Svartjord

følg oss på facebook

Svartjord, fra venstre med klokken; Luca Andreotti, Mari Østby Kjøll, Siren Elise Dversnes Dahle og Yola Maria Tsolis

Svartjord, fra venstre med klokken; Luca Andreotti, Mari Østby Kjøll, Siren Elise Dversnes Dahle og Yola Maria Tsolis

Pressemelding:

Prindsekjøkkenet

2-4 mai 2014

Storgata 36, Oslo


Årets avgangsutstilling for masterstudentene ved Kunstfag på KHIO har en annen struktur enn tidligere; i år skal avgangsstudentene arrangere sine egne utstillinger i den visningsformen de selv ønsker. Dette har resultert i opprettelsen av kunstnergruppen Svartjord, bestående av Luca Andreotti, Siren Elise Dversnes Dahle, Mari Østby Kjøll og Yola Maria Tsolis. 

Gjennom Svartjord vil de fire studentene fremme forandring, resirkulering og repetisjon av den anvendte kunstens ideologi og fungere som en nomadisk kunstnerdrevet virksomhet. Svartjord kommer ut av en diskusjon omkring økologi, romlige intervensjoner, urbanitet og kollektivitet.

Navnet Svartjord (Mollisol) refererer til det næringsrike jordsmonnet som hører til de mest fruktbare jordbruksområdene i verden. Hvert av Svartjords prosjekter vil utgjøre et eget kunsterisk økosystem der de gitte forholdene vil gi grobunn for det kunstneriske arbeidet. 

Arbeidet med prosjektet aktiviserer tomme og funksjonsløse bygninger i byen. Den første utstillingen vil finne sted i Storgata 36B. Lokalet ligger i en vernet bygning, i en stor kjeller som tidligere var storkjøkken, kalt Prindsekjøkkenet. Området heter Prinds Christian August Minde.

På Prindsekjøkkenet har Svartjord laget en arkitektur av levende planter, de såkalte ”Tre søstre,” som består av plantesortene squash, mais og bønnestengel. De tre søstrene plantes i formasjon, der plantenes egenskaper fremmer hverandres behov og vekst. Projeksjoner og tekstile installasjoner blandes med sand, tesselasjoner og funnede objekter i det beplantede landskapet som danner rammen omkring denne første presentasjonen av kunstnergruppen. 

Svartjord er basert på en unik metode der «gruppen» ikke utgjør noen fast identitet eller kollektiv, men snarere en plattform der nye transformasjoner potensielt kan bidra til å samle og styrke ulike aktører og samarbeidspartnere. 

Svartjord utforsker et bredt spekter av romlige forhold, ikke bare for å utforske romlige problemstillinger, men for å søke nytt territorium for kunstens rolle i politikk, vitenskap, samfunn og miljø – for å introdusere bærekraftige territorielle transformasjoner.

SVARTJORD presents Prindsekjøkkenet

This year’s MA show for visual art KHIO has a different structure than earlier; this year the students arrange their own exhibitions in a style of their own choosing. This has resulted in the cration of the art group Svartjord, consisting of Luca Andreotti, Siren Elise Dversnes Dahle, Mari Østby Kjøll and Yola Maria Tsolis.

Through Svartjord the four students intend to promote change, recycling and repetition of the applied arts ideology, as well as functioning as a nomadic artist-run event. Svartjord is a result of discussions on ecology, spatial intervetions, urbanity, and collectivity.

The name Svartjord (Mollisol) refers to the nutrient-rich soil found in the most fertile agricultural areas on earth. Each of Svartjord’s projects represents an own artistic ecosystem where the given conditions provide fertile ground for the artistic work.

The project makes use of empty buildings in the city. The first exhibition will take place in Storgata 36b, in the cellar of a preserved building called Prindsekjøkkenet. The area is called Prinds Christian Augusts Minde.

At Prindsekjøkkenet Svartjord has created an arcitecture of living plants, the so-called «three sisters», consisting of corn, squash, and bean stalk. The three sisters are planted in formations where the plants’ qualities enhance each other’s needs and growth. Projections and textile installations are mixed with sand, tesselations, and objects found in the cultivated landscape in which the art group’s first presentation takes place.

Svartjord is based on a unique method whereby “the group” does not imply a defined identity or collectivity, but rather serves as a platform where new transformations can potentially contribute to the gathering and strengthening of different artists and collaborators.

Svartjord explores a wide spectrum of spatial conditions, not only to explore spatial issues, but also to seek new territory for the role of art in politics, science, society, and environment – to introduce sustainable, territorial transformations.

 

Mari Østby Kjøll

Mari Østby Kjøll

installasjonsbilde fra Prindsekjøkkenet

installasjonsbilde fra Prindsekjøkkenet

installasjonsbilde fra Prindsekjøkkenet

installasjonsbilde fra Prindsekjøkkenet

installasjonsbilde fra Prindsekjøkkenet

installasjonsbilde fra Prindsekjøkkenet

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Yola Maria Tsolis

Siren Elise Dversnes Dahle

Siren Elise Dversnes Dahle

Siren Elise Dversnes Dahle

Siren Elise Dversnes Dahle

Siren Elise Dversnes Dahle

Siren Elise Dversnes Dahle

Luca Andreotti

Luca Andreotti

Luca Andreotti

Luca Andreotti

Mari Østby Kjøll

Mari Østby Kjøll

Mari Østby Kjøll

Mari Østby Kjøll

installasjonsbilde fra Prindsekjøkkenet (videoprojeksjon i forgrunnen av Luca Andreotti)

installasjonsbilde fra Prindsekjøkkenet (videoprojeksjon i forgrunnen av Luca Andreotti)

27. mai 2014
Skrevet av Marianne Zamecznik

Kategorier: Svartjord

Yola Maria Tsolis

kontakt: yolaaloy[at]gmail.com

 

(with 250 mg, orally) «It was inactive.»

