Now you can take a closer look at the exhibitions "Banco" by SUNAH CHOI and "Dalen / The Valley" by ÅSE LØVGREN & STINE GONSHOLT from wherever you may be. Here on our website we have posted some glimpses from Kunsthall 3.14's current exhibitions that are up behind closed doors in these corona times.
The two exhibitions ‘Banco’ and ‘Dalen/The Valley’ can be viewed as a shared dialog that can form one, two or multiple stories together or separately. The various works, in their own distinct way, are overlapping and intertwined and invites us to raise questions and to consider the social and cultural attributes of money, global interaction, and trade.
| EXHIBITION HALL |
Mixed media installations
06.03. - 31.05.2020
Curated by Malin Barth
Sunah Choi artworks at Kunsthall 3,14 are abstractions of power structures originating from architectural imagery. Her installation consists of modular steel components, translucent monochrome color slide projections. Her artistic interest lays within probing the substance and formal structure of objects. Through a method of subtractions and re-composition, her observations are translated into these geometric grid sculptures made of powder-coated steel and colored light projections. Choi has recently made a shift from exploring the aesthetic quality of selected aspects of vernacular architectural elements to focus on architecture as symbols of strength and continued economic prosperity.
Choi seems to be drawn to the specificity of places. For Kunsthall 3,14 she has incorporated the fact that the institution is located in a former Norges Bank building. The work she has produced accord bank as an idea and money as a zeitgeist. If we look at the work, are our emotions, our perception and our behavior around money encrypted or decoded?
Money as a phenomenon through banking is here being told trough architectural history.
The banking architecture is still speaking adequately of wealth and power, and of the bank´s economic power to literally buy any location in the heart of any mercantile city. The building housing 3,14 is a prime example of this. This building demonstrates wealth, strength and power. It is more demanding to enter this former bank building than it is to enter less intimidating buildings our lives revolve around.
How we construct and understand the world becomes imbedded in the architecture of its time.
When choosing to look at architecture in this way it becomes a language of its own, and if you can decode you learn about cultural and social practices. Possession of power and the nature of its power revile it selves, and that is often the point. Power wants to demonstrate what they are all about. We can become conscious of power structures just by looking at the physical symbol it produces in its architecture.
One definition of architecture is based on the enclosure. If a person can go inside a structure, then it is considered architecture. This definition is interesting to keep in mind when confronted with Sunah´s steel grids where the distinction between inside and outside has significant impact due to these constructed boundaries between the insiders and the outsiders – the have and the have nots. A building is the result of a choice, a specific intent to build something with a purpose. Architecture divides the world into categories, and we are clearly grounded in structured thinking. The banking counter with its steel bars is maybe the strongest image of security and hierarchies in this context. A physical base from where ideas are being formed, a clear embodiment of structure. We are still orbiting around the banking industry today and the longer the ‘bank-centrism’ is the dominant cosmology—the more difficult it will be to switch to an economical system of sustainability.
Opening speech by Cecilie Andersson. She received her Master in Architecture from Bergen School of Architecture. Worked as an architect at HLM Arkitektur and at Helen & Hard on various projects related to building, transformation and planning. PhD in urban planning at NTNU on Migrant Positioning in transforming urban ambiences, exploring the situation in urban villages and the city of Guangzhou, China. She is currently rector at Bergen School of Architecture.
Sunah Choi, Åse Løvgren and Stine Gonsholt present at the opening.
| VAULT |
Åse Løvgren and Stine Gonsholt
"Dalen/The Valley", 2019
HD video, 20 min
Sound by Alexander Rishaug
06.03. - 31.05.2020
Curated by Malin Barth
The Valley is an idea, a fact or event that you already know, which helps you understand or make a judgment about another situation. The Valley transcends the specific territorial boundaries and has entered a world that consists of things fundamentally in motion.
"Dalen/The Valley" is the name of this video work by Åse Løvgren and Stine Gonsholt. The work depicts the place called Dale which translates into The Valley. This place is still to a degree synonymous with the valley´s former textile industry, when the factory buildings were the pivotal center of society. Today the old industrial societies are no longer aligned with their former cosmology. The power of the industrial architecture has lost its status and its surpluses have been left open to new arenas.
The radical new industry that has occupied the old textile factory buildings is digital mining. The buildings are now housing a large server park, mining for the global cryptocurrency - Bitcoin. The textile industry was crucial during the industrial revolution, and has played a major part in laying the foundations for our advanced societies. By connecting the textile industry to the pervasiveness of digital technology in the world today, the video untangles how technology is intertwined with natural resources, local histories, and global economy.
In the video, Dale is used as a prism to look at global changes related to economy, production, digitization, and trade. Løvgren and Gonsholt investigate how these processes affect the site’s status and the relationship between material and immaterial qualities. The moving images and its soundscape leave the nature of Dale and its landscape as the protagonist of the film.
In the video, "Other Figurations", Løvgren and Gonsholt reflect on the role of the punch cards, that are a central motif from early automated looms, and considered to be an important step in the history of computing hardware. It led to an increase in employee productivity which has had an enormous impact on profit. The artists also look further at the figure of the worker from the pioneering textile industries to today's sweatshops and the dismantling of unions. Power has shifted from producers to traders and retailers. Modern production and distribution of garments have created global assembly lines. The continued rise of giant retailers with low prices and high volumes, has placed even greater demands on manufacturers to lower costs and quickly deliver worldwide.
Together, the two videos take a critical look at today's modes of production and highlight issues of globalisation, power, social relations and historical legacies.
Supported by Arts Council Norway, Billedkunstnernes vederlagsfond, the City of Bergen, Bergen Centre for Electronic Arts (BEK), OCA, and Norwegian Knitting Industry Museum.