consists of five video clips, each featuring a dancer and his/her movements. It discloses the behind-scene creative process and blurs the line between the public and the private. Revealing what is normally hidden, "Process" creates an in-between space where the exposed re-enacts with the concealed.
The choice we make as artist inheres our choice of hiding; in every choice we make, there is a conscious selection of making something public and keeping something private. Through this process we weave a fabric of illusion; the public illusion of who we are and what we do.
Seeing art as an exchange of the most intimate from one person/artist to another/ the public, this immanent dual nature creates certain problematics. The seemingly "nakedness (naked soul)" of an artist is in reality a constitute of disciplined training in self-conscious selection of self exposures. "Process" intends to bring awareness to that process.
Five dancers at different stages of development both personally and artistically are depicted in "Process." By treating each dancer individually to suit their movements and personalities, "Process" further explores the question over the directions of certain art disciplines in which the personal becomes obsolete in favour of the norm via skills, techniques, and discourses of the genres.


what s on


past exhibitions




Exhibitions 2012

Contemporary Art from Australia

Fiona Foley, Nathalie Hartog-Gautier, Kim Lawler
Curator Jeremy Welsh
20.01. – 26.02.2012

e-book pdf
Aboriginal Art Directory
The State Library of Queensland

Fiona Foley Bliss

Nathalie Hartog-Gautier Scanning Memories

Kim Lawler Between Lines

What characterizes this exhibition, apart from the simple fact that all of the works derive from camera-based practices, is the interconnectedness of themes that include place, time, memory, history, the landscape, the journey, the way that all of these meet and merge within the image. Fiona Foley, Nathalie Hartog-Gautier, Kim Lawler are all involved in practices that investigate inscription - whether this is a tool deliberately employed by the artist as a means of interrogating her own images, or a phenomenon that is observed or revealed.

Scanning Memories by Nathalie Hartog-Gautier is a complex and comprehensive project combining archival research and personal investigation. She works with, in and on her images, creating fusions of image and text and syntheses of archival and contemporary material. The memory journey of her work is both deeply personal and broadly historical. In Kim Lawler’s aerial photographs, Between Lines, of desert landscapes we see the tracks and traces both of human intervention and of natural processes. The land is marked and can be read in a variety of ways. We know that the indigenous peoples who have inhabited this landscape for millennia have a deep understanding and an ability to mentally map its enormous, seemingly empty spaces in a way that is almost impossible to comprehend for a European understanding of space. The relationship between land, language and culture is integral to Aboriginal society, and the troubled history of the colonialist treatment of Aboriginal people and their lands is a theme dealt with by Fiona Foley as seen in Bliss.

Tracking/Tracing Seminar
21.01 12:00 - 17:00

A one-day seminar in connection with the exhibition Tracking/Tracing at Stiftelsen 3,14, Bergen.
The exhibition, curated by Jeremy Welsh, features work by three Australia artists, Fiona Foley,
Nathalie Hartog-Gautier and Kim Lawler.
The seminar will focus both on works in the exhibition, and on related themes to do with place, time, memory, landscape and image.

11.45 – coffee, viewing the exhibition
12.00 – introduction, Jeremy Welsh
12.10 – screening of the video “Bliss” by Fiona Foley
12.20 – lecture by Cathie Payne, new media researcher at University of Newcastle, NSW, Australia and author of the catalogue text for the exhibition.
13.15 – coffee break
13.30 – Nathalie Hartog-Gautier, Sydney-based artist: artist talk, presenting her work “Scanning Memories” featured in the exhibition.
14.00 – lecture by Jill Walker Rettberg, professor in Digital Cultures, University of Bergen: “Sharing photos: filtered moments of life in social media”
14.45 – coffee break
15.00 – Heidi Nicolaisen, artist and lecturer at KHIB: artist talk, presenting her current photographic project concerning distant relatives whose families emigrated from Norway to Canada
15.30 – lecture by Steven Bode, curator and director of The Film and Video Umbrella, London, on recent FVU projects dealing with landscapes, images, journeys. Steven has produced projects with a number of prominent artists including AK Dolven, Johan Grimonprez, Isaac Julien, Jane & Louise Wilson, Mark Leckey, Tacita Dean and many others.
16.30 – summing up and close.

The seminar is funded by Kunsthøgskolen i Bergen. The participation of Nathalie Hartog-Gautier and Cathie Payne has been supported with travel funding by Trade & Investment in The Arts NSW and the University of Newcastle NSW.
Fiona Foley is represented by Niagara Galleries, Melbourne, Victoria.

