03-2017 – Thomas Kvam – The Hamsun Sessions #5

 

Gallery

Biography

Research

2007 – 2013 Research Fellow, Oslo National Academy of the Arts.

 

Education

1998-1999 Goldsmiths College, London, UK, Ma Fine Art

1996-2000 National Academy of Fine Arts, Oslo, Norway

1994-1995 Oslo Drawing and Painting school of arts, Norway

 

Upcoming:

October 2017:

Novel, Homo Sacco, Pulp Philosophy Vol 1, (566 p) published by Cappelen Damm Publishing House, Norway

2017 Solo Show at Blomquist and QB Gallery, Oslo, Norway

 

 

Selected Solo Exhibitions

2016 The Hamsun Session, QB Gallery, Norway

2015 Natural Born Pollock, QB Gallery, Norway

2013
The Rantology Paintings, Blomquist Kunsthandel, Norway

2012 Whiteout Violence / Censorship Alliance, Galleri Van Bau, Norway

2011
Pulp Statistics - (The Kinsey Report Updated Syndrome), Norway

2011 Archive comparative/Endgame Narrative, House of foundation, Norway

2009 The Average Art Manifesto, Norway

2009 HAL and The Horse, Podium, Norway

2009 Væxsjø konsthall, Sweden

2009 Galleri 21, Malmø, sweden

2006 Eurobeing, UKS, Norway

2005 Three studies, Skur 71, Bjørvika, Oslo, Norway

2004 Kapelica Gallery, Ljublijana, Slovenia

2004 Contejner Gallery, Zagreb, Croatia

2004 Kibla Gallery, Maribour, Slovenia

2004 Ok Gallery, Croatia

1998 Machine 4.0 Robotic video and sound performance, Oslo, Norway

1998 Machine 3.0 installatrion/Performance, Sweeden

1997 Machine 2.0 performancefestival video/robot performance, Oslo, Norway

1996 Machine 1.0 video/robotic installation G.U.N, Oslo, Norway

 

Selected Group Exhibitions

2016 Blindsonen – politisk engasjert kunst, Spriten Kunstahall, Norway 2016

2015 The Shadow of War: Political Art in Norway 1914–2014 , Kunstnernes Hus, Norway

2014 Vikingmytologier, Haugar kunstmuseum; Norway

2013 An Artist collecting Art, Vestfossen Kunstlaboratorium; Norway

2013 Extra City, Kunsthall, Rotterdam, Belgium

2012 What a Mess, Fredrikstad Kunsthall, Norway

2011 Vidéo et après, Munch et après, Screening of Eurobeing, Centre Pompidou

2011 Tekstalianse, 1857, Oslo, Norway

2010 Eurobeing, Centre Pompidou 2010, France

2010 Eurobeing, videoinstallasjon, Norrtälje Konsthall, Sweden

2010 Everyone’s one and three chairs, Emokonseptualisme, UKS, Norway

2010 Den svarteste natten i manns mine, foto/tekst, Podium, Oslo

2009 NOTCH 09, Beijing, China

2009 Transat video, Caen, France

2009 En ganske almindelig utstilling, Overgaden, Copenagen, Denmark

2008 Toys R Us, Brändström & Stene, Stockholm

2008 Drawing Biennale, Kunstnernes Hus, Oslo, Norway

2008 Fjell Festning, Bergen, Norway

2007 Eurobeing, Oh My God! Vestfossen Kunstlaboratorium, Norway

2007 Eurobeing, Screening at Platform China, Beijing

2006 Screning, La Rochelle International Filmfestival, France

2006 Machine 6,3 Numusik, Stavanger, Norway

2006 Machine 6,3 Nordic Light, Caen, France

2005 The Machine project, Teks, Trondheim, Norway

2004 The Machine project, Documentation, Contemporary art museum, Ljubjana, Slovenia

2002 The Machine project, Teks, Trondheim, Norway

2002 Machine 6.1, Nordic Graze, Saltarvet Museum, Sweden

2002 Machine 6.1, 01Lab, University of Oslo, Norway

2000 Machine 6.0, Mediaterra 2000, Athens, Greece

2000 Machine 6.0, Degree –Show, National Academy of the Arts, Norway

2000-2001 DETOX - Machine 5.1 Robotic video and sound performance/installation.

