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Circulating AiR
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past exhibitions




Exhibitions 2015

> Victor Alimpiev
- Weak Rot Front 11'36"(2010)
> Elena Kovylina
- Égalité St. Petersbourg 7'58" (2014) & Égalité Moscow 9'22" (2008)
> Polina Kanis

- The New Flag 6'27" (2013)
- Formal Portrait 9'32" (2014)
- Celebration 13'27" (2014)

14.11.14 - 08.02.15
Opening reception: Friday 14th at 18:00
Victor Alimpiev and Polina Kanis will be present at the opening.

Elena Kovylina will create "Égalité", Bergen 6th of December, 2014
Invitation will be sent separately.

3,14 is very pleased to be able to present a suite of six video works by the three distinct Russian artist Victor Alimpiev, Polina Kanis and Elena Kovylina. The works will make us think and reflect about current situations and about the future. At the same time the past is present as a back drop in the works. In today´s post-Soviet era artists are exploring and defining a national Russian identity still in the making, and investigating its place in the globalized world. Performative aspects are another common denominator in this exhibition, as it is an intricate and integral part in all six works.

Victor Alimpiev directs all attention in Weak Rot Front on the person, but this person is not exposed as an individual but always as part of a group. This is achieved through a minimum of action, monotone gestures and by means of close-ups. The carefully choreographed performance resembles collective rituals where a mouldable mass forms a living sculpture, which reacts to its surrounding space. In Alimpiev´s highly concentrated and formalist works, he investigates the subtleties of human expression, its awkward moments, habits, and the relationship of the individual to the collective.

Polina Kanis videos Celebration, Formal Portrait and The New Flag are all staged videos recording situations in which she raises highly relevant issues of culture and the use and/or abuse of power. The artist creates provocative situations and suggests strategies, but allows events to develop on their own, so many of her works blur the line between the stages, performative and artistic documentation. Celebration touches upon the issue of communication and relationships of society and personality, while in The New Flag the relationship between representation of any ideological form and the mechanism of its creation. In Formal Portrait the deconstruction of traditional practice and culture on one hand and of powerful ideological demonstration on the other.

Elena Kovylina’s two projects from the Égalité series are brutal satires on democracy in contemporary society today. It creates a clear image of the many double standards in post-Soviet society, developing the idea of the “Procrustean bed,” that is, a norm that will cause the individual unavoidable pain when he or she tries to fit in. Égalité can be seen as an octave poem of people, rhymed in four-legged stools, demonstrating the impossibility of any global “golden age” of equality and freedom. The stools’ legs have been cut to measure, so that the people standing on them are all on one level. The resulting “horizon” is illusory to the extreme, and has nothing in common with reality.

*The exhibition title freely translated from the Norwegian book by Norhdal Grieg “Ung må verden ennu være.” The story explores the tension between faith in the future and fear of the past affects, and causes for an acceptance of extreme measures.

Victor Alimpiev film, Courtesy of Regina Gallery, Moscow. Equipment support BEK.

Elena Kovylina "Égalité" St. Petersbourg 7'58" (2014)

Polina Kanis "Formal Portrait" 9'32" (2014)

24.01. - 01.03.2015

The Norwegian group InEpic, consisting of artists Nina Grieg, Bo Magnus and Gitte Sætre, exhibiting together with the Indian artist Hema Upadhyay, at the Backyard Civilization Gallery.
Curated by Malin Barth. Show opening by Norwegian Ambassador of India, Mr. Eivind S. Homme.

The exhibition is supported by OCA, NBK, Bergen Municipality, Inno, and The Royale Norwegian Embassy in New Dehli, India.

Nina Grieg Unfolding

Gitte Sætre Woman cleaning shame

Bo Magnus TLF (The Legacy of Feminism)

Hema Upadhyay. From the series Just Another Day: Pedestrian, 2012
Size variable. Medium, Vinyl cutouts.

Victor Alimpiev "Weak Rot Front" 11'36"(2010)

1 - 1
Past Continuous in a Conditional Present
> Magnhild Øen Nordahl
Occupational Knots
> Vilde Salhus Røed

- I don't see that the Colours of Bodies reflect Light into my Eye
Curated by Adriana Alves

27.02. - 13.03.2015

1-1 are short inserts in 3,14s exhibition program, with a series of exhibitions that establish dialogue between two artistries, where at least one of them has its base in Bergen.

