2017
Using sculpture, installation, and performance, Maria Jonsson's practice investigates ways in which art can create social spaces. Different strategies and methods help facilitate processes that are both artistic and interpersonal. Her art is either based on, or inspired by human relations and there social context.
Jonsson is born in Colombia, raised in Sweden, and currently based between Bergen and Oslo. She holds an MFA from the KMD, Faculty of Fine Art, Music and Design 2016.
Jasmine Hinks (1989) is a British curator and writer based in Stockholm, where she is currently completing her MA in Curating Art at Stockholm University. Hinks’ practice investigates the relations between artwork, context and audience. Through interdisciplinary collaboration, her projects unpack and re-think curatorial approaches, with a specific interest in spatial and textual framing. Ongoing research focuses on the affordances of public space – and the public sphere – within the expanded art field and in a broader social context.
In 2016, Hinks presented the curatorial project Codified Environments: Renderings of Public Space at Färgfabriken, Stockholm. The exhibition featured works by filmmaker Lucia Pagano and artist Johanna Gustafsson Fürst, and constructed an extended platform for dialogue around notions of public and private. Her curatorial approach has grown out of her experience working alongside artists in self-organised platforms in her native Scotland.
Ina Hagen (b.1989, NO) is an artist and writer based in Oslo. She holds a BFA from the National Academy of Art, Oslo (2014). Her work constantly shifts the roles of artist, curator, assistant and collaborator in dealing with the mediation of art as artistic practice.
Hagen has exhibited at: INCA, Seattle (Solo); Tidens Krav, Oslo; Kunsthall Charlottenborg, Copenhagen; Podium, Oslo; Kurant Visningsrom, Tromsø; Quartier 21, Museums Quartier, Vienna, among others. She was awarded a one year studio grant at Kunstnernes Hus, Oslo in 2015, as well as being artist-in-residence at BAR Project, Barcelona from March to May, 2017.
Currently she writes for the Scandinavian online art journal kunstkritikk.no, and is vice-president of the board of UKS (Young Artist’s Society). Since July 2016, Hagen has been running the not-for-profit space Louise Dany together with artist Daisuke Kosugi from their home, studio and adjacent store-front.
Image 1, 2: Ina Hagen, Round Robin Reveries: Gathering for the Other Magic Fountain, Barcelona (2017), Montjuïc, Barcelona. Photo: Christina Inocencio
Image 3: Apichaya Wanthiang, Ban # 1 Practice Models (2016). Two day workshop at Louise Dany, Oslo. As part of the group exhibition Roaming curated by UKS (The Young Artist’s Association). Photo: Margit Selsjord
Image 4: Sondra Perry, Resident Evil Seminar, 2016. Seminar at Louise Dany, Oslo. Image courtesy of the artist and Louise Dany, Oslo
Anne Haaning's practice revolves around an interest in digital ontology and myth and usually employs CG animation and video installation. She is currently a research fellow with The Norwegian Artistic Research Programme. Her work has been shown internationally in among other venues: The Jerwood Space, London, Whitechapel Gallery, London, Taipei Contemporary Art Center, the Islandic Biennial: Sequences Vll, CPH:DOX, Kurtzfilmtage Winterhur, Nottingham Contemporary, FACT, Liverpool, CCA, Glasgow International and Jeune Creation, Paris. She was shortlisted for the Jerwood/Film and Video Umbrella Awards and won the Solo Prize at the Spring Exhibition at Charlottenborg Kunsthal in 2014.
Through animated, fleeting and disintegrating images Haaning's work seeks to convey the impermanence of matter and identity in a digital context; she considers the digital as something comparably fluid, infectious and viral as the bacteria that literally enters the human body to breed and subsequently migrate from person to person through bodily fluids. This notion of a digital flow is linked to her interest in ancient myth and its often conspicuously fluid perception of the connections between people, creatures, times and places; the spirit is far from bound by the body and its physical circumstances. In Haaning's work myth is employed as a parallel to the conditions that were introduced with the emergence of the digital world.
Looking at the employment, performance and meaning of technology through a mythical perspective, she tries to unmask, or perhaps re-mask, some of the structures the digital imposes on us. She explores and comments on how production and circulation locks us in a loop of unpaid digital labor, violated privacy, continued human de-skilling, post factual manipulation and other potential traits of Digital Colonialism.
Rodrigo Ghattas (b.1989) is a Peruvian-Palestinian artist and cultural producer. His practice travels between a range of different media; site-responsive installations, social sculpture, creative writing, daily performativity and art intervention. Artistic concerns involve perception of public space and connections between temporality and social discovery, new visions of the unfamiliar within everyday settings.
