osloBIENNALEN FIRST EDITION 2019-2024 Symposium 'Art Production within a Locality', 21-22 Nov 2019.

SYMPOSIUM CHAPTER #1

PROGRAMME

Art Production within a Locality XXXXXXXXXXXXXXXXXXXXXXXXX

Thursday 21 and Friday 22 November 2019 Myntgata 2, Oslo, Norway

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PROLOGUE SYMPOSIUM

CONTENTS

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Upholding variability EVA GONZÁLEZ-SANCHO BODERO PER GUNNAR EEG-TVERBAKK

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Symposium programme chapter #1: Art Production within a Locality MARIUS GRØNNING JUAN CANELA

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Case studies

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Participants

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Schedule

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Symposium participants’ biographies

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osloBIENNALEN FIRST EDITION 2019-2024 participants

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osloBIENNALEN FIRST EDITION 2019-2024 team

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Acknowledgements / Colophon

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SYMPOSIUM CHAPTER #1

Upholding variability

UPHOLDING VARIABILITY

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During the 1980s-2000s, European institutional models underwent tremendous developments in the thinking behind artistic production, display strategies, and collecting. Curators born in the 1960s-70s were trained following museum models and the Germanic Kunsthalle. The latter provided an inspirational legacy of art-in-the-making and dynamic new forms of museology, which have influenced policy in the contemporary institutional art field, and the inception of many different forms of art centre. In the 21st century, new thinking on curation, modus operandi and hosting (art) production (including research) has continued alongside numerous initiatives for training younger generations of curators, and for maximizing the outcomes of artist residencies. Meanwhile, the attention afforded to art production in public space has often been sidelined. What has happened in this field, besides the commissioning regime that generated the questionable expression ‘Public Art’ rather than ‘Art in Public Space’?

When we were asked to think about a new model for an art Biennial for Oslo, the brief immediately presented two major challenges: [1] how to reformulate the Biennial model; and [2] how to approach art production in and for public space. We thought part of the answer was to provide tools and instrumental arrangements that would encompass the processes and ways of making art already existing in the local milieu, which would stretch beyond a single event to leave an endowment for others to use and build on (artists, curators, audiences…).

Norwegian social democracy has set out to provide universal free access to art and culture, including a longstanding tradition of placing works of art in public space. It was in Norway that the word ‘sustainability’ was first coined; where, within the art field, the term New Institutionalism and its discourse first appeared;1 where The First Biennial Reader was published2; and where the City of Oslo proposed to support art projects in public space, including a Biennial, financed by the City’s investment budget. osloBIENNALEN FIRST EDITION 2019-2024 has been largely formed from the experiences of OSLO PILOT, an experimental, research-based pre-project, which generated comprehensive ideas and information about producing, placing, and communicating art in the vulnerable and contingent contexts of public space and the public sphere. Such spaces are subject to continuous negotiation, where the most accessible and successful works seem to operate without the visible support of any institutional entity.

The curatorial concept behind osloBIENNALEN FIRST EDITION 2019-2024 is to assist the art production chain by designing a set of working processes or tools as a curated structure, adapted to the thinking, ideation and realization demanded by art production in and for public space. Typically, curatorial projects or individual works, produced in institutional

EVA GONZÁLEZ-SANCHO BODERO PER GUNNAR EEG-TVERBAKK

Curators, osloBIENNALEN FIRST EDITION 2019-2024

1 Editor Jonas Ekeberg coined the term ‘New Institutionalism’ to reflect upon major changes taking place in the 1990s within institutional fabric, in particular affecting their frameworks.

2 The Biennial Reader, an anthology on large-scale perennial exhibitions of contemporary art, ed.

HatjeCantz, 2010.

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settings or the artist’s studio, start with an idea, followed by a series of developments, which might be revealed to the public or not, and which, in the case of the institution, sometimes aim at building a collection (but not necessarily). But in addition to the usual procedures, working in public space requires very different time-spans and production frameworks in response to the unstable and shifting conditions and temporalities of public space and the fact that the works interpolate diverse, random groups of passers-by. A production framework and duration is required, capable of supporting the curatorial decision to work with projects unfolding in specific timeframes and questioning the situations in which they operate, in contexts that overflow conventional, institutional time/spaces.

Works characterized by immateriality, co-authorship, co-production, lengthy time-spans for production and display that may be recurrent, intermittent, or cyclical. Art practises that cross boundaries, moving beyond the visual arts field to traverse other disciplines —theatre, dance or cinema—sometimes involving large numbers of agents in their production and display. Works that demand specific extensions in time and space and are not bound to a single site, but in many cases require multiple or diluted locations, and rarely unfold within a short display timeframe. Knowledge production and reflection on and around the complexity that defines public space and the public sphere. The challenge is to adapt the public institution so that it is able to sustain these types of art, art practice, thinking and production frames.

ART PRODUCTION WITHIN A LOCALITY

osloBIENNALEN FIRST EDITION 2019-2024 proposes an evolving five-year project devoted to working with art and artists in public space through the development of four pillars, the Biennial’s founding concepts and supporting infrastructures: Production in a Locality, Collections for the Passer-by, New Institutional Ecologies and Addressing the Myriad. We hope that these concepts will influence broader cultural policy concerning the support, thinking, development, display, public outreach and collecting of art in public space and the public sphere. we have programmed a series of symposia, each of them in collaboration with an independent, external contributor, to help us to examine and debate in depth the four pillars on which this first edition of the biennial rests We believe that discourse should take into account the conditions to which works of art in public space are subject, especially their closeness to the public. We therefore need to re-think the ways in which art is approached and discussed. This is not just a matter of terminology and language, but also the medium used (text, voice...); the channel (social media, Internet, radio, video, film, TV, printed matter); the field addressed (visual arts, performing arts, social sciences, anthropology, etc). For works of art created and displayed in public space, the language and communication tools applied often resemble those of museums and galleries, even though their publics are very different. This may be one reason why art in public space often lacks an engaged audience. It cannot be taken for granted that discourse will reach this diverse set of ‘passers-by,’ some of whom may eventually become an engaged audience. To communicate a work of art in public space, we need to understand the precise nature of the work, its context and its publics.

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Thinking beyond the conventional event-based biennial structure, osloBIENNALEN FIRST EDITION 2019-2024 has established its premises in a large, historic building in the centre of Oslo, forming an institution that will foster art production in the public sphere within the context of Oslo’s existing art scene. The building houses a visitor centre, some of the Biennial’s public activities, administrative offices, as well as 57 artist’s studios available to Oslo-based artists on subsidized leases, along with a visiting artist program and film and radio production units run by and for the Biennial programme (but which could also be used by others). With this foundational initiative, the Biennial has made productive use of public investment funds, in the intent to leave an ongoing legacy of infrastructure and resources serving the art community at large.

