what s on


Circulating AiR
AiR exchange
past exhibitions




Exhibitions 2016

"Transcultural Flux"
22.01. - 20.03.2016


at 3,14
> Danica Dakić / Ala Younis

at Bergen Kjøtt
[Skutevikstorget 1, 5032 Bergen - Opened: Wed.-Sun.: 13:00-17:00]
> Nevin Aladag / Fayçal Baghriche / Adriana Bustos /
Ines Doujak & John Barker / Agnieszka Kurant / Walid Raad

Produced by 3,14 and TrAP
Curated by Malin Barth

More than anything, today’s world can be considered in a state of flux, where our national and cultural boundaries are constantly being challenged. Through eight different works and projects, the artists Nevin Aladag, Fayçal Baghriche, Adriana Bustos, Danica Dakić, Ines Doujak & John Barker, Agnieszka Kurant, Walid Raad and Ala Younis spark conversations about migration, identity, power and hope for the future.

This exhibition examines both migration and the broader framework of globalisation. Its starting point is the movement of people and knowledge in the world today, where cultures interact continuously. The global economy, new technology and channels of information are interconnected to the point where it affects us all in an instant. It has become impossible to process all the knowledge we have access to.

The world is getting smaller. Time runs faster. These have become common metaphors for visualising the changes we are experiencing. Images can help make sense of and categorise our experiences, and make us see the situation from a different angle. Transcultural Flux offers new ways to talk about issues such as migration, identity, war, power and hope. The artists bring us new perspectives and open up for different interpretations of the possible directions the world is taking, now and in the future.

The exhibition is accompanied by a catalog in English with texts by Amin Maalouf, Cecilia Fajardo-Hill, Adriana Alves, Ala Younis, Vérane Pina, Ines Doujak, John Barker, Adam Szymczyk, Walid Raad, Arjun Appadurai, Menene Gras Balaguer and the curator of the exhibition Malin Barth.

A film programme at Cinemateket USF will accompany the exhibition, on view January 24th.
- Those Who Feel the Fire Burning, 2014, documentary by Morgan Knibbe
- Poor Folk, by Midi-Z, 2012

The exhibition will also be at Akershus Kunstsenter, Lillestrøm, 12 May - 12 June, showing selected works only.

Collaborators: Akershus Kunstsenter, Bergen Kjøtt, Cinemateket USF
Supported by: Fritt Ord, Arts Council Norway

More information about the artists and artworks -->

> Anmeldelse i Morgenbladet (Review, in Norwegian) -->

Danica Dakić, El Dorado, Giessbergstrasse, 2007

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.

Jannecke Knudsen Heien
Long Term Game
Envisioning the Future
[In the gallery vault]
20.02. - 20.03.2016

Opening Saturday 20.02. at 15:00

>15:30 Om det framtidige (før og nå, for og imot)
Debate introduction to gallery discussion by Prof. Anders Johansen, UiB.

Anders Johansen, Professor in factual prose studies at Bergen University. Johansen is a social anthropologist, and has published many books including All verdens tid.

Long Term Game. Envisioning the Future

This month, 4 portfolio managers/finance economists met for a workshop in the gallery space of 3,14 to discuss one question: Why and how is perpetual economic growth possible? The participants were to explain their assertions and render these logic to the artist, here representing the exhibition audience. Based on their own choice of theory, guests discussed their answers to the question through visualizing relations in 3D, arguing for figures and scale in a 100-200-year perspective. Together they made a choice of a relational figure essential to the discussion, and started building this as an installation in the old bank vault, where Bank of Norway kept their values right up to 1989. A soundtrack featuring the discussions will alongside this installation constitute the exhibition. Visualization and the intersection between elements both meaningful and absurd may stand as key words for the project, which aims to create interaction between actors with a thin history of cooperation.


Photo: Thor Brødreskift. Sound: Christopher Salte.

It is possible to see Long Term Game. Envisioning the Future in relation with the current project ”Transcultural Flux”.

Jannecke Knudsen Heien
is an independent visual artist educated at Bergen Academy of Art and Design. Heien works within two- and three-dimensional media and social practice projects. She works in the studio collective M17 in Bergen. In 2006 she co-initiated Kunstjournalen B-post, an art magazine published yearly, in which she has been doing editorial and curatorial work (-06 og -09) and design in addition to a text contribution (-09).

