Videostill from "The Sea we See is not Blue'" by Sarah Kazmi
Mattering oil gjør utstillingene om til et midlertidig galleri-laboratorium for å utforske problemstillinger knyttet til vårt forhold til fossil energi. I hele museet vil en rekke performancer og installasjoner benytte lyd som medium til å utforske olje fra ulike kulturelle, historiske og miljømessige perspektiv.
Når: 29. oktober til 7. november, 2021
When: October 29 to November 7, 2021.
Hvor: Teknisk museum / Norwegian Museum of Science and Technology, Oslo.
Intervensjonen er et samarbeid mellom/a collaboration between PRAKSIS, Teknisk museum og Goethe-Institut Norwegen.
Deltakende kunstnere / Participating artists:
Siri Austeen,Sarah Kazmi, Lasse-Marc Riek, Elly Stormer Vadseth, Geraldine Vanspauwen og Maria Wang Kvalheim.
Olje og gass har bidratt i stort monn til velstanden i Norge. På verdensbasis dekker olje og gass nesten 40% av verdens energibehov, og forbruket stiger fortsatt. Flere milliarder får sitt levebrød fra oljenæringen, og olje er basis for mange produkter i dagliglivet. Men oljenæringen har en skyggeside. Næringen er en global miljøversting med sine utslipp. Med klimakrisen blir bekymringen stadig mer påtrengende. Oljen er en ressurs vi ikke lenger kan tillate oss å basere våre liv på – selv om det for mange er nær umulig å tenke seg et liv uten.
Mattering oil forholder seg til olje både som gammelt materiale og som moderne ressurs. Den kunstneriske intervensjonen vil kartlegge oljens rolle i et økologisk perspektiv – fra det mikroskopiske til det makroskopiske. Kunstnerne spør hvordan kunst kan utfordre og åpne ny forståelse av tradisjonelle fortellinger om olje. Intervensjonen vil bruke lyd for å danne bilder av oljen og forurensningen grunnet vårt forbruk. Verkene reflekterer rundt transport av olje over sjø og land og oljens bevegelse i jordsmonnet, atmosfæren og i havet. Det stilles spørsmål om hvordan våre beregninger, antagelser og fantasier knyttet til oljen kan gjøre det mulig å fortsette utvinningen.
Delvis inspirert av endringene Covid-19-pandemien påla oss vil noen av verkene også peke på forandringene som kan oppstå når vi endrer livsstil, når vi unngår flyreiser, minimerer bilbruk og gjør våre hjem og nærområder om til sentrum for vårt liv og virke.
Besøk oss, og opplev ny kunst både i form av stasjonære og performative intervensjoner. Mattering oil er en del av utstillingen klima2+ og PRAKSIS Oslo residency 17 Climata - Capturing Change at a Time of Ecological Crisis.
The extraction of oil and gas is one of the foundations of prosperity in Norway. Oil provides nearly 40% of the world’s energy needs and its consumption continues to rise. It underpins the livelihoods of millions of people and offers the raw materials for diverse products used in almost every area of contemporary life. However, oil is one of the largest causes of global environmental pollution, negatively affecting populations around the world. In this time of climate crisis, it is a focus of universal anxiety - a resource that it seems we can no longer afford to live with, yet for most people it is almost impossible to imagine living without.
Mattering Oil will temporarily transform the museums exhibition spaces into a creative gallery-laboratory for probing our relationship to fossil fuels; asking how can art challenge, and open new understanding of traditional narratives that surround oil? Throughout the museum, a series of performances and artworks will use sound to explore oil from cultural, historical and environmental perspectives.
The works on show will consider oil both as ancient matter and contemporary resource, mapping out its ecological relationships from the microscopically tiny to the macroscopic. They will reveal the sound worlds of oil and the sound pollution caused by its exploitation. They reflect on the transportation of oil over land and sea, and its movement through the ground, atmosphere and ocean, asking how our calculations, assumptions and fantasies about oil enable its continued extraction.
Partly inspired by the changes that the Covid-19 pandemic has enforced, the works will also point towards the changes that can ensue when we radically alter our lifestyles: avoiding air travel, minimising car use and turning our own homes and outside spaces into our workplaces and the centre of our lives.
Visit to experience new art works both as stationary and performative interventions. during 10 days: Mattering oil takes place as part of the exhibition klima2+ and the PRAKSIS Oslo residency 17 Climata - Capturing Change at a Time of Ecological Crisis.
Siri Austeen (1961, NO) is a graduate of the Academy of Fine Arts in Trondheim. In her artistic practice, Austeen is concerned with the relationship between sound, place and reality; how different listening strategies affect our understanding of reality and ourselves as part of a whole. A recurring theme in her work is the intervention of the individual, collective and ecological structures. Austeen's practice, which is often based on exploratory field recordings, is expressed as site-specific sound installations, participant-based projects, performances, radio productions, and public art assignments.
Sarah Kazmi (b.1990 Karachi) is an interdisciplinary artist, writer and researcher. Through the lens offood as an artistic medium, she uses anthropological and participatory action research (PAR) todisseminate her practice; investigating socio-political change within personal and community-basedrituals. Her practice incorporates text, audio, live reading, installation and image-based work toexplore the circulation processes of food - as strategy for communication and knowledge production,and its significance beyond consumption culture in everyday life.
Maria Kvalheim is a scenographer who works with performance, music and sound installationcharacterized by fragments of historical events and contemporary time. Through scenography sheworks as a concept developer and as performer in her own work and that of others. Through openingup and asking questions about what a set designer does she currently works with acoustic scenographyproducing sound that brings out the inherent acoustic and atmospheric potential of space.
Lasse-Marc Riek (born 1975 in Germany) uses field recording as a means to capture andexplore acoustic ecology, bio-acoustics and soundscapes. Since 1997, he has operated internationally,staging exhibitions and concerts, releasing recordings, and delivering lectures and workshops. Diversevenues have hosted his performances: galleries, art museums, churches and Universities. His work hasfeatured on public media, including public radio channels. He has received scholarships andparticipated in artist-in-residence programs in Europe, the Middle East and Africa. He is co-founder ofthe label Gruenrekorder, which since 2001 has concentrated on soundscapes, field recordings andelectro-acoustic compositions and works in these contexts with artists and scientists on aninternational level.
Elly Vadseth is an interdisciplinary artist who works with moving image, geo-choreography andinstallation. Her current work engages with submerged pasts, presents and possible futures; workingclosely with gelatinous zooplankton as ancient beings, current life, energetic matter that offer anoceanic perspective. Employing embodied research methods and technology, she makes work thatseeks to imagine, speculatively establish and animate connections within human and more than human ecology(s). Rooted in the body, her practice uses a range of media, including performance,contemporary dance, video, installation, sound.
Geraldine Vanspauwen (born 1995 in Brussels), is part of the poetry and philosophy collective BRAAK,where she curates poetry magazines and evenings that bring together sound, word and performance.Looking for a way to connect her interest in philosophy and sound, she has recently been researchingthe concept of noise. Through both philosophical questions and (field and electronic) sound research,she tries to better understand changes in her environment and her own perception, and exposeschallenges within a society. Through personal stories and diary fragments, she wants to evoke moreuniversal experiences and introduce people to the intensity of our collective actions, the aesthetics andthe disruptiveness of our man-made constructions, and use sound as an active driving force.
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