Akureyri Art Museum, Iceland

Kunstnerenes hus, Oslo, Norway

Bergen Kunsthall, Norway

Kunstmuseet Nord-Trønderlag, Norway

Tromsø Kunstforening, Norway

Sølv High Tech, Kongsberg, Norway

bomullsfabrikken kunsthall, Norway

Kunstmuseum Rogaland, Norway

1999 Degree Show, Ma–Fine Art, Goldsmith College, London

 

Performance/lectures

2015 Art! Power! – seminar, art and politics

2010 An average best seller, House of Fundation

1997 Turning on and tuning in, performance, G.U.N, Norway

 

Collaborative projects

1998 RAN, Momentum Biennale for Contemporary Art, Moss, Norway

1998 Fellesentralen, Kunstnerenes Hus, Oslo, Norway

1998 Video installation, Konstakuten Stocholm, Sweeden

1997 Digital aid, video installation G.U.N, Oslo, Norway

1997 Nom de plume, G.U.N, Oslo, Norway

 

Curating

2013 Derivatives, Møllebyen Literature festival

2010 Emokonseptualisme UKS. Oslo

2009 The Living Dead
(A Celebration of Collecting Art as the Esperanto of Globalisation) 87artist, Podium, Oslo

2009 Transactions (part 1-3), House of foundation, Moss 2009, featuirng Arne Borgan, Paal Bjelke Andersen, Arve Kleiva, Marianna Heier, Shwan Dler Qaradaki, Jørn Sværen

Artist run gallery project: G.U.N 1995-1998

Book Projects – publications/Fanzine

2014 Natural Norn Pollock fanzine(154 p)

2012 Preproduksjon (68 p)

2011 Krieg dem Kriege, nowthatsfuckedup.org (157 p)

2011 Rantology, Eric Harris & Dylan Klebold (196 p)

2011 Emokonseptualisme, Kjetil Røed & Thomas Kvam (167 p)

2009 An average best seller, conceptual novel (408 p)

Published Essays/poetry/art critique

2014 Essay, foto, Vector

2012 Essay, Gruppe 12, Kolon forlag

2012 Krig og Fred, antologi med norske forfattere, essay

2011 Audiatur, katalog poesi

2001-2006 Various catalogue essays/ art critique

 

Publications/Television

2016 Neue Zürcher Zeitung

2016 Dagbladet

2016 Artnet News.

2015 Art-magazin

2015 Dagbladet

2015 Kunstkritikk.no

2015 NRK, Nasjonalgalleriet; Kunst og Krig

2014 Dagbladet,

2014 Norsk Forskerforum

2014 Kunstkritikk.no

2014 Katalog Vestfossen Kunstlaboratorium

2012 Klassekampen, kritikk, Øivind Storm Bjerke

2012 Agora, essay Kari Brandtzæg

2012 Kunstkritikks julekalender, Claus Carstensen, Krieg Dem kriege

2011 Nrk P2, intervjue om boken Krieg dem Kriege

2011 Dagbladet, omtale Krieg dem Kriege

2011 Klassekampen, essay Espen Stueland, Krieg dem Kriege

2011 Amnesty international Magazine, nr 3, Danmark,

2011 Morgenbladet, Krig i kunst heller enn kunst i krig, omtale Krieg dem Krige

2011 Kunstforum, presantasjon av kunstnerskap

2010 Kunstkritikk.no, emosjon og tilstand, emokonseptualisme

2010 Kunsten.nu, Kunsten at nå det normale publikum 6. jan.

2009 ID - entity, NOTCH09, katalog, Beijing

2009 Norsk kunsthistorie av Gunnar Danbolt, Samlaget

2009 Billedkunst, I øyeblikket Ingvill Henmo, 15.09.

2008 Le Monde Diplomatiqu, artikkel om The Machineproject

2008 Media and urban space: understanding, investigating and approaching mediacity By Frank Eckardt,
Bauhaus-Universität Weimar, Frank & Timme GmbH