Sachiko Hayashi
20.01. – 26.02.2012

Mona Hatoum
"Current Disturbance
The D.Daskalopoulos Collection
09.03. – 06.05.2012

3,14 proudly presents the installation Current Disturbance by Mona Hatoum. Hatoum is internationally recognized by her many works which juxtapose contradictions. Her art is characterized by the tension and uncertainty created by opposition. This work is being shown at 3,14 after its presentation at the Guggenheim Museum in Bilbao and is included in The D.Daskalopoulos Collection, one of the world’s most significant private collections of contemporary art.

The visual expression of Current Disturbance is minimalistic. The narrative, however, allows ample space for multiple stories. The sense of political or cultural oppression in Hatoum’s works is universal. The artist intentionally wants her audience to question what they see and to leave the exhibition with more questions than answers. Hatoum challenges our perspective of the world as we know it. Each of the many wire cages of Current Disturbance contains a single light-bulb programmed to glow or be dimmed in intervals – each light-source individually programmed. The electric sound of the light-bulbs is recorded live and amplified through a speaker system, thereby creating an auditory as well as visual effect for the spectator. The intensity of the light source affects the strength of sound. The intervals and intensity of light and sound create a sense of discomfort and unease, and a feeling among the audience of impending doom. Hatoum’s poetic and political oeuvre is created in unconventional and diverse media. She makes installations which often place the observer in disquieting situations. Her surprising act of imbuing everyday objects with an air of impending threat and danger transforms the objects to mirror a dangerous domestic situation. Hatoum expresses the dichotomies and contradictions of objects and situations and/or emphasizes a sense of loss of stability. Simultaneously the objects may create a sense of incarceration by domesticity. With numerous associations the artist refuses to point at specific incidents, places or cultures. Hatoum does not point a finger at anything, and she never defines the source of unrest or conflict.

Mona Hatoum is a London based artist of Palestinian descent, who grew up in exile in Lebanon during the Arab-Israeli conflict. She was born in Beirut in Lebanon, but was travelling in England in 1975 when Lebanon’s 20 year civil war began. As a result of the war she was unable to return to Lebanon, and forced to exile. Her artistic oeuvre is, in many respects, autobiographical. Although her works are influenced by a personal experience of exile, they are nonetheless intended to be open to other interpretations and readings.

Mona Hatoum’s work have been shown at many prestigious biennials and at significant museums, such as; the Venice Biennale, Sao Paulo Biennale, Biennale of Sydney, Havana Biennale, Istanbul Biennale, Kwangju Biennale, South Korea, Guggenheim Museum, Bilbao, Centre Pompidou, Paris, Museum of Contemporary Art, Chicago, The New Museum of Contemporary Art, New York, Castello di Rivoli, Turin, Tate Britain, London, Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm and Museum of Contemporary Art, Sydney, Whitechapel Gallery, London, White Qube, London, De Appel, Amsterdam, Museum of Modern Art, Oxford and the Scottish National Gallery of Modern Art, Edinburgh, as well as at Kunsthalle Basel.

Mona Hatoum ”Current Disturbance”, 1996. Wood, wire mesh, light bulbs, computerized dimmer switch, amplifier, and four speakers, edition 1/2.
The D.Daskalopoulos Collection.

D.Daskalopoulos Collection and Dimitris Daskalopoulos

Started in 1994, the D.Daskalopoulos Collection is one of the world’s foremost collections of contemporary art, composed of over 500 works by 170 leading international and Greek artists. The body of the collection is formed by works from the past two decades. The artworks included in the collection, reflect the pertinent themes of this period focusing on the human body as a source of creativity and existential, social and ideological struggle. The collection gives particular prominence to large scale installation and sculpture works, as well as drawing, collage, film and video. While tracing key aesthetic developments of the last 20 years, the collection includes carefully considered key works from earlier in the twentieth century – by artists such as Joseph Beuys, Marcel Duchamp, Robert Morris, Dieter Roth and Paul Thek – that root the collection historically. Important artists represented in depth include Matthew Barney, Louise Bourgeois, Robert Gober, David Hammons, Mona Hatoum, Damien Hirst, Mike Kelley, Martin Kippenberger, Sherrie Levine, Paul McCarthy, Bruce Nauman and Kiki Smith.

Mona Hatoum´s work Current Disturbance was shown at the Guggenheim Museum, Bilbao curated by Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Foundation, and Katherine Brinson, Assistant Curator, Solomon R. Guggenheim Museum. as part of the exhibition The Luminous Interval, April to September 2011 and included more than 60 works from the D.Daskalopoulos Collection. Current Disturbance was also shown at the Whitechapel Gallery in London early spring 2011.

