SUMMONS TO THE WITCH: HYPERSTITION IN THE AGE OF INCREDULITY – ADWAIT SINGH – TAKE ON ART, INDIA VOLUME 3, ISSUE 2, 2017.
TO DO OR NOT TO BE – LISA ANDRINE BERNHOFT-SJØDIN – OBJEKTIV
UBELEILIGHETSKUNSTNERNE – GAUTE BROCHMANN – MORGENBLADET KUNSTEKSTRA 20 JAN,2017
MILENA HØGSBERG – KUNSTKRITIKK
DYP HENGING – NORA JOUNG – KUNSTKRITIKK
KUNSTEN OG LIVET – BILLEDKUNST No. 6 2016.
KONSEPTUELLE REISEBESKRIVELSER – KJETIL RØED – BILLEDKUNST No. 6 2016.
Script for the opening of
by LOUISE DANY
This text was performed by Ina Hagen and Daisuke Kosugi for the opening of the exhibition on Jan. 19, 2017.
The exhibition – which included video works by Kristin Bergaust, Kjell Bjørgeengen, Morten Børresen, Ann-Elise Pettersen, Terje Munthe and Camilla Wærenskjold – was co-curated with FRANK for Kurant Visningsrom during Tromsø International Film Festival, January 2017.
An interview with FRANK and Louise Dany about the exhibition can be read here.
INTRODUCING LOUISE DANY
Louise Dany cares for their guests. They would rather pour a glass too many and is not shy of entertaining. They like for people to stay over, to be closer to them and become more like them. Discretion and privacy is law, nones pleasure is exposed. Louise D is always pleased to see you.
They sees many resemblances between their own physical form and Katarina Bonnevier’s reading of Eileen Grey’s Villa E1027 in Behind straight curtains - towards a queer feminist theory of architecture, in fact they took their name from Grey’s housekeeper of many years. Flipping through the pages, they felt a spiritual connection with the maid in her private quarters. Seeing as Grey was a progressive and successful designer cum architect for the early 1900s, Louise D took particular notice to how she was living — while the rooms above showed daring vision and fluidity, a real break with conventional heteronormative living, the maids quarters were humble to the point of ridiculousness. Louise D cared deeply for Grey and when no guests were around the two of them were inseparable and shared the house equally. But this was perhaps never intended in Grey’s vision. Louise D’s form is at both times their potential and their limits.
There might be something about the present that called for their rebirth into this world, a new crisis of the planets. Louise D feels as if they has lived this time before, perhaps more than once. They knows the world is unfair and recognises the double standards we are bound to operate on. Despite this they keep looking for openings, these tiny slits of hope, joy and freedom where the double standards of ones neighbour become ones own until there is an inflation of standards. All standards are nothing more than one standard turned away from itself, a gesture Louise D only resorts to when dealing with discriminatory assholes.
led by APICHAYA WANTHIANG and JOHNNY HERBERT
Held on August 20, Louise Dany, Oslo
Held on August 27, Louise Dany, Oslo
Held on September 10, Fotogalleriet, Oslo
Held on September 17, The National Gallery, Oslo
by JAMES MCANALLY
This text was delivered as an introduction to open and experimental symposium modeled after Plato’s Symposium on love entitled Prefigurative Institutions at Louise Dany (Oslo) on Feb.10, 2017.
Louise Dany goes by they and is an artist run initiative in a mirror-windowed store front and apartment in Oslo, started in 2016 by Daisuke Kosugi and Ina Hagen. They alternates between a hosting venue for other establishments, a semi-public exhibition space and salon for art related events. Daily they is a private living and working space.