STUDIO EXHIBITION
JUNE 22 - 23
STUDIO TRAFO KUNSTHALL
Photo: Jiri Havran
Trafo Kunsthall is pleased to welcome you to the opening of the first studio exhibition at Studio Trafo Kunsthall , Saturday, June 22nd at 12 noon. Winter 2023 sent Trafo Kunsthall issue a call for artists and craftsmen for free studio space for Studio Trafo Kunsthall in the summer season 2024. The first work period is now over and will be rounded off with a studio exhibition on June 22 and 23.
OPENING: JUNE 22ND AT 12:00.
OPEN SATURDAY AND SUNDAY, 12-4 PM
TRAFO KUNSTHALL
LENSMANNSLIA 60, ASKER
MALIN BÜLOW
OVULATION, GESTATION, PROLIFERATION, LACTATION
JIRI HAVRAN
MEMORIES
JANNE KRUSE
IN ONE HAND
MALIN BÜLOW
OVULATION, GESTATION, PROLIFERATION, LACTATION
Malin Bülow's work moves at the intersection of textile, performance, installation, sculpture and choreography. She combines living bodies with elastic and transparent textile membranes, which relate to their surroundings in different ways. During her stay at Trafo Kunsthall she has investigated new material interactions with textile membranes. Similar to the performance installations, the membranes are form-giving agents, but here combined with liquid and inherently formless materials, such as plaster, acrylic-1, silicone, porcelain and clay. During the studio exhibition, the audience is invited to take part in the process.
JIRI HAVRAN
MEMORIES
Jiri Havran is particularly known for his photographs of architectural elements and landscapes. During his working period at Trafo Kunsthall He has explored the building details of Trafobygget, in line with previous projects. The studio exhibition also shows images from some of the trips he took in April and May this year, as well as works from the project Landmarks Norway, which he has been working on for the past 3-4 years.
JANNE KRUSE
IN ONE HAND
The mimetic garden
Concepts like "gray light" or "twilight" are not related to our personal meteorological observations, but are related to being as a whole. Individual words do not refer to their meanings, but laterally to other words. The senses do not give us any meanings, but we get a lot of fallacies and misconceptions that we can use in the work of moving laterally. We may call them fallacies today, but they are actually remnants of our mimetic abilities, which we have lost. "It is obvious that the sensible world for modern man has retained only minimal remnants of the magical correspondences and analogies that people in ancient times knew." says Walter Benjamin. When we today find something beautiful, it is because we recognize this that we have lost. We stand and look at a ruined landscape of connections without being able to use the ability that was supposed to put everything into a system anymore. We laugh a little nervously. Systematics and systems are criticized for being remote from reality, distant from individual objects, and hierarchical, patriarchal, dualistic and everything that is wrong with thinking. But systems can also be analogical, surrealistic, erotic, liberating. In the garden, one works mimetically again and assembles forms in ever new ways and sequences. The idea of the suburban house with garden was created as a political project in the interwar period to give the worker access to edifying beauty as a leisure activity and the opportunity to have a kitchen garden if there were a famine. Today, the political project is to maintain the ability to produce and recognize new and ancient similarities and connections in the diversity of the perceptible. To keep this sense of complexity alive in a world that constantly reduces everything to the same. It feels like in the garden you are like Chaplin in a silent film, in a forgotten dance of images without sound. Meters of film in the editing room. The process is divided into different phases, like a diagram from old sciences. The experience itself is without division, but here it lies before us, step by step, cut by cut. Everything is self-evident, transparent. A sudden gust of wind makes me stop where I am on my knees. My hand cuts on automatically.
- Espen Summer Eide
Over the past few years, Janne Kruse has worked between her garden and her studio, and she has consciously juxtaposed these two spaces. The exhibition 'In One Hand' is part of the investigation of the connection between the physical, the rational, the organic and the mental. It is an attempt to connect thought to the sensory with an eye to the responsibility of observation.
Janne Kruse (b. 1979, Denmark) lives and works in Oslo. She is a visual artist and works with a wide range of expressions and media. Her works investigate spatial and linguistic relations in the encounter between body and world, where ephemeral elements and the fragmented nature of memory are central. In parallel with her own work, she is part of the performative artist collective Verdensteatret, which creates extensive audiovisual and interdisciplinary stage performances in both theater and gallery contexts. Janne Kruse is a graduate of the Oslo National Academy of the Arts and the Central Academy of Fine Art in Beijing.