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HAPPY HOLIDAYS FROM CAS!

Happy Holidays from CAS and a huge THANK YOU to all of our readers, writers, and residents for another incredible year! Throughout 2016, CAS has continued to grow and expand our programming to include even more guest writers and institutional profiles, and successfully launched a pilot residency program, further strengthening discourse around the visual arts in Stavanger through collaborations with visiting artists, theorists, critics, and writers. We’re proud to have featured 35 articles, reviews, and interviews by 24 writers, artists, and curators.

As 2016 draws to an end, we spotlight some of our favorite articles from the last year including an essay exploring the relationship between text and imagery in the artwork of Judith Bernstein, a personal treatise on the controversial work of Austrian artist Otto Muehl, a review of Sky Glabush’s exhibition A Window is Also a Door, interviews with CAS Resident Dylan Gauthier and Norwegian artist Ane Hjort Guttu, and expanded lecture notes from a presentation by curator and theorist Tirdad Zolghadr.

As always, the creative community in Stavanger and abroad has shown extraordinary support and generosity to CAS. Thank you for making our work possible, and we are excited to continue to highlight visual arts discourse in the new year!

THE PHALLUS AND THE WORD

Guest writer Natasha Marie Llorens examines the relationship between text and visual imagery in the prolific oeuvre of American artist Judith Bernstein. Read the full article, here.

BIG DADDIES SOM HEIDEGGER, MUEHL OG MELGAARD BER IKKE OM UNNSKYLDNING

Artist, writer and teacher Wencke Muhleisen questions the ethical responsibility of the artist through a personal essay on the work of Austrian artist Otto Muehl. Read the full article, here.

Exhibition views from Bjarne Melgaard „Daddies Like You Don’t Grow On Palm Trees“ at Sammlung Friedrichshof Zurndorf, Austria 2015 (c) Sammlung Friedrichshof, photography: Sofia Goscinski www.sammlungfriedrichshof.at

FLOATING CARPETS

CAS Editor Astrid Helen Windingstad reviews Canadian artist Sky Glabush’s exhibition A Window is Also a Door at Prosjektrom Normanns. Read the full article, here.

Sky Glabush, A window is also a door, Prosjektrom Normanns. Photo: Jan Inge Haga

MEET CAS RESIDENT: DYLAN GAUTHIER

CAS Editor Heather Jones speaks with CAS Resident Dylan Gauthier about his approach to art, research, and collaboration. Read the full article, here.

Mare Liberum Dory at the Tugboat Graveyard, Staten Island, NY, 2010. Documentation of a performance. Photo: Stephan von Muehlen.

INTERVJU: ANE HJORT GUTTU

CAS Editor Marte Danielsen JĂžlbo interviews artist Ane Hjort Guttu about her artistic practice and the motivation behind her film Time Passes. Read the full article, here.

Stillbilde fra Tiden gÄr, Ane Hjort Guttu, 2015. Foto: Cecilie Semec FNF

ON AN EXIT FROM CONTEMPORARY ART

CAS Editor Heather Jones presents notes from a lecture by visiting curator and theorist Tirdad Zolghadr’s ongoing research on what he perceives as the pervasive call by cultural practitioners for an exit from contemporary art. Read the full article, here.

Michael Asher installation at Claire Copley Gallery, Los Angeles, 1974.

Related articles

Big Daddies som Heidegger, Muehl og Melgaard ber ikke om unnskyldning

Big Daddies som Heidegger, Muehl og Melgaard ber ikke om unnskyldning / Big Daddies Like Heidegger, Muehl, and Melgaard Don’t Apologize HĂžsten 2015 ble den fĂžrste utstillingen av den Ăžsterrikske kunstneren Otto Muehl presentert i Norge. Wencke Muhleisen skrev i den forbindelse et innlegg i Klassekampen hvor hun reiste noen etiske problemstillinger som melder seg i forbindelse med Muehls kunstnerskap og presentasjonen av dette. I det fĂžlgende essayet spinner hun videre pĂ„ spĂžrsmĂ„l og tanker rundt kunstens rolle og etiske ansvar nĂ„r det kommer til kontroversielle og overskridende kunstuttrykk. In the fall of 2015, the Austrian artist Otto Muehl was presented in an exhibition in Norway for the first time. On that occasion, Wencke Muhleisen wrote a feature article in Klassekampen where she discussed some of the ethical issues related to Muehl’s artistic career and how it is presented. In the following essay, she elaborates on certain issues concerning art’s role and ethical responsibility when it comes to controversial and transgressive expressions.

  • NO
  • 10 February 2016
  • Essay
  • Wencke Muhleisen
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