Post-pre-post-mortem post for Premiss’ ex-premises
By Ellen Ringstad on Refuse to be a coward.
The © Show
Oddwarg, Matias Faldbakken, Judas van der Berg and other illicit acts
Violently curated by Rasmus Hungnes
Tuesday July 31st
21:00 – 22:42
Copyright is intended to provide an automatic incentive to invest in a project, by giving the investing party a temporary monopoly on production.
However, for as long as this monopoly lasts, other parties are legally hindered from performing further innovation on the product.
It also prevents them from providing the product in a more cost-efficient manner than the copyright holder.
In addition, the copyright holder may legally attack anyone who develops a similar product, even when they are unaware of the existing copyright.
In this sense, copyright is a double-edged sword for the progress of science and art, and has to be balanced.
The duration of a copyright today is around 100 years; Much longer than the time needed to gain recompense for virtually any investment.
In the long run, the burden this monopoly places on the public and society in general clearly outweighs the benefits.
Copyright law is not only outdated and out of touch with reality, but has been perverted over time by lobbyist interests.
It is, perhaps more often than not, abused in ways that do not promote progress.
Finally, contemporary intellectual property laws deem ordinary, well-meaning people to be criminals.
For the sake of an open, prosperous and enlightened future, we are in need of extensive reforms, or even a complete abolishment of this system.
The show will stay open for the duration of the movie Predator.
The exhibition is supported by BKK and Bergen Kommune.
The exhibition supports Kim Dotcom.
Opening Friday May 25th at 20:00
Open Saturday and Sunday 14:00-18:00
Simon Torssell Lerin/Bettina Hvidevold Hystad
Artist duo Simon Torssell Lerin/Bettina Hvidevold Hystad (1985), lives and works in Stockholm where they are currently doing a Master in Fine Art at Konstfack - University College of Arts, Crafts and Design.
For their show at Premiss, Simon and Bettina will present the first part in their ongoing project (DAMO) about the Japanese musician and traveller Damo Suzuki, most famous for being the vocalist in the German krautrock band CAN during the early 1970´s.
Part one is a cultural pilgrimage following the foot steps of Damo Suzuki´s time as a hitchhiker and traveller in Europe during the late 1960´s and early 1970´s. The journey takes us from a rock club in Osaka, to the small village Gräsmark in the Swedish forest, to a farm in Southern Ireland and finally together with Damo 40 years later back to Gräsmark again.
Artist duo Simon Torssell Lerin/Bettina Hvidevold Hystad has previously had solo exhibitions at Kyoto Art Center (Kyoto), Organhaus Art Space (Chongqing) and 943 Studio (Kunming), their work has been shown in group exhibitions at Casino Luxembourg (Luxembourg) La Casa Encendida (Madrid) Jin Ding Loft 1919 (Kunming) and Unge Kunstneres Samfund (Oslo) among others. This summer they will be “Artist in Residence” and have a solo exhibition at Haisyakkei in Tokyo.
Åpning fredag 11. mai kl 20:00
Åpent lørdag+søndag 14:00-18:00
Svart is (eller, Så vinden ikke blåser det hele bort) ((Støv, jævla støv))
Som de fleste andre kunstnere, lager Jonas Ib F. H. Jensen ting av andre ting, id est allerede eksisterende materialer og objekter med iboende egenskaper, som man gjerne sier. Videre sier man gjerne at dette handler om kunstnerens interesse for disse allerede eksisterende materialenes potensiale, og deres tidligere nevnte iboende egenskaper.
Kunstneren forholder seg til disse materialene med iboende egenskaper, i første omgang i en såkalt utvelgelsesprosess hvor materialet velges av kunstneren. Videre sier man gjerne at verket oppstår gjennom en egenartet materialbruk og teknikk, som er spesiell for kunstneren og de matereialer med iboende egenskaper som han tidligere har valgt ut i en utvelgesprosess.
Disse materialene kan være så mangt. Noen ganger er de objekter som har hatt en annen eksistensberettigelse eller hensikt ved sin tilblivelse. Andre ganger er det materialer som er ment brukt til slike ting som Jonas Ib F. H. Jensen, og andre kunstnere, kan finne på å bruke dem til. Slik er det.
