Artists: Nora Al-Badri, Bassam Al-Sabah, Marianne Berenhaut, Alessandra Cianchetta, Kirstine Colban Aas, Pauline Curnier Jardin, Tomaso De Luca, Nolan Oswald Dennis, Cheryl Donegan, Kaare Espolin Johnson, Gaia Fugazza, Aage Gaup, Kenneth Goldsmith, Shadi Habib Allah, Auriea Harvey, Susan Te Kahurangi King, Tomáš Kajánek, Lars Laumann, Sonia Leimer, Olof Marsja, Mary Haugen, Jonas Mekas, Haroon Mirza, Raffaela Naldi Rossano, Eivind H. Natvig, New Mineral Collective, Thebe Phetogo, Christine Rebet, Sille Storihle, Tine Surel Lange, Emma Talbot, Tsai Ming-liang, Stan VanDerBeek, Rimaldas Vikšraitis, Elina Waage Mikalsen, Jennifer West, and artworks, objects, documents and curiosities from different collections in Lofoten
Exhibition title: Fantasmagoriana
Curated by: Francesco Urbano Ragazzi
Venue: Lofoten International Art Festival, Kabelvåg, Norway
Date: September 3 – October 2, 2022
Photography: all images copyright and courtesy of the artists and Lofoten International Art Festival
LIAF – Lofoten International Art Festival, the longest-running contemporary art biennial in Scandinavia, celebrates its 30th anniversary this year. The festival has a nomadic character and is held every two years at different venues in the Lofoten islands, an archipelago above the Arctic Circle. The extreme context in which LIAF operates has always dictated a sustainable production system that integrates with the complex natural and cultural ecosystem of the area.
LIAF 2022 is curated by the duo Francesco Urbano Ragazzi and is entitled Fantasmagoriana. It runs from September 3 to October 2 of 2022, at the North Norwegian Art Centre in Svolvaer and at five sites in the city of Kabelvåg. The ci a cho en beca e i bo h he place he e Dada artist Kurt Schwitters was confined during the Nazi occ pa ion of No a , and beca e inow home to the film school Nordland kunst- og filmhøgskole, which offers an excellence in moving image education.
LIAF 2022 – Fantasmagoriana did not originate from a concept, but from the sharing of an oral tale. This narrative was imagined as a tactic for transmitting tacit knowledge, in which information about natural, fictional, and political events could weave freely into new maps, evolving and adapting to the contexts in which the invited artists operate. Now, we want to share this story with you.
Fantasmagoriana is the title of an anthology of horror stories that birthed the two monsters of Western modernity: Dracula and Frankenstein. To know how this came about, however, it s necessary to take a step back. It is 1815 and the Tambora volcano erupts in Indonesia. This event starts a chain reaction that causes a series of adverse natural events. Waves of cold and heavy rains sweep across Asia and Europe for many months, so much so that 1816 is remembered as the year without a summer. As a result of these weather conditions, a cholera epidemic spreads from South Asia to the Middle East. These two factors have unpredictable effects on the world economy. Famines occur in the following years in parts of China, especially in Yunnan. In an attempt to resist, the people living there convert many traditional crops to opium cultivation. This is perhaps how international drug dealing is born in the modern age.
Soon, cholera and the poor weather conditions come to affect Europe as well. For this very reason, a group of friends and writers decide to spend a time of isolation at Villa Diodati in the Swiss town of Cologny. The group includes Lord Byron and his physician John Polidori, Mary Shelley, her sister, and her husband Percy Bysshe Shelley.
To kill time, the company thus gathered begins reading scary novels. Among them, Fantasmagoriana. The reading of Fantasmagoriana prompts the comrades to set themselves a challenge: to frighten each other by creating their own horror stories. From that challenge two novels are born: John Polidori’s The Vampyre, which will inspire Bram Stoker’s Dracula, and Mary Shelley’s Frankenstein. Fantasmagoriana is, in short, proof that works of art are not objects, but living organisms capable of mutating and proliferating.
The story that began with the eruption of the Tambora volcano, however, does not end here. In fact, scientists later proved that such events caused temporary melting of ice at the poles. Noticing the unusual natural phenomenon, the British Empire invested large amounts of money in exploring the North Pole for fifty years, in search of the northwest passage. Unsuccessful at the time, the venture initiated the extractive exploitation of the Arctic region, whose irreversible crisis we see today.
The importance of the polar region in Europe’s expansionist economy is one of the reasons Mary Shelley decided to set the first chapters of her novel precisely in the Arctic, where Captain Robert Watson writes to his sister about a strange encounter with a doctor who is escaping from the monster he gave birth to. Today, more than two hundred years later, in the midst of a new climate, health related and political crises, the Arctic once again becomes an observatory from which we can view the monsters of our time. A phantasmagorical setting in which fiction and reality, nature and technology, mingle into forms of narrative that transcend the dimension of objects.
