THE REAL SHOW at CAC Brétigny 16.01—16.04.22
Ask Addoley + Anna (Addoley Dzegede & Anna Ihle)
Ghita Skali, in collaboration with Ayla Mrabet and Kaoutar Chaqchaq
The Big Conversation Space (Clémence de Montgolfier & Niki Korth)
Curators: Agnès Violeau and Céline Poulin, assisted by Ariane Guyon
A different world by Ask Addoley + Anna will be part of an online program A Structure Envisioned for Changing Circumstances, curated by Maija Rudovska, with (Parse Nola and Vestfold Art Center ). It it will go online from December, 2021 and will host new artworks throughout January and February, 2022.
A Structure Envisioned for Changing Circumstances is a project that looks at the conditions of precarity and unpredictability. The project envisions a structure that can address the issues of fragility, precariousness, uncertainty, impermanence, etc. It focuses on the collaborations, support and exchange that can take place across the globe, connecting different geographical locations, drawing attention to the creation of sustainable and long-lasting partnerships that activate the creative forces of the artists and institutions that come from these precarious contexts. Participants: Cristina Molina (USA), Dave Greber (USA), Kjetil Detroit Kristensen (NO), Helene Duckert (NO), Anna Ihle (NO), Addoley Dzegede (USA), Līga Spunde (LV).
with Karin Bolender (US), Riina Hannula (FI), Anna Ihle (NO), Kultivator (SE), Anna Ting Möller (SE), Rhizomatic Squad for Caring Technologies (DE), Save the Earth Club & Signe Johannessen (SE)
How can the notion of family expand beyond normative and anthropocentric kinship? What radical potential does not emerge if we consider motherhood as an action instead of something bound to a certain kind of body and its innermost being? Led by invited artists, the exhibition m/other decomposes habitual notions and shares methods of care intended for a wider surrounding than the immediate, human sphere.
The exhibition gathers considerations and encouragements based on the premise that maintenance and care (such as raising children, cooking, cleaning, gardening) are practices full of ecological, political and aesthetic potential. Several of the artworks spring from a collaborative work week, when artists and partners gathered to work, talk and live together. In parallel, two new works have been developed in our residency.
The exhibition is part of the project m/other becomings initiated by the curator Ida Bencke/ Laboratory for Aesthetics & Ecology (DK) in collaboration with Art Lab Gnesta, Kultivator (SE) and Bioart Society (FI). The project is kindly supported by the Nordic Culture Fund, the Nordic Culture Point and IASPIS. Anna Ihle’s production has been made possible in collaboration with Västerås konstmuseum, where it will be exhibited starting in January 2022.
Exhibition with all artists working at Tou, Stavanger. Opening August 12th, Ølhallene, Tou, Stavanger.
May – June 2021: Residency at Art Lab Gnesta in collaboration with Västerås Konstmuseum. Supported by OCA Office for Contemporary Art Norway. Image: Art Lab Gnesta (Instagram)
Between 2019-2022, Art Lab Gnesta and Västerås Art Museum invite three Nordic/Baltic artists to residency and production of new art works in an interdisciplinary collaboration that grows from on the landscapes of Sörmland and Västmanland. During a time when many art actors find it difficult to focus resources on supporting the production of new works of art, through the collaboration we want to provide space and opportunities for new works of art emerge through this collaboration, in dialogue with local voices, scientific and historical references. The stays are tailor-made for the invited artists, focusing on meetings with on-site skills.
Participating with new video work in the Nordic Pavilion at The Venice Architecture Biennale 2021 22 May–29 November 2021, commissioned by the National Museum, Norway. Here presented with still from video work (video photography: Aleksander Andreassen).
Participating in the conference Experiences of Oil at Stavanger Kunstmuseum with a commissioned performance. Convened and moderated by Anne Szefer Karlsen (curator and professor Curatorial Practice, University of Bergen) and Helga Nyman (curator, Stavanger Art Museum).
Speakers / contributors:
Iheanyi Onwuegbucha/George Emeka Agbo, Ayọ̀ Akínwándé, Ana Alenso, Brett Bloom, Fiona Clark, Massimiliano Mollona/Anne Marthe Dyvi, Clementine Edwards, Rachel Grant, Melissa Gronlund, Laura Hindelang, Anna Ihle, María Esperanza Rojo Jiménez, Roshini Kempadoo, Natasha Marie Llorens, Laura Napier, Lina Patmali, Oleksiy Radynski, Rachel O’Reilly, Karl Emil Rosenbæk, Sanaz Sohrabi, Ala Younis, Kathryn Yusoff
Participating in the exhibition From the Balcony at Stavanger Kunstmuseum November 11th – December 27th curated by Hanne Beate Ueland, Vibece Salthe and Helga Nyman from Stavanger Art Museum, and Jane Sverdrupsen from Rogaland Art Centre.
