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Where Memories Are Made: Film and the Politics of Remembrance
SEMINAR
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PROLOGUE SYMPOSIUM
CONTENTS
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Introduction EVA GONZÁLEZ-SANCHO BODERO PER GUNNAR EEG-TVERBAKK
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About the Seminar RONALD VAN DE SOMPEL KJETIL JAKOBSEN
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Seminar
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Seminar participants
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Colophon
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WHERE MEMORIES ARE MADE: FILM AND THE POLITICS OF REMEMBRANCE
Introduction
EVA GONZÁLEZ-SANCHO BODERO PER GUNNAR EEG-TVERBAKK
Curators, osloBIENNALEN FIRST EDITION 2019-2024
INTRODUCTION
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We invite—we do not commission. We work with art that addresses specific situations and contexts—we do not “mediate” between artworks and audiences. Our audience comprises random passers-by—not a predetermined audience. We explore, question, disrupt, and embrace public space and what happens in it—we do not treat public space as an alternative exhibition space. Opened on 25 May 2019, osloBIENNALEN FIRST EDITION 2019-2024 is launching a new biennial model. Its five-year evolving program of art in public space is supported by praxis and infrastructures aimed at fostering and facilitating art practices that engage with the contingency, latency, flux, and vulnerability of public space and the public sphere. This Biennial engages with the complete life cycle of the projects produced and displayed; working alongside artists, we are involved in the development of ideas, in production, public outreach and the afterlife of the works. In the context of art initiatives intended to operate outside the protected spaces of conventional exhibitions, the life cycle of a work of art in public space/public sphere depends on its particular characteristics; curating must allow time to respond sensitively to the specific needs of each individual work, time for each project to run its course, and time for display, which may be ongoing, intermittent or spasmodic. For works of art in public space, time and space operate differently from works placed in a museum or gallery. Public space does not have opening hours or an established audience. People and situations come and go in an uneven flow characterized by routine activities or extraordinary unforeseen occurrences. Placing a work of art in public space, characterized by mobility and varying experiences of space and time, is entirely different from a conventional exhibition setting in an art institution. Time becomes a separate factor. osloBIENNALEN has opened up the ways in which artworks take on these shifting conditions by facilitating the production and display of works of varying duration, tempo and rhythm. The long lifespans of these works – whether episodic, cyclical, rhythmic, or recurrent – allow them to re-route themselves, to change character gradually, to respond to the unforeseeable shifts and occurrences of public space, or be eroded slowly by their constant contact with the city, whereby they may eventually disappear. The biennial is organized around four “pillars” concerned with art production, public outreach, institutional collaboration and art collection. The pillars are not themes for the biennial, but create frameworks and tools that the biennial uses and makes available to art in the making, to audiences/publics, to institutions, society, politics, and cultural policy: Art Production within a Locality; Addressing the Myriad; New Institutional Ecologies; A collection for the passer-by. osloBIENNALEN FIRST EDITION 2019-2024 also aims to leave the city of Oslo a legacy of resources – artists’ studios, film and radio units – that can continue to operate after this first edition of the biennial closes. The film program and seminar we present today in collaboration with Kunsternes Hus will screen the first work produced by the biennial’s film unit: Crimes of the Future, a film by Javier Izquierdo about the film made by Henning Carlsen in 1966 on Knut Hamsun’s 1890 novel, Hunger. Izquierdo has employed a mise en abyme approach to make a film about a film about a novel about a city – Oslo. The second and third productions will be by Knut Åsdam and Dora García, respectively.
