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Office for Contemporary Art Norway News

The Office for Contemporary Art Norway aims to strengthening the position of contemporary visual arts and production from Norway and stimulate exchange between Norwegian and international art professionals.

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News: Let the River Flow. The Sovereign Will and the Making of a New Worldliness

Fri, 16 Mar 2018 09:00:00 GMT

OCA ANNOUNCES 'Let the River Flow. The Sovereign Will and the Making of a New Worldliness' Curated by Katya García-Antón, with Antonio Cataldo Advisory Board: Prof. Harald Gaski and Dr. Gunvor Guttorm Exhibition Design: A-lab (Káre R. Anti) and Torsteinsen Design Opening reception: Wednesday 11 April 2018, 18:00 Opening dates: Thursday 12 April–Sunday 3 June 2018 Opening hours: Wed–Sun: 11:00–17:00 

 Office for Contemporary Art Norway Nedre gate 7, 0551 Oslo I OCA is proud to announce the opening of the exhibition ‘Let the River Flow. The Sovereign Will and the Making of a New Worldliness’ on Wednesday 11 April 2018 at 18:00. The Áltá-Guovdageino Action (c. 1978–82) radically shook the course of history in the Nordic region. Its call to ‘let the river live’ was launched against the construction of a large dam across the legendary Álttáeatnu (Áltá river) in Sápmi/Northern Norway. It grew from an unexpectedly broad movement of solidarity across civil society – Sámi, Norwegian and international – in which Sámi artists played a crucial role. The Áltá Action was a reaction to the profound impact for Sámi communities, their livelihoods, their cultural heritage, and as environmental protectors, of the flooding by the dam of large areas of Sápmi. The resistance movement was as unprecedented within the history of social protest in Europe, as was its dramatic climax – the Sámi hunger strikes in Oslo in 1979. Morevoer it was part of the Áltá Action's new environmental consciousness of the 1970s, as well as the emerging histories of Indigenous empowerment of the time. Today the action elicits bitter-sweet memories. Some historians have claimed that in catalysing Norway's signature of the United Nation's ILO Convention 169 and the creation of a Sámi Parliament, Kárášjohka, 1989, the action announced a new era of Nordic de-colonisation. One that potentially placed Norway at the fore-front of social justice policy-making world-wide. Yet a new generation of Sámi artists and thinkers claim that this process stalled early on coinciding with the rise of a new economy in Norway, and that the very survival of Sámi culture, land, livelihood and world-views is in serious danger today. Their voices are much sought after amongst the most prestigious cultural arenas internationally, and play an essential role within the powerful Indigenous movement spreading across the world – artistically, ecologically and politically. 'Let the River Flow' is the fruit of three years of dialogue with artists, scholars, and other cultural peers and peoples across Sápmi, traversing four nation-states (Norway, Sweden, Finland and Russia). The exhibition showcases the essential role of Sámi artists in the action, in particular the radical Mázejoavku: Sámi Dáiddajoavku (Sámi Artists’ Group, 1978-83), as well as the solidarity of non-Sámi counterparts. It presents rare historic works side-lined from the Nordic art historical canon, as well as material from the The Archives of the Protest Movement against the damming of the Áltá-Guovdageino water system and new contemporary commissions that explore the legacy of Áltá today. 'Let the River Flow' simultaneously claims and challenges the place of Sámi art amongst the new global, modernist, museologies dedicated to expand the canon of art history to a world-scale. 'Let the River Flow' is curated by Katya García-Antón, with Antonio Cataldo. The project has been honoured by the guidance of an Advisory Council consisting of Sámi scholars, Prof. Harald Gaski and Dr. Gunvor Guttorm. The exhibition design is fruit of a Sámi-Norwegian collaboration by A-Lab (Káre R. Anti) and Torsteinsen Design. Artworks, performances and lectures will be presented by: Na[...]