Magnhild Øen Nordahl (1985) bor og arbeider i Bergen. Hun har en MFA fra den Kungl. Konsthögskolan, Stockholm og en bachelor fra KHiB. Nordahl har deltatt i en rekke utstillinger bl.a. ved Astrup Fearnley Museet, Palais de Tokyo, WIELS Contemporary Arts Centre (Brussel) og Tin Sheds Gallery (Sydney).

I utstillingen på 3,14 bidrar hun med prosjektet Occupational Knots, en skulpturserie som baserer seg på et oppslagsverk for knuter fra 1944. Et av kapitlene i boken tar for seg knuter som er tiltenkt ulike yrkesgrupper og deres praktiske arbeidsoppgaver, og med utgangspunkt i disse har Nordahl jobbet frem skulpturer i tau, glass, aluminium, stål, betong og ulike typer treverk. Titlene til skulpturene er hentet fra matematisk knuteteori, en teori som oppsto på 1800-tallet i et forsøk på å kategorisere alle grunnstoffene som ulike knuter. I Occupational Knots fortsetter Nordahl en undersøkelse av forholdet mellom praktisk og teoretisk kunnskap, og hvilken rolle kroppen har i læringsprosesser og i vår forståelse av verden.

Vilde Salhus Røed (1981) bor og arbeider Bergen. Hun er utdannet med MFA fra Kunst- og Designhøgskolen i Bergen, og har fag innen filosofi fra universitetene i Bergen og Oslo. Salhus Røed har stilt ut ved bla. Preus Museum, Fotogalleriet, Platform Stockholm, Entrée, Sørlandets Kunstmuseum, Kunsthal Charlottenborg (København), The Woodmill (London) og KODE.

Salhus Røed benytter ofte fotografi i sammenheng med tekst og skulpturelle objekter. Hun tar sjelden egne bilder, derimot har arkiv og gjenbruk av historisk materiale stått sentralt i flere av hennes prosjekter. I de siste fotografiske prosjektene har hun arbeidet i mørkerommet og fremkalt bilder uten negativ. Bildene ser abstrakte ut, men er allikevel helt konkrete: de er resultater av den prosessen det har vært å lage dem. I utstillingen viser Salhus Røed tre ulike verk, hvis fellesnevner er å undersøke den materielle, den kontekstuelle og den innholdsmessige siden av fotografiet.

Curator Malin Barth´s preface

In which the smallest gesture becomes epic

The exhibition “In which the smallest gesture becomes epic” is an extraordinary chance to remember for a moment, remember positive and culturally relevant change in women's outcomes, locally as well as globally.

Work by the Norwegian artist group InEpic and by the specially invited Indian artists Hema Upadhyay and Shilpa Gupta display both unique as well as overlapping topics. Careful juxtapositioning of works with varied responses to womens situation, with persistence of inequality as the common denomeny for artistic exploration. Seen from both a locally as well as universally reference points. This juxtaposition of the work in the exhibition, attempt to create coalitions rather than just a single entity addressing gender concerns. This brings together artists from two distinct different cultures, but all with productions with issues affecting women under a broader and unifying framework. The exhibition wish to create likely meeting point.

The artists offer us an understanding of art as an active constituent of meaning production, rather than a mirror onto the world. They focus on ways in which art constructs locations, articulates subjects and genders critical thought in viewers, removed from representation of a preconceived ‘real’. The work within the exhibition establishes the active role that the arts play in the formation of complex subject positions that move across and within conventional cultural and geopolitical boundaries. The individual projects by the artists make possible a range of futures.

The art works are open ended in its interpretation and the realm of possibility, which is intrinsically linked to imagination. Imagine and value worlds from female perspective. Unfortunately we have been trained to view art by women rather derogatively compared to their male counterparts, in terms of its political or virtuous worth. We must make special effort and focus on discussing women’s art when women’s economic and social exclusion in a globalized world demands our attention and action? We should argue that there is every reason to explore the locations that enable us to imagine the world otherwise. We must participate make possible the futures that we need to bring to bear on a world marked by social injustice, sexual abuse and inequity, precisely because the status quo is not sufficient to the task.

Engaging the powerful art through which artists are interpellator and conceptual structures for example for such topics as the nation, identity, justice and equity are determined is not a disengaged or politically ineffective activity. Critical thought and agency for change are effected first at the level of the subject--the viewer, who is moved by the art to respondt; the micro-economies of affect are a necessary effect to the macro-economies of political change.

Change the world with small gestures, in which the smallest gestures becomes epic.

