Recent activity by Tominga Hope O'Donnell
TROLLKREM IMPORT was performance programme in five parts, conceived by the artist duo Trollkrem (... more TROLLKREM IMPORT was performance programme in five parts, conceived by the artist duo Trollkrem (Tor Erik Bøe and Jennie Bringaker). The five evenings took place along Oslo’s Grønland neighbourhood. Unusual venues and a variety of acclaimed artists created a unique tour of performance art in Oslo’s east end.
Munchmuseet on the Move, 2016
WANDER PONDER GOING YONDER consists of three parts, including the audio guide Footnotes, which le... more WANDER PONDER GOING YONDER consists of three parts, including the audio guide Footnotes, which leads from the Munch Museum to Tøyenbekken. The solo exhibition at a temporary space in Galleri Oslo includes a new photographic series in which the artist has documented some of the fleeting symbols found in Oslo. Earlier video works contextualise Tallerås’s on-going investigations into the urban landscape, walking the back streets, and documenting the concealed communication at play across the city.
Adieu to Here No Matter Where is a silkscreen print installed in the internal atrium of the Munch Museum, which shows the outline of a quote from the French poet Arthur Rimbaud (1854–1891). With the help of the Runkeeper app Tallerås has transcribed his walks through the streets of Oslo onto a map, which spell out the title of the work.
Footnotes is an audio guide for the streets of Old Oslo, which takes listeners on a walking tour of highlights from Tallerås’s many journeys on foot through Tøyen and Grønland. The artist investigates hidden nooks and semi-concealed spaces in the city, recording the ambient sound along with his own commentary. The walking tour becomes a journey through Oslo that highlights often overlooked elements of the city, in which the recorded ambient sound through the listener’s headphones creates a doubling effect in the experience of moving through the urban landscape.
‘Revisiting Prosjekt iOf(f) Our Times: Curatorial Anachronics, edited by Rike Frank & Beatrice von Bismarck, Sternberg Press, 2020
Exhibitions have increasingly become the subject of historical inquiry, as part of a gradual asse... more Exhibitions have increasingly become the subject of historical inquiry, as part of a gradual assembling of a history of exhibitions and of the work of curatorial practitioners. Yet, in this historical re-examination, the spatial dimension of the exhibition as a whole is rarely foregrounded. The focus of this thesis is, therefore, the curated exhibition as a spatial construct. The thesis makes a contribution to Exhibition Studies, which can be seen as an emerging field, situated at the intersection of Art History, Architecture and Design, Museum Studies, and Curatorial Studies.
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).
from the book edited by Wolfgang Brückle, Pierre Alain Mariaux and Daniela Mondini entitled 'Mus... more from the book edited by Wolfgang Brückle, Pierre Alain Mariaux and Daniela Mondini entitled 'Musealisierung mittelalterlicher Kunst Anlässe, Ansätze, Anspruche' (Deutsche Kunstverlag, 2015)
Print publications by Tominga Hope O'Donnell
Exhibitions have increasingly become the subject of historical inquiry, as part of a gradual asse... more Exhibitions have increasingly become the subject of historical inquiry, as part of a gradual assembling of a history of exhibitions and of the work of curatorial practitioners. Yet, in this historical re-examination, the spatial dimension of the exhibition as a whole is rarely foregrounded. The focus of this thesis is, therefore, the curated exhibition as a spatial construct. The thesis makes a contribution to Exhibition Studies, which can be seen as an emerging field, situated at the intersection of Art History, Architecture and Design, Museum Studies, and Curatorial Studies.
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).
Moderns retrospektive utstilling av Louise Bourgeois viser de mange sidene av en kunstner som er ... more Moderns retrospektive utstilling av Louise Bourgeois viser de mange sidene av en kunstner som er vanskelig å sette i bås. I løpet av sin over 70 år lange karriere har hun forandret metode, materiale, form og motiv, men elementer i tematikken går igjen.
Talks by Tominga Hope O'Donnell
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Recent activity by Tominga Hope O'Donnell
Adieu to Here No Matter Where is a silkscreen print installed in the internal atrium of the Munch Museum, which shows the outline of a quote from the French poet Arthur Rimbaud (1854–1891). With the help of the Runkeeper app Tallerås has transcribed his walks through the streets of Oslo onto a map, which spell out the title of the work.
Footnotes is an audio guide for the streets of Old Oslo, which takes listeners on a walking tour of highlights from Tallerås’s many journeys on foot through Tøyen and Grønland. The artist investigates hidden nooks and semi-concealed spaces in the city, recording the ambient sound along with his own commentary. The walking tour becomes a journey through Oslo that highlights often overlooked elements of the city, in which the recorded ambient sound through the listener’s headphones creates a doubling effect in the experience of moving through the urban landscape.
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).
Print publications by Tominga Hope O'Donnell
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).
Talks by Tominga Hope O'Donnell
Adieu to Here No Matter Where is a silkscreen print installed in the internal atrium of the Munch Museum, which shows the outline of a quote from the French poet Arthur Rimbaud (1854–1891). With the help of the Runkeeper app Tallerås has transcribed his walks through the streets of Oslo onto a map, which spell out the title of the work.
Footnotes is an audio guide for the streets of Old Oslo, which takes listeners on a walking tour of highlights from Tallerås’s many journeys on foot through Tøyen and Grønland. The artist investigates hidden nooks and semi-concealed spaces in the city, recording the ambient sound along with his own commentary. The walking tour becomes a journey through Oslo that highlights often overlooked elements of the city, in which the recorded ambient sound through the listener’s headphones creates a doubling effect in the experience of moving through the urban landscape.
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).
The thesis introduces a set of terms to capture the spatiality of curated exhibitions, which include: the curatorial programme of the gallery space, the notion of a walk-through the exhibition, the curatorial argument created through the placement of works in space, the sequence the works are placed in, and the interval between the works and between the works and the visitor. The terms are applied to three case study exhibitions at the Henie Onstad Kunstsenter, outside Oslo, in the period 1970-1972: Ny kunst i tusen år (A thousand years of new art), which included loans of cultural artefacts and ethnographic objects, shown together with the Kunstsenter’s own collection of modern works of art; Vår verden av ting – Objekter (Our world of things – Objects), a collaboration with independent curator Harald Szeemann and the Kunsthalle Nürnberg on the theme of artists’ use of everyday ‘things’ in the 20th century; and Norsk Middelalderkunst (Norwegian Medieval Art), for which architect Sverre Fehn was commissioned to create the exhibition design for a display of loaned medieval objects at the Kunstsenter. Each exhibition has its own chapter in the thesis, and each chapter also situates the exhibitions at Henie Onstad Kunstsenter in a broader archipelago of exhibitions and debates within the field of Exhibition Studies.
Natalie Hope O’Donnell is the curator for the project ‘Munchmuseet on the Move (2016-2019)’ at the Munch Museum in Oslo. She studied Modern History and Politics at the University of Oxford (1999-2002); Law and Legal Practice at BPP Law School, London (2002-2004); Curating Contemporary Art the Royal College of Art, London (2006-2008); History of Art, Philosophy and Political Science at the University of Oslo (1998-2008, part-time); and Cultural Studies at the London Consortium (2009-2011).