ADDRESSING THE MYRIAD A work of art in public space is free from the institutional context and apparatus that infer the work’s significance and canonical value. Outside the gallery, it can appear as an artefact, an invited or uninvited guest, a stranger, or ghost. Art in open landscape—whether physical or digital—is viewable by an undefined audience, which cannot be introduced to the works via the devices employed in museums or galleries. Nevertheless, the ‘pedagogy’ addressing art in public space often adopts the same educational principles and tools applied in museum contexts. The (somehow exhausted) use of ‘cultural mediation’ is barely applicable when the transmission and reception of meaning pass undetected, cannot be monitored or guided. In fact, we must refer to passers-by, offered the option of perhaps becoming an audience.

There is a major distinction between witnessing a work of art and having actual cultural access to it, which involves mindful, symbolic, cognitive, and phenomenological reading.

How can we gauge whether the tasks set are being fulfilled, or even if these ‘tasks’ are of relevance to the particular circumstances of public space and its random audiences?

Generating an engaged audience out of random passers-by means finding the right tools and languages for communication.

COLLECTIONS FOR THE PASSER-BY osloBIENNALEN FIRST EDITION 2019-2024 sets out to investigate what it means to collect works for public space, and how best to display them. This involves investigating and questioning existing collections in Oslo’s public space; understanding the life cycles of works of art in public space; expanding the notion of what works a public art collection might hold by including, for instance, ephemeral works.

What are the motivations and procedures that govern art collecting for public space? How to produce, exhibit and collect works, while dealing with the tension between conservation and the flux of the city? How to rethink notions of permanence/impermanence beyond the norms of the typical commission and conventional public sculpture? How can collecting and displaying encompass recent independent mindful artistic choices that question our conception of public space and the public sphere?

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NEW INSTITUTIONAL ECOLOGIES How might a biennial contribute to and develop new kinds of institutional ecologies, affecting artists, existing institutional models, and city administration? How might it connect with partners to work on long-term shared concerns? Can the biennial model introduce new cultural policy? Can we build a new ethos and art-administrative model to meet the challenges of working for the passer-by? What are the ethics that osloBIENNALEN needs to adopt and how should they be applied in practice?

This symposium will provide an opportunity to appreciate, discuss, and possibly contribute to the future evolution of osloBIENNALEN FIRST EDITION 2019-2024, a curated structural proposal fostering a new production framework and apparatus specially conceived to reflect on and operate in public space: osloBIENNALEN as institution. It will also set out to address important questions about the role of the public institution, the values it embodies, the procedures through which it acts, and their coherence. These should also be determined by ethical approaches to labour, rights, and how finance is raised and used, mirrored in a clear legislative framework. At the same time, if the setting up of the institution we propose is to optimize artistic production, creative public outreach programmes and institutional ethos, it must place the emphasis on the needs of art and artists and respond to those needs through appropriate frameworks and modus operandi.

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SYMPOSIUM CHAPTER #1

Art Production within a Locality

ART PRODUCTION WITHIN A LOCALITY

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What does it mean to launch a biennial that breaks with the usual ways of addressing space, time and theme? The curatorial statement behind the first edition proposes setting up a new institution within the field of art, one of its aims being to influence cultural policy and introduce new infrastructures and modus operandi for work and art production. In this way, the first edition is instigating one possible point of departure for addressing public space and the public sphere. On the basis of the biennial’s experience to date, what potential do its conceptual basis and practical approaches offer? How can they be developed into an overarching and competent method?

CHALLENGES In order to respond to these questions, the first task is to consider and define the challenges that the first edition has postulated: the relation between art and the contingencies that characterise public space and the specific temporal relations to which art produced in and for public space is subject. These challenges are both theoretical and practical. To enable a network of agents operating in collaboration to answer these questions, we propose to use the symposium on Art Production within a Locality as a tool to build a collective argument, which may inform and help the first edition to develop appropriate methodology for documenting, and archiving experiences relating to art production. We propose a framework of theoretical concepts to structure the discussion: autopoiesis, addressing the substance of art, or the problem of regulating its consistency and conserving its borders with other phenomena; technê, addressing the development and doing of art production; and spatial awareness, addressing the interaction between art practices and several specific contexts in Oslo.

QUESTIONS The subsequent symposia will act as a significant working element in the future running of osloBIENNALEN FIRST EDITION 2019-2024. These have been organised as chapters in a dynamic and evolutive process designed to construct a conceptual framework supporting new practices and experiences as the works and activities of the biennial unfold.

MARIUS GRØNNING

Associate professor at the Faculty of Landscape and Society (LANDSAM), Norwegian University of Life Sciences (NMBU)

JUAN CANELA

osloBIENNALEN FIRST EDITION 2019-2024 research and symposium associate

A first set of questions arises from autopoiesis, or the nature of art in relation to localities.

How can artistic production dialogue with other agents of spatial process in the city? And how can artistic conventions be revised to articulate dialogues between art practice and public space? These questions refer to the first edition’s curatorial objectives, which have led to a chiefly structural proposal for articulating cultural policy. A second set of questions is related to technê, or the making and doing that makes art production possible. Are contemporary art practices characterised by particular skills and crafts? How are temporality and spatiality structured in these art practices? What production and display phases are such practices subject to, and where are the works of art developed? A third set of questions relates to ideas of spatial awareness, or the interaction between the art system and the various systems operating in and over urban space. How should different production phases in contemporary art practice be articulated within a local context? How can the biennial provide the necessary working structures? And, when we interact with the context of Oslo, by what means can we develop and communicate awareness of the local public realm?

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In this way, the seminar proposes a set of topics and a discursive strategy for answering these questions. The purpose is also to translate the outcomes into competent working conditions and approaches to modes of collaboration within the institutional framework of osloBIENNALEN FIRST EDITION 2019-2024.

A thorough and collective scrutiny of each case through discussion and documentation will allow the symposium participants to elucidate the processes of art production within a locality, revealing common patterns and challenges to anyone involved in similar processes. The symposium outcome will constitute an initial set of premises to help the biennial develop its own archive, which it is hoped will provide a valuable resource for professionals and academics in this sector.

APPROACH Art Production within a Locality is the first in the series of symposia, offering a setting for sharing experiences and thoughts. It is hoped that these will help to develop ideas and working methods, which will inform the biennial’s future evolution. The chapter #1 symposium has therefore a double purpose: the first is to document the experiences gained through the production of works of art in and for specific contexts in Oslo. The participants are invited to reflect upon these experiences and outline working methods for anyone else involved in the production of art in public space. The second is to develop a possible methodology for documenting the experiences acquired through the biennial and for making them available. One important issue to be discussed by the participants is how to build and use a living archive for the further development of working methods for art in public space and the public sphere.

The symposium will analyze and discuss a selection of experiences from the biennial, not only the works of art themselves, but the experience of ideation, development, production and display, seen from different points of view. Three case studies form a selection of the new works produced in the context of osloBIENNALEN FIRST EDITION 2019-2024 to date. They are: And their Spirits Live On (2019) by Marianne Heier; Migrant Car (2019) by Ed D’Souza; and Crimes of the Future: a film about a film about a book about a city (2019)

by Javier Izquierdo.