Doggie Day Care for Leo Beagle Boy
September 11 – October 4
Exhibition opening: Friday, September 11, 19.00 – 22.00
Saturday – Sunday 13:00–17:00
Podium is proud to present Anna Ihle’s solo show Doggie Day Care for Leo Beagle Boy opening on Friday, September 11th. The central work in the exhibition is Anna’s film documenting six weeks Anna stayed in her friend’s guestroom in LA. While her friend was at work editing the music of the latest Scooby Doo-movie, Anna tried to take on the recreational activities her friend wished she had the time to during her time off.
The music in the video is by Linda Lamignan, and the editing is by Kai Arne Svanæs-Soot. The work is supported by Billedkunstnernes Vederlagsfond and the hospitality of Catherine Wilson.
Anna Ihle on the revaluation of time during corona – ‘Free time is very class-specific’-
Interview in Metropolis M — Marsha Bruinen
At this year’s edition of Jan van Eyck Open Studios –the last public event I attended before corona kicked in- I sat down on a couch in the studio of Norwegian artist Anna Ihle. On show was a reality-TV kind of documentation of Ihle spending six weeks in Los Angeles, living the ‘free time’ of her friend Catherine who worked long hours as a music editor in the city. During that stay-at-home situation, Ihle took on those activities her friend did not have time to do, and that many people now claim to be rediscovering during corona. The way in which Ihle deals with questions of work time and recreation time throughout her artistic practice led me to believe she could offer interesting insights regarding the current situation, and its possible future consequences. Her home in Stavanger, Norway, appears on my screen and we have a video-conversation about how this weird and upsetting time asks for us to take time. Perhaps when we slow down, corona can trigger us to consider anew the way we live our lives: both individually and collectively.
WHAT KIND OF ADVICE DO ART INSTITUTIONS NEED?
WHAT DO YOU NEED ADVICE ON?
Ask Addoley + Anna Season 3 will is a stay-at-home-season, hoping to make episodes that one can listen to while at home.
In the third season of Ask Addoley + Anna, both individuals and institutions are given advice. Guests during season 3 are: Ayatgali Tuleubek, Ida Madsen Følling, Aleksander Andreassen, Hanan Benammar, Uma Feed, Ebba Moi, Agatha Wara, Sara Rodrigues de Miranda, Ya Jing Wong, Galina Tatarkina, Christopher Wick Wegner Simonsen, Gülbahar Adanc, Ellen Marie Fodstad, Per Odd Bakke, Stina Høgkvist, Birgit Jordan, and Lisa Sjødin.
Episodes are available on Spotify and other podcast platforms.
Alaa Abu Asad (PS) Anna Ihle (NO) Anna Moreno (ES) Asako Iwama (JP) Audrey Large (FR) Christopher Meerdo (US) Dana Venezia (IL/IT) Elisa van Joolen (NL) Elise Eeraerts (BE) Ellie Kyungran Heo (KR) Erica Petrillo (IT) Femke de Vries (NL) Giovanni Bellotti (IT) Jonathan Castro Alejos (PE) Jorge Menna Barreto & Joelson Buggilla (BR) Kent Chan (SG) Kristina Sedlerova Villanen (FI) Lotte Reimann (DE) Lyndon Barrois Jr (US) Maiko Jinushi (JP) Domenico Mangano & Marieke van Rooy (IT & NL) Marielle Chabal (FR/NO) Marjet Zwaans (NL) Martin Groch (SK) Marwan Moujaes (LB) Mat Do (GB/NL) Mehdi-Georges Lahlou (FR/MA) Natasha marie Llorens (FR/US) Niina Tervo (FI) Parasite 2.0 (IT/BE) Raja’a Khalid (AE) Saeeda Saeed (SA) Shana Hoehn (US) Tatiana Istomina (RU) Youngeun Sohn (KR)
The Open Studios image for this edition – entitled Curing Fear – is made by the Jan van Eyck participant Jonathan Castro.