Long Term Game. Forestillinger om Fremtiden

En kveld i februar møttes 4 porteføljeforvaltere til verksted i 3,14s gallerirommet for å drøfte ett spørsmål: Hvorfor og hvordan er uendelig økonomisk vekst mulig? Deltakerne skulle gjøre sin argumentasjon logisk for kunstneren – som representant for utstillingspublikum. Ut fra eget valg av teori drøftet deltakerne sine svar på spørsmålet gjennom å visualisere tallforhold i 3D, og argumenterte for tall og størrelser sett 100-200 år frem i tid. Sammen med Jannecke Knudsen Heien valgte de ut en essens fra diskusjonen, og startet arbeidet med å bygge denne som rominstallasjon i hvelvet, der Norges Bank låste inn sine verdier helt frem til 1989. Lyd fra diskusjonene utgjør sammen med denne installasjonen utstillingen. Anskueliggjøring og møter mellom meningsskapende og absurde elementer er stikkord for prosjektet, som prøver å få til interaksjon mellom aktører uten tradisjon for samarbeid.


Foto: Thor Brødreskift. Lyd: Christopher Salte.

Det er mulig å se Long Term Game. Forestillinger om Fremtiden i forhold til det aktuelle prosjektet "Transcultural Flux".

08.04. - 05.06.2016

Opening speech by Anne Guddal
Author and poet Anne Hellen Guddal is Research Fellow in comparative literature at the University in Bergen. Editorial member in Vagant. She is named to be one of the 10 best writers under 35 by Morgenbladet and Literature Festival in Lillehammer. At the opening of Kwestan Jamal’s exhibition she will give us a poetic approach to Landscape - Mindscape.
Poem by Anne Hellen Guddal (Norwegian) >>>

The Bergen based multimedia artist Kwestan Jamal Bawan maneuvers between the landscape and an inner, implied landscape – the mindscape in her recent paintings. The works activate and interlink these two aspects. Her work reminds us that in painting our primary concern is always the paint, the scale and color before all else, but at its best, the painting also leads us outwards; towards the world.

The painted surface can create a state of expansion and offer an opportunity to discern between materiality and traceable painted surfaces in Jamal´s work. Creating layer upon layer of connotative possibilities. It seems like Jamal is making interchangeable movements and colors of a landscape she is extremely familiar with, but also specific places familiar to all of us. Maybe the landscape Jamal encountered on her flight from Kurdistan has impressed itself so deeply on her senses that it has become ineradicable in her work, or the landscape she encountered in the fjords of Norway where she was welcomed as a political refugee.

Jamal´s references lie in art history and reflects on art history, but also on a sincere and considered engagement with autobiographical content, contemporary events and the essential human conditions of life, survival and conquest in its broadest sense. The paintings also bring forth what might be called a point of maximum ambiguity, where they accommodate to every viewer´s interpretation. Jamal sustains the possibility of ambiguity as the spectator is fixed in his or her own intersecting cycle of attention. These pictures are inexhaustible. It is impossible to empty the work of its meaning triggered by the individual aesthetic experience.

The exhibition will be accompanied by a catalog in English, with texts by Malin Barth, Rita Marhaug, Ali Jola and Haci Hackman


Please return
2014, sound installation with metal sign
4 min 29 sec. Edition 3 + 2 AP

Courtesy Wilkinson Gallery, London, OSL contemporary, Oslo and Bo Bjergaard, Copenhagen
08.04. - 05.06.2016

The word "kom" (English: come, German: komm) is expressed by the artist at the edge of a lake, facing a steep wall of mountains. Multiple echoes are heard. The mountains of Lofoten are among the oldest in the world, millions of years. By shouting towards the mountain wall, it is as if they throw back their own voice.

