Flag New York City is the third edition of the the flag project and co-presented with Performa as part of Performa 13, New York’s visual arts biennial taking place Nov 1—24, 2013. Curated by Randi Grov Berger. Nøstegaten 42 5011 Bergen Norway Thur Fri Sat Sun
12–4pm 12–4pm 12–4pm 12–4pm
e : firstname.lastname@example.org t : +47 951 96 773 w : entreebergen.no
Second edition, Flag Nesflaten, took place in Nesflaten, Norway, April 6th— 30th, 2013, in collaboration with L/R Residency. Curated by Randi Grov Berger and Gunhild Moe. First edition, Flag Bergen, took place in Bergen, Norway, March 24th—April 29th, 2012. Curated by Randi Grov Berger.
Introduction Flag New York City is an outdoor flag project involving sixty international artists, each making a statement with their own flags, which will be flown in various locations around the city during Performa 13. While the project addresses one of the biennial’s themes this year—citizenship—it also asks key questions about identity and nationality. Flags are strong symbols of power used both in warfare and celebration, with many rituals connected them. The symbolic value in raising or burning a flag is universal, and the use of colors and symbols in flags has a long and complex history, studied in the field of vexillology. The artists involved in the project take on these concerns when exploring the flag as a medium, whilst pursuing the
themes of their own work. Watch out for flags fluttering above you as you traverse the city during the biennial and see a collection at the Performa Hub on 13 Crosby Street.
Artists involved include: Jørund Aase Falkenberg Azar Alsharif Rosa Barba Javier Barrios Are Blytt Marco Bruzzone Danilo Correale Espen Dietrichson Leander Djønne Ida Ekblad Sammy Engramer Serina Erfjord Juan Pedro F. Guemberena Kjersti Foyn Ulrika Gomm Steinar Haga Kristensen Jeannine Han Tamara Henderson
Lisa Him-Jensen David Horvitz Marianne Hurum Toril Johannessen Sanya Kantarovsky Annette Kierulf Caroline Kierulf Lars Korff Lofthus Ingeborg Kvame Erik Larsson Else Leirvik Malin Lennström-Örtwall Gabriel Lester Chloe Lewis Klara Sofie Ludvigsen Anna Lundh Cato Løland Cameron MacLeod Liz Magic Laser Jumana Manna Dillan Marsh Kyle Morland Santiago Mostyn Randi Nygård Raqs Media Collective —Jeebesh Bagchi —Monica Narula —Shuddhabrata Sengupta Dan Riley Borghild Rudjord Unneland
Athi-Patra Ruga Arne Rygg Andrea Spreafico Andrew Taggart André Tehrani Sandra Vaka Olsen Mathijs van Geest Kjersti Vetterstad Lina Viste Grønli Christian von Borries Bedwyr Williams Magnhild Øen Nordahl Stian Ådlandsvik A Practice for Everyday Life
without justification Natasha Marie Llorens Jacques Derrida argues that in order to have a political order premised on an idea as abstract and empirically unfounded as ‘the people’ – citizens of a nation – there must be a space in which anything can be said, a space that demands no verification. ‘No democracy without literature; no literature without democracy. …In no case can one dissociate one from the other. No analysis would be equal to it.’ He is quite emphatic. In his view, there is something that remains unrevealed in every instance of power’s manifestation. This something cannot be told directly, it cannot be related with recourse to thematic analysis. This thing, which Derrida calls
a secret, can only be articulated as narrative, or as that which has an unstable relationship to truth. This is the case because democratic power itself has an unstable relationship to its subjects; it also has an unverifiable origin. Flag New York City is a project initiated by Entrée, which has invited sixty artists to propose flag designs. These will be flown throughout public space in New York and they are largely images; their structure is not exactly narrative. Their invitation recalls that of literature as Derrida describes it, however: say anything about the nationstate that a flag emblematizes. Picture it in any way, without justification. Let the images’ relationship to truth remain partial, subject to misinterpretation as the flag is encountered fluttering before a storefront in SoHo
or Midtown, on a flagpole outside the Bankruptcy Court at Bowling Green, outside what was once a school, or at the seaport. On the flagpole, in the place where we usually find emblems whose meaning is rigorously policed by state and military force, we find instead a collection of absurd counter-representations. Perhaps they are not novels, but they are nonetheless acts of literature. Ulrika Gomm’s flag reads: ‘We have come to restore democracy’ in script scrawled across a white background. The statement was originally made by the US military forces invading the Caribbean island of Granada in 1983, under the auspices of ‘Operation Urgent Fury’. Gomm’s statement leaves the viewer to wonder: Who is we? Who assumes that they understand
democracy such that they could restore it to us, to New York, to Americans? How can democracy be restored from without when it is located in the people that it represents? David Horvitz wants the night sky returned. His flag reads, ‘Give us Back our Stars,’ which assumes that these have been stolen from the city-dweller by the street lights. There is also the assumption, latent, that there is something civic about the freedom to imagine, to dream, and to wish. What is a citizen, as emblematized by a flag, if they have no relationship to the night sky? The flag of the UN, rather than make demands about democracy, takes an omniscient view. It is, officially, ‘a map of the world representing an azimuthal equidistant projection centered on the North Pole.’ Anna Lundh strips the emblem of everything 7
except its continents, which float aimlessly in a sea of blue, splayed out without their grid to contain them or their laurels to hem them in. Toril Johannessen takes the same gesture of deconstruction a step further – she keeps on the colors of the UN’s flag and replaces the continents with the word UNSEE, suggesting that even the omniscient point of view is structured by some regime of recognisability. André Tehrani’s gesture is not to reduce, but rather to inscribe history on the surface of the flag, as his title states: ‘From Wounded Knee to North Korea: A Graphic History of US Military Interventions.’ All the US’s transgressions against the sovereignty of others are lined up in neat rows, which mock the blank rows of red and white composing the US’s own sovereign flag. Jumana Manna takes a
slightly more myopic look at the phenomenon of obliging people ‘for-their-ownsafety’: the proliferation of seat-belts and seat-belt legislation. Her flag is made from bands of these vehicle safety devices sewn together but only partially, with their ends left to flap freely. What is protection? What is disobedience? These questions, she suggests, apply at every scale of the democratic body politic.
Natasha Marie Llorens is a writer and an independent curator based in New York. Recent curatorial projects include ‘The Echo of an Address’ with Kerry Downey at Columbia University and ‘Ajar’ at Reverse Gallery in Williamsburg. She is PhD candidate in department of Art History at Columbia. Her research is focused on violence and representation in the 1970s and 1980s.
1 J ØRUN D AAS E FALKENB ER G New Flag This new flag relates to the conventions of flags by breaking them. A flag symbolizes and signals a collective identity, while cultures are in constant flux. Falkenberg is examining what kind of identity an ambivalent flag with no distinctive shapes and colors will represent. Jørund Aase Falkenberg (b. 1978, Stavanger, Norway) lives and works in Oslo. Working in the crossing point between concept /shape, reality/utopia and politics/ spirit, he engages in questions concerning mysticism, universal meaning and cultural change. After studying at Oslo Academy of Fine Art he has exhibited in venues such as The Young Artists Society, UKS, Oslo; Gallery F15, Tromsø Kunstforening; The Drawing Room, London, UK; The Nordic House, Reykjavik, Iceland and Stavanger Kunstmuseum, Norway.
