{"id":108,"date":"2026-01-07T23:34:22","date_gmt":"2026-01-07T20:34:22","guid":{"rendered":"https:\/\/unite-mag.com\/2026\/01\/07\/vdeokunstarkivet-sanatilari-le-rportajlar-part-ii\/"},"modified":"2026-09-10T21:27:02","modified_gmt":"2026-09-10T18:27:02","slug":"vdeokunstarkivet-sanatilari-le-rportajlar-part-ii","status":"publish","type":"post","link":"https:\/\/unite-mag.com\/en\/vdeokunstarkivet-sanatilari-le-rportajlar-part-ii\/","title":{"rendered":"Videokunstarkivet Sanat\u00e7\u0131lar\u0131 ile R\u00f6portajlar \u2014 Part II"},"content":{"rendered":"
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Sanatsal prati\u011finizi k\u0131saca nas\u0131l tan\u0131mlars\u0131n\u0131z? \u00c7al\u0131\u015fmalar\u0131n\u0131zda genellikle hangi temalar veya kavramlar \u00f6n plana \u00e7\u0131k\u0131yor?<\/strong><\/p>\n

Franciska Eliassen: <\/strong>Aktivist, vah\u015fi ve \u00e7ok katmanl\u0131. Atlantik’i yelkenli teknelerle otostop yaparak ge\u00e7mekten, Orta ve G\u00fcney Amerika’y\u0131 s\u0131rt \u00e7antas\u0131yla gezmeye, toprak kul\u00fcbe in\u015fa edip 1,5 y\u0131l boyunca i\u00e7inde ya\u015famaya kadar – sanatsal prati\u011fim ve hayat\u0131m ayn\u0131 nehrin iki kolu gibidir. Hangisinin di\u011ferini itti\u011fini s\u00f6yleyemem. Bence yarat\u0131c\u0131l\u0131k ve ya\u015fam g\u00fcc\u00fc birdir. Bu d\u00fcnyada nas\u0131l ya\u015famal\u0131? Hayata nas\u0131l hizmet etmeli? \u00d6zg\u00fcrl\u00fck nedir? K\u00fcresel belirsizlik, siyasi karga\u015fa ve \u00e7evre krizlerinin ya\u015fand\u0131\u011f\u0131 bir d\u00f6nemde, derin d\u00fc\u015f\u00fcnce, \u00f6zen, dayan\u0131\u015fma ve diyaloga ilham veren sanat eserleri yaratmay\u0131 umuyorum. Eserlerim genellikle jeopolitik, eko-feminizm, sosyal adalet ve post-kapitalist yap\u0131lar\u0131 ele al\u0131yor. Hayat\u0131mda birka\u00e7 kez, g\u00f6ky\u00fcz\u00fcnde bir pencere a\u00e7an sanat, \u015fiir veya m\u00fczikle kar\u015f\u0131la\u015ft\u0131m… Bunu tarif edemem. En derin arzum, b\u00f6yle bir \u015fey yaratmak. <\/p>\n<\/div>\n

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S\u00f8ster – Franciska Eliassen<\/figcaption><\/figure>\n
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Helene Sommer:<\/strong> Video, metin ve enstalasyonlarla \u00e7al\u0131\u015f\u0131yorum. Projelerim hem \u00e7ok kanall\u0131 g\u00f6rsel-i\u015fitsel enstalasyonlar hem de klasik tek kanall\u0131 enstalasyonlar olarak sunuluyor. Belgesel materyaller, ar\u015fiv materyalleri, montaj, deneme t\u00fcr\u00fc ve kurguyu bir araya getiriyorum. \u00c7al\u0131\u015fmalar\u0131m\u0131n odak noktas\u0131, bilimsel bilginin yap\u0131s\u0131 ve mekanizmalar\u0131d\u0131r; bilimsel bilginin tarih anlat\u0131m\u0131n\u0131 ve do\u011fal d\u00fcnya ile olan ili\u015fkimizi, hem bireysel hem de toplumsal olarak nas\u0131l \u015fekillendirdi\u011fi. T\u00fcm hikaye anlat\u0131mlar\u0131nda yer alan bir\u00e7ok d\u00fczeydeki aktar\u0131m, yorumlama ve \u00e7eviri ile ilgileniyorum. \u00c7al\u0131\u015fmalar\u0131m\u0131n merkezinde, insan yap\u0131m\u0131 sistemler ile ya\u015fad\u0131\u011f\u0131m\u0131z \u00e7evreler aras\u0131ndaki etkile\u015fime duydu\u011fum merak yer al\u0131yor.<\/p>\n

