| POP-UP EXHIBITION |
THE SECOND CHAPTER
20.-27. August 2020
[Tir.-fre. 11-17 - lør--søn. 12-16]
Curated by Gitte Sætre
The Second Chapter derives from a Symposium at Kunsthall 3,14 in June earlier this year. Entitled ‘System Critic and Esthetics; how to represent the unrepresentable?’* During the event, a view spread among the participants, the notion that how we organize our financial marked is premature as long as we don’t work for a more just distribution of resources. Rethinking economy has just begun, and it is not an easy conversation nor operation. Kunsthall 3,14 made an attempt before the summer and now again with The Second Chapter exhibition.
When we talk about something, we most probably partake in a larger conversation crossing both time and space. Finance’s influence on art is one of them, a less discussed but nevertheless interesting is arts influence on finance. If you choose to study Economy at traditional business schools, what you learn is the prevailing economic system around the world. Little attention will be given alternative ways of organizing for a more just world. Taking into consideration how unevenly resources are distributed and how fragile the world’s economy is this is a bit chilling and surprising.
The artists invited are Benedict Seymour & Veronica Diesen, Arthur Hureau, Jannecke Heien, Dan Mihaltianu, Søren Thilo Funder, Åse Løvgren & Stine Gonsholt, Ingrid Berven.
Due to the pandemic the opening event will last from 16:00 to 20:00 to enable us to maintain 1m social distancing, and we comply with the authorities requirement to limit the risk of spreding the corona virus.
ABOUT THE ARTWORKS:
Søren Thilo Funder is presenting The Vanishing Table, (2014), HD Video installation. In the video, we meet a group of numismatics gathered around a large wooden table carefully studying twenty incredibly rare historical coins. The coins are not visible. Existing only as imagined objects, delicately passed from one to another, forming a collective fantasy between them. The session around the oval table almost resembles the rituals of a spiritualistic séance - the table functioning as a mediating relay between the individual coin collectors. Somewhere else, a monkey in a suit is reciting a Lewis Caroll poem from a stockbroker office. The flat tablet-like animated monkey narrates the story of a debtor and a creditor. In the tragic and humorous poem, the debtor is never actually given the sum of his loan before the creditor shows up to collect his dues. The monkey delivers the peculiar story of an abstract debt-economy no longer founded in actual currency with a cultivated calmness only shortly interrupted by an agitated conversation on his smartphone. The Vanishing Table posits the relationship between the physical appreciations of currency as objects - even as a leftover in the imaginary - and the collective experience of an abstract debt-economy detached from actual existing capital.
Duration: 14 min and 13 sek.
www.sorenthilofunder.com/index.html
Jannecke Heien is participating with The long term as a game (LTG), (2014 - ongoing). The piece features a discussion in which three financial fund managers contemplate one question: Why and how can economic growth continue endlessly? It takes form in a sound recording from a visualization workshop in Kunsthall 3,14 in 2016 - in the former old vault of the Bank of Norway, where the participants think aloud with their colleagues, sharing their strongly differing views on the future for the world economy - 100 years ahead. Curiosity towards the elasticity of the human ability to envision, visualization of scale and numerical relations in physical volumes, acknowledgment through a moment’s action, and the intersection between elements both meaningful and absurd make up the core of this ongoing project.
Duration: 38 min loop
janneckeheien.no
Benedict Seymour & Veronica Disen present One Nation Under A Grave (2020). Initiating a collaborative UK-Norway artistic research project with Veronica Diesen, the film is an autopsy of ‘Brexit’ and an elegy for the subsequent electoral struggle against the far-right. It begins with the defeat of Corbyn, moves back to explore the referendum as a (suspect, cinematic) device, and ends with a premonition of the plague politics of the Tory government to come. Against the dark (Conservative) blue, and with help from Derek Jarman’s 1991 film of the same hue, the film finds hope in the experience of collective discussion and analysis, whether in the streets or the rural hinterland. A historical materialist tarot reading may be more use than the maps and diagrams of electoral forecasting. Will the death of Labour bring about the birth of a ‘collective walker’, an exodus from politics as we have known it? One Nation Under A Grave is both a wake and a rave, a graveside eulogy and a death wish – from below. The project has been supported by Bergen Kommune and the Norwegian Arts Council. With technical support from Bek.
Duration: 15 min
oilspill.cargo.site
Arthur Hureau´s work A Financial Story from 3,14 Parabol program curated by Lydgalleriet. Now it´s partaking The Second Chapter allowing our audience to lean back and listen more closely to the story of finance through its opening hours, graphs, curves, and long nights with gaps. Representing infinite action and reaction, systems impacting environments. Hureau operates within a cross-disciplinary artistic field merging his contemporary music practice with a scientific and engineering approach of sound.
Duration: one hour loops
arthureau.com
Ingrid Berven presents the video work Håndarbeid. The point of departure is the artist's use of their hands, tools, and material used to express their ideas. A tribute to craftsmanship, expertise and creative problem solving, to the intensity, the act of concentration, and self-taught experience that is developed through manual creative work. A recognition of skilled hands in the age of the digital and the intellectual. With the 19th century came the industrial revolution, and the division of labor between head and hand followed. The hierarchy of the senses is still very much present in our time, even enhanced by communication technology. The omnipresent visual and sound impressions of the ubiquitous screen mock us with images and technology that lack tactility, taste, and smell.
Duratin: 3 x 1 time og 18 minutter.
www.berven.no
Åse Løvgren and Stine Gonsholt present Brutal Simplifiers
"I hope you are well - thinking of you often and following every move!" is a quote from an e-mail published by Wikileaks from a facebook executive to Hillary Clinton´s elections staff during her campaign to become president. Taking its cue from this less than subtle statement of surveillance and control, the video Brutal Simplifiers muses upon the digital infrastructure of our everyday lives, and how social interaction and behaviours are influenced by this.
Duration:6 min
Dan Mihaltianu presents Capital Pool 3.14. The installation is part of a long-term project developed over three decades and shown in different locations and situations. The most recent version, Canal Grande: The Capital Pool and the Associated Public shown at the 58th Venice Biennale, 2019, in the Romanian Pavilion (www.capitalpool.net) directly involved the public within the creative process and in this way the participants became co-producers, consumers and beneficiaries of the art work. It is a participative and social project, reflecting the interrelatedness of art, capital and the social environment. The work consists of a black vinyl pool of irregular shape at the centre of the exhibition space. The public is invited to contemplate the reflections of the space on the mirroring surface of the liquid and to throw coins into the pool, as part of a well known “wishing well” ritual. The sums of money offered by the public, accumulated during the exhibition period, will constitute an autonomous fund to be allocated to a nongovernmental, alternative or other form of independent initiative addressing acute social, economical and environmental issues. The public is invited to discuss and give their opinion on who should be the recipient of the Capital Pool 3.14 Direct Public Fund 2020.
The exhibition received partial contribution from Bergen kommune.