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Saturday 12-6pm
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Randi Grov Berger

︎︎︎ ︎ ︎

Emily Weiner
I took my lyre and said

︎ ︎︎︎︎

Past Projects  
— 2022

Cato Løland
Turning Strangers Into Family

Andrea Spreafico
Poor Dictionary (from Distance to Rage)

Cato Løland
Paris Internationale

Marco Bruzzone
GLUB CLUB (An Underwater Turmoil)

Lera Sxemka
Artists in Residency

Nastya Feschuk
Artist in Residency

Tuda Muda,
Sigrún Hlín Sigurðardóttir,
Unn Devik
Artists in Residency

Ivana Králíková
Future City Earth Systems
Artists in Residency

T-Yard Writers Residency
︎ www.t-yard.com

Karoline Hjorth & Riitta Ikonen
Eyes as Big as Plates

Entrée Cinema
Lasse Årikstad
Bergen Filmklubb

Pamflett & BABF
Bergen Art Book Library

Magnhild Øen Nordahl
Oppløyste abstraksjonar

Past Exhibitions
— 2021

- a group exhibition

Entrée Cinema
Calderón & Piñeros
Paul Tunge &
Egil Håskjold Larsen
Cinemateket i Bergen

Kåre Aleksander Grundvåg

Dan Brown Brønlund
Magnus Håland Sunde
Linda Morell

Lisa Seebach
I’d Rather Be Rehearsing the Future

Entrée Cinema:
Ina Porselius
Bergen Filmklubb

Ann Iren Buan
Falm varsomt, hold om oss

Sjur Eide Aas
At Hermit Street Metro Entrance

Entrée Cinema:
Esteban Rivera,
Marthe Thorshaug
Cinemateket Bergen

Karin Blomgren
Summen av alle krefter

Entrée Cinema: 
Jon Rafman,
Claudia Maté
at Bergen Filmklubb

Past Exhibitions
— 2020

Lin Wang
Exotic Dreams Tattoo Shop

Unfolding Questions, Codes,
and Contours

at Tromsø Kunstforening

Ida Wieth
wander / wonder

Lilian Nabulime, Bathsheba Okwenje,
Miriam Watsemba, Maria Brinch.
My Mother Is Forgetting My Face.
Curated by Martha Kazungu

Ian Giles
After BUTT
at Kunstnerforbundet

Oliver Ressler
Carbon and Captivity

Sara Wolfert
Head Channel & Lion 
- Waking of the Sleeping Lion Ear

Entrée Cinema
Kjersti Vetterstad
A Beehive in My Heart
at Cinemateket Bergen

Halldis Rønning

Past Exhibitions
— 2019

Kristin Austreid
Et underlig redskap

Bergen Assembly
Actually, the Dead Are Not Dead

Anne de Boer, Eloïse Bonneviot
the Mycological Twist

Kamilla Langeland
Stories of the Mind
(Transitioning Into Uncertainty)

Maria Brinch

— at Kunstnernes Hus

Bathsheba Okwenje
Freedom of Movement
at  Kunstnernes Hus

Lina Viste Grønli
Nye skulpturer

Toril Johannessen
SKOGSAKEN (The Forest Case)

Marysia Lewandowska
It’s About Time

(in Venice Biennial)

Films by
Mai Hofstad Gunnes

Isme Film
Collectively Conscious Remembrance

Trond Lossius
Jeremy Welsh
The Atmospherics
River deep, mountain high

— 2018

Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic

Eivind Egeland
Father of Evil

Marysia Lewandowska
Rehearsing the Museum

Anton Vidokle
Immortality for All: a film trilogy on
Russian Cosmism

Curated by
Ingrid Haug Erstad

Johanna Billing
Pulheim Jam Session,
I’m Gonna Live Anyhow Until I die,
I’m Lost Without Your Rhythm,
This is How We Walk on the Moon,
Magical World

Jenine Marsh
Kneading Wheel, 
Coins and Tokens

Jenine Marsh
Sofia Eliasson
Lasse Årikstad
Johanna Lettmayer
Lewis & Taggar
Jon Benjamin Tallerås
—  a group show in public space

Jon Rafman
Dream Journal

Goutam Ghosh &
Jason Havneraas

Ian Giles
After BUTT

Films by Yafei Qi
Wearing The Fog, 
I Wonder Why, 
Life Tells Lies

— 2017

Daniel Gustav Cramer
Five Days

Kamilla Langeland
Sjur Eide Aas
The Thinker, Flower Pot and Mush

Danilo Correale
Equivalent Unit
Reverie: On the Liberation from Work

Valentin Manz
Useful Junk

Jeannine Han
Dan Riley
Time Flies When Slipping

Pedro Gómez-Egaña

Ane Graff
Mattering Waves

Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger

— 2016

Eline Mugaas
Elise Storsveen
How to Feel Like a Woman

DKUK (Daniel Kelly)
Presents: Jóhanna Ellen
Digital Retreat Dot Com

Cato Løland
Folded Lines, Battles and Events

Harald Beharie
Louis Schou-Hansen
(S)kjønn safari 2.0

Lynda Benglis
On Screen
Bergen Assembly

Linn Pedersen
Bjørn Mortensen
Terence Koh
NADA New York

Ida Nissen
Kamilla Langeland
Marthe Elise Stramrud
Christian Tunge
Eivind Egeland
Fading Forms

