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Circulating AiR
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past exhibitions









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 -->

> 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


Parabolic loudspeaker at 3,14:
Engineering Reverberation:
Campaign music, military cadences, and Muzak

The constellation of material hereabouts comes from work done on ‘Rhythm Is Gonna Get You’, the most recent issue of Grafters’ Quarterly, a publication I co-edit. Part of the research undertaken for the issue was concerned with how music has been deployed in work environments and how it has, literally, been taken into the body, offering a slight alcove of reprieve as well as a performance of intensified exploitation. In his book Work Songs, Ted Gioia links songs in prisons to the work songs (as songs sung whilst working, not those sung about work), particularly those connected with slavery:
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[Presented by Stiftelsen 3,14, PARABOL situates an adjacent ambience and mode of address in dialogue with the gallery’s exhibitions. Organised by Johnny Herbert]