Dimitris Daskalopoulos is a collector of contemporary art and active in the Board of Trustees of the Guggenheim Foundation, the Tate International Council and the Leadership Council of the New Museum. He is also a Future Fund Founding Partner of the Whitechapel Gallery, London. He is the Chairman of DAMMA Holdings S.A., a financial services and investment company. He is also the Chairman of the Board of the Hellenic Federation of Enterprises (SEV) since 2006.

Sohei Nishino
"Diorama Map
18.05. – 01.07.2012

© Sohei Nishino, courtesy of Michael Hoppen Contemporary, London.

© Sohei Nishino, courtesy of Michael Hoppen Contemporary, London.

© Sohei Nishino, courtesy of Michael Hoppen Contemporary, London.

Sohei Nishino is one of the rising gems of contemporary Japanese photography. 3,14 presents the Diorama Map series, featuring many of Nishino’s most striking works including several maps of cities in Japan, but also of cultural metropolis like New York, London and his latest creation, the map of Berlin.

30 year old Nishino’s extraordinary photographic dioramas, monumental in size, map out the artist’s personal impressions of the world’s major cities in several thousand intimate details. Every single element amongst the enormous mound of pieces reflects his own act of the photographic process. Nishino’s collages are not precise geographic recreations, but an imperfect mix of landmarks and iconic features conceived from his personal ‘re-experiencing’ of a city. Nishino’s process began during a portfolio review when studying at Osaka University of Arts, when he realised he was far more interested in the mass of photographs not selected, than the few that were actually chosen to be displayed. For him, the whole selection was more of a true representation than the refined final edit of one photograph. This, together with his love of walking and the influence of 18th Century Japanese cartographer and surveyor Inō Tadataka, led to Nishino’s creation of the first diorama map of his hometown of Osaka.

When photographing for The Map of London, Nishino walked the entire city on foot for a month, wandering the streets and recording from every possible angle, from building tops to get an overview of the Gherkin, to shooting in step with the Queen’s Guard marching on the Mall. In total he used over 300 rolls of black and white film and took over 10,000 pictures. In the following three months Nishino selected some 4,000 of these photographs, hand printed in his own dark room, which he then meticulously pieced together with scissors and glue in his Tokyo studio. The result was an aerial view of London, which was then reshot as a completed collage to produce a final image in photographic form. This lengthy and painstaking process, all done by hand, only allows for the creation of about three maps per year. Nishino’s re-imagination of a city presents a convincing record despite its geographical inaccuracies, a map embodying the intricacies of a city through the eyes and recollection of an outsider.

In cooperation with Michael Hoppen Contemporary, London.

NB: Please save the date June 6th at 7pm when Sohei Nishino will be presenting his work in the exhibition Diorama Map, and Tone Gellein who will make a preformative presentation of her work I BEG at 3,14.

Heli Rekula
"Landscape no. 20 An Tiaracht
" 2000/2002
00:19:00 DVD

18.05. – 01.07.2012

Heli Rekula
Landscape no. 19 An Tiaracht, 2000, c-print, diasec, 125 x 157 cm

An Tiaracht leads us into one of the main pictorial themes of Heli Rekula´s production, the landscape. It is a series of works, both photography and video, in which the works have a random number tagged onto the name of the place. An Tiaracht was made during a longer stay at the west coast of Ireland in 2000.
It exists both as a photo and a video, which calls attention to the temporal aspect of viewing a landscape. An Tiaracht is simple in composition; the image emerges bare, almost devoid of meaning. Yet the camera´s mechanical registration, the low resolution video image, indicates to the possibility of reading it as proof, leaving us wavering between the depicted and the real.

Parabol - a series sound works at 3,14 curated by Lydgalleriet.
Lydgalleriet expands 3,14s exhibition experience with complimenting, commenting and /or compromising sound works, played through the sound shower in the Passage.


Sara Rajaei
09.03. – 06.05.2012
"The continuous ends connected to the beginnings"
screening program:
- Charismatic fates & vanishing dates, 2006. 3´20“
- A day of amnesia, 2004. 5´30”
- Forever for a while, 2009. 7´
- A leap year that started on a Friday, 2010. 6´
- Since we’ve moved here, 2007. 10´
Curator Trond Lossius, co-Curator Malin Barth
>>> h

22.03.2012 19:00
Special screenings of:

- Forever for a while, 2009. 7´
- Objects of Purely Sentimental Value, 2010. 17´
- Shahrzad, 2009. 25´

