Rod Bianco, Oslo er et utstillingsprosjekt initert av Bjarne Melgaard i samarbeid med Svein Roar Grande som står bak galleriene 7011 Trondheim og 7011 Vestfossen.
Rod Bianco ønsker å markere seg som et innovativt visningsrom i Oslo via samarbeid med sentrale gallerier og institusjoner i New York, Berlin og Amsterdam.
We are pleased to announce Javier Barrios’ first solo exhibition at Rod Bianco Gallery.
The universe is constantly moving. Planets disappear and others comes into existence, like our own earth once was formed from a nebula. Everything we know, all that surrounds us, is a product from space.
Christer Glein (f. 1984) tilhører en ny generasjon norske figurative malere. Selv om det det figurative maleriet alltid har stått sterkt i Norge, må man si at Gleins arbeider relaterer seg mer til internasjonale tendenser.
Rod Bianco Oslo har gleden av å åpne en ny kunstsesong ved å invitere “bad boy” galleriet fra Berlin Guido W. Baudach til å ta over våre lokaler i Oslo. Åpning fra 19.00 til 21.00 etterfulgt av party på Fugazi med Dj Gaute Drevdal og E from 80´s i annen etage og Nuuh & Fingern pres. So You Really Think You Can Dance i bakgården !!! Dette blir en legendarisk kveld og håper at du kommer.
utstillere: Aida Ruilova / Andre Butzer / Andreas Hofer / Bjarne Melgaard / Bjørn Dahlem / Erik Van Lieshout / Erwin Kneihsl / Markus Selg / Thilo Heinzemann / ThomasHelbig / Thomas Zipp
”A door opens. A cash register opens. A can of sardines is opened. A mouth opens. The unzipped zipper opens up a view…” This sequence of openings goes on for about half a page and describes the opening montage in the Bernadette Corporation’s Eine Pinot Grigrio, Bitte (2007), a filmscript never intended for poduction, published as a book. If there is any overarching signature that can serve to wrap the eclectic practice of the Bernadette Corporation (BC), a New York based artists’ collective who’s ouvre has spanned the last sixteen years, it is precisely a succession of openings, openings of new ventures in the overlap between art and its neighbouring industries. Hailing credos like ”All creativity is equal”, and ” Simply choose a name and spend a lot of time together, ideas will come later”, the group’s output consciously and effectively undermines the highly marketable idea of any singular individual as the locus of artistic and creative production.
After first having dabbled in haute couture – with a commercially viable clothing line that explored the grey zone between art and fashion, in the mid- to late nineties – BC turned to publishing in the same cultural schism with their magazine Made in the USA, where exegises of art and literature was juxtaposed with fashion related content. Then, in 2001, they went on to document the protests surrounding the G8 summit in Genoa in July of that year (Get Rid of Yourself). Finding amidst the disruptive ”terrorism” of the so-called Black Bloc the emergence of a politics without subjects. This was followed by their first foray into the realm of literature, a collectively written novel (Reena Spaulings, 2004). Currently BC is involved in an underground film factory operating in Berlin (Pedestrian Cinema)
Underpinning this diversitude of guises is an incessant return to the problem of how subjectivity is propagated as a force for liberating the self from the tyranny of capital, when precisely the oposite is the case. This pervasive fallacy has rendered our desireThat’s why BC’s Corporate Story only mimics the structure of a coherent narrative but never goes beyond the hollow rethorics of fashion. An impenetrably idiosyncratic assemblage of footage serve as backdrop for a tongue-in-cheek voice-over that supplies something sounding vaguely like the pitch for a business venture, but the overtly smug voice that speaks frequently reclines into wry and ironic unspecifics, subverting the promotional agenda that adheres to the form they emulate.
”Pretending we are business people while we sleep all day like cats.”
Leigh Ledare is an artist working with photography, archives, video and text. Ledare’s exhibition, Too Late and Later, centers around a unique body of work, which forms an archive of the artist’s relationship with his mother whilst creating a discursive site. As such the exhibition traces the negotiation of their respective relationships to agency, representation and authorship, alongside issues proposed by the enactment of the contents of this project in the context of the real world.
At the age of fifty, already having begun to cultivate a highly sexualized persona, Ledares mother, Tina Peterson, a former professional ballerina, approached her son to document her for posterity. The photographs exist neither as a diaristic work, nor simply as portraits of a highly sexualized persona, but as an investigation of the nature of our formation as subjects and its relation to broader shifting cultural forces. Shown in this instance alongside 3 videos, Ledare’s portraits of his mother reveal subversive responses, instances of sexuality and vulnerability tactically deployed to multiple economic, personal and psychological ends. Ledare proposes that his mother’s complex subjectivity stems not form a failure to perform a multitude of various roles, but from a simultaneous occupation of an abundance of imagined modes, rooted in the performative, that cannot be reconciled.
Rod Bianco, Oslo er et utstillingsprosjekt initert av Bjarne Melgaard i samarbeid med Svein Roar Grande som står bak galleriene 7011 Trondheim og 7011 Vestfossen.
Rod Bianco ønsker å markere seg som et innovativt visningsrom i Oslo via samarbeid med sentrale gallerier og institusjoner i New York, Berlin og Amsterdam.