2 A Z AR ALS HARIF A Rhyme Alsharif’s work is often based on found images and juxtaposes different elements and symbols that form new units via simple abstractions or manipulation, touching topics such as subjective perception, time and value. The title A Rhyme is taken from the song $100 Bill by Jay-Z, where the text is again inspired by a quote from Mark Twain; History does not repeat itself, but it does rhyme. Azar Alsharif (b.1984, Bushehr, Iran) lives and works in Bergen, Norway. She was educated at Bergen Academy of Art and Design. Solo exhibitions include; All these shimmering things. They fade so quick, Galerie SPZ, Prague, Czech Republic; The distant things seem close (…) the close remote (…) the air is loaded, Entrée, Bergen; Before You Can Read You Gotta Learn How To See, Galleri Fisk, Bergen; Knowledge Is Faithful, Rom 8, Bergen and 7 Sonnets On Grace, Hovefestivalen, Oslo.
3 R O SA BARBA Outwardly from the Earth’s Centre The island and its community cast – and is cast by itself – as discursive other, as cultural other, as communal other; reinforcing and empowering the pronouns, again, as dividers, as gate-keepers, as border guards; isolation – and difference – becomes togetherness and communality; alone together says the islanders. Jan-Erik Lundström, from Printed Cinema # 9, Save the drifting (Gotska Sandön, 2008) Rosa Barba (b. 1972, Sicily, Italy) lives and works in Berlin. Barba studied at the Academy of Media Arts in Cologne, Germany and the Rijksakademie van Beeldende Kunsten in Amsterdam, Netherlands. Recent solo shows include Turner Contemporary, Margate,UK; Bergen Kunsthall, Norway; Cornerhouse, Manchester, UK; MUSAC, Castilla y Leon, Spain; Jeu de Paume, Paris, France; Kunsthaus Zürich, Switzerland. Barba’s work is represented in numerous international collections.
4 JAVIER BARRIO S Area G–3 / Quadrant Alpha A Area G-3/Quadrant Alpha A, Lot Number 2/1701 Approximate Latitude 9°-10°N. Longitude 159°-160° W, is the registration and location of the one acre of land I recently purchased on Mars. This flag is going to be the main symbol for this land. The land will be passed on to coming generations in hope that somebody at some point in the future will execute my idea of a public sculpture there. My thoughts and instructions for the sculpture will be published in the upcoming 3rd issue of the Vector magazine. Javier Barrios (b. 1979, San Luis Potosi, Mexico) currently lives and works in New York. Barrios studied at the National Academy of Arts, Oslo, Norway and The School of Visual Arts, New York. Recent solo exhibitions include Rod Bianco Gallery, Oslo, Norway; Akershus Kunstnersenter, Lillestrøm, Norway and Galerie Muelhaupt, Cologne, Germany.
5 A RE B LY TT
BlyttÂ´s work Untitled (Hortencia) is a snapshot taken in Peter Cooper Village, New York in 2010. This photo has been used as a foundation for a series of paintings titled Hortencia. The flowers now return to their origin. Are Blytt (b. 1981, Bergen, Norway) currently lives and works in Oslo, Norway. In 2008 he received his MFA from the Art Academy in Trondheim, Norway. His work has been shown at various galleries and institutions, like Galleri K, Trafo Kunsthall, W17/Kunstnernes Hus, 0047, NoPlace, and internationally venues like; The Agency Gallery, London, UK; KOBE Biennale (2011), Japan; Platform Stockholm, Sweden and Galerie PerpĂŠtuel, Frankfurt am Main, Germany.
6 MARC O BRUZZONE Hanging Coffee My flag is a tribute to caffé sospeso, a tradition in the bars of Naples. Someone orders a ‘sospeso’, pays for two coffees and receives only one. In this way, a poor man going to the same bar can have the chance to drink a coffee for free. It is a noble nature of anonymous charity. I’m interested in food as that which sustains our bodies but is itself alien, that which functions in our memories as a symbol and that which sustains memory itself (in a matter of thinking, perhaps memory is nothing but food, reorganized). Food and or our hunger for it have shaped our biological history, altering the way we perceive shapes, colors, smells, and (of course) tastes. Marco Bruzzone (b.1974, Genoa, Italy) lives and works in Berlin. He exhibits regularly in galleries, museums and participates in residency programs all around the world. Recent exhibitions include the venues Sprudel Spass & Wurst Tossing, Almanac projects, London, UK and Dingum, Berlin, Germany.
7 DAN ILO CORREALE Venture Capital Finance has its own language and, moreover, a rather esoteric neo language. Many Anglo-Saxon terms are untranslatable into other languages and, above all, draw complex processes not always accessible to the uninitiated, which is to say, almost everyone. It is thus under the shelter of its linguistic opacity that finance prospers, which raises the question of democracy, that is, the possibility of publicly debating strategies, procedures, and decisions concerning the lives of all citizens. Christian Marazzi, from The Violence of Financial Capitalism (2010). The term Venture Capital, is taking from an extensive collection of financial terms collected by the artist and merged with different Black Metal font types. Danilo CorrealeÂ (b.1982, Napels, Italy) currently lives and works in Naples and London, UK. He has exhibited at 4th Moscow Biennial, Russia; Steirischer Herbst, Graz, Austria; Gallery Raucci Santamaria, Napels; Manifesta 8, Murcia, Spain; 11th Istanbul Biennial, Turkey, Pistoletto Foundation, Biella, Italy; EntrĂŠe, Bergen, Norway; MADRE Contemporary Art Museum, Napels and Kunstraum Lakeside, Klagenfurt, Austria.
8 E S P EN DI ETRICH S O N Untitled Flag Analytical and geometrical tools that are usually employed to construct or piece together materials for engineering masterpieces are here made to function in the opposite way; to divide the image into abstract units. Untitled Flag emerged from sketches using architectural drawing software to create abstractions. The flag break also with the flag format and its square and symmetrical mode of representation. Espen Dietrichson (b. 1976, Stavanger, Norway) currently lives and works in Oslo, Norway. He is educated from The Academy of Fine Arts, Oslo. Exhibitions include; Sørlandets Kunstmuseum, Kristiansand, Norway; Galerie Roger Tator, Lyon, France; Circulationscentralen, Malmö, Sweden; Vigelandsmuseet, Oslo; Bomulds-fabrikken Kunsthall, Arendal; Galerie Susan Nielsen, Paris, Franceand Jyvaskylä Art Museum, Finland and more. Espen Dietrichson is represented by Galleri Haaken, Oslo.
