www.bobrikovadecarmen.org
Martinka Bobrikova
2012 NORDIC SOUND ART, Joint Study Programme, Scandinavia, MA
2012 MALMÖ ART ACADEMY, Lund University, Malmö, Sweden. MFA
2008 UNIVERSIDAD DE LA LAGUNA, Facultad de Bellas Artes, Tenerife, Spain. BA
2006 ACCADEMIA DI BELLE ARTI, Stage design department, Rome, Italy
Oscar de Carmen
2012 NORDIC SOUND ART, Joint Study Programme, Scandinavia, MA
2012 MALMÖ ART ACADEMY, Lund University, Malmö, Sweden. MFA
2009 UNIVERSIDAD DE LA LAGUNA, Faculty of Fine Art. Santa Cruz de Tenerife. Spain. BA
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from 2012 funders & directors, NOMAD AIR artist-in-residency program
SELECTED SOLO EXHIBITIONS
upoming
2018 OKSASENKATU 11, HELSINKI, FI
2018 BOA, Oslo, NO2017 RAM GALLERI, Oslo, NOpast
2015 AFTERLIFE, Projektrom Carl Berner, Oslo, NO
2015 SUPERFLUOUS IDENTITY IV, BABEL, Trondheim, NO
2015 SUPERFLUOUS IDENTITY III, ENTRANCE GALLERY, Prague, CZ
2014 Je ne travaille jamais, INI Gallery, Prague, CZ
2014 PDP/AV1, ANX ATELIER NORD, Oslo, NO
2013 IN PROCESS, AREA 60, TEA- ESPACIO DE LAS ARTES, Tenerife, ES
2013 URBAN HUNTER, NITRA GALLERY, Nitra, SK
2011 YOU HAVE TO GO RIGHT NOW!, Rotor 2, Gothenburg, SE
2010 ZERO BUDGET, Space Gallery, Bratislava, SK
2007 TALKING GARBAGE, Ateneo, La Laguna, Tenerife, ES
SELECTED GROUP EXHIBITIONS
upcoming
2017 TURBULENCE AREA, 5th ODESSA BIENNALE, Odessa, UA
2017 AGRIKULTURA TRIENNAL, Malmö, SE
2017 GREENLIGHT DISTRICT, SKIEN KUNSTFORENING, Skien, NO
2017 SPACE XX, Seoul, KRpast2016 ENVISIONING THE FUTURE, SAITAMA TRIENNALE, SAITAMA, JP
2016 NEWROPE, NITRA GALLERY, Nitra, SK
2016 CROSS_CUTS, Alt_CPH, FABRIKKEN, Copenhagen, DK
2016 APORIAS, FRIDY EXIT, Wien, AT
2016 SMALL/BIG WORLD, TRANZIT, Bratislava, SK
2016 TRANSCULTURAL EMANCIPATION, FLUC, Wien, AT
2015 S.O.S, 2nd TBILISI TRIENNIALE, Tbilisi, GE
2015 PRAGUE QUADRIENNAL, MeetFactory, Prague, CZ
2014 HØSTUTSTILLINGEN, KUNSTNERNES HUS, Oslo, NO
2014 DOUBLE YOU, Skånes konstförening, Malmö, SE2014 BIOPOLITICS OF THE SOUTH SIDE, Junefirst Gallery, Berlin, DE
2014 FOOD WE HAVE PREPARED, GMB- City Gallery Bratislava, SK
2013 CONSTANT. DECAY. RAKE, Trondheim, NO2013 HUNKY DORY, KARLIN STUDIOS, Prague, CZ
2012 URBAN OBSERVATORY, Galeria Sztuki Wozownia, Torun, PL
2012 MONOCHROMES AND OTHER CHROMES, KURANT, Tromso, NO
2012 SOUNDINGS II, Roskilde Contemporary Art Museum, Roskilde, DK
SELECTED AIR
2018 Residency Unlimited, New York, USA
2017 Seoul Art Space_Geumcheon, Seoul, KR
2016 HomeBase Project, Saitama Triennale, Saitama, JP
2016 Råderum, Fabrikken, Copenhagen, DK
2016 KulturKontakt Austria, Wien, AT
2015 LKV- Lademoen Kunstnerverksteder, Trondheim, NO
2015 MeetFactory, Prague, CZ
2014 TECHNO-ECOLOGY, NIDA ART COLONY, LT
2014 MeetFactory, Prague, CZ
Our practice, which is often community based, aims at setting up new social ecosystems. By revolving around the mechanisms and context by which power creates systems of value, we seek to intervene on the border between art and current topics of contemporary life in order to bring about the proposition of the transitory and the Utopian.
Art is a tool for change and a tool for marginal groups to give alternative perspectives on the general consensus of society, whether local or global. We think the Western world has tried for too long to impose its perspective on everything on everybody. It is about time that we stopped being so Eurocentric and embraced heterogeneity. The central difference between the western and vast parts of non- western thought is the linear idea of time that we’ve developed here and the cyclic worldview of the East. It’s important to understand that everything is interconnected and therefore we must make an effort to create a responsible culture.
Like many other artworks ours balance between a form of criticism and parody of criticism to enter into an open dialog with the people experiencing them. We are trying to balance what is seen and what is understood. Our work is not meant as an attack but more as a means of negotiation of the individual’s reality here and now; a reality where the work of art is a sign-device caught between a certain mode of representation and a different mode of interpretation. Both representation and interpretation would in the contemporaneity of the work be situated in the context of our hierarchical and violent time.
