222T

Currently on view at consultório , Chamusca, Portugal

Noetic Structures by Marit Følstad / Ole Jørgen Ness

14.09. - 15.12.2024

Curated by 222T Oslo

NOETIC STRUCTURES

Marit Følstad / Ole Jørgen Ness

14.09. - 15.12. 2024

Preview : Saturday September 14. / 2-7 pm

consultório

Chamusca, Portugal

NOETIC STRUCTURES

by Marit Følstad / Ole Jørgen Ness

14.09. - 15.12. 2024

consultório
Chamusca, Portugal

curated by 222T

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ROCA ARCTICA

by Marit Følstad

14.09.2024 - permanent

Lusitanus, stable and education center for horses
Golega, Portugal

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NOETIC STRUCTURES

Scandiberia 2024

As part of an ongoing Portuguese/Norwegian collaboration, pursuing the possibilities of new Scandiberian connections, Consultorio Project Room (PT) and 222T (NO), presents a site-specific double-project - Roca Arctica in Golegã and Noetic Structures in Chamusca - focusing on various noetic structures enabling human understanding, interspecies communication, and noospheric trans-mission.

Following last years presentation XIVIVIX, featuring Giovanni Battista Piranesi and Pedro Pascoinho, in Oslo (14.09.23), the opening of this year’s artistic realisations falls on the 14th of September 2024, and marks a first important Scandiberian anniversary (which fittingly also is the European horse day - Euro Equus).

(orna)Mental Responsiveness
As a response to the ongoing decimation (extinction) of animal species, their habitats, the general dwindling of human analogue crafts, and - not the least - as an expression of our deep environmental concerns - this double project’s main motivation is to move us all beyond the habitual. The quest is to establish new approaches to what art is and where it could be found.

Moving beyond the habitual to establish new approaches to what art is and where it can be found, artists like Holt/Smithson found their noospheric gateway in a dessert in the Milky Way. Some two hundred years earlier Romantic painters like Norwegian Peder Balke ventured to the Arctic’s icy cape-plateau in search of the sublime.

It is this need to go beyond the horizon, be it across a vast ocean or the edge of reason, that reveals the proto-romantic force. It should not be confused with - or reduced to - a mere historic painterly tradition or a bygone fancy.

A RELATIONAL APROACH

Mooriberians, Celtiberians and Scandiberians
The way we see it, there is a “folding”, perceptibly similar to the nooks and crannies of the meta-morph processes traceable in the stone - a folding in the way various groups and individuals (strata) interact and fuse over time. There is pressure, there is heat, and there is an abundance of “agents”, in multiple professions, interweaving and folding their lives together.

This folding of strata follows traditional (habitual) “baroque” morpho-genetic dynamics, impressed in our way of reasoning and in the way we conduct our culture.

Traces of the symbiotic, co-evolution of animals, land, and humans are still present in the pre- historical rock-carvings of Lusitania in the south, and Lapponia in the north. The Arctic reindeer and the Iberian horse are both central actors in the visual chronicles that our ancestors left behind.

Thinking of the zoomorphic creatures featured in the rock-carvings mentioned (Vale do Cóa, Portugal, and Alta, Norway), there would perhaps be no such expressive (artistic) practices without them (the not-humans):

The meaning of animals is implicit in what they do: eat, run, leap, crawl display, call, fly, mate, fight, sing, swim, hide, slither, climb, and die. One or another does each of these things with more finesse and more expertise than people. Their keenness is reflected in the shapes of their bodies and the traces they leave. Animate signs and signatures move through our dreams and imagination, evoke our feelings, portray “us” in a kind of allegory.

AS IF THE HORSES CARE

The possible impact of Roca Arctica

“The loss of all sorts of non-human others has turned Sartre’s existentialist, metaphysical loneliness, into a literal loneliness (…) The fever animals left, the more important it becomes for us to make some contact with them, not only in the sense of acknowledging them as coexisting with us on Earth, but in the more demanding sense of having the animals acknowledge us, giving us some sign that they see us and that we are important to them, meaning that there is - or could be - some reciprocity to this need, that it will play out as a meeting-halfway between different species, us and them.