News: `Sovereign Words' programme

Tue, 30 Jan 2018 13:38:00 GMT

PROGRAMME 2 February, 10am–12pm Venue: Seminar room Welcome and introduction by Prof. Prashanta Tripura. Opening words by OCA’s Director Katya García-Antón. Presentation by Ánde Somby 5 February, 11am–4pm Venue: Seminar room Presentations by Sontosh Tripura, Megan Cope, Léuli Eshraghi, Djon Mundine, Máret Ánne Sara 6 February, 11am–4pm Venue: Seminar room Presentations by Kimberley Moulton, Santosh Kumar Das, Irene Snarby, Venkat Shyam, and Daniel Browning 7 February, 2.30–7.30pm Venue: Seminar room Presentations by Kabita Chakma, Prashanta Tripura, Biung Ismahasan, and Hannah Donnelly 8 February, 5.30–7pm Venue: Seminar room Presentation by David Garneau Group discussion and closing notes by Kabita Chakma, Léuli Eshraghi, Sanjeeb Drong, and Kimberley Moulton. 9 February, 6–7.15pm Venue: Main Auditorium Closing keynote presentation by Gayatri Chakravorty Spivak. Final remarks on the sessions by Daniel Browning, Venkat Shyam and David Garneau. * Detailed and updated biographies of all the speakers are available on the OCA’s website. ABSTRACTS 2 February, 10am–12pm 10am Welcome and introduction: Prashanta Tripura Opening words: Katya García-Antón 11.00am Q&A 11.15am Ánde Somby How many legal forms can the encounter between a national state and an Indigenous people take? The presentation will trace various approaches that have been taken when a national state has established its presence in a territory that was previously populated. Can the national state simply use the people already situated there as resources along with the riches the territories already offer? For example, as slaves? Or can they just cleanse the territories of the people living there? Can they simply criminalise the people’s presence or can they tolerate them being there until more worthy interests emerge? Or should they be informed? Should one consult them? Could they be given veto power? Or even the right to come up with initiatives themselves? This presentation will follow this line of thought with examples from history as well as examples from today’s reality while analysing the encounter between national states and Indigenous peoples. 11.45am Q&A 5 February, 11am–4pm 11am Introduction to the day 11.15am Sontosh Tripura Indigenous people’s survival and existence are associated with the lands where they have lived since time immemorial. The importance of lands is the very survival of Indigenous cultures and their articulated ideas of communal stewardship over land as well as their deeply felt spiritual and emotional nexus with the Earth and its fruits. Hence the claiming of land rights means ensuring the security of land ownership which guarantees the economic viability and development of such communities. Land is the central issue when discussing Indigenous peoples’ empowerment as it is the basis for the enjoyment of their cultural rights and ensures their basic rights while respecting their distinct identity. The Indigenous notion of the ownership and management of land is based on the customary laws which are considered more or less a collective property. This presentation will offer a brief glimpse into the status of Indigenous peoples’ land rights in Bangladesh. 11.45am Q&A 12pm Megan Cope Megan Cope will give a presentation of her artistic practice, focusing on the transition from mapping practices to her most recent sculptural work. Looking into mapping practices as colonial tools, and mining industries which both alter Indigenous landscapes and their economic, relat[...]

