Threads on the Face - Notes on Environmental Literacy - checked

A group exhibition at the Aldea Gallery this Thursday at 6:30 PM

I am merely copying out here, word for word, what was printed in the State Global:

rational beings collectively have the same relation as the various limbs of an organic unity –they were created for a single purpose. The notion of this will strike you more forcefully if you keep on saying to yourself: ‘I am a limb of the composite body of rational beings.’ If, though, by the change of one letter from l to r [melos to meros], you call yourself simply a part rather than a limb, you do not yet love your fellow beings from your heart: doing good does not yet delight you as an end in itself; you are still doing it as a mere duty, not yet as a kindness to yourself

I could not shut it out—not the light but the darkness, the darkness that blinded my mind, the knowledge in my own flesh of the death of a billion creatures all in one moment. Death, death, death over and over and yet all at once in one moment in my one body and brain

a dispersal of ego-centered agency

a stance of self-reflexivity (within the landscape)

a rejection of any attempt to gather the world into some kind of unity and permanence 

a rigorous attention to patterning

a reorientation of objectivity toward intersubjectivity

the street was suddenly filled, humps leaped up and sideways in the beam of my flashlight, the were soft thuds of bodies hitting bodies, and huge shadows show out and flapped like wings. A rattling cough broke into a wail of several hoarse voices, and something heavy fell at my feet, knocking me down. For a second I glimpsed a small face with white eyes staring at me; my flashlight hit the ground, and the darkness was total. I groped for the flashlight desperately

I felt the heat coming from them

attuning ourselves to their living 

I was … myself, something seperate, a world

a continually exemplifying process

I stopped being one of many, the way I’d always been, and became just one

in a future present

endangered

I didn’t take the heroism away. I just spread it around to all the places it belonged

the world called forest

besides, I can’t, I no longer have the strength to destroy this painful piece of myself, which might turn out to be the piece I value most

we are not asked to begin nowhere

I felt myself smiling, and I couldn’t help it, so now I was going to carry this smile through the streets like a torch, high over my head

once outside, the wind hit me

– Andreas Vermehren Holm, 3. 12. 2021

Sources: Marcus Aurelius, Forrest Gander, George Oppen, Virgina Burrus, Stanislaw Lem, Dõgen, Oliver Morton, Yevgeny Zamyatin, N. K. Jemisin, and Ursula K. Le Guin

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Sveinung Rudjord Unneland, "In my previous work I have often been dealing with emotional numbness, dizziness, and unreality as emotional points of departure, and based my work on what I like to call a productive ambiguity where borders between the object and the space and context are blurred and challenged. Questioning the terms and conditions concerning the production and presenting of artworks and how artistic experience is created and shaped in and as dialog, is central in my artistic work." He has presented several solo and group exhibitions among others at Hordaland Art Centre, Gallery LNM, Tag Team Studio, Gallery 0047, KODE – Bergen art museum, Kunstnerforbundet, Visningsrommet Entrèe, Kristiansand Kunsthall, Østfold Art Centre and Waterside Contemporary in addition to site-specific projects or commissioned work. Unneland is currently a doctoral candidate at the Faculty of Kunst and Design at the University of Bergen. 

Sofia Magdalena Eliasson (b.1981, Sweden) works in the field of installation, sculpture, and painting. Her interest in new formal language along with cultural history acts as a framework for experimenting within a range of media. Her work explores topics of the absent, traces, and ideas of the hidden and the missing. In her most recent project, she takes interest in the work and history of Japanese ukiyo-e artist Katsushika Oei. She has shown widely across Sweden and Norway with notable exhibitions at the Kristiansand Kunsthall, Norsk Billedhoggerforening, Hordaland Kunstsenter and Prosjektrom Normanns. 

Eamon O’Kane´s multi-disciplinary practice has consistently been drawn to architectural contexts, whether in his ‘Froebel’ installation works that explore environments of play, or else in works such as Glass House that presented a scaled model of Philip Johnson’s iconic ‘Glass House’. O’Kane has exhibited widely in exhibitions curated by Dan Cameron, Lynne Cooke, Klaus Ottman, Salah M.Hassan, Jeremy Millar, Angelike Nollert, Yilmaz Dziewior, and others. He has been recipient of The Taylor Art Award, The Tony O'Malley Award, a Fulbright Award, an EV+A open award (Dan Cameron), IMMA residency in Dublin, BSR Scholarship in Rome, CCI residency in Paris, and a Pollock Krasner foundation grant. He has been short-listed for the AIB Prize, PS1 studio fellowship in NYC and the Jerwood Drawing Prize in London. Since 2011, he has been a professor of Visual Art and Painting at Bergen Academy of Art and Design, Norway.