A K Dolven, Images at the lake, 6 x 6 analogue photographs

A subtle resonance is characteristic of one of Norway`s most prominent artists A K Dolven’s practice. The work Please return continues the investigation of a series of recurring themes in her extensive production, both formally and conceptually. Dolven moves between the monumental and the minimal, the universal and the intimate, often by drawing lines that point beyond the confines of the work. Interpersonal relations and interactions are central to her oeuvre, not the least in performance based works. The artist explores social interaction in the meeting between outer and inner realities, existential conditions and forces of nature. The work Please return in the exhibition is filmed in Lofoten and tells about the symbiosis with nature which she experiences in this, her other domicile. The sound in the work echoes in the majestic mountain scene and in repetition changes tone and meaning.

Courtesy OSL contemporary, Oslo, Norway.

kom kooooom – come – kommm

From my blue house, I start walking up to the lake. The house is a simple
concrete building facing the arctic sea. From my bed in top floor I face the sea
– but by turning my head on the pillow I face the mountain. Up there on the
mountain is the lake.

It takes about 25 minutes to reach the lake. 25 minutes if I am in good shape.
And I am. Depending on the time of the year I jump into the lake when I reach
it. It is always incredibly cold. Swimming is not possible.
The lake is surrounded by a circle of tall, steep mountains. I never dared to
climb up to the highest peak. It is not many places in the world today where
you hear nothing but the natural sounds. Up there you do. The place in itself
makes me want to take part in it all.
I use my own voice.

I shout ! come – or kom – or komm – whatever language it is. The mountain
walls answer – komm – come. Three times – one mountain after the other –
sending the message around and then in return. Come.

Now it is a work – titled please return.

A K Dolven, April 2016

I - I
Ingeborg Annie Lindahl - Trond Lossius
1-1 er korte innstikk i 3,14s utstillingsprogram med en serie utstillinger som etablerer dialog mellom to kunstnerskap, der minst én av dem har sin base i Bergen.

29.07. - 07.08.16

> Opening Friday July 29th 18:00

Foto fra utstilling ved Den frie Utstilling, København 2015.

The exhibition is a collaboration between Ingeborg Annie Lindahl and Trond Lossius. A collaborative across disciplines, dealing with the process of change exploring the new (climate) reality. We look into the cognitive and how experience is mutually influenced by changes in sound and reading of the visual. Lindahls chalk-drawing will continuously be in development through the week and end in destruction.

Ingeborg Annie Lindahl is an interdisciplinary artist and curator living in Harstad, Norway. Lindahl is educaded from Tromsø Academy of Contemporary art and Bergen National Academy of the Arts. She was the winner of VossaJazz-grant with a solo exhibition and received the Per Spilling prize, both in 2013. This year Lindahl was the main exhibitor at ILIOS festival. Her work is widely exhibitied nationally and abroad, among others by HardingarT, Trafo Kunsthall, Salihara Gallery Jakarta, Bergen Kunsthall, Den frie udstilling Copenhagen, Galleri Box, Vilnius Titanikas exhibition space, Ariblå Sortland Kunstforening, Bodø Kunstforening, Verk Hammerfest and Tromsø Kunstforening.

Lindahl’s artistic method combines the outcome from field trips and personal experience of the place.When Lindahl started working with chalk, she was drawn by impermanence and thoughts for expulsion.She has used chalk in several different shapes; as marble, plaster and pigment, playing with the idea of mankind as a early stage of becoming mineral. Her material substantiates a manifestation of change, both in how knowledge is made and how nature is in a constant state of transformation. Lindahl is interested in the landscape of echoes in the sphere of human thought, and explore culture and value in our time in relation to nature.
[ http://ingeborgannie.com/]

Trond Lossius is a sound and installation artist living in Bergen, Norway. His projects investigate sound, place and space, using sound spatialisation and multichannel audio as an invisible and temporal sculptural medium in works engaging with the site. He often collaborates with other artists on cross-disciplinary projects, in particular sound installations and works for stage. In collaboration with Jon Arne Mogstad and Jeremy Welsh, he has done a series of installations combining paintings, video, prints, and sound. He has contributed to several productions with the contemporary performance group Verdensteatret, winner of New York Dance and Performance Awards a.k.a. The Bessies 2005-2006 in the Installation & New Media category.