News: ‘Sovereign Words’ at the Dhaka Art Summit

Wed, 17 Jan 2018 09:18:00 GMT

OCA ANNOUNCES ‘Sovereign Words. Facing the Tempest of a Globalised Art History’ presented during the Dhaka Art Summit 2–10 February 2018 Dhaka, Bangladesh They have assumed the names and gestures of their enemies, but have held on to their own, secret souls; and in this there is a resistance and an overcoming, a long outwaiting. – N. Scott Momaday, House of Dawn, 1968 Our sovereignty is embodied, it is ontological (our being) and epistemological (our way of knowing), and it is grounded within complex relations derived from the inter-substantiation of ancestral beings, humans and land. In this sense, our sovereignty is carried by the body and differs from Western constructions of sovereignty, which are predicated on the social contract model, the idea of a universal supreme authority, territorial integrity and individual rights – Aileen Moreton-Robinson, Sovereign Subjects: Indigenous Sovereignty Matters, 2007 OCA is pleased to announce its return to the Dhaka Art Summit 2018 with ‘Sovereign Words. Facing the Tempest of a Globalised Art History’: a platform of panel discussions, lecture performances, group debates and readings during the Dhaka Art Summit 2018. ‘Sovereign Words’ is a new iteration of the ‘Critical Writing Ensembles’, committed to the strengthening of critical writing within and across communities of the world. The programme was launched by OCA during the Dhaka Art Summit in February 2016, and its preface was presented in Baroda in 2015. The project convenes artists, poets, storytellers, performers, curators, and scholars of Indigenous communities and non-Indigenous peers to reflect upon the words, writing forms, spaces and processes through which Indigenous artistic practices, their histories and contact points with the Western canon, have been and should be counter-narrated today. Within our contemporary context, ‘Sovereign Words’ considers the entanglement of writing a Western canon of art history that declares itself today as global. It does so in the face of the narration of Indigenous histories that have a planetary dimension, and against the modernist/colonial ideologies that frame them. What would the new histories of the arts of Indigenous practitioners look, feel and sound like? Should novel methodologies of word/voice-crafting be constituted to embody and empower the Indigenous discourses of the future? Is it sufficient to widen the Modernist historical canon through the politics of inclusion? Is this broadening a new colonial model for Indigenous practices, or is it fostering the cosmopolitan-ness of thought that Indigenous communities have always inhabited? Who does the much talked-of ‘Indigenous Turn’ belong to in reality? Is it a Western project of introspection and revision in the face of today’s ecocidal, genocidal and existential crisis? Drawing on newly commissioned texts, public discussions staged during the Dhaka Art Summit and a publication, the Ensembles come to life through the practices of Indigenous writers from across four continents, as well as through discussions and presentations with non-Indigenous peers. Speakers include Daniel Browning (Aboriginal journalist, radio broadcaster, documentary maker, sound artist and writer); Kabita Chakma (researcher, architect, writer and lecturer from the Chakma Indigenous group of Bangladesh); Megan Cope (Aboriginal artist); Santosh Kumar Das (artist from the Madhubani district); Hannah Donnelly (Wiradjuri writer and artist); Léuli Māzyār Lunaʻi Eshrāghi (artist and writer of Sāmoan, Persian, German and Chinese ancestry); David Garneau (Métis artist, writer, curator and Associate Professor of Visual Arts at the University of Regina); Biung Ismahasan (curator and writer from the Bunun Tribe of Taiwanese Indigenous peoples); Kimberley Moulton (curator and writer of Yorta-Yorta heritage); Djon Mun[...]

News: Upcoming application deadline for funding and residency opportunities

Tue, 16 Jan 2018 10:49:00 GMT

OCA ANNOUNCES CALL FOR APPLICATIONS FOR: INTERNATIONAL SUPPORT INTERNATIONAL SUPPORT FOR GALLERIES AND INDEPENDENT EXHIBITION SPACES (ISGIES) INTERNATIONAL SUPPORT FOR ART CRITICS, CURATORS, ART MAGAZINES AND TRANSLATION OF TEXT (ISACAT) INTERNATIONAL RESIDENCIES !! NEW: Mumbai Art Room, Mumbai, India (curator) Künstlerhaus Bethanien, Berlin, Germany (artist) International Studio and Curatorial Program (ISCP), New York, NY, USA (artist and curator) Deadline: 1 February 2018 OCA is currently accepting applications for the six following grant schemes, including a new residency opportunity for a curator at Mumbai Art Room, Mumbai, India. INTERNATIONAL SUPPORT 
 OCA is currently accepting applications for the first round out of three application reviews during 2018 for International Support. Applications are accepted from Norwegian artists, international artists residing in Norway and non-profit arts organisations. Priority is given to exhibitions taking place in key international art institutions and project spaces. Support is also extended to solo exhibitions and group exhibitions initiated by international curators as well as to Norwegian art professionals organising exhibitions and projects abroad. The funding for International Support is provided by the Norwegian Ministry of Foreign Affairs. Click here for more information and to go to the application forms. INTERNATIONAL SUPPORT FOR GALLERIES AND INDEPENDENT EXHIBITION SPACES (ISGIES) 
 OCA is currently accepting applications for the first round out of three application reviews during 2018 for International Support for Galleries and Independent Exhibition Spaces (ISGIES). ISGIES is initiated and funded by the Norwegian Ministry of Culture and administered by the Office for Contemporary Art Norway (OCA) for the promotion of Norwegian galleries and independent exhibition spaces in international art fairs and temporary exhibition arenas. The grant should stimulate international efforts for galleries and independent exhibition spaces based in Norway to promote Norwegian contemporary art abroad, particularly with respect to participation in renowned international art fairs, as well as in temporary exhibition arenas. Click here for more information and to go to the application forms. INTERNATIONAL SUPPORT FOR ART CRITICS, CURATORS, ART MAGAZINES AND TRANSLATION OF TEXT (ISACAT) OCA is currently accepting applications for the first round out of three application reviews during 2018 for International Support for Art Critics, Curators, Art Magazines and Translation of Text (ISACAT). ISACAT is initiated and funded by the Norwegian Ministry of Culture and administered by the Office for Contemporary Art Norway (OCA) to support art critics, curators and art magazines based in Norway that have been invited to speak abroad about Norwegian art and artists in exhibitions, fairs and conferences; translations into English of art criticism and other contemporary texts regarding Norwegian art; and the participation of Norwegian art magazines in international art fairs. Click here for more information and to go to the application forms. The applications for the above schemes are assessed by an international jury appointed by OCA. INTERNATIONAL RESIDENCIES

