Temporary Platforms for Art in Public Space

“The practice of art in public space is an institutionalised practice. Our aim is to diversify it.”

Following the path of Atopia’s Vitrine project (2007-11) and Bergensgata 2 (2015), we acquired and converted the shop front on Grefsenveien 30 into a location for production and presentation of new works for the next three months.

The initial aim of this project is to produce and exhibit several works that express, examine and confront our own perceptions of public art.

Working in particular with video we also set out to explore different characteristics of moving image and duration differentiating videoworks shown inside galleries as opposed to the public space.

This project is part of Atopia’s ongoing explorations of art in public space, and part of a larger study of dominant politics and conditions of public art in Norway. The practice and study of public art concern us with its social, institutional and individual functions, interactions and implications.

We work within a city-scape dominated by commercial and political advertisements. The majority of imagery across the city is targeting audiences to buy commercial or political products. With this project we aim at exploring the possibilities of introducing alternative imagery within the city-scape. How could such imagery evolve and function?

Due to its complexities the practice and concept of public art tends to be monopolized by larger state organizations or corporations. The terms and conditions of this practice are set by such institutions, which often use artists as mediators of their particular agendas.

With such projects Atopia aims at diversifying the practice of public art and providing an independent platform for artists working in public space. How would such an initiative contribute to the discourse of art in public space?

Art in public space needs to be scrutinised from various angles, and we believe artists should take a more active role in defining its parameters. An important aspect of this project is to encourage the artist community to take an active and independent role in practicing their right to the city. How do we relate to one’s right to the city?

This project has various intentions and aims, but above all it is an art project.

Grefsenveien 30 is an Atopia project initiated by Linn Lervik and Farhad Kalantary operating during the months of December 2015 and January - March 2016.

This project is sponsored by Kulturetaten of Oslo Kommune.

Temporary Platforms for Art in Public Space

Going Back To by Farhad Kalantary

Grefsenveien 30, 12 - 29 Feb, 2016

Going Back To is a long and slow moving image exhibited on Grefsenveien 30 in Oslo. Recorded with a rotating camera more than 10 years ago in Istanbul the video observes the passage of people in a crowded street. The slowed down and reversed images are fixed on the two windows of Grefsenveien 30 and geometrically synchronized. Spatial continuity of the two screens overshadow movement of the people, giving a hint of physical movement of the current location.

Due to its complexities the practice and concept of public art tends to be monopolized by larger state organizations or corporations. The terms and conditions of this practice are set by such institutions, which often use artists as mediators of their particular agendas.
With such projects Atopia aims at diversifying the practice of public art and providing an independent platform for artists working in public space.
How would such an initiative contribute to the discourse of art in public space?

Shapes of Reality by Haraldur Karlsson   

Grefsenveien 30, 11.12.2015 - 7.01.2016

Shapes of Reality is a synchronized double screen video installation. In this new work Karlsson applies the notion of Hypercube into a basic geometrical shape. Through his image processing he creates a dynamic flow of light and texture in constant motion. Working with the specificities of the space on Grefsenveien 30 he has made the double screen video as depicting two sides of the movement of the object, giving his work a three dimensional quality.

Haraldur Karlsson (1967, Reykjavik, Iceland) holds a diploma in Mixed-Media from the Icelandic art school in Reykjavik and BA diploma in Media-Art from AKI Enchede, Holland. He then studied Sonology over 3 years at the Royal Conservatorium Den Haag under the guidance of professor Clarence Barlow. For many years Karlsson worked at the Icelandic Academy of Arts as the head of Media-Lab, which he had initiated. Karlsson has had his exhibitions, performances and lectures in Iceland, Holland, Belgium, England, Czech Republic, Finland and Norway. He lives and works in Oslo.

Grefsenveien 30 in Oslo is Atopia’s new platform for experimenting with art in public space.

Following the path of Atopia’s Vitrine project (2007-11) and Bergensgata 2 (2015), we have now acquired and converted the shop front on Grefsenveien 30 into a location for production and presentation of new works for the next three months.

The initial aim of this project is to produce and exhibit several works that express, examine and confront our own perceptions of public art.

Working in particular with video we also set out to explore different characteristics of moving image and duration differentiating videoworks shown inside galleries as opposed to the public space.

This project is part of Atopia’s ongoing explorations of art in public space, and part of a larger study of dominant politics and conditions of public art in Norway. The practice and study of public art concern us with its social, institutional and individual functions, interactions and implications.

We work within a city-scape dominated by commercial and political advertisements. The majority of imagery across the city is targeting audiences to buy commercial or political products. With this project we aim at exploring the possibilities of introducing alternative imagery within the city-scape. How could such imagery evolve and function?

Due to its complexities the practice and concept of public art tends to be monopolized by larger state organizations or corporations. The terms and conditions of this practice are set by such institutions, which often use artists as mediators of their particular agendas.

With such projects Atopia aims at diversifying the practice of public art and providing an independent platform for artists working in public space. How would such an initiative contribute to the discourse of art in public space?

Art in public space needs to be scrutinized from various angles, and we believe artists should take a more active role in defining its parameters. An important aspect of this project is to encourage the artist community to take an active and independent role in practicing their right to the city. How do we relate to one’s right to the city?

This project has various intentions and aims, but above all it is an art project.

Grefsenveien 30 is an Atopia project initiated by Linn Lervik and Farhad Kalantary operating during the months of December 2015 and January - March 2016.

Bergensgata 2 is Atopia’s new platform for experimenting with art in public space. Located in Sagene – Oslo this project is conceived as an artist laboratory operating during the winter months of January, February and March 2015.

Sagene is one of the most densely populated areas of Oslo. We have chosen a location situated in this area outside the normal environment of cultural/artistic activities challenging the pre-conceived notions of artistic practice and cultural placement.

In this period of 3 months we will produce and present several works that express, examine and confront our own perceptions of public art. Working in particular with video we aim to explore different characteristics of moving image and duration in public space.

In Silence  by Farhad Kalantary

From Jan 14, 2015 – Feb 11, 2015

“In Silence” appeared quietly on Beregensgata2.

A row of slow tracking video shots depicting the Icelandic landscape. Movement on the edge of stillness, consistent but in silence. No one in view to disturb the peace, the silence, the most fragile.

Lightroom by Linn Lervik   

Grefsenveien 30, May-June 2016

Lightroom is a space with a tilted floor and white walls constructed inside Grefsenveien 30. As opposed to camera obscura capturing the light of its environment, Lightroom works as a light chamber where shadows are caught and exposed. At daytime it submits itself to the gradual shifts of sunlight. At night its own moving light source accelerates the play of shadows inside the room.

Lightroom is an architectural installation exploring the connections of artwork to its site of presentation. As a work made specifically for Grefsenveien 30, it relies on its site-generated lighting conditions to form its visual composition. In all its subtlety, Lightroom presents an approach for making art in public space that stresses the importance of its locality and its conditions of here and now. 

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