He holds a master degree in geophysics, studied music at The Grieg Academy, and has been a research fellow in the arts at Bergen National Academy of the Arts. He is research and development coordinator at BEK – Bergen Center for Electronic Arts, and contributes to development of software for audio and media processing. He was Norwegian delegate to the European COST action on sonic interaction design 2008-2011. 2012-2013 he was engaged as full professor at Bergen Academy of Art and Design coordinating the artistic research project Re:place.
[ http://trondlossius.no/]

Magic of Seven

19.08. - 16.10.2016

Curator: Malin Barth

Opening Friday August 19th at 18:00

Opening speech: Kristin Ran Choi Hinna
Kristin Ran Choi Hinna works at the Bergen University College as lector in mathematics didactics. She teaches both undergraduate postgraduate students in Education. Her earlier teaching experience also includes primary and secondary school.


Gitte Sætre's oeuvre deals with current and relevant issues, such as climate change, neoliberal ideological patterns, as well as cultural radicalism. Her body of work is characterized by the weight of contemporary society, yet opening room for humor and quiet reflection. It’s an honor for 3.14 to exhibit the new commissioned installation Magic of Seven.

This seven-channel video installation depicts collective exercises involving seven women, juxtaposed with archival material from various wars that unfold. Sætre explores the interaction between collective patterns and individual human actions. The understanding of causality, cause and effect, is a requisite in order to understand war and other major challenges we account, says Sætre. Art can undertake a role in which it challenges the social order and dogma. This is reflected in Sætre's projects, for instance, her performative practices have even mobilized into action.

One of Sætre's intents when conceptualizing Magic of Seven is the inclusion of re-enchantment processes, as a form of restoration of what has been lost, in our otherwise so disenchanted and rationalized, western world. The work presents internal relations, in which intrinsic value and dreams are emphasized. The term disenchantment, by the German sociologist Max Weber, is attributed to a process that has made the world more prosaic and predictable, and less poetic and secretive.

Gitte Sætre is a multidisciplinary artist, working with dialogue based art, performance, photography, video and sound. Her work has been presented in several venues, such as Bomuldsfabrikken, Oslo Kunstforening; House of Foundation as collateral program of Kochi Biennale, India; Media Impact, Moscow; Artic Artforum, Arkhangelsk; Komunitas Salihara, Jakarta; Kongernes Lapidarium, Copenhagen; XX1 Gallery, Warsaw; Pristine Galerie, Mexico.

Accreditation list -->

Kulturhuset på P2 skriv som innledning til serien ’Trender og Tendenser i Kulturen’: Hva har vasking med politikk å gjøre?
"Gitte Sætre lager sammenheng mellom krig og vaskedamer- og en snakkende elg i sin utstilling på Stiftelsen 3.14."

- Den norske kunstneren Gitte Sætre er kjent for sine performance prosjekter der hun vasker. Hun fikk blant annet stor oppmerksomhet da hun vasket fortauet med det norske flagget utenfor Stortinget i forbindelse med Dali Lama sitt besøk i Norge 2014. Nå er hun aktuell med en ny utstilling med den ladede tittelen Magic of Seven.

> Anmeldelsen på p2 den 6.september er transkribert her: www.gittesatre.com/press.html

> 3,14 Live:
Sunday, August 21st, 14:00-16:00

Curiosity Won´t Kill Cats, by Brian Drolet.
Brian Drolet is currently the Executive Director of Deep Dish TV, a non-profit New York based media organization that curates series of video documentaries produced by grassroots independent producers and providing venues to show their work. For the past 30 years Deep Dish has been a laboratory for new democratic empowering ways to make and distribute video. It is a hub linking thousands of artists, independent videographers, programmers and social activists.

Figurations of the Future: Active Time Revisited, by Frans Jacobi.
Frans Jacobi is a visual artist, working with performance, text and images. His performances and installations are often large scaled scenarios with multiple participants addressing to a range of political and societal issues. Since 2012, Jacobi has been professor in time-based media and performance at Bergen Academy of Art & Design. He completed his PhD ’Aesthetics of Resistance’ at Malmö Art Academy/ Lunds University in 2012.