Feminism and visual culture find a meeting point in lived reality. The works in this exhibition is open and broad in relation to its many possibilities for interpretation with feminist implications. The works by InEpic is produced in one cultural context and here to be exhibired and understood in another. Hema Upadhyay´s and Shilpa Gupta´s worls is part of the local art scene, but in In which the smallest gesture becomes epic exhibition set in a different context. The aim of the exhibition is to focus on both the interconnectedness as well as the diversity of women´s experience cross culturally. We are seeing glimps of permeable interwoven relationality. The openness is important in order to merge the works by these artist from different cultures. The difference is again an essential and intricate force in the human situation. In which the smallest gesture becomes epic is mediation of cultural exchange.

InEpic consists of artists Bo Magnus, Nina Grieg and Gitte Sætre. Their previous projects has shown how even the smallest gestures can play against bodily and psychological framework and inherited structures in a political and personal context. InEpics underlying focus on women's choice, conscience and freedom as both political and personal experience has also led to an investigative link between feminism and democratic mindset.

The group works within a context of individual exchange between spectator and participant, and actively working to create momentum in the face of new places and situations. Their overall mission is to provide this friction a larger space to operate in, and through process, practice and experience develop an artistic strategy.

InEpic´s approach is based on constructive actions through the production of initiatives and productions not limited to object based work, but also text / moving image / action/ performative work. It is not lead by theory or even feminist theory for that matter. What is important here is an open, human voice manifested through an awareness of medium, materiality and associated meanings and context.

Hema Upadhyay. This work is site specific and the whole idea with these stickers is that the audience can go really close to the work and see each of the figures. When observed from a distance, the work looks like a beautiful, decorative pattern, it is only when one goes closer that you can see all the various figures, interacting and reacting to one another creating a sort of chaos. The artist has always spoken about displacement and migration and this work is another way of projecting her concerns where you can notice a mad play among beings only on closer inspection or by looking under the surface.

--> for more information kochimuzirisbiennale.org/collateral-projects

Magnhild Øen Nordahl Occupational Knots

27.03. - 03.06.2015

Opening speech by Claus Halberg
Claus Halberg is a philosopher and writer. He took his degree in philosophy at the University of Bergen, where he also was awarded a PhD scholarship from the Faculty of Humanities.

Vilde Salhus Røed I don't see that the Colours of Bodies reflect Light into my Eye

Ghost is not just about what’s there, but even more so about what isn’t there.
The installation consists of hundreds of aluminum casts of kneeling figures. The empty casts placed closely together, fill the room with their shape and their emptiness. It is not unusual to identify these sculptures with praying women. Thus, one can draw parallels to religion, to the Catholic Church’s Mary, and Muslim women traditionally modeled after the ideal of Fatima, Muhammad’s fifth and youngest daughter. From our Nordic perspective it is logical to see the work as a critique of women’s rights, equality and deprivation of independence within dominant cultural and religious groups.

However, moving away from the backside and from the political and religious aspect, towards the front of Kader Attia´s installation, our perception is likely to change. It is not the faces of hundreds of women we are looking at, but empty, hollow shells. Their identity lies not in their presence but in their absence. It is the emptiness that creates the strongest sense of presence. “Thus “what is” constitutes The possibility of everything, “what is not” constitutes its function”.

In comparison to, let’s say a vase, it is not their shape, but their emptiness that constitutes their purpose. And is it not in addition to the religious and political issues, ourselves we recognize in these figures? Is it not the contour of our own faces we see reflected in the foil? And are we not in comparison to for example Muslim women, also part of a cultural group, and not entirely liberated from our body? Facing Ghost, by Kader Attia, we are confronted with the impossibility of escaping the body, but also the many possibilities this entails.

Kader Attia (b. 1970, France) Lives and works in Germany. He grew up in Paris suburbs with his Algerian parents. Attia´s artistic aproach is embedded with his own dual cultural identity. He investigates and develops a dynamic practice exploring the far reaching concequences of Western cultural hegemony and colonialism on non-Western cultures. Attia does not refrain for including controversial content. He explores varied sides of identity politics of historical and colonial eras, as well as in our current globalized world. This he does through a poetic and symbolic approach often through minimalistic objects and installations.

