Ellinor Aurora Aasgaard and Zayne Armstrong, Days, Fotogalleriet, Oslo
TV screens are dotted around a fictional bar. Episodes from the ‘soap opera’ Days are shown on the screens. The drama that unfolds is comical, but sad. It offers a glimpse of individual aspirations and struggles in a world that no longer has much to offer. In their pent-up hermetic subconscious the individual’s aggression and insecurity rage. This is Berlin 2020.
Damla Kilickiran, On Sense and Glyphs, Destiny’s, Oslo
Drawings on long paper sheets, strange rulers created to construct new shapes. Perhaps this is how an octopus sees the world? The totality is like a bright and colourful score; I’d love to see a composer base their work on these drawings. Or maybe it’s the start of a new kind of architecture? A new language … The colours are like sedated candy in a darkened corner shop. I like it.
AK Dolven, Untuned Bell, Oslo
Majestic and vulnerable, a large bell hangs all alone above the Honnørbrygga quay as a kind of introduction to Oslo City Hall. Passers-by can step on a pedal – a ‘Cry Baby’ pedal of the same type used by rock guitarists like Jimi Hendrix – cast firmly into the ground, thereby causing the bell to sing out. How lovely, in this age beset by a pandemic, that we all have the chance to be bell-music composers on a tiny scale. Less is more, I think. Thanks!
– Pernille Mercury Lindstad is a theatre director, artist, and author. A graduate of Stockholm Dramatiska Høgskole, she has run the interdisciplinary platform Theater F in Oslo since 2014. In 2019, she took part in Henie Onstad Kunstsenter’s The Great Monster Dada Show, presenting the work TVTV, made in collaboration with Siri Hjorth. Her performative sculpture The Odyssey – an inner and an outer journey was shown in the Ekeberg Sculpture Park in July 2020.
For this year’s contributions to Kunstkritikk’s Advent Calendar, see here.
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