”Rumors that Maji was a lie…

19.08. - 16.10.2016
Curator: Adriana Alves

> 3,14 Live:
Saturday, September 17th, 15:00

3,14 will be hosting the first chapter in the performance trilogy AFROGALACTICA. In this remarkable work, the artist poses as an anthropologist from the future, reflecting on Afrofuturism, hybrid genders and on the development of the future Space Agency of the United States of Africa. Factual events and archival material along with science fiction are drawn to make projections about the future.

Lion empaillé. Collection of National Museum of House and Culture,
Dar es-Salaam, Tanzanie. Photo: Kapwani Kiwanga

In the vault, 3,14 is proud to present the installation Rumours that Maji was a lie... (2014)* of the Canadian artist Kapwani Kiwanga. Influenced by her background in anthropology and comparative religion, the artist develops intricate art projects assuming the role of a researcher. Her work often intends to reframe something familiar, or to shed lights on something unknown. Even though Kiwanga’s methodology and protocols have been incorporated from social sciences, her material sources range from academic papers to myths and literature. By meticulously blending facts with fiction; past events with the present and with future visions, not only does she create a multiplicity of layers within the individual projects, but also, in return, she manages to undermine the authority of science and of hegemonic discourses.

The installation Rumours that Maji was a lie... focuses on the voids in the living memory of the Maji-Maji war, which was one of the earliest large uprisings in Africa and was incited by a traditional healer named Kinjiketile. Attracting a large number of followers against colonial domination, Kinjiketile used traditional elements in order to bridge different cultural groups.

*Rumours that Maji was a lie... (2014) was first commissioned by Jeu de Paume in Paris.

Kapwani Kiwanga was born in Hamilton, Canada (1978) and is based in Paris. Her work has been shown at renowned institutions and exhibitions, such as Centre Georges Pompidou, Glasgow Center of Contemporary Art, Museum of Modern Art de Dublin, Armory Show – NY, Bienal Internacional de Arte Contemporánea de Almeria (ES), Salt Beyoglu in Istanbul, South London Gallery (UK), Jeu de Paume in Paris, Kassel Documentary Film Festival.


Special thanks to:

Gartner Teknikk AS

University in Bergen UiB, Universitetsmuseet - Arboretet og de Botaniske hager

Curated by Per Rutledal
24.06. - 24.07.2016

Opening Friday June 24th 18:00
The exhibtion will be opened by Dan-Viggo Bergtun, president of World Veterans Federation (www.wvf-fmac.org) and the curator Per Rutledal.

The project "Camouflage" represents the culmination of four years of working with art made by veterans from wars and armed conflicts in Norway and internationally. Curator Per Rutledal, with a service background from the armed forces, has worked with Norwegian and international artists, curators, producers and academics with or without military backgrounds in order to encourage veterans to produce, document and disseminate art. So far, his efforts has resulted in workshops, plays and several other artistic initiatives.

In 2016 Stiftelsen 3,14 has had a focus on contemporary issues, and several exhibitions have discussed armed conflict. This summer we have invited curator Per Rutledal to share his ongoing project “Camouflage” with us.

Norway defines itself as a nation of peace, but in spite of this, we have participated in nearly one hundred operations in more than forty nations. Paticipation in armned conflicts severely affects the people involved. To which degree varies individually, but the traces of war will always remain, and it is important to ask what happens to our soldiers when the return home. What happens during the transition from peace to war, and vice versa? War is a personal experience but the perception among persons who share this experience may be different from person to person. The project’s focus is on the individual soldiers and their experiences. Camouflage is an exhibition where the art is the process these veterans have experienced individually and in dialogue with curator Per Rutledal, rather than on the concrete works. Stiftelsen 3,14 sees this project as an important initiativet hat allows the public access to the consequences of war and how it affects us. This exhibition enhances our understanding.

The artists come from all walks of life. Some are self-taught whereas others have trained at art academies. Some of them were artists before they left, some became creatively inspired during their service whereas others work with art in spite of their experiences. Only a few of them see themselves as artists in the sense that they live off their art, but all share the common denominator that they have worked with art for a number of years or are highly productive. For many this is their first public exhibition with works that were never intended to be shown publicly. The title, «Camouflage» refers to their service uniforms, but also to how we conceal our emotions, thoughts and even appearance after the service or battle is over. We all wear camouflage, every day and all of our lives. We adjust our appearance, actions and attitudes according to the environment we live in. Sometimes in order to stand blend in, other times in order to stand out.

