Thursday, 19 July 2018

Fondation d'entreprise espace écureuil pour l'art contemporain



The Generation of the Peacocks (Down Tot Myo Sat)
Single Channel HD Video. Duration 5.17 min
Thangyat is one of the oldest examples of Burmese song culture. It is performed with a lead singer who has a dancing chorus behind him which responds to the main singer. Thangyat can be funny and satirical combining politics, poetry, dance and music. Traditionally, troupes of Thangyat singers celebrate the yearly Burmese water-festival with songs, chants, dances and plays. The performances were banned for decades because they often have an anti-authoritarian slant but have been officially allowed since 2013. Still, Thangyat groups were required to send their chants to the regional government’s Information and Public Relation Department for approval also in 2015. According to government rules, chants cannot feature “one-sided accusations and criticisms that could affect the dignity of the Union of Republic of Myanmar and the government” and must not “lead to the disintegration of national solidarity”. The student movement in Burma has been a very important political force in the most pivotal events in its brutal history. Even after the new political reforms several university students who work politically have been intimidated and arrested.
Fearuring: Zayar Lwin, Min Thu Kyaw, Paing Ye Thu, Aung Aung, Tint Tint Su, Paing Phyo Min, Nan Lin & Han Htoo Khant Paing

A Visibility Matrix
09.21.18 - 10.21.18
Fondation espace écureuil pour l'art contemporain
3 place du Capitole
31000 Toulouse

France

L’artiste irlandais Gerard Byrne puise ses sujets dans l'univers médiatique. Qu'il s'agisse de la reconstitution d’un débat publié dans « Playboy » en 1972 ou de la mise en scène d'un texte paru en 1928 dans la revue La Révolution Surréaliste, les films de Byrne voient débattre des personnalités du XXe siècle – artistes, écrivains, hommes d’affaire – de questions sociales et politiques de leur époque. Pour A Visibility Matrix, Byrne collabore avec un complice de longue date, l’artiste sonore Sven Anderson. Ils s’intéressent ici au web et aux technologies de mise en réseau. L’œuvre se compose en effet de l'agrégation de nombreuses images abordant la question du visible. Artistes, cinéastes, anthropologues, documentaristes..., un large réseau de contributeurs a transmis des films aux artistes, leur confiant le rôle de grands ordonnateurs. Ils ont conçu la matrice, une longue séquence d'images synchronisées et disséminées dans un dispositif multi-écrans présenté pour la première fois en juin 2018 à la Douglas Hyde Gallery de Dublin. Les écrans s’animent et s’éteignent selon une partition complexe rendue possible par le logiciel développé par Byrne et Anderson ces dernières années.

Friday, 29 June 2018

Ernas Video # Juraj Dobrila University of Pula


9th Annual IIPPE Conference – University of Pula, Croatia, 12–14 September 2018

The State of Capitalism and the State of Political Economy # Ernas Video at Juraj Dobrila University

Erna Solberg, the Norwegian prime-minister from the conservative party, Høyre, decided some years ago to use media as a political tool in order to reduce the influx of asylum seekers coming from the Balkans. These TV-productions was produced and broadcasted locally without informing the viewers that they were funded and initiated by Norwegian sources. A stark contrast to the principles promoted by the Norwegian educational projects in the Balkans regarding fair and objective journalism, also initiated by the same politicians.

`In his video titled "Erna's Video", the Norwegian artist Karl Ingar Røys analyses the production of documentaries whose aim is to inform the population of the less developed countries in Europe and worldwide of Norwegian tough immigration requirements. The films were conceived and commissioned by Erna Solberg, the former Minister of Local Government and Regional Development in the Norwegian government. Some independent media from the Balkan region also took part in their production. Karl Ingar Røys' work consists of showing the video and organizing discussions with the members of the film crews taking part in Erna's project, as well as with the local audience.`- Nebojsa Milikic, Rex Culture Center Belgrade

Juraj Dobrila University
Zagrebačka ul. 30
52100, Pula, Croatia
 

Thursday, 28 June 2018

Finissage & artist talks Vestfossen Kunstlaboratorium




Preview – Foto: V Scholz

RIANXEIRA Single Channel HD Video. 15.11 min.

