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.
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.