Camouflage [kam-uh-flahzh] looks beyond the cover. If you have an image from your service abroad or from areas of conflict you may upload it to Instagram under #camouflage314. And if you have a story to share from your service abroad you can include it in our archive in the Vault after discussing it with the curator via his email; per@norvap.org

Artists and artwork list:

- Fellesarbeid fra Workshop for skadde veteraner under Agalaus, Voss 2015. kull/grafitt på papir. Workshop ledet av kurator Per Rutledal og kunstner og veteran John McDermott.
- Robert Rodrigues – airbrush på vrakdel/flyskrog fra Luftforsvarets C-130J-30 (Hercules) "Siv", som styrtet 15 mars 2012 i fjellet Kebnakaise i Sverige. Verket eies av 335 Luftving, Gardermoen og henger til vanlig på skvadronens minnevegg.
- prosjekt: fortelle – videoprosjekt. Veteraner og pårørende inviteres til å fortelle historien sin på video.
- papiruniformer – Combat Paper. Pågående kunstprosjekt med håndlaget papir, laget av militære uniformer
- Geir Dolonen-Marthinussen – diktet Min Brors Vokter / My Brother's Keeper. Utgitt I diktsamlingen Stillhet Overvinner Ingenting / Silence Conquers Nothing. Trykket på håndlaget papir fra Papiruni former - - Suellen Meidell – videoverket PTSD.
- Roy Birger Nilsen – fotoserien I Stillhet. 4 digitale foto, trykket på fotopapir. Verkene er I privat eie.
- Robert Rodrigues – Red/Black. Airbrush på 2 motorsykkelhjelmer. Hjelmene er i privat eie, utlånt for utstillingen
- Robert Rodrigues – airbrush på brukt forskalingsplate. Uten navn. Verket eies av kunstneren
- Suellen Meidell - Interaktiv fotoserie #Camouflage314 Memories. Veteraner verden over inviteres til å dele fotominner fra sin tjeneste via hashtagen #Camouflage314. projector på storskjerm. Suellens egne fotominner fra Afghanistan 2006 danner basen i verket.
- Anonym veteran – akryl og kull/grafitt på lerret. 3 verk i privat eie
- John McDermott – akryl på lerret. Uten navn. I privat eie
- Paul "Doc" Harald Smines – installasjonen You Can't Save Me. Personlig bekledning og utstyr fra internasjonale operasjoner, håndlaget papir (papiruniformer).
- Kim Søderstrøm – fotoserien , serie av 12 portretter av veteraner fra internasjonale operasjoner. Utdrag fra fotobokprosjektet BIDRAG

Opening hours:
- 25.06. - 30.06.: Sat.-Sun.: 12.-16. / Tue. 28.07. til Thu. 30.07.: 11.-17.
- 01.07. - 24.07.: Tue. - Sun.: 11.-16.

Jingyi Wang

17.11. - 11.12.2016

> Performance première Thursday Nov. 17th at 19:00 - Opening of exhibition at 20:00

A series of performances will be held:
> Sunday 20 November at 13:00 and 15:00
> Thursday 24 November at 13:00
> Sunday 27 November at 13:00 and 15:00
> Thursday 1 December at 13:00
> Sunday 4 December at 13:00 and 15:00

NB! Only 20 tickets on sale for each performance
> https://teatergarasjen.ticketco.no/jingyi_wang1

The exhibition is opened:
> Tuesdays, Wednesdays and Fridays: 11:00-17:00
> Thursdays: 14:00-17:00
> Saturdays: 12:00-16:00
(Sunday Nov. 20 & 27 and Dec 4 only performance days)

When I am talking to you I am not talking to you is the second performance of Jingyi Wang’s exploration of Static Theater. By integrating performance into exhibition the concept explores theater’s potential for curation. Both a “white box” and a “black box” are used to create different contexts of presenting art works and performance. The performance makes use of interactive screens, video projections and audience participation to decentrailze the stage and disperse the focus of the spectator. Within this framework the piece investigates integration and the complex negotiation between parallel cultural identities and realities in our technological era.

