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Opening reception: Friday 29th at 18:00
Angelica Dass will be present

Cinthia Marcelle

2010, Brazil | video | 8'36'' in loop

Richard Glover
"Logical Harmonies"

"One of the reasons I'm interested in creating music solely from harmonies is that change can be controlled subtly, almost hidden within the sound; I enjoy building change into my music, but in a way in which the result of the change takes precedence, rather than bringing focus to the gestural nature of the change itself. Logical Harmonies for piano is an attempt to realise this idea using a simple process on a single harmonic progression."

Richard Glover, 2014

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Richard Glover is currently based in Huddersfield and enjoys making music for friends which involves exploring simple processes, sustained sounds and subsequently the various temporal experiences of listening to experimental musics. A CD of his music, Logical Harmonies, was recently released on the UK label Another Timbre.

Cinthia Marcelle has in her work a unique approach which challange our perception about conventional aproach and interaction. This she often bring forth with a playful manner.
Sixteen musicians come from the four extremities of a cross, 4 from each side, wearing 4 colors: yellow, red, blue and green. The four groups (one with the ride cymbals, one with the snare and bass drums, one with the trumpets and trombones and one with the baritone saxhorns and tubas) each one at a time, come into action, playing the sounds in a chaotic way until they've reached the crossing point of the cross. When they all meet, face to face, they begin a duel, which ends up in a choreography where the musicians exchange places, forming then four music bands of colors and mixed instruments. At the sound of the same song finally in harmony, the musicians leave the crossing point, each one at a time and spread around, through the four ways of the cross.


Courtesy of Gallery Vermelho, São Paulo, Brasil.

Cinthia Marcelle is one of Brazils most exiting young artist and will be featured for the first time in Norway.

Cinthia Marcelle won The Future Generation Art Prize 2010 from the Victor Pinchuk Foundation, juried by Daniel Birnbaum (Sverige), Okwui Enwezor (Nigeria), Yuko Hasegawa (Japan), Ivo Mesquita (Brazil), Eckhard Schneider (Tyskland), Robert Storr (USA) and Ai Weiwei (Kina).

Humanæ is a “work in progress” by the Brazilian Angélica Dass, who intends to deploy a chromatic range of the different human skin colors. Those who pose are volunteers who have known the project and decide to participate. There is no preconceived selection of participants and there are no classifications relating to nationality, gender, age, race, social class or religion. Nor is there an explicit intention to finish it on a specific date. It is open in all senses and it will include all those who want to be part of this colossal global mosaic. The only limit would be reached by completing all of the world's population.

A photographic taxonomy of these proportions has rarely been undertaken; those who preceded Angélica Dass were characters of the 19th century that, for various reasons - legal, medical, administrative, or anthropological - used photographs to establish different types of social control of the power. The best-known is that of the portraits of identity, initiated by Alphonse Bertillon and now used universally. However, this taxonomy close to Borges´ world, adopts the format of the PANTONE ® guides, which gives the collection a degree of hierarchical horizontality that dilutes the false preeminence of some races over others based on skin color or social condition. These guidelines have become one of the main systems of color classification, which are represented by means of an alphanumeric code, allowing to recreate them accurately in any medium: is a technical-industrial standard.

The process followed in Humanæ also is rigorous and systematic: the background for each portrait is tinted with a color tone identical to a sample of 11 x 11 pixels taken from the face of the photographed. Aligned as in the famous samples, its horizontality is not only formal also is ethical. Thus, without fuss, with the extraordinary simplicity of this semantic metaphor, the artist makes an "innocent" displacement of the socio-political context of the racial problem to a safe medium, the guides, where the primary colors have exactly the same importance that the mixed ones. It even dilutes the figure of power that usually the photographer holds. The use of codes and visual materials belonging to the imagery that we all share, leaves in the background the self-referentiality of the artist, insistent and often tiresome.
The will that the project evolves in other directions beyond their control (debates, educational applications, replicas and a host of alternatives that have already triggered by sharing Humanæ on social networks) contributes also to the dilution of the hierarchy of the author. Many of the ingredients that characterize the [best] spirit of this time appear to be part of this project: shared authorship, active solidarity and local proposals likely to operate globally, networking, communication expanded to alternative spaces of debate, awareness without political ideology, social horizontality...

The spectator is invited to press the share button in his brain.

By Alejandro Castellote

Courtesy of Galería Max Estrella, Madrid, Spain.

Work in progress
: Angélica Dass will display a set of 150 photographs in the spaces of the gallery. A make shift photography studio similar to which the artist has used in previous sessions will be located in the back of the display wall (where later the portraits taken in Bergen will be featured) During the week leading up of the exhibition opening, there will be an open call, offering the possibility to take part in the project.

Angélica Dass (Rio de Janeiro, 1979) graduated as a Bachelor of Fine Arts at the Federal University of Rio de Janeiro (Brazil). She completed a Master in Photography (Concept and Creation) at EFTI School of Photograph, in Madrid.

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