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WHERE MEMORIES ARE MADE: FILM AND THE POLITICS OF REMEMBRANCE
About the seminar
RONALD VAN DE SOMPEL
Editor in Chief of Notebook series
KJETIL JAKOBSEN
Co-editor of Notebook series
ABOUT THE SEMINAR
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As part of its autumn programme, osloBIENNALEN FIRST EDITION 2019-2024 is presenting a season of new and earlier film productions by Dora García (ES), Jonas Dahlberg (SE), and Javier Izquierdo (EC) in collaboration with Kunstnernes Hus. The programme has been curated by Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk in discussion with Ronald Van de Sompel and Kjetil Jakobsen, as part of the preparations for osloBIENNALEN– Notebooks, an international online circular exploring contemporary art in public space. It presents amongst other works the first outcome of the biennial film production unit Crimes of the Future, a film by Javier Izquierdo: a film about the 1966 film adaptation by Henning Carlsen of Knut Hamsun’s 1890 novel Hunger. The programme’s title ‘Where Memories Are Made: Film and the Politics of Remembrance’ refers to a news report about a brain scan technique that visualizes the physiological processes of memory. The season and the seminar explore the way film and the visual arts represent and re-invent memory by revisiting history, constructing docufictions or creating counter-narratives. It also exemplifies the role of the moving image in articulating models addressing the politics of remembrance. The structure of the film seminar responds to the programme of screenings, whereby the films were followed by a conversation between the filmmaker and a guest speaker. The seminar starts with an opening lecture by Katerina Gregos, followed by the four guest speakers (Eivind Røssaak, Kjetil Jakobsen, Aaron Schuster and Trond Lundemo), who will refer to the filmmakers’ practices in light of ongoing developments in each of their specialist fields. Finally, all participants and speakers will take part in a panel discussion moderated by Elisabetta Fabrizi to exchange general experiences, ideas and proposals arising from the films and the themes and concepts they encompass. The language of memory seems to be above all a language of images. Images, according to a number of memory thinkers, tend to be branded almost indelibly onto our memory, because the work of memory is based upon imagination. Whereas former memory workers, such as the 19th century museum, used to make use of mainly text to interpret what was on display, today countless events from all over the world reach us contingently as images, transmitted by television and the Internet. Not only is the way we remember more fragmented and more global, but our thinking about memory work has changed too. The construction of shared memories, which in earlier times was driven by the nation state, has undergone profound changes due to the advent of mass media. As a result of the emergence of new communication technologies the state-controlled archaeologist, archivist and historian and their institutions have lost their monopoly on historical representation. The existence of alternative memory work, however, does not mean that nation state-managed memory has been completely deconstructed. State censorship remains strong in much of the world, while the West is experiencing a growing threat of a corporate monopoly on past experience. This leads to new hypotheses on the subject of the representation of present and past, and of the impact on shared memories of the accelerations that have arisen due to these technological developments and the increasing physical mobility of large parts of the world’s population. The use of public space for the remembrance of historical events today has a political, cultural and social significance at both national and global levels. Recent examples of sites of remembrance point to a global culture of remembrance that differs from the former, more patriotic one. When it comes to memorial sites commemorating
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WHERE MEMORIES ARE MADE: FILM AND THE POLITICS OF REMEMBRANCE
the victims of an event of a traumatic nature, there are demands for shared spaces of experience. Whereas the classical monument pretended, through representation, to convey a simple and unambiguous message, we realize today that contemporary artists' approaches provoke views that do not necessarily offer such straight-forward responses. The history of some is not the history of others. Historical discourses that rest on a master narrative tend to pacify society, make things memorable, or turn minor actions into monuments. Such discourses are a part of the machinery of power; the function of memorialization consists of ensuring that nothing is forgotten. These memorials are images of power, and in this capacity, they have a political function. In counter-histories, the function of memory acquires a new meaning: they disclose something that has been hidden because it has been carefully misrepresented, or not represented at all. They re-appropriate a knowledge that has been buried. Similar comments can be made about archives: are they places of remembering or rather of forgetting? And whose story do they tell? Within the broad spectrum of contemporary film production there is a twilight zone, a heterogeneity of films to which traditional classifications no longer apply. Numerous are the documentaries searching for a 'truth' about historical facts. Yet, another response to the lack of documents is to invent them. There is a long series of feature films in which fictional parts and documentary-like elements are used interchangeably. In the visual arts, moving image practices in the 1990s cleared the way for the invention of hybrid docufiction forms, and archival, essayistic and observational strategies, which have broadened the tradition of documentary cinema into a new field of aesthetic possibilities. The seminar ‘Where Memories Are Made: Film and the Politics of Remembrance’ has been organized as a part of osloBIENNALEN FIRST EDITION 20192024 and has partly arisen from film productions fostered by the biennial. It builds on a research-driven approach that characterizes the biennial’s various programmes, through discursive events aimed specifically at producing a series of Notebooks—a publishing platform that will run in parallel to the biennial over the course of the next five years. Taking the ideas that emerge from new, ongoing or forthcoming art projects as their main subject, the Notebooks set out to explore contemporary visual culture, especially new developments in art production in and for the public sphere.
