25 – 27.06 2012
This text is taken from the Pavillon website http://www.palaisdetokyo.com/en/pavillon/workshops
WORKSHOP NORWAY – OVEREXPOSURE 17- 27 june 2012
In June 2012, the members 2011/12 of Pavillon experienced a strictly choreographed trip to Norway. The itinerary brought them to Kirkenes and Bergen. And in between the two cities they appropriated the cruise ship Nordnorge to become their five-day-lasting summerhouse.
Workshop in collaboration with :Luba Kuzovnikova, Maria Rusinovskaya, Guro Vrålstad (Pikene på Broen, Kirkenes) ; Åse Løvgren et Karolin Tampere (RAKETT) ; Hilde Jørgensen, Kristin Tårnesvik et Maya Økland (KNIPSU, Bergen) ; Randi Grov Berger (ENTRÉE, Bergen)
With:Gunvor Bakke Kvinlog (architect), Heidi Nikolaisen (artist), Héctor Piña Barrios (architect), Anja Ulset (artist), Sveinung Unneland (artist).
A score is a score is a score
The 24h daylight impressions of Norway will be collected in a fanzine, published on 27th of September 2012 as appendix for Palais de Tokyo magazine. The fanzine is written in form of scores, diagrams, maps and instructions alongside the fellow travellers and acquaintances made during the journey.
Panel discussion proposed by Åse Løvgren and Karolin Tampere (RAKETT) AND Hélène Meisel
October 4, 2012, 6-9 pm at Palais de Tokyo (more info follow)
“Making radical space is about developing spaces that de- naturalize the norms of the dominant culture and provide for new ways to build community, social relations, and the production of art.” – Brett Bloom
Driven by the observation of French and Norwegian contexts, this panel proposes to expand to other horizons its survey about alternative structures of art, born of the hybridization of different models :production units attached or detached of the institution, “curatorial office” or curators collective, editions agencies, mobile residencies, spontaneous archives, etc. Flexible and responsive, these organizations foster collaboration and interdisciplinarity. Accustomed to economic adjustment, they make good use of emergency. How does these platforms, whose sustainability leans on flexibility, pragmatism and often precariousness, work ? How are they initiated ? And how do they produce ?
With the support of the Royal Embassy of Norway, Paris