BACK TO EXHIBITIONS 2017
Kristina Aas | Berit Greinke | Hilde Hauan | Elin Igland | Kobakant |
Curated by Hillevi Munthe and co-curated by Hilde Hauan
The exhibition comprises artworks that explore the possibilities, limitations and poetry inherent in textile electronics from an artistic point of view. Based on a well known and tactile materiality, textile electronics take the development of electronics two steps forward and five steps back. E-textile is both interactive, or ”living” and ”smart” textiles, and soft and flexible electronics. With stitched sensors, knitted circuits and woven lights, electronic textiles open ”the black box” of advanced technology that we are surrounded by. At the same time the materiality is an unstable element that forces the development of the artworks back to a more elementary level than that of hard electronics.
The Norwegian and International artists featured in the exhibition use smart materials, e-textile, traditional electronics and textile techniques as a starting point for the development of their art. The selected artworks have different approaches to the materials and tell different stories, but they are bound together by the search for giving the unstable, unknown and unpredictable form and visuality.
A collection of prototypes and samples from participants in the Soft Technology project is included. The audience will be able to touch, pull, make sounds and experience materials and technologies used in e-textile artworks/products.
Mini concerts performed on the work "Pattern Studies of sound No. 1" are played every Saturdays at 2pm during the exhibition period.
The exhibition is produced by Atelier Nord, in collaboration with Kunsthall 3.14, and Bergen National Academy of the Arts.
The project has received support from Nordic Culture Point, Arts Council Norway, The City of Bergen, The Norwegian Association for Arts and Crafts and the Austrian Ambassy in Oslo.
A smaller part of the exhibition “Soft Technology: electronic textiles – when the future becomes soft” was shown at SOFT Gallery, Oslo, in March with four e-textile works by Norwegian and international artists and designers.
> Celine Marcq (FR/UK)
two wallpaper panels
Energy is an invisible and yet incredibly valuable resource. In the domestic environment, electricity is the first named energy manifestation. However, hidden within the design of unappealing appliances and mechanisms that minimize energy’s real importance and significance, electrical energy access is, for most people, taken for granted. Inconspicuous Matter is a material research project that aims to develop responsive materials for future ambient displays, which would make it possible to visualize electrical energy flows. Considering textile and material design as a sensitive interface for reflection and thoughtful participation, the aim of this project is to visualize electrical energy flows, consequently demanding the viewers’ attention and potentially generating their awareness. Link to video presentation: http://vimeo.com/13579228
Celine Marcq recently graduated with a distinction from the MA Design for Textile Futures course at Central Saint Martins College of Art and Design, University of Arts, London. She works as a material designer and researcher.
> Ricardo O’Nascimento (BR)
110 pc fans, 4 antennas, batteries, micro controller
The name e-ansã comes from the name of an Orisha: Iansan. Iansan is a spirit entity of the Afro-Brazilian religious faith Candomblé. This entity is connected with winds, hurricanes and tempests and has the power to control these natural forces. The E-ansã dress is made out of ribbons called "fitinhas do Senhor do Bonfim" and are used in a religious context in Brazil. The presence of cell phone frequency signals breathes life into the ribbons of the dress. Religion, invisible forces, tradition and technology are mixed together in this artwork that intends to create an awareness of electronic pollution. The intention of the project is to transform an invisible phenomenon (electromagnetic radiation) into another invisible phenomenon (wind).
Ricardo O’Nascimento is an artist and a researcher within media and interactive art. He creates and develops intelligent clothing that draws new boundaries to the relation between body and environment.
> Kristina Aas (NO)
linen table cloth (140×140 cm) printed with thermochromic ink and Expandex, table, heating cables, motion sensor.
In her work, Kristina Aas questions how we experience and see our physical surroundings. We take our senses for granted and believe they can describe the world as it is. Therein lies a big restriction. We can experience only a specific wavelength of light or specific frequencies of sound. You think you see one thing, but it appears to be quite different. The insecurity that emerges from this makes one humble and, hopefully, gives room for reflection. In the work Leftovers Kristina Aas invites the viewer to the table. The viewer’s presence alone is enough to change the starting point. When approaching the table, the table setting disappears, leaving barely visable leftovers from the meal.
Kristina Aas finished her MA in textiles at Bergen National Academy of the Arts in 2011, and has exhibited her works at several exhibitions in Norway and Lithuania.
> Hillevi Munthe (NO)
wool, silk, flexinol, microcontroller
Laminaria is a wall hanging with autonomous organic and rhythmic movements. By the use of shape memory materials, the piece acquires a bodily presence that is felt more than seen. Like a seaweed forest the work breathes in an independent and quiet, yet monumental way.