Attia is a central figure in the international art scene, with a number of exhibitions at institutions as Musée Kantonale des Beaux Arts de Lausanne; MOMA, NYC; Centre Pompidou, Paris; Musée d’Art moderne de la Ville de Paris, Tate Modern i London; Saatchi i London; BALTIC Centre for Contemporary Art, Newcastle; KW Institute for Contemporary Art, Berlin; BOZAR Centre for Fine Arts, Brussels; Singapore Art Museum amomg others, participation at Documenta and other biennials like Venezia Biennal; Lyon Biennal; Marrakech Biennial; Biennale de l’Art Africain Contemporain etc .. Attia is represented by Nagel Draxler Gallery, Berlin and Lehmann Maupin, New York.

Courtesy of Nagel Draxler Gallery, Berlin.
- Ghost, 2007, installation of sculptures, aluminum foil, detail, courtesy Collection Centre Georges Pompidou, Paris, private collection, and Galerie Nagel Draxler, photo credit : Kader Attia.
- Ghost, 2007, installation of sculptures, aluminum foil, view at Galerie Christian Nagel - Antwerp, 2011, courtesy the artist, Collection Centre Georges Pompidou – Paris, private collection, and Galerie Nagel Draxler, photo credit: Sven Goyvaerts.

Our special thanks to our sponsor RIMI:
RIMI Håkonsgaten
, RIMI Marken, RIMI Bergen Storsenter, RIMI Gågaten.

Motholic Mobble part 3
27.03. - 03.06.2015

Motholic Mobble part 3
2009, Digital Video 4:3 06:19 minutter
Photographer: Tor Willy Ingebrigtsen
Performance, sound mix and editing: Kaia Hugin

The video piece is part of the performance based Motholic Mobble series. The title is constructed in relation to the works, and can be interpreted as “movement between the space we do not see and the space we never reach. The Mobble is an episodic tale that dwells with fundamental elements in nature as well as in the existential human experience. Hugin focuses on the ability of gravity, power of dreams as well as on our search for purpose and connection to the surrounding. It might be seen as an intervention or interference, or maybe as a longing to connect to nature. Thematically key elements are orbiting movement, space, humor and horror.

Patience, time and labor are used in order to create a “real film trick”. Visualy this is explored through bodily reflex, compulsive and even irrational pattern of movement. In Motholic Mobble part 3 we observe an uncompromising bodily presence through the artist´s monotonous and repetitive movement. This pattern is an exploration of borders both physically, but also mentally. Hugin slowly drills herself deeper and deeper into the ground and can be viewed as an urge for the perfect all encompassing space, or our desire to make a mark.

Kaia Hugin (b.1975) is a Norwegian video artist who lives and works in Kolbotn, Norway. With a background in contemporary dance, she eventually moved onto contemporary art, and graduated with a MA in Fine Arts from Bergen Academy of Art and Design, in 2011. Since her graduation, Hugin has exhibited extensively in both Norway and abroad, participating in group shows and festivals, as well as solo exhibitions. Hugin has established herself as a prominent artist in the Norwegian art scene.

Photos by Norbert Miguletz; © Frankfurter Kunstverein

> PARABOL (Parabolic Loudspeaker)


27.03. - 03.06.2015

Considering Work – Hanne Lippard’s Locus

Thursday, 4 June - 19:30

Sif Ankergård, Eleanor Clare, Mathijs van Geest, Johnny Herbert, and Marija G. Repšytė will gather together to share some thoughts on Hanne Lippard’s Locus, the work currently playing in Parabol, the parabolic loudspeaker at 3,14.

These thoughts will take the form of short texts, performances, and other interventions, with the aim of inciting further discussion on ideas brought up during this informal evening.

Please come by, have a drink, and consider this work with others.

Hanne Lippard
, born 1984 in Milton Keynes (UK), is a writer and visual artist living and working in Berlin. Her texts are at the base of her time-based works, which include short films, sound pieces, and performance. Like all constructions of the mind, Hanne’s work starts with the word. If the world appears to us in language, she is measuring its scale through words. The matter of words is what matters, though not as a matter of facts. The sound of them, read out in rhyme and with rhythm—the use of the voice, capturing space in the world by measuring time, wanting to give body to time when time doesn’t have it.

Considering Work is organised by Johnny Herbert.

'The Birth of an Object' (1930) from Paul Nougé's 'The Subversion of Images' series.

Elena Kovylina "Égalité" Bergen, Norway (2014)

Screening Motholic Mobble & Artist Talk
5. – 7. juni

I forbindelse med aktuelle visning av Kaia Hugins video Motholic Mobble part 3 på 3,14 har vi gleden til å invitere til screening av hele Motholic Mobble serien.

