This winter, Kunstnernes Hus has the pleasure of presenting the international group show Holding Pattern. What are the choreographies in which our lives are held and what rhythms, or algorithms, drive these? How do these play out in historical, political and cultural terms? And can art, literature, filmmaking, or music draw them out, make them visible, legible, audible, or even contestable? These are some of the themes and questions that the exhibition will explore.
|Entrance in connection with a guided tour||90,-|
|Artists (members of NBK, UKS, FFF, NK and SDS)||Free entrance|
|Members of Kunstnernes Hus||Free entrance +1|
|Children under 18||Free entrance|
Holding Pattern is the English term for the tactic air traffic controllers use to keep several planes orbiting above a busy airport without crashing. What emerges from this symbolic scenario is the motif of remote control, of skill and mastery; a sense of human destinies being bound up in the circuits of technology; of anticipation and anxiety, danger and salvation (being ‘brought in safely’); and, most tellingly, of geometry, aesthetics and even beauty: from Plato to Dante and beyond, the universe has been understood in terms of circles, just as for Apelles, Giotto and others the holy grail of art has been to draw a perfect one.
Stan Douglas is a visual artist who lives and works in Vancouver and Los Angeles. His films and photographs have been included in exhibitions internationally since the early 1980s, including at documenta IX, X, and XI (1992, 1997, 2002) and in four Venice Biennales (1990, 2001, 2005, and 2019). He represented Canada at the 2022 Venice Biennale. A survey of his work, Stan Douglas: Mise en scène, toured Europe from 2013 until the end of 2015. From 2014 until 2017 his multimedia theater production Helen Lawrence was presented in Vancouver, Toronto, Munich, Antwerp, Edinburgh, Brooklyn, and Los Angeles. Douglas received the International Centre for Photography’s Infinity Prize in 2012, the Scotiabank Photography Award in 2013, the Hasselblad Award in 2016, the Audain Prize for Lifetime Achievement in 2019, and the Chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture in 2021. Between 2004 and 2006 he was a professor at Universität der Künste Berlin, and he is currently Chair of the Graduate Art Program of ArtCenter College of Design in Pasadena, California.
Harun Farocki (b. 1944, Czechoslovakia; d. 2014, Germany) was a German filmmaker, author, and lecturer. He studied at the German Film and Television Academy in Berlin in 1966–68, and edited the film magazine Filmkritik between 1974–84. Influenced by Bertolt Brecht and Jean-Luc Godard, he made more than ninety films, mostly short experimental documentaries. Major retrospectives of his work were held at Tate Modern, London in 2009 and MoMA, New York in 2011.
Ingri Midgard Fiksdal works as a choreographer based in Oslo. She holds a PhD in artistic research from the Oslo National Academy of the Arts, with the project Affective Choreographies (2019). Ingri’s work on affect has in recent years taken her into discourses on perspective and privilege. She is currently working on a number of projects addressing the intersection between the posthuman and the decolonial from a feminist perspective. Ingri is at the moment an affiliated artistic researcher with the project CoFUTURES: Pathways to Possible Presents led by Bodhisattva Chattopadhyay at the University of Oslo. Ingri’s work has in recent years been performed at Kunstenfestival, Brussels; Palais de Tokyo, Paris; Museum of Contemporary Art, Chicago; Obscene Festival, Seoul; Santarcangelo Festival; Beijing Contemporary Dance Festival; Sommerszene, Salzburg; Teatro di Roma; MUNCH; Harbourfront Centre, Toronto; BUDA Kortrijk; Tanzhaus NRW, Dusseldorf; and Steirischer Herbst Festival, Graz, alongside extensive touring in Norway. She has been shortlisted for the BBA Artist Prize (2021) and The ANTI Festival International Prize for Live Art (2020), and won the Norwegian Critics Award for dance in 2014 and 2019.
Åke Hodell (1919–2000) was a Swedish writer and artist working in many different fields. He experimented with poetry and sound art, novels and radio plays, performance art and minimalist music, political collage and esoteric dream notations. As a committed anti-fascist, he trained as a fighter pilot at the beginning of the Second World War, crashing during an exercise in July 1941. Given one chance in ten thousand of survival by doctors, he spent one and a half years in the hospital, and many of his body parts were replaced by mechanical prostheses. Much of Hodell’s work refers to this event, through the use of aeronautical terms, technical information, military commands, and open or hidden memory systems that connect life and art in radical and mysterious ways. Among his most important pieces are igevär
(Present Arms) from 1963, General Bussig (General Buddy Buddy) from 1964, Orderbuch (Order Book) from 1965, Självbiografi (Autobiography) from 1967, USS Pacific from 1968, and Djurgårdsfärjan över Styx
(The Djurgården Ferry over Styx) from 1972.