Not only is this a tall order; it is fundamentally mistaken. The point is not that humans are crucial to making animals into animals: we are not. Rather, and this makes for asymmetry and non-reciprocity, animals are crucial to making us human, and they are so in virtue of being different from us, not us and not like us. They being different means that they are indifferent to us; the more indifferent the better. This is the whole philosophical point about animals being sui generis wild in Shepard’s perspective.

However…only animals that are in a position to maintain their independence from humans can be indifferent to us in the way Shepard affirms.“ (Shepard, Vetlesen 2023)

WILD, DOMESTIC, PET or FERAL?

Obviously, the horses of the Lusitanus stables are neither wild nor pets, and among domesticated animals they hold a superior position. They are “students”, athletes training to be champions.

Being respected as animals with an intrinsic identity and worth; being met for what they are in themselves, apart from what they are to us, is not only their prerogative, it is a fundamental premise for the human horse interaction. Without acknowledging their unique non-human individualities, treating them as autonomous others, how could humans expect to achieve real reciprocal communication with them?

And what about the Rock?

Roca Arctica has recently been broken free from its geo-position in the lithosphere (bedrock) near Kautokeino (Máze), Norway, where it has been dwelling since the Eucaryote revolution (evolution) some 1.500.000.000. years ago. Magnetism, as seen in the waves of Aurora Borealis, is echoed in the green waves of meandering chromium patterns revealing its cosmic charge. It is as if the northern light is impressed in the stones core.

Slice and crumble

Considering the shape of Roca Arctica, its industrially cut surfaces, the sliced planes, and its contrasting, naturally broken surfaces, the crumbled planes, they are both results of intentional (antropo-noetic) practice, but appears severely different with respect to morphological complexity, order and control.

These two kinds of planes reveal the implicate order in different ways. The sliced plane is like a precision cut in a brain-sample (or a hard boiled egg) where you see the structure like a flat image, while in the crumbled plane the implicate order is revealed by its topographically cracked and mountainous relief. (It is a matter of scale: if you get close enough to one, it will appear as the other)

Noetic Structures and the Noospheric realms

As early (or late) as 1902 William James defined the term noetic as “states of insight into depths of truth unplumbed by the discursive intellect”. Noetic states are illuminations, revelations, full of significance and importance, emerging as a hyperobjective sphere of evolutionary development dominated by consciousness, mind, and interpersonal relationships. As creatures evolve a new biosphere emerges, and with it a new noosphere.

As a rule, entering the noosphere carries with it the realisation that there actually is some sort of implicate order at work. It gives us a sense of facing and embracing natures authority (Corpus Logos) despite its inarticulate nature.

Inspired by James, our way of investigating the world de-emphasise the importance of answering ultimate questions and stresses the means by which we attempt to answer them. The pursuit of meaning and knowledge becomes process-based, not ends-based. It embraces change as a metaphysical starting point, and captures all the dynamics of our particular world here and now, warts and all.

222T/ Marit Følstad, Ole Jørgen Ness

SAVE THE DATE

September 14 / Preview 2-7 pm

Noetic Structures by Marit Følstad / Ole Jørgen Ness

Consultorio Project Room, Chamusca, Portugal

Curated by 222T in collaboration with consultório

https://www.consultorioprojectroom.com/marit-flstad-ole-jrgen-ness-noetic-structures

Pedro Pascoinho 's sound piece for VIXIXIV released in limited edition on audio cassette by Consultório

More info here:

https://www.consultorioprojectroom.com/edicoes

After curating, collaborating, creating and presenting 29 Volumes (projects) in Myntgata, Oslo, from 2019 - 2023, this is it!

222T is a relational art project that will keep on existing, making and curating shows for other venues, and working in other formats.

A big thank you to all the great people we have had the pleasure of working with, and to all the viewers following our program.

It has been a lot of amazing interactions and special moments!

Fremtiden!

Photo by Vegard Kleven

Last project by 222T in Myntgata, Oslo

DANGEROUS/ANGER by Marit Følstad

On view through November 20, by appointment

To schedule a vist, send an email to: [email protected] / or text message to: +47-96231615

Since March 2019, 222T has shown 29 projects primarily in our space in Myntgata, but also off site collaborating with other venues. We are so greatful that we have had the pleasure of collaborating with so many amazing artists creating magical Volumes to our series.

