Steinar Sekkingstad

  • Fifth Honeymoon

    Fifth Honeymoon

    Torbjørn Rødland, Steinar Sekkingstad, and Axel Wieder

    This publication accompanies Torbjørn Rødland's exhibition “Fifth Honeymoon,” produced as a collaboration between Bergen Kunsthall; Bonniers Konsthall, Stockholm; and Helsinki's Museum of Contemporary Art, Kiasma; and featuring thirty new photographs and a new video work, his first in eleven years. Photographed exclusively on analog material, often in staged studio settings, Rødland's works hold a unique place in the treatment of images by artists today. His photographs have an almost uncomfortable ambiguity, fully aware as they are of the power of images and the slippery comfort of normative formats, while simultaneously showing a sincere desire for the emotions and the magic that are at play in the world. His photographs manifest what we experience as beautiful, and sometimes repulsive, but not in any conventional way. Rødland makes use of these aesthetic categories and the forms in which they are expressed, and confronts them, complicates them, and exaggerates them with contradictory concepts, such as the uncanny, the nasty, the messy.

    Fifth Honeymoon features all of the new works in Torbjørn Rødland's eponymous exhibition, as well as newly commissioned essays by the American writer and cultural theorist Sianne Ngai and artist colleague Matias Faldbakken.

    Copublished with Bergen Kunsthall; Bonniers Konsthall, Stockholm; and Kiasma Museum of Contemporary Art, Helsinki

    Contributors Matias Faldbakken, Sianne Ngai

    • Hardcover $36.00
  • Fredrik Værslev

    Fredrik Værslev

    All Around Amateur

    Martin Clark, Anne Pontégnie, and Steinar Sekkingstad

    Fredrik Værslev's work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today. He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active cocreators in the making of the work. In several series, he has left his paintings outdoors for long periods of time, allowing the weather and external wear to complete the work. Other works employ apparently clichéd techniques, motifs, or art-historical quotations (i.e., dripping and splattering). More recently, Værslev has been working with a tool used for marking painted lines on roads and sports fields.

    Published in conjunction with Fredrik Værselv's exhibition “All Around Amateur” at the Bergen Kunsthall and Le Consortium, Dijon, this publication, comes in two different versions, with each book comprising 320 one-to-one digital images scanned from eight of Værslev's new “sunset” paintings. Each canvas produces a total of eighty scanned images, which are reproduced in the book sequentially, left to right, top to bottom. The full-bleed scans in each “volume,” together, reproduce an entire wall of paintings from the exhibition. The paintings, based on photographs of sunsets taken by Værslev on his iPhone from airplane windows, evoke the work of art-historical figures such as J. M. W. Turner, Mark Rothko, and Edvard Munch.

    The catalogue also includes newly commissioned texts by Ina Blom (University of Oslo), Martin Clark and Steinar Sekkingstad (Bergen Kunsthall) as well as an interview with artist Anne Pontégnie.

    Copublished with Bergen Kunsthall, and Le Consortium, Dijon

    Contributors Ina Blom, Martin Clark, Anne Pontégnie, Steinar Sekkingstad

    • Paperback $54.00
  • Ane Hjort Guttu

    Ane Hjort Guttu

    eating or opening a window or just walking dully along

    Martin Clark, Steinar Sekkingstad, and Ane Hjort Guttu

    On the occasion of Ane Hjort Guttu's 2015 Festival Artist exhibition at Bergen Kunsthall, presenting her latest film work, this substantial monograph gathers reflections on recent projects and offers insight into the artist's work and methodology.

    Guttu's new film Time Passes (2015), and commissioned by the institution, debates the contradictory and complex issues around the uses of and rights to public space, urban poverty and inequality, and the responsibility of the artist to produce commentary. An essay by Kim West introduces Guttu's work as portraiture filmmaking crossing the gaze of the documentarian with a decidedly subjective point of view; Pablo Lafuente situates the work in relation to the responsibility of education and critical consciousness; and Ekaterina Degot draws out questions on the egalitarian character of contemporary art, particularly in light of the ideals highly present in the social imagination of Norway, “the last welfare state.” The texts are accompanied by visual essays and an artist interview with Halvor Haugen. This publication presents a framed view on this artist's recent works, and takes a position on the role of the artist and the potential of art as a critical and political tool.

    Copublished with Bergen Kunsthall

    Contributors Martin Clark, Ekaterina Degot, Ane Hjort Guttu, Halvor Haugen, Pablo Lafuente, Steinar Sekkingstad, Kim West

    • Paperback $44.00
  • Haegue Yang

    Haegue Yang

    Dare to Count Phonemes and Graphemes

    Ute Meta Bauer, Kathy Noble, Kyla McDonald, and Steinar Sekkingstad

    Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad

    This catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20, 2013); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22, 2013). This new collaborative publication, Dare to Count Phonemes and Graphemes, has evolved within the framework of these geographically separate yet collaboratively conceived exhibitions. While each exhibition was an independent manifestation, they both are intrinsically linked to Yang's continuous artistic evolution. The developments shown are emblematic of the artist's recent projects, focusing on the ideas of abstraction and motion. This catalogue presents two newly commissioned texts, as well as an interview between Yang and the respective curators of the exhibitions, which explore the artist's distinctive and diverse work.

    Haegue Yang's works are internationally appreciated and are well known for an eloquent and seductive language of visual abstraction that she often combines with direct sensory experience. She is an artist who continuously pushes the boundaries of her practice, engaging with new methodologies and ways of making. This approach is evident from her exhibitions at Glasgow Sculpture Studios and Bergen Kunsthall as well as this new publication.

    Copublished with Bergen Kunsthall and Glasgow Sculpture Studios

    • Paperback $36.00
  • Surplus

    Surplus

    Marianne Heier, Solveig Øvstebø, and Steinar Sekkingstad

    Although Marianne Heier abandons the traditional exhibition spaces in connection with her projects, Art with a capital A is still always measured against other social constructs. At this point of intersection, Heier looks at the typical features of the various economies or values of given fields and how they overlap and collide. What, for example, characterizes the value of art compared with the concept of value in the global market economy? What can be translated? What is not for sale? With this approach, Heier turns the focus on distinctions between cultural and economic capital, which are further problematized inasmuch as the physical works or interventions often end up as gifts to the institution with which she works. The gift economy as a phenomenon and theoretical entity is therefore central to Heier's art production.

    Through “Surplus,” an extensive physical intervention in front of Bergen Kunsthall, Heier demonstrated an unbudgeable faith that art has a value different from the one that can simply be negotiated on a market. Surplus can, from this perspective, also refer to a kind of “surplus value.”

    This publication builds on Heier's investigative process. Instead of a retrospective analysis of her oeuvre, contributions by writers and researchers from various disciplines have become an important part of the exhibition project in their own right. The project renders visible societal structures and consequences of such structures—of which we are not always aware. By shifting the perspective slightly, we can perhaps glimpse distinct values and new outcomes.

    Copublished with Bergen Kunsthall

    Contributors Thomas Hylland Eriksen, Marianne Heier, Ranjit Hoskote, Loretta Napoleoni, Solveig Øvstebø, and Kim West

    • Hardcover $40.00