Conversations and cross-connections

Four KHiB-colleugues held a collaborative exhibition in Rom8 titled "CONVERSATIONS: Brownsword, Launder, Mydland & Suul" during november of 2011.

They've invited colleaugues and students to take part in their artistic conversation and processes through artist talks and ekstra performance sessions. The exhibition was open for three weeks in KHiB's screening room, Rom8, in Vaskerelven, for a wide audience. A few weeks after, Neil Brownsword and Richard Launder share some thoughts on the collaboration. 

Q: How did you make a choice of what works to put on display?

Richard Launder explains that his chosen works result from investigations that he's undertaking in connection with his studio based R&D-activities.
- My works tend to be both phenomena and research-led, remarks Launder. They also reflect my creative and theoretic interests: socio/cultural/historical relationships and an auto-biographic thread.

Neil Brownsword tells that his works were taken from a recent exhibition "Relic" at Brighton and Hove Museum, and a commissioned response to their collection of socio political ceramics.
- The selection of each work was initially based upon their formal display relationship with each other.

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 Works by Neil Brownsword. Photo: Peter Klasson

Q: How did the building of the exhibition work, considering you didn't know what your colleagues would put on display?

- It was surprisingly un-problematic, Launder points out. We noticed many cross-connections & inter-references (un-premeditated) as we assembled the works, which gave rise to us critiqueing each other en-route.

Brownsword and Launder agree that this was an important aspect of the 'Conversation' collaboration: mutual trust and respect for each others ouevre


Performance in Rom8 where Richard Launder mounts pieces and elements to his installation. Photo: Peter Klasson


Q: How would you characterize the conversation between the works, and furthermore: between the artists?

- We have some common grounds: a conceptual attitude toward our practice, says Launder. This sets us in a very international contemporaneous moment. We ask: how are different works 'held' together?

Neil Brownsword says that the works draw upon a range of embedded themes which span from archaeology, historical and political commentary.
- There are many interconnected strands which seemed to naturally compliment each other.

Launder elaborates:
- I would say the works - and thus also the artists - have both a zeitgeist connectivity and a frictional opposition of this.

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Works by Anne Helen Mydland. Photo: Peter Klasson

Q: How is this exhibition important for KHiB?

- I would say KHiB has taken a lead in the discourse that places clay and ceramics into the international fine art context, exclaims Launder. Its a window into this Brave New World!

Brownsword hopes that some of the results filters back into the richness of the departments pedagogical approach.
- I think the diversity demonstrates the scope of expression and level of conceptual enquiry each staff member is involved with in their own practice.

Q: Have you discussed any further collaborations in the future?

- We will be moving the 'Conversation:...' forward, answers Launder. I belive it is a conceptual and practical frame that will travel well. The collaboration has resulted in access to networks which reach into the Nordic, British and American art scenes.

Brownsword says there are so many parallels in the lines of investigation.
- I think the possibility of showing together, maybe in a very different context and setting, is inevitable.


From artist talk in Rom8 18 November 2011; Øyvind Suul coments on his work. Photo: Peter Klasson

Published: 9 December 2011

Publisert: 09.12.2011 av Peter Klasson Oppdatert: 19.03.2015 av admin