During October- November 2019, spending 5 weeks in LA Arts District for a self initiated residency, serving as research for upcoming work at Podium, Oslo and Open Studios at Van Eyck Academie, Maastricht in 2020. Supported by Billedkunstnernes Vederlagsfond. Still from video documentation by Line Anda.
Annas friend Catherine, works long hours editing the music for a Scooby Doo movie. During one month, Anna stays in the guest room of Catherines downtown LA apartment. While Catherine is working, Anna sets out to perform recreational activities her friend wishes she could do, but does not have the time and energy for.
How can artists best position themselves to be noticed by curators?
How important is a social media presence?
How can I deal with the hierachy in the art world?
No longer an emerging artist?
For Season 2 of Ask Addoley + Anna, artists Addoley Dzegede and Anna Ihle ask advice from art professionals participating at Coast Contemporary. Link to Ask Addoley + Anna on Spotify here.
Ask Addoley + Anna is a collaboration between artists Addoley Dzegede and Anna Ihle in the form of a podcast. Ask Addoley + Anna offer advice on career, home economics and relationships.
Season 2 is supported by: KORO, Utenriksdepartementet, Bergen Kommune, Stavanger Kommune and Coast Contemporary. Thanks to Espen Birkedal and Hans Edward Hammonds for jingle support.
VAN EYCK PRESENTATION 12.06.2019
Giovanni Bellotti, Elise Eeraerts and Anna Ihle
(Image of Tied Up, Anna Ihle 2017)
On June 12 from 17.30 – 18.30 Giovanni Bellotti, Elise Eeraerts and Anna Ihle will give talks about their work and practice.
Everyone is welcome to join!
6211 KM Maastricht
ADDOLEY + ANNA is a collaboration between artists Addoley Dzegede and Anna Ihle in the form of a podcast. ADDOLEY + ANNA offer advice on home economics. Listen on Spotify or itunes for advice on questions such as:
– How to make money as artists? (ADDOLEY + ANNA explain how they make money as artists in the US and Norway).
– How to budget as artists? (ADDOLEY + ANNA explain how they budget for specific projects and life in general).
– How do you stay connected while living apart from your partner?
– Retirement savings with irregular incomes?
– Struggle climaxing while with a partner?
Text “Pen Pals” by Claudia La Rocco and Anna Ihle on CAS. “Pen Pals” is an exchange about the exhibition “Bright Future Horizons”, love letters, birds, art and travelling. San Francisco based writer Claudia La Rocco visited Stavanger last fall and started an email conversation with Anna Ihle.
Photo: Installation detail from the installation Grinding. Read review and see images from Open Studios in Dutch art magazine Mister Motley here.
The public opening of Open Studios at Van Eyck, Maastricht, will be held on Friday 15 March from 17:00 – 19:00.
On Saturday 16 March the studios will be open to all from 10:00 – 17:00
Text by Lex teer Braak for Open Studios, Van Eyck:
In 2015, Anna Ihle decided to model her lifestyle as an artist on the standard Norwegian working week of 37.5 hours. This is a radical departure from the inherent desire (or compulsion) that artists conventionally experience to be continually at work, and to regard this as their wellspring of happiness regardless of income or social status.
Anna Ihle wanted to avoid being a subject of research by management experts and sociologists into the artist’s inherent drive and the pleasure to be obtained from it, or into how this knowledge could be turned to the advantage of industrial employers so that the wage slaves will happily return each day to resume their labours. By proclaiming her working week regimen, Anna Ihle issues a critical and ironic commentary on the socially undervalued status of the artist.
For her work Grinding, Ihle sculpted with an angle grinder a version of her bite guard, required to prevent damage to her teeth by involuntary tooth-grinding during sleep. This affliction is often triggered by factors like stress due to social situations, depression and neurosis.
The dimensions of the sculptured bite guard are such that she can lie down inside it, as a form of protection against the distress of nocturnal bruxism. But it can also serve as a memorial for all those who suffer from being ground down by the system, because they are unwilling or unable to conform to it.