Participants in the symposium include artists, producers, representatives of different audience groups, biennial staff, scholars, curators, and representatives of various cultural institutions; an assembly who share an interest in learning from real experiences.

The participants will share the insights gained so far, and information and perspectives related to various aspects of art production in each case. As background information, each artist will give an account of their wider art practice and the genesis of the project produced for osloBIENNALEN FIRST EDITION 2019-2024. In addition, they will share information about their intentions, patterns of practice, and working methodology, as well as their experience of the working conditions arising in the specific context of Oslo.

This also involves an account of production facilities, spaces, and the particularities of display, as well as the temporal considerations of production and display in each case. The artists and their practices come from very different backgrounds and contexts, and so the symposium invites them to map out the artistic strategies and methods they adopted to ‘locate’ each project in Oslo (enhancing the remarkable, targeting or randomizing local interactions, creating productive relations and networks, etc.). A practical concern is also the matter of documenting art production, especially in the case of immaterial works. We wonder how the artists wish their work to be documented. And how does that correspond or not to the biennial’s documentation and dissemination strategies?

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Case studies

CASE STUDIES

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MARIANNE HEIER And their Spirits Live On For osloBIENNALEN FIRST EDITION 2019-2024, Marianne Heier performed And Their Spirits Live On, first at the Accademia di Belle Arti di Brera in Milan and then at Oslo’s former Museum of Contemporary Art, 26 May - 1 June 2019.

Plaster copies of ancient Greek and Roman sculptures have formed the basis for much of the history of art. Right up until modern times, artists in the western tradition learned to draw and shape works from such models. When the National Gallery was built, the central building housed a collection of these classical plaster casts. Marianne Heier has chosen to make a performance among the plaster copies at the Academy of Art in Milan where she herself studied, and later in the empty bank premises which until recently housed the Museum of Contemporary Art – drawing attention to the potential power in these figures. They are archetypes that we still refer to, although we are often unaware of this. Heier’s performance takes the form of a museum guided tour in which she takes the role of guide, situating the plaster sculptures in wider histories. Using texts taken from classical mythology and political resistance movements, she shows the potentially radical possibilities of the sculptures. The mythology from which these classical figures are taken is full of critiques of power, gender issues and identity politics that perhaps suggest a need for civil courage in the political climate of our own times.

The performance was co-curated by osloBIENNALEN FIRST EDITION 2019-2024 curators, Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk, and director of Accademia di belle arti G. Carrara di Bergamo Alessandra Pioselli, and was produced in collaboration with students and employees of the Project School in Oslo.

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CASE STUDIES

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ED D’SOUZA Migrant Car

JAVIER IZQUIERDO Crimes of the future: A film about a film about a book about a city

Ed D’Souza’s project for osloBIENNALEN FIRST EDITION 2019-2024 is Migrant Car, a sculpture in which a three-dimensional photograph of a crashed car reproduced in full size is wrapped around a wooden framework built in a joiner’s workshop at Markveien. The ‘car’ is rolled about to different places in Oslo. The photograph of the crashed car was taken in Delhi, India, where the artist came across the abandoned wreck. The car is a Hindustan Ambassador, a model in production from 1958 to 2014, which was the car in India, popular as taxi, as status symbol, in time becoming the Indian ‘people’s car.’ Notorious for its bad brakes, many of them ended up as wrecks in a country famous for the rampant growth of its traffic and car culture. Motoring is a global phenomenon, but the cultures surrounding it vary. In Oslo there is now a political majority in favour of a traffic-free centre, involving the disappearance of private cars from the city streets. There are many borders in the world that cannot be crossed by car because of power struggles and political manoeuvres.

Maybe this car brought from elsewhere will remind us of this. From May to August 2019, a reconstruction of the Indian the Hindustan Ambassador was moved around Oslo’s new car-free zone and provided the basis for a number of artistic contributions. In September 2019 Migrant Car started its journey north towards Kirkenes and Russia, making a first stop in Bergen in collaboration with Kunsthall 3.14.

Javier Izquierdo’s project for osloBIENNALEN FIRST EDITION 2019-2024 is Crimes of the Future, a film about a film about a book about a city (2019), a film that takes as its point of departure the Danish film adaptation of the Norwegian modernist novel Hunger by Knut Hamsun, published in 1890. Set in late 19th-century Kristiania (now Oslo), Hamsun’s book recounts the adventures of a starving young writer whose sense of reality is giving way to a delusionary existence on the darker side of a modern metropolis. In its opening lines, Kristiania is described as a ‘wondrous city that no one leaves before it has made its marks upon him.’ The film adaptation, produced in 1966 and directed by Danish filmmaker Henning Carlsen, is considered a modernist masterpiece, for which actor Per Oscarsson won the prize for “Best Actor” at the Cannes Film Festival in 1966 for his performance.

However, the film is no longer well known to Norwegian or international audiences. Through conversations with an array of Norwegian writers, filmmakers, psychiatrists, artists and more, Izquierdo investigates the impact of both the film and novel on generations of Norwegian culture and artistic practice, while exploring how it could speak to what it means to be an artist today. The film also revisits historic locations that still existed during the 1966 film production, but which have vanished or are almost unrecognisable today.

In this way, Crimes of the Future becomes a portrait of a capital city that is undergoing significant renewal and displacement. Izquierdo has made a film about a film about a book about a city that has now partly been torn down and rebuilt.

Javier Izquierdo’s film was part of the week-long film programme and seminar, “Where Memories Are Made”, organised in collaboration with Kunstnernes Hus 18–27 October, 2019

Migrant Car is a co-production between Ed D’Souza, Eddie King’s Furniture and Upholstery workshop in Oslo, and students from Oslo Metropolitan University and the Oslo National Academy of the Arts. The following individuals were involved in the project: Maiken Astrup Helland, Camilla Dahl, Tiril Flom, Andrea Galiazzo, Milagros Gola Singh, Ingrid Granrud Veiersted, Darina Gryn, Julie Henning, Marielle Kalldal, Ronny Karlsen, Eddie King, Åshild Kristensen Foss, Geir Listhaug, Alessandro Marchi, Carina Marwell Hansen, Kristian Rosskopf, Karoline Sjølie Aas, Taradol Sutjaritvorakul, Qi Tan, Victoria K. Yankova, Idunn Yr Alman-Kaas, Amanda Aas Andersen.