9 L ARS KORF F LO F THUS & L E AN DE R DJØNNE BEARded AXE The flag is borrowing elements from Brotherhood of Bears, and has a symbol of the bearded ax at its center, expressing a desire to fight against oppression of all kinds. Lars Korff Lofthus (b.1978, Lofthus, Norway) lives and works in Bergen and Hardanger. His work investigates geographical identity. He is educated from Bergen Academy of Art and Design, The Royal Danish Art Academy and Nordic Art School in Kokkola, Finland. He has exhibited at LAUTOM Contemporary, Oslo; Bergen Art Museum; Bergen Kunsthall; Entrée, Maihaugen; Transition Gallery, London and Atelierhof Kreuzberg, Berlin. Leander Djønne (b.1981, Odda, Norway) lives and work in Oslo. His work deals with politics, capital, power relations and poetry. He is educated from Art Academy, Oslo; Bergen Academy of Art and Design; Staedelschüle Frankfurt am Main, Germany; Art Academy Malmö, Sweden and Werner Herzog´s Rogue Film School, New Jersey. He has exhibited at Hannover Kunstverein, Germany; Bonniers Konsthall, Sweden; Astrup Fearnley, Oslo; El parche, Colombia and UKS, Oslo. larskorfflofthus.no leanderdjonne.com
10 IDA EK BLAD Knotted Petiole Puff that briny deep - a tender age of Seven. Where arctic salt water echo her broken line Like spume blows in cornrows with weepy seaweed kelp on top. Ida Ekblad (b.1980, Oslo, Norway) lives and works in Oslo. She is educated from Oslo National Academy of the Arts and Mountain School of Arts, Los Angeles, California, US. She has had solo exhibitions at De Vleeshal, Middelburg, Netherlands; National Museum of Norway, Oslo; Karma International, Zurich, Switzerland; Kunstmuseum Luzern, Switzerland, Bergen Kunsthall, Norway and New Jerseyy, Basel, Switzerland. Her work has also been shown at The 54th Venice Biennale, Italy; Palais De Tokyo, Paris, France; Astrup Fearnley Museum of Modern Art, Oslo; New Museum, New York; Swiss Institute, New York; White Columns, New York and Art in General, New York.
11 SAMMY ENG RAME R A flag contract (welcome to Nesflaten Community!) In November 2012 I came to Nesflaten, Norway to do a residency organized by the French institution ArtConnexion, and was hosted by L/R Residency. During fifteen days I met different people to understand what kind of possibilities I had to propose a new symbol and flag for the community there. The result is a traditional coat of arms mixed with modern industry, using graphic tools to animate different activities taking place in Nesflaten. Now the flag is arriving New York, and represents the Nesflaten community to a new and larger audience. Sammy Engramer (b.1968, Blois, France) lives and works in Tours, France. Influenced by the heroes of the famous and unfinished Gustave Flaubert book Bouvard and Pécuchet, Engramer learns different practices and tries to have a global experience. Exhibitions include; L’important c’est de participer; Le Bol Gallery, Orléans, France; European Think Tank, ESA Gallery, Tourcoing, France and Objet du XXe, Claudine Papillon Gallery, Paris, France to mention a few. sammy.engramer.free.fr lukke-raadlaus.no
12 SERIN A E RFJO RD Diktomania By utilizing the weight and mobility of the fabric Erfjord here collapse the real of the flag onto its motif, turning the symbolic function of the pictured brick wall on its head: The bricks are no longer a firm symbol of intransigence as they will invariably find themselves either draped around the pole or fluttering haplessly in the wind – making the flag a monument to the shallowness and dependency of our semantic constructs. Serina Erfjord (b. 1982, Erfjord, Norway) lives and works in Oslo, Norway, where she is currently finishing her master’s degree at the Art Academy. Her work is concerned with movement and materiality and how sculpture connects physically with the viewer; she introduces destabilizing kinetic elements to otherwise innocuous objects and arrangements. Her work has been shown at Entrée, Bergen; Small Projects, Tromsø; UKS, Oslo; Five thousand generations of birds, Fitjar; Electrohype, Malmö Konsthall and Ystad Konstmuseum Sweden.
1 3 J U AN –PE DRO FAB RA G UEMBER ENA SNAFU The flag is composed by a series of images taken from pornographic magazines. The images have been manipulated and camouflaged with a black felt pen leaving only the eyes of the models uncovered, for a moment the gaze is turned, they are looking at us. The word SNAFU stands for the sarcastic expression: Situation Normal All Fucked Up, a well-known US military acronym slang. Juan-Pedro Fabra Guemberena (b.1971, Montevideo, Uruguay) lives and works in Berlin, Germany and Stockholm, Sweden. He is educated from The Royal College of Art, Stockholm. Exhibitions include Delays and Revolutions, 50th Venice Biennial, Italy; My Private Heroes, MARTa Herford Museum, Germany; The Moderna Exhibition, Moderna Museet, Stockholm; Favored Nations, 5th Momentum Biennial, Moss, Norway; Biennial of The Americas (2010), Denver, Colorado, US and Outdoor Sculpture Triennial Prinzessinnengarten, Berlin, Germany.
14 KJER S TI F OYN Cloud I work with the motif of unremarkable backdrops to our everyday life. In this instance clouds interest me, they can often have an immense and majestic presence in the sky, yet so briefly gone or changed into new shapes. In my paintings of clouds I want to give attention to the constantly changing phenomena, as a snapshot in time, I’m allowing their presence to take shape on the canvas. I want to draw awareness to the cloud as an everpresent character of our daily environment. Kjersti Foyn (b.1985, Stavanger, Norway) lives and works in Bergen Norway. With a Bachelor Degree from Trondheim Academy of Fine Art, she is currently a Master Degree candidate at Bergen Academy of Art and Design. Foyn is first and foremost a painter, and exhibitions include; Himmel, Blokk, Bergen; 65 malerier, Bergen Kjøtt, Bergen; un-home-ly, Tou Scene, Stavanger; Room with a sight/light, Galleri Blunk, Trondheim and What there is and what you see, Lights On, Astrup Fearnley Museum of Modern Art, Oslo.
15 U LRIKA G O MM We Have Come To Restore Democracy The US army used the phrase â€˜We have come to restore democracyâ€™, 30 years ago during the invasion of Grenada, to inform the citizens on what was going on. Gomm examines in her work the patriarchal power inherent in language. She is intending that language and words can move through time and ideologies. A shift of meaning might occur, in the eye of the reader or in the ear of the listener, here new dreams and visions might be born. Ulrika Gomm (b.1978, Stockholm, Sweden) lives and works in Stockholm. She is educated from Konstfack University and The Royal Institute of Arts, both in Stockholm. Her work has been presented internationally at Trinosophes, Detroit, US; INCA, Detroit; 0047, Oslo, Norway; Art Copenhagen, Denmark, and in Sweden at Konsthall C, Gallery Niklas Belenius, Haninge Konsthall and Botkyrka Konsthall. Residencies include IASPIS, Stockholm; Pulse Laser Studio, Ohio and INCA, Detroit.
16 steinar haga christensen The Spread of Dilettantism The Spread of Dilettantism is one of many works Martin Kippenberger never did. As opposed to Die Verbreitung der Mittelmässigkeit (The Spread of Mediocrity). By prematurely engaging the rhetoric of canonization, Kristensen takes our shared masturbatory compulsion to wallow uncritically in the unmitigated brilliance of one’s past creations, to an almost psychotic absurd. Like Klaus Kinski’s pathological identification with Paganini, there is an obvious disproportion at work here, and as with all caricature the disproportion is what strikes us, not the features in isolation. Steinar Haga Kristensen (b.1980, Oslo, Norway) lives and works in Oslo. He has exhibited at Etablissement d’en face projects, Brussels, Belgium; WIELS Contemporary Art Centre, Brussels; Kunsthall Oslo; Witte de With, Rotterdam, Netherlands; Museum of Contemporary Art, Roskilde, Denmark; UKS, Oslo and Kunsthal Charlottenborg, Copenhagen, Denmark. He is educated from the National Academy of Art, Oslo, Akademie der Bildenden Künste, Wien and Sydney College of Art. steinarhagakristensen.org
17 DAN RI LE Y & JE AN n INE Han Cross Colors The flag is inspired by the idea of universal citizenship, or conversely, non-citizenship. Made from the full spectrum of values, it represents a community that accepts all equally. At the same time the colors of the flag are processed and dissolved into patterns, making its iconography difficult to recognize and identify with. This non-classification is the galvanizing force that brings the citizens together. Jeannine Han (b. 1979, Oakland, CA, US) and Dan Riley (b. 1982, Groveland, MA, US) lives and works in New York. They collaborated on projects involving textile, sound, and patterns. Their work exploits the various technical processes involved in industrial production, and further explores them in the context of a single object or space. By re-imagining the uses for these processes an entire landscape of objects are created that both reference and provide a counter point to the cultural objects of contemporary living.