Inside the contextualization of our art practice our work has been governed by sound. We investigate various sound processes that lead us to develop our practice in sound experimentation as a resource for the realization of sound installations, live performance, interventions and objects. Our field of work effects from composition to sound objection format to visualize the work.
Most of our projects have been created in the urban space, a situation where we use as sound interventions to raise other symbolic and emotional values around the metropolitan area. We use this juxtaposition soundscape through the implementation of digital sounds to deconstruct and transform the situation by creating a transparent virtual sound reality. The work is done with an anthropological character with the idea of creating new environments for the emergence of the question of how the individual takes their involvement in the actual social relations. The visual aspects of sound listening interventions, that we are working on is given by the imagination of the person in your mental space to create virtual images.
kitchen dialogues, 2013-till now
Through the ongoing series of Kitchen Dialogue we are working with social interventions — that are at the same time a critical practice — operating via social research, site-specific installations and a series of social events and dialogues triggered by conviviality. We investigate our rooted social acts and habits, and question if we could act otherwise in social ways.
Kitchen dialogues B&B, 2015
Bed & breakfast is another event of Kitchen Dialogues project, that took place in MeetFactory in collaboration with the 2015 Prague Quadrennial. Creating a social and cultural environment in our 100 square meter studio with modules/bedrooms built with recycled wood made it unique, warm and cozy, without forgetting all modern amenities. We offered accommodation to registered guests (max 12 per night) between 18th and 28th of June free of charge. During 9 days we have hosted a total of 59 guests that stayed between 1 night and 1 week of period each. We had the pleasure to accommodate guests from all around Europe and oversees.
Afterlife, 2015
Afterlife, proof of life after death and other related critical concepts, such as the purpose of life and reincarnation of overproduction of food from supermarkets. The project offers the possibility to use expired food in energy production. As part of our process, we developed a pilot project where we observed that fruits and vegetables produce small amounts of electricity through an electrochemical reaction. This was achieved by inserting two different types of metal, copper and zinc, in each of the fruits in the installation. These fruits produce small amounts of electricity when they are connected in series and operate a small screen. From this moment our focus was aimed at finding ways of putting conservation of energy into practice; this is first law of thermodynamics, which states that energy can not be created or destroyed, only transferred from one form to another. Thus, our installation is also a way to visualize an analogue synthesis, where energy is transferred from fruit and vegetables to small plasma screen, creating a symbiosis. The installation is conceived as a social critique of the existing consumer society and a proposal for an alternative and further use of fruit and vegetables, which are regarded as superfluous and unsellable by supermarket chains.
Morning Glory, 2015
part of Kitchen Dialogues series: "More than supra/ a draft prepared for failure" or more popularly called "Morning Glory" is community related project that took form through a series of morning activities where we invited the audience to dance and have breakfast before starting the working day. Following the idea of creating a social space outside of consumption, where people could meet, experience, undertake an activity without need of money, we re-appropriate our self of a popular phenomenon of the breakfast club/ morning glory. These early morning events took place during the whole duration of the Triennial (twice a week/ 7 events). Free-form dance exercise, through listening to electronic music stimulated by local DJ curated by @Dot followed by breakfast.
Superfluous Identity IV, 2015
SUPERFLUOUS IDENTITY IV exhibited at Babel is part of a series of site-specific installations with the same title that examine the effects of the capitalist system and its impact on the individual. As a monstrous organism the installation unfolds throughout the rooms of Babel. Sound, objects and visual elements intertwine to encapsulate the viewer into this strange, superfluous identity with “pictographed” heartbeats via the cardiogram-like black tape stripes at the floor and the filtered soundscape.
Superfluous Identity III, 2015
The current dominant economic model has, particularly in the last decade, has proved to be a heavy-footed, exhausted juggernaut... former strength and stability, but also decay and disintegration of something that is trying to sustain in its last race.
Yes, I can (not), 2014
The creation of the work "Yes, I can (not)" is generated by two unilateral perspectives on power politics in the global financial system. The first perspective deals on a personal level with the institutional relationship to the social talk, in a context that defines the identity of artists compared with the curator, the gallerist and academic institution. The second perspective examines the political dialogue issued for public comment in relation to the global monetary system as the crisis facing what are the consequences on the lives of workers. The installation is presented as a space of dialogue between questionable dictation: microphones in the gallery are positioned in representative form of nesting of the power through the alteration of the functionality of the microphones on tripods. The microphones are used as speakers and spreading an audio recording of a voice pronouncing the verb of the power in affirmative and negative forms in all persons singular and plural, omitting only the first person singular. The tripods for sustaining the microphones are positioned 2 meters and 25 cm high respectively facing the viewer.
1000 bottles of tap water, 2016
Norway has the second best quality of tap water in the world, provided for its citizens. A few years ago, a report on Norwegian television questioned the source of water used by the luxury bottled Voss brand. Supposedly these uniquely designed bottles are filled with water from the urban network, the same one that caters the city of Iceland. 1000 bottles of tap water; Intends to generate, for a limited period of time, a social ecosystem outside of everyday consumption. The intervention will be carried through the re-appropriation of a common consumer product; bottled water. Handcrafted tap water will be bottled, to explore the concept of Utopia and setting a value of transition from the current power in the economic sphere. The intervention provides 1000 free water bottles filled from Oslo tap water to people circulating in the surroundings of the central train station in Oslo.