Denne omgangen med materialene tar, for Jonas Ib F. H. Jensen, og mange andre kunstnere, form av en slags lek med materialene hvor det blir formet noe som står i samsvar til den enkelte kunstners sinnelag, intelligens og motivasjon. Noe lages. Denne leken er gjerne, ja, den er jo leken da, gjerne, og spontan, sier man gjerne.
Når det gjelder Jonas Ib F. H. Jensen, så jobber han gjerne med skulpturelle installasjoner, slik noen gjerne ville ha formulert det hvis noen skulle formulere det. Ofte er det snakk om objekter som slår seg av og på, som snurrer, ruller eller på andre måter er aktive. Det synes å være et poeng for Jonas Ib F. H. Jensen, dette med aktive objekter — altså dynamiske objekter — i motsetning til exempli gratia statiske objekter. Hvis man hadde spurt Jonas Ib F. H. Jensen om hvorfor og/eller hvordan det er blitt slik, ville han nok sagt at det har med disharmoni og avvik å gjøre. Dessuten ville han kan hende si at alt annet er i bevegelse, og at det derfor synes naturlig at også kunstobjektet er i bevegelse. Han om det.
Uansett: I likhet med mange andre kunstnere, synes nok Jonas Ib F. H. Jensen at det tidvis føles både bra og riktig å lage ting. At man kan klare å si et eller annet lizzm-viktig med det man lager. At man for eksempel kan forsøke å formulere noe om verdens grunleggende ustadighet og disharmoni. Noe om vindens flukt og flyktighet. Om hva vinden bringer, hva vinden legger igjen og om hva vinden tar med seg igjen.
Eller man kan forsøke å si noe om noe helt annet, hvis man gidder.
The new MA students of Fine Arts (KHiB) welcome you to Premiss this weekend and the next.
The show includes works by Daniela Ramos Arias, Fredrik Berberg, Tora Endestad Bjørkheim, Marit Tunestveit Dyre, Ingrid Eikhaugen, Johannes Engelsen Espedal, Kiyoshi Yamamoto Farias, Johnny Herbert, Susi Law, Veronica Rebecca Johansen, Kerstin Juhlin, Kay Arne Kirkebø, Gabriel Kvendseth, Kristin Runarsdottir, Ellen Henriette Suhrke and Hedvig Sønstabø Thorkildsen.
Opening friday the 27th at 20.00
Open saturday and sunday 12.00 to 18.00
Closing sunday, may 6th
Premiss is supported by the municipality of Bergen and BKK.
Anja Carr - New premises, same shit (but wait a minute, mmm, something is different) & Judas van der Berg - Bitching about eternity
New premises, same shit (but wait a minute, mmm, something is different)
- video-installasjon av Anja Carr
13. – 22. april 2012
Åpning fredag 13. april kl. 20
Lørdag – søndag kl. 14 – 18
- If I want to be a real pony, what do I do?
- You eat grass and shit in the open
She’s erudite, smart and very logical
But others find her confusing, they think she is cold-hearted
The words fall from her lips
“Hello down there,” she calls
poking the head into the well.
“Hello down there,” the voice echoes back.
“Where are you?
It’s cold outside
What’s that smell?
to taste you to taste me
- Did she really shit on your floor?
- …and what happened to the Easter Bunny?
- I think she is right behind you
Anja Carr (1985) sine rituelle performancer foregår live eller foran videokamera og blir her presentert som romlige installasjoner, hvor smak og lukt kan bli en del av opplevelsen. I installasjonene blandes en visuelt påtrengende og uungåelig virkelighet med utdrag fra fuktige drømmer. I denne utstillingen kan vi møte frykt i ny forkledning og lyster vi ikke visste vi hadde. Eller miste appetitten, alt ettersom.