Image: Nina Glockner, Collective Voice Detector, 2018
Photo: Werner Mantz Lab, Jan van Eyck Academie
Alexandra Phillips (US) Ana Guedes (PT) Andrea Canepa (PE/IT) Andrea Éva Györi (HU) Anna Ihle (NO) Anne Huijnen (NL) Aram Lee (KR) Artun Alaska Arasli (TR) Ben Weir (UK/IE) Christopher Meerdo (US) Daniel de Paula (BR) Dasha Tsapenko (UA) De Onkruidenier (Jonmar van Vlijmen, Ronald Boer) (NL) Diego Tonus (IT) Elisa Strinna (IT) Elnaz Salehi (IR) Emma Van Roey (BE) Gabriella Marcella (GB) Georges Senga (CG) Giulio Squillacciotti (IT) Hasabie Kidanu (ET/US) Ilya Fedotov-Fedorov (RU) Jhen Chen (TW) Joonas Hyvönen (FI) Julius Heinemann (DE) Karoline Swiezynski (DE) Katja Verheul (NL) Kristina Sedlerova (FI) Lietje Bauwens (NL) Ludovica Carbotta (IT) Lyndon Barrois Jr. (US) Maarten van der Graaff (NL) Marente van der Valk (NL) Marissa Lee Benedict (US) Marwan Moujaes (LB) Nina Glockner (DE) Quenton Miller (AU/GB) Rain Wu (TW) Rasmus Nilausen (DK) Riksa Afiaty (ID) Sean Ervan Kuhnke (US) Sepideh Zamani (IR) Sofie Van der Linden (BE) Sooji Lee (KR) Sytske van Koeveringe (NL) Vera Gulikers (NL)
Idun Baltzersen and Anna Ihle have emerged on the Norwegian art scene with questions related to the role of the artist. In their exhibition at Trøndelag Centre for Contemporary Art they will explore the conditions for artistic work by testing different strategies for stress management and how artists can achieve recognition. How do we use language to present artists? What are the criteria for being a successful artist? Baltzersen and Ihle works with woodcuts, wood carving, installation art and video in their practices to explore these questions.
«It is hard to find images of Oda Krohg’s paintings on the internet. Though we do find several portraits of her painted by her bohemian colleagues. According to the internet Krohg was the bohemian princess that had an intimate relationship to them all. Several renowned artists are named Mathias. In the exhibition «Mathias» we want to use the language that is used to portray him. Picturing him, objectifying him, owning his image. Our homage will be transmitted to us. Our attitude. Our stress management and success. We grit our teeth. We look away. Lift our gaze».
The book Uvirksomme Hender / Idle Hands consists of documentation of selected artworks by Anna Ihle (2014–2018), texts by Kathi Weeks, Roland Paulsen, Merete Hermansen Jonvik, Basim Mardan and Geir Haraldseth. Design by Joseph Atkinson. Editors: Geir Haraldseth and Torunn Larsen. Available at Rogaland Kunstsenter (200NOK).
Documentation from the exhibition series AREIDSVERK 1-4 curated by Hans Edward Hammonds and Anna Ihle can be found here (in Norwegian).
Exhibition and book launch at Rogaland Kunstsenter, Stavanger. Review (in Norwegian) in Stavanger Aftenblad on Bright Future Horizons by critic Trond Borgen. Short review (in Norwegian) at VISP on Bright Future Horizons by critic Arve Rød. Images: Oddbjørn Erland Aarstad. Facebook event here.
New performance work, Unhealthy Arrangements & Other Activities, presented at Stavanger Art Museum April 26th. View documentation images from the performance Unhealthy Arrangements & Other Activities here. Photos by Oddbjørn Erland Aarstad.
The concept of recreation undergirds the works Anna Ihle will show at Kuppelkupp on the Thursday before International Workers’ Day (1 May). There are also some direct sources of inspirations for these works: for one, a radio interview from 10 January 2018 with the director of Spekter (Norway’s employers’ union), Anne-Kari Bratten, who discussed women working part-time, for another, a speech held at the opening of the exhibition Bjarne Melgaard/Sverre Bjertnes in Stavanger earlier this year. As part of her instruction-performance, Ihle has invited the local Voice of the Soul Choir, directed by Priscila Serrano, to perform a work composed by Jens Borge. By making small, ambiguous interventions in the choral programme and in the cupola, Ihle actualizes questions about work, productivity, free time and the reigning ideals and hierarchies in society.
