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Current:


Bergen Assembly
Actually, the Dead Are Not Dead

Anne de Boer, Eloïse Bonneviot
the Mycological Twist
5.9—10.11


Coming up


Kristin Austreid
15. 11—22.12

. . .


Past Exhibitions
— 2019



Kamilla Langeland
Stories of the Mind (Transitioning Into Uncertainty)



Maria Brinch
INYA LAKE

— at Kunstnernes Hus



Bathsheba Okwenje
Freedom of Movement
at  Kunstnernes Hus


Lina Viste Grønli
Nye skulpturer



Toril Johannessen
SKOGSAKEN (The Forest Case)


Marysia Lewandowska It’s About Time (in Venice Biennial)


Films by
Mai Hofstad Gunnes



Isme Film
Collectively Conscious Remembrance



Trond Lossius
Jeremy Welsh
The Atmospherics
River deep, mountain high



Exhibitions 
— 2018



Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic
Reenactment/Process
Reprise/Response


Eivind Egeland
Father of Evil

Marysia Lewandowska
Rehearsing the Museum


Anton Vidokle
Immortality for All: a film trilogy on
Russian Cosmism

Curated by
Ingrid Haug Erstad

Johanna Billing
Pulheim Jam Session,
I’m Gonna Live Anyhow Until I die,
I’m Lost Without Your Rhythm, This is How We Walk on the Moon,
Magical World


Jenine Marsh
Kneading Wheel, 
Coins and Tokens

Jenine Marsh
Sofia Eliasson
Lasse Årikstad
Johanna Lettmayer
Lewis & Taggar
Jon Benjamin Tallerås
Orientering 
—  a group show in public space


Jon Rafman
Dream Journal
2016-2017


Goutam Ghosh &
Jason Havneraas
PAARA

Ian Giles
After BUTT

Films by Yafei Qi
Wearing The Fog, 
I Wonder Why, 
Life Tells Lies

Exhibitions
— 2017

Daniel Gustav Cramer
Five Days

Kamilla Langeland
Sjur Eide Aas
The Thinker, Flower Pot and Mush

Danilo Correale
Equivalent Unit
Reverie: On the Liberation from Work


Valentin Manz
Useful Junk

Jeannine Han
Dan Riley
Time Flies When Slipping Counter-Clockwise

Pedro Gómez-Egaña
Pleasure

Ane Graff
Mattering Waves


Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger


Exhibitions
— 2016


ALBUM
Eline Mugaas
Elise Storsveen
How to Feel Like a Woman

DKUK (Daniel Kelly)
Presents: Jóhanna Ellen
Digital Retreat Dot Com

Cato Løland
Folded Lines, Battles and Events

Harald Beharie
Louis Schou-Hansen
(S)kjønn safari 2.0

Lynda Benglis
On Screen
Bergen Assembly

Linn Pedersen
Bjørn Mortensen
Terence Koh
NADA New York

Ida Nissen
Kamilla Langeland
Marthe Elise Stramrud
Christian Tunge
Eivind Egeland
Fading Forms

Anders Holen
Stimulus

Sinta Werner
Vanishing Lines

Exhibitions
— 2015


Bjørn Mortensen
Pouches and Pockets
/ Compositories in Color


Linn Pedersen
Plain Air

Øystein Klakegg
Entrée # 55

Leander Djønne
Petroglyphs of the Indebted Man

Lewis & Taggart
Black Holes and other painted objects


Azar Alsharif
Bjørn Mortensen
Steinar Haga Kristensen
Lewis & Taggart
Vilde Salhus Røed
Heidi Bjørgan
NADA New York

Linda Sormin
Heidi Bjørgan
Collision

Steinar Haga Kristensen
The Fundamental Part of Any Act

Exhibitions
—2014


Tora Endestad Bjørkheim
Bjørn-Henrik Lybeck


Mathijs van Geest
The passenger eclipsed the object that I could have seen otherwise

Marit Følstad
Sense of Doubt

Oliver Laric
Yuanmingyuan3D

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

Exhibitions
— 2013


André Tehrani
Lost Allusions


Pedro Gómez-Egaña
Object to be Destroyed


Flag New York City

Christian von Borries
I’m M
Institute of Political Hallucinations
Bergen Assembly

Dillan Marsh
June Twenty-First

Vilde Salhus Røed
For the Sake of Colour


Azar Alsharif
The distant things seem close (…) the close remote (…) the air is loaded


Magnhild Øen Nordahl
Omar Johnsen
Trialog

Lars Korff Lofthus
New Work

Exhibitions
— 2012


Anngjerd Rustan
The Dust Will Roll Together

Cato Løland
Oliver Pietsch
Love is Old, Love is New

Stian Ådlandsvik
Abstract Simplicity of Need

Sinta Werner
Something that stands for Something / Double Described Tautologies

Kjersti Vetterstad
Lethargia

Anna Lundh
Grey Zone

Arne Rygg
Borghild Rudjord Unneland
Lisa Him-Jensen
Cato Løland
Lewis & Taggart
Klara Sofie Ludvigsen
Magnhild Øen Nordahl
Mathijs van Geest
Andrea Spreafico
Flag Bergen

Exhibitions
— 2011


Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland
U.T.