18 tamara henderson Old Hag Flag Old Hag Bottle is one of many designs from Bottles Under the Influence, a collection of works done in collaboration with Henderson and Julia Feyrer, involving glass vessel design and sculpture. Historically the old hag is a nightmare spirit from English and Anglophone North American folklore, that leaves her own body at night to suspend her sleeping victims in a deep but eerie sleep. Tamara Henderson (b.1982, Sackville, New Brunswick, Canada) lives and works in Halifax, Nova Scotia, Canada. Recent exhibitions include Bottles Under The Influence, with Julia Feyrer for Walter Phillips Gallery, Banff, Canada; On The Tip Of My Tongue, Magasin 3, Stockholm, Sweden and dOCUMENTA (13), Fridericianum, Kassel, Germany. Henderson is educated from The Royal Swedish Academy of Fine Arts, Stockholm, Sweden and is currently shortlisted for the 2013 Sobey Art Award.
19 lisa him â€“jensen The Suppy of People Always Exceeds the Demand The supply of people always exceeds the demand. Letâ€™s resolve personal worth into exchange value and live as long as we find work. It takes all the running you can do to keep in the same place. The world is an infinite collection of possibilities: no victory is ultimate and nothing should command a commitment forever. We canâ€™t bear anything that lasts. Animals are born, are sentient and are mortal. We desire, not only to be loved, but to be lovely. We are not as competent as we should be. There is a helplessness in the character of extreme humanity though there is nothing in itself which renders it ungraceful or disagreeable. We only regret that it is unfit for the world, because the world is unworthy of it. Lisa Him-Jensen (b. 1980, Stockholm, Sweden) lives and works in Bergen, Norway. She is educated form Bergen Academy of Art and Design and work mainly with painting, drawing and text.
2 0 david horvitz Give Us Back Our Stars The flag makes an impossible demand for the city to return what has been stolen from its inhabitants: a night sky filled with stars. Since the advent of artificial lighting the metropolis has seen the slow destruction of night. The night sky was once a place where meaning was made through storytelling. Where one could orient oneself at sea, or tell the time through the position of the constellations. It was a place for the imagination. A place where one could fall asleep, and begin to dream. David Horvitz (b. 1977, Los Angeles, CA, US) currently lives and works in Brooklyn. His work considers strategies of information circulation and the impermanence of digital artifacts. He has exhibited at The Kitchen, New York; Art Metropole, Toronto, Canada; Or Gallery, Vancouver, Canada; Kunsthal Charlottenborg, Copenhagen, Denmark; Chert Galerie, Berlin, Germany and New Museum, New York. Projects also include venues like The Clocktower Gallery, Recess, Creative Time, Goethe Institute, Library New York, Triple Canopy, Fillip and Post at MoMA.
21 marianne hurum Untitled Sculpture Shape This is originally a photogram; made without a camera by placing objects directly onto the surface of a lightsensitive material and then exposing it to light. Hurum works mostly with painting and text and has been working with photograms for the past four years for its quality of painting with light. The image for her flag is made by letting light shine through a collage of a painting and a newspaper page, onto the light sensitive photographic paper. Marianne Hurum (b.1978, Oslo, Norway) lives and works in Oslo. She is educated from University of Illinois, Chicago, US, Oslo National Academy of the Arts, Norway and MalmĂ¸ Art Academy, Sweden. Her work derives from and revolves around painting. It also includes sculpture, photograms and text. Her work has been shown at Landings Vestfossen; UKS; Rogaland Kunstsenter; NoPlace; Tidens Krav and Christian Torp, and internationally at Kulturhuset, Stockholm, Sweden, Printed Matter, New York and Lothringer 13_Laden, Munich, Germany. Hurum is currently chair at UKS (Young Artist Society), Oslo, Norway.
22 toril johannessen Unsee The letters can be read as a word, to unsee in imperative form, like a command to deliberately not see or to forget what has been seen. The design connotes the logo of the United Nations, suggesting that it is a flag for a UN division for seeing. Toril Johannessen (b.1978, Harstad, Norway) lives and works in Bergen, Norway. Her work engages in scientific topics and sheds light on the metaphors and creative elements inherent to the various methods of knowledge production. She has had solo exhibitions at Bergen Kunsthall NO.5; Oslo Fine Art Society; LAUTOM Contemporary, Oslo and has an upcoming solo at UKS, Oslo. Group exhibitions include Mom, Am I Barbarian?, 13th Istanbul Biennial, Turkey; Nouvelle Vagues, Palais de Tokyo, France; Curiosity: Art and the pleasures of knowing, Turner Contemporary, Margate, UK; dOCUMENTA (13), Kassel, Germany and Machine Worries, Machine Hearts at Blank Projects, Cape Town, South Africa. Johannessen is educated from Bergen National Academy of Arts and Design and The Mountain School of Arts, LA, US. toriljohannessen.no
23 annette kierulf & caroline kierulf It Will Come To You As Your Own Idea The flag combines a rewriting of Edward Bernays with a patchwork pattern based on woodcuts. Patchwork represents a long tradition to recycle worn clothing into warm quilts. There is a popular myth about how messages encoded in quilt patterns helped slaves in the southern states to escape to the north. This myth is heavily debated, but the idea of the quilts ability to smuggle in important messages while looking pretty, remains. Annette Kierulf (b.1964, Oslo, Norway) and Caroline Kierulf (b.1968, Oslo) both live and work in Bergen, Norway. Together they work with woodcuts, objects and artist books. Their work usually circulates around issues about economy, ecology and the western lifestyle. Exhibitions include Thirteen Ways of Looking at a Blackbird, Hordaland Kunstsenter, Bergen; Night-work in the Garden II, Kunstnerforbundet, Oslo; A Mortgage is Today’s Rock’n’roll, Galleri Norske Grafikere, Oslo; Brannon, Büttner, Kierulf, Kierulf, Kilpper, Bergen Kunsthall to mention a few. kierulf.info
24 ingeborg kvame Flag / Rock My rock is a flag. I raise it to the top. It crosses a border and departs from gravity, blowing in the wind. Or, it´s hanging heavy and folded towards the flagpole; waiting for the next breeze. That´s where I want to be: within another element in borderland. Who threw the first rock? Ingeborg Kvame (b.1978, Stavanger, Norway) lives and works in Stavanger. She is educated from Robert Gordon University in Aberdeen, Scotland. She uses drawing, textile and objects to investigate the borderland towards the unconscious. Her interest lies in the hidden and enigmatic aspects of life, and reaching towards a sensuous realm. Her work has been shown at L/R Residency, Suldal, Norway; Galleri Sult; Prosjektrom Normanns, Stavanger; Galeria Plop!, Santiago, Chile, Wip:konsthall, Stockholm, Sweden; Stavanger Art Museum and Stavanger Kunstforening. Her upcoming solo exhibition will be at Grünerløkka Kunsthall, Oslo, Norway this November. ingeborgkvame.net
25 erik larsson Suspension I suspend my right knee using a thick hemp rope to relieve the pains; according to my physiotherapist itâ€™s all a mess in there. For the last two months what has become my involuntary Walden has been the top floor of an old derelict youth club next to the old Victorian railway arches on which the East Anglia Express constantly rushes through. I am living and working in London, yet my inability to move geographically, or even locally makes me somewhat an isolated phenomenon, an anarchist by accident of sort, defying greater community as it is normalized, defying belonging, defying national identity. Erik Larsson (b. 1987, Stockholm, Sweden) lives and works in London, UK. He is educated form Slade School of Fine Art, London and Konstfack University, Stockholm. Recent exhibitions include; What yawned upwards (...), The Institute of Jamais Vu, London; The Opposite of What We Now Know to be True; Fold Gallery, London; Contemporary Figuratio, Udstillingsstedet Q, Copenhagen, Denmark and Flowers; Abyss; Parataxis, La Casa Encendida, Madrid, Spain.
