2012 was a great year for my art practice in many ways. First and foremost I was in April given a work grant that turned my everyday life upside-down in the most pleasant way giving me the opportunity to fully commit to my studio at Grünerløkka Lufthavn.
Early 2012 I made my publication partitur available at Printed Matter in New York and at Torpedo in Oslo.
Spring was dedicated to presswork and PR for Oslo National Academy of the Arts' Fine Arts graduation show, 20 MA Exhibitions. A lot of work organizing it as it had spread out all over Oslo, but also a lot of fun working with the students again.
Summer was all about scenography for the Norwegian theatre group Leikhús. The play was entitled Og Alt Skal Bli Borte (directly translated: And Everything Will Vanish) and was intended as a play for adults and children from the age of 7. Creatively this was a new area for me, but working in a team to find visual sollutions to fit together with Gudmund Bolstad Skjær's compositions and Kristofer Blindheim Grønskag's manuscript was a great way of spending the summer. As an "old" cinematographer I loved playing around with old light bulbs and machines again, and based the whole scenography on overheads. We had our premiere in the small town of Stjørdal at the end of August and had another performance in Trondheim some months later.
Spring was dedicated to presswork and PR for Oslo National Academy of the Arts' Fine Arts graduation show, 20 MA Exhibitions. A lot of work organizing it as it had spread out all over Oslo, but also a lot of fun working with the students again.
Summer was all about scenography for the Norwegian theatre group Leikhús. The play was entitled Og Alt Skal Bli Borte (directly translated: And Everything Will Vanish) and was intended as a play for adults and children from the age of 7. Creatively this was a new area for me, but working in a team to find visual sollutions to fit together with Gudmund Bolstad Skjær's compositions and Kristofer Blindheim Grønskag's manuscript was a great way of spending the summer. As an "old" cinematographer I loved playing around with old light bulbs and machines again, and based the whole scenography on overheads. We had our premiere in the small town of Stjørdal at the end of August and had another performance in Trondheim some months later.
I continued curating the trans art event ++ with six more successful nights at Black Box Teater; still learning a lot about how to organize an event as interesting and smooth as possible. We are now ready for another season in 2013!
Invitations from venues and publicists and new projects in my studio emerged, and resulted in publications of experimental and concrete poetry abroad. By the end of 2012 I had work published by no press in Calgary, Matrix Magazine in Montreal (Canada), In Edit Mode Press in Malmö (Sweden) and Edition Ch in Graz/Vienna (Austria).
Invitations from venues and publicists and new projects in my studio emerged, and resulted in publications of experimental and concrete poetry abroad. By the end of 2012 I had work published by no press in Calgary, Matrix Magazine in Montreal (Canada), In Edit Mode Press in Malmö (Sweden) and Edition Ch in Graz/Vienna (Austria).
Late 2011, In Edit Mode Press and Derek Beaulieu invited me to contribute to their new publication LOCAL COLOUR: GHOSTS, VARIATION. I chose to compose a piece of 3 movements which we recorded in a Oslo studio in June. I was granted a project grant from Billedkunstnernes Vederlagsfond and OCA (Office of Contemporary Art, Norway) for traveling to Malmö together with my two musicians in December. There we performed First Of All There Is Blue at Signal -Center för Samtidskonst. Phenomenal publication and great people!
The year's last (which was predicted to be the world's last ever) event Winter Solstice found place at Atelier Nord in Oslo, December 21st. Here I showed the paper based project We Built This City On Rock And Roll published in Matrix Magazine some months before.
With upcoming projects still unannounced, this is, so far, the start of 2013.