Sabine PoppResearch fellow/Stipendiat Telefon:98458282
Kontor:CSgt 55, 7.etasje
Sabine Popp's research fellowship in the Fine Art department is based on the project 'Agential Matter (Invisible Landscapes)' which examines performativity of algae, objects and bodies in instances of observation in scientific research, industrial production and artistic encounter. Spaces of investigation are seen as sites of social practice, and performativity as an ongoing dialogue and interaction between different parts involved, including materiality as an important actant.
Popp gained a MA degree in Ceramics from Bergen Academy of Art and Design in 2001, with guest studies at the University of Barcelona (Sculpture) and at the Glasgow School of Arts (Environmental Art). Her practice has been mainly based on site-specific, temporary projects, following her interests for life in the High North.
She held a possition as assistant professor in clay and ceramics for a couple of years, where she focused on practice and discourse around the object - its reading, application, format and context, and issues of materiality in a broader sense.
Image: 'The Order and Disorder of Things (Melkens Pris)', installation for Vestlandsutstillingen 2010 (paint based on local milk, continuous video projection throughout the period), laboratory of recently abandoned dairy, Suldal, Norway
The point of departure of Sabine Popp's work is the exploration of a specific geographical place und human beings' relation to it. The investigation of mutual impact between mental and physical conditions is based on the notion of place as a framework for the structure of daily life, where the individual's self-understanding is manifested in interaction with the physical. This can be regarded to be in contradiction to the fact that we today in most cases relate to place as mediated in different ways.
Popp has in her research investigated various approaches to physical matter: from observation and monitoring to extracting and processing of rawmaterials and necessary logistical structures for transport. Throughout the years art works have evolved on site, where a variety of (archival) material based on knowledge from different sources, and gained from dialogue with representatives for specific professional or social groups, is brought in conjunction with her own subjective experience based on corporeal geography. It is not always obvious throughout the process, what is what, and perspectives are allowed to blur into eachother. The process has often resulted in an installation which takes advantage of the site's materiality, combined with technology like video, photography or sound. The work might be seen as a kind of temporary new-structuring and registration of the existing rather than a new element added to the site - more based on observation than the making.
In recent years several projects started from research in arctic and subarctic areas, where geographical location and surrounding nature has crucial impact on small communities' daily life. These places are thought of as models with a laboratory-like situation in their remoteness (in relation to complex systems of a larger society). What is a driving force in research methods is the need to transfer experience from this work to areas which are rather regarded the centres of our societies, and where relation to physicality and matter might mean something completely different due to increasing mediation and advanced processing methods. What interests are the gaps and frictions which occur in fluid and transcient societies, and how these moments open up for a refiguration of our relation to surroundings.
The method of corporeal geography, which is the foundation of all of Popp's work, is an insistence on the necessity of bodiliy involvement in examination. In the course of her investigations she tries to grasp processes of transformation, which space and communities undergo due to historical, climate or socio-economic developments and changes.
Image: 'Values and Measurements', digital C-print on Dipond, 40x60cm each, part of 'Remote Sensing - a play on darkness in four acts', Titanic Gallery, Turku, Finland, 2011
The most recent project 'Work Study' (2012 - 2015) was carried out in participation in the larger artistic research project 'Topographies of the Obsolete' (initiated by professors Anne Helen Mydland and Neil Brownsword), and can be read in the light of Hannah Arendt's writing on the differentiation between labour, work and action, where interaction with the formerly processed raw material clay is substituted by interaction with the empty site and left office papers.
'Work Study' started out from the idea of efficiency of action and movement related to production at the former Spode factory, site of 230 years ceramic manufacturing. Archives of schemes for following up, exercising and renewing working processes of the last decade before the factory's closure, were found spread over the floor of an office space. The work study system was turned hollow and absurd with the ending of production. The project aimed at examining and acting out this absurdity in exchange with different dialogue partners in a broader cultural field.
One outcome of the project was the installation 'Work Study (Exercises in Creating a Short Circuit)', presented as part of 'Vociferous Void', a group exhibition shown within the frame of The British Ceramic Bienniale 2013. 'Work Study (Exercises in Creating a Short Circuit) - part 2' was the result of and included material from the collaboration and dialogue with dancer/choreographer Clare Reynolds, visual artist Kate Lynch, musician/philosopher Carl Fedarb and visual artist Sofie Knudsen Jansson. Part 2 was shown in spring 2014 in ROM8, Bergen.
Image: 'Contact Zone', daily changing relations of elements and objects in a framed space in former fish factory (found objects, seaweed, video projection, charcoal- and chalk drawings), NES, Skagaströnd, Iceland, 2012
Sabine Popp is member of the studio collective Bergen Ateliergruppe.
The abstract of her current research project can be found here:
Agential Matter (Invisible Landscapes)