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WHERE MEMORIES ARE MADE: FILM AND THE POLITICS OF REMEMBRANCE
Seminar Where Memories Are Made: Film and the Politics of Remembrance
PARTICIPANTS
Introduction to osloBIENNIALEN FIRST EDITION 2019-2024 and presentation of the seminar: Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk osloBIENNIALEN FIRST EDITION 2019-2024 curators Ronald Van de Sompel osloBIENNIALEN FIRST EDITION 2019-2024 editor in chief of Notebook series Kjetil Jakobsen osloBIENNIALEN FIRST EDITION 2019-2024 co-editor of Notebook series Film directors:
Dora García Artist and art teacher
Javier Izquierdo Filmmaker Jonas Dahlberg Artist Speakers:
Aaron Schuster Senior research advisor V-A-C Foundation, Moscow
Katerina Gregos Curator, writer and lecturer, Brussels
Kjetil Jakobsen Professor of intellectual history, Nord University Bodø
Trond Lundemo Associate professor Department of Media Studies, Cinema Studies Section, Stockholm University
Eivind Røssaak Researcher Department of Research and Collections, National Library of Norway, Oslo
Moderator:
Saturday, October 26th, 2019 1:00 – 5:00 pm Kunstnernes Hus Wergelandsveien 17 0167 Oslo
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Elisabetta Fabrizi Curator and researcher, Newcastle University
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SCHEDULE
12:00 – 1:00 pm Registration 1:00 – 1:10 pm Introduction to the biennial and presentation of the seminar 1:10 – 1:40 pm and what about art? on biennials and best practices Opening lecture by Katerina Gregos 1:40 – 2:10 pm crimes of the future: hamsun, carlsen, and izquierdo Contribution by Eivind Røssaak 2:10 – 2:40 pm memory wound: how to make memories with art Contribution by Kjetil Jakobsen on Jonas Dahlberg’s Notes on a Memorial (2018) 2:40 – 2:50 pm questions & answers 2:50 – 3:05 pm break 3:05 – 3:35 pm how not to normalize normality: some lessons from anti-psychiatry and the october sexual revolution Contribution by Aaron Schuster on Dora García’s The Deviant Majority (2010) and Amor Rojo (in progress) 3:35 – 4:05 pm cinematic mnemotechnics by Trond Lundemo on Javier Izquierdo’s A Secret in the Box (2016) 4:05 – 4:15 pm questions & answers 4:15 – 5:00 pm plenary discussion Moderator Elisabetta Fabrizi
ABSTRACTS
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KATERINA GREGOS and what about art? on biennials and best practices
EIVIND RØSSAAK crimes of the future: hamsun, carlsen, and izquierdo
Since the 1990s biennials have been linked to the proliferation of globalized cultural consumption and production, tourism and city marketing. What has become clear is that the ‘one-size-fits-all’ biennial model— that transient, generic, inter-changeable ‘internationalist’ biennial with the right strategic mix of the ‘global’ and ‘local’, star names and some new ‘upcoming talent’—seems to make less and less sense. According to any dictionary, the word biennial is defined as an event or exhibition lasting for two years or occurring every two years. But osloBIENNALEN FIRST EDITION 2019-2024 defines itself as a “five-year evolving program of art.” So even the term biennial is being challenged—and rightly so. There are different ways of putting together a biennial. Some make more sense than others. To begin with, there has to be a clear reason why a biennial happens and an actual idea of whom it sets out to serve. Biennials that originate out of deep cultural, social and political need are the ones that will make a difference. How should the biennial attend to the multiple factors, questions and sometimes conflicting interests to which its formulation is subject? Which are the most important? More importantly, what about the artists and the presentation of their practices? What responsibilities and obligations should the biennial assume in this regard? Katerina Gregos, a curator with extensive experience of the international biennial circuit, will talk about the different ways in which biennials are set up and why. Based on several case studies of biennials she has curated, in particular the 1st Riga Biennial (2018), which she also helped set up, Gregos will outline what she believes constitutes a best practices model.