La Solfónica is a choir based in Madrid, which grew out of the protests at Puerta del Sol on May 15, 2011, the day after which the “15-M” movement is named. Formed in the run-up to regional elections, its members, inspired by the Arab Spring, demanded change in a system dominated by the conservative People’s Party and the center-left Socialist Workers’ Party, which was in power at the time. Performing classical music at demonstrations, the choir follows the tradition of composers like Giuseppe Verdi, who in the opera Nabucco propagated the liberation of northern Italy from Austria. This opera was written in 1841 and became closely linked with the Italian unification movement. David Alegre, conductor of La Solfónica, says the same message still resonates today in Spain, more than 170 years later. At that time he says, “it was a political military occupation but today the occupations are economic and ideological. We apparently have a democracy in Spain but they repress democratic features that allow citizens to participate and really change things”. Rianxeira is a film about collective resonance and dissonance as dissidence.

Velkommen til finissage med artist talks for Østlandsutstillingen 2018 på Vestfossen Kunstlaboratorium
søndag 12.08. kl 16-18.
Enkel servering.

Årets Østlandsutstilling, den 39. i rekken, består av to likestilte utstillinger som vises overlappende i Vestfossen Kunstlaboratorium fra 5. mai og i Trafo Kunsthall fra 9. juni.

Årets to utstillingssteder er på mange måter ulike hverandre, men har også visse fellestrekk – beliggenheten, i direkte nærhet til en togstasjon, og lokalitetenes opprinnelse fra industriell virksomhet. I Vestfossen eksisterte det fra 1886 til 1970 en papir- og cellulose fabrikk. Fabrikken ble nedlagt i 1970 og stod deretter tom i over 20 år, frem til kunstneren Morten Viskum kjøpte bygningen i 2001 og forvandlet de gamle fabrikklokalene til et visningssted for samtidskunst. Transformator-stasjonen i Asker ble bygget i 1922 for å sikre strømforsyning til Drammensbanen. Etter nedleggelsen av transformatorvirksomheten åpnet Galleri Trafo her i 2006. Begge bygningene i Vestfossen og Asker er bygget i teglstein og begge visningssteder har flotte gallerirom med stor takhøyde i røffe bygninger. Begge institusjoner har bygget seg opp basert på frivillig innsats fra idealister, Vestfossen basert på kunstnerdrevet initiativ og Trafo basert på samarbeid mellom politikere og kunstnere.


Monday, 11 June 2018

The Art of Transition at Tentacles Art Space Bangkok




Welcome to a screening and presentation by the Norwegian artist Karl Ingar Røys who will present some of his recent films who all focus on the voice as an instrument of dissidence.


The Art of Transition

2198/10-11 Soi Taweewattana
Yannawa, 10110 Bangkok, Thailand
Saturday June 16 at 18.00


  
Films:
Burmese Days
Two Channel HD Video. Duration 16.51 min
 Burmese Days looks at cultural production in Yangon and how it has been affected by the political regime. The two-channel film takes its name from George Orwell’s novel of the same title. Some Burmese regard Orwell’s books as prescient: tracking Burma’s recent history from colonial oppression in Burmese Days, the socialist military coup in Animal Farm, to the tyrannical dictatorship portrayed in his most famous novel 1984. Burma was ruled by a military junta from 1962 to 2011, which controlled all artistic production; censoring works including George Orwell’s novels and forcing galleries to seek permission for the artworks they exhibited. Røys’ Burmese Days occupies the aftermath of the 2012 media reforms and intimately portrays Yangon as a site where the personal and the political are overlaid. Drawing upon the real experiences of individuals who lived under the regime – from the punk vocalist Skum with outspoken lyrics and the artist San Zaw Htway who makes work out of rubbish – Røys intertwines subjectivity into an uncertain reality. 
- Cassandra Needham. John Jones Project Space, London. UK

Featuring: Eaid Dhi, JME, Maung Oo, Min Htin Ko Ko Gyi, San Zaw Htway, SKÜM
Translation: Aung Ba Nyo, Khin Maung Saw, Mary Hla & So Moe Aung
Advicers: Audun Aagre. The Norwegian Burma Committee & Ma Thida, Yangon
Sound: Matthias Kispert. Camera: Karl Ingar Røys


The Generation of the Peacocks (Down Tot Myo Sat)
Single Channel HD Video. Duration 5.17 min

Thangyat is one of the oldest examples of Burmese song culture. It is performed with a lead singer who has a dancing chorus behind him which responds to the main singer. Thangyat can be funny and satirical combining politics, poetry, dance and music. Traditionally, troupes of Thangyat singers celebrate the yearly Burmese water-festival with songs, chants, dances and plays. The performances were banned for decades because they often have an anti-authoritarian slant but have been officially allowed since 2013. Still, Thangyat groups were required to send their chants to the regional government’s Information and Public Relation Department for approval also in 2015. According to government rules, chants cannot feature “one-sided accusations and criticisms that could affect the dignity of the Union of Republic of Myanmar and the government” and must not “lead to the disintegration of national solidarity”. The student movement in Burma has been a very important political force in the most pivotal events in its brutal history. Even after the new political reforms several university students who work politically have been intimidated and arrested.

