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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 yet another incredible year! Throughout 2018, CAS has continued to grow and expand our programming to include several workshops and events including a live broadcast panel discussion at Untitled, San Francisco, and a day-long writing workshop with Claudia La Rocco. We welcomed Zofia Cietalowska and Rob Goyanes as our 2018 CAS Residents in Art Writing, and our online platform featured new articles, interviews, reviews, and institutional profiles, furthering our mission to strengthen discourse around the visual arts in Stavanger. We’re proud to have featured 32 contributions by 25 writers, artists, and curators.

As 2018 draws to an end, we spotlight some of our favorite articles from the last year including a conversation with Cory Arcangel, a series of in-depth articles exploring the built environment including and investigation of The Third Place, a short story about a melancholic werewolf by artist AsbjÞrn Skou, a review of Camille Henrot's recent exhibition at Kunstnerneshus Oslo by Aksel Kielland, and a response by Geir Haraldseth to the performance Judder Shudder: Act II by Jonathan Baldock.

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!

IN CONVERSATION: CORY ARCANGEL

CAS Editors Heather Jones and Astrid Helen-Windingstad meet with Cory Arcangel to discuss to opening of thew new Arcangel Surfware Flagship store in Stavanger.

THE THIRD PLACE

Throughout 2018, CAS has focused on the relationship between art, creativity, and the built environment through a series of self-written and externally commissioned texts. in The Third Place, Heather Jones explores the relationship between creative communities and the bars, cafes, and restaurants they haunt.

THE MELANCHOLIC WEREWOLF

"It’s a short story, about wolves and cities and a lot of other things
 It’s an artwork of sorts." In this fictional tale, artist Asbjþrn Skou employs fantasy as a lens through which to consider our current – and very real – context.

REVIEW: SILVER SERIES 02: CAMILLE HENROT

Aksel Kielland reviews a recent screening of film works by Camille Henrot at Kunstnerneshus Oslo, as part of their Silver Series.

FORFØRT BETYDNING

Geir Haraldseth describes the experience of being in the audience during the one-night only performance Judder Shudder: Act II by artists Jonathan Baldock and Florence Peake.

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When Architecture took to the Streets (and the Laboratory)

The urbanization of the 20th century has led to more complicated and contested public spaces in which physical and social structures, new inventions and technology affect our movements, behavior and well-being. In this essay, writer and critic Victoria Bugge Øye takes as her starting point the current trend of creating “walkable” cities and emphasizing the centrality of pedestrians and pleasure in urban planning. She traces this lineage back to the intermingling art-and-architecture scene in Europe in the late 1960s; from the Paris Situationists’ creation of psychogeographic maps, to Viennese architecture groups’ invitations to pedestrians to play with gigantic inflatable soccer balls in the streets, and performances that coupled scientific research on pollution and its emotional effects on the city’s inhabitants. Øye delves into architectural practices that move beyond the idea of architecture as something "built", and rather view architecture as something to be moved around, sensed, played with, and experienced. ∗ Bla nedover for norsk

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Er utsmykkingsbegrepet sprengt?

I dag snakker man gjerne om to retninger innen kunst i offentlige rom – utsmykkingskunst og kunst som ytring. I denne teksten ser Astrid Helen Windingstad nĂŠrmere pĂ„ utsmykkingstradisjonen og hvorfor vĂ„r oppfattelse av kunst i det offentlige rom fremdeles er sĂ„ sterkt knyttet til utsmykkingsbegrepet. Gjennom eksempler fra middelalderen til i dag spĂžr Windingstad om det fremdeles er aktuelt Ă„ diskutere kunst i det offentlige rom som utsmykkingskunst.

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