> Kaia Hugin vil selv presentere verket Fredag 5. juni - 18.00

- Det blir ikke gode historier av drømmer. Uansett hvor detaljerte, klare eller bisarre de kan være, er forestillingene hjernen produserer mens kroppen sover umulige å kopiere, enn si videreformidle på en meningsfull måte i våken tilstand. Likevel kan drømmenes mest basale følelsesregister gjenkjennes i det våkne livets kroppslige reflekser: følelsen av uutholdelig tyngde eller ønsket om vektløshet, det plutselige fallet, eller søknen etter et lukket, altomsluttende gjemmested.

Kaia Hugins serie videoperformancer «Motholic Mobbles » er produsert fra 2008, foreløpig i ni deler. For meg handler de litt om å forsøke å gripe slike kroppslige opplevelser vi har i drømme. Ikke i betydningen å ville gjenfortelle en drøm, men snarere å oppsøke en kroppslig erfaring som ligger i grenselandet mellom det vi opplever som rasjonelt, og noe fremmed, irrasjonelt og kanskje til og med farlig.

Alle «mobblene» bæres av en kompromissløs kroppslig tilstedeværelse. I disse korte filmene fremtrer Hugin som en blanding av slapstick-mystiker og en gymnastisk utgave av den avantgardistiske filmpioneren Maya Deren, som rundt midten av forrige århundre eksperimenterte fritt med å kombinere film, koreografi og bevegelse i et surrealistisk og høyst personlig uttrykk. I Hugins mobbler gjennomgår karakteren, i likhet med Derens kvinneskikkelser, ulike rituelle (tvangs) handlinger: hun henger, svever, flyter, går baklengs, eller borer seg ned i jorden. Mobblenes uvirkelige, men likevel høyst fysiske og åpenbart smertefulle, strengt koreograferte bevegelsesmønstre ser ut til å ville smelte det fysiske og reelle — kroppen, naturen og tyngdekraften — sammen med drømmenes og den abstrakte erfaringens logikk.

- Arve Rød,
Kritiker og skribent

Ideas, but in things
12.06. - 26.07.2015
Curated by Bjørn Inge Follevaag
Co-curated by Malin Barth

Opening speech by Håvard Haarstad
Postdoctoral Research Fellow at the Department of Geography, University of Bergen, Norway.

Commodities are objects that satisfy human needs and desires. Commodities are the fundamental units of capitalism, a form of economy based on the intense accumulation of such objects. The basic criterion for assessing a commodity’s value is its essential usefulness, what it does in the way of satisfying needs and wants. This usefulness is its use-value, a property intrinsic to the commodity. Exchange-value allows one to determine what one commodity is worth in relation to another commodity. In his work “Das Kapital” Marx points out that on the surface a worker’s salary appears to be the price of his labour. The value of labour is expressed in monetary terms, thereby not only eradicating the meaning of value but converting it to its opposite.

In February of 2012, industry victims of the Italian recession placed 10,000 yellow helmets around Maurizo Cattelan’s middle finger monument “L.O.V.E.” in front of the Milan Stock Exchange. This protest was enacted in order represent each individual who lost their job within the construction industry in Italy. This day is known as the “day of anger” (Giornata Della Collera). Workers came together to express their protest on the recession, including each person who was directly impacted by the economic downfall. It solidified the idea of a peaceful protest exhibition. Most importantly, instead of raising chaos during this hard time and evoking a violent protest, the Italian men and women who were affected organized these helmets to show their mutual discontentment. As a result, it has created a lasting impression.

In her exhibition «Ideas, but in things» Ingrid Berven also addresses the concept of values – among other works in videos, paintings with genuine pearls, also with work helmets in Carrara marble. The discussion about values has been a consistent feature in her artistic practice for years. Especially values relating to art, as seen in many of her former exhibitions. By the use of artistic metaphors and in choice of materials she challenges the audience to question their concept of value. Concretely, and figuratively speaking she questions time, society, humans and attitudes. The artworks and how we perceive them may be revealing as well as unsettling. They are significant statements to social development. Perhaps we need to be reminded of the importance of looking beyond monetary value and rediscover different measures of contentment.

Man’s need is boundless, and capitalism’s focus on personal need binds us to a spiral of destructive consumption. When monetary values become the measure of success everything else loses its value. These ideas are what Berven asks us to consider.

