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  • Title
    Knut Åsdam; Speech, Living, Sexualities, Struggle
  • Texts
    Discussions by Simon Sheikh (editor) and Knut Åsdam and other essays
  • Pages
  • Format
    24x27 cm
  • Illustrations
    140 in color
  • Published
  • Price
    € 50,00
  • Codes
Through discussions, essays, photographic sequences and a rhythmic structure, the book by Knut Åsdam is a all-embracing involvement in his work in Film, Video, Photography, Audio and Installation. The book is divided in four chapters; Speech, Living, Sexualities and Struggle, which represents main points of departure for Knut Åsdam’s motivation and practice.The book mirrors the structure of a film or a song and is build up rhythmically as a sequence of images and texts working with the viewer’s rhythm. Throughout the book are comprehensive interviews conducted by Simon Sheikh and short focused texts on specific works and issues by other writers.
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An ancient antinomy can introduce the complexity of Åsdam’s works: is the border between two areas of colour, one red and one blue, red or blue? Red and blue together, or neither red nor blue? Perhaps this border does not exist, but thus the difference between areas of colour would vanish, as then would the areas themselves. On the border, on any border, there quivers something inexpressible, undecidable, a “red-blue”. And Åsdam, a director of borderline stories and symbols, evokes stories and symbols of the border…
…where languages and silences meet (Filter City, 2003, film) – where individualities seek and reject each other (Blissed, 2005, Finally, 2006, films) – where history frustrates urban planning projects (Tripoli, 2010, film) – where wide-angle lenses embrace infinities of elements and contours (Istanbul, photos, 2002) – where the profiles of Modernist architectures, together with their ideal of rational organisation, are eroded by the careless advance of nature, faded by desolation and the lights of the night-time (Mexico City, 2002, Genoa, 2002, Psycasthenia, 2000-2001, Londonscapes, 1991, photos) – where a neutral space welcomes unequal individuals and traverses profoundly marked locations (Oblique, 2008, film) – where indelibly, incessantly, a phallocentric identity is destabilised (Untitled: Pissing, 1995, video-work) – where philosophical notions of interaction with and between spaces are re-presented, remodulated, (Psycasthenia series, 1998-2007, photos and installations; Heterotopia, 1996, installation) – where a public finds itself having to cross diaphragms (Cluster Praxis, 2000, The Care of the Self, 2007, installations) – where artistic genres interconnect, are superimposed…
…everywhere, everything takes place along border lines and architectures. A verge hosts a meeting, a frontier a clash, a barrier a passage. “Polemical” contours that, withdrawing, delineate subjects, subjectivities, issues. An art that, with the patience and insistence of a modern theology, investigates speech, living, sexuality and struggles, causing desires and fears to re-emerge that animate this strange, inexpressible border vibration.Knut Åsdam (1968, Trondheim – Norway), filmmaker, photographer, installations artist, lives and works in Oslo. He has presented works and videos in important exhibition spaces and international reviews (Kunsthall, Bergen 2010; National Gallery of Art, Washington 2010; Centre Pompidou, Paris 2010, 2008, 2004; International Film Festival, Rotterdam 2007; Locarno Film Festival, 2007, 2006, 2004; Rencontres Internationales, Madrid 2009, Paris 2004; Kunsthalle, Bern 2005; International Festival of Short Film, Bilbao 2002; Museum of Contemporary Art, Oslo 2001; ArtNow, Tate Britain, London 2000; Venice Biennale 1999).