Director: Javier Izquierdo Producer: Anna Katharina Haukeland / osloBIENNALEN Production Manager: Åshild Samseth / osloBIENNALEN Researcher: Martin Berner Mathiesen / osloBIENNALEN Coordinator: Håkon Lillegraven / osloBIENNALEN Cinematographer: Tomás Astudillo Camera assistants: Tora Turøy, Birgitte Aarebrodt Sound: Fridtjof Wesseltoft Featured cast: Sveinung Wålengen, Marius Grønning, Anja Breien, Roskva Koritzinsky, Martin Ernstsen, Tommy Lørdahl, Finn Skårderud, Hamza Kader

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Symposium Chapter #1 Art Production within a Locality

PARTICIPANTS

Moderators Juan Canela

osloBIENNALEN FIRST EDITION 2019-2024 research and symposium associate

Marius Grønning

Architect and associate professor at the Norwegian University of Life Sciences (NMBU), Faculty of Landscape and Society

Discussion panel case 1

AND THEIR SPIRITS LIVE ON by Marianne Heier Kari Berge

Director of Sandefjord Kunstforening

Elisabeth Byre

Curator at KORO/Public Art Norway

Francesca Comisso

Art historian and co-founder of the independent curators’ collective a.titolo

Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk Curators of osloBIENNALEN FIRST EDITION 2019-2024

Marie Gurine Askeland Oslo-based artist

Anna Katharina Haukeland

Head of Production, osloBIENNALEN FIRST EDITION 2019-2024

Stine Hebert

Art historian, curator and educator, based in Copenhagen

Marianne Heier

Oslo-based artist participating in osloBIENNALEN FIRST EDITION 2019-2024

Vilde von Krogh

Artist and director of Prosjektskolen art school, based in Oslo

Alessandra Pioselli

Art critic and curator, director of Accademia di belle arti G. Carrara di Bergamo

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Discussion panel case 2

MIGRANT CAR by Ed D’Souza Martin Berner Mathiesen

Researcher for osloBIENNALEN FIRST EDITION 2019-2024

PARTICIPANTS

Discussion panel case 3

CRIMES OF THE FUTURE – A FILM ABOUT A FILM ABOUT A BOOK ABOUT A CITY

by Javier Izquierdo Tomás Astudillo

Ed D’Souza

Cinematographer and co-editor of Crimes of the Future

Boel Christensen-Scheel

Researcher for osloBIENNALEN FIRST EDITION 2019-2024

Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk

Curator at KORO/Public Art Norway

Anna Katharina Haukeland

Artist participating in osloBIENNALEN FIRST EDITION 2019-2024, based in Quito, Ecuador

Stefanie Hessler

Curators of osloBIENNALEN FIRST EDITION 2019-2024

Eddie King and Geir Listhaug

Oslo-based artist and writer, acting co-chair of the national union of young artists UKS Young Artist’s Society

London-based artist participating in osloBIENNALEN FIRST EDITION 2019-2024 Professor of Aesthetics and Art Theory, Department of Art, Design and Drama, OsloMET Curators of osloBIENNALEN FIRST EDITION 2019-2024

Head of Production, osloBIENNALEN FIRST EDITION 2019-2024 Director of Kunsthall Trondheim Migrant Car production team, based in Oslo

Ebba Moi

Founder of Tenthaus, Oslo

Benedikte Rønsen

Public outreach team for osloBIENNALEN FIRST EDITION 2019-2024

Knut Erik Tveit

Cultural advisor on performing and fine arts to Oslo Diocese

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Martin Berner Mathiesen Marte Danielsen Jølbo Javier Izquierdo

Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk Ina Hagen

Anna Katharina Haukeland

Head of Production, osloBIENNALEN FIRST EDITION 2019-2024

Anna Manubens

Independent curator, producer and writer, based in Barcelona

Eivind Røssaak

Associate professor, Film and Media Studies, National Library of Norway, Oslo

Other participants Denis Bocquet

Professor at the Ecole Nationale Supérieure d'Architecture de Strasbourg

Roberta Cucca

Associate professor of Urban Sustainability Planning at the Norwegian University of Life Sciences

Lara García Díaz

Cultural activist and researcher at Culture Commons Quest Office, Antwerp Research Institute for the Arts

Lise Mjøs

Head of department at the Agency for Cultural Affairs, City of Oslo

Christian Montarou

Norwegian University of Life Science (NMBU) Faculty of Landscape and Society

James Moore

Artistic director of Østfoldkulturutvikling, Norway

Melissa Anna Murphy

Associate Professor of Urban Planning - Faculty of Landscape and Society, NMBU

Ole G. Slyngstadli

Executive director of osloBIENNALEN FIRST EDITION 2019-2024

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THURSDAY 21 Registration required 09:00 – 16:00

09:00 – 12:00 ART PRODUCTION WITHIN A LOCALITY – FRAMING THE TOPIC 09:00 – 09:10 Welcome by Lise Mjøs and and Ole G. Slyngstadli

SCHEDULE

FRIDAY 22 Registration required 09:00 – 16:00

09:00 – 12:00

CASE 2: MIGRANT CAR, Ed D’Souza (2019) Theme: locality, assembly, display – locating the artwork through co-production

09:10 – 09:15 Introduction to Chapter #1: Art Production within a Locality

by Marius Grønning and Juan Canela: works of art, geography,

themes and questions

09:00 – 09:05 Introduction by the moderators

09:15 – 10:00 Introduction to osloBIENNALEN FIRST EDITION 2019-2024

by Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk

— Overview of the biennial experience of art production and localities

— Works of art: genres, precedents and evolution

— Contextual characteristics of the biennial

09:35 – 09:50

10:00 – 10:30

Presentation of each symposium participant

pause 10:45 – 11:30

Knowledge gaps, research objectives, and approach to case selection by Marius Grønning and Juan Canela in dialogue with the symposium participants

11:30 - 12:00 Presentation of each case by the artists — Marianne Heier (5 minutes) — Ed D’Souza (5 minutes) — Javier Izquierdo (5 minutes)

— Q & A (15 minutes)

09:05 – 09:35 Presentation by the artist (Ed D’Souza) Presentation by co-producers (Eddy King and Geir Listhaug)

pause 10:00 – 11:30

Case 2 discussion panel

11:30 – 11:50

Plenary discussion

11:50 – 12:00

Summing up

12:00 – 13:00

lunch

13:00 – 16:00

CASE 3: CRIMES OF THE FUTURE: A FILM ABOUT A FILM ABOUT A BOOK ABOUT A CITY, Javier Izquierdo (2019) Theme: portraying Oslo – locality as a material of representation

13:00 – 13:05

Introduction by the moderators

13:05 – 13:35

Presentation by the artist (Javier Izquierdo)

13:35 – 14:50

Presentation by production cinematographer (Tomás Astudillo)

12:00 – 13:00

lunch

pause

13:00 – 16:00

CASE 1: AND THEIR SPIRITS LIVE ON, Marianne Heier (2019)

14:00 – 15:30

Case 3 discussion panel

13:00 - 13:05

Introduction by the moderators

15:30 – 15:50

Plenary discussion

13:05 - 13:25

Presentation by the artist (Marianne Heier)

15:50 – 16:00

Summing up

13:25 - 13:50

Francesca Comisso on the production model of Nouveaux commanditaires

pause

pause 14:00 – 15:30

Case 1 discussion panel

15:30 – 15:50

Plenary discussion

15:50 – 16:00

Summing up

18:00 – 19:30

BOOK PRESENTATION (no registration required): And their Spirits Live On, Marianne Heier Presentation by the artist and contributors

