hilde Honerud

Norwegian Journal of Photography at Preus museum

9. Mars - 20. October 2024

New article in Philosophy of Photography - Volume 14, Issue Violence, Part 2, co-authored with Jon Honerud

Melk, Brød og Bananer (Milk, Bread and Bananas) #1, #2 og #3 (2024)

Still life #2 - The exhibition draws on the symbolically embodied still life paintings of food and drink which reached its high in the Dutch golden age inthe 18th century. For the occasion, a still life with strawberries and vegetables by Danish 19th century artist William Hammer is viewed as a starting point for an investigation of the attitudes towards the still life genre in an art historical perspective. The exhibition features new and recent works by Hilde Honerud, Nellie Jonsson, Christian Gravningen, Ingri Haraldsen, Lin Wang, Tor Erik Bøe and Sidsel Bonde. Spanning painting, photography, drawing and sculpture, the artworks articulate contemporary views on the still life genre today. - Christine Marie Bruu, QB gallery

11.01.-11.02.24

Reality Slipped into a Symbol

Over the past two years, I have participated in the NJP program, and here is the book, featuring contributions from Matthis Kleeb, Simen R. Ulvestad, Giulia Mangione, Lars Martin Hunstad, Jo Straube,and Erle Kyllingmark.

Generously supported by Freedom of Speech

Reality Slipped Into a Symbol presented in Fast Forward Women in Photography

Auction for Gaza !

I am pleased to auction off this picture from the series 'What do you want to be when you grow up?' It was taken in Ramallah, Palestine in 2009, and the proceeds go to Doctors Without Borders.

You can find more information at Objektiv Press.

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We are pleased to announce that Hilde Honerud is offering this work from the 2009 series ‘What do you want to be when you grow up? ’for a joint auction to help the organisation Doctors without Borders which works with the people of Gaza.

We included this picture in our second issue, the series showing Palestinian children in Ramallah. Susanne Østby Sæther wrote this on the work in 2010: 'The children are photographed frontally and outdoord … in one of the few green areas on the outskirts of the city. The portraits show the children in motion, neatly dressed in casual clothes, often smiling … It is as if they were photographed before or after the actual portrait. In recent decades, the portrait genre in photography has been characterised by a neutral, registering gaze on the subject. By breaking with this expression, Honerud's images reveal an intimacy between photographer and sitter. The encounter between them is not primarily photographic, but the result of a relationship over time. The title suggests a future perspective and emphasises the closeness between the sitters and the viewer.’

The title of the work is inspired by the words of Jan Egeland, Secretary General of the Norwegian Refugee Council, who on several occasions has described how he often asks children what they want to be when they grow up. The children often answer that they want to be doctors, journalists and businessmen. 'If they lose hope, I'm afraid they will answer that they want to be a soldier, a member of the military, a terrorist or an extremist.’ (from K7 Bulletin).

Send bids to: nina@objektiv.no

We will update in the comments.

Analog 4x5, inkjet print, mounted on capa. 121,5 x 95 cm. (With frame* 127x100 cm) 5+2 ap.

* There is a small dent on the frame.

Regarding the Pain of the Future

Søsterskap // Les Rencontres de la Photographie d'Arles

03.07. - 24.09.2023

GYM presented in LK, the Latvian web-based photo-magazine

Reality Slipped Into a Symbol

Vestfold Art Center

09.06 - 10.07. 2022

Its always morning somewhere

QB Gallery

05.05.- 05.06.2022

Young Curators: MILK TEETH 08.01. - 06.02. 2022 at NITJA Center for Contemporary art

With, Endre Aalrust, Jo Andersson, Tewodros Hagos, Moa Israelsson, Nora Joung, Shana Moulton, Hanna Roloff, Elina Waage Mikalsen, Hilde Honerud, Nick Hallett, Emil Kjærnli Curated by Henrik Stiansen, Vera Moi, Haawa Abdirahman Abdille

For purchases and more information go to HEAVY BOOKS

GYM

22.05.21 - 13.06.21
Hallings gate 5, 0170 Oslo

I am so happy that Heavy Books have teamed up with 10-10 and made a CMYK-printed t-shirt to raise money for Yoga and Sports with Refugees.

For purchases go to 10/10

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Four-color CMYK screen print front, one-color screen print back on Gildan heavy cotton t-shirt. Photograph by Hilde Honerud, printed on the occasion of the release of her GYM book published by Heavy Books.

Spring Exhibition 2021 - Vårutstillingen 2021

Fotogalleriet, Oslo
NŌUA & Stormen kunst/dájdda, Bodø

Marit Arnekleiv / Petter Buhagen / Hilde Honerud /  Julie Hrnčířová / Kaja Leijon / Mariken Kramer / Greg Pope / Karen Pettersen / Jenny Rydhagen /  Ananda Serné / Yanir Shani / Morten Torgersrud / Kjersti Vetterstad

And for a long time we walked without light

Group show at Kristiansand Kunsthall, on the occasion of the author Jens Bjørneboe's 100th anniversary.

https://www.kristiansandkunsthall.no/

It is a light which objectifies everything and confirms nothing (part one, two & three)

24.10.20 -22.11.20

Billboard istanbul 5.-18 October 2020

Curator: Hanne Lise Thomasen http://hannelisethomsen.com/

For more information https://billboardistanbul.org/ and https://www.instagram.com/billboard_istanbul_2020/

14.03. – 03.05. Kunstbanken Hedmark Kunstsenter

13.05. – 14.06. Buskerud Kunstsenter

12.09. – 01.11. Østfold kunstsenter

Autumn Exhibition 2019

Kunstneres Hus

It is a light which objectifies everything and confirms nothing

Interview in the magazine Journalisten, The Journalist. August 16, 2019

For english translation, press here.

It is a light which objectifies everything and confirms nothing (part two)

Buskerud Kunstsenter 21.08 - 22.09 2019

HOLKE, at Asker kunstforening 2. - 24. mars 2019

It´s not easy to make history, at ISFiT festival 2019, at gallery KiT, Trondheim

Buskerud kunstsenter. 23. oktober. 18

I´m participating with Quiet panic  // Stille panikk at Østlandsutstillingen. 

Vestfossen Kunstlaboratorium (05.05.-12.08.18)
Trafo Kunsthall (09.06.-01.07.18)

Stille panikk // Quiet panic

I am part of a group show / Når nåtid møter fortid/  at Drammen museum, ( 21. june - 15 october) 

Framing Content

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, on view in:

It´s not easy to make history

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
 

Listen to Honerud talk about her project at NRK (in Norwegian) 

duemay2016

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

May, 2016

Link for online article

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.

Karaoke Nights

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
 

4.February, 2015
Buskerud County  

award for Most notable work

at
November exhibition, Drammen Museum, 2014

Killing rage

Sigdal og Eggedal Museum, September 2014

What do you want to be when you grow up?           

Kongsberg Cinema,
July-Oct. 2014

Even a bigger Splash

Buskerud art centre, 15.05 - 8.06 2014.

Out now! And it´s all digital. 

WWW.DEBRISFANZINE.COM