Pink Shoelaces is being held at Skansen, 8.-12. April, arranged by punktet showroom. Curated by 3rd year BFA student David Breida and Professor Jeremy Welsh, this will be a very multifaceted exhibition, and the most expansive for punktet so far. In this group exhitbition 15 young artists have come together to create each their pieces specifically for the Skansen area. The industrial surroundings at Skansen are filled by historic elements, telling us about the development of the city. In this exhibition they are juxtapositioned with the artists visions about such diverse themes as daydreaming, the organic and the philosophical, to the mechanical, neurological and humanitarian.
Ørjan Amundsen (b. 1982) works mainly with poetry, music and video, often in combined form. The last few years he has worked with ‘found materials’ which he appropriates into new contexts. His art is often related to how we are affected by popular culture and the mass media. How information is used in sustaining and enhancing beliefs about faith and the world in general. Amundsen’s work for Pink Shoelaces is titled ‘HOW NOT NOT TO MAKE POST-INTERNET ART - A Fucking Didactic .mp4-file’.
William A. Bentsen (b. 1989) explores material qualities and assets in his sculptures or installations, that are affected by the material combinations of each object. Through simple manual and technical installations, Bentsen wishes to accentuate the multilateral of materials. At this exhibition he will complement the heavy industrial surroundings with lighter and more flexible materials. This in contrast to the mechanics and the materials already there. For Pink Shoelaces, Bentsen is showing his work titled ‘Load.
Sigrid Voll Bøyum (b.1988) explores humanity’s place within nature through sculpture and installation in what becomes an experimental process surrounding her materials and her ideas. Her art relates to humanity’s relationship with nature around and in itself, and within her framework she creates pieces depicting humanity and nature’s relationship and effect on each other. For the exhibition Bøyum wil investigate the subject of travelling. Bøyums work for Pink Shoelaces is titled ‘Weather Salutation/ Hilsen til været’.
Johanna Edgren (b. 1986) works with various media such as video, digital collage, sculpture and installation. Her work can be seen as meetings between the organic and the mechanical. The sculptural works are often material based where wood, stones and plants meet industrially produced materials like iron, plastic, concrete and lacquer. In the collages, pictures of natural landscapes meet with digital and analogue produced and manipulated pictures. Edgren is interested in the modern human’s meeting with nature. This is shown in her works which represent her self-created universe where digital landscapes combines with nature through a micro and a macro perspective. For Pink Shoelaces Edgren will be showin her work titled ‘Untitled Construction’.
Per Ellef Eltvedt (b. 1987) expresses his ideas or thoughts through painting and sculpture, yet trying to not be limited by the medium. His works are often influenced by arbitrary encounters in the public and private space, which later is further developed and processed in his studio. Eltvedt will at Punktet show a group of sculptures which has its origin from the back side of his latest paintings. At Skansen the work will evoke new reading being placed outside of context in a new landscape.Eltvedt’s work for Pink Shoelaces is titled ‘Backside 180’.
Øyunn Hustveit (b. 1985) works primarily with painting and textiles, where the motives often are landscapes seen through mist. In contrast to many other artists, it is not the landscape that is important, it’s the way we see it. The landscapes becomes something we are watching from a distance, something we are a part of. Her art is a state, somewhere between fantasy and reality. Hustveits work for Pink Shoelaces is titled ‘Der #8’.
Mujahed Khallaf (b. 1986) has worked with mosaic art, in collaboration with children and teenagers in Palestinian refugee camps on the West Bank. In addition to mosaic Khallaf also works with print, sculpture and drawing. His art is made to provoke, and he is committed in the questions related to what it is like to live as an artist under Israeli occupation. Through his work in Palestine, he realized that art is an essential tool on the road to freedom. Khallaf’s work for Pink Shoelaces is titled ‘Stateless Passport’.
Thea Meinert (f. 1989) Through expanding both the format of the loom and the technique of textile production, into new codex and languages, sculptural forms and drawings, she investigates the relation between the human and artificial. Her interest in the lines, for coding and computer generated language is reflected within intertwining of threads, following the same principle as weaving in theory and the combinations of material and structures, and the development of her own circuits and abstracted information structures. Meinert’s work for Pink Shoelaces is titled ‘Light Installation I & II’.
Per Stian Monsås (b. 1990) is fascinated by the relationship between the urban and rural landscape, and how humans affecting the two. He is developing a dialogue between the intrusive yet integrating presence of this relationship with sculpture and installation. His works explores how technology influences our experiences of the natural. Monsås is influenced by the surroundings of the space/location, investigating the accords between micro and macro. Here, he (often) refers to details to show their legitimacy and strength. Monsås’ work for Pink Shoelaces is titled ‘City Forest’.