2007 Oh My God! Catalogue, Vestfossen Kunstlaboratorium, Oslo, Norway

2007 Eurobeing, Thomas Kvam. Frieze April.

2007 Kunstkritikk.no, Vorsprung durch technik,Tom-Erik Lønnerød

2006 Autonomous Mutations, Research into Robotic art, History and theory

2005 6th Media Arts Festival, agency of cultural affairs Award Winning Works, CG ARTS, Tokyo, Japan

2004 Galerija Kapelica, Catalogue

2002 hz-journal.org, Exploding, Plastic and Inevitable: the Rise of Video

2002 Prixars electronica: 2002 cyberarts : international compendium

2002 Mediaterra 2000, bok, Athen, Greeze

2000 DETOX, bok, Norway

2000 Various TV programs, articles/ reviews of Machine 5.1, 2000 - 2003

1999 Gydas vei, NRK (Maskin 5.1)

1999 Metropol Live presentasjon Maskin 5.1, intervju

1999
Tv2 nyhetene reportasje, DETOX, Maskin 5.1

1999 Maskin 2.0 vist i Puck NRK TO

1997 Kulturopratørene, NRK, Maskin 1.0 1997
TVN nyhets reportasje, DETOX, “Maskin 5.1”

 

Prizes and Awards

2002-20013 International Support, OCA, Oslo – travel/exhibition support

2003 Machine 6.0 nominated for best interactive work; CG ARTS Japan, Tokyo

2001-2004 3 year working grant for young Artist

2002.2006 Art Council Norway - exhibition support for various projects

2000 Ministry of Foreign Affairs Norway – Exhibition support - Slovenia

1999 Norwegian Touring Exhibitions - DETOX Jury prize for best work.

Collections

Centre Pompidou

Vestfossen Kunstlaboratorium

Press Release

English version below

Die Galerie Michael Janssen zeigt mit The Hamsun Sessions #5 die erste deutsche Einzelausstellung des Norwegischen Künstlers und Autors Thomas Kvam. Die Ausstellung besteht aus einer Serie konzeptueller Malerei, die auf den psychiatrischen Sitzungen Knut Hamsuns in den 1920er Jahre basieren.

Die hochformatigen Leinwände sind von Nähten durchzogen, durch die der Eindruck eines Horizonts entsteht. Sie rufen formal nicht nur die fotografischen Seelandschaften von Hiroshi Sugimoto ins Gedächtnis, sondern auch den Kanon westlicher Malerei, so wie er von Mark Rothko definiert wurde. Gleichzeitig verweisen die Nähte auf einen Ort, der vertraut und profan ist. Die horizontalen Felder erinnern an Bettlaken und Kissen, an ein abstrahiertes Doppelbett, dem Ort von Träumen, Albträumen und Sexualität. Eine feine, nicht zu entziffernde Schrift überzieht die Leinwände, und die Bilder werden zu verträumten Hintergründen für ihr rätselhaftes Herzstück: die unveröffentlichten Notizen des Psychoanalytikers des norwegischen Schriftstellers Knut Hamsun.

Nachdem er den Literaturnobelpreis 1920 erhalten hatte, sah sich der notorisch produktive Hamsun mit einer Schreibblockade konfrontiert. Abhilfe hierfür fand er auf dem Diwan eines Psychoanalytikers. Die Therapie begann 1926, und es sind die Notizen dieser Sitzungen, niedergeschrieben von seinem Analytiker Dr. Johannes Irgens Strømme, welche den Bildern innewohnen. In einer persönlichen Variante der Gabelsberger-Kurzschrift geschrieben, sind Dr. Strømme’s Beobachtungen der Sitzungen nie entschlüsselt worden. Die Dokumente – etwa vierhundert Seiten über Knut Hamsuns innere Gedanken, Träume und Sehnsüchte – waren vergessen und verschollen geglaubt. Als die Dokumente in den 1970ern wieder auftauchten, begann die norwegische Nationalbibliothek sie zu dechiffrieren, aber die Familie Hamsun blockierte schon bald den Übersetzungsprozess. Während der folgenden rechtlichen Auseinandersetzungen waren die Familien von Hamsun und des Psychoanalytikers, sowie die Frage der Schweigepflicht und des Urheberrechts Stoff heftiger öffentlicher Debatten.