26 else leirvik Donâ€™t Ask Me Why My colors are blush and bashful, I have chosen two shades of pink. One is much deeper than the other. Shelby, from the movie Steel Magnolias. Else Leirvik (b.1972, Stavanger, Norway) lives and works in Stavanger. She is educated fromâ€¨ Bergen Academy of Art and Design, Norway. Exhibitions include Soft Galleri, Oslo; Galleri Opdahl, Stavanger; Another Space, Copenhagen, Denmark; Nomas Foundation, Rome, Italy; Galerie Opdahl, Berlin, Germany; Galleri Rekord, Oslo; No 5, Istanbul, Turkey and Open Source Gallery, New York. Her work investigates subjective space, limits, borders and the in- between, in form of sculptures and installations.
27 malin lennströ m-örtwall Divided Family Two hands trying to reach each other. Two hands divided by politics, conflicts and borders. September, 13 1993: Yassir Arafat and Yitzhak Rabin’s hands are reaching out towards each other for a handshake that will become a symbol of the agreement towards a resolution for a two-state solution. Twenty years after the Oslo Accord is sealed in this handshake, the Palestinians still don’t have citizenship in their own sovereign state. Malin Lennström-Örtwall (b.1976, Stockholm, Sweden) lives and works in Bergen, Norway and is educated from the Art Academy, Trondheim, Norway and The International Academy of Art, Palestine, Ramallah, Palestine. Her work deals with themes of loss, separation and vulnerability, exploring these poetically and politically. Her work has been shown at Bonniers Konsthall, Stockholm, Sweden; KODE Art Museum of Bergen; Al Mahatta Gallery, Ramallah, Palestine; Kunstnernes Hus, Oslo, Norway; Entrée, Bergen; Møre and Romsdal Art Center, Molde, Norway; Galleri Mors Mössa, Gothenburg, Sweden; PASAJist Independent Art Space, Istanbul, Turkey and Trondheim Art Museum. malinlennstromortwall.com
28 gabriel lester Volume Flag Gabriel Lester is involved in Performa 13 with the staged sound and light play; Super Sargasso Sea (Phantom Play #1) â€“ 2013, and this work is connected to his flag. The first proposition was to install a soundart work in one or a number of flagpoles. However, limited by the projects restrictions - it had to be an actual flag - the Volume Flag proposes an imaginary sound. As such the flag echoâ€™s the stage project and proposes a sound in mind. Gabriel Lester (b. 1972, Amsterdam, Netherlands) currently lives and works in Shanghai, China and Amsterdam. His works consist of installations, performances, film and video, with a desire to tell stories and construct environments that support them, or propose their own narrative interpretation. By dissecting, editing, cutting up, repositioning and forcing perspectives Lester aspires to captivate and engage. Ultimately his works suggest both rational consciousness as well as associative magic thought.
2 9 klara sofie ludvigsen Ongoing Event I want to flag something about us. About the society we live in. About existence. About loneliness. About the powerless. About all that is make-believe. About the playground that is this world. With birds and erection and worshiping. About the absurd and the obvious. About the dark and the innocent. About all that we don’t know and everything we pretend to know. About the alphabet. About the laws we create. And the roads that we build. And the walls that we raise. About the elephants we sit on. About the shoes we polish and the hair we cut. About clapping. About forgetting. To see. The scratching dog. About madness. About the wilderness. About the inflated balloon. And the needle right next to it. About me. Klara Sofie Ludvigsen (b.1983, Stord, Norway) lives and works in Bergen, Norway. She is educated from Kent Institute of Art and Design, Canterbury, UK and Universitat Politècnica de Catalunya, Barcelona, Spain. With photography as main medium she deals with social and existential issues.
30 anna lundh untitled Stripping the United Nations flag of its distinctive white olive branches and grid of concentric circles and meridians, lays bare an azimuthal equidistant map of the earth. It is centered at the North Pole, where no particular nation is emphasized and where the spheric depiction gives a more accurate idea of how the continents are connected. An early version of the UN emblem had North America at the center, but in the current flag (since 1947) the vertical centerline is crossing the Prime Meridian and the International Date Line. Not perfect, as Antarctica is missing, and worth a closer look. Anna Lundh (b.1979, Uppsala, Sweden) lives and works in Stockholm and New York. She is educated from Konstfack University, Stockholm and Cooper Union, New York. She has exhibited at Tensta Konsthall, Bonniers Konsthall, Haninge Konsthall, Kalmar Konstmuseum, Tensta Konsthall, and internationally at EntrĂŠe Bergen, Norway; West, The Hague, Netherlands; Toves, Copenhagen, Denmark and also at Apexart, Marian Spore, Exit Art, The Kitchen and New Museum, all in New York.
31 cato lĂ¸land Onyx ONYX. Imagine there is this marble that feels like fabric when touching it. Imagine it w a v i n g in the wind. Folded togeth er. Sometimes it can make you proud. It might happen that it tenderly caresses your face when the wind gets to it. It can be burned. Cato LĂ¸land (b. 1982, Kvinnherad, Norway) lives and work in Bergen. He is educated from Bergen National Academy of the Arts and Helsinki Art Academy, Finland. His work investigates the potential in different material, used and found, lately focused on subtraction and draining objects for colors. He has participated in exhibitions and projects internationally, most recently Hardanger Folkemuseum; Tag Team Studio, Bergen; KIM? Contemporary Art Center, Riga, Latvia and Hamburg Kunstverein, Germany. catololand.blogspot.com
32 cameron macleod The State of National Disappearance The camouflage pattern used for concealment in wilderness environments presents a contradiction in relation to the symbolic signaling function commonly associated with nationhood. The camouflage could be understood as an attempt to denationalize through subduing the signaling functionality of the flag, but at the same time the camouflage presents a signal of itself. In this context the camouflage alludes to its own nationhood that perhaps wishes to retire from national promotion opting for a return to universality under the shared global heritage of a wilderness environment. Cameron MacLeod (b.1975, Truro, Canada) currently lives and work is Bergen, Norway. His works interrogate cultural boundaries of technology and the relationship of these to functionality, recreation, critical thought and invention. He is educated from Konstfack University, Stockholm. He has exhibited at Dortmund Bodega, Oslo, Norway; Pisolet Gallery, Sofia, Bulgaria; Abbaye aux Dames, Caen, France, Shoshana Wayne Gallery, Santa Monica, California, US; L/R Residency + EntrĂŠe, Bergen; Blank Projects, Cape Town, South Africa.