 !! NEW: Mumbai Art Room, Mumbai, India In 2018 OCA offers a new residency for a Norwegian or Norway-based curator to work on the production of an exhibition at The Mumbai Art Room in their newly formed Curatorial Lab from 15 November to 15 December. The resident will also benefit from an exceptional mentorship council available two months before the actual residency’s starting date to facilitate the preparation of a project. Mentorship on ground in Mumbai will be offered to [...]

News: Máret Ánne Sara’s 'Pile o' Sápmi' comes to Oslo

Wed, 29 Nov 2017 08:54:00 GMT

OCA ANNOUNCES Máret Ánne Sara’s artwork Pile o´ Sápmi, exhibited at documenta 14’s Neue Neue Galerie (Neue Hauptpost), Kassel 2017, to be showcased in Oslo Tuesday 5 – Wednesday 6 December 2017 Eidsvoll Plass (in front of Stortinget, the Norwegian Parliament) Karl Johans Gate 22 0026 Oslo, Norway Following its presentation at documenta 14 in Kassel, Máret Ánne Sara’s work Pile o´ Sápmi will be displayed in Eidsvoll Plass in front of Stortinget (the Norwegian Parliament), Oslo, on 5 and 6 December. Presented as a curtain of 400 reindeer skulls, the piece was nominated one of the top ten artworks at documenta 14, and received critical acclaim internationally. The hanging is part of a larger, eponymous artistic movement where Sara gathers fellow artists to bring attention to Sámi rights and the challenges Indigenous peoples worldwide face on a daily basis. Oslo’s iteration of the project includes various interventions and projects with Sámi, Norwegian and international peers in an act of fraternity in collaboration with Tenthaus and Samisk Hus (The Sami House). Amongst them are Cecilia Vicuña (the renowned Chilean poet, artist and filmmaker featured at documenta 14) and also a special event conceived by Norwegian artist A K Dolven entitled ‘Wandering with Reindeer Heads’, extending through the city and involving dozens of Norwegian citizens. Máret Ánne Sara has also invited the president of the Sámi Parliament in Norway, Aili Keskitalo, to appeal against the crucial political and legal plight of Sámi reindeer herders and the Sámi culture today. She will speak on 6 December. According to Máret Ánne Sara, Pile o´ Sapmi started as ‘an extended artistic movement accompanying the trial of my little brother.’ Its first appearance was modelled to emulate a mountain of freshly slaughtered reindeer heads crowned by a Norwegian flag at its peak. This work was conceived in 2016 and installed in front of the Indre Finnmark District Court (Sápmi/Northern Norway), where Jovsset Ánte Sara (the artist’s brother) debated the imposed slaughtering of half of his herd with the Ministry of Agriculture and Food in court. It was here that Jovsset Ánte Sara claimed such a major herd reduction would ensure his inevitable bankruptcy and thereby also force him away from his traditional way of life, his culture and ultimately his inherited rights. Pile o´Sapmi is directly inspired by a historic photo Sara found on the Internet titled Pile of Bones. This related to the destruction by Americans settlers during the mid-18th century of the livelihood of countless Native Americans, through the enforced near-extinction of tens of millions of buffalo that had roamed freely upon the Great Plains since the last Ice Age. Jovsset Ánte Sara won the first lawsuit in the Indre Finnmark District Court, as well as the second at the Hålogaland Court of Appeal. The case has now reached the Supreme Court of Oslo, and will be heard on 5 and 6 December. 'Pile o' Sápmi Supreme' by Máret Ánne Sara is produced by the artist together with Tenthaus Oslo, Samisk Hus in Oslo (The Sami House) and Oslo Sámiid Searvi – OSS (Oslo Sameforening / Oslo Sami Association). The project is supported by URO - KORO (Kunst i offentlige rom)'s grant scheme for art in outdoor public places, and Sámiráđđi (Samerådet / The Saami Council). To read about Máret Ánne Sara’s participation in documenta 14, please click here. For detailed information about Máret Ánne Sara’s Pile o’ Sápmi please visit the dedicated website here. Máret Ánne Sara Máret Ánne Sara is an artist whose work deals with political and social issues affecting the indigenous Sámi people and its reindeer-herding communities. Sara has created posters, CD / LP covers, stage visuals and fabric prints[...]