> Contributing artists making artworks for the piece:
Håkon Holm Olsen
Helene Norseth
Nina Bang Larsen
Lona Hansen
Gabriel Johann Kvendseth
Sarah Jost
Lasse Årikstad

> Team:
Concept, director, curating and text: Jingyi Wang
Stage and light design: Leo Preston
Video art & editing: Yafei Qi
Live camera: Elias Björn
Programmer: Robert Fohlin
Technical advisers: BEK, WRAP Art Center

Co-produced by: BIT Teatergarasjen, in collaboration with Stiftelsen 3,14
Fund by: Bergen Kommune, Kuturrådet, Fond for Lyd og Bilde

The spiritual experience of being somewhere other than where you are, has been a philosophical issue since ancient times. Our contemporary technological reality poses new challenges to the topic. The deviation and negation between virtual and physical experiences get further complicated when cultural differences come into play.

Our activities on social media (Facebook, Twitter, Whatsapp, blog...) create a second life which questions our identity and reality. When living in a foreign country and culture, the internet can be used in an effective way to get information and keep in touch with the native culture. In this way online social media can cause tension between the assimilation of the new culture and the native background. On the other side, social media creates possibilities and strategies to negotiate and integrate the different cultures in one’s life.

Jingyi Wang has experienced being an immigrant in many countries, and as part of the generation who grow up with internet, she presents the complex of realities: physical and virtual presence, realistic daily life and the surrealistic dreamy world, the cultural identity from the original background and the culture life of the host land.

The internet increases integration and fragmentation at the same time, and both facilitates and misleads the understanding between people. The issue should be reflected both in theater and contemporary arts. Static Theater presents an interdisciplinary expression to dissect the complexities of integration and parallel realities in a globalized world.

In WHEN I AM TALKING TO YOU I AM NOT TALKING TO YOU the audience are hedged by video walls which project alienated cultures and deviated communications. Different happenings are continuously causing distractions, through lighting, voice overs and text displayed on the the screens. Using a series of virtual images, platforms, passive and active works of art, the audience in this performance get an impression of the migrant's schizophrenic experience of reality, as a representation of their own, and feel the choices you are not given in contact with the authorities, who are also interested in questions of identity, such as the Norwegian UDI. The audience are invited to interact, chat and comment with their mobile phones during the performance, to deliberately challenge the centralized focus of a performance stage, and the closed space of gallery, measured against the limitless concurrency in our real lives.
Seven Norwegian artists have developed artworks for the piece which include sculptures, installations, an App., and two video walls created by the Chinese video artist Yafei Qi. The artists have individually interpreted the different perspectives on the subject matter, and together form the alienation between our communication and realities. The artworks are displayed in two different rooms : a classic black box, a theatre, and a white cube, a gallery where the audience determines their time and placement in front of the work. After the performance, audience are invited to walk and to look at each individual artwork in detail in both rooms.

Jingyi Wang
is a Chinese born theater maker, based in Bergen, educated in global communication and performing arts. Her studies and works have kept her moving from one city to another, from Beijing to Hong Kong, Copenhagen, Brussels, Nice, and now Bergen. She has been working on the original idea and concept of Static Theater since 2014. Her first performance was presented in the spring of 2015 as part of BIT Teatergarasjen seasonal program at Studio USF. The performance Static Theater #1: THOSE THAT HAVE BEEN LEFT BEHIND dealt with how the people and places we have left behind still affect our lives, and presented static theatre as a concept: a mixture of the surfaces in visual art and theatre’s play with time. The performance was recently invited to be part of the Nanluoguxiang Performing Arts festival in Beijing.

28.10. - 06.11.2016

CIRCULATING AiR is a three-year KUP artist in residence project that traverses the county. It springs out of 3,14’s desire to contribute to innovation, collaboration and artistic engagement and competence throughout the cultural field and region. The initiative aims to develop venues and opportunities for artistic development with emphasis on the interaction between city and rural areas, local and international spheres, the professionals and the public. By direct invitation, 3,14 curates profiled international artists inclined to work site-specifically. The artists commit to developing site-related work during their stay, establishing a dialogue with the hosting community in various ways.
At 3,14 we are proudly screening two separate projects developed under the program.