Karl Ingar R\u00f8ys:<\/strong> Ad\u0131m Karl Ingar R\u00f8ys ve Bat\u0131 Norve\u00e7’in Volda kentinden bir sanat\u00e7\u0131\/film yap\u0131mc\u0131s\u0131y\u0131m. Oslo, Bangkok ve Berlin’de ya\u015f\u0131yorum. \u00c7al\u0131\u015fmalar\u0131m, spek\u00fclasyon, bilgi birikimi ve payla\u015f\u0131m\u0131 i\u00e7in farkl\u0131 platformlar yaratmaktan olu\u015fuyor. Troms\u00f8 Arktik \u00dcniversitesi’nde hukuk, Londra’daki St. Martins Sanat ve Tasar\u0131m Koleji’nde ele\u015ftirel g\u00fczel sanatlar prati\u011fi ve Bergen \u00dcniversitesi’nde kar\u015f\u0131la\u015ft\u0131rmal\u0131 siyaset okudum. Bergen \u00dcniversitesi’nde ge\u00e7i\u015f d\u00f6nemindeki toplumlarda k\u00fclt\u00fcrel aktivizmin rol\u00fcn\u00fc ara\u015ft\u0131rd\u0131m. Son y\u0131llarda, ki\u015fisel ve politik alanlar\u0131n birbiriyle \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fc ve birbirini etkiledi\u011fi ba\u011flamlar\u0131 incelemek olan sanatsal ilgi alan\u0131ma odaklanan bir dizi proje \u00fczerinde \u00e7al\u0131\u015ft\u0131m. Sanat projelerim genellikle de\u011fi\u015fmekte olan yerlerde ve ba\u011flamlarda ortaya \u00e7\u0131k\u0131yor. Bu projeler, yerel ko\u015fullar hakk\u0131nda derinlemesine bir anlay\u0131\u015f ve en az\u0131ndan birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131m ki\u015filerin g\u00fcvenini gerektiriyor. <\/p>\n

Kristin Bergaust:<\/strong> Ben bir sanat\u00e7\u0131, ara\u015ft\u0131rmac\u0131 ve k\u00fcrat\u00f6r\u00fcm. \u015eu anda Norve\u00e7’in Oslo kentindeki OsloMet Teknoloji, Sanat ve Tasar\u0131m Fak\u00fcltesi’nde ara\u015ft\u0131rma dekan yard\u0131mc\u0131s\u0131 ve \u00e7a\u011fda\u015f sanat profes\u00f6r\u00fc olarak g\u00f6rev yap\u0131yorum. S\u0131k s\u0131k dijital medya, sosyal etkinlikler ve di\u011fer sanat\u00e7\u0131lar, ara\u015ft\u0131rmac\u0131lar veya bilim insanlar\u0131yla farkl\u0131 i\u015fbirlikleri i\u00e7inde \u00e7al\u0131\u015f\u0131yorum. K\u00fclt\u00fcrel tarih, bilimsel veriler ve di\u011fer anlat\u0131lardan beslenerek, sanatsal, performatif ve teknolojik uygulamalar\u0131 kullanarak feminist ve k\u00fclt\u00fcrleraras\u0131 perspektiflerden g\u00fcncel ko\u015fullar\u0131 ara\u015ft\u0131r\u0131yorum. Ekolojik perspektifler \u00f6n plandad\u0131r. Bu, k\u00fcrat\u00f6ryel ve sanatsal projem Oslofjord Ecologies’te, kolektif k\u00fcrat\u00f6ryel ve sanatsal giri\u015fim Oslofjord Triennial’da, Oslofjord i\u00e7in yap\u0131lan \u00e7al\u0131\u015fmalar\u0131n 2024 y\u0131l\u0131n\u0131n A\u011fustos ay\u0131nda L\u00e5g\u00f8ya adas\u0131nda k\u00fcrat\u00f6ryel uygulamaya konulmas\u0131nda ve 2027’de bir sonraki edisyonun haz\u0131rlanmas\u0131 hedefiyle devam etmesinde g\u00f6r\u00fclebilir. JRC-Avrupa Toplulu\u011fu’nun SciArt projesi NaturArchy’nin sipari\u015fi \u00fczerine, bilim adamlar\u0131 Guillermo Garc\u00eda Sanch\u00e9z ve Evangelos Voukouvalas ile birlikte Ocean Connections (2022-24) projesini geli\u015ftirdim. Ortaya \u00e7\u0131kan video enstalasyonu, Oslofjord’u \u00f6znel bir kahraman ve bilimsel verilerin ta\u015f\u0131y\u0131c\u0131s\u0131 olarak ele al\u0131yor, ancak her \u015feyden \u00f6nce do\u011fal bir su k\u00fctlesinin ve onun g\u00fc\u00e7lerinin bir portresi olarak g\u00f6r\u00fcyor. 2025 y\u0131l\u0131nda bu uygulamay\u0131, Romanya’n\u0131n g\u00fcneyinde g\u00f6r\u00fcnen Tuna Nehri’ni, Meta Spatiu’dan Mirela Vladuti’nin Timisoara (RO) k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde ger\u00e7ekle\u015ftirdi\u011fi Ekolojik-k\u00fclt\u00fcrel gelgitler, Tuna Nehri’nin ve Oslo Fiyordu’nun su alt\u0131nda kalan \u00f6yk\u00fcleri ba\u011flam\u0131nda ele alan River of Many Names (Bir\u00e7ok \u0130simli Nehir) izledi.<\/p>\n<\/div>\n