Fearuring: Zayar Lwin, Min Thu Kyaw, Paing Ye Thu, Aung Aung, Tint Tint Su, Paing Phyo Min, Nan Lin & Han Htoo Khant Paing
Translation: Nilar Kyaw. Camera/Sound: Karl Ingar Røys


Rianxeira
Single Channel HD Video. Duration 15.11 min

La Solfónica is a Spanish choir based in Madrid, which grew out of the protests at Puerta del Sol on May 15, 2011, the day after which the “15-M” movement is named. Formed in the run-up to regional elections, its members, inspired by the Arab Spring, demanded change in a system dominated by the conservative People’s Party and the center-left Socialist Workers’ Party, which was in power at the time. Performing classical music at demonstrations, the choir follows the tradition of composers like Giuseppe Verdi, who in the opera Nabucco propagated the liberation of northern Italy from Austria. This opera was written in 1841 and became closely linked with the Italian unification movement. David Alegre, conductor of La Solfónica, says the same message still resonates today in Spain, more than 170 years later. At that time he says, “it was a political military occupation but today the occupations are economic and ideological. We apparently have a democracy in Spain but they repress democratic features that allow citizens to participate and really change things”. Rianxeira is a film about collective resonance and dissonance as dissidence.

Music: Pau Casals: Song of the Birds, La Solfónica
Voiceover: David Alegre (Conductor), Elena Gómez Trigo (Vocal Coach) & Ana Olmos (Song)
Camera/Sound: Francisca Valenzuela Moguillansky & Karl Ingar Røys
Translation: Francisca Valenzuela Moguillansky


Bright Collection of Small Victories
Single Channel HD Video 17 min. (2016)

Trishaws, or cycle rickshaws (called saiq-ka in Burmese, a phonetic translation of the English 'side-car') are one of the most readily available forms of short-distance transport in Myanmar. In the roundabout at the Sule Pagoda in Yangon, the words “Aung San Suu Kyi” are being repeated over and over again by the rider whenever he is in motion. The rider circle the roundabout eight times managing his way in the heavy traffic.

The brutality of the Burmese military junta made international headlines following the massacre of hundreds of peaceful pro-democracy protesters in 1988. When, in 1990, the party of opposition politician Aung San Suu Kyi won an overwhelming election victory, the generals ignored the results and Aung San Suu Kyi was kept under house arrest. Pinning her picture up, in public or in private, became grounds for arrest. All the more startling, then, was the design of a modest banknote that the government commissioned and published at that time. The designer of the new one-kyat note was a political supporter of Aung San Suu Kyi and he saw an opportunity for subversion in his task. He knew the note must include an image of Aung San Suu Kyi’s late father, General Aung San. The general was the founder of the Burmese army, and was revered by the Burmese for his pivotal role in securing his country’s independence from British colonial rule. 

The designer engraved the image of the general in the watermark. As he drew, however, he subtly softened the sharp line of the soldier’s jaw. He also used a light hand when drawing the general’s eyes, nose, and mouth. From these slight, almost imperceptible changes emerged a powerful form of sedition: The face of the father was gently transformed into the face of the daughter. The censors approved the design—failing to notice that the watermark resembled the daughter more than the father. With the subversive image in place, the banknote was printed, distributed, and put into mass circulation.

In tea shops and pagodas across the country in the weeks and months that followed, people whispered to each other as they studied the new note with its hidden portrait of “The Lady,” as Aung San Suu Kyi is known to her compatriots. Aung San Suu Kyi’s name, incidentally, translates as “Bright Collection of Small Victories.” The act of subversion wasn’t limited to the main portrait. The floral design consists of four circles of eight petals—eight around eight around eight around eight, echoing the date of Burma’s “four-eights” uprising that began on 8/8/88. Although the people held up the banknote with disbelief and pride, it was not pride that the generals felt. The subtly defiant one-kyat note was withdrawn from circulation and possession of the banknote became illegal. Those who kept it continue to treasure it. It is known as the “democracy note.”



