May 15th, 2012 §
24 May – 14 July – Opening 24 May 17-21
Aids-3D (Daniel keller & Nik Kosmas) – Bigert & Bergström – Timothy Crisp – John Duncan – Öyvind Fahlström – Johanna Gustafsson Fürst – CM von Hausswolff – Sten Hanson – Jan Håfström – Stina Stigell – Johan Strandahl – Andy Warhol
In 1798, Thomas Robert Malthus’s “An Essay on the Principle of Population” is published, which later became a key to Charles Darwin and Alfred Russel Wallace’s development of the theory of the natural selection.
In 1972, the report “The Limits to Growth”, commissioned by The Club of Rome and produced by the world’s leading future analysts is presented. Questions of growth, limited natural resources and environmental issues are put in focus for the first time.
In 1970-71 Öyvind Fahlström describes his Monopoly game as a political psychodrama where the observer gets involved in different choices and strategies. Fahlström establishes that the world is constantly changing, as a tree in the passage of seasons.
Öyvind Fahlström’s Monopoly game “World Trade Monopoly” (1971) constitutes the central piece in the exhibition. Through this piece, questions regarding the connection between the realpolitik discourse and the individual terms on society’s game plan are addressed. All pieces in the exhibition reflect on the rules and norms that form our reality in a continuous flow.
In 2012, Munch’s ”The Scream” is sold at Sotheby’s for 117 million dollars as the most expensive work ever sold at auction. Maybe proof that the market still works? At the same time The Club of Rome publishes a new report with the title: 2052: A Global Forecast for the Next Forty Years.
In 2018 it is more apparent ever before that humanity’s adaptation to the limitations of the planet is moving too slow. The American economy stagnates while Brazil, China, India, Russia and South Africa constitutes the great booming economies.
In 2024, three billion people are still living under the poverty line, and China appears as the only state with enough capacity to turn the development.
In 2042, the global population reached its high due to reduced fertility in the metropolitan areas and levels off.
In 2052, carbon dioxide has increased to a level in the atmosphere that raises the global mean temperature with by 2 degrees; creating uncontrollable climate changes.
October 3rd, 2011 §
September 20th, 2011 §
Icons Jigsaw Puzzles
29 September – 23 October 2011
Opening September 29 at 4-8pm
NB: Quote: “All forms of my work are created to raise questions, to find out everything I can about who I am without fear or judgment, and to encourage you to do the same”. Can you evaluate the above quote in relation to the ICONS?
JD: It could be seen as a comment on how little we know, or want to know, about our own origins.
NB: Can you evaluate on the symbolic value embedded in the word Icon (connotations of religious works of art / worshiping and in the modern sense)
JD: I see all of those aspects in these images.
NB: Art and sex is a subject that is well represented in the history of art. Are these works in essence about sex/sexuality? And if so, where does these works sit within that particular canon?
JD: They’re about assembled knowledge with essential details that are missing.
NB: In what way, if at all, do you place these works within a feminist perspective?
JD: I don’t even try, or care to. I like to believe that these, and in fact all my works, have a far broader perspective than a feminist point of view could possibly include.
NB: Why have you chosen to represent the female gender and not the male?
JD: I am fascinated by the vagina as the source for us all, many of whose processes remain beyond our comprehension. The same could be said for the male gender, of course, but I live with that so it’s less of a mystery — and I explored it quite a bit in my early work.
NB: What about the women photographed, is it significant for you who they are, and how did you describe the project to them?
JD: Their identities make no difference. In the process of photographing them, it was interesting to see that each woman’s vagina, at least these images of them, seemed to convey the opposite to their personalities. On their own, the images have a presence that needs no further explanation.
NB: Could you describe how these “objects” were made?
JD: Several friends and acquaintances were told about the original project and asked to model for it. The photos were shot on infrared film, to read heat from the body as light. The originals are 3m x 4m, accompanied by drawings of them made with my blood on heavy paper.
NB: Is there any specific part of the process of making these “objects” that stands out to you, as specifically relevant? And could you describe the importance of the materials used?
JD: The most relevant aspect of the Jigsaw Puzzles is that, despite decades of intimate contact, I seem to know less now than ever about the makeup of the feminine character. Evidence is overwhelming that I am in no way unique in that.
January 14th, 2011 §
Think of me as you will
21 January – 20 February, 2011
ROD BIANCO Gallery in Oslo
Rod Bianco Gallery is proud to present John Duncan for the first time in Norway. John Duncan is an artist who has lived and worked in Los Angeles, Tokyo and Amsterdam” Amsterdam, currently lives and works in Bologna. His body of work includes performance art, installations, contemporary music, video art and experimental film, often involving the extensive use of recorded sound. His music is composed mainly of recordings from shortwave radio, field recordings and voice. His events and installations are a form of existential research, often confrontational in nature.
John Duncan was born in the United States in 1953, has lived and worked in Tokyo and Amsterdam and currently resides in Bologna where he teaches audio art at the Accademia delle Belle Arti. His events and installations have recently been held at Färgfabriken and Gallery Niklas Belenius in Stockholm, Ex-Teresa in Mexico City, XSNOSA in Palermo, Netmage 7 in Bologna, PX2 and PX3 in Piombino, O’Artoteca in Milan, Atlantic Waves in London, The Institute of Contemporary Art (ICA) in Boston, Eco e Narciso in Turin, MUTEK in Montreal, The Compound in San Francisco, Teatro Fondamenta Nuova in Venice, Teatro Piccolo Jovinelli in Rome, the Noorlands Operan in Umeå, Fylkingen in Stockholm, the 2nd Gothenburg Biennial and Galleria Enrico Fornello in Prato. He has performed with Musica Nova in Tel Aviv and Zeitkratzer in Berlin, directing these ensembles in live events. His CD releases THE CRACKLING (1996 with Max Springer), TAP INTERNAL (2000), PALACE of MIND (2001 with Giuliana Stefani), FRESH (2002 with Zeitkratzer), PHANTOM BROADCAST (2002), INFRASOUND-TIDAL (2003), THE KEENING TOWERS (2003) and NINE SUGGESTIONS (2005 with Mika Vainio and Ilpo Väisänen, a.k.a. Pan Sonic) are all considered by critics and composers alike to be benchmarks in the field of experimental music. His work in radio, video and performance has been shown recently at the Getty Center (Evidence of Movement and California Video) as well as the Museum of Contemporary Art (MOCA), Los Angeles (Out of Actions:Between Performance and its Objects, 1998); the Osterreichisches Museum für Angewandte Kunst (MAK), Vienna; Museu d’Arte Contemporani, Barcelona (MACBA); and Museum of Tokyo (MOT)
Tordenskiolds gate 5
0160 Oslo, Norway
For more information, please contact
C: + 47 92 42 87 81
P: + 47 22 33 21 00
October 26th, 2010 §
Carl Michael von Hausswolff
Johanna Gustafsson Fürst
Miriam Bäckström, Negatives, 2010
via Bertola 34
I -10122 Torino