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CRUISE2 – Kristin Bergaust<\/figcaption><\/figure>\n
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Marianne Heier: <\/strong>\u00c7al\u0131\u015fmalar\u0131m kavramsal sanata dayan\u0131yor ve genellikle performans stratejileriyle de\u011fer kavram\u0131 ve onun politik, felsefi ve estetik paradokslar\u0131yla ba\u011flant\u0131l\u0131 konular\u0131 ara\u015ft\u0131r\u0131yorum. Aktivizm ve politik, kamusal ya\u015fam\u0131n teatral y\u00f6n\u00fc, bu d\u00fcnyada birlikte ya\u015fam\u0131m\u0131z\u0131 nas\u0131l yap\u0131land\u0131rd\u0131\u011f\u0131m\u0131zdan ilham al\u0131yorum. Bu benim i\u00e7in hem politik hem de manevi bir soru, hem \u00e7ok somut ve pragmatik hem de derin felsefi bir soru. Karma\u015f\u0131k ekonomik ve sosyolojik yap\u0131s\u0131yla hediye, s\u0131k s\u0131k geri d\u00f6nd\u00fc\u011f\u00fcm bir konu.<\/p>\n

Videokunstarkivet ar\u015fivi gibi bir koleksiyonda yer almak sizin i\u00e7in ne anlama geliyor? Bu ar\u015fiv, kariyerinize veya sanata bak\u0131\u015f a\u00e7\u0131n\u0131za nas\u0131l katk\u0131da bulundu?<\/strong> <\/p>\n

Franciska Eliassen: <\/strong>Videokunstarkivet’e, yapt\u0131klar\u0131 i\u015fler ve koleksiyonun bir par\u00e7as\u0131 olma f\u0131rsat\u0131 i\u00e7in \u00e7ok minnettar\u0131m. Genel olarak ar\u015fivlerin, \u00f6zellikle de bu ar\u015fivin, eski unutulmu\u015f hazinelerle dolu bir hazine sand\u0131\u011f\u0131 ve farkl\u0131 zamanlara ve ya\u015famlara a\u00e7\u0131lan sihirli kap\u0131lar gibi oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. <\/p>\n

Helene Sommer: <\/strong>Videokunstarkivet, Norve\u00e7 video sanat\u0131n\u0131 ara\u015ft\u0131rmak ve genel bir bak\u0131\u015f elde etmek isteyen sanat profesyonelleri i\u00e7in harika bir giri\u015fim ve kaynak olmas\u0131n\u0131n yan\u0131 s\u0131ra, video sanat\u0131 ile u\u011fra\u015fan bizler i\u00e7in de gelecekte kullan\u0131lmak \u00fczere koleksiyon ve ar\u015fivleme hizmeti sunan bir yer. Bu iki y\u00f6n\u00fc de, m\u00fcmk\u00fcn oldu\u011funca \u00e7ok ki\u015fiye ula\u015fmay\u0131 hedefledi\u011fimiz bir uygulamada \u00f6nemli. <\/p>\n<\/div>\n