Javier Izquierdo’s Crimes of the Future (2019) is a cinematic essay on Knut Hamsun’s Sult (1890) and Henning Carlsen’s film adaptation, Sult (1966). In a significant scene, the AfroNorwegian actor Hamza Kader re-imagines the Sult-protagonist today. At stake here are perhaps several “crimes of the future.” Izquierdo's translations and dislocations of stories, places and bodies address time, memory and change. Re-membering and reembodying the Sult-protagonist provokes a ‘glitch state.’ In video-gaming, the ‘glitch state’ refers to a trick used by skillful players who activate programming mistakes in the game to ‘disarrange’ the game-world they encounter. The trick leaves characters in stasis or in a hiccup of senseless redundancy—like the Sult-protagonist. However, the re-membered Sult-protagonist comes forward with a sense of urgency, another kind of glitch—in between the risible and the abject, the grin and the chagrin. What is this? What does it tell us about the contemporary state of things and Oslo anno 2019?
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KJETIL JAKOBSEN memory wound: how to make memories with art Nobody owns 22 July 2011, and many kinds of institutions have shaped the collective memory of the massacre and kept it alive; associations for victims, the judiciary, politics, science, religion and entertainment. Journalists too have played their part, as will historians before long. Two full-length feature films about the terrorist attacks have already been made by Erik Poppe and Paul Greengrass. Neither of them really succeed; they leave us far from Claude Lanzmann’s Shoah or Rithy Panh’s S21, to name two examples that show how art can create sites of memory—in these cases fictional sites in the form of movies—that do as much as a memorial can do: create awe and respect for the victims, compassion for their relatives, inspire knowledge and depth of reflection, and mobilize fresh resistance to violence. This talk is concerned with what art in its more classic definition can contribute to the work of remembrance. What did Norway lose when Erna Solberg’s Government sidestepped the competition, cancelled Dahlberg’s work and discounted the expertise of the art field? A memorial is not a gravesite, not a mourners’ bench. In the government competition won by Dahlberg, the mission was to design a national memorial, a sculpture that would inspire continued national conversation about what happened. Nor is a memorial an archive. It is not a place where memory is preserved. From the philosopher Henri Bergson, we know that memories do not exist in any particular place, neither in the brain, nor in attics and cellars—they are themselves events. A memory is something that happens. How can art make memories happen? How and where are memories made?
AARON SCHUSTER how not to normalize normality: some lessons from anti-psychiatry and the october sexual revolution In chaotic and shifting political times, we often hear the warning not to “normalize” this or that extreme development, which is thereby designated as an exception to or aberration of the underlying liberal-democratic order. This denunciation of destructive and neofascist trends, however, carries its own risk: that of “normalizing” the status quo from which they are said to deviate. But shouldn’t the crises we face today force us to question and re-think the premises of our so-called normality? To critically interrogate the distortions and calamities of the present moment not simply as accidental deviations or hiccups, but as symptoms pointing to more profound conflicts and deadlocks? In this way, the crisis might be turned into an opportunity for reinvention, rather than simply eliciting a defensive call to restore what we are losing or have supposedly lost. Dora García’s films, dealing with aspects of the anti-psychiatry movement and, more recently, the life and work of communist feminist Alexandra Kollontai, provide a powerful impetus for such critical thinking. In this talk, Aaron Schuster will revisit the struggles of these two earlier time periods to see what lessons they may have for the present.
ABSTRACTS
TROND LUNDEMO cinematic mnemotechnics Javier Izquierdo’s Secret in the Box (2016) self-consciously draws on all the conventions in the documentary toolbox: archival film and video footage, interviews with friends and family, visits to the locations of key events, all in order to trace a biographical legend. This is where memories are made. During the 20th Century, cinema was the primary medium for regulating social memory. What we remember from the century has been mediated through the classical mode of representation and storytelling in fiction and documentary film. In a mnemotechnical sense, what hasn’t been filmed hasn’t really happened. Conversely, what hasn’t really happened, can be realized on film, creating a prosthetic memory. This mnemotechnical power of cinema has made it subject to regulations, censorship and control in all countries of the world. The attempts at controlling social memory through censoring and promoting films are well known. But all media also entail technological selections of information. Editing, framing, sound and lighting are evident parameters shaping memory. Secret in the Box also engages repetitions, split-screens and digital compositing in its production of a biographical past. In the same process, the film questions the authenticity of cinematic memory by addressing the amnesia of the Ecuadorian people, the forgetfulness of the interviewees, the non-existence of the main character and of the country Ecuador. The social memory of the 20th Century is formatted through these technical selections of cinema.
