KCAC opens 16:00 Free soup served 18:00 OWO 19:00 Open Forum talk 20:00
Hilmar Fredriksen has worked across a broad spectra of mediums during the forty years he’s been active as an artist. Performance, sculpture, concepts, painting and video are all modes of approach into themes such as science, religion and everyday life.
Starting point for the talk will be his videos which like most of his work, in one way or another point to the experience of some mental state, chaotic or still (host’s interpretation).
At Khartoum Contemporary Art Centre Doors open at 19:00 (and soup and cheap beer is served) Talk starts at 20:00
What constitutes an artist talk? What leads up to its realisation?
Behind every result or public situation is a series of movements and events – a biography, a life, white noise. Situations that require communication, negotiations, compromises, deals or agreements – often this amounts to a lot of time.
The common model of a working day, established after a long struggle by the workers movement: 8 hours of work, 8 hours of free time and 8 hours of sleep. In the case of the freelancing artist, the borders between these three segments of the day are blurred.
This edition of Åpent Forum and One Work Only invites you to an artist talk held by Alina Lupu and François Girard-Meunier. About art work, work work and the relation between these different ways of working. Doing double shifts, earning money by working and spending money on working. Living in the precarious field, planning this Open Forum night before waiting tables or riding off into the sunset with a delivery bag on their back.
Alina Lupu is a conceptual artist based in Amsterdam, has a degree from Gerrit Rietveld Academie. Works as an artist and a side-jobber.
François Girard-Meunier is currently finishing a degree in critical studies at the Sandberg Instituut. Works as a graphic designer, artist and waiter.
supported by KHiO, Vandaler Forening and Khartoum Contemporary Art Centre
Vogue dance workshop (BASIC INTRO! EVERYBODY CAN JOIN.)
+ talk on vogueing culture
Daniel Elahi (b. in Sweden with roots from Iran) is the father of the Kiki House of Meraki – Norways only kiki vogue house. Daniel is an international travelling dancer and perfoming artist based in Oslo. A rising legend!
BRING YOUR SASS, SELF LOVE AND GENDERFUCK CURIOSITY AND MAKE A STATEMENT IN THIS AMAZING VOGUE SESSION!
+ ONE WORK ONLY: Victoria Sin
Video, 12 min, 2016-2017
Narrative Reflections on Looking
Preface/Looking Without Touching
Part One/She Was More Than the Sum of My Parts
Part Two/The Reprise of Cthulhu
Part Three/Cthulhu Through the Looking Glass
Still from Part Two – The Reprise of Cthulhu
Victoria Sin (b. 1991, Toronto CA) is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification.
Drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking,
Science fiction as a practice of rewriting patriarchal and colonial narratives naturalized by scientific and historical discourses on states of sexed, gendered and raced bodies,
Storytelling as a collective practice of centering marginalized experience, creating a multiplicity of social contexts to be immersed in and strive towards.
Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body.
Their long-term project Dream Babes explores science and speculative fiction as a productive strategy of queer resistance, imaging futurity that does not depend on existing historical and social infrastructure. It has included science fiction porn screenings and talks, a three-day programme of performance at Auto Italia South East, a publication, and a regular science fiction reading group for queer people of colour.
Vogue and drag are artistic practises within queer culture and history. Black and latino drag queens and trans women in the Harlem ballroom scene (NYC) in the 60’s were the first to vogue.
What position and responsibility does a vogue company in Scandinavia have 2018? How can we push binary and traditional ideas within queer spaces, for example who is “allowed” to perform drag? How do we build upon the legacy and keep vogue and drag as radical and rebellious as when it started?