33 liz magic laser & sanya kantarovsky Bow Flag The icons on the flag reference postures emblematic of four archetypes, the actor, the citizen, the dictator and the spectator. Each of these gestures was stylized with allusions to Meyerhold’s system of Biomechanics and performed standing atop pedestals and as a spectator in a seated position. Liz Magic Laser (b. 1981, New York City) lives and works in Brooklyn. She is educated from Whitney Independent Study Program and Columbia University. She has exhibited in venues like Diverse Works, Houston, Texas; Westfälischer Kunstverein, Münster, Germany; Lisson Gallery, London; Mälmo Konsthall, Sweden; Moscow Museum of Modern Art, Russia and MoMA PS1, New York. Sanya Kantarovsky (b. 1982, Moscow, Russia) lives and works in New York. He is educated from UCLA. He has exhibited in venues like Altman Siegel, San Francisco, Gesellschaft für Aktuelle Kunst, Bremen, Germany; Marc Foxx, LA, Tanya Leighton, Berlin; Studio Voltaire, London, Office Baroque, Brussels, The Moscow Museum of Modern Art; Bortolami, New York and Wallspace, New York. kantarovsky.com lizmagiclaser.com
34 jumana manna Parallel Black Seatbelts taken from car morgues have been sewn in parallel lines. Originally, manufactured as vehicle safety devices, obliging passengers and drivers to remain seated upright, for-their-own-safety. The extent of their utilization differs from country to country. Bound into a single unit, they have formed a flag with stripes. Manna evokes the questioning of the individual in relation to the collective body, protection versus obedience, or containment versus exclusion; similar dialectics that characterize the construction and shattering of national identities. Jumana Manna (b.1987, New Jersey) lives and works in Berlin. Mannaâ€™s work explores the construction of human identity in relation to historical narratives and subcultural communities, primarily through video and sculpture. She employs a language of minimalism and abstraction to reformulate familiar objects into a state of ambiguity and weaves together portraits of morally dubious characters or events. Recent exhibitions include Kunsthall Oslo, Bergen Assembly and the 11th Sharjah Biennial. jumanamanna.com
3 5 dillan marsh Super Total Marsh’s sources are often drawn from imagery associated with commerce and sport, for example corporate branding and the world of motor racing. Missing elements become of pivotal importance. A gap is left where there should be completion - things hanging in stasis. We are unsure as to whether the work will build up from this point, or break down. Dillan Marsh (b.1980, York, UK) lives and works in Bergen, Norway, where he graduated from the Academy of Art and Design in 2011. He has participated in exhibitions and projects internationally including Sculpture Space, Utica NY, Entrée, Bergen, Tag Team Studio, Bergen and Künstlerhaus Dortmund, Germany.
36 kyle morland K-factor II in Woven Cotton Steel sheets were permanently formed through mechanical deformation, without adding or removing materials. This self-imposed constraint gave way to certain intuitive play, with interests in subtleties of implied space, physical and visual tension. There will be something satisfying about seeing a once stiff heavy object, now transparent, flapping randomly within its own environment. The curved lines from the wind will contrast its perpendicular solid vertical lines, something that would be impossible to achieve otherwise. Kyle Morland (b.1986, Johannesburg, South Africa) lives and works in Cape Town where he graduated from Michaelis School of Fine Art. Exhibitions include New Sculptures, Falswork II, Blank Projects, Cape Town and Elevator (in collaboration with Claire van Blerk), Stevenson, Cape Town; Housewarming, Atlantic House, Cape Town; An Experiment to Test the Destiny of the Word, Johannesburg; Bootleg, Evil Son, Cape Town and Working Title at Goodman Gallery, New York.
37 santiago mostyn Untitled (I Need a Miracle) This flag displays a common American clichĂŠ that is used variously as an expression of hope, self-pity, charitable entreaty, or religious fervor. The phrase highlights my interest in local derivations of the English language across cultural borders, and carries a certain emotional ambiguity, even while reading as forthright. Santiago Mostyn (b. 1981, San Francisco, US) currently lives in Stockholm, Sweden. Mostyn is an artist and photographer who make prints, videos, sculptures, and books based on personal interactions with subcultural communities throughout the world. Mostyn is a graduate of Yale University and the Royal Institute of Art, Stockholm, and has exhibited internationally at venues including Mass MoCA, Kunst-Werke Berlin, the Hasselblad Foundation, and Fotografiska, Stockholm.
38 randi nygård Lesion – Climate Change Human Brain Connections This flag is a collage of two images, one from a book on climate change and its effects on landscape, the other from a book on connections in the human brain. The work is looking at relationships that are invisible, arbitrary or irrational. Based on facts that run across the natural and social sciences. In Nygård’s work parts of landscape, history, time, places and people meet in a mixture of figuration and abstraction. Representations that are usually flat and discrete, are opened, unfolded and form new connections. Randi Nygård (b. 1977, Bergen, Norway) currently lives and works in Berlin, Germany and Oslo, Norway. She is educated from Trondheim Art Academy, Norway and has exhibited in venues such as Kunstverein Springhornhof, Germany; CACT, Center for Contemporary Art, Tessaloniki, Greece; Museo Nazionale di Castel S. Angelo, Rome, Italy; Akershus Kunstsenter, Lillestrøm, Norway; Nordens Hus Reykjavik, Iceland; Tromsø Kunstforening, Norway, Neukoellner Kunstverein, Kunstraum T27, Berlin, Germany, and the Kitakyushu Biennial 2007, Kokura, Japan. randinygard.com
3 9 raqs media collective The Last International Raqs Media Collective is involved in Performa 13 with their project The Last International, a celebratory performance that takes New Yorkâ€™s history as an international gathering place for people from all over the world as a starting point. They propose a moment of coming together, in the same utopian spirit, which they have named The Last International. This new work follows the collectiveâ€™s interest in the traces left behind by particular histories of Nineteen-century utopian politics that lived and were debated in New York. Raqs Media Collective was founded in 1992 by Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. Raqs enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, films, curated exhibitions, edited books, and staged events, collaborations with architects, computer programs, and also act like writers and theatre directors. They have founded processes that have left deep impacts on contemporary culture in India. raqsmediacollective.net
40 borghild rudjord unneland Flag for Homo Verucundus The flag consists of black handwriting on a white flag. The Norwegian text on the flag could be translated to; Sorry, I didn’t mean to. The work relates to the many Norwegian sayings that describe feelings, success or failure by actions with or by a flag as a metaphor. Other such sayings include; I’m keeping the flag flying high and I’m flagging out. Borghild Rudjord Unneland (b.1978, Oslo, Norway) lives and works in Bergen and is educated from Bergen Academy of Art and Design. Unneland works primarily with installations, using everyday objects as the most important tool. Her work reveals conditions and moods that are difficult to verbalize. Through small and simple means she makes familiar situations weird and wonderful.
