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Current

International Teletext Art Festival ITAF2015

13th  August-13th September 2015 in  ARD Text, ORF TELETEXT, SWISS Text and arte Teletext

Since it was launched by the Helsinki based FixC cooperative in 2012 the International Teletext Art Festival ITAF has been enjoyed by over 2 million people in Germany, France, Switzerland, Austria and Finland. The idea of the festival is to explore the creative aspects of teletext by inviting artists to create art works in teletext format and to broadcast the results to the public.

Teletext was originally launched by the BBC in 1973 (known as Ceefax) and is a means of sending text and simple geometric shapes to a properly equipped television screen by use of one of the “vertical blanking interval” lines that together form the dark band dividing pictures horizontally on the television screen.  A teletext page can be perceived as a grid of 24 rows and 40 columns and can have up to 6 colors + black and white.  Teletext is a basic and a very economical way of broadcasting information and though it ceased to exist in UK  it has survived in many countries and is still used by millions of people daily.

STAY HOME!

This year the focus is on the fact, that the festival actually happens when ever a ITAF teletextpage is viewed. ARD Text, ORF TELETEXT, SWISS Text and arte Teletext broadcast teletext to millions of homes in Europe making ITAF one of the biggest media art events in the world.

To visit the festival all you need to do is turn on your TV-set, select the channel broadcasting ITAF, dial the festival teletext page number and lean back and explore the artworks.  To get into real festival mode invite your friends, dress up teletext style or cook a teletext dinner and enjoy.

The 15 artists/artist groups featured in the 2015 festival who are also competing for the Teletext Art Prize are: Bakketun & Norum (NO), Christina Kramer (DE), Emilie Gervais (FR), Holger Lippmann (DE), Ian Gouldstone (US), Karin Ferrari(AT), MadAsHell (US),  Maria Lavman Vetö (SE), Matthias Moos (CH), Max Capacity (US), Paula Lehtonen (FI), Ryo Ikeshiro (JP), Bernhard Garnicnig & Lukas Heistinger (AT), Rich Oglesby (GB) and Rainer Kohlberger (AT).

The 2015 Teletext Art Prize jury members are: last years winner Dan Farrimond (GB), artistRaquel Meyers (ES) and curator and art historian Pontus Kyander (SE).

The teletext page numbers and  more information on participating artists is available on line on this site from 13th August.

For more info /press material contact:

ITAF / FixC cooperative 

e-mail: itaf (at) fixc.fi phone: +358 40 5932694

ARD text

e-mail: info (at) ard-text.de

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We are opening our studios at Cort Adelers gt 33

Open 18.- 19.April 2015, 12:00- 18:00

For more info visit: http://osloopen.no/

 

Video Open

I am also showing a short version of Pinhole cam registrations 2009-13 at ANX, Atelier Nord, Olaf Ryes Plass 2

Opening 17.April, 17:30

Open 18.- 19.April, 12:00- 20:00

Welcome!

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Images and video from

“Pattern Drill” at Hacienda

@

Contemporary Art Daily

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06.March- 20.March, 2015

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06.- 08.March, 2015


PATTERN DRILL

06/03 – 08/03/2015

Opening: Friday 06/03 18:00

A weekend show at HACIENDA, curated by Jenny Kinge

Group show: Andrea Bakketun, Admir Batlak, Jennie Hagevik Bringaker, Tora Dalseng, Timothy Furey, Ivan Galuzin, Stian Eide Kluge and Sandra Vaka Olsen

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03.- 10.February, 2015

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30.January- 08.February, 2015

IN SEARCH OF THE BRAIN OF THE MIDDLE FINGER

Andrea Bakketun, NoPlace, 30.01-08.02.2015

I want to put something in front of my face, partly to make my own vision blurry, partly to make my face blurry, and because I carry my eye on a rod. The rig consists of a tent pole sticking out from my stomach like a bough, attached to a carpenters belt. The camera mounted at the end of the rod is of the pin-hole kind. First Iintend to walk around and film the paintings, then move towards the backyard to document the performance and the audience. The filmed surroundings are transmitted to a big screen. It reveals details and transforms the clear picture into wavy, blurry and colorful images. I am not able to see what I am filming. The camera becomes my blind eye. The rig with the eye eventually becomes an instrument playing. A motor with a rubber hose mounted at its end is playing on two taut bass strings, fixed to the rod like the string of a bow. The rubber hose's rhythm is unpredictable, and I am not able to foresee how long the instrument will play, or how much I will have to interfere. I am considering what to do when there is nothing to do. The audience is filmed continuously by the chopping, swirling instrument. They look out from their survival blankets. The blanket contains their heat and produces a crackling sound. Sometimes they can see their own reflection on the inside, together with the gray purple, unsteady reality they see when looking through it. In general, a lot of things are unclear, which might become clearer and more outlined when we perform them, but probably most clear when we can trace pieces of what we thought in a blurry, wavy video.