In the book "Language of New Media" (2001) Lev Manovich suggested a shift in form from old to new media. While the novel and subsequently cinema privileged the linear narrative, the database has become the predominant organizing form within new media. Since this book was published, "archive" has become a more established term than the more technically inclined "database".
The linear narrative presents events in a fixed sequential cause-and-effect order. In contrast "many new media objects do not tell stories; they don't have beginning or end; in fact, they don't have any development, thematically, formally or otherwise which would organize their elements into a sequence. Instead, they are collections of individual items, where every item has the same significance as any other." These items may be accessed in any arbitrary order.
The works by Sara Rajaei simultaneously seem to draw on both of these organizing principles. Her works tell stories, and two of her works, "Shahrzad" (2009) and "A leap year that started on a Friday" (2010) have references to the storyteller Scheherazade, but her stories do not unfold in a linear fashion. Instead past and present seem to co-exist. Collections are important to several of her works; (re)collections of family photos, memories, domestic environments, family and friends, or art works.
Her work draws on photo, film, storytelling and poetry, and the music and sound design, often a contribution of Milan Gataric, is important to the haunting musical timing and flow of the works. The music and the use of narrator(s) place the spectator at a distance to the scenes unfolding. This is enhanced by the camera movements through the scenes.
Her works can be read as four-dimensional sculptures, and the camera is an eye that moves seamlessly through time with the same ease that it moves through space. This poetics of navigation through space is again, according to Manovich, a common quality of new media art, a quality shared with the database. The items of an archive can be accessed in any order, and conceptualized or visualized as being laid out in space, a space that can be traversed in any direction. Within this form narrative and time itself are equated with the movement through 3D space, the progression through rooms, levels, or words.

The archives and databased discussed by Manovich at times seem fragmented, made up of singular items shattered in space. In contrast, in Sara Rajaeis work, stories and archives seem to merge, becoming holistic entities intimately connected to the shaping and defining of the identities and stories of the persons portrayed.

Sara Rajaei was born in Abadan, Iran in 1976. Since 1998, she has been based in The Hague, the Netherlands, where she currently lives and works. Rajaei began her studies at the University of the Arts in Tehran in 1996 and continued studying at the Koninklijke Academie van Beeldende Kunsten, the Hague, from 1998 to 2002 where she specialized in 3D art. She also was a resident artist at Rijksacademie van Beeldende Kunsten, Amsterdam, from 20004. Since 2004, her work, which spans installation, performance, and video art, has been shown in various festivals and exhibitions around the world. She is the winner of the Prix de Rome, basic prixe, in 2009.

Chris Kubick
Language Removal Services:
60 Second Anthology of American Poetry

18.05. - 01.07.12

James Mollison
"Where Children Sleep"
Photographs, 2010
In cooperation with Nordic Light
24.08 - 28.09.12

James Mollison was born in Kenya and grew up in England.
Where Children Sleep- stories of diverse children around the world, told through portraits and pictures of their bedrooms. When Fabrica asked him to come up with an idea for engaging with children's rights, he found himself thinking about his bedroom: how significant it was during his childhood, and how it reflected what he had and who he was. It occurred to him that a way to address some of the complex situations and social issues affecting children would be to look at the bedrooms of children in all kinds of different circumstances. From the start, he didn't want it just to be about 'needy children' in the developing world, but rather something more inclusive, about children from all types of situations. It seemed to make sense to photograph the children themselves, too, but separately from their bedrooms, using a neutral background. Mollison´s thinking was that the bedroom pictures would be inscribed with the children's material and cultural circumstances 'the details that inevitably mark people apart from each other' while the children themselves would appear in the set of portraits as individuals, as equals 'just as children'.

eBook "Where Children Sleep">>>

Anne Skaansar
Pleksiplate and magnetic letters. 2006
24.08 - 28.09.12

The 10th annual Piksel Festival PIKSEL[X] - Kernel Panic! >>>
22 – 25 November 2012

This year Piksel celebrates the 10th Anniversary with a series of events throughout the year culminating in the Piksel[X] festival in November.

Piksel is an international event for artists and developers working with free/libre and open source technologies & art. Part workshop, part festival, it is organised in Bergen, Norway, and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects.
The festival program is made up of presentations, hands-on workshops, audiovisual performances, exhibitions and specially curated events – all on the topic of free technology and art.

Presented at 3,14:

Oscar Martin Correa
{RdEs} Sonic Emergency Distributed Network
Sound-Light Installation

Generative and autopoietic sound-light installation that embodies complex systems theories based on concepts and processes such as emergency and self-organization. The installation bases on models taken from various fields of science, philosophy, biology,computer science and study of the artificial intelligence (cellular automata, neural network,Cybernetics..).
The installation explores the sonic and compositional possibilities of these concepts, using a network of "modules-particles" that interact with each other and the environment. Each “module-particle” follows simple individual rules, but is able to generate more complex and sophisticated patterns when combined with the others.