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17:00 – 18:30

ART PRODUCTION WITHIN A LOCALITY – THREE EXAMPLES IN COMPARISON (no registration required)

17:00 – 17:30

Three lessons learnt from osloBIENNALEN FIRST EDITION 2019-2024 Marius Grønning and Juan Canela, symposium coordinators

17:30 – 18:10 Roundtable: symposia, publications, archives as institutional infrastructures:

Lise Mjøs, Ole Slyngstadli, Eva González Sancho-Bodero, Per Gunnar Eeg-Tverbakk, Javier Izquierdo, Ed D’Souza, Marianne Heier 18:10 – 18:30

Plenary Q & A

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FORTHCOMING SYMPOSIA PROGRAMME

An overview of the Symposia 2019-2024 programme (please subscribe to our newsletter for updates): chapter #2 ADDRESSING THE MYRIAD 2020 (Date TBC) Organized in collaboration with Mikaela Assolent chapter #3 NEW INSTITUTIONAL ECOLOGIES 2021 (Date TBC) Organized in collaboration with Shwetal A. Patel chapter #4 COLLECTIONS FOR THE PASSER-BY 2022 (Date TBC) Organized in collaboration with Dora García footnotes Conversations and meetings led by art professionals and thinkers at key locations around the city, engendering dialogue with some of the on-site works.

Future dates and places will be announced as the biennial programme evolves.

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Symposium participants’ biographies

SYMPOSIUM PARTICIPANTS’ BIOGRAPHIES

TOMÁS ASTUDILLO Tomás Astudillo is the director of two documentaries: Solid Ocean and Moments of Campaign​(Visions du Réel, World Premiere, 2015).​He has worked regularly with Javier Izquierdo as producer and director of photography on: A Secret in the Box, 2016; Panamá, 2019; and Barajas, 2020. He has also filmed recent artworks by Paul Rosero and Adrián Balseca. Tomás is part of VAIVEM, a film distribution association based in Buenos Aires, Lisbon and Quito. Since 2017, he has curated The Latin American Film Festival, organized

by Cinemateca Nacional del Ecuador. Tomás is based in Budapest and Quito.

KARI BERGE Kari Berge has been director of Sandefjord Kunstforening since 2008. Sandefjord Kunstforening is an independent and non-commercial art association, located in the city of Sandefjord. Over the years, Kari Berge has curated, initiated and produced a large number of exhibitions and art projects. One of the larger collaboration projects is Marianne Heier’s performance This Is What Creates The Seasons And The Passing of The Year, And That Rules Over All Visible Things performed at a quarry in Larvik, Norway, and another at Piemonte, Italy. Berge was the Norwegian producer of this project. Kari Berge trained as a journalist at the University of Stavanger, Norway. She also studied documentary filmmaking and curatorial studies. From 1998 to 2007 she worked as a filmmaker, both as director and producer.

MARTIN BERNER MATHIESEN Martin Berner Mathiesen is an art historian, critic and writer based in Oslo. After completing his MA in Aesthetics and Art History in 2015, Mathiesen was acting Editorial Assistant and Researcher for the two-year research based project OSLO PILOT and the publication OSLO PILOT (2015–17)—a project investigating the role of art in and for the public space—laying the groundwork for Oslo Biennial First Edition, curated by Eva González-Sancho Bodero and Per Gunnar Eeg-Tverbakk and published by Mousse Publishing in September 2018. Mathiesen is currently the Researcher at osloBIENNALEN FIRST EDITION 2019-2024 and is working closely on a number of projects and publications produced by the inaugural biennial format. Mathiesen also writes exhibition texts for several Norwegian contemporary artists, and recently contributed to a book organised and edited

by Nicholas John Jones and Rachel Withers, founders of the art and residency organisation PRAKSIS.

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DENIS BOCQUET Denis Bocquet was born in Grenoble, in the French Alps in 1970. He studied in Paris and Rome. He has lived in Berlin for almost 20 years. His research focuses on the relationship between technical or infrastructural systems and society in urban contexts, as well as the complexity of decision-making processes aimed at transforming urban space. He has published extensively in Rome, Paris, Berlin, Dresden and Singapore. Denis also teaches urban history and urban planning in Aixen-Provence, Paris, Dresden and Berlin. Since 2014 he has been a professor at the Ecole nationale supérieure d’architecture de Strasbourg, where he is director of the master’s programme in urban planning. He is also a member of the board of the journal Espaces et Sociétés, founded by Henri Lefebvre.

ELISABETH BYRE Elisabeth Byre is a curator at Public Art Norway (KORO).

She has extensive experience in curating, production and project management, and was curator at Kunsthall Oslo from 2011–17. Byre has curated a number of projects as a freelancer, such as EXIT, at the Munch Museum, 2019; Marianne Heier’s The Ocean Is Not Unfaithful, Bergen Kunsthall 2018 and No Sense of Place, Bergen Kunsthall, 2011; Ad Hoc Performance, Nationaltheateret 2010; Lessons in the Art of Falling, at Preus Museum (in collaboration with Jonas Ekeberg) in 2008; and Ghost in the Machine (in collaboration with Susanne Østby Sæther) in 2008. Byre graduated studies at Curatorlab/Konstfack in Stockholm, The Royal Danish Academy of Fine Arts in Copenhagen, and the Universities of Oslo and Copenhagen (MA).

JUAN CANELA Juan Canela is an independent curator and writer. Cofounder of BAR project; he is research and symposium associate for osloBIENNIALEN FIRST EDITION 20192024 and member of the Programs Committee at HANGAR, Barcelona. He has been curator of the Opening section at ARCO Madrid (2016–17) and curator of Compositions, a program of artistic interventions in the public sphere for Barcelona Gallery Weekend (2019). He has curated projects at institutions such as Palais de Tokyo, Paris; Fundación Cerezales, León; CA2M, Madrid; Tabakalera, San Sebastián; CRAC, Alsace; SOMA, Mexico; and La Ene, Buenos Aires, among others. He has given lectures and workshops at Flora, Bogotá; MhUKA, Antwerp; Curando Caribe, República Dominicana; Bisagra, Lima; Instituto Di Tella, Buenos Aires; and La Casa Encendida, Madrid.

He writes regularly for art magazines including Babelia El País, Terremoto Magazine and Mousse.

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BOEL CHRISTENSEN-SCHEEL Boel Christensen-Scheel is professor of Aesthetics and Art Theory in the Department of Art, Design and Drama at Oslo Metropolitan University. She holds a PhD in contemporary art and performance theory, and her main field of research concerns art’s relational and communicational capacities in experiential and educational contexts. She coordinates and teaches the MA programme in Art in Society at OsloMet, and worked as an educational advisor for The National Museum of Art, Architecture and Design in Oslo from 2016–18. She translated Nicolas Bourriaud’s “Relational Aesthetics” into Norwegian (Pax Forlag, Artes, 2007).

She also works as an art critic. Christensen-Scheel leads the Art in Society research group.