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A Landscape with No Horizon – Helene Sommer<\/figcaption><\/figure>\n
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Karl Ingar R\u00f8ys:<\/strong> Videokunstarkivet, ara\u015ft\u0131rmac\u0131lar ve eserlerini korudu\u011fu sanat\u00e7\u0131lar i\u00e7in \u00f6nemli ve vazge\u00e7ilmez bir kaynak niteli\u011findedir. Ar\u015fiv, sanat \u00fcretimini korumak i\u00e7in profesyonel ve g\u00fcvenli bir \u00e7er\u00e7eve sunarak, hem telif haklar\u0131n\u0131n korunmas\u0131n\u0131 hem de eserlerin akademik ara\u015ft\u0131rma ve k\u00fcrat\u00f6ryel uygulamalar i\u00e7in eri\u015filebilir olmas\u0131n\u0131 sa\u011flar. Videokunstarkivet’in Norve\u00e7 video sanat\u0131n\u0131n genellikle k\u0131r\u0131lgan dijital materyallerini korumak i\u00e7in g\u00f6sterdi\u011fi \u00e7abalar, k\u00fclt\u00fcrel miras\u0131m\u0131z\u0131n \u00f6nemli bir b\u00f6l\u00fcm\u00fcn\u00fc gelecek nesiller i\u00e7in g\u00fcvence alt\u0131na alarak b\u00fcy\u00fck \u00f6nem ta\u015f\u0131maktad\u0131r. <\/p>\n

Kristin Bergaust: <\/strong>Videokunstarkivet, profesyonel ve g\u00fcvenli bir ar\u015fivleme \u00f6rne\u011fi olarak de\u011ferli bir kaynakt\u0131r. Bu imk\u00e2n i\u00e7in minnettar\u0131m. 1980’lerin ortalar\u0131nda video ile \u00e7al\u0131\u015fmaya ba\u015flad\u0131m, bu y\u00fczden Videokunstarkivet kariyerimin olduk\u00e7a ge\u00e7 bir d\u00f6neminde ger\u00e7e\u011fe d\u00f6n\u00fc\u015ft\u00fc. <\/p>\n

Marianne Heier: <\/strong>Bu ar\u015fivin yapt\u0131\u011f\u0131 \u00f6nemli \u00e7al\u0131\u015fmalar\u0131 \u00e7ok takdir ediyorum. \u015e\u00fcphesiz, \u00fclkemizin sanat tarihine bak\u0131\u015f\u0131n\u0131 olumlu y\u00f6nde etkilemi\u015f ve pazara eri\u015fimi daha kolay olan ortam ve formatlara y\u00f6nelen bir kanonu d\u00fczeltmi\u015ftir. Benim i\u00e7in video ortam\u0131, \u00e7o\u011funlukla \u00e7al\u0131\u015fmalar\u0131m\u0131 belgelemek i\u00e7in bir ara\u00e7 olmu\u015ftur, do\u011frudan estetik deneyler yapmak i\u00e7in bir alan olarak kullanmad\u0131m. Bu nedenle, ar\u015fivin, sanatsal kanonun bir par\u00e7as\u0131 olarak kabul edilmenin getirdi\u011fi bariz onurun \u00f6tesinde bir etkisi olup olmad\u0131\u011f\u0131n\u0131 bilemiyorum.<\/p>\n

Video sanat\u0131 izleyiciyle nas\u0131l bir ba\u011f kurar? Ankara – T\u00fcrkiye’deki izleyicilerin eserinizden ne t\u00fcr duygular veya d\u00fc\u015f\u00fcnceler edinmesini umuyorsunuz?<\/strong><\/p>\n

Franciska Eliassen:<\/strong> Video \u00e7al\u0131\u015fmas\u0131n\u0131n i\u00e7eri\u011fine veya format\u0131na ba\u011fl\u0131 olarak, izleyiciyi hem ba\u011flayabilir hem de uzakla\u015ft\u0131rabilir. Ba\u011flant\u0131 alt\u0131n de\u011ferindedir. Her \u015feyin birbirine ba\u011fl\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum ve \u015feylerin do\u011fas\u0131na sad\u0131k kalmak istiyorum. Ancak, s\u0131k s\u0131k kendimi bir yabanc\u0131 gibi hissediyorum, t\u00fcm bu ayr\u0131l\u0131klar, ba\u015fkalar\u0131na zarar verme ve zarar g\u00f6rmelerine izin verme iste\u011fimizden dolay\u0131 uzakla\u015fm\u0131\u015f hissediyorum. Bu yaln\u0131zl\u0131k hissinin \u00e7al\u0131\u015fmalar\u0131mda yank\u0131land\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum; hem g\u00fczellik hem de ac\u0131 ile dolu, \u00e7at\u0131rdayan bir d\u00fcnyada g\u00f6zlemci olma hissi. S\u00f8ster’de g\u00f6zlemci k\u0131z karde\u015fini g\u00f6zlemliyor ve Blue Borders’da odak noktas\u0131 Ahmed ve bu insanl\u0131k d\u0131\u015f\u0131 ko\u015fullara maruz kalan insanlar\u0131n m\u00fccadelesi, ama daha da \u00f6nemlisi, lensimizi toplumumuza, onun koruyuculu\u011funa ve cehaletine \u00e7eviriyor. Burada g\u00f6sterimini yapt\u0131\u011f\u0131m iki eser, \u00e7ekti\u011fim ilk filmlerden baz\u0131lar\u0131 ve acil olarak iletmek istedi\u011fim bir \u015fey oldu\u011fu i\u00e7in bir \u00e7\u0131rp\u0131da \u00e7ekildiler. Hala bu aciliyeti bir \u015fekilde iletebileceklerini umuyorum.<\/p>\n