Immersed in the neo- Gothic confusion of our age, LIAF 2022 – Fantasmagoriana reflects on the power of community under conditions of distance and isolation, and the affirmation of art as an unexpected form of life, adaptation, and transformation. Fantasmagoriana projects into the Arctic new myths of immortality that collide with the precariousness of the real. It produces lightweight, fragile, mobile monuments that take shape in the city of Kabelvåg. They are symbols of a reunion of friends, who have already known each other for some time, or have yet to meet.
The two-headed calf, Courtesy of Lofoten Museum / Museum Nord, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Jonas Mekas, Orquestina de Pigmeos, Video, 7 minutes 16 seconds, online diary, July 11th, 2017, Courtesy of the Estate of Jonas Mekas, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Susan Te Kahurangi King, Untitled, Series of fourteen drawings, graphite and coloured pencil on paper, circa 1963, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Susan Te Kahurangi King, Untitled, Drawing, graphite and coloured pencil on paper, circa 1963, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Kirstine Colban Aas, Watercolours on paper, 1819 or 1816, Courtesy of Museum Nord / Lofoten Museum, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Sille Storihle and students from Nordland School of Art and Film (UiT), The Group Crit, HD Video, 16:9, 77 minutes, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Mary Haugen, Phantasmagoria, Multi-channel video, 7 minutes (loop), sound, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Marianne Berenhaut, Poupées poubelles, Mixed media, various dimensions, 1971–1980, Courtesy of the artist and Dvir Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Marianne Berenhaut, Poupées poubelles, Mixed media, various dimensions, 1971–1980, Courtesy of the artist and Dvir Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Marianne Berenhaut, Poupées poubelles, Mixed media, various dimensions, 1971–1980, Courtesy of the artist and Dvir Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Stan VanDerBeek, Panels For the Walls of the World, Phase 1, Mural based on transmission copy of collage and pastel on paper, 306 panels, 8.5 x 14 inches, 1970–2022 , Courtesy of the Estate of Stan VanDerBeek, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
LIAF 2022 Fantasmagoriana, exhibition view, works by Emma Talbot, Shadi Habib Allah, Aage Gaup., Venue: Blue Black Box, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Shadi Habib Allah, M1, Audio installation / video, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Emma Talbot , Ghost Calls, Silk Hangings, acrylic on silk, 2020, Courtesy of the artist and Galerie Onrust., NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Cheryl Donegan, Doomscrolling, Acrylic and flashe on plasticized drop cloth paper, variable dimensions, 2021 + Selections from various collections of garments including: Extra Layer, 2016; GRLZ, 2018; Which Witch, 2019; Margiela Homeschool, 2020; Buck Gowns, 2022. NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Aage Gaup and Emma Talbot’s Ghost Calls Máttáráhkku / Urhode (Primordial Head). Soapstone, 1976–81. Maŋimus Beahci / Den siste stamme (The Last Tribe) Wood, brass and natural stone, 1986. Oađđi soahtemášiidna / Sleeping War Machine, Caribbean pine, 2003, Courtesy of RiddoDuottarMuseat, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Jennifer West , The Social Imaginary, Installation comprised of film, video and sculptural kinetic works, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Jennifer West , The Social Imaginary, Installation comprised of film, video and sculptural kinetic works, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Jennifer West , The Social Imaginary, Installation comprised of film, video and sculptural kinetic works, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Jennifer West , The Social Imaginary, Installation comprised of film, video and sculptural kinetic works, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Eivind H. Natvig, One Hundred Seconds to Midnight, Installation consisting of five large format photographic prints on acrylic canvas, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tine Surel Lange, My Favourite Places, Multi-channel sound work, 2022, Supported by Bodø2024 – European Capital of Culture with a local Artist in Residency grant., NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tomáš Kajánek, Take a Little Peep, Video, 2 minutes 42 seconds, 2020, NNKS / LIAF 2022, Kjell-Ove Storvik
Kenneth Goldsmith, Retyping a Library, Paper, variable dimensions, 2002–2022, Produced in collaboration with Kunstnernes Hus (Oslo), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Kenneth Goldsmith, Retyping a Library, Paper, variable dimensions, 2002–2022, Produced in collaboration with Kunstnernes Hus (Oslo), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Nolan Oswald Dennis, Black Earth Study Room, Mixed media installation, fabric, refraction lenses, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Elina Waage Mikalsen , Áhcagastá – Tales of the ember, Installation, mixed media, variable dimensions, 2022, Supported by Bodø2024 – European Capital of Culture with a local Artist in Residency grant. Commissioned in collaboration with Singapore Biennale 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Raffaela Naldi Rossano, “Warp”, Video installation, mixed media, variable duration, 2022, Co-commissioned and co-produced by LIAF and TBA21 