(with 350 mg, orally) «Completely without effect either physiological or psychological.»

(with 100 mg, via the buccal mucosa) «Numbness at the site, but no central effects.»

(with 20 mg, intramuscularly) «I began to see patterns on the wall that were continuously moving. They were transparent, and were not colored. After a short period these patterns became the heads of animals, a fox, a snake, a dragon. Then kaleidoscopic images appeared to me in my inner eye, fantastically beautiful and colored.»

(with 30 mg, intramuscularly) «There was eye dilation and, subjectively, some perception disturbances.»

(with 50 mg, intramuscularly) «I feel strange, everything is blurry. I want my mother, I am afraid of fainting, I can’t breathe.»

(with 60 mg, intramuscularly) «I don’t like this feeling — I am not myself. I saw such strange dreams a while ago. Strange creatures, dwarfs or something; they were black and moved about. Now I feel as if I am not alive. My left hand is numb. As if my heart would not beat, as if I had no body, no nothing. All I feel are my left hand and stomach. I don’t like to be without thoughts.»

(with 75 mg, intramuscularly) «The third or fourth minute after the injection vegetative symptoms appeared, such as tingling sensation, trembling, slight nausea, mydriasis, elevation of the blood pressure and increase of the pulse rate. At the same time, eidetic phenomena, optical illusions, pseudohallucinations, and later real hallucinations, appeared. The hallucinations consisted of moving, brilliantly colored oriental motifs, and later I saw wonderful scenes altering very rapidly. The faces of people seemed to be masks. My emotional state was elevated sometimes up to euphoria. At the highest point I had compulsive athetoid movements in my left hand. My consciousness was completely filled by hallucinations, and my attention was firmly bound to them; therefore I could not give an account of the events happening to me. After 3/4 to 1 hour the symptoms disappeared, and I was able to describe what had happened.

(with 80 mg, intramuscularly) «My perceptual distortions were visual in nature and with my eyes closed I could see colored patterns, primarily geometrical patterns moving very fast, having sometimes very deep emotional content and connotation. My blood pressure went up and my pupils were dilated.»

(with 30 mg smoked) «I spread it evenly on a joint of Tanacetum vulgare and melted it with a heat lamp. In about 30 seconds a strong light-headedness starts, with a feeling of temporal pressure. Some yellowing of the visual field. There was nothing for me to do because I had to turn complete control over to the drug. Off the plateau in 3-4 minutes and the fact that the radio was on became apparent. I was out in a few more minutes.»

(with 60 mg smoked) «We did it together. Swift entry — head overwhelmed — elaborate and exotic. Slightly threatening patterns — no insight — slight sense of cruelty and sharpness between us, but enjoying. His face, as before with MDA, demonic but pleasantly so. He said he saw my face as a mask. He asked me to let him see my teeth. I laughed — aware that laughter slightly not-funny. Heavy, massive intoxication. Time extension extraordinary. What seemed like 2 hrs was about 30 minutes.»

 

EverydaysunshineRaRh.rema1000web pinwheelkatalog RaRh1web RaRhweb yolageomteriweb

24. mai 2014
Skrevet av Marianne Zamecznik

Kategorier: Svartjord, Yola Maria Tsolis

Siren Elise Dversnes Dahle

kontakt:
siren.dversnes[at]gmail.com

 

Destruction is to negate the construction, and then again deconstruct something. We have to go back to childhood. Children need to construct and then again destroy what they have done. This is a normal gesture. This is not bad, is it? But as adults we go NO! We try to… Limit. It’s not a destruction. It’s another way to see the world. We have to go back there, and then Gramsci helps us. We see revolutions today. In Ukraine, or whatever, how complicated it is. To destroy a system, even a corrupt system, it’s hard. The destruction forces you to see things in another light.

 

Thomas Hirschhorn (Kunstkritikk, mars 2014)

 

BA eksamen detalj Gaza Kollaps av snø Oppstadvev detalj Oppstadvev hele OLYMPUS DIGITAL CAMERA Tysk kollaps

24. mai 2014
Skrevet av Marianne Zamecznik

Kategorier: Siren Elise Dversnes Dahle, Svartjord

Mari Østby Kjøll

kontakt:
marikjoll[at]hotmail.com
www.marikjoll.com

”This simple flint hammer was made almost 40,000 years ago in the area of the river Seine close to present-day Paris. Of course, knowing so little of the lives and culture of people who produced this tool, it can only be conjecture as to its use. However, we can HEY! OW, OW, AIEE! STOP! STOP! WHY ARE YOU HITTING ME? PLEASE STOP! OH NO! STOP! OUCH! WHY ARE YOU HITTING ME? PLEASE! STOP! OH NO! STOP! OUCH! (Durham. J. 2012)

 

1 2 3 4 5 6 7 8

24. mai 2014
Skrevet av Marianne Zamecznik

Kategorier: Mari Østby Kjøll, Svartjord

Luca Andreotti

 

 

 

 

 

Try to imagine a fire that doesn’t burn, and that doesn’t light your way, but yet, everything that is real still exists. Every shadow is still reflected. You don’t need to see it. You can sense it. Suddenly you don’t need this fire to warm your bones anymore. The fire is already inside you, but to see it you have to reach up to where there is too much light for your eyes to see.

 

image001

image013

sardinia

 

 

 

14. mai 2014
Skrevet av Marianne Zamecznik

Kategorier: Luca Andreotti, Svartjord