Ethan Hayes-Chute
Make/Shifted Cabin

Ebba Bohlin
Per-Oskar Leu
Kaia Hugin
Pica Pica

Gabriel Kvendseth
First We Take Mannahatta

Roger von Reybekiel
Do Everything Fantastic

Exhibitions
— 2010



Michael Johansson
27m3

Tone Wolff Kalstad
This Color Is Everywhere


Knud Young Lunde
Road Show Event Plan


Alison Carey
Ivan Twohig
Benjamin Gaulon
On The In-Between


Mercedes Mühleisen
Øyvind Aspen
Birk Bjørlo
Damir Avdagic
Annette Stav Johanssen
If Everything Else Fails...

Mart
Ciara Scanlan
Matthew Nevin
An Instructional

Patrick Wagner
Nina Nowak
Samuel Seger Patricia Wagner
South of No North

Gandt
Agnes Nedregaard Midskills
Patrick Coyle
Boogey Boys Santiago Mostyn
Bergen Biennale 2010 by Ytter

Lars Korff Lofthus
West Norwegian Pavilion


Serina Erfjord
Repeat


Mattias Arvastsson
Presence No.5


Malin Lennström-Örtwall
It`s like Nothing Ever Happened

Exhibitions
— 2009


Tor Navjord
FM/AM

Ragnhild Johansen
Erased Knot Painting


Entrée Radio


Lewis and Taggart
Ledsagende lydspor


In Conversation:
Gómez-Egaña and Mathijs van Geest


In Conversation:
Andrew Amorim and Mitch Speed


In Conversation:
Ane Graff and Alex Klein


In Conversation:
Martin Clark and Daniel Kelly


Ludo Sounds with
Tori Wrånes




In Conversation:
Stine Janvin Motland, Kusum Normoyle, Mette Rasmussen, Cara Stewart



Randi Grov Berger
Contact/Info/CV
Other projects







Mark
February 28nd- April 22nd, 2017

Andrew Amorim

Lest We Perish



Independent
2037 Fifth Ave.
New York





Chemical Perfume

By Mitch Speed


We've developed a lot of strange methods for confirming life. The “pinch me I'm dreaming” protocol is a little trite by now, but think of the way a person might anxiously pick a scab, or bite their lip. A ruby droplet appears, and with it comes a little flash flood of adrenaline, which lets us know we're still here.

Looking at Andrew Amorim's recent work, I remembered how tricky it's become to know what surfaces to reach for, in order to verify existence. Skin doesn't seem as sensitive as it once was. The problem is that our nervous systems and spirits have extended into clothing and accoutrements. This is a dilemma long in the making. In Marx's theory of commodity fetishism, consumer objects are separated from their functional use value, and imbued with an almost pharmacological power to tune our identities. It follows that the costumes we wear have become surrogate nerve endings of social proprioception. You can test this theory by letting a bead of ink fall onto the cuff of a new coat or sweater. As black blooms into gore-tex or merino wool, so too does a quiet existential panic.

Amorim's recent videos have wended through the commodity's role in self-protection and belonging. Often combining found and original material, his montage method discloses a lineage of experimental film running from surrealism to the late 1990's. Mark Leckey's Fiorucci Made me Hardcore (1999) is a crucial precedent, comprised as it is from found footage of the English hardcore dance scene, and casuals – troupes of puffy chested young men whose confidence was amplified by Italian fashion. Casting further back, there's a substantive link between Amorim's new work and Hans Richter's 1928 film Ghosts for Breakfast, which was banned by the Nazi party. In that film, testosterone suffused accessories of conformity – bowler hats, bow ties, guns – come alive, outstripping and eventually dictating their wearer's intentions.

In Amorim's After Touch II (2015-16) we find ourselves in a montage dream space where young men are guised in luxurious street-wear – prostheses that garnish like peacock feathers and guard like carapaces. There's a distinctly masculinist intonation to the video. But as often as Amorim's protagonists pose statuesque, they relish in perverting the outfits that proffer their power. Amorim is less a traditional film-maker than an editor of cultural material. Here, he's drawn from a community of online fetishists, who video themselves sullying licentious urban gear, before posting the results to youtube.

