THE ANIMATE LANDSCAPE , DET BESJÆLEDE LANDSKAB (UPCOMING 2023)
INGENLUNDE HELLIG , NOT SO SACRED GROVE
In the grove, among Quercus and Swietenia, scenes are playing-out, starring a wild and wilful nature. Aegopodium podagraria, Fagus sylvatica, Rubus plicatus and Circaea lutetiana, plants that surround us on a day to day basis, that we often take for granted as passive, almost lifeless objects, are dancing and gesturing, and acting differently, from what we are used to, not inanimate and inert, but in free and expressive movement.
The extermination of the sacred groves, which was committed by Christian missionaries from around the 2nd and 3rd centuries until the 13th century, brought with it a new view of nature. The old nature religions were razed to the ground in favour of Christianity and a view of nature which reaches into how nature is being approached, particularly in the West today.
The approach went from a worship of nature as the creator of everything, and something one had to live in respectful harmony with, to a new dogmatic view of a nature that was not creative in itself, but a creation created by the one true God and given as a gift to man, as an enormous resource, for free use and exploitation.
The worship of nature was considered blasphemy, an expression of idolatry. The wilderness of the summit of the green-clad hill had to be tamed, and its hidden idols driven away. The trees were felled and with them the fauna followed. The magic was gone.
Photo: Susann Jamtøy/Babel.
The exhibition was made possible with support from Norwegian Visual Artists Fund, Arts Council Norway and the Danish Arts Foundation.
SILLY, SORRY FOR CALLING YOU AN INANIMATE OBEJCT
Silly, Sorry for Calling you an Inanimate Object was an exhibition part of the Temporary Institute of Coexistnce, created my Mikkel Elming and Gry Worre Hallberg.
Institute of Coexistence is created in response to the current ecological, social and biological crises. The aim is to reflect on and investigate alternative ways of coexistence that may create a better world. Danish artist Gry Worre Hallberg created the physical and theoretical framework for the exhibition series.
The institute was divided into two rooms: in the first one was to unfold perspectives on coexist-ence and interaction between humans and other species. In the second room was to leave behind a small presentation reflecting on the artistic research that had been conducted while inhabiting the institute.
Curator Mikkel Elming
Photo: The Museum Centre of Turku / Ville Mäkilä.
The exhibition was supported by Arts Council Norway, Danish Arts Foundation, Norwegian Visual Artists Fund.
MORFOLOGIER , MORPHOLOGIES
THE SIGNIFICANT OTHER
The Significant Other, 11K Digital Video. 15.37 min. duration. 2020
The Significant Other revolves around the invisible ecosystem we are all part of, living as well as non-living, and presents a soluble landscape on a macro level, consisting of bacterial cultures, which are not defined by boundaries, but which are everywhere, both outside and inside in our bodies.
voice acting by Chloe Elgie
The piece was first exhibitited at PODIUM in Oslo. Made with help and support from David Tobias Bonde Jensen, Thomas Bremerstent, Lesia Vasylchenko, Ignas Krunglevicius, Ayatgali Tuleubek and Ragnhild Aamås.
Photo: Ayatgali Tuleubek. Oslo. 2020.
The exhibition was supported by Arts Council Norway.
WINDOW OF OTHERWORLDLY DELIGHTS
Video installation, 3D-animation. Multi-channel 4K-Digital Video (9:16) 5 min. Loop. 2020.
Exhibited at Studio17 & K4 in 2020.
Photo 1,2,3: Mirja Majevski. Stavanger. 2020.
The exhibition was supported by Danish Arts Foundation, Arts Council Norway.
DET BEVIDSTE LANDSKAB
1 minut cut of Det Bevidste Landskab 7 Sentient Landscape. 4k-Digital Video (16:9). Stereo Sound 44000 HZ, 24-BIT. Duration 13.26 min. 2019.
Det Bevidste Landskab. Exhibition at SOL in Nexø, Denmark. 2020. Curated by Sofie Amalie Andersen.
Video, total installation and publication made in collaboration with Andreas Vermehren Holmn, Writer, editor and publisher at Forlaget Virkelig. With contributions by Anders Dunker & Bruno Latour, Ursula K. Le Guin, Kim Laybourn, Sofie Amalie Andersen and Andreas Vermehren Holm
Download the publication here
“Creation is composed of the descending movement of gravity, the ascending movement of grace and the descending movement of the second degree of grace” - Excerpt from Gravity and Grace by Simone Weil
A soft wind blows through the landscape while alternating images of flowers, grass and heather appear. What seems like a field of poppies under a blue sky is seen in the background; next we are in a desert with cactus flowers and purple rock formations in the horizon. We hear sounds from the bushes, sounds of movement, of life. Or?
During the film projected on the wall in Sol, the small movements start to look more and more strained. The shape of the flowers changes while the crackling sounds intensify. Slowly we start to combine the sound and pictures and an unusual scenario emerge in front of us: a landscape in the process of a meltdown.