41 athi - patra ruga Azania Azania is first described in 1st Century Greek records of navigation and trade. The word is thought to have derived from Arabic referring to dark skinned inhabitants of Africa. Azania is then eulogized in the black consciousness movement as a pre-colonial utopian black homeland. A â€˜Promised Landâ€™ referred to in struggle songs, political sermons and African Nationalist speeches. In Cold War pop culture; Marvel Comics used Azania as a fictional backdrop to a Liberation story that bares a close resemblance to the Apartheid situation in pre 1994 South Africa. Athi-Patra Ruga (b. 1984, The Republic of Transkei, Umtata) lives and works in Johannesburg and Cape Town. His work explores the borders between fashion, performance and contemporary art; he exposes and subverts the body in relation to structure, ideology and politics. Exhibitions include South African Pavilion, 55th Venice Biennale, Italy; Nolan Judin Gallery, Berlin; Moscow International Biennale For Young Art; National Arts Festival, Grahamstown, South Africa; Performa 11; Stenersen Museum, Oslo, Norway and Guangzhou Triennial in China.
42 arne rygg Yes, We Love They fought both she and he, now fires of victory lights up the land of Norway Towards the sky, flags upon flags are being raised like thousand fires of joy, for all the battles won It crackles like before from cottages and castles a flaming brand in red, white and blue Translated from the song Norway in Red, White and Blue, third verse. Arne Rygg (b. 1967, Randaberg, Norway) lives and works in Bergen and is educated from Bergen Academy of Art and Design. He is concerned with how meaning is created, changed and dissolved, and has a particular focus on issues concerning national identity.
43 andrea spreafico Nor The flag is a mash-up of the Norwegian national flag; replacing the blue color from its Nordic Cross with the green color from the Italian flag. The new flag entitled Nor merges the discomfort towards national identities with the fascination for the beauty of the Norwegian flag. Andrea Spreafico (b. 1976, Ravenna, Italy) lives and works in Bergen, Norway. He is educated from University of Bologna, Italy; University of Reims, France and Academy of Fine Arts, Nuremberg, Germany. Exhibitions include Details of Love - an exhibition about cars (with D. Baur), Premiss, Bergen; Show (with P. Bergmann), Muffathalle, Munich, Germany; Flagg, EntrĂŠe, Bergen; f_ommt (with the forschungsgruppe_f), Kunstverein Bamberg, Germany; Kill me baby one more time (with C. Eckly and Y. Cohen) Galleri SE, Bergen and Engangsverk, Landmark, Bergen Kunsthall; Stranger in a Norwegian Landscape, Abbaye-aux-Dames, Caen, France; and I have met destiny in quite a similar way, Teatro Curvo Semedo, Montemor-o-Novo, Portugal.
4 4 LEW IS & TAG G ART Black Holes Black Holes started out as a twin pair of circular wooden sculptures, each painted black on top. These physical manifestations of cosmic absence have become a permanent fixture following the artists on their worldly meanderings in an ongoing series of photographic portraits. In extension the flag transposes the black holes from the ground to the skies â€“ a relocation that feels somewhat apt. After all, a flag on most occasions symbolizes place, and what better place to honor than no place at all? Lewis & Taggart (Andrew Taggart b. 1976, Vancouver, Canada, and Chloe Lewis b. 1979, Silver Spring, USA) live and work in Bergen, Norway. Their work have most recently been exhibited at The Centre for Contemporary Art, Warsaw, Poland; NoPlace, Oslo, Norway; The Kuntsi Museum of Modern Art, Vaasa, Finland and The Factory for Art and Design, Copenhagen, Denmark. In 2010 they received a joint MFA from The Bergen National Academy of the Arts.
45 andr é tehrani From Wounded Knee to North Korea: A Graphic History of US Military Interventions The flag is based on Zoltan Grossmans list of U.S Military Interventions from 1890 to 2011, which has been updated with additional military interventions initiated by the US post 2011. The grid pattern comprises the flags of all the North-American states in which the US Military have had domestic interventions since 1890, as well as the flags of all the foreign nations the US have had military involvement in from 1890 to 2013. André Tehrani (b. 1980 Tønsberg, Norway) currently lives and works in Stockholm, Sweden and Brussels, Belgium where he is artist-in-residence at WIELS Contemporary Art Centre. Recent exhibitions include Game of Life, Kristiansand Kunsthall, Norway; The Limits of Language Means the Limits of My World, Platform Stockholm; This House, Palais de Tokyo, Paris, France; MONIKA STRICKER, CAB Art Centre, Brussels and most recently Idiot Cards For a Bygone Revolt, NoPlace, Oslo. Upcoming exhibition this November 15th at Entrée, Bergen, Norway. andretehrani.com
46 sandra vaka olsen Blue Sky Sheet Starting as a study of the clear blue sky, Blue Sky Sheet is put back into public space after long analogue and digital processing. A piece of fabric moving in the wind, replacing the square once photographed. The documentation will again find its way into the digital image bank, continuum the process through the copy machinery. Today it’s a flag, tomorrow it’s something else. Sandra Vaka Olsen (b. 1980, Stavanger, Norway) lives and works in Copenhagen, Denmark. She is working with the relationship between the body and technological developments of increasingly invasive nature. She is educated from The Royal Danish Art Academy and Oslo National Academy of the Arts, Norway. Her work has most recently been exhibited at Fauna, Copenhagen, Denmark; Malmö Konsthall, Sweden; CEO gallery, Malmö; Sweden; IMO Projects, Copenhagen, Denmark, Rogaland Kunstsenter, Stavanger, Norway and Stavanger Art Museum.
47 mathijs van geest And Then It’s April Already The infrastructure of time is a funny one. The flag And then it’s April Already, can be read both literary and abstract. Mathijs van Geest (b.1985 Leiden, Netherlands) is educated from Bergen Academy of Art and Design. He is an artist in a continuous search for the ideal combination between the joy of recognition and the happiness of discovery. His studio practice is interdisciplinary, lead by intuition and experiences. It is an interest of his to develop works that are able to address a constellation of moments that occur in the process of materializing an artwork. These moments are what fascinate him; at times they are smooth transitions between form and idea and at other times completely abrasive.
48 kjersti vetterstad The Future Vetterstad’s work confronts the dark side of human experience. Employing a multitude of media and both solo and collaborative modalities, she flirts with the limits of human perception and individuation in works that suggest the organized knowledge with which citizens of the developed world fend off our increasing alienation from the natural world and direct lived experience are little more than that—shopworn phrases, comforting platitudes that are scanty defense against empirical evidence of the earth’s precipitous decline. Kjersti Vetterstad (b.1977, Drammen, Norway) lives and works in Drammen. She is educated from Bergen Academy of Art and Design, Norway and Konstfack University Stockholm, Sweden. Her work includes video, installation, drawing and performance. In addition she participates in several collaborations, including Mom & Jerry with Monica Winther and Fine Day with Peter Mitterer (Sex Tags). She has exhibited in venues like Astrup Fearnley Museum of Contemporary Art; Kunsthall Oslo; Konstnärshuset, Stockholm: Entrée, Bergen; W139, Amsterdam, Netherlands; Turku Biennial, Finland and 12 Days of Performance, Varaždin, Croatia.