News: The Arctic as the Planetary Oracle

Sun, 26 Nov 2017 11:12:00 GMT

OCA ANNOUNCES ‘The Arctic as the Planetary Oracle’ Two lectures by Dr Knut Ljøgodt and OCA Director Katya García-Antón, on the occasion of the annual lecture series of Norsk kritikerlag (Norwegian Fellowship of Critics) Wednesday 6 December 2017 / 19:00 Office for Contemporary Art Norway Nedre gate 7, 0551 Oslo OCA is happy to invite you to two lectures by Dr Knut Ljøgodt and OCA Director Katya García-Antón, as part of the annual lecture series of Norsk kritikerlag (Norwegian Fellowship of Critics) on Wednesday 6 December at 19:00. In their lectures, Ljøgodt and García-Antón will address past and future relations between the arts, the Arctic and its peoples. "By a route obscure and lonely, Haunted by ill angels only, Where an Eidolon, named Night, On a black throne reigns upright. I have reached these lands but newly From an ultimate dim Thule – From a wild weird clime, that lieth, sublime, Out of Space – out of Time.” For centuries, the far North – Ultima Thule – and in particular the Arctic, has been swathed in mystery and perceived as a remote and dangerous place. This was strengthened by the Romantic cultivation of the Sublime in nature, and it is a view that still influences how we look at the Arctic today. Edgar Allen Poe's introductory stanza to his 1844 poem Dreamland, reflecting a 19th-century vision of the North, encompasses the Arctic as a place at the edge of reason. As a key exponent of the Romantic movement of the time, his vision was inflected by the uncertainties that the onset of modernity brought with it: notably, the rise of the Industrial Revolution and the scientific rationalisation of nature. Poe envisaged an edge of the world beyond space and time where the fears, prejudices and hopes of civilisation might be articulated. As the limits of modernity and growth are being put to the test in our age, the ineffable condition of the Arctic as the visionary locus of the world persists with compelling force. Gone are the Cold War days of an Arctic designed as a frozen diplomatic buffer between East and West. Today it is the board game of a forthcoming power system, a future model for life that traverses the fields of technology, politics, economics, the environment, international relations, science, culture, race and gender. From this viewpoint, Norway’s Arctic is at the heart of radical shifts that are configuring our collective future. Already home to a Global Seed Vault, 1.5 million seeds strong, Svalbard is now also home to the Arctic World Archive, storing high-priority global data for up to a millennium. The International Arctic Council has declared the essential role Indigenous Knowledge (acknowledged as a systematic body of thought) has in addressing the various challenges of Arctic change. Further afield, China – which defines itself an Arctic nation – launched the ‘Belt and Road Initiative’ (BRI) this year: a massive infrastructure programme encompassing 60 countries designed to link it with the world, and vice versa. BRI anticipates the wealth of resources which will become accessible with the melting of the ice caps in the Arctic, estimated to come about by 2050. Despite these significant developments, a kind of ‘Arctic fatigue’ persists with numbing force across society. As Norwegian psychologist and economist Per Espen Stoknes declared recently, the biggest obstacle to dealing with the urgencies entangled within the Arctic ‘lies between our ears’. Like in time immemorial, developments in the Ultima Thule of old herald the major social, political, technological and economic agendas of tomorrow. And yet, one key factor is being overlooked by current global attention: the arts. Today, like thro[...]

