︎︎︎ Oslo
Language and Narrativity
︎ Location: PRAKSIS office and UKS Gallery
Artist: Ina Hagen
︎ Language: Norwegian
Notes on the workshop: For the first part of the workshop we looked at how art galleries in Oslo use text and what they are actually saying. Does the text feel inclusive or excluding to us? Who is it meant for? Ina introduced us to the work of artist Andrea Fraser who works a lot with text and the performance of text. Fraser works within the tradition of "institutional critique", which in the 1990's and 2000's was often about turning upside down what you look at when you go to a museum. With that in mind we visited UKS (The Young Artist’s Society) to explore its gallery for the first time.
PRAKSIS Teen Advisory Board member Zeinab tells about her experience of Ina Hagen’s workshop:
"We met in a chat group and went to an opening of an exhibition. Each member of PTAB should be a role / person in this opening. Some were the artist, others were the artist's mother, curator and so on. It was very exciting to see how different the roles are based on who they are. A curator would have looked for a good exhibition, the mother will probably be very proud of the artist. A man in his 40s would have interpreted art differently than a 16-year-old girl would have done. It is very interesting and educational to be able to put yourself in other people's roles. You can become better at interpreting and knowing more about both the recipient and the artist. Being in character you can learn more about how to convey what you want to say in the art scene”
PRAKSIS Teen Advisory Board member Zeinab tells about her experience of Ina Hagen’s workshop:
"We met in a chat group and went to an opening of an exhibition. Each member of PTAB should be a role / person in this opening. Some were the artist, others were the artist's mother, curator and so on. It was very exciting to see how different the roles are based on who they are. A curator would have looked for a good exhibition, the mother will probably be very proud of the artist. A man in his 40s would have interpreted art differently than a 16-year-old girl would have done. It is very interesting and educational to be able to put yourself in other people's roles. You can become better at interpreting and knowing more about both the recipient and the artist. Being in character you can learn more about how to convey what you want to say in the art scene”
︎︎︎About the artist
Ina Hagen (NO) is an artist and writer based in Oslo who works across performance and communal making practices. Alongside her studio practice, Hagen is a board member of the young artist’s membership organisation, union, and contemporary art institution UKS (Young Artist’s Society) and of Kunstnerboligforeningen (the Artist Housing Association) in Norway.
In constructing performative situations and platforms, Hagen merges situated histories, collaborative and particpatory acts in situations of collective, critical reflection. She is co-founder with Daisuke Kosugi of the discursive platform and exhibition venue Louise Dany, that ran in their flat and adjacent store-front in Oslo between 2016 and 2020.
In constructing performative situations and platforms, Hagen merges situated histories, collaborative and particpatory acts in situations of collective, critical reflection. She is co-founder with Daisuke Kosugi of the discursive platform and exhibition venue Louise Dany, that ran in their flat and adjacent store-front in Oslo between 2016 and 2020.