Solo show opening at RAM Galleri, Oslo, December 14th
For the exhibition Downtime (Nedetid) Anna Ihle will present four new works. The production of Downtime has taken place, for the most part, between breakfast and dinner on work days, as Ihle considers a normative Scandinavian work week to be a guideline for her practice. During her working hours, the artist has been negotiating between a protestant Norwegian west coast work ethic, and a start-up vibe, both inspired by Ihles hometown Stavanger, the oil capital of Norway. Since the start of her MFA, Anna Ihle has been making art while questioning the meaning of work today. In her artistic practice, she has been stone carving, wood carving, gold panning and invited in people for conversations in the work process. The conversations often contain questions like «When is your work day over? What is considered a job? Hey, what do you think about while working? When are the hours after work recreation and not just rehabilitation?»
Opening of the exhibition SAUDA October 7th:
Anna Ihle used the gym of powerlifter Hildeborg Juvet Hugdal as a studio during a week in October. For the opening of SAUDA Ihle will show the work «Heavy lifting» which consists of water colors, photography and the letter “Dear Hildeborg Juvet Hugdal and others lifting heavy things in Sauda!”, photography and water colors. The letter is published in the local newspaper Ryfylke October 6th.
Video blog KUNZT introducing both Studio17 and ongoing research by Anna Ihle (English subtitles).
Interview “Artist of the month” in VISP (in Norwegian). Read here.
Dialogues 02: Anna Ihle & Verena Winkelmann FERIEKUNST
Galleri Hi10, Skien Norway
August 11th – 13th 2016
Open Day June 24th at the artist run initiative Velferden, Sokndal. Artists: Anna Ihle, Aleksander Andreassen, Hans Edward Hammonds and Maiken Stene. Facebook event here.
INTERVIEW IN CAS BY MATHIAS KRYGER (In English).
Read full interview here.
My passion and love for my work is of high, high value. I nurture my passion so well, other people want it. I do my work with ease and care, I don´t get sick. – Anna Ihle
Passive aggressive: Idun Baltzersen / Anna Ihle
Opening at Kunstgarasjen, Bergen November 25th. Artists Baltzersen and Ihle in conversation (in Norwegian) with Åse Løvgren 7:30pm. Facebook event here. View more images from the ongoing show Baltzersen / Ihle at Kunstgarasjen, and read the exhibition text by Ida Bringedal (in Norwegian) here.
Lysende Framtidsutsikter / Bright Future Horizons is covered by ArtSceneTrondheim; interview by Eline Bjerkan (in Norwegian). Read here. NRK article from the making of Bright Future Horizons (in Norwegian). By Kjartan Trana and Amand Aune Nilsen. Photo by Kjartan Trana, NRK. See more images from Lysende Framtidsutsikter / Bright Future Horizons at Babel Art Space by Susann Jamtøy ArtSceneTrondheim here.
Awarded Work Grant 2016 Kunstmuseet Nord- Trøndelag. See more images from the summer show, and read the jury statement (in Norwegian) here.
Laundry hour (a conversation between Mohamed El Abed and Anna Ihle) Tuesday 17 May, 6.30pm
When I work, both paid work and housework, I try to create spaces that feel like my own. I listen to podcasts and shows, to feel educated, entertained and less alone. One of the voices, I often listen to while I work is Mohamed El Abed – Anna Ihle. Laundry Hour is part of the project Open House, an exhibition that took place at Konsthall C in 2015. Supported by OCA – Office for Contemporary Art Norway. Facebook event here.
Ihles Information on Contemporary Art part II (in Norwegian), in relation to ongoing shows FUTURUM and Blindheten at TKS. Facebook event here. Lecture at Telemark Kunstsenter Wednesday May 11th 19:00.
Artist talk at the University of Linz, during residency at Atelierhaus Salzamt. March 3rd 5pm (in English).
Press on PRECARITY (in Swedish):
Heavenly Orders # 3 VI SETTER PRIS PÅ SVETTE / WE VALUE SWEAT
Spriten Kunsthall Oct 16th – Nov 21st. Henna Hyvärinen and Anders Moss
Curated by Camilla Edström Ödemark and Anna Ihle. Facebook event here.
Documentation of show here. Exhibition is supported by Norway Arts Council and Skien Kommune
Heavenly Orders is an exhibiton series at Spriten Kunsthall. WE VALUE SWEAT is the final part, curated by Camilla Edström Ödemark and Anna Ihle.
WE VALUE SWEAT is about artistic labor, industry and sweat. Because if someone who´s worked their ass off- they´re probably awesome. Someone who´s not afraid of dirt and who´s all in before deadline. Someone who loves their work. We value that.