Friday, 8 June 2018

The Pansodan Sessions Yangon


The Generation of the Peacocks
Thangyat is one of the oldest examples of Burmese song culture. It is performed with a lead singer who has a dancing chorus behind him which responds to the main singer. Thangyat can be funny and satirical combining politics, poetry, dance and music. Traditionally, troupes of Thangyat singers celebrate the yearly Burmese water-festival with songs, chants, dances and plays. The performances were banned for decades because they often have an anti-authoritarian slant but have been officially allowed since 2013. Still, Thangyat groups were required to send their chants to the regional government’s Information and Public Relation Department for approval also in 2015. According to government rules, chants cannot feature “one-sided accusations and criticisms that could affect the dignity of the Union of Republic of Myanmar and the government” and must not “lead to the disintegration of national solidarity”. The student movement in Burma has been a very important political force in the most pivotal events in its brutal history. Even after the new political reforms several university students who work politically have been intimidated and arrested.
Fearuring: Zayar Lwin, Min Thu Kyaw, Paing Ye Thu, Aung Aung, Tint Tint Su, Paing Phyo Min, Nan Lin & Han Htoo Khant Paing
Translation: Nilar Kyaw. Camera/Sound: Karl Ingar Røys.
Part of the screening program "The Art of Transition - the voice as an instrument of dissidence”



Welcome to a screening and discussion by the Norwegian artist Karl Ingar Røys who will present some of his recent films on the theme – The Art of Transition. 

Pansodan Scene
144 Pansodan Street
Kyauktada, Yangon
Myanmar
 
June 8, 2018
at 18.00

Free admission

Films:
* Burmese Days - Two Channel HD Video. Duration 16.51 min. (2016)
* The Generation of the Peacocks (Down Tot Myo Sat) - Single Channel HD Video. 
   Duration 5.17 min. (2016)
* Rianxeira - Single Channel HD Video. Duration 15.11 min. (2018)
* Bright Collection of Small Victories - Single Channel HD Video 17 min. (2016)

Tuesday, 29 May 2018

A Visibility Matrix, Ireland


The Douglas Hyde Gallery
Trinity College
Dublin, Ireland
June 7 - August 25, 2018

 Videostill from Caminata Nocturna by Karl Ingar Røys

The Douglas Hyde Gallery is delighted to present an ambitious new artwork that explores the politics and conditions of visibility. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, 'A Visibility Matrix' assembles contributions from a distributed panel of artists, film-makers and others within a synchronised, multi-channel video installation that will be presented for the first time in Gallery 1 of The Douglas Hyde Gallery.

'A Visibility Matrix' unfolds as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multiscreen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life. Considered now, the plural voices of these experiments in perception and communication simultaneously prophesise and bypass the homogenised conditions that have come to be accepted as network culture.

Exploring the paradigms of what we see and how we construct visual knowledge, 'A Visibility Matrix' returns to the instincts of these projects. It proposes a condensed counterpoint to the migratory, hyper-networked nature of visibility in contemporary culture by conjuring an offline matrix of video material presented in the gallery space for communal observation. The artwork speculates on an alternative to the composite formed by subject + smartphone + online-video-sharing-platform that has come to represent the current standard of visibility. It gathers content through an associative network of collaborators including visual anthropologists, cinematographers, documentary filmmakers and others from across the globe. By shifting focus from the production of images for sharing online to their reception in a shared, fixed-time spatial context, 'A Visibility Matrix' offers another window on visual excess, confronting its own situated spatiality in order to reflect the more universal conditions that it addresses.

'A Visibility Matrix' manifests as a network of screens and spatial gestures, in which we observe images being duplicated, mirrored and displaced. These gestures unfold over days and months of exhibition, pursuing both repetition and re-assembly. This system speculates on the possibilities of video not as passive image but as an active signal, and the gallery as a site of condensation; a shared space and a space of reflection.