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Seminar participants
SEMINAR PARTICIPANTS BIOGRAPHIES
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AARON SCHUSTER
DORA GARCÍA
Aaron Schuster is a senior research advisor at the V-A-C Foundation, Moscow. He is the author of The Trouble with Pleasure: Deleuze and Psychoanalysis (The MIT Press, 2016), and, together with William Mazzarella and Eric Santner, of Sovereignty, Inc.: Three Inquiries in Politics and Enjoyment (University of Chicago Press, forthcoming 2019). Last year, he was a fellow at the Society for the Humanities, Cornell University, and in 2016 he was a visiting professor at the University of Chicago. His work, focusing on psychoanalysis and twentieth century continental philosophy, ranges over a variety of topics including: the history of pleasure, the theatre of Jean Genet, the comedy of Ernst Lubitsch, Kafka’s philosopher dog, the paradoxes of authority, and complaining.
Dora García is a Spanish contemporary artist who lives and works in Barcelona and Oslo. Her work is largely performance-based and deals with ideas of community and individuality in contemporary society. Exploring the political potential of marginal positions, she often pays homage to eccentric characters and antiheroes, who act as the protagonists of film projects such as The Deviant Majority (2010) and The Joycean Society (2013). García represented Spain at the Venice Biennale in 2011 and participated in the Venice Biennale for a second time in 2013 (collateral events). In 2015, she was selected to take part in the 56th International Art Exhibition, again as part of the Venice Biennale. She has also participated in dOCUMENTA (13) in 2012, and other international events such as Skulptur Projekte Münster (2007); Biennale of Sydney (2008); and Bienal de São Paulo (2010).
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SEMINAR PARTICIPANTS BIOGRAPHIES
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EIVIND RØSSAAK
ELISABETTA FABRIZI
EVA GONZÁLEZ-SANCHO BODERO
JAVIER IZQUIERDO
Researcher, PhD, Department of Research and Collections at the National Library of Norway in Oslo. He has been a Visiting Associate Professor at the University of Chicago and National Taipei University of Technology and a Fellow at New York University and USC, Los Angeles. He has published widely on a range of issues from cinema and literature to critical theory, art, archives, memory, and new media. He is currently involved in research-projects on contemporary art, Cory Arcangel’s work and digitization. Among his publications are Sic: Fra litteraturens randsoner (Spartacus, 2001); Selviakttakelse: En tendens i kunst og litteratur (Fagbokforlaget, 2005); The Still/Moving Image: Cinema and the Arts (Lambert Academic Publishing, 2010); The Archive in Motion: New Conceptions of the Archive in Contemporary Thought and New Media Practices (Novus Press, 2010); and co-editor of Memory in Motion: Archives Technology, and the Social (Amsterdam University Press, 2016).
Elisabetta Fabrizi is a curator, art historian and writer with extensive experience of curating and commissioning moving image projects, as Head of Exhibitions at the British Film Institute and as part of the curatorial team at BALTIC Centre of Contemporary Art, among others. Her curation includes projects by John Akomfrah, Jane & Louise Wilson, Deimantas Narkevičius, Patrick Keiller, Michael Snow, Peter Campus, Pierre Bismuth, Phil Collins, Iain Forsyth & Jane Pollard, Apichatpong Weerasethakul, Yvonne Rainer, Ursula Mayer, Aura Satz, Mikhail Karikis, John Smith, Seamus Harahan, Basel Abbas and Ruanne Abou-Rahme. She has also curated numerous film screening programmes including a major retrospective of the films of Serguei Parajanov. Her writing has appeared in many publications including Art Monthly. Elisabetta holds a cum laude degree in Art History and Film from Bologna University and a masters in Curating Contemporary Art from the Royal College of Art, London. Currently she is a researcher at the Department of Fine Arts at Newcastle University, working towards a book on the curation of the moving image.