- Bjørn Inge Follevaag

Publication: "Ingrid Berven", 2015
ISBN: 978-82-6900017-0-9
Can also be purchased at 3,14

The Last Rites
12.06. - 26.07.2015

Opening speech by Håvard Haarstad
Postdoctoral Research Fellow at the Depar tment of Geography, University of Bergen, Norway.

The Last Rites, is a silent film, depicting the shipbreaking yards of Chittagong, Bangladesh, which serves as a final destination for hundreds of ships that are to old to ply the oceans. Shipbreaking has become essential to Bangladesh’s industrial growth. Apart from providing more than half the steel the country of nearly 160 million people uses a year, the government collects a lot of money in revenue from an industry that employs more than 50,000 people directly, and another 0.1 million people indirectly. These ships are also in a way part of a «green industry». Almost everything on the ship and the ship itself is recycled, reused and resold. However, there is a dark side to this beaming industry, mainly environmental pollution, and worker rights violation.

Among other environmental issues, oil residues and other refuses are being spilled, mixed with the sea water and left floating along the entire seashore. Explosions of leftover gas and oil fumes in the tanks are the prime cause of accidents, but there are many other safety hasards. The employees are often barefoot, and are given no protective gear. Hundreds of men have died over the last 10 years, on average, one worker dies in the yards a week, and every day a worker is injured. There is an elemental struggle between man and metal, which is elevating throughout Yasmine´s film, as men carry the weight of steel ropes over their shoulders, pull huge parts of the vessels inland, and bear great metal plates. The last Rites is a portrayal of the consequences of the shipbreaking industry, and the agony of hard labor.

London Dispatch
A response to Yasmine Kabir´s film “The Last Rites”. By the London critic Alisa Lebow >>>

> Decentering: Global Electronic Literature Collaboration
Electronic Literature Organization Conference & Bergen University (UiB)
04.08. - 23.08.2015

During August 2015, Bergen, Norway is the center of international electronic literature scene. The End(s) of Electronic Literature Festival, including the 2015 Electronic Literature Organization Conference, two evenings of performances, and five exhibitions, is taking place at the University of Bergen and cultural venues all over Bergen. More than 200 international authors, artists and researchers are coming to Bergen for the festival, which is focused on new digital literary and artistic forms that use the computer and the network in innovative ways to create new forms of stories, poetry, and peformance.

Thursday August 6th:
>> 15:30 - 16:15
Artists, authors, and curators presenting in the show will give a short presentation of the works.

>> 17:30

Machine Libertine (Taras Mashtalir/Lev Panov) will present “Pythia”, a digital oracle, singing its messages based on Pythagorean harmony principles.

Image of Natalia Fedorova performing “Machine Libertine.” To be presented in the Hybridity and Synaesthesia performances at Øestre on August 6th.
Image credit: Scott Rettberg.

This exhibition focuses on electronic literature produced by international authors and artists outside of the Anglo/American and Western European mainstream, including the countries Brazil, Canada, Peru, Poland, Portugal, and Russia. The works in this exhibit were selected both via an open call and by curators from Poland (Piotr Marecki), Russia (Natalia Fedorova and Daria Khabarova), and Portugal (Alvaro Seiça). Both historical works and contemporary projects are represented. Bringing these diverse collections together provides an opportunity to consider how practices and genres in electronic literature are influenced both by the exchange of ideas on the global network and by important national and regional artistic traditions.

Works presented in the exhibition include:
"High Muck a Muck: Playing Chinese" by Nicola Harwood (CA), Fred Wah (CA), Jin Zhang (CA), Bessie Wapp (CA), Simon Lysander Overstall (CA), Tomoyo Ihaya (CA), Phillip Djwa (CA), Thomas Loh (CA), Hiromoto Ida (CA), and Patrice Leung (CA); "Small Poetic Interfaces: The End of Click" by José Aburto (PE); "Liberdade" by Francisco Marinho (BR) and Alckmar Santos (BR); "Labyrinth (or a hypertext with an incessantly changing title)" by Jakub Jagietto (PL) and Laura Lech (PL); "Księga Słów Wszystkich (Book of All Words)" by Józef Żuk Piwkowski (PL); "Przemówienia / Speeches" by Marek Pampuch (PL); "Poet" by Michał Rudolf (PL); "Złe słowa" by Piotr Puldzian Płucienniczak (PL); "Cierniste diody" by Leszek Onak (PL); "The Archetypture of Magical Reality" by Andrzej Głowacki (PL); "Roda Lume" and "Signagens" by E. M. de Melo e Castro (PT); "Sintext-W" by Pedro Barbosa (PT); "BwO" by André Sier (PT); "Computer Poetry” by Silvestre Pestana (PT); "Google Earth: A Poem for Voice and Internet" by Manuel Portela (PT); "Amor de Clarice" and "Poemas no Meio do Caminho" by Rui Torres (PT); "Machines of Disquiet" by Luís Lucas Pereira (PT); "Utopias" by Anna Tolkacheva (RU); "Fallling Angels" by Axelroma (RU); "asciiticism" by Ivan Khimin (RU); "Polarities" by Elena Demidova (RU) and Maxim Kalmykov (RU); "Kuryukhin Second Life" by Michael Kurtov (RU); "Focus" by Irina Ivannikova (RU) and Maxim Kalmykov (RU); "Pythia" and "Snow Queen" by Natalia Fedorova and Taras Mashtalir (RU).

