Hva var de mest interessante utstillingene, begivenhetene og publikasjonene i 2015? I Kunstkritikks julekalender oppsummerer inviterte gjester og våre egne skribenter kunståret. Den tjueførste i rekken er den Oslo-baserte skribenten Sara R. Yazdani. Hun har blant annet skrevet for Kunstkritikk og Artforum, og arbeider for tiden med en doktorgradsavhandling om Wolfgang Tillmans ved Universitetet i Oslo.
Institutt for Degenerert Kunst, Everything is Dust, Blaker gamle meieri, Blaker
The third and final exhibition of the series Gutenberggalaksen ligger på Blaker – curated by Ellef Prestsæter – extended the archive fever with an autonomous metaphorical archiving of Institutt for Degenerert Kunst (Institute of Degenerate Art). The result was a dusty representation of biological measures of the institute itself, and a peculiar screening of their earlier video work Give it up Again, showed on the TV in the communal room at Blaker retirement home.
Marius Engh, A Gaze Blank and Pitiless as the Sun, NoPlace, Oslo
Marius Engh’s most vigorous conceptual cosmology.
Susanne M. Winterling, Mousse Publishing. Texts by Anja Casser, Chris Kraus, Susanne M. Winterling, and Susanne Østby Sæther.
Scorpions, technologies, biological life and media theory, all wrapped in a glossy blue cover. The publication is a visit into the profound work of Susanne M. Winterling and stands as one of the most compelling artist books of the year.
Textures of the Anthropocene. Grain. Vapor. Ray. Edited by Katrin Klingan, Ashkan Sepahvand, Christoph Rosol and Bernd M. Scherer, MIT Press.
This four volume reader, which is an extension of the exhibition and research project The Anthropocene Project at Haus der Kulturen der Welt in Berlin, is not the most substantial publication on the field but provides a lively selection of art historical and philosophical texts.
And Life Goes On, curated by Karl Holmqvist, Between Bridges, Berlin.
This show at Wolfgang Tillmans’ space in Berlin (originally London) was actually in 2014. I do however keep returning to it: Sean Snyder’s Arriving and Transferring Passengers, FFM Airport (1997) in the background, Yngve Holen’s 3D-printed Haters Head (2013) and Natascha Sadr Haghighian’s many objects in I Woke Up Like This (2014), documented and now forever alive on the Internet.
Nicolàs Robbio, curated by Filipa Oliverira, Pavilhão Branco at Museu de Lisboa, Lisboa.
The work of the Brazilian artist Nicolàs Robbio is an interesting assemblage of materials and energies, together creating a contemporary earth art project. The large pile of sand placed outside the museum became a nice summer reminder of Carl Andre’s Grave Site (a small pile of sand placed underneath a staircase at the Museum of Contemporary Crafts) from 1967. It remains my perfect memory.