Hillevi Munthe is an art historian and a textile artist. She is also the artistic director and curator of the project Soft Technology.
> Astrid Krogh (DK)
weaving in optic fibres and paper yarn, light monitors. Dimensions: 200 x 250 cm
The artwork IKAT II is a light tapestry of paper yarn with organic patterns created in optical fibers. The tapestry is inspired by the ikat weaving technique, which among other things is characterized by detailed coloring and extremely precise in the weave, making it possible to create smooth transitions between patterns. In her artworks interprets Astrid Krogh the tradition of ikat by allowing light to create its own patterns and shapes in indefinable transitions. The light is in this work used as a imaginary dye, which continuously flows back and forth and thus create an almost magical effect pattern.
Taking her mark in the traditional methodical approaches to textile design, Astrid Krogh is working with the artistic potentials found in modern materials and seated in the application of new technologies. Working with light, both the ungovernable daylight and the more controllable sources of artificial light, is essential to Astrid Krogh's activity.
> Berit Greinke (DE/UK)
filter paper, pigments, rice flour, water, webcam, sound, processing
Supported by the London Printworks Trust‘s Surface Bursary Scheme, 2009-2010
CHROME (live) is both a developmental process and a tool, and leads to an extensive live performance. Colour chromatography create hybrid prints. This is achieved by printing onto fabrics and papers, then soaking them in water over an extended period of time. Slowly, the prints diffuse into their constituent parts creating brilliantly colourful new images. The process is monitored by a web camera and is synthesized through a processing code which converts the printed and diffused images into RGB values which are then transformed into sounds. The process can take up to 12 hours for an A2 size print.
Berit Greinke is a textile and surface designer whose studio practice exists at an intersection between textiles, sound, and performance. She studied at Art School Berlin, and at Central St Martin’s College of Art & Design (MA Design for Textile Futures). Currently she is undertaking a PhD in Media and Arts Technology at Queen Mary University of London.
> KOBAKANT (AT/US/JP)
t-shirts, fabrics, electronic components
Eight Steps depicts the making of a wearable instrument. The installation is based on a series of workshops in which participants hack cheap electronic toys and create their own soft, wearable e‐textile interfaces. The making of a typical workshop example is depicted here in eight steps, allowing the viewer to get an idea of the process of making. The viewer is also able to get a glimpse behind the scenes, being able to see the insides of the textile sensors and circuitry in order to understand how they are constructed.
Hannah Perner-Wilson og Mika Satomi form the collective that is KOBAKANT. KOBAKANT explores the use of wearable technology as a medium for commenting on the social and technological aspects of today’s high-tech society.
> Hilde Hauan (NO)
Behind the Curtain
silk, photochromic pigment
Hilde Hauan Johnsen is a professor at the Bergen National Academy of the Arts, where she conducts a research project in the textile department by the name FUTURE TEXTILES. Her main theme of research is textiles in relation to light with focus on thermochromic ink in combination with conductive thread explored on a small scale, with the aim of transferring the experiments to larger formats. Hauan’s explorations target the gallery space, the theatrical stage and public space/outdoors.
> Elin Igland (NO)
Mønsterundersøkelse av lyd nr1: Piano
A piano, wool, cables, electronic components
Is it possible to find a connection between textile and tonal patterns ?
Elin Igland have made a pattern machine from a piano and 88 LEDs woven into a blanket, positioned as a grid. Every LED has been hacked up each to a separate piano key which function as light switches. When you play the piano, a visual light pattern is created. These patterns can later be transferred to textile constructions.
Elin Igland graduated from The Bergen National Academy of the Arts, BA Textile in 2009 and is currently doing a MA at the Oslo National Academy of the Arts.
Events in the same period:
Book lauching of Den Temporære Ambassaden by Anders Rubing
In cooperation with KHiB (Bergen National Academy of the Arts).
"Et poetisk vindu mot verden" med forfatteren Pedro Carmona-Alvarez
Carmona-Alvarez vil lese fra den unike og høyt kritikerroste boken Verden finnes ikke på kartet – poesi fra hele verden. 34 poeter fra 25 forskjellige land blir gjendiktet og presentert i denne antologien.
Pedro Carmona-Alvarez og Gunnar Wærness fikk i år den prestisjefylte Kritikerprisen for boken Verden finnes ikke på kartet – Poesi fra hele verden, 2010, publisert av Forlaget Oktober.
Pedro Carmona-Alvarez omtaler (Norwegian) >>>