André S. Marandon
Close Encounters 2012

1. December 2012
12:00 - 16:00

Skin, Flesh and Bone
Cao Hui // Feng Feng // He Yunchang // Ma Qiusha
Curator: Feng Boyi
Curatorial team: Wang Dong, Bjørn Follevaag & Malin Barth

04.10 - 20.01.13

The artists examine different aspects and issues of the body in their artistic production. Changes of time, the identification of, appeal for, and even the ideology about the human body explored. The exploration that takes place is not purely private nor purely Chinese, but closely linked to comparable conditions and situations, as well as to the general experience of what it means to be human.

Skin, Flesh and Bone

Thursday, October 4th 18:00
at Stiftelsen 3,14, Vaagsallmenningen 12

Please notice that the exhibition #RealLifeStories, also curated by Feng Boyi as well as Bjørn Inge Follevaag, opens at 19:30 at Stenersen, Rasmus Meyers allé 3.
Feng Boyi will make the opening speech for both exhibitions at Stiftelsen 3,14.

Friday October 5th:
> Debate “Artistic subject matters and its effect on society”
with curator Feng Boyi, exhibiting artists Cao Hui, Feng Feng, Ma Qiusha,
artist Morten Traavik, Rafto Foundation w/ Arne Lyngård and moderator Bergljot Jonsdottir.
Location: Gallery 3,14. Time: 17.30

The exhibition is supported by:
Hordaland fylkeskommune, Norsk Kulturrådet, Bergen kommune, OCA, Fritt Ord

Cao Hui "I´m Sorry". sculpture

Feng Feng "Golden Age". Gold plated bones

Cao Hui’s shaping of powerful contrast between the gentle and the sanguine can serve as a reflection on our plundering of nature during the process of so called “modernization.” The influence of modernization touches on every realm of human activity, and is particularly manifested in the epistemological worship of the infinite powers of the subject and the unbridled economic exploitation of natural resources, these being the soil that nourishes modernization.
The contradictions, paradoxes and even loss of control that are concealed behind the process of modernization produce “bizarre” results that are the very crux of the matter, and are what Cao’s creations take aim at and intend to derail.

Feng Feng draws from the powerful contrast of the materiality of the body and the symbolic nature of gold leaf, as well as the systematic dismantlement of the skeleton to reflect the fragmented world of today’s China. The decadence and terror of the skeleton, and the value and splendor of gold are all so direct and nakedly presented, and this directness reflects and mocks the state of existence in China – the constant pursuit of desire. He uses this to attain awareness and reflection of the abuses of the modernization process, through which he expresses the aspiration for a beautiful and fair sanctuary for mankind behind revelations and criticisms, declaring that material development in no way guarantees the fall of the spirit and the collapse of morality.

He Yunchang "One Meter Democracy". photographs

He Yunchang performance One Meter of Democracy, he had a 0.5 to 1 centimeter deep incision cut into the right side of his body, stretching one meter from his collarbone to his knee. A doctor assisted in this procedure, though no anesthesia was used during the entire process. Before the surgery, he held a satirical “Chinese democracy-style” vote, using the farcical methods of Chinese elections to ask the roughly twenty people present whether or not he should carry out the procedure. The final tally was 12 votes for, 10 against and 3 abstaining, passing by two votes. The process was shocking to watch. He used a self-abusive, self-mutilating method to push himself to the edge, near the brink of death, and attained a self-redemption of both spirit and flesh. Perhaps this is the price of democracy, and perhaps He Yunchang is using his own suffering to awaken and probe the languishing soul.

Ma Qiusha "We". video

The brutality of adolescence is a theme that permeates the video works Ma Qiusha. In the process of growing up, adolescence in and of itself implies brutality. Adolescence is a special time in one’s life, one marked by a particular form of restlessness that is a product of dreams and evasion. Everyone must face such a stage in their lives; it is just that it manifests in different experiences and expressions within different living environments. This theme perhaps asks how this brutality of youth is manifested in the cultural contexts of different periods, and how the scars it leaves behind are transformed and expressed in the language of visual art.

From #4 Pingyuanli to #4 Tianqiao Beili, the artist holds a blade in her mouth as she faces the camera and tells about her experiences and important memories.

Us explores that no matter how we strive, every effort we make to figure ourselves out and to find the thread that ties us to the external world, we are actually using certain methods to cut those bonds.

>>> h