Dillan Marsh
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Adventure Island, 22nd April - 8th May 2016-04-22
Hordaland Kunstsenter, Archipelago: Eleanor Clare & Dillan Marsh
Hendene famler
Kloden roterer
Tidevannet stiger
Stadig å fortsette framover; å søke etter
Solen, som slynger sine slående stråler; som forsvinner
Under Brygga, et vesen lever; forråtner
Ved enden av Landet; Sjøen
Det finnes en innside og en utside, et mørkt indre og et lyst ytre. Under huden, inni kroppen, er mye flytende. Dette er stedet hvor det underbevisste virker, fordøyer og prosesserer og samler og skiller substanser.
De lette etter selve begynnelsene av mening og skapelse: for å sammenføye tusener av år tilbake med idag. De ville finne det, men da de ankom, visste de fortsatt ikke hva de skulle gjøre.
I dypene av himmelen fantes ingen speil, og i solens sted gapte et stort blødende hull der kanskje en jeksel hadde blitt vridd ut. Sjøen hadde sannsynligvis blitt tømt, og etterlot seg hulrommet av sin beholder omsluttet av et svimlende stup. Kloden selv hadde forsvunnet, hadde opphørt å være solid.
– Le Clezio, J.M.G., The Book of Flights.
Eleanor Clare og Dillan Marsh bor i Bergen, og har lagd arbeider sammen siden 2013, et samarbeid som begynte som en utforskning av hvordan det å lage kunstverk og å skrive gjensidig kan påvirke hverandre i å forstå mening og utviklingen av form og struktur. Clare har en mastergrad i kunst fra Central Saint Martins, London (2011), og Marsh en mastergrad fra Kunst- og designhøgskolen i Bergen (2011). Sammen har de produsert verk for følgende aktører: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Büro für Problem Basel og Apis Press Bergen.
Prosjektet er støttet av Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune og Norsk Kulturråd.
www.fossilsandstars.blogspot.no
Archipelago er et lite, fleksibelt visningsrom for å vise enkeltverk og installasjoner i et fokusert, men åpent miljø. Siden rommet ligger i førsteetasje på Hordaland kunstsenter, like ved siden av et større, mer formelt utstillingsrom, åpner Archipelago opp for å undersøke de skiftende egenskapene ved et kunstverk med begrensningene av et lite, fysisk rom, i en tidsalder med virtuelle rom.
Programmet til Archipelago planlegges kort tid i forveien for hvert nye prosjekt, med den hensikt å gjeninnsette kuratorisk smidighet og nåtidig engasjement i institusjonen. Disse utstillingene følger en annen tidsplan enn Hordaland kunstsenters hovedprogram for utstillinger, og er tenkt som en gruppe av «tenkeøyer» som oppstår i tiden.
Hordaland Kunstsenter, Archipelago: Eleanor Clare & Dillan Marsh
The hands are scrabbling
The earth is turning
The tide is rising
Constantly forging onwards; seeking
The Sun, casting its glorious rays; disappearing
Under the Pier, a creature lives; decaying
At the end of the Land; the Sea
There is an inside and an outside, a dark interior and a light exterior. Under the skin, in the body, much is fluid. This is where the unconscious is at work, digesting and processing and merging and separating matter.
They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn't know what to do.
In the depths of the sky, there were no mirrors, and in place of the sun a great bleeding hole gaped where perhaps a molar had been wrenched out. The sea had probably emptied, leaving the hollow of its basin rimmed by a dizzy precipice. The earth itself had disappeared, had ceased to be solid.
Le Clezio, J.M.G., The Book of Flights.
Eleanor Clare and Dillan Marsh live in Bergen, and have been producing works together since 2013, a collaboration which began as an investigation into how making artwork and writing can mutually influence one another in the understanding of meaning, development of form and structure. Clare received MA Fine Art from Central Saint Martins in 2011, and Marsh MA Visual Art from Bergen Academy of Art and Design, 2011. They have produced collaborative work for the following organisations: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Buro fur Problem Basel and Apis Press Bergen.
Research and development has been supported by Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune and Norwegian Arts Council.
Fossils and Stars
Archipelago is a small, flexible platform for showing individual works and installations in a focused but open environment. Located on the ground floor of Hordaland kunstsenter, adjacent to a larger, more formal exhibition space, archipelago works with the constraint of limited physical space in order to explore the changing modalities of artworks in the age of virtual space. Archipelago is programmed with short lead times for each new project, with the intention of reinserting curatorial agility and real-time engagement into the institution. This initiative follows a different schedule to Hordaland kunstsenter's main exhibition programme, and is conceived as a group of 'thought islands' appearing in time.
