STANDARD (OSLO)
PRESS RELEASE


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SISTER CORITA KENT / GARDAR EIDE EINARSSON / MARIUS ENGH / MATIAS FALDBAKKEN / HANS-PETER FELDMANN / JOHN HEARTFIELD / DAMIEN HIRST / ALEX HUBBARD / EDVARD MUNCH / RICHARD PRINCE / RAYMOND PETTIBON / JOSH SMITH / OSCAR TUAZON / FRANZ WEST / CURATED BY MIKKEL E. ASTRUP AND EIVIND FURNESVIK
WE NEVER MET BEFORE, BUT IT'S WITH GREAT ANTICIPATION OF YOUR UNDERSTANDING THAT I'M WRITING YOU AND I HOPE YOU WILL IN GOOD FAITH GIVE A DEEP CONSIDERATION TO MY PROPOSAL BELOW.
13.11.-13.12.2008 / PREVIEW: THURSDAY 13.11.2008 / 19.00-21.00

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Deceit and Desire:

The exhibition in question, under a hopelessly long title that Eivind Furnesvik pillaged off some poor Nigerians, is an experiment on deceit and desire. The experiment takes as its point of departure how two inadequate categories can be exploited to create a cacophony of enjoyment. It lends itself to a realm occupied, liberated and controlled by various forms of contemporary artistic practice. A realm that is simultaneously immanent to and in-determined by, its entanglement into memorable desires. Because it might be a deceit in artistic practice, that it is as much as anything a radical mode of controlling freedom.

It is with liberation we regard Franz West controlling anal control itself, insuring a space for abstract creativity. The pipe brush works as a footnote that dissolves its figuration and invents a dream by falling flat. It is far from the vibrant voluptuous creativity affirmed by its contemporary older papier-mâché sister. With West we learn how controlling a space is necessary for a level of abstraction that accelerates creativity beyond the space in question. When we posit Hans Peter Feldman’s Golden Shoes, the spikes are blatantly subverting the sign value of the socio-physical level of the sexual shoes. The humour in question is intensively dry. However, the shoes being juxtaposed with their historical lineage, the question is removed to a realm where their concreteness becomes the condition of their abstraction. The lucidity of sexual perception when abstracted from corporal determination excites. We experience a need to go back to Hans Jæger, which post-modern apparition must be Marius Engh. With his primitive appropriation of historical torture instruments, he has achieved a psychophysical form of autonomy from the art-historical values he feeds on. We represent him with a record he found and gave a concrete existence by abstracting its musical potential. It is in a space in-between determinants, he plays his music- The modesty of the frail colour additions and personal habits that brought him the raw material of the piece is framed with precision.

The powerful direct investment and intervention in social organisation Munch could permit himself, is in the contemporary Norwegian decay officially reserved for medical discourses in juxtaposition with the pleasure of continual bathing. Social democracy is in this sense a perfected version of late capitalism. The capacity for exceptions nevertheless remains. We observe that achieving autonomy when appropriating historical forms by primitive local psychophysics, work best under social democracy from the position of a minor art/juxtaposed with a minor social position. The stupid reproductions of capitalist traps on the other hand, must be seen as child’s play: the primary vanity of controlling the mechanisms of limited freedom while separated from the ability to invest directly into the political economy. We are happy to endorse Matias Faldbakken cutting a slice of the social democratic goat cheese while with a certain studiousness inserting it with bad glue onto irrelevant discourses for the sake of gain. However, the letters here vanish, the mutilation of his artistic result displays how the gain takes place someplace else than in its immanence, in a liquid economy, and how it cannot have value without the existence of this mutilating network of economic circulation. Towards the end, it is Gardar Eide Einarsson who provides us with our target, an enjoyment pure and simple. Not falling into the trap of reacting to official economic nihilism with moral obligation, his pleasurable disregard celebrates the futility of our categories.

- Mikkel E. Astrup

For further information contact Eivind Furnesvik at eivind@standardoslo.no or +47 917 07 429 / +47 22 60 13 10. STANDARD (OSLO) is open Tuesday-Friday: 12.00-17.00 / Saturday: 12.00-16.00. STANDARD (OSLO) will be closed between 13th of December and the 12th of February due to public holidays and refurbishment of the gallery space.