(Eye on a rod, Withstanding the Shatter of Originst: Second Excerpt)

Reisebrev Mangesteds Fra is a 30 minute performance Bakketun made in collaboration with Silje L. Haaland and Christian T. Norum in relation to the exhibtion Christian Krogh, Tiden omkring Kristiania-bohemen, at Gammel Strand in Copenhagen. Eye on a rod, a text taken from Bakketuns artist book Withstanding the Shatter of Originst: Second Excerpt, deals with the preparations for this performance. For the implementation of the work Bakketun made a body mounted camera rig for a spy camera, which also functioned as a mechanically driven music instrument. The video work captured with the spy camera during the performance has become an independent work documenting the incidents occurring. All of the three works give different suggestions of the live happening that has been, without mainly documenting, and characterize the works that can be seen in In Search of the Brain of the Middle Finger. A motor repeatedly circulates. Over and over again a sculpture, made of ventilation tubes, is filming a sequence of drawings and text on the floor with a wireless spy-camera. The live video stream, being screened next to the sculpture, visualizes the words: In search of the brain of the middle finger. The sentence blokes a sequence from the book The Cave by Jose Saramago, where the writer reflects around potter Cipriano Algor's working process, and suggests that all humans have one self thought brain in each finger. Our head-brain is depending on communication with the hand-brains to fully grasp abstract thoughts or turn them into actions.

Having sent an order to the hands and fingers, the brain believes, or pretends to believe, that the task will then be completed, once the extremities of the arms have done their work. The brain has never been curious enough to ask itself why the end result of this manipulative process, which is complex even in its simplest forms, bears so little resemblance to what the brain had imagined before it issued its instructions to the hands. It should be noted that the fingers are not born with brains, these develop gradually with the passage of time and with the help of what the eyes see. The help of the eyes is important, as important as what is seen through them. That is why the fingers have always excelled at uncovering what is concealed. Anything in the brain-in-our-head that appears to have an instinctive, magical, or supernatural quality—whatever that may mean—is taught to it by the small brains in our fingers. In order for the brain-in-the-head to know what a stone is, the fingers first have to touch it, to feel its rough surface, its weight and density, to cut themselves on it. Only long afterward does the brain realize that from a fragment of that rock one could make something which the brain will call a knife or something it will call an idol. (From Jose Saramago, The Cave)

Bakketun's exhibition consists of two main parts and is based on experiences and productions made during live based and interactive works the latest years. In the main space a kinetic sculpture is constantly producing a video, at the same time as it is present as an independent work interacting with the space and the audience. The other part of the exhibition comprise an excerpt of an archive of works made as bi-
products of former kinetic sculptures and installations. Video, water colors, text works and photo are in different ways circulating around former works, bringing in memories or hints, without offering any actual documentation. As part of the archive, the annual artist book series Withstanding the Shatter of Origins draws a line from Bakketun's graduation from the Rietveld Academy in 2008 towards today, and entwine all the different genres and expressions incorporated in her artistic project. The world surrounding us is a constant cumulation of forces we are never able to grasp completely, the act of grasping is reflected in this project diary. The books are non-linear and consist of a number of loose pages where scanned water colors are mixed with text observations and photos from work process. By now Bakketun has mad two editions of the book, and this exhibition is the first time the Second Edition is presented in Norway.

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Decend Along My Eyelashes

ANDREA BAKKETUN, CHRISTIAN TONY NORUM, PETTER BALLO

DESCEND ALONG MY EYELASHES

11. nov. – 16. nov. 2014

Åpning / performance: 11. november kl. 18.00.

Med den performative samarbeidsutstillingen Descend along my eyelashes inntar Andrea Bakketun, Petter Ballo og Christian Tony Norum UKS over fem dager, hvor de innlosjeres i en fordums dansesal dypt inne i institusjonens labyrintiske midlertidige bygg på Tullinløkka i Oslo. Med speil, dansestenger og garderobeinnretninger som scenografi, presenterer kunstnerne en undersøkelse av performancens logikk og potensial til å fremstå som en egen virkelighet – eller snarere en eventyrverden. 

En rekke ulike tidsepoker og karakterer trekkes inn i fortellingen: Utstillingstittelen er hentet fra en gammel amerikansk myte, mens griffen, fabeldyret som skuer utover Tullinløkka fra taket til nabobygget Nasjonalgalleriet, har stått modell for en av utstillingens skulpturer. Griffen er en del av en serie skulpturer laget av kobbeplater fra taket til Museet for Samtidskunst, som med tiden har fått en irr-grønn patina. Skikkelser fra boken Gamle Kristianiaoriginaler fra 1922 har vært med på å forme performancen kunstnerne gjør på åpningskvelden, hvor karakterer som «Grønlands-Ibsen» og «Wergelandsgutten» tolkes med både humor og alvor. Edvard Munch er skyggeaktig tilstede i Christian Tony Norums verk, som tar i bruk tekstiler fra jubileumsutstillingen Munch 150. Tekstilene trekkes over en fjernstyrt garasjeport som lar seg åpne og lukke, og fremkaller den avgrensede flatens muligheter, som fysisk overflate og mental inngangsport. 