"Click to view Adventure Island, 22nd April - 8th May"
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Adventure Island, Hordaland Kunstsenter 2016-04-22
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The Travels of The Toucher, Assembly House, Leeds 2015-12-15
The Travels of The Toucher
Dillan Marsh & Eleanor Clare
Video projection with audio played through a bass amp, 45 sec. loop
Framed digital C-print, 60x85cm
Audio, played through a mini guitar amp, 5.20min. loop
Digital photograph on 32 inch monitor
Stud wall with two poke holes cut through it
Five terracotta clay objects on different sized plinths
Framed painting, acrylic on two 21x15cm sheets of paper
Work lamp, lighting back yard
Publication, in edition of 50
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The Travels of The Toucher 2015-12-14
The Travels of The Toucher
Dillan Marsh & Eleanor Clare
Assembly House Studios 20-29 Nov. 2015
Sat. & Sun. 1-4pm or by appointment
With cardboard boxes over their heads and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The possibility to destroy and remake was always there: it was just a means of getting to the thing.
On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were hopeful that they would make their destination on time, and fearful of regret, lest they should have to turn back. It was not that time or nature were against them; it was simply that the elements continued, and would continue interminably, before them, after them and in spite of them. The night was drawing closer with every step further into the heart of the glen. Colours were changing to soft and rusty ochres, greens and bluey-greys. The form of the land was becoming gentler and more rounded. The deep, broad loch had now tapered off into a trickling stream; yet the wind raged on, and the rain beat with a stinging patter against against their faces.
They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn’t know what to do. Not there at the shrine, nor in the studio with the clay.
This work has been kindly supported by: Assembly House Studios, About Time, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, Bergen Kommune, Norsk Kulturradet (Arts Council Norway)
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The_Rat 2015-02-22
Gunter Grass, The Rat, Translated by Ralph Manheim
Where man had been, in every place he left, garbage remained. Even in his pursuit of the ultimate truth and quest for his God, he produced garbage. By his garbage, which lay stratum upon stratum, he could always - one only had to dig - be known. For more long-lived than man is his refuse. Garbage alone lives after him.
[...]
Vast plains infested with garbage, beaches strewn with garbage, valleys clogged with garbage. Synthetic flakes on the move. Tubes that have forgotten their ketchup and never rot. Shoes of neither leather nore straw walk self-propelled with the sand and collect in pits full of garbage, where already yachtsman's gloves and droll inflatable animals are waiting. All these things speak of you, now and forever. You and your works wrapped in clear plastic, sealed in vacuum bags, moulded in synthetic resin, you in chips and clips: the human race that was.
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untitled collection, Skjoenne Sjeler 2014-09-09
- collage with Francois Hugo dans son atelier and a stamp from the Album Nestle, Series 22
- role playing dice with the numbers removed and in the forms of the 5 Platonic Solids
- collage with Bulgari advertisement Eternal Values and bookmark with Vanitas by Jan van Huysum
- RUSH, Yikes and Power Promotions (1992) on a small white stool
- Collage with Odyssey, a Journey into Dance and postcard Urnascher Sylvesterchause
- Trophy, marble base, universal imperial spanner and chocolate wrapper
- Tomorrow is Born, Acidica Productions (Shepton Mallet, 1992)
- postcard of Arosa 1800m, Innerarosa, Alpentobel, Erzhorn
- digital machine timer Red Lion 202/95EC (counting the time in milliseconds)
- NEW AGE (Milton Keynes)
- a toy Halloween pumpkin
- mono-print on paper Mayhem in 1990 printed with an empty black ink cartridge
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Skjonne Sjeler Catalogue 2014-08-10
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untitled installation, Skjoenne Sjeler 2014-07-13
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Glass Magazine Review 2013-10-18
www.theglassmagazine.com
Nothing about Trees
On October 24, 2013, Cristina Bodgan
Probably the most exciting art shows I have seen recently were those I could relate to an experience – of light, of space; of environment in general. It seems as though single artworks – or even installations – are no longer efficient in producing aesthetic experiences for the viewer. With the omnipresence of what used to be called “new media”, the necessity for an experience to come from a state of immersion has risen. Contemplation is replaced by a more physical approach, the body becoming the subject of experience as much as the mind; in fact, art environments develop an organic approach to the human subject, proposing to reunite him with the world.
