I & We
Åpning 21. Mai kl 18.00
I forbindelse med glassets år, setter S12 søkelyset på norsk glasskunst. Utstillingen er basert på en open call, og kuratert av Mika Drozdowska (pl) fra BWA Wrocław Galleries of Contemporary Art.
Kunstnerne som deltar er: Anna-Linda Gabriel, Frantzsen&Mjanger, Heidi Kristiansen, Ida Siebke, Jeanne-Sophie Aas, Karin Forslund, Lene Charlotte Tangen, Maia Birkeland, Matilde Duus og Åsa Wigum Skjetne.
Tygde tyggiser, dammer av smeltevann, et prikkete egg, knust glass og pust til utlån.
Ved første øyekast, kan det virke som om arbeidene i I & We har lite til felles. Utstillingen består av skulpturer, video, foto og performance, der både glassets evne til å formes, og det mer konseptuelle og idebaserte står i fokus. Selv om kunstnerne bruker ulike språk og symbol i kunsten, er det ingen tvil om at de forfølger sin lidenskap når de arbeider med glass. I sin kunstneriske praksis presenterer de holdninger fylt med ømhet og oppmerksomhet for mediet og for verden rundt oss. Nøkkelen til utstillingen ligger derfor, i en retning innen relasjonell etikk og går inn i feminismens rammeverk - omsorgsetikken.
Arbeidene som vises påtar seg rollen som informasjonsbærere, de er sporfossiler, som forteller fremtidige generasjoner om vår nåtid, men også kommenterer den bittert. De bekrefter kjente holdninger og øker bevisstheten rundt kunstnerisk praksis sett i kontekst av klimaendringer og vår utstrakte bruk av naturressurser. I hvilken form, om i det hele tatt, vil glass fortsatt være en del av livene våre i fremtiden?
DJ Flaky og Our friend Rowan spiller på åpningen.
Åpen fredag-søndag 12-16.
Utstillingen står fra 22.05.22-14.08.22. De fleste av kunstnerne vil være til stede på åpningen. For mer informasjon ta kontakt med S12 på tlf 930 33510/ email@example.com
I & We
“The “I” is thus at once a “we”.”
In the nomenclature of the environment dealing with glass, Glass Community stands as a symbol of security, freedom, development, knowledge exchange and sharing of common values. The essence of working with glass lies in cooperation. Constant struggle, battle even, with unpredictable matter. Hours spent within a hostile environment, in noise, with kilograms of glass in your hands or on your shanks, at temperatures reaching 1500 degrees Celsius, requires mutual support quite often. For years, the glass community has been focusing on the integration of the international art world in order to promote diversity and build a fair structure for all those wishing to refine their abilities related to this art. Inclusiveness, equality, and accessibility are goals that both public and private sector entities have placed at the forefront of their values. Without an open, balanced, discrimination-free community, the responsible and wise practice that our world desperately needs will not exist.
The title of the exhibition «The «I» is thus at once a «we»» presented in S12 was extracted from the book written by the American feminist philosopher Judith Butler entitled Notes Towards a Performative Theory of Assembly. The author writes about experiencing freedom between people, which becomes the essence of understanding how a community works and how important it is. Freedom develops the creative and intellectual potential, gives us the freedom to choose certain forms and techniques of expression. Freedom is to be born in a group of people sharing the same passion and learning from each other.
The project presents the profiles of Norwegian artists selected within the framework of the Open Call format, derived from different stylistic universes. At first glance, it might be considered that they have little in common. Each of them is oriented to a different form of expression, and thus evoking a different spectrum of emotions and reflections. However, despite the fact that they use different symbols and language, they undeniably pursue their passion in working with the medium of glass. In their artistic strategy they focus on practices and narratives presenting attitudes filled with tenderness and mindfulness for the medium and the world around us. Hence, the key to the exhibition lies in the position derived from relational ethics and entering the framework of feminism - the ethics of care. Caring stands
as companioning and an attentive and sensitive presence in difficult, by definition, situations. It is care for horizontal relations, solidarity and vigilance towards beings and - departing from anthropocentrism and individualism, also for the other, those non-human. It also means mutual presence and concern for memory and visibility towards diversity as well as multiplicity of narratives and approaches.
What we will see at the exhibition «The «I» is thus at once a «we»» is a selection of object works, video and photographs, in which the metamorphic nature of glass is used at the level of the formation of matter, but also of ideas. The presented works become a tool of engagement, generate relationships and perform. They take on the role of information carriers, like trace fossils tell future generations about our present, but also comment on it bitterly.They are an impulse to verify foregoing attitudes and raise greater awareness of artistic practice in the context of climate change and our intensive use of earth resources. Others boldly mock reality, without a hint of seriousness. Some show a metaphor for human codes and behavior, while others reflect our endurance and adaptability.
Regardless of the formal and ideological layer, we will undoubtedly look at glass through a range of perspectives and pretexts, the common denominator of which is giving this extraordinary material subjectivity. “The“ I ”is thus at once a“ we ”puts great emphasis on cognition, process and mutual care. These are indispensable elements to think about the protection of artistic and, to a lesser
extent, industrial glass manufacturing in the times of geopolitical, economics and climate changes, planetary crisis and disappearing natural resources on which our civilization and material culture are based.
The perspective of taking a step back and looking at glass in the context of geology and rheology and through the prism of its components and substitutes, becomes an impulse to face and analyze the difficult prospect of the future and tries to answer the question of what glass can do to shape more sustainable and just communities? In what form, or if at all, will glass still be a part of our lives? Will the organic and insightful knowledge regarding the medium and processes thanks to practice as well as building a community willing to introduce systemic changes and solutions, supporting one's own development, become an appropriate picklock to salvation?