Helene Sommer:<\/strong> Umar\u0131m Ankara’daki izleyiciler video \u00e7al\u0131\u015fmalar\u0131m\u0131 be\u011fenir ve kendileriyle \u00f6zde\u015fle\u015ftirebilirler. Sanat eserlerinin alg\u0131lan\u0131\u015f bi\u00e7imi, co\u011frafi ve k\u00fclt\u00fcrel ba\u011flama g\u00f6re do\u011fal olarak de\u011fi\u015fir. Her yer ve her birey kendi tarihini ve deneyimlerini getirir ve esere yeni anlam katmanlar\u0131 ekler. Umar\u0131m bu bulu\u015fma yeni fikirler ve bak\u0131\u015f a\u00e7\u0131lar\u0131 i\u00e7in ilham kayna\u011f\u0131 olur.<\/p>\n

Karl Ingar R\u00f8ys:<\/strong> Video sanat\u0131, geleneksel g\u00f6rsel sanat formlar\u0131ndan farkl\u0131 \u015fekilde izleyiciyi duyusal, mekansal ve duygusal d\u00fczeylerde etkileyerek onunla bir ba\u011f kurar. Statik eserlerin aksine, video zaman i\u00e7inde geli\u015fir ve izleyiciyi sanat\u00e7\u0131n\u0131n s\u00fcre, hareket ve ses kullan\u0131m\u0131n\u0131n \u015fekillendirdi\u011fi ortak bir ritme davet eder. Bu zamansal boyut, izleyiciyi esere kapt\u0131rmas\u0131n\u0131 sa\u011flar ve d\u00fc\u015f\u00fcnme i\u00e7in alan yarat\u0131r. Bu ortam, televizyon, sinema ve dijital ekranlar gibi tan\u0131d\u0131k teknolojileri yans\u0131tarak da yank\u0131 uyand\u0131r\u0131r, ancak video sanat\u0131 genellikle bu gelenekleri alt\u00fcst ederek izleyicileri beklentilerini sorgulamaya ve yorumlamada daha aktif bir rol \u00fcstlenmeye te\u015fvik eder. Enstalasyon bi\u00e7iminde sunuldu\u011funda, video sanat\u0131 izleyicinin fiziksel varl\u0131\u011f\u0131n\u0131 daha da dahil ederek izleme eylemini kat\u0131l\u0131mc\u0131 bir deneyime d\u00f6n\u00fc\u015ft\u00fcrebilir. G\u00f6r\u00fcnt\u00fc, ses ve tempo aras\u0131ndaki etkile\u015fim, genellikle duygusal veya psikolojik tepkiler uyand\u0131rarak haf\u0131zaya ve ki\u015fisel \u00e7a\u011fr\u0131\u015f\u0131mlara ba\u015fvurur. Bu \u015fekilde video sanat\u0131, eser ile izleyici aras\u0131nda sadece bir diyalog kurmakla kalmaz, ayn\u0131 zamanda anl\u0131k kar\u015f\u0131la\u015fman\u0131n \u00f6tesinde kal\u0131c\u0131 olan daha derin bir ba\u011f da olu\u015fturur. Ankara’daki izleyicilerin Norve\u00e7’ten gelen bu kadar \u00e7ok video eserini g\u00f6r\u00fcnce \u00e7ok meraklanacaklar\u0131ndan ve belki biraz da \u015fa\u015fk\u0131nl\u0131k duyacaklar\u0131ndan eminim. Umar\u0131m eserim, hepimizin birlikte ya\u015fad\u0131\u011f\u0131 bu d\u00fcnya hakk\u0131nda baz\u0131 konu\u015fmalar ve yeni bak\u0131\u015f a\u00e7\u0131lar\u0131 ba\u015flatabilir. <\/p>\n<\/div>\n