For such purposes, the landscape genre is an immediate solution. The show put together by 16 artists in a forgotten factory in North London, Nothing about Trees, regroups a variety of approaches to landscape, from paintings to object-based installations, to light shows using slides and transparent surfaces. The result is an open invitation to a walk into a place of mystery. Scenography is essential: after an initial open space, in which Pallas Citroen’s massive lighted sculpture of a fold bewilders the viewer, the show spreads into all directions, with pieces hidden around corners and under arches. Some are never what they seem to be – such as Mela Yerka’s mysterious moon painting or Dillan Marsh’s assemblages of too familiar objects. Others are built in time, only to break into perfect pieces – as in Giusy Pirrotta’s work. Light has the power to wake more than just the eye, and all of the works are constantly changed by beams of all shapes and sizes.
The figure of the landscape thus appears both in the individual works and in the show as a whole. One can fragment the space ad infinitum and still find himself in a liveable place. Immersion is the product of repetition and extension. The body is engaged and freed at the same time. This is a most beautiful attempt at defining the organic.
Artists: Carolina Ambida, Pallas Citroen, Eleanor Clare, Eleni Foundoukis, Tom Harrison, John Higgins, Iyvone Khoo, Tom Mason, Dillan Marsh, Bjorn Mortensen, Olivia Notaro, Elsa Philippe, Justin Piperger, Giusy Pirrotta, Ben Turner, Mela Yerka.
Cristina Bogdan
Nothing about Trees is at Unit 2C, Elthorne Road Studios, Boothby Road, London N19.
Opening times: 20th, 22nd-25th, 11am-6pm, with a closing afternoon on 26th from 4-8pm. 
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Tom_Mason /
Tom_Harrison /
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Ben_Turner /
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Mela_Yerka /
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Tire Mountain 2012-11-05
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driving /
storage /
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pile /
tire /
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Horizon Publication 2012-10-20
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plinth /
scenery /
scaffold /
landscape /
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stair /
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Bergen /
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nordic /
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Bryndis_Bjornsdottir /
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Stockholm /
Lina_Zaveckyte /
Pella_Kagerman /
Domas_Rukas /
Karen_Kipphoff /
Olav_Westphalen /
Vilnius /
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Gabriele_Edlbauer /
Marjolijn_Dijkman /
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Michelle_Teran /
Werner_Nekes /
Reykjavik /
symposium /
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Nikolai Astrup, St. Hansbal 2012-01-11
Nikolai Astrup, St. Hansbal.
Astrup sitt eige notat, udatert brev til borgermester Aslaksen , Arendal, etter 1905 / Kunst og kultur 1928, s. 227-230.
"Hun matte slik som jeg selv og mange andre barn her pa Vestlandet lide under den fanatiske religiositet som en tid herjet blant de eldre her. Alt var synd - like til det a renne pa kjelke. Og St. Hansnatten, nar balene brente rundt i fjellene og menneskene myldret som sorte punkter oppover fjellsidene og de rodkledde jenter med de hvite skjorteermerne ringet seg som lyse prikker og gnister om blussene, da var det synd for kristne folk a vaere med, da matte den lille jentungen og jeg sta pa avstand bak gjerdet og se og hore, hvordan de andre danset om balet og hujede av glede. Den siste rest av urreligion som ubevisst blusset opp.
Jeg fikk en forestilling om at dette med balet var noe syndig, noe stygt, som ble bedrevet i det gronne halvmorket – noe hedensk. Og dette ble enda mer forsterket ved sjalusien som grov i brystet nar de andre barna fikk vaere med, og jeg matte sta utenfor. Og slik sa jeg min lille lidelsesfell e – og den stygge, gule ilden, som ikke lyste i sommernatten, men som lokket og drog meg nettopp fordi den var omgitt med mystikk, ugudelighet, og ra hedenskap. Og til sist turte jeg meg inn blant de ugudelige. Men den lille piken stod igjen og sa pa med det bleke ansiktet og de store, sorte oynene som suget ilden i seg.
Slik er det jeg opprinnelig har bildet inne i meg."
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1928 /
Nikolai_Astrup /
sin /
Panoramic Interchange 2010-10-20
Hulda Stefánsdóttir
Travelling creates an odd conflict between longing to cut loose from yourself to see things in a different way while all the time consciously translating your same self into a foreign environment. Struggling to be just here while you are undeniably always also there, someplace else. Here are some moments travelled and places seen, both purposefully looking and aimlessly open towards what was there.
You Are Here is an exhibition of new work by 16 artists connected to the art academies of Bergen, Vilnius, Reykjavik and the Royal Art Institute, Stockholm.
http://panoramicinterchange.blogspot.com/
PANORAMIC INTERCHANGE: LANDSCAPE, SOCIETY AND THE INDIVIDUAL
International Symposium at
Moderna Museet, Cinema
Exercisplan 4,
Stockholm, Skeppsholmen
Friday, September 17th, from 10.00 – 18.00 hrs.
