"Sculpture in the Expanded Field: The Transformation of Public and Private Space.”*
Prof. Regina (Maria) Möller
Prof. Gediminas Urbonas
Wood and Metal Workshop:
Avd. Engineer Odd Joar Oksås
The KIT Sculpture Department focuses on artistic methods and concepts related to three-dimensional forms, especially those that expand or challenge a conventional definition of “sculpture.” Artistic practices such as installations, environmental art, site-specific projects, and extensions of the body—to name only a few—are taken up and analyzed in relation to their socio-political impact, their construction, and their positioning of meaning as discursive space.
We look at historic readings of “sculpture,” as well as projects that experiment, for example, with mass, gravity, material accumulation or the artful use of specific materials, in order to understand and discuss sculpture as a spatial experience. That is, to understand sculpture not just as a monumental habitat, but also as a mental, physical, linguistic and performative construct of space. What is the contemporary meaning and use of “sculpture,” especially in an age of so-called “new media”? This question suggests possibilities for extending and developing sculpture’s role as a discursive and social space that can include new technologies and media, as well as possibilities for re-defining sculpture’s relationships to scale, the body and audience(s).
The ultimate goal is the development of a concept, work or project—individually or collaboratively—and then subsequently to experiment with different disciplines of three-dimensional thinking that can question, for example, borders between art and science, art and technology, or art and the everyday. The department’s understanding of artistic practice as a trans-disciplinary endeavor is its point of departure, with a strong interest in dialogue within a variety of professional disciplines. Effecting collective creativity or a discursive platform to foment activities involving communities, audiences, and neighbors as the artworks’ agents is just one example of this practice.
Engaging both theory and praxis, the course introduces undergraduates and graduate students to a variety of materials and techniques. In addition to one-on-one tutorials and studio visits, seminars / workshops, lectures, readings, screenings and field trips will supplement studio practice. International guest lecturers will offer workshops based on interdisciplinary approaches in order to facilitate practical implementation of theoretical analysis with regard to student work.
The sculpture department regularly invites international scholars and curators to support its curriculum.
* “Sculpture in the Expanded Field” is the title of an essay by Rosalind Krauss, first published in October (1979).
Doris M. Würgert (D)
Fender Schrade (D)
Antoni Muntadas (ES / USA)
Nina Fischer & Maroan el Sani (D)
Constanze Ruhm (A),
Magne Furuholmen (N),
Ute Meta Bauer (D / USA)
Abdul Wasi Rahraw Omarzad (AF)
Rita Abrahamsen (N)
Yvonne P. Doderer (D)
Judith Barry (USA)
Ken Saylor (USA)
Hilde Hauan Johnsen (N)
Agnieszka Pokrywka (PL)
Øyvind Brandtsegg (N)
Espen Gangvik (N)
Bo Bisgaard (N)
Geert Lovink (NL)
Raimundas Malasauskas (LT)
Bik van der Pol (NL)
Chto Delat/What is to be Done? (Dmitry Vilensky) (RU)
SOME EXAMPLES OF WORKS BY STUDENTS
Hedvig Bergman, Catalogue, 2012
This picture shows three variations of an interactive cover for a catalogue with images
of a work by Hedvig Bergman that deals with the issue of "art objects and/as commodities"
Daniel Hansen, Beautiful alluring piles of rubble behind fence with sun glare, 2012
Inger Margrethe Hove Laustsen, Sweet Tactile Interior, 2012
A pattern consisting of small flowers, dots, and curves made in powdered sugar was placed on the floor in the corridor of the 6th floor at the Trondheim Academy of Fine Art, March 2012.
When people walked on the pattern, it would change, fade, and even disappear, which can be related to memory.
Sindre Hustveit, Untitled, 2011
Anne Cecilie Lie, Adaptable, 2012
Håvard "Howie" Stamnes, depascent spider, 2011
Veronica Rigét Alsing, Untitled, 2012
Cement, stones and gravel from Trondheim, copper, Lotus seeds and grains
Per Inge Iversen, An Abstraction, 2012
Installation with survival foil, steel wire, nylon / polyester fabric, reflective tape and lamp