Also many thanks to all the dedicated viewers that have follow our program

Photo by Vegard Kleven

Our current project DANGEROUS/ANGER by Marit Følstad is on view through November 20 / by appointment only.

To schedule viewing, please send an email to : [email protected] or a text message to +47-96231615

Here are links to press-material from the court case regarding this piece, and the definition of sculpture in Norwegian law.

https://www.nrk.no/kultur/dommen-er-falt_-dette-er-ikke-et-lysskilt-1.12906119

https://kunstforum.as/2014/02/byrakrati-uten-ansvar/

https://kunstforum.as/2018/01/kunst-moter-jus/

Thank you all for coming to our opening on Thursday, making it such a special evening!

This is our last project in Myntgata

Dangerous/Anger is on view through November 19 / and only open by appointment

To schedule viewing send an email to: [email protected] / or text message to: +47-96231615

Please join us for the viewing of our last project in Myntgata, Oslo
Thursday October 26 / 5-8 pm

222T presents Dangerous/Anger by Marit Følstad

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Velkommen til 222T siste visning i Myntgata, torsdag 26.oktober / 17-20

222T presenterer kunstverket DANGEROUS/ANGER av Marit Følstad.

Dette prosjektet er et innspill i den pågående kulturpolitiske debatten om kunstens rolle i byutvikling, demokratiutvikling, samt utvidelse av ytringsrom.

Dangerous/Anger er et neonkunstverk som i 2016 skapte norsk kunsthistorie.

Kunstner Marit Følstad gikk sammen med Norske Billedkunstnere (NBK) til sak mot Finansdepartementet høsten 2014, på grunn av urettmessig momsbelastning av hennes kunstverk i neon «Dangerous/Anger» ved innførsel av verket til Norge fra England. Som kjent er kunstneres innførsel av egne kunstverk unntatt moms, men tollmyndigheten hevdet at Følstads neonverk var et lysskilt og ikke en skulptur, og derfor heller ikke et kunstverk i lovens forstand. Følgelig ble Følstad avkrevd moms for verket.

OSLO TINGRETTS SAK 14-143774TVI-OTIR/01 Følstad mot Finansdepartementet avholdt 05.04.2016.

Oslo tingretts dom i saken av 14.april 2016 gir Følstad og NBK fullt medhold i at «Dangerous/Anger» er et kunstverk i momslovens forstand og slår fast at tollmyndighetenes vedtak er ugyldig. Dommen anlegger en vid forståelse av hva som må forstås med tolltariffens skulpturbegrep og vil derigjennom ha betydning for innførsel av all samtidskunst til Norge. Dommens klarlegging av rettstilstanden på området gir forutsigbare og like vilkår for alle kunstnere, uavhengig av uttrykksform og anvendte teknikker. Dette vil etter NBK’s syn bidra til å sikre fortsatt internasjonalisering og profesjonalisering av norsk samtidskunst slik den i dag fremstår, med sin varierte materialbruk, teknikk og eksperimenterende tradisjon.

222T ønsker å sette lys på dette politiske verket nå, syv år etter rettskraftig dom falt, da det frie «autonome» kunstfeltet er under økende press fra storkapital og instrumentalistisk kunst-ideologi.

https://www.osloartguide.no/steder/222t/hendelser/dangerous-anger

Currently on view at 222T Oslo :

GIOVANNI BATTISTA PIRANESI & PEDRO PASCOINHO : VIXIXIV

Curated by Consultório , Portugal

On view through October 8

222T is open:

Saturday / Sunday : 1 - 4 pm

(+ by appointment)

Myntgata 2, Oslo

Photo by Vegard Kleven

VIXIXIV : Battista Piranesi & Pedro Pascoinho

Curated by Consultório , Portugal
in collaboration with 222T

On view through October 8

222T is open:
Saturday - Sunday 1-4 pm

(+ by appointment)

VIXIXIV opening today 5-8 pm

222T Oslo

Please stop by to see this great show and meet our Pourtugese friends

Myntgata 2, Oslo

Consultório

https://www.consultorioprojectroom.com/g-b-piranesi-pedro-pascoinho-vixixiv

September 14 / 5-8 pm
Oslo Art Weekend 2023
222T Oslo

giovanni battista piranesi & pedro pascoinho: VIXIXIV — Consultório Giovanni Battista Piranesi & Pedro Pascoinho: VIXIXIV é a primeira colaboração entre dois espaços de projectos independentes - consultório e 222T - que desenvolvem projectos site-specific e process-based nos quais as linhas temporais são expandidas e novas problemáticas ganham forma.