Carr har blant annet stilt ut på Galleri S.E (Bergen), Galleri Van Bau (Vestfossen), Museet for Samtidskunst (Oslo) og Hamburger Platz (Berlin). Hun driver det rosa visningsrommet PINK CUBE i Oslo og er aktuell med TV-intervju på statskanalen denne måneden, performanceoppdrag i Amsterdam til sommeren og separatutstilling på Akershus Kunstsenter i september. For spørsmål og forhåndsvisning, kontakt: (+47)45220797
Bitching about eternity
I’d like to say that when you try to create something unfettered by faux I don’t know what the hell that means because even my own point of view is non-constant. Truth is that I am a trickster. So, trying to create something good, emotionally honest, or whatever the fuck I am trying to impress upon others should be free from any attempt at anything. Everything is a fraud, especially me, especially you. So go fuck yourself!
Judas van der Berg
Spreafico / Baur:
Details of love - an exhibition about cars
Damsgårdsveien 35, Bergen
Opening Friday 23d of March, 21:00
Open Sat-Sun 14:00-18:00
In «Details of love» the artists translate their romantic Weltanschauung into the language of cars.
Andrea Spreafico (Ravenna, 1976) has a PhD in philosophy from the University of Bologna, and an MA in Art and public space from Nuremberg. He currently works as a freelance artist and teacher at Bergen School of Architecture.
David Baur (Tübingen, 1977) studied painting at The Academy of Fine Arts in Stuttgart, before doing an MA in Art and public space at the Academy of Fine Arts in Nuremberg. He is currently a freelance artist and teacher at the University of Architecture in Stuttgart.
They have collaborated as members of forschungsgruppe_f and URI (Urban Research Institute), through a wide array of projects in places such as Zurich, Budapest, Munich and Lucern.
“Semi Nude Asian Girl Patent Leather Boot & Other Works”
Hans Christian Skovholt
Opening Friday 16. March at 20.00
Open Saturday and Sunday 14 - 18
Hans Christian Skovholt (1981), lives and works in Oslo. He is educated
from Trondheim Academy of Fine Art, The Oslo National Academy of the
Arts and The Academy of Fine Arts, Vienna. His work spans several
different media from large-scale installations to perfomative works. His
works often discusses the open source. How an idea is transformed when
materialized by another part that does or does not misinterpret the
artists agenda. The gain and the compromise in this process builds a
fragile structure which is only bound together by its idiosyncrasy. At
Premiss he will present “Semi Nude Asian Girl Patent Leather Boot &
Other Works”. Recent activity includes the group shows “Crystallomancy”
Control Room, Los Angeles, “Calma Maria Magdalena”, NoPlace/18th Street
Art Center, Los Angeles, Høstutstillingen, Oslo and “I walk the line”, Ultima Festival, Oslo.
In the Sauna:
(if you don’t try to hold your breath,
for half a minute or so is unlikely to produce
holding your breath is likely to damage your lungs,
something you have to watch out for
and you’ll have eardrum trouble
if your eustachian tubes are badly plugged up,
but theory predicts
— and animal experiments confirm —
that otherwise, exposure causes no immediate injury.
you do not explode.
your blood does not boil.
you do not freeze.
you do not instantly lose consciousness.)
Ellen Ringstad, Hélène Førde, Sofia Eliasson, Emily Ilett, Moa Franzén:
Åpning fredag 16. desember kl 20:00
Også åpent lørdag 17. og søndag 18. desember 12-18
Aske, lysterapi, hvite overflater, forsvinningspunkt, trevirke, mellomrom, synlighet, usynlighet, stillstand, ild.
Axe It Here // Chopping Wood for the Common Good?
Callum Hill / Gabriel Johann Kvendseth
@ PREMISS 4th - 6th November 2011
Opening Friday November 4th 20:00
At the opening:
Performance by Gabriel Johann Kvendseth at 21:30
Solo concert with Kjetil Møster at 22:00.
Also open Saturday November 5th and Sunday November 6th 12:00 - 18:00
CHOPPING WOOD FOR THE COMMON GOOD?:
Gabriel Johann Kvendseth
A situation for the contemporary, leisurely minded, wood chopping Man, trying to make us feel bad with his misunderstood sense of moral superiority. It´s all plain fun and good game until the notion of sustainabilty limits this masculist frivolous pastime. This is paying for playing and not working for the salt of the earth.