Nazare Soares (b.1981) works with film and sound installations, in which she deconstructs a former narrative down to fragments, moving the results beyond the limitations of a screen. Her practice is a way of exploring the human neurologic and psychologic responses to moving pictures. Still- and moving pictures combined with optical tricks create an experience of a three dimensional illusion in the depths of the viewer’s mind – a neurologic trance filled with mythopoeic memories. Soare’s work for Pink Shoelaces is titled ‘Pharo’s Mirror’.
Anders Solberg’s (b. 1984) artistic signature is a combination of documentary and typology based photography. His work consists of a reconstructed new reality, focusing on tableu and compositions that acknowledge the overlooked and the trivial. Solberg’s works come to life by accentuating alluring aspects, observed and explored from landscape perspective of a mute reality. His works showcase nature stirred by the human hand. Solberg’s work for Pink Shoelaces is titled ‘Leucosis’.
Martinus Sujikerbuijk (b.1980) has created a piece where topography and sound become allgories for the meeting of landscape and technology. Using materials such as plaster, asphalt,concrete and wood, Suijkerbuijk creates constellations of sculptures - or spatial narratives as he calls them himself - in which he explores his ideas and theories. With a broad spectrum of interests diverging from corrosion in Baroque sculptures to Algorithmic processing of natural form, Suijkerbuijk explores the exchange between the traditional and the technological. Suijkerbuijk’s work for Pink Shoelaces is titled ‘Reproduction of a Mountain part I’.
Andreas Wallroth (b.1987) works in painting, sculpture and installations. His pieces are best described as collage-like visualisations of themes such as mass culture, graffiti, and nature, functioning as an exploration of physical and mental spaces. For the exhibition in Skansen Wallroth will combine performance and installation in a piece dealing with social interactions, taking place in the area surrounding Skansen trainstation. In addition, he will present a collection of wines, bearing the title ‘Randy Bonanza’s Pink Shoelaces Wine Collection 2016’.
Ida Westberg(b. 1989) works with sculpture and paintings, often combined into spacial installations. She studies the scientific and spiritual search for meaning and her work is created through an intuitive playing with materials. Found objects are an important part of her work – the lost functions of the object become new aspects in the artwork. What in one situation is useless becomes new meaning through her vision and the viewer’s perspective. Westberg’s work for Pink Shoelaces is untitled.
Guri Simone Øveraas (b. 1990) creates stories from the mind, from daydreams of places she has been or from things she has seen. In her works it is the mood she gets from the meeting with objects or places that triggers her forms of expression. The mood that fills her gets strengthened through the absurdity of the imagination, and it makes the experience more magicale and sometimes less overwhelming. At the exhibition at Skansen, Guri Simone has chosen the stone steps by the breakwater, where she will create an area of transformation. On the opening of the exhibition, she will do a performance that demonstrates her daydream of becoming a dolphin. Øveraas’ work for Pink Shoelaces is untitled.
Jeremy Welsh studied art at Trent Polytechnic School of Art & Design and at Goldsmiths College. He works with various mediums, including video, photography, installation, sound and performance. Welsh has been internationally active as an artist since 1982 and has participated in several exhibitions and festivals in Norway and abroad. His works have been aquired by Museet for Samtidskunst, Norwegian Kulturråd and Trondheim Kunstmuseum, to name a few. Welsh was employed at Bergen Art Academy, and is currently professor at Trondheim Art Academy (KiT).
David Breida(b. 1980) is an undergraduate at Trondheim Art Academy (KiT). Breida has participated in several exhibitions in the Nordic, and recently topical with Oh the Sisters of Mercy at Bakke Gård. This spring he is curating along with Welsh for punktets current exhibition at Skansen. Breida’s works examine subjects tied to human relations – to each other and to the surrounding nature, and is especially focused on landscape. In his exploration of these subjects, Breida experiments with media such as photo, painting, textiles, video, installation and text. The interest for traditions and social patterns, history and identity is a red thread through Breida’s oeuvre.
Skansen lighthouse is a simple red and white lighthouse that has lead seafarers safely into the harbour for a century. The lighthouse is from 1916, and the beacon was restored by Trondheim Havn after 2000.
The central part of Trondheim city forms a natural peninsula divided by the fjord to the north, and the river Nidelva from southwest to northeast. The peninsula is connected to the mainland in the vest by the narrow Nidareidet, and it is here we find Skansen.
The area is substansially concerned with the new means of comunication and transportation that emerged in the second half of the 19th century. Here we find Skansen station, which opened in 1893. The train stop does not have a traditional station building, but a swiss style building from the opening year is placed on the platform.
Barely a 100 meters towards Trondehim S is Skansen railway bridge, often refered to as Skansenbrua. It was opened in 1918, and is a valvular- or tilting bridge. In 2005 the bridge became a listed stucture due to its national importance as cultural heritage.
Behind Skansenbrua lies a building used as a power station, with its achitechtual details typical for its period. It supplied Skansenbrua with electrical power for an extended period of time. Today it is replaced by a new one and the remaining structure is stripped of its electrical installations and left as an empty shell marked by decay.