Kunstjournalen B-post 2013
This issue is dedicated to the three biennials that have been realized in Norway this year: Bergen Assembly, Momentum in Moss and LIAF in Lofoten.
This year there have been three biennials in Norway. Momentum in Moss and LIAF in Lofoten have by now developed something resembling pedigrees. Both started out as international festivals before the new millennium and, disregarding the occasional setback, both have managed to keep going while maintaining impressively high standards. The third apple in the basket is Bergen Assembly, which is the one with the triennial format. All three events invite us to reflect critically on their chosen worldviews, featuring art that offers a variety of perspectives on personal existence.
This year there have been three biennials in Norway. Strictly speaking, one of them was a triennial, but even so! There were three major events with international participation, and not just that of the artists and curators. Journalists have flown in and press releases been sent out, and an art-savvy audience has also stopped by, in varying numbers.
Institutional building blocks. A conversation with Evelyn Holm about the founding of Bergen Assembly.
Thirteen curators were invited to come up with a proposal for LIAF 2013, nine responded. When looking at the different projects, the board of Lofoten International Art Festival recognised a link between three curators, Bassam El Baroni, Anne Szefer Karlsen and Eva Gonzáles-Sancho: A way of dealing with emotions without getting sentimental and an interest for storytelling and its political aspects. The curators were asked to fuse their different positions and make a common platform for the biennial.
I guess we shouldn’t have; but we did anyways—and I’m glad we did. The transgression? Hacking our way into an installation ‘after hours’. As you see, the curators for the 2013 iteration of the Lofoten International Arts Festival (LIAF)—Anne Szefer Karlsen, Bassam El Baroni, and Eva Gonzalez-Sancho—themed the program around the question: ‘Just what is it that makes today so familiar, so uneasy?’(1) And to truly get to the sense of the uncanny implied above, we’d have to first visit Richard Hamilton’s famous collage ‘Just what is it that makes today’s homes so different, so appealing?’—Pop Art’s 1956 poster child. Why? Because the curators intentionally lifted said title to set up a haunted referentiality(2) —but we’ll get to that later. Back to our little break in…
“This is not a UFO landing at a strategic site, but an infiltration that puts a temporary stop to the ordinary course of things,” David Riff said to Kunstforum shortly before the opening of the first edition of Bergen Assembly – An Initiative for Art and Research, which he has curated together with Ekaterina Degot.
A brief review of the catalogues (and the press) for Momentum 1998–2006.
Translation will soon be published