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To Whom It May Concern – Karl Ingar R\u00f8ys<\/figcaption><\/figure>\n
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Kristin Bergaust:<\/strong> G\u00fcn\u00fcm\u00fczde g\u00f6rsel medya o kadar \u00e7ok t\u00fcrde ve farkl\u0131 platformlarda mevcut ki, video sanat\u0131 hakk\u0131nda kesin bir \u015fey s\u00f6ylemek zor. Normalde \u00e7al\u0131\u015fmalar\u0131m\u0131 belirli bir ba\u011flamda, projeksiyonlar, enstalasyonlar veya heykelsi unsurlar olarak sergiliyorum, b\u00f6ylece izleyicilere ekran medyas\u0131ndan farkl\u0131, s\u00fcr\u00fckleyici bir deneyim sunuyorum. Ankara’daki izleyiciler, Oslofjord b\u00f6lgesini, k\u00fclt\u00fcrel tarihini ve ekolojisini hissedebilirler belki.<\/p>\n

Marianne Heier:<\/strong> Video sanat\u0131 pek \u00e7ok farkl\u0131 \u015fey olabilir, ancak hareketli g\u00f6r\u00fcnt\u00fc, g\u00f6r\u00fcnt\u00fcyle neredeyse b\u00fcy\u00fcl\u00fc bir ba\u011flant\u0131 ve dalma hissi yaratabilir. San\u0131r\u0131m Saganatt<\/em>‘\u0131n ba\u011flam\u0131, co\u011frafi, k\u00fclt\u00fcrel ve politik olarak Ankara’daki izleyiciler i\u00e7in olduk\u00e7a yabanc\u0131. \u0130zleyicilerin, Kuzey Denizi’ndeki petrol \u00e7\u0131kar\u0131m\u0131yla \u00fcretilen zenginlikle ba\u011flant\u0131l\u0131 olarak Norve\u00e7 ulusal kimli\u011finin in\u015fas\u0131ndaki politik ve ekonomik paradokslar\u0131 yine de anlayabileceklerini umuyorum. M\u00fcdahale, sanat\u0131n (ve sanat\u00e7\u0131lar\u0131n) vatanseverlik ve milliyet\u00e7ilik d\u00fcrt\u00fcleri ve kimlikleri konusundaki konumunu, kat\u0131l\u0131m\u0131n\u0131 ve sorumluluklar\u0131n\u0131 sorguluyor. Bunun \u015fu anda d\u00fcnyan\u0131n bir\u00e7ok yerindeki izleyiciler (ve sanat\u00e7\u0131lar) i\u00e7in ge\u00e7erli olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n<\/div>\n

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Saganatt – Marianne Heier<\/figcaption><\/figure>\n
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ENGLISH BELOW<\/strong><\/p>\n<\/div>\n

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How would you briefly describe your artistic practice? What themes or concepts typically come to the forefront in your work? <\/strong><\/p>\n

Franciska Eliassen:<\/strong> Activistic, wild and multi layered. From hitchhiking over the Atlantic with sailboats and backpacking through Central and South America to building a soil hut an living in it for 1,5 years – my artistic practice and life are two streams in the same river. I cannot tell which one is pushing the other. I think creativity and life force is one. How to live in this world? How to serve life? What is freedom? In an era of global uncertainty, political upheaval, and environmental crises, I hope to create art that inspires deep reflection, care, solidarity and dialogue. My works often explore geo-politics, eco feminism, social justice and post-capitalist structures. A handfull of times in my life I have experienced art, poetry or music that opens a window in the sky\u2026 I cannot describe it. My deepest longing is to create something like that. <\/p>\n

Helene Sommer:<\/strong> I work with video, text, and installation. The projects are presented as both multi-channel audiovisual installations and classic single-channel. I combine documentary material, archival material, montage, essay genre, and fiction. A central interest in my work is the structure and mechanisms of scientific knowledge\u2014how it shapes history-telling and our relationship with the natural world, both individually and collectively. I am interested in the many levels of transmission, interpretation, and translation that are involved in all storytelling. At the core of my practice is a curiosity about the interplay between human-made systems and the environments we inhabit. <\/p>\n