The word Landscape originally arose as a technical term among the flemish painters. In painting, an impression or illusion of a landscape can develop in the mind of the subject observing it. It is not essential whether the motif refers to a fictitious landscape or a piece of land existing in the physical world. Only for a short moment the relation to reality is central – then perception takes over.
The philosopher Georg Simmel wrote in his text The Philosophy of Landscape that contrary to the notion of ‘a piece of land’ the understanding of ‘landscape’ is dependent on it’s own limitation. Because where nature is a boundless totality of a whole (and indivisible), the landscape has moved out from nature and in to a being for it self which only becomes visible under certain conditions.
In arts’ many representations of landscape we are often reminded of the aspect ratio between ourselves, humans, and the wild, sublime nature. But in this exhibition by Kim Laybourn, the landscape is created by the artist himself – in collaboration with modern industrial production facilities – and there is no-one to mediate the experience for us. We are ourselves placed in the middle of the landscape, and during it’s gradual meltdown we become more and more conscious of the powers that effect the landscape, change it and finally destroy it. Destructive powers that – as we learn during the film – are applied by the artist, the human, ourself.
Text by Sofie Amalie Andersen, June 2020
The exhibition was supported by: Danish Arts Foundation, Arts Council Norway, Nordic Culture Point and Kunst- og Kulturhistorisk Råd (Bornholms Regionskommune) 𓇚
DET BEVIDSTE LANDSKAB
, SENTIENT LANDSCAPE
2017-2019 MFA; Master of Fine-Arts Degree. Oslo National Academy of the Arts. Oslo, NO.
2014-2017 BFA; Bachelor of Fine-Arts Degree. Oslo National Academy of the Arts. Oslo, NO.
2022 Ingenlunde Hellig / Not So Sacred Grove, Babel, Trondheim, NO.
2022 The Temporary Institute of Artistic Research into Ways of Coexistence, WAMx, Wäinö Aaltonen Museum of Art, WAM, Turku, FI.
2021 YOWL2, Uncannyvalley.dk, (w/ David Tobias Bonde Jensen). Online, NO/DK.
2020 Window of Otherworldly Delights (extended version), K4, Oslo, NO.
2020 YOWL, Løvens Hule, (w/ David Tobias Bonde Jensen). Online, NO/DK.
2020 Det Bevidste Landskab, Sol, Nexø, DK.
2020 Window of Otherworldly Delights, Studio17, Stavanger, NO.
2020 The Significant Other, PODIUM, Oslo, NO.
2019 The Significant Other, TA-DA, Copenhagen, DK.
2018 Harmonious Dystopia, Akademirommet, Kunstnernes Hus, Oslo, NO.
2023 Abundance, The 46th edition of Tendenser biennial, Galleri F 15, Moss, NO.
2022 Jeg kaller det kunst, Nasjonalmuseet, Oslo, NO.
2021 (u)synlige virkeligheder, Vandrehallen Kunsthal, Hillerød Library, Hillerød, DK.
2021 Mapping an Unlimited Landscape, Danish Cultural Center, Beijing, CN.
2020 Expanded Animation, The Animation Workshop, Viborg Museum, Viborg, DK.
2020 Oslo City, BOA, Oslo, NO.
2019 100, Galleri CC, Malmö, SE.
2019 Struktura-Time, The Wrong Biennale 2019/2020, Online. Oslo, NO.
2019 MFA GRADUATION SHOW, Kunstnernes Hus, Oslo, NO.
2019 Supermarket 2019, Stockholm Independent Art Fair. Represented by TA-DA. Stockholm, SE.
2017 BYOB, Field of Dreams, Oslo, NO.
2017 Høstutstillingen 2017, Statens 130 kunstutstilling, Kunstnernes Hus, Oslo, NO.
2017 Avgang 2017, BFA Graduation Show, KHIO, Oslo, NO.
2017 Charlottenborg Spring Exhibition MMXVII, Kunsthal Charlottenborg, Copenhagen, DK.
SELECTED GRANTS & STIPENDS:
2022 SKS Diverse stipend, Arts Council Norway. NO.
2021 SLKS Working grant. Danish Arts Foundation. DK.
2021 SKS 2 year working grant newly established artists. Arts Council Norway. NO.
2020 SKS Covid-19 temporarily grant. Arts Council Norway. NO.
2020 SLKS Working grant. Danish Arts Foundation. DK.
2020 BKV Working grant. Billedkunstnernes Vederlagsfond. 1 year. NO.
2019 FKDS Studio grant at Kunstnernes Hus. Fonden for kunst-og designstudenter. NO.
2019 SKS Diverse grant for newly graduated artists. Arts Council Norway. NO.
2021 Residency: Notam, Norsk senter for teknologi i musikk og kunst. Oslo, NO.