Editor's introduction by André Gali
Channels of Distribution
When is art ‘public’, and if it is not public, what is it? What is the antithesis of public art?
In this issue of Norwegian Crafts Magazine we look at art that takes place outside art institutions.
The Consummate Object
The exhibition Weaving Fabrics for Suits was on show at Oslo Art Society earlier this year (13 March – 19 April 2015). Featuring installations consisting of archival material, textiles, suits, photographs, work notes and texts, it represented the final stage in Franz Petter Schmidt’s period as a research fellow at Oslo National Academy of the Arts. The project marks the end of several years of research, hard physical work, revision and decision making. The starting point for the research project was Schmidt’s earlier work experience at Sjølingstad Woollen Mill, near Mandal, and Gudbrandsdalens Woollen Mill at Lillehammer. Gjertrud Steinsvåg talked with Schmidt about the ‘consummate object’ – the ultimate blue suit as a carrier of values, longing and dignity.
Jewellery Art and the Public Sphere
André Gali reports from the seminar ‘Re-Public Jewellery – Social Potential in Contemporary Jewellery’, Munich, 13 March 2015.
Moving Things Around
For more than 20 years, British artist Helen Carnac (b. 1968) has created expressive objects in steel and enamel at her studio in London. Parallel to this production, she has worked for many years as a teacher, author and curator, communicating her ideas about the content and origin of art. A recurring theme for her is movement, and it comes particularly to expression in her latest project, which involves collaborating with a dancer. The result is a symbiosis of installation and performance art.