Karl Ingar R\u00f8ys:<\/strong> My name is Karl Ingar R\u00f8ys and I am an artist\/filmmaker from Volda, Western Norway, based between Oslo, Bangkok and Berlin. My practice consists of creating different platforms for speculation, knowledge building and exchange. I studied Law at the Arctic University of Troms\u00f8, Critical Fine Art Practice at St. Martins College of Art & Design in London and Comparative Politics at the University of Bergen where I was researching the role of cultural activism in transitional societies. In recent years, I have worked on a number of projects where my artistic field of interest has been to look at contexts where the personal and the political overlap and influence each other. My art projects often originate in places and contexts that are changing. They require thorough insight into local conditions and, not least, trust from those with whom I work. <\/p>\n

Kristin Bergaust:<\/strong> I am an artist, researcher and curating organizer, currently the vice-dean of research and professor of contemporary art at the Faculty of Technology, Art and Design in OsloMet, in Oslo, Norway.  I often work with digital media, social events and in different collaborations with other artists , researchers or scientists. I investigate current conditions through feminist and transcultural perspectives, fed by cultural history, scientific data and other narratives while employing artistic, performative, and technological practices. Ecological perspectives are prominent. This is visible in my curatorial and artistic project Oslofjord Ecologies<\/em> the collective curatorial and artistic endeavor Oslofjord Triennial<\/em>, the engagement for the Oslofjord were put to curatorial practice on an off-grid island L\u00e5g\u00f8ya in August 2024 and continues with an aim to build up to another edition in 2027. Commissioned by the SciArt project NaturArchy of JRC-European Community, I developed Ocean Connections<\/em> (2022-24) with scientists Guillermo Garc\u00eda Sanch\u00e9z and Evangelos Voukouvalas. The resulting video installation looks at the Oslofjord  as a subjective protagonist and a carrier of scientific data, but most of all as a portrait of a natural water body and its forces. In 2025 this practice was followed by the River of Many Names<\/em> looking at the Danube river as it appears in Southern Romania, in the context of  Eco-cultural tides, Submerged narratives of the Danube and Oslo Fjord <\/em>curated by Mirela Vladuti of Meta Spatiu in Timisoara (RO)<\/p>\n

Marianne Heier: <\/strong>My work is rooted in conceptual art, and I typically explore topics connected to the notion of value and its political, philosophical and esthetic paradoxes through performative strategies. I am inspired by activism and the theatrical side of political, public life, how we live structure our life together in this world. This is both a political and a spiritual question for me, it is both very concrete and pragmatic and deeply philosophical. The gift with its complex economical and sociological structure is something I often return to.<\/p>\n

What does it mean for you to be featured in a collection like the Videokunstarkivet archive? How has this archive contributed to your career or your perspective on art? <\/strong><\/p>\n

Franciska Eliassen: <\/strong>I\u2019m very grateful for Videokunstarkivet, for the work they do and for the opportunity to be a part of the collection. I find that archives in general – and this one in particular – are like a treasure chest full of old forgotten gems and magical portals into different times and lives.<\/p>\n

Helene Sommer: <\/strong>Videokunstarkivet is a great initiative and resource both for art professionals who want to research and get an overview of Norwegian video art, but also a place for those of us working with video art as it collects and stores for the future. Both of these aspects are important to a practice where we hope to reach out to as many as possible. <\/p>\n

Karl Ingar R\u00f8ys:<\/strong> Videokunstarkivet represents a significant and indispensable resource for both researchers and the artists whose work it preserves. The archive provides a professional and secure framework for safeguarding artistic production, ensuring both the protection of copyright and the accessibility of works for scholarly study and curatorial practice. The efforts undertaken by Videokunstarkivet to preserve the often fragile digital material of Norwegian video art are of great importance, securing a vital part of our cultural heritage for future generations. <\/p>\n

Kristin Bergaust: <\/strong>Videokunstarkivet is a valuable resource as an archiving instance that is professional and safe.  <\/strong>I am grateful for this possibility. I started in the mid 1980-ies working with video, so Videokunstarkivet became a reality quite late in my career.<\/p>\n

Marianne Heier: <\/strong>I very much appreciate the important work this archive is doing, it has undoubtedly influenced my country\u2019s understanding of art history in a positive way, correcting a canon that maybe tended towards mediums and formats with easier access to the market. For me the medium of video has been mostly a means of documenting my work, and not so much an arena for direct esthetic experimentation, so I am not sure if the archive has actually had any impact beyond the obvious honor of being considered part of this part of the artistic canon.<\/p>\n

How does video art forge a connection with the viewer? What feelings or thoughts do you hope the audience in Ankara – T\u00fcrkiye will take away from your work? <\/strong><\/p>\n