Eva González-Sancho Bodero has been director and curator of several art institutions and initiatives: MUSAC, León (ES) [2013]; FRAC Bourgogne, Dijon (FR) [2003–11]; and Etablissement d’en face projects (Brussels, 1998–2003). She has curated projects and exhibitions, usually involving the production of new work. González-Sancho Bodero was also co-curator of Lofoten International Art Festival (LIAF) 2013 (alongside Anne Szefer Karlsen and Bassam El Baroni), and curator of Dora García: Where do characters go when the story is over? (CGAC, Centro Gallego de Arte Contemporáneo, Spain, 2009). Over the course of 2015–17, González-Sancho Bodero worked as co-curator together with Eeg-Tverbakk, developing and concluding OSLO PILOT, an experimental two-and-ahalf-year research project to conceive the format for the osloBIENNALEN FIRST EDITION 2019-2024.
Javier Izquierdo is a filmmaker. He has written and directed the documentary Augusto San Miguel ha muerto ayer / Augusto San Miguel Died Yesterday, about the pioneer of Ecuadorian cinema; the mockumentary Un secreto en la caja / A Secret in the Box (which won Best Latin American director and FIPRESCI prize in BAFICI 2017); and the film Barajas, using found footage about four Latin American writers who died in a plane crash in 1983. Izquierdo is interested in unveiling little known or forgotten artistic figures, exploring the frontiers between documentary and fiction and giving new use to archival footage. For osloBIENNALEN FIRST EDITION 2019-2024, Izquierdo has made Crimes of the Future: a film about a film about a book about a city, which deals with the 1966 film adaptation of Knut Hamsun’s 1890 novel Hunger (original title Sult) by the Danish film director Henning Carlsen.
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SEMINAR PARTICIPANTS BIOGRAPHIES
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JONAS DAHLBERG
KATERINA GREGOS
KJETIL ANSGAR JAKOBSEN
PER GUNNAR EEG-TVERBAKK
Jonas Dahlberg is an artist living in Stockholm, Sweden. Dahlberg’s practice is situated at the intersection of art, architecture, the private sphere and the political. His work varies widely and employs diverse media – video installations, photography, scenography and publications, as well as projects closer to architecture. In recent years he has become known for his winning proposal for the memorial sites to honor the victims of the 2011 terrorist attacks at Oslo and Utøya, Norway. For osloBIENNALEN FIRST EDITION 2019-2024, Dahlberg presents the Norwegian premier of his 2018 film Notes on a Memorial.
Katerina Gregos is a curator, writer and lecturer based in Brussels since 2006. Over the last twenty years her curatorial practice has consistently explored the relationship between art, society and politics with a particular view on questions of democracy, human rights, capitalism, economy, crisis, changing global production circuits and ecology. Gregos has curated numerous large-scale exhibitions and biennials. In 2018 she was chief curator of the 1st Riga Biennial, which she also helped to set up. Other biennials include, among others, the 5th Thessaloniki Biennial, Greece (2015); the Göteborg Biennial, Sweden (2013); Manifesta 9, co-curated with Cuauhtémoc Medina and Dawn Ades (2012); Contour, the 4th Biennial of Moving Image, Mechelen, Belgium (2009); and EVA International, Ireland's Biennial of Contemporary Art, Limerick (2006). Gregos has also curated three national pavilions at the Venice Biennial: Denmark (2011); Belgium (2015) and Croatia (2019)— all of which challenged the notion of what constitutes national representation. Gregos has also served as the founding director and curator of the Deste Foundation–Centre for Contemporary Art in Athens and artistic director of Argos–Centre for Art & Media in Brussels. Since 2016 she has been curator of the visual arts programme at the Schwarz Foundation (Munich/Athens/Samos).
Kjetil Ansgar Jakobsen is Professor of Intellectual History at Nord University Bodø. From 2011 to 2014 Jakobsen held the Henrik Steffens Professorship of Nordic Studies at the Humboldt University in Berlin. He coedited, with Susanne K. Frank, the anthology Arctic Archives: Ice, Memory, and Entropy (Bielefeld, 2019). His recent publications include Etter Charlie Hebdo. Ytringsfrihetens krise i historisk lys (Oslo, Press forlag, 2016) [Monograph in Norwegian, 405 pages. After Charlie Hebdo. Freedom of Speech in Crisis, from Gutenberg to Zuckerberg]; Krigsbilder. Kunst under okkupasjonen 1940-45 (Arendal. Bomuldsfabriken, 2015) [Monograph in Norwegian, 180 pages. Images of War. Artistic Expression in Norway during the German Occupation 1940-45. Co-author Kathrine Lund]. He is currently editing The Cosmopolitics of the Camera. Albert Kahn’s Archives of the Planet (Bristol, Intellect Ltd., 350 pages), co-edited with Trond Bjorli, which will be published in 2020.
