occupied Palestinian Territories of the West Bank and makes visible the geopolitics and spatial dynamics of the Occupied Palestinian Territories (OPT). White Oil II (2017) is a subtle examination of the impact and workings of the occupation, where much of the material quarried is expropriated by Israeli authorities and used in settlements and exported as Israeli stone.
Offering a context for her work Dreaming in the Stone-bed Valley showed at Kunsthall 3.14, Siri Hermansen talks with Johnny Herbert about the development
of her working methods and how, through notions of exhausted geographies and being guided, she approaches a thinking of place.
New Arab Art Order
by Khaled Ramadan
Within the context of extreme political changes and social instability, the Arab world had to re-define the landscape of its art and visual culture in response to its changing identity. The changes or rather the expansion of visual culture, including the media industry, in the contemporary Arab world led to the birth of a new generation of image-makers who are on the rise, offering alternative sources of information and entertainment and enjoying social awareness from across the region. The new image-makers managed to expand our understanding of visuality coming out of the Middle East as they seem to apply their own rules of engagement and eventually shape a new contemporary visual order in the region.
Lost in translation, or drifting among words
by Adriana Alves
(...) As most art practitioners, researchers and admirers, I see the importance of experiencing art in loco, though we are all also compelled to second-hand experiences through visual documentation, written descriptions, statements and analyses. We can only see what our repertoire enables us to see. My geographical restriction and the resulting voids it engenders call for attention. They are yellow lights flashing insistently during this self-reflexive process of not only thinking about art but also acknowledging my limitations in facing it. When I think of the world, I think of my world plus the usual referential cultural poles. I know that the world is a lot larger then that, I even listen to Al Jazeera. But still, my fundamental understanding of the world is based on the West, and let me put this straight: my West is not the West, it is the peripheral West. (...)