In the gaze of Panoptes (2016)
Single channel video installation, color, sound, 20 min.

Over a period of five years, 3,14 has been following the artistic ouvre of the Iranian born and Rotterdam based artist Sara Rajaei. The institution, fellow curators and audiences have had a unique opportunity to chart her development as well as her relationship to Bergen. The first exhibition at 3,14 provided an introduction to Rajaei’s practice featuring, at that time, both early and recent works. For the second viewing, Rajaei presented exclusively new pieces. As the latest round, BEK and 3,14 are delighted to present the video In the gaze of Panoptes, developed and produced in Bergen under 3,14´s artist in residency program, Circulating Air, in collaboration with BEK. Rajaei’s work is often grounded on the concept of time, memory and story telling.Rajaei studied at The Royal Academy of Art in The Hague and attended the two year residency program at Rijkakademie van Beeldende Kunsten, Amsterdam.

In Torborg Nedreaas’ Nothing grows by moonlight, the passing of time and the quality of light play important roles in the development of two parallel stories; meanwhile as the protagonist tells a life story within the safety of the walls of a stranger’s house, the narrator presents the reader a detailed description of the quality of light outside of that haven; evening light, the dark of the night and early morning… recreating the circumstances and the sounds which occur by the passage of time… As the morning light appears, the protagonist finishes the story and leaves...

In the gaze of Panoptes
is a short film inspired by the book Nothing grows by moonlight both by its approach to storytelling but also by its light influence... In May 2016, fifteen Bergen based individuals from different parts of the world, were invited to take part in the project and to share their life journeys in exchange of a chapter of the book being read to them. The plot of In the gaze of Panoptes is a blend of all those destinies which cross but meet one another in certain moments...

Like the character in Nothing grows by moonlight, the protagonist of the film also deals with issues such as departure, arrival, home, identity and solitude… following a 7-year-old lucid dream… transforming from the cityman to the caveman, taking refuge in the nature… becoming the perfect observer of the light… the watchman… the giant with hundred eyes…

Supported by: KUP–Hordaland Fylkeskommune, Arts Council Norway, CBK Rotterdam, BEK, and 3,14.
Produced by: BEK and 3,14


Encrenca_Trøbbel (2014)
Video, 7 min. (in the gallery´s vault)

We are glad to finally present for the Bergen public the video work Encrenca_Trøbbel of our earlier residency artist, Tatiana Blass (1979), a profiled Brazilian artist based in São Paulo. Blass works with different techniques, such as painting, sculpture, video and installation. Recurrent characteristics present in her work are the depiction or staging of the absurd, the insistence in transforming functional objects into dysfunctional ones and the distortion of language in something ineffective, into its breakdown.

Shot in Ålvik, during Blass’ residency stay in Kvam Herad, the performance-video depicts the Brazilian actress Ilana Gorban, who has no knowledge of the Norwegian language, interacting with the Norwegian actor, Sveinung Augestad, who does not speak Portuguese. Wearing particular costumes, the duo engages in an absurd and playful game, in which they alternately try to repeat each other’s lines, in each other’s mother tongues. Connected to one another through countless ribbons, reminding us of marionettes, the game evolves as the characters swap roles as the commander and the one being commanded. The work was first presented locally in Kunstnerhuset Kabuso (Øystese, Kvam) and later in Mexico, Brazil and in the US.

Tatiana Blass has held solo shows at several institutions, among them the Museum of Contemporary Art Denver, Johannes Vogt Gallery (NY), CCBB (Rio de Janeiro), among others. Her work has also been shown in several group shows such as the 29th São Paulo International Biennial, at Cisneros Fontanals Art Foundation (Miami, USA), Wallraf-Richartz Museum (Cologne). She has also received several grants and prizes, including both the Jury Award and the Popular Vote Award of the PIPA Prize 2011 and was shortlisted at the Nam June Paik Award, in Germany.

Supported by: KUP- Hordaland Fylkeskommune, Kvam Herad, and 3,14
Produced by: 3,14
In collaboration with: Kunstnarhuset Messen