The exhibition is distributed at three floors at Spriten Kunsthall, ones housing a distillery (a side industry of the cities earlier main industry: wood processing). The exhibition is shown by guided tours by the curators. The guided tours is built on stories about the art works and from historical events of the building (based on conversations with Kjell Åge Isaksen, previously an employee in the Norske Skog Union at the very location).
Information in Swedish below.
Sveriges Konstföreningar bjuder in till konferensen Konst i Arbete på Arbetets museum i Norrköping den 21-22 november 2015. Konferensen handlar om relationen mellan konsten och arbetslivet i ett nutida och historiskt perspektiv. Varför bör det finnas konst på arbetsplatsen och vilka politiska ideologier har tidigare legat bakom konstens integration i arbetslivet? Rapporter från konstnärer och konstföreningar som verkar i ett arbetsliv i förändring varvas under konferensen med performativa inslag, historiska utblickar och teoretisk fördjupning.
Till konferensen kommer konstföreningsledare, experter på arbetets filosofi och idéhistoria, representanter från näringslivet, konstvetare, curators och konstnärer.
Medverkar gör: Pia Areblad, Jens Evaldsson, Marika Holm, Ann Ighe, Anna Ihle, Michele Masucci, Stina Nyberg, Jenny Richards, Gertrud Sandqvist, Frida Sandström, Emma Stenström, Nina Svensson, Marika Troili, Anna Östlund. Moderator: Kerstin Brunnberg.
Lördagen den 21 november 2015 kl. 12-18 och söndagen den 22 november 2015 kl. 9-16
AHeavenly Orders # 2 ALMOST THE SAME BUT NOT QUITE
Spriten Kunsthall Sept 5th – Oct 3rd. Jasmin Daryani and Camilla Edström Ödemark. Curated by Anna Ihle and Stina Ihle Amankwah. Facebook event here.
Stina: I just don´t understand why people are concerned about not being called a racist, instead of not beinga racist. Don´t they understand how the things coming out of their mouth tastes like crap?
Anna: I guess, but it´s really uncomfortable discovering you´ve been eating shit for years.
Stina: Yes, but isn´t it just better to realize that? Rather than going through life believing that shit is food?
Sometimes I feel like the level of whiteness in this world overwhelming. The majority of the people on this planet are not white, yet my sister has asked me before meeting new people “do they already know that we’re brown?”. As if all other colours have to come with a prior warning to let people decide on and practice a non-racist reaction or maybe even come up with a white witty joke to relieve the awkwardness that may follow. Whiteness penetrates all of us. Also people of colour. Most of us, when we hear about an instance of racism our first reaction is to look for an excuse or a justification on the side of the perpetrator. Maybe the victim was aggressive, maybe they were a criminal, maybe they really were not the best qualified candidate for the sales assistance position even though they ran the biggest mattress company in the whole of Lebanon. Whiteness can even make you question your own behavior and complicity in situations of injustice. Maybe I did act suspiciously, maybe I am not good enough for this position, maybe I did hold something in my hand that looked like a gun. -Stina Ihle Amankwah
Visit www.konsthallc.se to listen to the audio work After Hours For What I Want, a part of the show Open House at Konsthall C. Click on the bottom right corner, to have 24:40min of company while you let´s say fold your clothes.
Photo: Carolina Garcia
Exhibition view from the show Open House at Konsthall C. the work After Hours for What I Want.
Home Works at Konsthall C in Arbetet.
HEAVENLY ORDERS #1: We Value Good Art
Nicole Levaque and Jaakko Pallasvuo. Curated by Camilla Edström Ödemark and Anna Ihle
Do you ever have the feeling that the world is becoming smaller? That our reality is an oyster for the capitalist project, where creation is slowly being translated into understandable monetary units. A piece of land in euros, a bird singing in dollars. Oil, water, landscape. Morality transferred and exchanged into value through the goodwill projects of multinational corporations. Curiosity, dreams, creativity. Price tag.
In a contemporary global market, where everything comes with a price, Heavenly Orders no. 1 seeks out artistic practices that questions the monetary value of creative and intellectual capital. What does the art world translate into money when evaluating an art piece? What is being transferred in a deal between the artist and the collector? The artist and the viewer?
The works of Levaque and Pallasvuo share a mutual interest in the value of art. By perverting and distorting materials and techniques traditionally regarded as ”of high value” within the art world, both artists position themselves against the market. Traditional ways of creating value are abandoned, forcing us to see the creative process of an artist as a commodity. What is the price of such a commodity?