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Franciska Eliassen:<\/strong> Depending on the content or format of the video work itself, it can both connect or alienate the viewer. Connection is gold. I think all is connected and I want to be true to the nature of things. However, I often do feel like an alien, alienated by all the separation, our willingness to harm and let harm happen to others. I think this loneliness rings through my works; the feeling of being an observer in a world full of both beauty and pain, a world that crackles. In S\u00f8ster the observer is observing her sister and in Blue Borders the focus is Ahmed and the struggle of humans that are put in this inhumane condition, but even more so it pointing the lense back on our society, its protectiveness and ignorance. The two works I am screening here were some of the first films I made and they were made at a stroke because what I wanted to convey felt urgent. I still hope they can convey that urgency somehow.<\/p>\n

Helene Sommer: <\/strong>Hopefully an audience in Ankara can both enjoy and relate to my video works. The way artworks are perceived naturally shifts depending on geographic and cultural context\u2014each place and individual brings their own history and experiences, adding new layers of meaning to the work. Hopefully this meeting can inspire new ideas and perspectives.<\/p>\n

Karl Ingar R\u00f8ys:<\/strong> Video art forges a connection with the viewer by engaging them on sensory, spatial, and emotional levels in ways that differ from traditional visual art forms. Unlike static works, video unfolds in time, inviting the viewer into a shared rhythm shaped by the artist\u2019s use of duration, movement, and sound. This temporal dimension fosters immersion and creates space for reflection. The medium also resonates through its familiarity\u2014echoing technologies such as television, cinema, and digital screens\u2014yet video art often subverts these conventions, prompting viewers to question their expectations and adopt a more active role in interpretation. When presented in installation form, video art can further involve the physical presence of the spectator, transforming the act of viewing into a participatory experience. The interplay of imagery, sound, and pacing often evokes emotional or psychological responses, tapping into memory and personal associations. In this way, video art establishes not only a dialogue between the work and the viewer, but also a deeper connection that lingers beyond the immediate encounter. I am sure that the audience in Ankara will be well curious and maybe a bit overwhelmed seeing so many video works from Norway. I hope that my work can spark some conversations and new perspectives on this world that we all, together are living in. <\/p>\n

Kristin Bergaust: <\/strong>Today visual media is available in so many genres and on such different platform that it is difficult to say something specific about video art. I normally show my work in a designated context, as projections, installations or as sculptural elements to give the audience an immersive experience different from screen media. For the audience in Ankara -T\u00fcrkie maybe the audience can get a sense of the Oslofjord area, its cultural history and ecology.<\/p>\n

Marianne Heier<\/strong>: Video art can be so many different things, but the moving image can produce a feeling of almost magical connection and immersion with the image. I suppose the context for Saganight is, both geographically, culturally and politically, quite foreign to the audience in Ankara. I hope the viewer will still be able to make sense of the political and economical paradoxes of the construction of a Norwegian national identity in connection to the wealth produced by the petroleum extraction in the Northern Sea. My intervention questions art\u2019s (and the artists\u2019) position, participation and responsibilities concerning patriotic and nationalistic impulses and identities. This is something I think will be relevant to audiences (and artists) in many parts of the world at the moment.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Sanatsal prati\u011finizi k\u0131saca nas\u0131l tan\u0131mlars\u0131n\u0131z? \u00c7al\u0131\u015fmalar\u0131n\u0131zda genellikle hangi temalar veya kavramlar \u00f6n plana \u00e7\u0131k\u0131yor? Franciska Eliassen: Aktivist, vah\u015fi ve \u00e7ok katmanl\u0131. Atlantik’i yelkenli teknelerle otostop yaparak ge\u00e7mekten, Orta ve G\u00fcney Amerika’y\u0131 s\u0131rt \u00e7antas\u0131yla gezmeye, toprak kul\u00fcbe in\u015fa edip 1,5 y\u0131l boyunca i\u00e7inde ya\u015famaya kadar – sanatsal prati\u011fim ve hayat\u0131m ayn\u0131 nehrin iki kolu gibidir. Hangisinin […]<\/p>\n","protected":false},"author":283014129,"featured_media":198,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1382,1377],"tags":[],"class_list":["post-108","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roportaj","category-sinema-video"],"_links":{"self":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/108","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/users\/283014129"}],"replies":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/comments?post=108"}],"version-history":[{"count":2,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/108\/revisions"}],"predecessor-version":[{"id":859,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/108\/revisions\/859"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media\/198"}],"wp:attachment":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media?parent=108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/categories?post=108"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/tags?post=108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}