Onsdag 04.11.09
19-22
Academy students in collaboration with Edward Clydesdale Thomson present works produced during photography workshop:
Matti Aikio, Camilla Fagerli, Sigurd Gurvin, Miriam Haile, Linn Horntvedt, Njål Kvenseth, Sjur Nyvold, Ingrid Bøe Sørensen and Hans Christian Van Nijkerk
A whisper carried between gathered heads transforms in the space of miss-pronunciation, miss-hearing and deliberated subversion; Borderline Picturesque becoming Blue Berry lying Bitches.
A game of ‘Chinese Whispers’ formed this exhibitions initial impetus; a strategy intended to open up the inherent multiplicity of possible interpretations and re-interpretations present in every image.
Each artist starting from a colleague’s image in the development of their work resulted in an exhibition of entangled references and subjective interpretation.
As an artistic strategy ‘Chinese Whispers’ complicates the relationship between what is depicted in an image and the agency of the work.
Bypassing a traditional representational discourse by beginning from an existing image, narrative must now be sought not only in what is depicted on the images surface,
but in the construction of each image and its web of personal and cultural associations.
19-22
Academy students in collaboration with Edward Clydesdale Thomson present works produced during photography workshop:
Matti Aikio, Camilla Fagerli, Sigurd Gurvin, Miriam Haile, Linn Horntvedt, Njål Kvenseth, Sjur Nyvold, Ingrid Bøe Sørensen and Hans Christian Van Nijkerk
A whisper carried between gathered heads transforms in the space of miss-pronunciation, miss-hearing and deliberated subversion; Borderline Picturesque becoming Blue Berry lying Bitches.
A game of ‘Chinese Whispers’ formed this exhibitions initial impetus; a strategy intended to open up the inherent multiplicity of possible interpretations and re-interpretations present in every image.
Each artist starting from a colleague’s image in the development of their work resulted in an exhibition of entangled references and subjective interpretation.
As an artistic strategy ‘Chinese Whispers’ complicates the relationship between what is depicted in an image and the agency of the work.
Bypassing a traditional representational discourse by beginning from an existing image, narrative must now be sought not only in what is depicted on the images surface,
but in the construction of each image and its web of personal and cultural associations.
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