Andrea Bakketun har konstruert et overdimensjonert strengeinstrument som spennes opp gjennom store deler av rommet. Under åpningskveldens performance får instrumentet rollen som hendelsens dirigent; tilfeldighetene i instrumentets komposisjon danner utgangspunkt for intuitive hendelsesforløp. Petter Ballo bearbeider på sin side den litografiske teknikkens metode i sine lysende tegninger – fremfor å tegne i stein har han risset i de tidligere dansespeilene som befinner seg i rommet og lyssatt dem bakfra. I et siderom til dansesalen presenteres 8mm-filmer av Ballo, med elementer fra performancer kunstnerne har gjort sammen tidligere. 

Descend along my eyelashes gransker et vidt spekter av historier, myter og drømmer, som utvikler seg til en sammensatt gjenfortelling.

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Gjestekurator for Descend along my eyelashes er Jenny Kinge. Produksjonen er støttet av Norsk Kulturråd. 

Utstillingen Descend along my eyelashes er en del av UKS’ vinterprogram 2014/15. I tillegg til hovedprogrammets to store soloutstillinger med Marthe Ramm Fortun og Kjersti Vetterstad, bys det her på boklanseringer, performance, utstillinger av kortere varighet, filmvisning og andre events. Programmet er juryert av UKS’ Jury. 

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Withstanding the Shatter of Origins: Second excerpt


The new edition is out! Presentation of the book can be seen at Autocenter until the 13th of September 2014.

To read more, or to order the book click here.

 

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29 August, 2014


II.STILE at Spittelkolonnaden - Leipziger Strasse (in front of Autocenter) - on August 29th, 7-9 pm. organized on the occasion of Andreas Schlaegel's Dating Service at Autocenter

II.STILE is a Nomadic Canvas-based Artist Run Exhibition Space founded by me in 2013 .
II.STILE is a painting that is at the same time an exhibition space. The imaginary is the main aspect of the 2nd style of Roman painting, the Secondo Stile.
II.STILE intends to activate a counter-discourse in the form of sustainable definition of an exhibition space, taking advantage of the nomadic qualities of the portable canvas to explore the boundaries of collaboration through ideas of fluidity, independency and architectural mobility.
Paolo Chiasera, 2013

follow this link to read Silje Linge Haaland's text on Andrea Bakketun’s project forII.STILE
http://www.paolochiasera.org/secondostile/AndreaBakketun.html

exhibition design by ZAMAAS

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29 August- 13 September, 2014

Dating Service, Autocenter, Berlin

This show is no buddy show, neither is it a presentation of the „Schlagel class“ from the Oslo art academy. No, it is exactly what the title suggests, when a curator acts as dating service, intuitively pairing young guns from Oslo (last year‘s graduates from the academy) with established artists from Berlin, and confronts these couples with the request to produce a collaborative piece for this exhibtion. Attempting to compliment diverging personal characters, opposing artistic positions and practices, the effort was to create the platform for starting an artistic conversation across generations, locations and discourses.

But not all matches light up, as finally the show is an experiment, based on and limited by the curator‘s personal experience and understanding of the work the artists involved produce. At the end the curator‘s main occupation will be managing the self-induced desaster, when nothing‘s off limits and anything goes, hopes may be high, but expectations better stay low. This way love will last forever.

Or we call the break-up service.

Andreas Schlaegel
Thanks to: Kulturrådet / Arts Council Norway

 

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28 June-10 August, 2014

The Summer Exhibition 2014, Seljord Kunstforening

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7 May, 2014

PERFORMANCEAFTEN: ’Boheme-begrebet i Oslo i dag’
En aften kurateret af kunstner Henrik Plenge Jakobsenmed deltagelse af Christian Tony Norum, Andrea Bakketun og Silje Linge Haaland, som er vigtige profiler på den unge kunstscene i Oslo. De præsenterer en performance, som relaterer sig til GL STRANDs udstilling om Christian Krogh og Kristiania-bohemen. De tre kunstnere bearbejder og nyfortolker den norske kunsthistorie, hvor Christian Krogh er en af de helt centrale protagonister. 

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Papay Gyro Nights 2014, Orkney Islands 15-22 February and Hong Kong, 04-18 April

Screening of the video programme Skogul Gondul initiated by Andrea Bakketun and Christian Tony Norum.

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Fluxus Autonomus, 1857, Oslo and Kittelsens Hus, Hvitsten, 21 February2014

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Untitled, from Turn Turtle, November 2013

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Golden Bough Measuring Device, from MA Degree show, Kunstnernes Hus, 24 May-16 June

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Papay Gyro Nights, Orkney Islands, February 2013

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Circus Caracas Cerberus, Høstutstillingen 2012, Oslo S

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ftgofbirds

Five thousand generations of birds, Fitjarøyene, august 2012