FRANCESCA COMISSO Francesca Comisso is an art historian and co-founder of a.titolo, the first collective of curators in Italy created in 1997 by a group of art critics and art historians, in order to investigate and promote the relationship between art, urban space and the public realm. a.titolo was one of the first organizations in Italy to work in public space by producing art projects in the public interest, based on collaborative and multidisciplinary approaches. Since 2001, she has acted as cultural mediator for the Nuovi Committenti programme (Les Nouveaux Commanditaires/New Patrons), for which a.titolo is currently the Italian referent. She teaches at the Accademia Carrara of Fine Arts in Bergamo. She is co-author of the General Catalogue of the Works of Pinot Gallizio, of whose archive she is vice-president.

ROBERTA CUCCA Roberta Cucca is associate professor of Urban Sustainability Planning at the Norwegian University of Life Sciences. Previously she was a Marie Curie Fellow at the University of Vienna, assistant professor at the Polytechnic of Milan, and post-doctoral Fellow at the University of Toronto. Her main research interests are: environmental policies and social vulnerability; social inequalities in contemporary cities; participation in local policy decision-making.

SYMPOSIUM PARTICIPANTS’ BIOGRAPHIES

MARTE DANIELSEN JØLBO Marte Danielsen Jølbo is curator of KORO. She has worked for many years in the field of self-organization as a curator, editor and producer for a number of exhibitions, publications and art projects in Norway and internationally. She is co-founder of Another Space - project space and publishing house for art and architecture, and co-founded the publishing platform and residency program Contemporary Art Stavanger. Jølbo holds a degree in Literary Science and a master’s degree in Modern Culture and Cultural Dissemination from the University of Copenhagen.

LARA GARCÍA DÍAZ Lara García Díaz is a cultural activist and Phd researcher at the Antwerp Research Institute for the Arts (Antwerp University) and the Culture Commons Quest Office (CCQO). She is one of the members of the feminist collective Larre based in Barcelona. Her research focuses on the politics of precarity and cultural practices with commons-based approaches through the lens of feminist theory. She has contributed to a variety of books such as What’s the Use (2016), Prekariart (2018) or Commonism (2019) and has published extensively in diverse academic journals and art catalogues.

ED D’SOUZA Ed D’Souza is a London-based artist, designer and professor of Critical Practice at Winchester School of Art at the University of Southampton. He is known for his temporal, site-specific and participatory/collaborative art and design projects many of which connect to his Indian heritage. His work explores critical practices that engage with a variety of production processes and producers and is supported by his critical writings around social, political and cultural change. Recent projects have been shown in art institutions, biennials and public spaces in China, India, Spain and the UK.

EVA GONZÁLEZ-SANCHO BODERO 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 Etablissementd’en face projects (Brussels, 1998–2003). Actively involved in the definition of new models of contemporary art and its production, she has curated numerous 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 ArteContemporáneo, Spain, 2009).

From 2015–17, González-Sancho Bodero worked as co-curator together with Eeg-Tverbakk, developing and concluding OSLO PILOT, an experimental twoand-a-half-year research project to conceive a new Biennial model through a structural curatorial proposal for osloBIENNALEN FIRST EDITION 2019-2024.

PER GUNNAR EEG-TVERBAKK Per Gunnar Eeg-Tverbakk co-initiated and was the director of Kunsthall Oslo from 2010–12. Actively involved in the definition of new models of contemporary art and its production, 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; cocurator 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 González-Sancho Bodero, developing and concluding OSLO PILOT, an experimental two-and-a-half-year research project to conceive a new Biennial model through a structural curatorial proposal for osloBIENNALEN FIRST EDITION 2019-2024.

MARIE GURINE ASKELAND Marie Gurine Askeland is a performance artist and physiotherapist based in Oslo. She was educated in art at Tromsø academy (2008–12) and became a physiotherapist at Oslo Met in Oslo (2012–16). At present, she works as a physiotherapist for newborn babies and also on the long-term art project entitled Therapy as Art.

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MARIUS GRØNNING Marius Grønning is an architect (ENSAPB Paris), with a PhD in Urbanism (IUAV Venezia), and associate professor of urban and regional planning at the Norwegian University of Life Sciences (NMBU), Faculty of Landscape and Society. With a background as both academic and practitioner in architecture and consultant on urbanism and planning, Grønning teaches placemaking, comprehensive land-use planning, and ideas in urbanisation processes. His research focuses on the spatial dimensions of consciousness, possibilism, anticipation and social innovation. Grønning has headed the Norwegian Housing and Planning Association (Norsk BOBY) and the Norwegian Association for Planning Education (FUS), and he has been involved in editorial committees for Plan (NO) and planum. org (IT). Within the field of art in public space, he has contributed to several collaborative projects, especially in the context of urban development and public space planning, or in academic contexts such as the teaching programme for these fields at the Oslo National Academy of the Arts (KHiO).

INA HAGEN Ina Hagen is an artist and writer based in Oslo. Hagen works across performance and communal making practices. Alongside her studio practice, Hagen is acting chair (on leave from 11 Nov. 2019 – 2 Feb. 2020) of the young artist’s membership organisation, union and contemporary art institution UKS, and writes for the art journal Kunstkritikk. She is co-founder with Daisuke Kosugi of the discursive platform and exhibition venue Louise Dany, which they run from their flat and adjacent store-front in Oslo. Her work has been included in the 10th Nordic Biennale, Momentum NO; The Defying Parrot, Index, Stockholm SE; Coast Contemporary, NO; INCA, Seattle USA, among others.

Hagen has been awarded residencies at Capacete, Rio de Janeiro, BR (2018); Praksis, Oslo NO (2017); BAR Project, Barcelona ES (2017); Kunstnernes Hus, Oslo NO (2014–15); and Quartier 21, Museums Quartier, Vienna AU (2014). Hagen is currently an international grant holder and resident of IASPIS– Konstnärsnämnden in Stockholm SE.

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ANNA KATHARINA HAUKELAND Anna Katharina Haukeland is an arts producer, art advisor and actress. Haukeland currently holds the position of head of production at osloBIENNALEN FIRST EDITION 2019-2024. She holds an MFA in Art Business, and a Diploma in Contemporary Art History from Goldsmiths, University of London. Haukeland is director of the estate and collection of Norwegian modernist sculptor, Arnold Haukeland. She is also a trained actress, educated at the Oslo National Academy of the Arts (KHiO). Since 2012, Haukeland has worked as an independent art advisor and curator based between London, Berlin and Oslo.

STINE HEBERT Stine Hebert is an art historian, curator and educator whose practice engages with research into conditions of artistic production and educational models. Together with Anne Szefer Karlsen, she edited the anthology Self-Organised published by Open Editions in the series Occasional Table. Hebert has previously held positions as curator at Kunsthal, Charlottenborg; curator at Malmö Art Museum; Acting Director of BAC -Baltic Art Centre; Rector of Funen Art Academy; and most recently as Dean of The Academy of Fine Art at Oslo National Academy of the Arts.