It is comparing his biceps to his triceps, his pec´s to his abdominus rex, and how the tonus of his gluteus maximus will improve his chances for casual sex. Moving the axe along the arch in a perfect flex. The wild nature, sacred temple of birth, death and transformation, controlled and confined in this prison he is trying to master for himself. Trying to tame the chain (in vain) is no way to stay sane.
AXE IT HERE (WE WILL COUGH BLOOD ON THE MOON SOON)
There is nothing that we can see today that really hinders us from doing anything with the environment, including if we wish destroying it completely for all time.
Questioning the human relationship to environment, against the evasive frontier of modern times, the work WE WILL COUGH BLOOD ON THE MOON SOON is a testimony to such notions. Understanding our morality in a virtual era, the moving image, it seems, becomes an instigator of allusion to our physical being. The work attempts to understand the journey through technology, which is carrying us further away from the real nature of human life.
Kjetil Møster’s musical span is long and crooked. After studying accordeon as a kid, his stage debut was as a thrash/hardcore bass player on the scenes of Bergen, Norway as a 14-year old in 1990. His parallell saxophone playing made him discover John Coltrane a few years later, which brought him to jazz studies at the conservatory in Trondheim, focusing mainly on modal and free jazz, and free improvised music.Participating in a number of relatively succesful jazz and experimental bands the following years, such as Ultralyd, Zanussi Five and The Core, Møster was nominated for the ”jazz talent of the year”-award in 2006, given by IAJE and IJFO, and won. He also did a large number of ad hoc projects with such musicians as Jon Christensen, Paal Nilssen-Love, Hild Sofie Tafjord, Michael Duch, Maja Ratkje, Andrew D’Angelo, Jim Black and so on.However, his split musical personality had kept him playing with glam rockers King Midas for years, and now turnng more and more into a permanent member of electro rock band DATAROCK, Møster chose to focus on the latter full time from 2007 until recently.His recent solo album on Bjørnar Habbestad’s record label +3dB, ’Blowjob’ is an album stripped of glamour, fancy artistery or advanced studio techniques; it’s an acoustic solo tenor saxophone album presenting a snapshot of a musician with many feet in many musical camps, trying to find a basic expression from the lowest common denominator of these.
Kristian Skylstad & Stian Gabrielsen
Being Is Being Used to Be Being Blurred
Åpning fredag 28. oktober kl 20:00
Også åpent lørdag 29. og søndag 30. oktober kl 14-18
I remember when as a kid, age unspecified… I was sitting in the window of my cousin’s flat in this city in the mountains where it’s always raining, just singing out into the open and hoping for the neighbour girl to turn up so she would notice me and my act would turn into this weird, eccentric coincidence, that would finally lead her up into my arms and let her shiver like a flower. I remember I didn’t have a clue what to do, and I’m constantly looking for that sensation, burning, but it only seems like some vague reflection. A copy of a copy of a copy. You’re overdoing it. The memory isn’t that vivid. You’re romantizizing itzzz boring I tell you. What is not boring, you see, is finding yourself in wherever realising that you don’t understand shit about anything at any time about anything. That you can share nothing with no one no more. And that’s also fake, so where you standing, kid? In an illusion of an illusion in the search for a conclusion that would only lead to confusion. You sit there in that state of mind which keeps you paralysed, without the ability to do anything with the narrative of your life and time, and you imagine that it’s because you have nothing to do, but the reason you have nothing to do is because you’re doing nothing. And at once you start doing something, you feel vague ‘cause your identity is so slim. That you need all this time to subdue what is you into a pot or a pit that you can reach for with your fingertips and there is no time for regrets or secrets, wishes or big changes for you any more, ‘cause like before everything seems fantastic and beautiful but at once when it’s touching your face it grows cold and that’s because you’re getting old. You prepare for something that’s not there. Yet. But if you stay in that something, that moment you’re in, it will happen without you noticing it, and you repent cause you weren’t there to witness what happened around you, and if you stick with the social idea that you’re part