Facebook event here.
ÖPPET HUS / OPEN HOUSE Konsthall C Opening 20 May 2015, 6pm
20 May – 27 September 2015
Hiwa K (DEU/IRQ), Anna Ihle (NOR) and Gunilla Lundahl (SWE)
Open House an international group exhibition with Anna Ihle, Hiwa K and Gunilla Lundahl – in collaboration with Bolaget (Lilian Domec and Thomas Gilek) that reflects on the question: What Constitutes a Home Today?
Open House is the second exhibition of Konsthall C’s programme Home Works responding to our location within Hökarängen’s community laundry; investigating the politics of the domestic sphere and the home.For more information and to follow our public programme in collaboration with ABF Stockholm please vist www.konsthallc.se
Opening of ORKA! April 4th 2015 in Husby Konsthall. Artists: Emil Borhammar / Idun Baltzersen / Anna Ihle
Texts: Mona Susan Abbasnejad / Anna Ihle
HARDWARE Art Lab Gnesta
Photo by Art Lab Gnesta, mounting of the work Idle Hands.
Opening April 19t 2015
February 6th -March 29th 2015
TKS Telemark Kunstsenter, Skien
Sven Drobnitza / Helge Hansen / Anna IHLE
Cirkelstudien is a group show at ABF in Stockholm, intitiated and organized by Konstfrämjandet and Konstfack.
The contributing artists have all studied Art in the Public Realm at Konstfack.
Opening: Jan 29th, 2015, 17.00–20.00
The show is on from Jan 30th –Feb 21nd, 2015
Nicholas Bates /Fredrik Bjernelind /Harpa Dögg Kjartansdóttir / Cecilia Hultman / Joel Hurlburt / Anna Ihle / Vilda Kvist /Anna Lidberg / Emil Magnúsarson Borhammar / Agnes Mohlin / Gustaf Nygren /Johan Stenström / Kolbrún Ýr Einarsdóttir
UPPSALA ART MUSEUM
The Foundation in Memory of Anna-Lisa Thomson
On the show at Uppsala Art Museum (in Swedish)
At konsten.net “Anna Ihles installation Idle Hands har fått eget rum, kanske är detta en särart, ingen synlig människa finns bland de ingående delarna – de är däremot inskrivna i verket. En kraftfull hyvelbänk hänger upp-och-ner från linor i taket – upplyft; snarade, bundna, förankrade, som sänken för att arbetsredskapet inte ska stiga till väders och bli det man ärar – mer än det äras bör, hänger ängladelarna som befinner sig närmare marken, det som ska synliggöras – det pågående arbetet” (Excerpt, text by Marit Jonsson)
At unt.se ”Idle Hands som består av en gammal hyvelbänk som upp- och nervänd är surrad i taket som ett fjättrat monster. Från bänken hänger en dekonstruerad träängel i bitar och under verket ligger en hög färska spånor. En sadomasochistisk bild av ett uråldrigt hantverk som rymmer mängder av tolkningsmöjligheter”. (Excerpt, text by Sebastian Johans).
Image from TA (in Norwegian).
Awarded Skien Kommune Kunstner- og Arbeidsstipend 2015
Kunstschlager Gallery PASSIVE AGGRESSSIVE Anna Ihle / Idun Baltzersen
R A N D O M Group show by the SIM residence artists of October 2014
Anna Ihle NO Nicole Levaque CAN Ilan Gutin USA Knaggi (Andreas Knag-Danielsen NO & Arngrímur Borgþórsson IS) Torill Brosten NO Kathryn Maguire IRL Andrew Godsalve CAN Nina Rizzo USA Robert Clark UK Anna Domnick DE Anna Petters SE Facebook event here.
Artist of the week at Starafugl. Chat with Ásta Fanney Sigurðardóttir. Image by Kolbrún Ýr Einarsdóttir
Blind Navigation at the Living Art Museum, Reykjavik. In collaboration with Eva Isleifsdottir and Kolbrún Ýr Einarsdóttir at Nýló, Nýlistasafnið (The Living Art Museum), Reykjavik the exhibition Blind Navigationat Nýló opens October 18th 2014.
Part of RIGHT TIME, WRONG CITY in Stavanger. NMNP Project Space production.
Studio17 in Stavanger. Curated by Anna Ihle. Works by Lina Kruopyte, Emil Borhammar and Anna Ihle. June 12th – June 15th Opening June 12th 6pm Facebook event here.