MARIANNE HEIER Marianne Heier is an artist educated and based in Milan and Oslo. Her work is often connected to the tradition of institutional critique, but emerges out of personal engagement and lived experience, rather than a strategic, calculated practice. Questions related to economics and value circulation are central to Heier’s practice, with the inherent power of the gift as a recurring theme. She questions the obvious and invites other interpretations and possibilities. The results are presented as performances, installations, text-based and other types of spatial intervention.

STEFANIE HESSLER Stefanie Hessler is a curator, writer, and editor focusing on interdisciplinary and long-term collaborations with artists and researchers. She has curated exhibitions by artists such as Joan Jonas, Armin Linke, Marjetica Potrč, and Christine Sun Kim, and worked with institutions such as the São Paulo Biennale ; Hamburger Bahnhof, Berlin; Museum of Modern Art, Recife; FLORA, Bogotá; and the Athens Biennale. She is the author of the book Prospecting Ocean (2019, MIT Press) and director of Kunsthall Trondheim.

JAVIER IZQUIERDO Javier Izquierdo is a filmmaker who has written and directed, among others, the documentary Augusto San Miguel ha muertoayer/Augusto San Miguel Died Yesterday, about the pioneer of Ecuadorian cinema.

Izquierdo made the mockumentary Un secreto en la caja/A Secret in the Box (Best Latin American director and FIPRESCI prize in BAFICI 2017) about a fictitious writer Marcelo Chiriboga. He also made the feature film Panamá, a political story based on real events. As a filmmaker and artist, Izquierdo is interested in unveiling unknown artistic figures, exploring the frontiers between documentary and fiction and giving new use to archive film, as in his found footage project Barajas (WIP), which mixes materials derived from four Latin American writers who died in a plane crash in 1983.

EDDIE KING Eddie King is a renowned artisan craftsman based in Oslo. Samples of his work can be seen in landmark restaurants and bars such as Parkteateret, Aku-Aku, The Nighthawk Diner, Villa Paradiso and also institutions such as the National Library. Eddie welcomes customers and visitors to his workshop in Grünerløkka, and over the years he has been the subject of numerous articles, films, TV shows and books.

VILDE VON KROGH Vilde von Krogh is an artist based in Oslo and Barcelona, where she helped, together with a group of other art students, to buy and restore a 16th century vineyard in the nature reserve Montserrat Park, where in 1989 they established the International Artist Centre can Serrat.

She also runs NO.9 – Visningsrom for Samtidskunst in the former Cartoon Museum in a cellar in Oslo, which was awarded best artist-run gallery in 2000.

The gallery now operates as a sporadic pop-up as NO.9 in Exile, or in disguise. Vilde von Kroghisalso a teacher and principal at the experimental Art School Prosjektskolen, located in the former Søilen Theatre in Oslo, which she founded in 2005. Her art practice takes the form of group-related projects as well as solo works and writings, and she has received the Rune Brynestads Minne prize for her contribution to the Norwegian Art Scene.

SYMPOSIUM PARTICIPANTS’ BIOGRAPHIES

GEIR LISTHAUG Geir Listhaug has an educational background in Jazz Studies from Concordia University, Montréal, Canada. He has worked in the field of music education, music production, preventative and cultural work with young people, and most recently in consultancy work, fundraising and community projects.

ANNA MANUBENS Anna Manubens is an independent curator, writer and producer with a preference for hybrid roles at the intersection between research, public programming, close project development and exhibition making.

Before moving back to Barcelona in 2017, she was Head of Public Programmes at the CAPC Musée d’art contemporain in Bordeaux. She had previously combined her independent activity as a curator and programmer with teaching at Universitat Pompeu Fabra (Barcelona) and a part-time curator position at the Belgian artist-run organisation, Auguste Orts, dedicated to the production of, and thinking around, artists’ films. She was artistic director of LOOP for the 2011 and 2012 editions, and is currently a professor at the Elías Querejeta Zine Eskola, a new international centre for the research and practice of cinema in San Sebastián.

EBBA MOI Ebba Moi is an artist, curator, project manager and producer in various self-initiated projects, exhibitions and public assignments. She graduated from Trondheim Art Academy in 1999 and works mainly with socially engaged art. Moi is also involved in running Tenthaus an art collective and artist-run space in Oslo initiated in 2009, and she has taken part in several public art assignments and exhibitions such as the Norwegian Sculpture Biennale, Akershus Kunstsenter, Tenthaus, Kristians and Kunsthall.

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LISE MJØS Lise Mjøs is head of department at the Agency for Cultural Affairs, City of Oslo, as well as managing the Oslo municipal art collection. This includes the City of Oslo art scheme, of which osloBIENNALEN is a part.

Lise Mjøs also manages the Vigeland Museum and the sculptures installed in Vigeland Park, Popsenteret and Øvingshotellet at Schous, and heads the Art Selection Committee for the Ekebergparken sculpture park. Previously, Mjøs was responsible for running the Munch Museum and Stenersen Museum, which was part of the former agency for Oslo municipal art collection and Oslo city archives. For a 10-month period Mjøs, was head of culture at the City Council Department for Culture and Industry. Earlier in her career, Mjøs was a curator at Lillehammer Art Museum and the Norwegian Road Museum at Lillehammer. She also worked as exhibitions curator at the Norwegian Mountain Museum in Lom. She has taught art history to degree level, and worked on various art projects for the municipality of Lillehammer. Mjøs currently holds various board positions on the City of Oslo embellishment scheme, Oslo Open, the Natural History Museum, the Edvard Munch Studio Foundation at Ekely, DKS in Oslo, etc.

CHRISTIAN MONTAROU Christian Montarou is a painter and associate professor at the Faculty of Landscape and Society, The Norwegian University of Life Sciences (NMBU) in Ås, Norway.

As a painter, Montarou has created numerous public works and is represented in several of the main art institutions in Norway. As a lecturer, he is responsible for a teaching program in drawing that is central to the Landscape Architecture degree programme. His practice as both painter and lecturer is informed by Asian philosophy and studies in neuroscience.

JAMES MOORE James Moore is an interdisciplinary artist, curator, and producer concerned with sensory experiences that engage and challenge our perceptions and perspectives.

Since 2014, Moore has been curator-producer for Scenekunst Østfold, the Norwegian partner of IN SITU European Platform for Artistic Creation in Public Space, producing and presenting international artists working in a variety of regional contexts. Much of this work has focused on themes of de-industrialisation, urban renewal, and questions of local democracy in an increasingly globalised world. Projects alternate between large, site-specific spectacles and intimate, participatory activities. Cross-sector collaboration is increasingly incorporated into research and creative development, where the process forms as large a part of the work as activities shared with a public.

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MELISSA ANNA MURPHY Melissa Anna Murphy is associate professor in urban planning at the Faculty for Landscape and Society at the Norwegian University of Life Sciences. She holds a Master’s degree in Architecture from Northeastern University (USA) and a M.Sc. in Urban Ecological Planning from NTNU. She is committed to understanding the role of materials and design in social relationships in urban development and to exploring transdisciplinarity in the production of built environments. Her research interests relate planning, design, management, and use of urban spaces through notions of territoriality, efficacy, democracy, publicness and dwelling. She teaches courses about place-making and spatial analysis.