Stefan Panhans & Andrea Winkler
For several years, Stefan Panhans and Andrea Winkler have been cooperating on transdisciplinary, postcinematic projects that include filmic elements and sculptural installations. They investigate the hypermedia imprint of our present, the (power) structures behind the processes of digitalization and their effects on our thinking and our bodies, as well as everyday racism and the increasing precarity of labor relations. Recent jointly-produced video installations, performances, and films have been shown at international festivals and in solo and group exhibitions, including an extensive survey show at HMKV Hartware MedienKunstverein, Dortmund (2021) as well as exhibitions at Tabakalera, International Centre for Contemporary Culture, San Sebastian (2021); Les Rencontres Internationales Paris/Berlin, Louvre (2021); Videonale.17 and .18 at Kunstmuseum Bonn (2017/2019); and Transmediale at HKW Haus der Kulturen der Welt, Berlin (2018). In 2022 they are featured in solo shows at Kunstverein am Rosa-Luxemburg-Platz in Berlin and Kunstraum Niederösterreich in Vienna, as well as in group exhibitions at Kunsthalle Nürnberg and the Donaufestival in Krems. In 2019 they received the Innogy VISIT Award, Essen, and an honorable mention for HOSTEL from the Videonale.17 Award of the Fluentum Collection. In 2020 they had a Research Fellow Residency at the Academy for Theatre and Digitality in Dortmund. Furthermore, they are nominated for the 2022 Paula Modersohn-Becker-Award.
Susan Philipsz was born in 1965 in Glasgow. Her work deals with the spatial properties of sound and with the relationships between sound and architecture. In 2010 she was awarded the Turner Prize and in 2014 she was awarded the honor of Officer of the Order of the British Empire (OBE) for services to British Art. Recent solo exhibitions include Songs Sung in the First Person on Themes of Longing Sympathy and Release, San Francisco Museum of Modern Art (2022); The Fall, Oude Kerk, Amsterdam (2021); Slow Fresh Fount, Konrad Fischer Galerie, Berlin (2021); Rosa, KW Institute for Contemporary Art, Berlin (2021); The Calling, Kunstmuseum Bonn (2021); Sleep, Close and Fast, Tanya Bonakdar Gallery, Los Angeles (2020); and The Unquiet Grave, Philadelphia Contemporary (2020). Recent group exhibitions include Manifesta 14, Kosovo (2022); Opera Opera: Allegro ma non troppo, PalaisPopulaire, Berlin (2022); and Dreams of Freedom; Romanticism in Germany and Russia, Staatliche Kunstsammlung Dresden and The State Tretyakov Gallery Moscow (2021). Philipsz has been a professor at the Hochschule für Bildende Künste Dresden since 2019. She lives in Berlin.
Elizabeth Price was born in Bradford in 1966 and lives and works in London. In 2012 she was awarded the Turner Prize for her video installation THE WOOLWORTHS CHOIR OF 1979. In 2013 she won the Contemporary Art Society Annual Award with the Ashmolean Museum of Art and Archaeology. She has exhibited in group exhibitions internationally, and has had solo exhibitions at Tate Britain, London; Art Institute of Chicago; Julia Stoschek Foundation, Düsseldorf; The Baltic, Newcastle upon Tyne; Walker Art Center, Minneapolis, MN; and The Whitworth, Manchester.
Tom McCarthy is a novelist whose work has been translated into more than twenty languages and adapted for cinema, theater, and radio. His first novel, Remainder, won the 2008 Believer Book Award; his third, C, was a 2010 Booker Prize finalist, as was his fourth, Satin Island, in 2015. McCarthy is also author of the study Tintin and the Secret of Literature, and of the essay collection Typewriters, Bombs, Jellyfish. He contributes regularly to publications such as the New York Times, the London Review of Books, Harper’s, and Artforum. In 2013 he was awarded the inaugural Windham-Campbell Prize for fiction. His new novel, The Making of Incarnation, was published in November 2021. McCarthy has held visiting professorships at the Royal College of Art, London; Columbia University, New York; and Städelschule, Frankfurt. In 2019 he guest-curated the exhibition Empty House of the Stare at London’s Whitechapel Gallery. He lives in Berlin, where in 2019 he was a Fellow of the DAAD Artists-in-Berlin program. Born in Scotland, he is now a Swedish citizen.
Anne Hilde Neset
Anne Hilde Neset is the director of Kunstnernes Hus. She has worked as a writer and editor at the London-based music magazine The Wire, a founder of several music festivals in the UK and Norway, and a broadcaster and host of the music program Late Junction on BBC Radio 3. She is one of the founders of the curatorial agency Electra.
Stefan Panhans, Andrea Winkler: Freeroam À Rebours, Mod#I.1. Filmstill © Stefan Panhans.
Bilder av kunstnere:
Stan Douglas © Evaan Kheraj
Harun Farocki © Hertha Hurnaus, 2007
Ingri Midgard Fiksdal © Bea Borgers
Åke Hodell © Per Wiklund, 1965
Stefan Panhans & Andrea Winkler © Panhans & Winkler
Susan Philipsz © Franziska Sinn
Elizabeth Price © EP studio