Composition and performance: BIT20 Ensemble, André Bratten, Espen Sommer Eide, Myriam Lefkowitz and Valentina Desideri, Trond Lossius, Pauline Oliveros and lone, Alwynne Pritchard, Gerhard Staebler; Instruments: Daniel Araya (Electronic Music Studio Stockholm), Johannes Goebel, Mitchell Karchemsky, Mats Lindström (Electronic Music Studio Stockholm), Jeff Lubow (CNMAT), Thierry Madiot, Perrin Meyer (Meyer Sound), Greg Niemeyer (Berkeley Center for New Media), Julia Al Sarraf, Kari Sundet; Sound recordings: Eric La Casa, Chris Chafe, Morten Norbye Halvorsen, Carl Michael von Hausswolff, Jacob Kirkegaard, LIGO, Thomas Lilly, Gareth Lee Patterson, Mathieu Saladin, Minoru Sato, Chris Watson; Works: Robert Ashley, Douwe Jan Bakker, Maria Barnas, Antonia Carrara, Andrew Fisher, Aurélien Gamboni and Sandrine Teixido, Dora García, Joseph Grigely, Alexandre Guirkinger, Lawrence Abu Hamdan, Christian Marclay, Alison O’Daniel, Baudouin Oosterlynck, Simon Ripoll-Hurier
Andy Merrifield, Anne Marthe Dyvi, Ariel Schlesinger, Arjuna Neuman, Bonaventure Soh Bejeng Ndikung, Brandon LaBelle, Denise Ferreira da Silva, Elizabeth Povinelli, Fred Moten, Hallucinator, Hannah Sawtell, Hugo Glendinning, Hypatia Vourloumis, Isa Rosenberger, Jenny Moore, Lucy Beech, Mike Berlin, Paul Purgas, Tiziana Terranova, Phil Collins, Clément Layes / Public In Private, Ranjit Kandalgaonkar, Tasc Ablett & Brafield, The Partisan Café (Jenny Moore, Freja Bäckman, Kabir Carter, Tora Endestad Bjørkheim, Johnny Herbert, Arne Skaug Olsen), The Retired Firemen Of Bergen, Tom McCarthy, Vali Mahlouji, Wu Tsang
Artistic Practices: Lynda Benglis, Marvin Gaye Chetwynd; Collaborators: Luciana Arrighi, Nairy Baghramian, Olga Balema, Olivia Berkowicz, Oda Bremnes, Federica Bueti, Rupert Chetwynd, Adam Christensen, Sidsel Christensen, Jedrzej Cichosz, Burrill Crohn, Daiga Grantina, Laurie Grundt, Mamon Hawkins, Olav Herman-Hansen, Marc David Jacobs, Dimitri Thomas-Komissarov, Henrik Koppen, Bjørn Mortensen, Anne Helen Mydland, Åse Møller-Hansen, Ida Olsson, Alecs Pierce, Tal R, Sterling Ruby, Dieter Roelstraete, Elsebet Rahlff, Espen Rahlff, Jenny Simm, Emma Sjövall, Valerie Smith, Judith Tannenbaum, Kaari Upson, Jan Verwoert; Partners: Entrée, Bergen Arkitekthøgskole, Bergen Kunsthall, Bergens Rådhus, KODE Art Museums of Bergen, Kunst- og Designhøgskolen i Bergen, Kunstgarasjen, Landmark, Visningsrommet USF;
Venues: Bergen Gamle Brannstasjon, Bergen Kino, Bergen Kunsthall, Bergen Public Library, Bergen Rådhus, Bergen School Of Architecture, Entrée, Hagerupsgården, Hordaland Kunstsenter, Kode 4, Kode Art Museums Of Bergen, Kunstgarasjen, Litteraturhuset I Bergen, Private Homes, Sentralbadet, St. Jørgen’s Shelter, Usf Verftet, Usf Visningsrommet
Exhibition Title: Bergen Assembly
Date: September 1 – October 1, 2016
Curated by: Tarek Atoui, freethought, and PRAXES
Full gallery of images, press release and link available after the jump.