"22 WOMEN"
A project by Alfredo Jaar
03.09. - 01.11.2015

Stiftelsen 3,14 is honored to present Alfredo Jaar’s project 22 Women in Bergen, in collaboration with SKMU Sørlandets Kunstmuseum, Kristiansand, Norway.

Thursday September 3rd
> 18:00
3,14 is delighted to announce that Vandana Shiva will be present during the opening of the exhibition and will be joining Alfredo Jaar in a conversation relating to her work and presence in the exhibition.

> 19:00
Opening speech by Therese Jebsen.
Therese Jebsen is Senior Adviser, and former Executive Director at Rafto Foundation, Bergen, Norway.
The Rafto Foundation is a non-profit and non-partisan organisation dedi cated to the global promotion of human rights.

Chilean born, New York-based artist, architect, and filmmaker Alfredo Jaar’s on-going project 22 Women is a further development of his examination of images and their mediating and supportive structures that in turn form our sensibilities.

The project is an expansion of Three Women (2010), an installation in which miniature photographic portraits of three women – Graça Machel (Mozambique), Ela Bhatt (India), and Aung San Suu Kyi (Burma) – are brightly illuminated with an assembly of tripod-mounted, fluorescent spotlights placed in near proximity to each image. 22 Women presents more activists from around the world who are relatively unseen by the powerful amplification of the mass media. Jaar’s installation is not solely a research project into women leading specific social causes – putting them into the spotlight – but also gestures towards that very spotlight as a key factor in the dynamics of our attention and the invisible hand ‘manufacturing consent’. Typically for Jaar’s work, 22 Women presents a difficult tension in which the mediating structures of art and the media rub shoulders, giving no easy answers and instead present a constellation of elements that are both celebratory and contradictory.

22 Women is a work in progress as the artist’s goal is to expand the project to incorporate one hundred extraordinary and outstanding women, on which he will shed a bright light. At 3,14 the installation includes Amira Hass (Israel/Palestine), Bertha Oliva (Honduras), Camila Vallejo (Chile), Hawa Abdi (Somalia), Jenni Williams (Zimbabwe), Kalpona Akhter (Bangladesh), Lina Ben Mhenni (Tunisia), Lydia Cacho (Mexico), Mahnaz Mohammadi (Iran), Malalai Joya (Afghanistan), Mathilde Muhindo (Democratic Republic of the Congo), Nawal El Saadawi (Egypt), Ni Yulan (China), Olayinka Koso-Thomas (Nigeria/Sierra Leone), Razan Zaitouneh (Syria), Sandra Gomes Melo (Brazil), Susan Burton (United States), Svetlana Gannushkina (Russia), Ta Phong Tan (Vietnam), Tetyana Chornovol (Ukraine), Vandana Shiva (India), and Zainab Alkhawaja (Bahrain).

Alfredo Jaar’s work has been presented worldwide. He has participated in the Venice Biennale (1986, 2007, 2009, 2013) and Sao Paulo Biennale (1987, 1989, 2010), as well as in Documenta (1987, 2002). He has had major exhibitions at The New Museum of Contemporary Art, New York; Whitechapel, London; The Museum of Contemporary Art, Chicago; and the Moderna Museet, Stockholm, to name but a few. A major retrospective of Jaar’s work took place in three institutions across Berlin in 2012 (Berlinische Galerie, Neue Gesellschaft für Bildende Kunst e.V., and Alte Nationalgalerie), and, in 2014, the Museum of Contemporary Art Kiasma, Helsinki, hosted the most extensive retrospective of his career to date. 22 Women was previously shown at Sørlandets Kunstmuseum, Kristiansand, Norway, in 2014-2015. Special thanks to curator Else-Brit Kroneberg.