Per Gunnar Eeg-Tverbakk co-initiated and was the director of Kunsthall Oslo from 2010–12. He was project manager for Artistic Interruptions – Art in Nordland, Nordland County from 2003–05 and was co-curator of the 2004 Nordic Art Biennial Momentum, Moss (alongside Caroline Corbetta). Eeg-Tverbakk was deputy director of the Kunstnernes Hus in Oslo from 2000–01; co-curator of the 1999 Lofoten International Art Festival (LIAF) (with Tor Inge Kveum); exhibition manager at the Nordic Institute for Contemporary Art in Helsinki in 1999, and director of the Otto Plonk Gallery in Bergen from 1995–98. Over the course of 2015–17, Eeg-Tverbakk worked as co-curator together with GonzálezSancho Bodero, developing and concluding OSLO PILOT, an experimental two-and-ahalf-year research project to conceive the format for the osloBIENNALEN FIRST EDITION 2019-2024.
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RONALD VAN DE SOMPEL
TROND LUNDEMO
Ronald Van de Sompel was the OSLO PILOT research and symposium associate with curators Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk, an experimental two-and-a half year research project to conceive the format for osloBIENNALEN FIRST EDITION 2019-2024. Formerly, he was art commissioning advisor at the Flemish Government Architects’ Team. He has extensive curatorial experience as associate curator at M–Museum, Leuven, researching the destruction of art and culture in times of conflict; as a curator at M HKA, Antwerp; and as acting senior curator at BALTIC Centre for Contemporary Art. Among other exhibitions, he curated Hareng Saur: Ensor and Contemporary Art, at the Museum of Fine Arts and S.M.A.K., Ghent. He also researched contemporary visual arts in Asia on behalf of the Europalia Nippon Kinen Foundation in Tokyo and the Jan van Eyck Academy in Maastricht. He has been active for many years as an art critic, author and editor, contributing to numerous art magazines and publications.
Trond Lundemo is an Associate Professor at the Department of Media Studies (Cinema Studies Section) at Stockholm University. He has co-edited the book series Film Theory in Media History published by Amsterdam University Press, and was a member of the Steering Committee of NECS–European Network for Cinema and Media Studies between 2011 and 2015. Lundemo has been a visiting professor at Seijo University in Tokyo on various occasions, and co-edited the anthologies Memory in Motion: Archives, Technology and the Social (Amsterdam University Press, 2016) and Minne, medier och materialitet (Makadam, 2016). His primary research interests are film theory, media archaeology, social memory and technology studies, film censorship and theories of the archive.
SEMINAR PARTICIPANTS BIOGRAPHIES
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NOTES
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osloBIENNALEN TEAM Executive Director Ole G. Slyngstadli Curators Eva González-Sancho Bodero Per Gunnar Eeg-Tverbakk Editor in Chief of Notebook series Ronald Van de Sompel
COLOPHON
Curated by Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk, osloBIENNALEN FIRST EDITION 2019-2024 is a five-year programme of art in public space and the public sphere that will evolve and grow, adding and announcing new and ongoing projects and participants as the biennial moves forward in time. The seminar Where Memories Are Made: Film and the Politics of Remembrance is part of Where Memories are made – A Week-long film season and seminar presented by osloBIENNALEN FIRST EDITION 20192024 in collaboration with Kunstnernes Hus Cinema October 18-27, 2019.
Co-editor of Notebook series Kjetil Jakobsen Head of Production Anna Katharina Haukeland Researcher Martin Berner Mathiesen Copy Editor William James Packer Designer Alex Gifreu
www.oslobiennalen.no #oslobiennalen
osloBIENNALEN FIRST EDITION 2019-2024 is initiated and financed by the City of Oslo, Agency for Cultural Affairs, Norway. The project is the outcome of OSLO PILOT, a two-year experimental and research-based project that laid the groundwork for the biennial.
COLOPHON
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