The extended-duration sequences that surface through the artwork are assembled from video material aggregated from a network of collaborators including:

Daniel & Marie Law Adams Rosa Aiello Aaron Anderson Matthew Bakkom Rosa Barba Eric Baudelaire Ericka Beckman Maeve Brennan Andreas Bunte Duncan Campbell Jonas Dahlberg Matija Debeljuh Jeanette Doyle Dennis Del Favero Moritz Fehr Diego Ferrari Darko Fritz Rene Gabri & Ayreen Anastas Mariam Ghani & Chitra Ganesh Ross Gibson Judith Goddard Igor Grubić Jennie Guy Louis Haugh Kathy High Klara Hobza Jere Ikongio & Katja Kellerer John Lalor Charles Lim Jeanne Liotta LoVid Fiona Marron Hrvoje Mabić Ivan Marušić Klif Nicholas Mangan Edward Mattiuzzi Peter Maybury Ronan McCrea Conor McGarrigle Toni Meštrović Abinadi Meza Suzanne Mooney Nadija Mustapić Arnont Nongyao Dietmar Offenhuber Tadhg O'Sullivan Jack Phelan Piyarat Piyapongwiwat Jason Quinlan Eugenia Raskopoulos Lucy Raven Ben Rivers Karl Ingar Røys Adam Sekuler Craig Smith Michael Bell-Smith Stephanie Spray Steve Sprung Danae Stratou José Carlos Teixeira Leslie Thornton Gabriele Trapani Sara Velas Jeremy Welsh Clemens von Wedemeyer Grace Weir Krzysztof Wodiczko Tintin Wulia

This material was gathered, filtered and annotated working with editorial collaborators Matthew Bakkom, Victoria Brooks, Rhea Dall, Moritz Fehr, Igor Grubić, Dan Kidner, Nikos Papastergiadis and Oraib Toukan, and assembled with support from Louis Haugh and Fiona Marron.

'A Visibility Matrix' is an artwork formed through its infrastructure, system design and spatial permutations. The artwork will continue to evolve as it moves from space to space, from the Toulouse Arts Festival in September 2018 to Void Gallery in Derry/Londonderry in January 2019.

Thursday, 3 May 2018

Rianxeira - Østlandsutstillingen 2018, Vestfossen Kunstlaboratorium

Kom og se min siste film Rianxeira som vises på Østlandsutstillingen 18, Vestfossen Kunstlaboratorium
5 mai-12 august 2018. Velkommen til åpning 5 mai kl 13.30

 Videostill.

Rianxeira (2018)
Single Screen HD Video. 15.11 min.

La Solfónica er et kor som vokste ut av protestene i Madrids Puerta del Sol 15. mai 2011. Koret opptrer i demonstrasjoner med et mål om å bringe klassisk musikk ut av institusjonene og aktualisere en samtidstematikk helt i ånden til komponister som Giuseppe Verdi som i operaen Nabucco (1841) kjempet for en frigjøringen av Nord-Italia fra Østerrike. Dirigenten i La Solfónica David Alegre sier at Nabuccos budskap fortsatt resonerer i Spania, mer enn 170 år senere. ”På den tiden var det en politisk og militær okkupasjon, i dag er okkupasjonen økonomisk og ideologisk." Rianxeira er en film om kollektiv resonans og dissonans som dissidens.
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La Solfónica is a choir based in Madrid, which grew out of the protests at Puerta del Sol on May 15, 2011, the day after which the “15-M” movement is named. Formed in the run-up to regional elections, its members, inspired by the Arab Spring, demanded change in a system dominated by the conservative People’s Party and the center-left Socialist Workers’ Party, which was in power at the time. Performing classical music at demonstrations, the choir follows the tradition of composers like Giuseppe Verdi, who in the opera Nabucco propagated the liberation of northern Italy from Austria. This opera was written in 1841 and became closely linked with the Italian unification movement. David Alegre, conductor of La Solfónica, says the same message still resonates today in Spain, more than 170 years later. At that time he says, “it was a political military occupation but today the occupations are economic and ideological”. Rianxeira is a film about collective resonance and dissonance as dissidence.

Supported by Office for Contemporary Art Norway 

 
Deltagende kunstnerne Vestfossen Kunstlaboratorium:

Damir Avdagic - Javier Barrios - Patrik Berg - Peder K. Bugge - Sandra Burek - Mattias Cantzler - Anne Marthe Dyvi & Mao Mallona - Anne-Kari Engelstad - Berit Myrvold - Anders Pfeffer Gjengedal - Peter Mohall - Elin Glærum Haugland - Ana Maria Lopez - Astrid Mørland - Arne Revheim- Hedvig Lien Rytter - Sara Rönnbäck - Karl Ingar Røys - Marit Silsand - Wendy Elvedal Stolp - Øyvind Sørfjordmo - Ingrid Torvund - Endre Aalrust - Gelawesh Waledkhani

Fondation d'entreprise espace écureuil pour l'art contemporain

The Generation of the Peacocks (Down Tot Myo Sat) Single Channel HD Video. Duration 5.17 min Thangyat is one of the oldest e...