Historical panoramas used to offer a view of a city- or landscape - as seen from the point of view of an artist or photographer. Be it in painting, print or photography, the viewer received an often entertaining, informative and complete overview of a certain place at a certain time.
Digital media and networking have widened the scope of street, urban and landscape views to include 360” zoomable, interactive views, maps and directories - each in turn equipped with multiple options for further layers of information. Former blind spots might be rapidly disappearing in the ever more detailed complexity of available and accessible information. Furthermore the subject of individuality, the right to control, manipulate, protect and reveal personal information is challenged and hollowed out. The digital fingerprints left behind everywhere endanger our bank accounts and our privacy. In separate developments the decoding of the human gene is also leading to radical new perspectives regarding our rights to access information, questioning the individuality of humans and the way societies are organized.
Having arrived at this interchange, the artists, collectors, theoreticians and scientists participating in the symposium will present their material and ideas on the historical, current and emerging understanding of the observation, mapping and organization of different types of landscapes - beginning with historical viewing devices, the understanding and representation of landscapes (Werner Nekes) to the analysis of the genetic decoding of the individual and its social and cultural implications (Kári Stefánsson), further to an artists perspective of contemporary architecture, utopia and urban space (Marjolijn Dijkman) to the modelling, playing and interference with, as well as the questioning of, contemporary networked and mediatised societies (Michelle Teran).
WERNER NEKES
(b. 1944) lives in Mülheim an der Ruhr in Germany
Since 1965, filmmaker and media artist Werner Nekes has produced over 100 films and his work has been presented internationally at major museums and festivals.
Furthermore, Nekes has compiled one of the most important private collections of artifacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.
MARJOLEIN DIJKMAN
(b. 1978) lives in Rotterdam in The Netherlands, Brussels in Belgium and Saint Mihiel in France.
Through her diverse work Dutch artist Marjolijn Dijkman often considers the foundations of how we perceive and experience our surroundings – the conventions and categories which underlie the comprehension, or not, of the world around us. Ranging from photographic archives and films, to landscape interventions and the organization of exhibitions and experimental residencies, Dijkman’s practice has concerned itself with futurology, public space, knowledge organization, cartography, utopian architecture or environmentalism, for example, with a particular emphasis on collaboration.
KARI STEFANSSON, M.D., DR. MED., Executive Chairman and President of Research
(b.1949) lives and works in Reykjavik in Iceland
Kári Stefánsson, M.D., Dr. Med. founded deCODE in August 1996. Dr. Stefánsson was previously a professor of Neurology, Neuropathology and Neuroscience at Harvard University and Director of Neuropathology at Beth Israel Hospital in Boston, Massachusetts. From 1983 to 1993, he held faculty positions in Neurology, Neuropathology and Neurosciences at the University of Chicago. Dr. Stefánsson received his M.D. and Dr. Med. from the University of Iceland and is board-certified in neurology and neuropathology in the United States. Dr. Stefansson is recognized as a leading figure in human genetics. He has shaped deCODE's scientific approach and been actively engaged in leading its gene discovery work, serving as senior author on most of the company's publications in major scientific journals.
MICHELLE TERAN
(b. 1966) lives and works in Berlin in Germany
Born in Canada, Michelle Teran explores the interaction between media and social networks in urban environments. She develops performances, with the audience often participating via the staging of urban interventions such as guided tours, walks and open-air projections, participatory installations and happenings.
One of her recent projects, Buscando al Sr. Goodbar (2009), is a threefold tour through the Spanish town Murcia simultaneously taking place by bus as well as on Google Earth and YouTube.
Michelle received the Transmediale Award 2010, the Prix Ars Electronica honorary mention (2005, 2010) as well as the Vida 8.0 Art & Artificial Life International Competition.
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2010 /
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interchange /
nordic /
Moderna_Museet /
Baldvin_Einarsson /
Helene_Norseth /
Marjolijn_Dijkman /
Olav_Westphalen /
Emma_Houlihan /
Bryndis_Bjornsdottir /
Hulda_Stefansdottir /
Sindri_Snaer_Sveinbjargar_Leifsson /
Irma_Stanaityte /
Vilnius /
Pella_Kagerman /
Domas_Rukas /
Karen_Kipphoff /
Michelle_Teran /
Werner_Nekes /
Reykjavik /
symposium /
Asta_Ostrovskaja /
Gabriele_Edlbauer /
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Documentation (untitled sculpture) 2010-09-20
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