Victoria Durnaks blog Vikileaks at Flamme Forlag asks about the Moussaka in the Trondheim show: http://www.flammeforlag.no/vickileaks-5/#more-16081
Ask Addoley + Anna (Addoley Dzegede & Anna Ihle)
Ghita Skali, in collaboration with Ayla Mrabet and Kaoutar Chaqchaq
The Big Conversation Space (Clémence de Montgolfier & Niki Korth)
Curators: Agnès Violeau and Céline Poulin, assisted by Ariane Guyon
A copyleft concept explored across several opuses, “The Real Show” will be rolled out in different locations around the world. The first manifestation, taking place at CAC Brétigny, is the pilot episode of a succession of events that will echo a television or film series model, complete with spin-off, prequel, reboot and sidequel. At once inclusive and introspective, ricocheting around the art centre, online and in the public space through videos, podcasts, programmes, performances and publications, “The Real Show” excavates and exposes the bottom-up and top-down mechanisms of popularity and its representations.
Representations of the so-called popular are used by the media, from large corporations to YouTubers or TikTokers, to establish a level of authority capable of influencing our feelings as well as our socio-political behaviour. Likewise, the permanent spectacle of contemporary politics with its narratives that mirror those of a TV series (comfort characters, suspense, relentless rhythm, climax, clash, etc.), seems to verify Roland Barthes’ thoughts on the limits of cultural entertainment aimed at what he described as the easily influenced “popular spectator” Karl Kraus, and later Pierre Bourdieu, highlighted the influence of ‘pop’ culture on the media, and the resulting homogenisation. Some populist theories, such as those of Chantal Mouffe, seem to set up the dichotomy differently: since the mass media and its tools legitimise the culture of the ruling classes, it is important to let people speak for themselves. Sharing certain movements, songs or any other cultural acts on social media or elsewhere allows for the construction of communities outside of the norm. As shown by cultural studies, a popular medium can be a vehicle for change or non-conformist ideas. This trend, which runs contrary to a classist vision of knowledge, is confirmed by the development of both mass and alternative cultures through streaming platforms and channels. In this ecosystem of representations, anonymity is either something to be feared or, on the contrary, sought out as refuge.
At CAC Brétigny, the artists invited for “The Real Show” stage forms of media (talk-shows, tutorials, political meetings…) to reveal both ideological pitfalls and principles of emancipation (Zeyno Pekünlü, Martha Rosler, Hannah Black, Yao Qingmei). The social choreography of Erick Meyenberg, Christian Jankowski and Santiago Mostyn accentuates the permeability between the world of images and that of bodies – the influence of one on the other. Older pieces by Luis Pazos and Martha Rosler offer a reminder that behaviour was being normalised through images long before the invention of social media. It is a question of appeal, and the idea of attractiveness also affects cultural institutions (Sean Raspet, Thomas Geiger / Kunsthalle3000) and the artist (Gwendal Coulon). Which processes of circulation encourage the emergence of the “popular”? Ghita Skali and Aslı Çavuşoğlu present newspapers containing rumours, urban legends and other political prophecies. They emphasise the importance of the mechanisms behind the construction of opinion, as does Virgile Fraisse with his new film about the whistleblower Christopher Wylie. After BCC Channel, The Big Conversation Space (Clémence de Montgolfier & Niki Korth) will continue its production of online television shows with The Talking Cure, at once a device for visitors of the exhibition to use and a tool for community management. Ask Addoley + Anna (Addoley Dzegede & Anna Ihle), for their part, will use Spotify to produce new episodes of their advice-podcast. Finally, anonymity – as much a tool for liberation as a means of avoiding responsibility – is given a voice by Hanne Lippard and Nora Turato.
“The Real Show” provides an international stage for the transnational issues raised by the pieces. The 49 Nord 6 Est–FRAC Lorraine in Metz, the Cité internationale des arts in Paris, sandwich in Bucharest, The Latvian Centre for Contemporary Art in Riga, and PLATO in Ostrava will also propose their own “Real Shows”, in which we will find some of the same protagonists from the pilot. These venues are also invited to participate in this first episode through artists’ proposals in order to explore these questions in different contexts.
An exhibition with multiple voices launched on the eve of the French presidential elections, “The Real Show” creates a space between private and public, between what is entertaining and what is political, a space where the stage and the intimate can make a common spectacle.
Agnès Violeau and Céline Poulin