Upcoming projects:
Alex Hubbard / “The Way Things Go Wrong, Flicker Out, and Quit”
Art Basel Miami Beach / Positions / Booth P16
04.12.-07.12.2008

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    SO2008-WNM-IV-01
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/1
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    SORP-2008-001
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    Richard Prince
    Three Women Looking in the Same Direction
    2008
    Chromogenic print /framed / 80 x 100 cm / 31.5 x 39.4"
    5 + 1 AP / SORP/PH 2008-001
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    SOGEE-2008-006
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    Gardar Eide Einarsson
    Shoot First
    2008
    Silkscreen print on circular canvas / Wooden stretcher
    0 x 180 cm / 71"
    Unique / SOGEE/P 2008-006
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    SO2008-WNM-IV-15
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/2
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    SOHPF-2008-001
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    Hans-Peter Feldmann
    Golden Shoes with Pins on Velvet
    2005
    Gold coloured shoes, pins
    45 x 45 cm / 18 x 18"
    Unique / SOHPF/S 2008-004
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    SOOT-2008-015
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    Oscar Tuazon
    Mat Resin Glass
    2008
    Mirror glass and polyurethane resin
    100 x 80 cm / 39 x 31"
    Unique / SOOT/S 2008-033
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    SO2008-WNM-IV-14
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/3
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    SOMF-2008-017-A
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-B
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-C
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-D
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-E
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-F
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SOMF-2008-017-G
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    Matias Faldbakken
    Untitled (Young is better than old) a-g
    2008
    Lightjet print on Fuji archival grade paper /framed / 52.5 x 40 cm / 20.7 x 15.7"
    37 x 50 cm / 15 x 20"
    1/3 + 1AP / SOMF/PH 2008-017/1
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    SORAP-2008-001
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    Raymond Pettibon
    Untitled (It is Not)
    2006
    pencil and indian ink on paper /framed / 35.3 x 45 cm / 13.9 x 17.7"
    38 x 32 cm / 15 x 13"
    Unique / SORAP/D 2008-001
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    SO2008-WNM-IV-05
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/5
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    SO2008-WNM-IV-02
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/6
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    SO2008-WNM-IV-03
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/13
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    SOJS_P_2008_033.001.O
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    Josh Smith
    Untitled (Collage Painting #7)
    2007
    Mixed media collage on plywood board
    122 x 91 cm / 48 x 36"
    Unique / SOJS/P 2008-033
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    SOJS_P_2008_034.001.O
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    Josh Smith
    Untitled (Collage Painting #8)
    2007
    Mixed media collage on plywood board
    122 x 91 cm / 48 x 36"
    Unique / SOJS/P 2008-034
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    SO2008-WNM-IV-000
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    Franz West
    Untitled
    2007
    Papier-mâché, gauze, paint, plastic, wood
    154 x 103 x 63 cm / 61 x 41 x 25"
    SOFW/S 2007-001
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    SO2008-WNM-IV-12
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/7
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    SOCK-2008-001
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    Sister Corita Kent
    A Man You Can Lean On
    1966
    Silkscreen print / framed
    Unnumbered in an edition of less than 200 / CK/SI 2008-001
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    SODH-2008-001
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    Damien Hirst
    The Tranquility of Solitude
    2006
    Graphite on paper /framed / 81 x 85 cm / 31.9 x 33.5"
    Unique / SODH/D 2008-001
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    SO2008-WNM-IV-13
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/8
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    SOEM-2008-001
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    Edvard Munch
    Hans Jæger III
    1943-44
    Litograph printed in black on medium thin cream wove
    Sheet: 538 - 540 x 402 - 404 mm / Image: 380 x 320 mm Printed by Grøndahl & Søn / Unsigned / Woll catalogue no. 748
    SOEM/L 2008-001
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    SO2008-WNM-IV-09
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/9
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    SO2008-WNM-IV-11
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/10
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    JHF_PR_2008_001.001.jpg
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    John Heartfield
    Facsimile for Cover of Upton Sinclair "So macht man Dollar"
    1931 / 2008
    Author: Upton SinclairOriginal title: Mountain CityTitle: So macht man DollarsPublisher: Malik-Verlag, BerlinYear: 1931Description: 398 p / 19 cmCover design: Photomontage by John Heartfield
    JHF/PR 2008-001
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    SO2008-WNM-IV-10
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/11
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    SOME-2003-No_Good
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    Marius Engh
    No Good
    2003
    Found vinyl record with felt pencil writing, / framed / 41 x 41 x 3.5 cm / 16.1 x 16.1 x 1.4"
    Unique / SOME/S 2003-011
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    SO2008-WNM-IV-08
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    We never met before, but it's with great anticipation of your understanding that I'm writing you and I hope you will in good faith give a deep consideration to my proposal below.
    2008
    Installation view
    IV/IV 2008-002/12
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