Variasjoner på Spill 2019
Tic-Tac-Toe 110 x 110 cm Vinyl, bearbeidede reklameplakater 2019 Gard Frantzsen
"Variasjoner på Spill" is the result of a collaboration between Gard Frantzsen and myself where different works from our respective careers that carried similarities or reflected each other in some manner were brought together and began a collaboration that centered around the idea of games, repetition, and how these very simple acts create order and linearity in otherwise chaotic acts and situations.
Gard Andreas Frantzsen:
Gard Frantzsen (b. 1976, Mo i Rana, Norway) is an artist and curator that lives and works in Bergen, Norway. He holds a BA Honours degree in Photography from University of Westminster, London and an MFA from Bergen Academy of Art and Design (KHiB). He has previously worked as Assistant Curator and Head of Communications at Astrup Fearnley Museet (2009-15), Oslo. He co-directed WIZARD gallery in Oslo and is currently one of the members that runs Joy Forum.
His artistic projects focus on contemporary urban spaces and the role they take in our everyday worlds. As an investigator and protagonist, he pursues this through a variety of means and mediums, including photography, sculpture, text-based interventions, publications and writings. Through a critical perspective Frantzsen aims to take his artistic project in radical directions, yet he aspires to do so by creating new and experimental forms of narratives.
Joy Forum is an independent gallery and exhibition space run by a group of students and staff at the Faculty of Fine Art, Music and Design (KMD) in Bergen. The gallery is located inside the institution, built as a separate unit in the reception area.
Joy Forum wants to be a kind of anti-statement and anti-architecture by confronting the surrounding environment and building.
An important goal with the initiation of Joy Forum has been to create an interinstitutional platform where it can be explored and played, and where different themes and issues can be developed, for example by examining the exhibition as critical practice.