DMS 59°55’20.6”N 10°45’50.9”E

GPS 59.922397, 10.764141

00:22 CEST
MOTHERTONGUE; LANGUAGE GAPS

00:27 CEST
DOING ART WHILE GIVING BIRTH TO A HUMAN.

00:34 CEST
‘BUT WHY AN HOUR OF THE VOICE OF A WASHING MACHINE …?[!]’

00:40 CEST
THE LULLABY AND ‘THE EGG’

00:45 CEST
RIDDLES AND RHYMES, PHRASES OF AUTHORITY. AND JAPANESE VIDEO GAMES.

00:50 CEST
THE FOOL. ‘DÅREN’. ‘NOT REALLY ATTENTIVE TO THE GAP INFRONT OF HIM/HER …’ WOODEN FIGURES BEING UGLY IN A VERY STRAIGHT FORWARD WAY. ‘NOT OBJECTS OF BEAUTY’.

00:58 CEST
HIDING AWAY THE UGLY

01:04 CEST
FAKE CANDLES AND [BAD] WORKING CONDITIONS. FEMINIZATION OF LABOR ETC.

01:09 CET
INDUSTRY FOR NEEDING STUFF; GADGETS AND PROSTHESES. AROMA INFUSERS, WAVE MACHINES. WHITE, PINK, AND BROWN NOISE. (HA HA HA)

01:14 CEST
LACK OF INPUT. ARTIFICIAL INTELLIGENCE.

01:20 CEST
AN EXTRA GIFT: VOICE AND LANGUAGE (*EROTIC CONTENT!*)
The questions was ‘why do you sing?’ Ragnhild answered it has to do with using her voice, rhythmic anchor points, and compared it to handwriting and expression through language in general. (It is in Norwegian, but please just listen to that dialect, and voice …) A few people make syntaxes and language just very, very hot. Both their sense for language and by actually performing it. Rare. Cheers.

POSTSCRIPT
This was all at a bench below a lamp in the park at 00:07 to 01:24 CEST. We could meet at noon, or at midnight. Then the baby sleeps. The baby is twenty-five days old [then]. Or, as Ragnhild puts it: ‘Twenty-five days breathing air by itself.’ Karmaklubb* is a nocturnal animal, so this suited us well. Natural wine and a home brewed stout called ‘LAST X-MAS’. Ragnhild also sung an excerpt from Pink noise lullaby live for us tonight; you ↗︎ find it here. It deserved its own post. The full version, Pink noise lullaby (2020), is part of the exhibition ‘↗︎ SQUEEZE’ at She Will (NOR) at the moment. The soundpiece consists of manipulated sound recording of the automatic dishwashing programme on a ↗︎ Bosch Series 2 SPV25CX01E and a lullaby version of ↗︎ Humpty Dumpty* — the living egg — translated through Silvia Federici’s book ↗︎ Caliban and the Witch: Women, the Body and Primitive Accumulation from 2004 (Brooklyn, NY: Autonomedia) — in brief referring to how feudalism as a way of arranging people in hierarchies, after ‘value’ (let us just say medieval thinking) — has laid the grounds for many forms of segregation, norms, moral, shame, discrimination, et cetera that are still present. Link to ↗︎ the full sound piece here. The exhibition is already mentioned, but to make sure nothing slips, images of the final works ↗︎ can be seen here.

GIFTS VOL 2: In process shots.

↓ See all 5 images

*

GIFTS VOL 3: Excerpt of Ragnhild’s image bank (‘tenkebilder’), plus one additional group of knights and some ‘white noise’.

↓ See all 49 images

Four unpolished conversations on context sensibilities, frames and routines, and avoid being squeezed. Plasticity as a way of resistance. Listen and reflect with us. Medio September we will drop them, one after another, during the exhibition periode of ‘↗︎ SQUEEZE’ at one of our true favourite art spots: She Will (NOR). Third and last is Ragnhild, a midnight meeting in a park in Oslo, and rounded off with a ‘thought & pleasure’ session in the exhibition itself — at the petrol station in the central suburbia of Ski, inside the abandoned car wash — with Liv and Maren, the eminent founders. And a couple of bottles natural wine. More on ‘↗︎ SQUEEZE’ and ↗︎ She Will here.

Ragnhild Aamås (NOR), born 1984 in Volda, Norway is an artist working with text, analogue and digital photo collages, and poetry, sometimes also found objects — all creating absurdness questioning visual, verbal, and textual language norms of interpretation. She also writes regular essays and articles, does curatorial work, and is involved in the artist run initiative PODIUM in Oslo. She is educated from the Oslo National Academy of the Arts, the University of Oslo (philosophy and archaeology!!), and MRes Art: Exhibitions Studies from Central Saint Martins, London. Her work has been seen recently at Kunstnerforbundet, Oslo; KUBE, Ålesund; Kunsthall Stavanger; and Kunstnernes Hus, Oslo.