Images courtesy of Bergen Assembly. Photos by Thor Brødreskift.
Originating from the “Bergen Biennial Conference” in 2009 and its critical thinking around the biennial format, the Bergen Assembly seeks to devise alternative timeframes, densities, and relational economies of public presentation and perception today. Pointing to the multitude of practices in contemporary art and the research surrounding it, while experimenting with the need for an overall thematic coherence across the event, the 2016 edition offers three distinct propositions, expanded and developed in different temporal registers by the artistic directors: PRAXES, Tarek Atoui, and freethought. Exhibitions, live events, and publications are continually introduced and produced throughout the year, with a convergence of activities taking place from September 1–October 1, 2016.
At PRAXES Center for Contemporary Art in Berlin 2013–15, Rhea Dall and Kristine Siegel presented half-year cycles of consecutive exhibitions, publications, and events, revolving around two unassociated artistic practices. For the Bergen Assembly, PRAXES expand the modular investigations to a full year and episodically inhabit a variety of sites throughout Bergen in an itinerant material discussion around the practices of Lynda Benglis and Marvin Gaye Chetwynd.
Lynda Benglis (b. 1941, US) was first recognized in the sixties with her poured latex and foam works, a precise retort to her minimalist contemporaries. Continuing her pioneering practice, vibrant biomorphic shapes in a bold range of materials express a deep concern with the physicality of form and how it affects the viewer. In Bergen, Benglis’s prolific production is distilled into single-work installations, reconstructions, group shows, and one-night screenings.
Marvin Gaye Chetwynd (b. 1973, UK) celebrates popular culture. She has adopted elements from Michael Jackson’s Thriller, Miyazaki’s Catbus, and Chaucer’s Canterbury Tales in exuberant collective performances and films merging irreverence and joie de vivre. In Bergen, Chetwynd will create a new work presented in installments throughout the year, while a series of exhibitions-events probe her long-term involvement with social anthropology, humor, and performance traditions.
In March 2013, artist and composer Tarek Atoui presented WITHIN as a three-month-long composition for the Sharjah Biennial 11, developed out of the conversations and collaboration between Atoui, Paris based curators Gregory Castéra and Sandra Terdjman (Council), and the teachers and students of Al Amal School for the Deaf.
For Bergen Assembly 2016, Atoui is continuing WITHIN with the intention of learning from the deaf to re-visit established and conventional ways of experiencing sound, holding concerts, writing, and conducting performances. The project will materialize in several forms, from imagining and constructing musical instruments that address both deaf and hearing persons, to rethinking concert situations and their architectural components, to working on new techniques of field recording and discerning sonic environments.
In collaboration with fifteen institutions from Bergen, Atoui will be hosting a series of performances and concerts that will put these instruments into action, as well as the knowledge and the know-how generated by this process. Approaching profound deafness as both an ability and a starting point, Council will gather a collection of pluridisciplinary objects and practices that extend the notion of hearing beyond audition, presenting an exhibition that functions as an alternative to the modern conception of hearing.
freethought (Irit Rogoff, Stefano Harney, Adrian Heathfield, Massimiliano Mollona, Nora Sternfeld, Louis Moreno) is a collective working in public research and in curating concepts of urgency.
freethought will focus on its current collective interest: infrastructure. By looking at many different understandings of this key word—from legacies of colonial and early capitalist systems of governance to current conditions of the financialization of the cultural field to the subversive possibilities of thinking and working with infrastructures as sites of affect and contradiction—”infrastructure” emerges as the invisible force which constitutes culture today. This large-scale investigation aims to wrest the term away from the language of planners and technocrats and put it to creative and critical use within the cultural sphere.
Throughout 2015–16 freethought is leading a programme of public seminars, invited guest lectures, artists, and independent research in Bergen with the intention of developing a collective body of research and insights. This research, an interrogation of infrastructure on a local and global scale of ecology, finance, administration, labour, communication, hospitality, and acts of assembling, will culminate in a programme of exhibitions, discursive platforms, publications, and artistic commissions for the Bergen Assembly, opening September 1, 2016.
Link: Bergen Assembly