A starring role in After Touch II is given to a limited edition Adidas track suit. It billows and glistens like an inky jellyfish metamorphosed into pleather. Late nineties hip-hop videos flash into mind – in particular the BET triad of Missy Elliot, Puff Daddy and Ma$e, who glided and floated in ballooning jumpsuits through futuristic chambers, likely constructed on some Los Angeles soundstage. But it was the habiliments of African American dandies that delivered such lavish styles into the North American vernacular. The brand name tracksuits in Amorim's video are corporatized offspring to these anti-conformist vestments. Having been processed by cultural appropriation, the Adidas track suit here cloaks the body of an un-identified young man, on a gravel road, spot-lit and suggestive of the suburban outer rim. The strangeness of this setting is matched by the wearer's movements – heroic poses one moment, awkward calisthenics the next. Soon, the video cuts through shots of sports car interiors, populated by drivers in similar uniforms, accompanied by obsidian helmets and rubber gloves. There's a strange bastard archetype developing here, assembled from hip hop culture, memories of Mad Max, and kevlar suffused mercenary fantasy.

Anyone who has bought new sneakers knows their sweet chemical perfume. This scent merges with exoskeletal and reptilian leather surfaces to produce a steroid effect. The resultant power is echoed in Amorim's video when a scientist clad in heat repellent foil works at the verge of roiling lava, under an apocalyptic voice over. This theatre of technologized masculinity is a little creepy. You can almost see Filippo Tommaso Marinetti lurking in the shadows, with his futurist manifesto in one hand and his fascist manifesto in the other. But the aggressive intonation of this fetish dream almost belches its own self-consciousness, when the actors begin debasing their apparel. In one shot, a Nike Air-Max trainer is force fed cake. Shortly, a track-suited corpus slumps on a restroom floor, slathered in soap. When a nylon clad body rolls in forest mud, it seems to pursue futile communion with iron age bog people.

In their carnal performances, these characters echo the Viennese Actionists, who took abjection further than anyone before or since. Those feral masters of impropriety can now be found in grainy online videos, wadding their faces with food, and subjecting one another's bodies to hosts of favor and violation. Amorim's cult youtube stars in a way seem tame compared to Otto Muehl and his Viennese coterie, but they're just performing a different style of transgression, hypertrophying the inspiritment of luxury commodities. Saturated in organic substance, the jackets, pants and shoes are pulled into a theatre of abjection – enveloped in the messy interior of the human spirit they so smoothly mimic.

There is a weird sensitivity to these internet performers. In violating their macho protections, they rejoin an infantile urge. In documenting these rituals, Amorim becomes a kind of anthropologist-critic, who does his work through reproduction, editing and recombination. From the perspective of contemporary art, which craves socially incisive gestures, there's a temptation to project criticality into these performances, but it might be that Amorim's subjects just crave a more lecherous gratification than the products already provide. When I asked Amorim about this, I got the impression that his own critical curiosity contrasts with their hedonism. I like how this unguarded indulgence clashes with the art world's intellectual mores. The relationship between criticality and pleasure is never simple, and I can't help but think that ill intentions towards the enchanting commodity, run latently through these relished desecrations.

Amorim recently sent me clips from the video he'll be showing in New York. In them, a white Nike trainer is violated, first with a scalpel and then a lighter. It is a procedure between torture and dissection. But the shoe is just dumb matter. So why do I grope for these human metaphors? I must be as implicated in the fetish complex as Amorim's collaborators. The executor of this violence seems to be testing the commodity's life force, watching for winces in foam and rubber, but also in himself.

--
Mitch Speed is an artist and writer based in Berlin. A contributing editor at Momus, he writes regularly for Frieze, and has contributed to Flash Art, Camera Austria, Artforum, and Turps. He was co-founder and editor of Setup, a journal of contemporary art and writing published by Publication Studio. 


Central to Andrew Amorim's exhibition “Lest We Perish” is a collaboration with ToKillSneakers, an anonymous, France-based youtube user known for destroying sneakers. His youtube channel is part of an international community of online fetishists who frequently post amateur videos of their sneaker-wrecking acts. Following previous works where Amorim has sampled material from similar online communities, this time he further engages in the destructive act through the commissioning and co-production of a new video.

Andrew Amorim (b. 1983, Belém, Brazil) is an interdisciplinary artist working with photography, film, video installation, sound, and text to explore themes of memory and decay. A recent graduate of the Bergen Academy of Arts and Design, Norway, Amorim often works by staging actions in front of a camera, subsequently combining found and original material through reproduction and editing. In 2017, his work will be included in exhibitions at Preus Museum, Horten, Melk, Oslo, NoPlace, Oslo, Bergen Kjøtt, Bergen, and I: project space, Beijing.



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Entrée is taking over the second floor at Independent’s Fifth Avenue property in Harlem and presents the two inaugural solo exhibitions part of the brand new Independent's Gallery Residency Program, both exhibitions opens Tuesday February 28th at 6pm.

The exhibitions are made possible with support from Office for Contemporary Art Norway, Norwegian Consulate General New York, City of Bergen and Art Council Norway.



Andrew Amorim, Lest We Perish, 2017. Two-screen 4K Video
Install photos by Paula Abreu Pita.




Exhibition view, Entrée at Independent Hq. in Harlem.




Still from Lest We Perish.




Still from Lest We Perish.



Mark