Ida Ekblad MarIus Engh anawana haloba lars lauMann - Statoil

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“It embodies the parallelism between Man’s success and failure, highlighting the corruptibility of Man and his contemporary search for salvation in order to survive.”
<strong>Engh</strong>’s interest in the details, traces and signs that civilisation has left behind over time brought him to Bosnia Herzegovina for archaeological/anthropological research. For some time, the population of this country supported the theories of a fellow countryman who claimed to have made a fundamental archaeological “discovery” that would overturn their cultural heritage and the entire history of civilisation: the “discovery” of pyramids, higher than those in Egypt and older than any other existing pyramid, presumably pre-dating the glacial age. Today, these pyramids form a valley with a mysteriously geometric appearance, mountains with rich vegetation that effectively resemble huge pyramids covered by a cloak of greenery. This discovery, if substantiated, would make a rewriting of history necessary, and Bosnia Herzegovina would assume the role of the “cradle of European civilisation”. The peaceful town of Visoko, standing on the slopes of what is known as the “sun pyramid”, bears witness to the immense curiosity that this “discovery” has aroused throughout the country and the rest of the world. But its truth is still very much in doubt. Excavations carried out to verify the validity of the thesis of the amateur archaeologist, who discovered the colossal pyramids, have revealed the presence of stones assembled by man, but they do not necessarily date back to such a distant time. In the meantime, this tranquil Bosnian town has become a tourist destination, a development that has had a profound effect on it. Whether the “discovery” is true or not clearly does not interest <strong>Engh</strong> in his research. What characterises this project is rather the need – embodied in the Bosnians’ enthusiasm for the remarkable claims – for an irrational, magical, legendary and mythical element that alone manages to reconstruct an identity shattered and worn out by the war that still echoes in this part of the world. All this seems to describe perfectly the complex condition implicit in the reconstruction of the unity and identity of a country that has survived such violent conflict recently: the need for and the relief found in being able to grasp a mythical reality that re-balances the past and the future in a kind of popular religious belief. The works in the project all refer to an idea of hope and desperation, of life and death, a contrast that seems to emerge precisely from a need that Man feels: the need to (re)build a temple to house vacillating certainties in a time in which guiding values can be overturned, mauled and down-trodden to the point of becoming worthless dust. In a dichotomy that compares the possibility of affirmation of power and its consequent manifestation with the possibility of failure, the works in Exhume To Consume emerge as elements linked with the concept of monumentality alongside depictions of temporary structures. This project embodies the parallelism between Man’s success and failure, highlighting the corruptibility of Man and his contemporary search for salvation in order to survive, a condition that the title of the project itself already suggests to us by referring to the insatiable hunger for myths devoured by contemporary man in his quest for Nietzsche’s absolute. stefania palumbO 63
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Ida Ekblad MarIus Engh anawana halo
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Editors Jens R Jenssen Bjarne Våga
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A WORD FROM THE JURY As chair it is
Page 17: IDA EKBLAD, OR FOR THE NEW YEAR One
Page 20 and 21: ut rather because it takes up the c
Page 23 and 24: The physicality (the gum from the a
Page 25 and 26: Political Song for Jessica Simpson
Page 27 and 28: If You Give To Me Oil on linen 200
Page 29: The Gold Bug Drift (nYc), Rockaway
Page 32 and 33: Tyrian Purple Oil on linen 200 x 16
Page 34 and 35: The Gold Bug Drift (nYc), Navy Yard
Page 36 and 37: A Woman Under the Influence Install
Page 38 and 39: The Gold Bug Drift (Clapham Common)
Page 41 and 42: Installation view: (from the left)
Page 43 and 44: Royal Festival Hall Welded found ir
Page 45: Francis Oil on linen 200 x 160 cm 2
Page 55: DEVILS, WEREWOLVES AND OTHER MYTHS
Page 58 and 59: Over the years its state of abandon
Page 63 and 64: Lycanthropic Chamber
Page 66 and 67: Collar Oak wood in four pieces 140
Page 68: Saltire Oak wood 228 x 119.5 x 5 cm
Page 72: Lead, Follow or Get the Hell Out of
Page 79 and 80: Hermes Polished granite stone slab
Page 82 and 83: Holiday in Bosnia Watercolour on te
Page 84: Fussorius Pickaxe, shovel and t-shi
Page 95 and 96: THE RITUAL WHEN THINGS FALL APART:
Page 97 and 98: When you look at me shirt once whit
Page 99 and 100: 1. Édouard Glissant, Poétique de
Page 101 and 102: and Australia, initiated an externa
Page 103: Whose Privacy? Sound/sculptural int
Page 107: Road Map Sound/sculptural/drawing i
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When the Private Became Public Vide
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Can you see…, Can you hear… Sou
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LARS LAUMANN
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136 For the perfect flaneur, for th
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with their “normalising” agenda
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an authentic foreign language (an A
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Morrissey Foretelling the Death of
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Berlinmuren Video installation, Ger
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You Can’t Pretend To Be Somebody
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Ida Ekblad Born 1980 in Oslo, Norwa
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Skate Culture, Preus Museum, Horten
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Lars Laumann Born 1975 in Brønnøy
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OLAV CHRISTOPHER JENSSEN Born 1954
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CAROLINE M UGELSTAD Born 1972 in Os
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THE WRITERS DAVID LEWIS (American/I
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The Statoil art award is intended t
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acknowlEdgEMEnTs 181
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86, 87 Fussorius Courtesy of the ar
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Ida Ekblad MarIus Engh anawana haloba lars lauMann - Statoil

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