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KWESTAN JAMAL BAWAN
LANDSCAPE - MINDSCAPE
08.04. - 05.06.2016


Opening reception Friday April 8th at 18:00

Opening speech by Anne Guddal
Autor and poet Anne 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.


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
.

[www.kwestan-jamal.com]


Exhibition

A K DOLVEN
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


Opening reception Friday April 8th at 18:00

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.
[www.akdolven.com]

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

Parabolic loudspeaker:
PHILIP CORNER

‘Apothéose’(1995)
08.04. - 05.06.2016



the epiphany extraordinary
(Recently remembered.) My college years. So long ago. New York. Still in the early 50s. City College. Saturday night out. The two of us. 125th Street. Crowds. The cop even giving us a (nodoubt) “frendly” advise/warning. (I am telling this in Reggio Emilia som 60years later. To my frend Deborah. And az i wonder why it never occurd to me when i wrote last year the 28 Epiphanies for The Wire magazine i realyz that this might be the most important ov them all, the singl moment summing-up something really important in the musical living) But we “push on”, and thru, to the church of Daddy Grace (“As Noah was before the flood, so is Daddy Grace before the fire!” ---giv it a few mor exclamationpoints.)
The anecdotal part of this story that we were sitting unobtrusivly in the back way-in-the-back until we heard (try two nice uptown collegekids sit un ob tru siv---but not! un-observd in a Harlem church......) “This church is open to all people and all races (Daddy Grace himself speaking) and that is why we invite our white friends to come forward and join us.” which surely we did. Hidden trepidations. To the very first the front row. And they was real friendly like. Very nice people. Stayed to the social gathering afterward. Oh that sweetpotato pie! Even promised to comback the next day, Sunday morning, which surely we did. They obviously woudvliked-us to join as permanent members........ which we did not did, surely.
A lovely experience----but here is the essens: What singing! What ecstasy! What dancing! Some-of-them going right into trance and one girl spinning wildly down the center-aisle. Envy! We “rooted” to those frontseats in uptight inhibited envy. No one fell on the floor, tho. But enough, surely. More-than-enough. Enough to draw me to the Sunday services of the Sanctified Church in Meridian listening outside the open-windows (why duz White religion havv-to-be so boring?) and leaving the impossibl dream (even the “unsanctified” black folks being denied entrance not to speak ov an upNorth whiteboy) of !moving to Mississippi!
Well, however well, that do show me what’s missing in my culture and what’s missing in my life and whut i hav-to-do I hav-it-to-do, and did. did-it to make-sure or try-to, make sure that that iz not whut iz missing in my music.

Philip Corner, January 2016