Academy., NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Nora Al-Badri, Babylonian Vision, Video-installation, GAN video, vitrines, mixed media, variable dimensions, 2020, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Lars Laumann, What Would Olof Palme do? (WWOPD), Installation, textile, wood and mixed media, 2017-2022, Supported by Bodø2024 – European Capital of Culture with a local Artist in Residency grant., Courtesy of the artist and VI, VII (Oslo)and Maureen Paley (London), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Lars Laumann, What Would Olof Palme do? (WWOPD), Installation, textile, wood and mixed media, 2017-2022, Supported by Bodø2024 – European Capital of Culture with a local Artist in Residency grant., Courtesy of the artist and VI, VII (Oslo)and Maureen Paley (London), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Alessandra Cianchetta, A–Z Series: Islands (unlimited) , Photographic prints / (digital) drawings, collages, photography, 2022., Sonia Leimer, Eyes on the street, Pencil, blue print, watercolour on paper, 2018–2021, Courtesy of the artist and Galerie nächst St. Stephan Rosemarie Schwarzwälder, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Pauline Curnier Jardin, Adoration, Film installation, 8 minutes 56 seconds, video, colour, stereo; series of drawings, mixed media on paper, various dimensions, 2022, Produced in collaboration with Centraal Museum Utrecht and Rio Terà dei Pensieri social cooperative, Courtesy of Ellen De Bruijne Projects, Chert Lüdde and the artist, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Pauline Curnier Jardin, Adoration, Film installation, 8 minutes 56 seconds, video, colour, stereo; series of drawings, mixed media on paper, various dimensions, 2022, Produced in collaboration with Centraal Museum Utrecht and Rio Terà dei Pensieri social cooperative, Courtesy of Ellen De Bruijne Projects, Chert Lüdde and the artist, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Auriea Harvey, The Endless Forest, Videogame, software, endless, 2005–present. By Tale of Tales (Auriea Harvey & Michael Samyn), Courtesy of the artist and bitforms gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Haroon Mirza, Light Work xliv, COB LED tape, wire, aluminium, copper tape, PWM device, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Bassam Al-Sabah, Dust, Video installation, 11 minutes 4 seconds, 2017, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tomaso De Luca, Buchstabieren, Wood, metal, iron; variable dimensions, 2022, Courtesy of the artist, Case Chiuse by Paola Clerico, Monitor Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tomaso De Luca, Desperate Times, Video, colour, sound,16 minutes 34 seconds, 2022, Courtesy of the artist, Case Chiuse by Paola Clerico, Monitor Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tomaso De Luca, Gang, Wood, varnish; variable dimensions, 2022, Courtesy of the artist, Case Chiuse by Paola Clerico, Monitor Gallery, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tsai Ming-liang, Improvisations On the Memory of Cinema, Two drawings on paper, 10 x 5m each, charcoal and crayons, 2019, Beautiful Night, Two drawings on paper, 5 x 5m, charcoal and crayons, 2019, Courtesy of Tsai Ming-liang and Homegreen Films, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Tsai Ming-liang, Improvisations On the Memory of Cinema, Two drawings on paper, 10 x 5m each, charcoal and crayons, 2019, Courtesy of Tsai Ming-liang and Homegreen Films, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Haroon Mirza, Message from a Star (Solar Symphony 12), Stone, photovoltaic panels, bespoke media device producing 4-channel electrical signals, speakers, variable dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Thebe Phetogo (and Kaare Espolin Johnson), Batsatsing / How To Move A Mountain, Four paintings, oil and acrylic on canvas, various dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Fantasmagoriana. Exhibition view: Olof Marsja, Thebe Phetogo, Kaare Espolin Johnson., Venue: Museum of the Sun (Espolin Musuem), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Olof Marsja, A lonesome flower’s dream of the past, Glass, acrylic resin, wood, car seat fabric and high-tech garment, 2022 , NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Rimaldas Vikšraitis , At the Edge of the Known World, Twenty-two silver print photographs, 1978-2008, Courtesy of LFS Kauno skyrius, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Fantasmagoriana. Exhibition view: Rimaldas Vikšraitis, Gaia Fugazza, Kaare Espolin Johnson, Venue: Museum of the Sun (Espolin Musuem), NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Gaia Fugazza, Hranrād, Ceramic sculptures, various dimensions, 2022, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
New Mineral Collective (Emilija Škarnulytė and Tanya Busse), Tidal Body, Video-installation, mixed media, variable dimensions, 2022, Supported by Bodø2024 – European Capital of Culture with a local Artist in Residency grant, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Olof Marsja, A lonesome flower’s dream of the past, Glass, acrylic resin, wood, car seat fabric and high-tech garment, 2022 , NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Christine Rebet , Otolithe / Otolith, Drawing series on paper, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik
Christine Rebet , Otolithe / Otolith, Animation, 4 minutes 4 seconds, sound, 4k, 2021, Courtesy of MAC Lyon and the artist, NNKS / LIAF 2022 curated by Francesco Urbano Ragazzi, ph: Kjell-Ove Storvik