Thomas Kvam begann die Dokumente Seite für Seite in seinen Bildern zu veröffentlichen, erstmals 2016 in einer Ausstellung in der Osloer QB Gallery. Selbst mit einer Klage bedroht, stellen Kvams Bilder einen Eingriff in die Literaturgeschichte dar, einen stillen Aktivismus, bei dem der Heilige Gral der Hamsun Forschung allmählich mit einer entscheidenden Frage konfrontiert wurde. Sie bleibt eine unbeantwortete Frage – und ein Rätsel: Wie konnte Knut Hamsun, ein Nobelpreisträger, einer der größten Europäischen Schriftsteller des 20. Jahrhunderts und eine wegweisende Persönlichkeit des frühen Modernismus, von Thomas Mann als Genie gerühmt, anti-demokratische Gefühle hegen, kriegshetzerische Rhetorik verwenden, und schließlich den Nationalsozialismus lobpreisen? Welche Geheimnisse sind in diesen Dokumenten, und jetzt in diesen Malereien versteckt?

Thomas Kvam (*1972) Lebt und arbeitet in Oslo und Lindau.

Sein erster Roman Homo Sacco, Pulp Philosophy Vol 1, (566 p) wird im Oktober 2017 erscheinen. Verlag: Cappelen Damm, Norwegen

Thomas Kvam’s works are sewn together, appearing like paintings dwelling on what looks to be the line of the horizon—recalling the endless seascapes of the photographer Hiroshi Sugimoto, and the canon of painting as defined by Mark Rothko. But the reference curbs back from these associations to a place both domestic and mundane. The horizontal fields are suggestive of bed-sheets and pillows, and the motif as an abstracted double bed, the place of dreams, nightmares and sexuality. Thin, hieroglyphic writing covers the paintings, which become the dream-like background for their enigmatic core: the unpublished notes from the psychoanalysis of the Norwegian author Knut Hamsun.

After receiving his Nobel Prize for literature in 1920, the notoriously productive Hamsun faced writer’s block. He found his remedy on the divan. His therapy began in 1926, and it is the notes from these sessions, by his analyst Dr. Johannes Irgens Strømme, which inhabit the paintings. Written in a personal variation of the short hand Gabelsberg, Dr. Strømmes’ observations from the sessions have never been deciphered. The documents – some four hundred pages of Knut Hamsun’s inner thoughts, dreams and desires – were forgotten and thought lost.

When the documents finally resurfaced in the 1970s, they soon became the center of a legal battle. The National Library of Norway started decoding the documents, but the Hamsun family soon halted the translation process. During the following years of legal discussions between biographers and publishing houses, the families of Hamsun and the psychoanalyst, the laws of patient and doctor privilege and the question of copyright were fiercely debated.

Thomas Kvam started to publish the documents, page by page, in his paintings in 2016. Himself now threatened by a lawsuit, Kvam’s paintings emerged as an intervention in the history of literature, a silent activism, where Hamsun research was gradually faced with a crucial question.

For there is an unanswered question of some magnitude – a mystery: How could Knut Hamsun, a Nobel Laureate, one of the 20th century‘s greatest authors and a seminal figure of early modernism, praised by Thomas Mann as a genius, nurture as he did anti-democratic sentiments, employ war-mongering rhetoric, and finally praise National Socialism? What secrets are hidden in these documents, and now, in these paintings?

Kvam‘s paintings introduce further layers of complexity: the codes of painting. While the painting is still a painting in Kvam‘s work, its authority is borrowed from the book. The page is the painting, because the written word here is not some message conveyed, some story told, but rather the page as an accumulation of all pages, of all the books written by Hamsun. Hamsun’s secret, who he was, how he thought and wrote is present here. As an image, a page painting, a biographical novel, serialized and revealed through the pigment and the word, simultaneously.

Thomas Kvam (*1972) lives and works in Oslo and Lindau, Germany. 

His first novel Homo Sacco, Pulp Philosophy Vol 1, (566 p) will be published by Cappelen Damm Publishing House, Norway in October 2017.