SAVE THE DATE :

14. September / 5-8 pm

Consultório

SAVE THE DATE

14. September / 5 - 8 pm

For Oslo Art Weekend 2023 222T is collaborating with Consultorio Project Room (Portugal) presenting

GIOVANNI BATTISTA PIRANESI & PEDRO PASCOINHO: VIXIXIV

Giovanni Battista Piranesi & Pedro Pascoinho: VIXIXIV, is the first collaborative effort between two independent alternative art project spaces – 222T and consultório, respectively located in Oslo and Chamusca (Portugal). Stemming from shared common goals, curatorial practices and strategies for the artistic ecosystem, this partnership highlights the importance of transboundary collaborations that have the capacity to provide different publics with engaging exhibitions and thought-provoking content.

The invitation of Marit Følstad and Ole Jørgen Ness (222T) to join their challenging program and curate their season opening show during Oslo Art Week is the result of several years of mutual admiration – having already worked together in New York City – and was received with great enthusiasm. Recently inaugurated, consultório is focusing on unexpected dialogues between historically significant artists and contemporary artists, resulting in site-specific process-based projects where timelines are expanded and new problematics are shaped.

Such is the case of VIXIXIV, which will include three historical etchings by the Venetian-born Rome-based artist Giovanni Battista Piranesi (1720-1778) and a sound piece by Pedro Pascoinho (1972), a Portuguese visual artist and musician. Picked by Pascoinho from Piranesi’s iconic Carceri d’invenzioni folio (1761) these etchings and his sound piece share common ground and similar psychological undertones.

Consultório

https://www.consultorioprojectroom.com/?fbclid=IwAR1X8AhxFvqveBJ3XjeRhbUG7t5P980tvHtdCfQq3dhV9gmZB7fQ-3Z7uXw

https://www.osloartguide.no/en/venues/222t/events/giovanni-battista-piranesi-pedro-pascoinho-vixixiv

Consultório Consultório sala de projectos & Esculápio edições de artista | Consultório project room & Esculápio artist editions @ Rua Mascarenhas Pedroso nº7 2140-133 Chamusca Portugal arte contemporânea | contemporary art

222T SITE project at the high plains in Finnmark, Norway

Plateaux Experience by Ole Jørgen Ness

Curated by Marit Følstad

Walls And a Makeshift Gutter / Kenneth Alme

Currently on view at 222T Oslo, Myntgata 2

Through June 18

Saturday and Sunday 13-16

(+ by appointment; e-mail: [email protected] to schedule viewing)

Photo by Vegard Kleven

Please join us for the preview this Friday June 2 / 17-20

222T presents a project by Kenneth Alme in collaboration with ALTAN

Walls And a Makeshift Gutter / Kenneth Alme

DET ER FREMDELES TID

https://kunstavisen.no/artikkel/2023/det-er-fremdeles-tid

Marit Følstad og Ole Jørgen Ness foreslår en løsning på atelier og forvaltningskrisen i Oslo, og en kalibrering av visjoner for «byggemaskineriet» Oslobygg KF sine pre-pandemiske 2019-konsepter.

Les det nye innspillet til kunstnerne i Kunstavisen i dag.

WHY MATTER MATTERS Volume 3 MARS Probe, 222T Oslo, mai 2019
Foto: 222T

Med loven i hånd - Kunstkritikk Ole Jørgen Ness setter fingeren på vår tids livreddhet for bortkastede penger.

Our current project, TOO STUPID TO TAME by Ole Jørgen Ness
on view by appointment through May 20

To schedule viewing send a text message to : +47-911 16 683

Photo by Øystein Thorvaldsen