ALESSANDRA PIOSELLI Alessandra Pioselli is director of the Accademia di Belle Arti G. Carrara of Bergamo, where she teaches the History of Contemporary Art and Public Art. She also teaches on the master’s programme in Economics and Management of Cultural Heritage at Sole24Ore (Milan). She is also an art critic and curator and writes for Artforum. She is the author of “L’arte nello spazio urbano. L’esperienza italiana dal 1968 a oggi,” Johan & Levi, Monza, 2015.

BENEDIKTE RØNSEN Benedikte Rønsen has been public outreach coordinator for osloBIENNALEN FIRST EDITION 2019-2014, with special responsibility for Migrant Car. She was educated as a visual artist, with a Master’s Degree in Pedagogy, and has worked in dissemination and teaching since 2011 for, among others, Henie Onstad Art Centre, Kunstnernes Hus, Oslo National Academy of the Arts and the University of Oslo. From 2013 to 2015, Rønsen worked on art politics as a board member of the Young Artists’ Society (UKS).

EIVIND RØSSAAK PhD, researcher at the 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 litteraturensrandsoner (Spartacus, 2001); Selviakttakelse: Entendensi kunst oglitteratur (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 Memory in Motion: Archives Technology, and the Social (Amsterdam University Press, 2016).

OLE G. SLYNGSTADLI Ole G. Slyngstadli is osloBIENNALEN FIRST EDITION 2019-2014 Executive Director. He has worked on leadership, development and establishing different institutions and projects related to the contemporary art scene. He has, among other things, acted as special advisor to Oslo Municipality (2013-17); festival director for Momentum - The Nordic Biennial for Contemporary Art (2006); communications manager for the Office of Contemporary Art Norway (OCA) (2004–06); and information manager at the Henie Onstad Kunstsenter (2001–03). Slyngstadli has edited several publications, including PRISMA (Henie-Onstad), Verksted Series (OCA), several exhibition catalogues, and a monographic series. He has a master’s degree in Economy and Leadership.

KNUT ERIK TVEIT Knut Erik Tveit is a cultural advisor on performing and fine arts to Oslo Diocese. He holds a Cand. Philol in cultural studies. His work consists of fomenting and facilitating relationships, in widely varying ways, between the 70 Churches that make up the Oslo Diocese and artists and art institutions.

SYMPOSIUM PARTICIPANTS’ BIOGRAPHIES

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osloBIENNALEN FIRST EDITION 2019-2024 participants

osloBIENNALEN FIRST EDITION 2019-2024 PARTICIPANTS

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osloBIENNALEN FIRST EDITION 2019-2024 opened in May with projects by Mikaela Assolent (FR) Benjamin Bardinet (FR) Julien Bismuth (FR) Carole Douillard (FR) Ed D’Souza (UK) Mette Edvardsen (NO) Jan Freuchen / Sigurd Tenningen / Jonas Høgli Major (NO) Gaylen Gerber (US) Marianne Heier (NO) Hlynur Hallsson (IS) Michelangelo Miccolis (IT/MX) Mônica Nador, Bruno Oliveira (BR) Rose Hammer Michael Ross (US) Lisa Tan (US/SE) Øystein Wyller Odden (NO) Some of these are still evolving, with new parts appearing as time advances.

On October 18 and 19, eight new works were launched by artists: Adrián Balseca (EC) Marcelo Cidade (BR) Jonas Dahlberg (SE) Oliver Godow (GE) Katja Høst (NO) Javier Izquierdo (EC) Alexander Rishaug (NO) Knut Åsdam (NO) osloBIENNALEN FIRST EDITION 2019-2024 has initiated an evolving programme of art in public space and the public sphere, set to unfold over the next five years. Over the course of 2019, 24 projects by Oslo- and internationally-based participants are being introduced to the public through display, production, seminars, screenings, publications and more.

The expanding programme of projects and new participants invited for the years ahead will be announced at regular intervals as the biennial moves forward in time.

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osloBIENNALEN FIRST EDITION 2019-2024

osloBIENNALEN FIRST EDITION 2019-2024 TEAM

ACKNOWLEDGEMENTS

Curators Eva González-Sancho Bodero Per Gunnar Eeg-Tverbakk

Editorial Advisors Ketil Nergaard William James Packer

Executive Director Ole G. Slyngstadli

Editor in Chief of Notebook series Ronald Van de Sompel

Head of Production Anna Katharina Haukeland

Co-editor of Notebook series Kjetil Jakobsen

Public Outreach Coordinator Kristine Fresvig Benedikte Rønsen (Feb–Aug 2019)

Researcher Martin Berner Mathiesen

Research and Symposium Associate Juan Canela Claver Curatorial Assistant Håkon Lillegraven Producer Hans Christian Skovholt Head of Communications Hilde Herming House Manager Erikka Fyrand

Institutional Relations Advisor Shwetal A. Patel Project Coordinator Itzel Esquivel Project Assistants Per Christian Høydalsvik Tale Aasheim Erik Love Aronsson Intern Astrid Drejer

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Thanks to all the participants in this symposium, to osloBIENNALEN FIRST EDITION 2019-2024 team members dedicated to its organisation and to all our colleagues at the Agency for Cultural Affairs, City of Oslo.

COLOPHON The biennial’s symposium programme has set out to develop a series of encounters and talks addressing the four conceptual premises, or ‘headlines,’ that characterize the Biennial’s structure: Art Production within a Locality; Addressing the Myriad; New Institutional Ecologies; and Collections for the Passer-by. Artists, art professionals, thinkers, academics, biennial participants and audiences will meet at different moments and places during the biennial, to articulate critical and situated thinking in close dialogue with the participating artists and their works. Following the structure of a book, a manual or a tutorial, the symposium programme is organized as a succession of parts: the prologue, that introduced key aspects of the biennial headlines and future discussions, followed by four chapters of two-day symposia. These are developed in collaboration with specialists to deepen and expand thinking on the four headlines. The various symposia will be followed by a series of ‘footnotes,’ providing views from the periphery in which philosophers, sociologists, urban researchers, educators and artists in conversation with the biennial participants, will give talks at key locations around the city, addressing some of the works. The symposium programme will be summed up in an epilogue that reflects on the outcomes.

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Curated by Eva Gonzรกlez-Sancho Bodero and Per Gunnar Eeg-Tverbakk, osloBIENNALEN FIRST EDITION 2019-2024 is a structural proposal implementing a specially conceived biennial model. With its singular fiveyear programme of art, participants are invited to work with the city, public space and the public sphere.

This expanding programme will evolve and grow, adding and announcing new projects and participants as the biennial moves forward in time. osloBIENNALEN FIRST EDITION 2019-2024 is initiated and financed by the City of Oslo, Agency for Cultural Affairs, Norway.

COLOPHON

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