News: Lecture by Britta Marakatt-Labba at OCA, Oslo

Mon, 20 Nov 2017 09:52:00 GMT

OCA ANNOUNCES A presentation by Sami artist Britta Marakatt-Labba recipient of the 2017 John Savio Prize With a welcome from OCA’s Director Katya García-Antón and Hege Imerslund, Director of BKH, responsible for the John Savio Prize; and introductory words from Karin Hindsbo, Director of the National Museum of Art, Architecture and Design in Oslo Thursday 7 December 2017, 16:30 (doors open 16:00) Office for Contemporary Art Norway Nedre gate 7 0551 Oslo OCA is pleased to invite you to a presentation by the artist and former member of the Mázejoavku: Sámi Dáiddajoavku (Sámi Artists’ Group) Britta Marakatt-Labba on Thursday 7 December at 16:30. Marakatt-Labba is the recipient of the John Savio Prize 2017, given to a Sami artist as a recognition of his or her practice. The prize is allocated by The Relief Fund for Visual Artists (Bildende Kunstneres Hjelpefond), and organised in collaboration with Sámi Dáiddáčehpiid Searvi – SDS (Samisk kunstnerforbund / Sami Artists’ Union) and the Northern Norwegian Art Museum (Nordnorsk Kunstmuseum). The official ceremony for the presentation of the award was held at the Northern Norwegian Art Museum in Tromsø on 21 September 2017. In her presentation at OCA, Britta Marakatt-Labba will elucidate her storytelling process, built through embroidered images, a technique inherent to her Sami heritage, which allows her to ‘move easily’ and be mobile with the work she is doing at any given time. Growing up with ‘duodji’ (Sami crafts), textiles constitute a common thread throughout Marakatt-Labba’s life, highlighting the artist’s refusal of the prejudices constructed against Sami culture. By conveying an image of the world she is part of, she provides an understanding of Sami culture and history with which to illuminate its future. The numerous embroideries and other work that she has produced since the 1970s have highlighted nature, Sami living conditions, spiritual perspectives and mythology, fairy tales and sayings, as well as both political and everyday events. Today this entire belief system is under threat, as Sami and Indigenous peoples globally are the first to be menaced by the consequences of changes in climate and the environment due to the massive mining exploitation and industrialisation of nature. Britta Marakatt-Labba, who lives in one of these emblematic areas, will speak about her over forty-year commitment to these pressing issues. The event is organised in collaboration with The Relief Fund for Visual Artists (BKH). For more information about this event, please contact OCA’s Communication Manager Tara Hassel. For information about The Relief Fund for Visual Artists (BKH) and the John Savio prize, please contact Marius Meli. About Britta Marakatt-Labba Britta Marakatt-Labba is a visual artist living in Övre Soppero, Sápmi, Northern Sweden. She grew up in a family of reindeer herders and then studied art at Sunderby Folkhögskola and at the School of Design and Crafts at the University of Gothenburg, receiving a Bachelor’s Degree in Textile Art in 1978. Marakatt-Labba became a member of the influential artist collective Mázejoavku: Sámi Dáiddajoavku (Sámi Artists’ Group 1978–83) in 1979. Her primary medium is embroidery and her epic, 24-metre-long piece Historja (2003–07), which narrates the history and cosmology of the Sami people, was featured in the documenta Halle in Kassel as part of documenta 14. She has exhibited widely, both nationally and internationally. In addition to having fulfilled many public commissions, Marakatt-Labba has worked extensively with book illustrations, scenography and graphic design. The retrospective ‘Cosmos’ at the Bildmuseet in Umeå in[...]

News: Lecture by Simon Castets and Hans Ulrich Obrist

Wed, 15 Nov 2017 13:19:00 GMT



A lecture by Simon Castets and Hans Ulrich Obrist on the occasion of 89plus’s research in Norway

Sunday 26 November 2017, 14:00

Office for Contemporary Art Norway
Nedre gate 7,
0551 Oslo

OCA has the pleasure of inviting you to a public lecture by Curator and Director of Swiss Institute New York Simon Castets, and Curator and Artistic Director of Serpentine Galleries, London, Hans Ulrich Obrist, on Sunday 26 November at 14:00. The lecture is held in connection with Castets and Obrist’s visit to Norway to conduct research on the local art scene for 89plus. In their lecture Castets and Obrist will discuss the 89plus project in general, as well as the fruits of their research in Norway in particular.

The public lecture is free and open to everyone. Refreshments will be served after the event.

About 89plus
89plus is a long-term, international, multi-platform research project co-founded by curators Simon Castets and Hans Ulrich Obrist, investigating the generation of innovators born in or after 1989. Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals, exhibitions and residencies, bringing together individuals from a generation whose voices are only starting to be heard, yet which accounts for more than half of the world’s population.
Marked by several paradigm-shifting events, the year 1989 saw the collapse of the Berlin Wall and the start of the post-Cold War period, and the introduction of the World Wide Web and the beginning of the universal availability of the Internet. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring protagonists.

Please contact OCA's Communication Manager Tara Hassel for more information.

About Office for Contemporary Art Norway (OCA)
The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001. Its principle aim is to foster dialogue between art practitioners in Norway and on the international arts scene, and support Norwegian artists in their activities around the world. As a result, OCA’s discursive, exhibition, publication, residency and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, insofar as they are concerned with actively participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001.