Stille panikk // Quiet panic
I am part of a group show / Når nåtid møter fortid/ at Drammen museum, ( 21. june - 15 october)
Kulturhuset, Oslo 8.9.2017
For quite some time it has been claimed that photography is in crisis, or even that it is dead. We have now entered the post-photography era, and many artists who work with photography have completely liberated themselves from its referential indexicality, which has opened up for a host of new possibilities.
Thus, it is not photography that is in crisis but rather our mode of orienting ourselves. Photography in itself is more potent than ever, and we communicate both with and through images as never before. But what happens with our relationship to photography when it is transferred into our language as a new or expanded alphabet? Where, in this context, does photography stand as art?
Between 2014 and 2016, the artists behind the fanzine Débris, Nina Toft and Hilde Honerud, convened a group of artists and curators for an open discussion on the current state of photography.* One of the recurring topics was the relationship between form and content in the photographic image, and that surface and form have been given primacy over content and context. Neither physical form nor tactility are fixed elements in today’s virtual images, which is why it is particularly challenging to capture this relationship in words – indeed, the very issue can at times seem impalpable. So where does photography begin and end? And what happens to the image when the human body is no longer a part of the reading?
The seminar Framing Content springs from these open discussions to examine the status of the image as politics, as philosophy and as art. It will discuss the written and unwritten rules concerning form, aesthetics and content in different disciplines. It will also establish a temporal dimension to photography, which is necessary to enter into a dialogue with its content. Framing Content will engage in conversations based on artistic processes that stand in relation to photography’s status in contemporary society: for good artistic process will remain open, without drawing up limitations or defining questions – the outcome will gently find its form.
It´s not easy to make history, Deichmanske library, Oslo, Norway
It´s not easy to make history, on view in:
Kongsberg kunstforening, 17.9. - 2.10.16
”It´s not easy to make history” consists of a series of portraits of people who have stayed at Raumyr transit reception center in Kongsberg. Honerud spent much of the spring and early summer 2016 at the along with asylum seekers and employees. In addition to long conversations, she interviewed them in cooperation with sociologist Jon Hovland.
The work addresses how a person preserves his or her identity in a situation where most identity markers are removed, and the time you are in, is a waiting room before the future can begin.
Jon Hovland will talk about the project at the opening.
Music by Sirwan Abdollahi and Ulf Myrvold
BOA gallery, 12.5. - 12.6.16
If everybody shares everything then who ownes what? The practice of image posting on social media is one that has developed into an anthropological constant which has been widely studied. As a consequence, it has been called many things with verdicts ranging from augmented narcissism to the ultimate fulfillment of democratic values, according to the thinker‘s age, profession and standing in life.
Be that as it may, those uncountable repetitive acts of private postings have created a huge flood of visual material which is first and foremost characterized by its “thereness”. Here we are, it seems to say. Make of me what you want.
from Polyvocal monologues in search of a dialogue – what TOFT HONERUD do with found footage, by Gaby Hartel
Interview in NY TID
Every sunset counts
Bærum kunsthall 4.05.16 - 22.05.16
#sunset is on the top-20 list of the most popular hashtags on Instagram, with about 100 million pictures to date. The image of the sunset is repeated eternally, and as with many of the clichés in life, it is something that touches us to the core.
Sissel Lie-Karlsen has been taking photographs of the sunsets and sunrises in her home in Kongsberg for a number of years. The ones she likes the most, she shares on Facebook. It is her voice we hear on the soundtrack saying: “I think there’s something about the calmness in these sunsets; people need calm things to look at. There’s so much happening all the time; we’re bombarded with everything between heaven and earth. There’s something quiet about a sunset, something that’s beautiful without the need to pretend. It makes us more grounded.”
exercises in norwegian/
Øvelser i Norsk
7.4 - 30.4 2016
Migration to Norway is on the cusp of change. On this occasion the discussion is not about refugees, but a migrating highly qualified labor force that is making its presence felt in occupations where language requirements and expertise are key factors. Until recently, Norway was considered a career backwater. However, the difference seen in wages and unemployment has changed this. Earlier migrants challenged the workplace of the typical labourer. This new migration of workers is challenging the elites.
Hilde Honerud and sociologist Jon Hovland have visited several Norwegian language schools in Europe. They have followed the students, recording their preparation, hopes and dreams, expectations, and the meaning of their migration, as they prepare for their departure.
Exercises in Norwegian attempts to allow individual objects and portraits to express an interpreted experience of places and meetings with the individual participants.
Futsetsu Gallery in Kofu, Japan December 5th - 2015
The Autumn Exhibition 2015
12. september - 18. oktober 2015
Point in time
24.4 - 2.7.2015
Scandinavian embassies, Berlin
TOFT HONERUD ´s work shown at the Nordic embassies are based on the artists’ on-going examination of today´s dissemination of private imagery through the media at first collecting imagery of natural disasters as delivered by private users to the public via specific news programmes. Taking imagery from the internet and physically presenting it in the exhibition space as blow-up photographs and video footage, TOFT HONERUD aim to examining the actual news content of the imagery and propose that mediated news imagery is increasingly emptied out of its content in order to convey presence and authenticity.
CURATOR IN A VISUAL WORLD OF SELF-EXPRESSION explores the constant stream of images as an archive; for this work the artists followed hashtags on Instagram related to the most powerful cartels that control the drug traffic in Mexico. While the drug-traffickers are living a life in hiding, they do document and publish trophies from their lives. As the same time they develop their own visual language and aesthetics without markers to give away their location or identity. The coding and use of status markers for self-presentation I well known to us, even if we see it from a hidden world of gilded weapons, drug deliveries and sexy ladies. The markers bear surprising parallels to other image archives, such as those in mommy blogs, which define themselves by children, interior or organic food.
Culture Awards 2014
award for Most notable work
November exhibition, Drammen Museum, 2014
Sigdal og Eggedal Museum, September 2014
What do you want to be when you grow up?
No matter how you spin it; children get killed in Gaza and it's all wrong. All children must be cared for. I'm glad Kongsberg Cinema is now exhibiting my project from 2010, What do you want to be when you grow up? - a series of portraits of children from Palestine.
Even a bigger Splash
Buskerud art centre, 15.05 - 8.06 2014.
An investigative perspective
12.-17.of June 2014
co-curated together with Nina Toft
The 37th Norwegian Short Film Festival
All participating artists have graduated from art academies in Norway and abroad and have distinguished themselves nationally and internationally. Some of this year’s artists work exclusively with film production and migrate between the art and film fields by showing their work in galleries, art biennials and film festivals. Margarida Paiva shows her video work at both art institutions and film festivals. She is the initiator and organiser of «Oslo Screen Festival», an international cinema based festival for video art. Some of the works in the programme are not made for cinema presentation, but were initially created as part of a larger installation or project. Within visual arts institutions, film and video often compose part of a larger installation where the work’s spatial presentation is significant. In Jan Freuchen’s film Thetaville, the film’s set design and props also constituted his exhibition at Fotogalleriet in Oslo. The Norwegian Short Film Festival offers a new context for this work. An increasing number of film and video artists want optimal viewing conditions for their work, including control over sound and lighting. Art institutions often construct their own cinemas, not only to optimise picture and sound, but also to put the viewer in a cinematic mode. It appears that the institutional divide between visual art and the film field is to some extent beginning to dissolve. For the whole text and more information, you can download the catalog HERE, page 164-172.