He holds a BFA in Sculpture from PUCP (Peru) and is a current MFA Art and Public Space candidate at Kunsthøgskolen i Oslo, Norway. Ghattas is the founder and director of Machaqmara Center for the Arts (MQA) which he has been running since 2014. Additionally he has been working as OSLO PILOT artistic collaborator since 2016 . His work has been exhibited in Thailand, Peru, USA, Norway, China and Italy.
Esra Duzen (1983) is originally from Istanbul, Turkey and lives in Oslo. After more than a decade of working in the insurance sector in Istanbul and London, she decided to study art and moved to Oslo to dedicate herself to becoming an artist full time. She currently studies Fine Arts at The Oslo National Academy of Art (KHIO).
Esra's passion in art comes from her strong belief in people and change. She incorporates themes of enlightenment and rebellion against oppression of all forms in her art. Her practice involves installation, painting and drawing. She is currently expanding her work to include digital and analogue animation.
Devoted to a critical media performance project entitled Black Hydra's Discharge Springs Forth Errantly From Her Many Mouths, emerging multimedia artist and producer Brandon Covington Sam-Sumana works to interrogate matters related to transience, narrative structure, and system metabolism. Their interrogations have spawned music projects, objects of generative design, forays into speculative finance, video, and visual art. Brandon was born in Fayetteville, North Carolina.
Self-styled “Famous New Media Artist” Jeremy Bailey’s inventive and endearingly self-deflating performance practice collides the vulnerabilites and embarrassments of physical embodiment with the tricks of internet marketing and digital imaging’s sleek pictographics.
His work has featured in an international roster of venues and festivals, including the Stedelijk Museum, Amsterdam; Tate Liverpool; Whitechapel Gallery, London; Transmediale, Berlin; Museums Quartier, Vienna; and the New Museum, New York. Via his project The You Museum (2015-ongoing), Bailey’s displays – individually tailored to suit the viewer’s personal tastes – can be accessed globally online: see here.
Video: Jeremy Bailey, The Future of Television, 2012.
Software demo created for Random Acts: Artist Interventions into Broadcast 26 October 2012Commissioned by Omar Kholeif for FACT, Liverpool and Liverpool Biennial in partnership with Channel 4 and Arts Council England Thanks to Kyle McDonald for developing Face OSC
Gabrielle Paré is a Canadian-born artist, living and working in Oslo, Norway. She completed her BFA at the University of Alberta (Canada) in 2011, and her MFA at the Kunsthøgskolen i Oslo in 2017.
Her practice is wide-ranging: from paper-based works, to audio-visual installations, to creative writing. At the core of all works is the desire to challenge the borders of identity with the uncanny, the uncomfortable and the hybrid body. Paré uses her own body performatively as a site for the exploration of culture, filiation, and personal mythology.
Iz Öztat is an artist based in Istanbul. She is a member of BAÇOY-KOOP (Printing, Duplication and Distribution Cooperative), a group that utilizes the mimeograph technology for collective, independent publishing in Turkey’s current climate of repression. The cooperative conducts archival research into mimeographed printed material and dialogues with the technology’s previous generation of users – investigations that lead to collectively-produced printed matter, actions and installations. She is a collaborator in HTTPpRESS, an online platform that publishes content with free/libre licences or notices. With Fatma Belkıs, she explores the convergence of water and freedom, and she communes with the shade of Zişan (1894 – 1970) who appears to her as a historical figure, a channeled spirit and an alter ego. She has taught at Oberlin College (USA) as a Visiting Professor.
Selected exhibitions include Tamawuj, Sharjah Biennial 13, United Arab Emirates (2017); Land without Land, Heidelberger Kunstverein, Germany (2016); Saltwater: A Theory of Thought Forms, 14th Istanbul Biennial (2015); Conducted in Depth and Projected at Length, Heidelberger Kunstverein, Germany (2014); Rendez-vous 13, Institut d’art Contemporain, Lyon, France (2013); and Here Together Now, Matadero Madrid, Spain (2013).
Image 1: Constituting an Island, Iz Oztat, 2014, Video still from single channel HD video, 1' 46'' Loop
Image 2: Will Flow Free / Who Carries The Water, Iz Oztat and Fatma Belkis, 2015, Wood-printed naturally-dyed muslin, Dedicated to the public domain
Image 3: Who Carries The Water, Iz Oztat and Fatma Belkis, 2015, A page from the 19-page text, reproduced by mimeograph, Copyleft