of something, you weren’t there to witness what happened to you. There is style there is dreams there is time there is leisure there is career. And you weren’t there. To believe it to see it to indulge. In the apartment you stand, and in the apartment you realise this. What is this? This is melancholy. It’s the sadness of realizing how beautiful everything is. Sitting there with nothing you realise that you have been ignoring it. So you stand up and enter the door to the bathroom and you sit on the bathtub edge, dealing with it. Every sentence comes so fast. To your head and is changed out with a hum and then a new line of words. It’s boring it’s nauseating and it’s vague and unreal. How you feel. You’re dragged into a whirlpool of mist. Cause you have admired the ones who transcend into new dimensions constantly, and also you have been trapped into their scheme which brought them down and made you use the words that should never be spoken or should I say the words that shall not be combined, intertwined into the strangling labyrinth of circles on top of each other and even though you know you don’t need it you don’t know anything else. Nothing else you know and there you go. I see you in the distance fading away into a pyre, your back turned away. The back of your head is shaved. And I want to defeat you and beat you and force you down on your knees to pick up your bones again and put them in my bed and let you rest and witness the flesh grow as your lucid dreams screams yes please. Let me rest. And forget. Cause I’ve already forgotten or accepted or ignored the consequences of letting oneself be so consumed with regret that you became as pale as the reflection you see when you now and then dare to turn your face and see your reflection in the mirror. And in the deep voids in your skulls a diamond will appear when morninglight shines through the black spots expanding and contracting constantly now that you finally see that I’m holding your hand and that I understand. That I feel the same but that I want this infection to fade.
Eric Alvin Wangel
30. september kl 20:00 - solokonsert med Øyvind Skarbø kl 21:30
1. oktober kl 14-18
2. oktober kl 14-18
THE EVENING READINGS
En gruppeutstilling med
Christian Tony Norum
Knut Ivar Aaser
Kim Henning Andreassen
& TARMAC GRAIL
16.09.11 kl. 21.00. Åpent 12-16 lørdag og søndag.
Extended opening hours: Tommy Olsson
Extended opening hours: Tommy Olsson
Due to popular demand, Tommy Olsson’s exhibition has extended opening hours:
Saturday and Sunday 16:00-20:00
Or by appointment Tuesday-Friday.
Takk til Piksel
When the somewhat unstable character, we learned to know as “Tommy Olsson”, occupies the premises of Premiss for a weekend, it is with something as rare as video works that were not produced 15 years ago, but in this moment - or at least this year , 2011. Some will remember how the art critic / performance artist / avant-garde pornographer on the fifth anniversary of 9-11 revealed that he completely stopped making videos as a consequence of the attack on the World Trade Center. Those who are hip to the beat of the street will also know that five years after that again, he claimed that this was pure bullshit, and only said to attract attention to himself. Fact is, video was not left behind before 2003, when he turned to writing full time - though what is “full time”? The exhibitions have come and gone throughout this period, preferably in unexpected places. Often retrospective, with works dating as far back as the early 80´s. So, what can we expect here and now? Are we talking about a “return to form”? Will we see his pierced genitals for the umptenth time, or did the past decade calm things down? Will the now middle-aged punkrocker stumble around in an electronic landscape that have long since become dated? Will this involve a more direct approach, now that the dreamer/pornographer of the pre-millenial world have turned off the music and made it a habit to look straight into the camera before he speaks? Not unlike a politician who wants to win the confidentiality of his audience, with the intensity of a satanic cult leader and the violent desire of a digital contact ad. What can the man say with this that he does not manage to say in his column in the weekly Morgenbladet? Maybe insist on his right to remain a split personality, where a feverish adolescent rage still seems to be the fuel that keeps this engine running. Very specific experiences, filtered through the ageing writer’s perspective. Who can say where this will end, really?
Rotterdam, the Netherlands August 30
Chief curator at EU Media Institute Voor Den Verdamnte Kunsten, Arnhem.