Anders Holen

Sinta Werner
Vanishing Lines

— 2015

Bjørn Mortensen
Pouches and Pockets
/ Compositories in Color

Linn Pedersen
Plain Air

Øystein Klakegg
Entrée # 55

Leander Djønne
Petroglyphs of the Indebted Man

Lewis & Taggart
Black Holes and other painted objects

Azar Alsharif
Bjørn Mortensen
Steinar Haga Kristensen
Lewis & Taggart
Vilde Salhus Røed
Heidi Bjørgan
NADA New York

Linda Sormin
Heidi Bjørgan

Steinar Haga Kristensen
The Fundamental Part of Any Act


Tora Endestad Bjørkheim
Bjørn-Henrik Lybeck

Mathijs van Geest
The passenger eclipsed
the object that I could have
seen otherwise

Marit Følstad
Sense of Doubt

Oliver Laric

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

— 2013

André Tehrani
Lost Allusions

Pedro Gómez-Egaña
Object to be Destroyed

Flag New York City

Christian von Borries
I’m M
Institute of Political Hallucinations
Bergen Assembly

Dillan Marsh
June Twenty-First

Vilde Salhus Røed
For the Sake of Colour

Azar Alsharif
The distant things seem close (…)
the close remote (…) the air is loaded

Magnhild Øen Nordahl
Omar Johnsen

Lars Korff Lofthus
New Work

— 2012

Anngjerd Rustan
The Dust Will Roll Together

Cato Løland
Oliver Pietsch
Love is Old, Love is New

Stian Ådlandsvik
Abstract Simplicity of Need

Sinta Werner
Something that stands for
Something / Double
Described Tautologies

Kjersti Vetterstad

Anna Lundh
Grey Zone

Arne Rygg
Borghild Rudjord Unneland
Lisa Him-Jensen
Cato Løland
Lewis & Taggart
Klara Sofie Ludvigsen
Magnhild Øen Nordahl
Mathijs van Geest
Andrea Spreafico
Flag Bergen

— 2011

Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland

Ethan Hayes-Chute
Make/Shifted Cabin

Ebba Bohlin
Per-Oskar Leu
Kaia Hugin
Pica Pica

Gabriel Kvendseth
First We Take Mannahatta

Roger von Reybekiel
Do Everything Fantastic

— 2010

Michael Johansson

Tone Wolff Kalstad
This Color Is Everywhere

Knud Young Lunde
Road Show Event Plan

Alison Carey
Ivan Twohig
Benjamin Gaulon
On The In-Between

Mercedes Mühleisen
Øyvind Aspen
Birk Bjørlo
Damir Avdagic
Annette Stav Johanssen
If Everything Else Fails...

Ciara Scanlan
Matthew Nevin
An Instructional

Patrick Wagner
Nina Nowak
Samuel Seger Patricia Wagner
South of No North

Agnes Nedregaard Midskills
Patrick Coyle
Boogey Boys Santiago Mostyn
Bergen Biennale 2010 by Ytter

Lars Korff Lofthus
West Norwegian Pavilion

Serina Erfjord

Mattias Arvastsson
Presence No.5

Malin Lennström-Örtwall
It`s like Nothing Ever Happened

— 2009

Tor Navjord

Ragnhild Johansen
Erased Knot Painting

Entrée Radio

Lewis and Taggart
Ledsagende lydspor

In Conversation:
Gómez-Egaña and
Mathijs van Geest

In Conversation:
Andrew Amorim and
Mitch Speed

In Conversation:
Ane Graff and Alex Klein

In Conversation:
Martin Clark and Daniel Kelly

Ludo Sounds with
Tori Wrånes

In Conversation:
Stine Janvin Motland,
Kusum Normoyle,
Mette Rasmussen,
Cara Stewart

Randi Grov Berger
Other projects

November 22nd & 23rd, 2013

Pedro Gómez-Egaña

Object to be Destroyed

Performa 13 Biennial

November 22nd performances will repeat from 6 - 8pm
November 23rd performances will repeat from 5 - 9pm
Abrons Arts Center, 466 Grand St, New York

All photos by Chani Bockwinkel

Pedro Gómez-Egaña has created a ceremonial performance built around the careful process of placing two magnetised pendulums in balance. His Object to be Destroyed sets the audience, guided carefully by the performers, on a journey that brings together symbolic and historical time, mystical fantasies, the magical experience of science and the point where bearing witness meets spectacle.