49 lina viste grønli Change Cash, dosh, coins, currency, loose change, small change, petty cash, silver. Alteration, modification, variation, revision, amendment, adjustment, adaptation, reshaping, rearrangement, reordering, restyling, reworking, metamorphosis, transformation, evolution, mutation. Swap, switch, exchange, changeover, replacement, substitution, interchange, alternation. Lina Viste Grønli (b.1976 Bergen, Norway) lives and works in Cambridge, MA, US and Oslo, Norway. She is educated from Oslo National Academy of Fine Arts and Århus Art School, Denmark. Her work is concerned with the materialization of language, often materialized in her combinations of semiotic sculpture and collage techniques. She has exhibited at Performa 09, New York; Wiels Contemporary Art Centre, Brussel, Belgium; Marres Centre of Contemporary Culture, Maastricht, Netherlands; Gaudel de Stampa, Paris, France; Christian Andersen, Copenhagen, Denmark and HenieOnstad Kunstsenter, Oslo, Norway. linavistegroenli.com
50 christian von borries Apple/Foxconn: now hiring, 现在招聘 Recently, Foxconn the notorious producer of all Apple products in China, announced new Apple factories in the US. The flag ‘Apple/Foxconn: now hiring, 现在招聘’ is taking the lead on this. Christian von Borries (b.1961, Germany) is an anti copyright activist, living in a green house in Berlin. He produces media from other media. He is a recognized orchestra conductor, composer and producer of site-specific psychogeographic projects. His work has been commissioned by Lucerne Festival, Kunstfest Weimar, Volksbuehne Berlin, Kampnagel Hamburg and dOCUMENTA 12 to mention a few. Recent projects include exhibitions at Central Asian Pavilion, 55th Venice Biennale, Italy; Monday Begins on Saturday, Bergen Assembly, Norway, Werkleitz Biennale, Halle, Germany. masseundmacht.com soundcloud.com/masseundmacht/tracks the-dubai-in-me.com mocracy.info youtube.com/user/masseundmacht/videos hegemonietempel.net
路 call 1-800-MY-APPLE
51 bedwyr williams The Bodybuilderâ€™s Sunglasses This flag shows a pair of sunglasses with a lens that has fallen out. It refers to a bodybuilder I saw working out in a park in London in 1999. His lens had popped out and he was struggling to pop it back in. Eventually after a dozen or so failed attempts he lost his cool and snapped the shades and threw them into a nearby dustbin and jogged away with his huge muscular legs rubbing together. Bedwyr Williams (b.1974 St Asaph, Wales) lives and works in North Wales. He represented Wales at the 55st Venice Biennial (2013). Recent exhibitions include My Bad at IKON Gallery in Birmingham, UK and Ernste Tierre at Bonner Kunstverein in Bonn, Germany.
5 2 magnhild Ă¸en nordahl Dit The arrow is a symbol in our daily lives usually a clear and unequivocal marker of which direction to move in. In the same way, the traditional flag has a stabile means of communication. When wind and weather conditions decide the direction in which the arrow will point, these controlled systems of communication collapse. Magnhild Ă˜en Nordahl (b. 1985, Ulstein, Norway) lives and works in Stockholm. In recent years she has exhibited at Palais de Tokyo, Paris, France; Platform Stockholm, Sweden; Tin Sheds Gallery, Sydney, Australia and NO.5 in Bergen Kunsthall, Norway. She is currently enrolled in the Master program of fine art at the Royal Institute of Art in Stockholm Sweden.
53 stian ådlandsvik Fold The geometrical shapes depicted in this flag occurs when folding a flag the proper way. The flag is leaving its folding as its only purpose of representation. In other words the flag represents the abandonment of everything specifically national, not in a radical way, but in a respectful and honorable way, opening up for questions on national identity. Stian Ådlandsvik (b. 1981, Bergen, Norway) currently lives and works in Oslo, Norway and Leipzig, Germany. He is educated from the Art Academy, Oslo and Hochschule für Bildende Künste, Hamburg, Germany. His work has been shown at the Astrup Fearnley Museum of Modern Art, Oslo; MOT international, London, UK; Bergen Art Museum; 1/9Unosunove, Rome, Italy; Erik Steen Gallery, Oslo, Entrée, Bergen and Hordaland Kunstsenter, Bergen. He has also undertaken several residencies like Platform China, Beijing; Künstlerhaus Bethanien, Berlin, Germany and FLACC, Genk, Belgium.
5 4 a practice for everyday life Flag The eye represents the individual, and subverts the flag’s usual purpose of representing and promoting nationalism, using the same minimal graphic blocks of color which make it possible to infiltrate within a collection of others. A Practice for Everyday Life has worked with Performa from its inception, designing the biennial’s visual identity. The design practice was founded in London in 2003 by Kirsty Carter and Emma Thomas and works with a broad range of international institutions, galleries, museums, artists and individuals. APFEL investigates, explores and experiments to draw together stories that translate and transform the ordinary into the extraordinary. Their projects are held in collections at The Art Institute of Chicago; the V&A Museum Archive; the Bibliothèque National des Livres Rares, Paris; the Royal College of Art Library, London and the Tate Library, London.
Entrée (est. 2009) is proud to be part of Performa 13 and this year’s inaugural Norwegian Pavilion Without Walls, to present a new edition of our flag project. We have invited new artists to each make a statement with their own flags, which will be flown in various locations around New York City during the course of the Performa 13 Biennial, November 1—24, 2013. We want to thank all the amazing artists for their unique contributions to the project. Thank you especially Dillan Marsh for making this possible. We also take this opportunity to thank the owners who gave us permission to borrow their flagpoles; Van Alen Institute, Custom House at 1 Bowling
Green, Fulton Street Market Building, GMT Tavern, Féliz Restaurant, Recess Gallery, 13 Crosby Street. In Norway also Kunsthall Stavanger, Nesflaten Skule, Olav Martin Skaar, Øvre Suldal Samfunnshus, Suldal Kommune, Maili Must Havrevoll, Odd Bakka, Nesflaten Community, Energihotellet, Grieghallen, DNB Eiendom, Constructa, Lyd Lys & Karaoke, Grand Selskapslokaler, Blaauwgården, Sydnes Bataljon, Trygve Schønfelder, Markeveien 14, Tina Aase and Strandkaien 7. Flag New York City is kindly supported by The Norwegian Consulate General, New York, Office for Contemporary Art Norway and Arts Council Norway. Previous editions of the project have been made possible with support from Bergen Municipality, Suldal Municipality, Rogaland
County, Røldal-Suldal Kraft, Ryfylkefondet and Arts Council Norway.
The strategy of the inaugural year’s Norwegian Pavilion is specifically to highlight cultural producers in Norway and present some of the country’s most outstanding artists.
Founded by Roselee Goldberg For more info see also in 2004, Performa is the performa-arts.org. leading organization dedicated to exploring the critical role of live performance in the history of twentieth-century art and to encouraging new directions in performance for the twenty-first century. Performa launched New York’s first performance biennial in 2005. New to this year is Pavilions Without Walls, a new Performa initiative modeled on the idea of the Venice Biennial’s pavilions, created to forge strong partnerships between New York and countries around the world, allowing Performa to foster deeper levels of cultural and artistic exchange.
Jørund Aase Falkenberg
Raqs Media Collective
Lars Korff Lofthus
Borghild Rudjord Unneland
Klara Sofie Ludvigsen
Sandra Vaka Olsen
Juan Pedro F. Guemberena
Mathijs van Geest
Lina Viste Grønli
Steinar Haga Kristensen
Liz Magic Laser
Christian von Borries
Magnhild Øen Nordahl
A Practice for Everyday Life