Booklet presentation of 22 Women >>>

Reading room
3,14 also has made a ‘reading room’ in the gallery Vault where we present books published by some of the 22 Women, as well as articles about their work.
Book list >>>


Alfredo Jaar will also give a lecture Friday 4th for The UNREST SERIES. It is a lecture-series investigating the flux between art and politics. It is initiated by Professors Brandon LaBelle and Frans Jacobi, at Bergen Academy of Art & Design, KHiB.


KULTURNATTEN, 11 september, har vi invitert Hilde Sandvik, kultur- og debattredaktør ved Bergens Tidende, og kunstnergruppen InEpic, til å utfra sine ulike fagfelt, reflektere over verket 22 Women et prosjekt av Alfredo Jaar.
Se eget program under 3,14LIVE >>>

Turkish Contemporary Video Art
13.11.2015 - 10.01.2016

In cooperation with TrAP


Çağdaş Kahriman / CANAN / Işıl Eğrikavuk / Nezaket Ekici / Savas Boyraz / Selda Asal

> Parallel event:
Sunday 22 November
Film screenings at Cinemateket USF in Bergen
Two current contemporary Turkish female directors:
- Pelin Esmer, Watchtower
- Yeşim Ustaoğlu, Araf - Somewhere in Between


Six video artists, representatives of the bustlingly exciting Turkish media art scene that has been developing the last twenty years, take part in this exhibition. In a Turkey that is getting increasingly authoritarian, they remind us of the value of the free creative art scene.

The artists are all motivated by the current political situation in Turkey, where freedom of expression and rights for women are currently under pressure. In the twelfth year of Recep Erdoğan’s rule, Turkey is moving towards more religious conservatism and an increasing will to use force against protesters and critics, with rough prosecution of critical journalists, academics and artists, as well as political activists.

Needless to say, this situation is leaving its traces in contemporary art. Media art is often characterized by being close to the politics of everyday life, and the artists in this exhibition have been important contributors at a momentous time for Turkey´s contemporary art scene, regarded as one of the most thriving in the world. The city of Istanbul especially, Oriental and European at the same time, has become a hub for contemporary art.

The six artists all use video as a central medium in their art. Being both artists and social activists, they use different ways to get the message across, from Selda Asal’s conceptual installation “House of glass”, CANAN’s compelling storytelling in “Examplary”, to Nezaket Ekici’s use of video as performance in “Human Cactus”, Çağdaş Kahriman’s documentarist view point in “Rear Window” and Işıl Eğrikavuk’s “Gül”, where the artist is playing around with the audience in a game of fact versus fiction. Savas Boyraz uses a triptych video installation to shed new light on the Kurdish territorial conflict.

Photos: Nezaket Ekici, Human Cactus (2012). Video stills by Branka Pavlovic.

When it comes to Turkey, the gap between a conservative authoritarian society on the one hand and a modern urban society with long academic and artistic traditions on the other, never ceases to fascinate. The exhibition title, Mother Tongue, refers to the Turkish writer Emine Sevgi Özdamar. In her short story collection with the same title, she addresses the experience of a double identity, being born in Turkey and growing up in Germany. Mother Tongue points towards the significance of a cultural identity, with the mother’s tongue as the source of a feminine cultural heritage, and the passing on of experiences.

Mother Tongue will also be shown at several norwegian venues, starting at Buskerud Kunstsenter, Drammen, 24 February - 20 March 2016, and touring in collaboration with The Norwegian Association of Art Societies, in 2016.

The exhibition is accompanied by a catalog in English and Turkish with texts by Övül Ö. Durmuşoğlu, Cem Bölüktaş, Ceren Erdem, Dr. Andreas Dammertz, Isin Önol, Hito Steyerl, Nefise Özkal Lorentsen and the curators of the exhibition; Malin Barth and Brynjar Bjerkem.

Produced by TrAP and 3,14
Collaborators: Buskerud Art Centre and Interkultur, Municipality of Drammen, Norske Kunstforeninger.
Supported by Arts Council Norway and Fritt Ord.

22 Women, 2014, Alfredo Jaar.
22 framed pigment prints. Courtesy the artist, New York

PARABOL (Parabolic Loudspeaker)
‘Angela Davis’ from Voices and Piano (1998-)

13.11.15 - 10.01.2016