Pedro Gómez-Egaña (b.1976, Colombia) lives and work in Bergen, Norway and Copenhagen, Denmark. Educated from Goldsmiths College and Bergen National Academy of Arts and the Norwegian Artistic Research Fellowship Program. He works with sculpture, video, phonography, and site specific works that include a focus on motion and temporality. Gómez- Egaña is currently showing works at Bergen Assembly, Monday Begins on Saturday, and opens a new projects for Lofoten International Art Festival on September 6th. He has also performed at the South Bank Centre, Institute of Contemporary Art, London; Kunstnernes Hus; OktoberDans, Bergen; Hordaland Kunstsenter, Bergen; Kunstraum Kreuzberg, Berlin; Brussels Biennial; Marrakech Biennial; Kunsthall Mulhouse; Purcell Room, South Bank Centre, London; Rencontre International d’Art Performance de Quebec; L’appartement 22 Rabat; Galeria Vermelho, Sao Paulo; CCMoca, Buenos Aires: Dare Dare, Montreal and for BMIC Cutting Edge Series, London.

Concept and Direction: Pedro Gómez-Egaña
Composer: Henri Dutilleux, Au gré des Ondes
Performers: Mina Nishimura, Ximena Garnica,
Matthew Davis, Carlos Maria Romero, Pedro Gómez-Egaña
Piano: Elaine Kwon
Light Design: Kryssy Wright
Dramaturgical Advisor: Bojana Bauer
Off-Site Technical Assistance: Stefan Törner
Production: Entrée and Performa

Object to be Destroyed

“Cut out an eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow.”

Such were the initial instructions given by Surrealist Man Ray for his much renowned Object of Destruction, first presented as a drawing in 1923 representing a metronome with an eye stuck to its pendulum. Now the piece is protected behind glass at New York’s Museum of Modern Art, but as Pedro Gómez-Egaña suggests* – there is an inherent romantic violence expecting to be triggered.

In Object to be Destroyed Gómez-Egaña instructed a series of ushers to lead small groups of audience members into a dark theater to experience his performance. Audience members paused, standing in the dark passage for the first part of the piece where they heard, but could not see Henri Dutilleux’s Au gré des Ondes(1946) played tenderly on a piano behind a curtained wall. The wait escalated their imagination and expectations to what they could sense happening with the music in the other space. 

Next, the guide gently directed the group beyond the curtain, where five chairs were placed in a half-circle directed at a performance space with a distance of about ten feet in front of another wall of beige velvet curtains. The audience was invited to sit down for the second part of the piece, the lights changed, two women in grey uniforms moved synchronically as the piano started again repeating the same solo-piano composition. The women turned their attention toward two golden objects, each picked up from the floor. These were pendulums, which were ceremoniously and magnetically moved toward each other. As the piano music ended, the pendulums, which were both connected to filaments and fitted with strong neodymium magnets, were suspended in the air with half an inch of air between them, an arrangement that was arduous to achieve.

The lights changed and the same young man who led them here swiftly pulled aside a curtain and invited the group into yet another chamber, providing access to the “back stage” of the performance. This room was arranged as a domestic space with plants, tables, carpets, lamps and crystals. For this third part, again the group was invited to sit, this time on low wooden benches looking back at the curtains through which they had just passed. Once seated, they heard steps from behind the curtains. As the piano piece started again, for the third time, now a familiar melody, they sensed another group following behind them. The man who had guided them started the same careful process of placing two magnetized pendulums in balance, very gently and very precisely. The group witnessed the strong magnetism as the pendulums hung in the air. Once Dutilleux’s Au gré des Ondes concluded for the third time, the group was ushered out by their guide, passing the pendulums in tension when moving out of the room. In the next passageway a different uniformed man was watching over a table of purple amethyst crystals (each containing their own magnetic field) as the group dispersed from the theater. The audience then walked in a reversed half-circle to where the action of the piece had begun, while simultaneously a new group of audience members were seen entering the performance.

In total three groups circulated inside this time-machine of Gómez-Egaña’s, Object to be Destroyed where a group of four dancers were instructed to lead and perform. The performance was like a theater of mirrors, a visual live performance arranged as half an hour’s journey that brought together symbolic and historical time, mystical fantasies and the magical experience of science at the point of intersection where bearing witness meets spectacle. Object to be Destroyed was a reflection on how time has clear signifiers but also, as an experience, how time is the result of flows of actions and perceptions. Gómez-Egaña has pointed out, “we walk on the street, we go to the train stop, we get in the train, we reach our stop and walk on the sidewalk, we step into an elevator, step out; open the door and we’re home. Everyone is doing this, we are like little rivers of people fuelling a civic machine administrated by ‘stop’ and ‘go’ signs, devices, notifications and vehicles.” In this context, the idea of an interruption of our compulsive everyday habits and routines – is what has inspired Gómez-Egaña’s recent body of work. He offers the audience a disruption, the possibility for moments to observe and focus, and in these instants of contemplation, the sudden immobility of a gesture might trigger a renewed curiosity toward the familiar magic that we daily experience.

–Randi Grov Berger

* Gómez-Egaña referenced Man Ray’s Perpetual Motif (Object of Destruction)during an introductory lecture about his work (Artist Class: The Beating Motif), at the Performa Institute on November 19, 2013 prior to his performance at Abrons Art Center.

The project was made possible with the kind support from Norwegian Consulate General New York, Office for Contemporary Art Norway and Bergen Municipality.