Kvinnekroppen

KVINNEKROPPEN: En utstilling i anledning Kvinnedagen 2020

Åpningen på kvinnedagen søndag, 8 mars 2020, med vernissage klokka 12. Velkommen!

Besøksadresse er: ARTERIET, Lumberveien 51k, 4621 Kristiansand

Affordance (a fjord dance)

 

 

 

 

 

 

 

 

 

 

 


FEMALE BODY: An exhibition on the occasion Women’s Day 2020

Opening on Women’s Day, Sunday, 8 March 2020, with opening at 12 noon. Welcome!

Address: ARTERIET, Lumberveien 51k, 4621 Kristiansand, Norway



ARTERIET WEBSITEARTERIET FACBOOK | ARTERIET INSTAGRAM


Additional thanks to Women Nordic Music Technology (WoNoMute) for keeping the sound on (for us) all the time and during women’s day/week. My work Stop Bath was included in the playlist of female music compositions. Stop Bath was filmed, edited, produced, with original soundtrack in Oslo, Norway, and first exhibited 2017 at Oslo Art and Fashion Festival, Aker Brygge. Link to the WoNoMute Playlist: https://bit.ly/2xpeEex #contemporaryartist #womeninart #wonomute#norway #womenintech #artscience #art #image #nature #stopbath#nordic #music #sound #women #artists #film


DAMOCLES

DAMOCLES, 2019 – ongoing bound stone series, sculpture, with wool fibers. Exhibited suspended in air, occasionally on pedestals.

The Damocles sculptures allude to power, bonds, ties, and war. Stones have a rich history in and of themselves, being from the earth and of matter, their relationship to human beings started before being wielded as tools. Used for cultivating fields or warding off enemies, stones have also been culturally used to punish and abuse. For the complex associations with stones, they are used in this ongoing body of artworks created to look with curiosity at the nature of doubt, fear, dread, and anxiety. Tied together by soft fibers, only knots and structural tension to hold the stones together. The colour choices of thread are often made with reference to the source of the stones. The site of the stones’ origins is important to the cognitive experience of the sculptures. Though pigments have dynamic and varied cultural associations, the pigments refer to the actual conditions the stones were sourced from, for example: plowed fields bound by brown thread, porous stones from streameds bound by blue, and road or horse trail stones bound by twine such as that used in basket weaving or leash making. The bound stones are suspended in air, wielding an experience foretold in The Sword of Damocles, where the experience of welding power comes with great pressure or anxiety. The bound stones suspended, or on pedestal, reference relationships of power in individual lives, such as friendships, marriages, and business contracts. That which binds separate entities requires trust. Fibers can wear out due to varying factors, while others grow tighter or smoother over time. Vulnerable to tension or cutting, the stone entities rely on the fiber to remain in contact. Damocles (tied stones) project began during The Trélex Residency in February 2019, after years of rumination, and has continued for years after, and many more to come.

 

 

 

 

 

 

 


OMNISCIENT in Imagining New Eurasia Exhibition

Oslo, Norway 오슬로, 노르웨이
OMNISCIENT  전지(全知)
Rachel Wolfe  레이첼 볼프

 

The wisdom of water is the emergence of the emotional body in social practice. Water, according to the Chinese theory of five elements, serves as a symbol and material pathway to the movement and expression of emotions. Water, as symbol and material pathway for energy, is viewed in the new society as sacred to the human experience. The water is to be protected, cherished, and shared amongst people to create a more humane society.

 

물의 지혜는 사회적인 삶에서 분출되는 감정과도 같다. 고대 중국에서 말하는 5대 원소 중의 하나인 물은 움직임과 감정 표현의 상징이자 도구다. 과거 깨끗한 물 관리에 소홀했던 때와 달리 새로운 세계에서는 물을 소중히 여긴다. 새로운 사회에서 물은 에너지로 통하는 길이자 에너지의 상징이다. 이것은 성스러운 인간 경험이다. 그러므로 더욱 인간적인 사회를 구현하기 위해 물을 보호하고 소중히 다루어 모든 이가 공유해야 마땅하다. 물을 아끼고 존중하는 것은 곧 우리 인간 사회를 구성하는 감정을 아끼고 존중한다는 뜻이다.

 

 

rwolfe_omniscient

 


 

Omniscient, 2015, 101.6cm x 304.8cm (40x120in), monolithic photographic image won first place by the Jury and was exhibited in the Here There and Everywhere Exhibition as part of the Imagining New Eurasia project at the Asia Culture Center in Gwanju, South Korea.

Exhibition Imagining New Eurasia

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Real Self Image

Real Self Image, 2015, iPhone and Instagram Filters. The images were made to be scrolled through on a larger television screen in an exhibition to draw critical attention to the cultural fixation on identity and image.

 

The word real is supposed to establish something existing in the world. We can posit knowing an image is not real but is contained within a framework reconstituting an impression of an actuality. The photographic’s relationship to the referent changed drastically with the advent of digital imaging technology. Manipulation became increasingly prevalent and image making became a form of painting. Image manipulation has been around long before photography, however, the apparatus of photography, facilitates a diving into structures of falseness and accuracy.

 

 The question is Real on what basis? From the 2000’s forward, unreal, would be almost impossible to pin down. Therefore Virtual, Tactile, Projected, and other words suggestive of qualities come to rescue conceptions of Real.

 

Real Self Image looks at looking, and points towards the logical errors and oversights possible in reading an image. As Cletus Dalglish-Schommer described art movements in his course of Conceptualism to Post-Modern Art at Otis Grad Fine Arts, “trust me art”, implies trust, not only in the visual creations themselves but in the words affixed to the creation’s history. For an artist say say: I am telling the truth, will most certainly be met with: “there is no truth,” “there are only many truths,” “art is a lie that tells the truth.” Real Self Image is an attempt to point toward simultaneously toward the image and the viewer and ask: who decides?

 

A hoodie with the word “REAL” is worn on the self-portrait of the artist wearing a sea-salt paste over the face. Both water and salt are repeated elements in the works of the artists, for their complex compositions and relationships to commerce and trade. Salt and water are among the most common, abundant resources on earth. Placing such commonplace materials onto a face with the “Passport Photo” expression points towards the globalist movements promising liberation at technocrat expenses.

 

The scrolling aspect of Real Self Image may not immediately conjure memories of reading writing on scroll format; but is contained in the presentation to point towards the certitude of death. For if Identity supersedes Real, and Image supersedes Actual, the terms of value in life invert the values understood to be generative of life. The way someone or something appears may change the way they are understood within the viewer, but does not necessarily change what was actually there.

 

The upside-down, single-reflex apparatus photography was built suggests turning things upside down to get a gain a thorough looking at, versus affixing materials or meaning to chromatic shades of spectral value. The tonal masks ascribed value or meaning, are a bit like grown-up colouring books and the self-portrait and viewer are the sites of value and meaning.

 


 

Real self image, 2015. Scrolling touch screen installation.

chrome image

fade image

green image

instant image

mono image

noir image

none image (original)

process image

real image

tonal image

transfer image

 

chrome_960 fade_960 green_960 instant_960 mono_960 noir_960 original_960 process_960 real_960 tonal_960 transfer_960