Homage to the Hybrid
Project summary, Research Fellowship in the Arts
Hans Hamid Rasmussen 2007
List of content
List of content......................................................................................................... 2
1. Introduction......................................................................................................... 3
1.1 Part one ............................................................................................................ 3
1.1 Introduction .................................................................................................. 4
1. 2 Background and applied theory ....................................................... 6
2. Model ......................................................................................................................... 7
2.1 Forming of a theoretical model ....................................................... 7
2.2 Visual approach ........................................................................................... 8
3. Method ....................................................................................................................... 9
3.1 Applied technique ...................................................................................... 9
3.2 Visual thinking ......................................................................................... 10
4. Conclusion ........................................................................................................... 12
5. Results................................................................................................................... 13
5.1 Discourse ....................................................................................................... 13
5.2 Visual results ........................................................................................... 13
5.3 Social results ........................................................................................... 15
6. The Exam ................................................................................................................ 15
6.1 The visual examination ........................................................................ 15
6.3 Theoretical, oral examination ....................................................... 16
7. Website and publications .......................................................................... 16
7.1. Website .......................................................................................................... 16
7.2. Publication ................................................................................................ 17
8. Obligatory part ............................................................................................... 17
9. Solo/group exhibitions, bibliography and presentations .. 17
9.1 Exhibitions................................................................................................... 18
9.2 Bibliography ................................................................................................ 18
9.3 Purchases and public assignments ................................................ 19
10. Literature ......................................................................................................... 19
2
1. Introduction
1.1 Part one
The project ”Homage to the Hybrid” aims at developing a way
of thinking, which is able to map out intercultural
experiences. 1 The concept ”intercultural experience” is
here understood as experiences made when people have chosen
to, or have been forced to move from one cultural and
geographic place to another.
”Hybrid” is here understood as a state of estrangement in
relation to our daily environment. What is described as
“cultural differences” creates the ground for distance
The stranger is produced by daily speech. Based on my own
personal experience, this can lead to that “what is seen as
alien in oneself ” seek inner exile, it is suppressed and
forgotten. ”A silent stranger is thereby created inside
oneself”.
In order to develop a course of thought, it has been
necessary to find an appropriate discursive model. Based on
personal experience, conversations with good supervisors
and colleagues, and through theoretical studies and
research journeys, I have gradually been able to give body
to the project. By means of a theoretical model, and a
visual working-method it has been possible to develop
critical reflections on the theme of the project.
The project ”Homage to the Hybrid” has resulted in four
artistic part projects:
1. Dialogos (Levanger)
2. Waves og Lacunes (LIAF, Lofoten)
3. Odyssevs and the cyklop (Meeting point)
4. Studio based works, which will play the main role in
the exam-exhibition.
All artworks are executed in hand embroidery and/or digital
machine embroidery. For more information about the
different projects se 4.2
In addition to the visual artworks ”Homage to the Hybrid”
also consists of an essay. The essay is meant to describe
1
Ram Adhar Mall, Intercultural Philosophy, (Rowman & Littlefield
Publishers 2000).
3
the conceptual and artistic development of the project, and
to relate these to relevant theory.
”Homage to the Hybrid” has resulted in one catalogue text
and a series of short texts:
1. Point of view (Meeting point)
2. Introduction (Kontur)
In this summary I will give a short outline of the
background for the project, the central question of
inquiry, and the models I have developed. I will briefly
draw up the theoretical context the project has related to,
and the artworks that have influenced my course of thought.
I will present some examples of how, and to what extend, I
have been able to use a model in the process of creating
the visual works. Further, an overview of the artistic and
theoretical results of this research project will be
presented.
A dilemma that has occurred in the course of the
project, concerns the relation between the theoretical
ideas I have developed, and the artistic work which has
been unfolding at the same time. I will get back to this in
2.2 and 4.
Finally I will give an outline of how the artistic and
theoretical-oral examination will be carried out.
1.1 Introduction
In order to develop the research-project ”Homage to the
Hybrid”, I have found it necessary to pose questions
concerning language of speech and written language. What
happens in the process of translation between different
languages of speech? How do we perceive and express
experience in a language, which because of migration needs
to be re-established and communicated in a different
language? How does translation, on one hand, affect
memories, and vice versa, how does memories and
recollections influence the process of translation? How is
geographical and social belonging established and reestablished in relation to a perceiving and expressing
body?
On a research journey to Alger I had an experience, which
turned to be decisive for the development of my course of
thought. Out of the window in the room I was in, I could
see hundreds, if not thousands of swallows fly in the air
4
above the city. I recollected my childhood in the Norwegian
countryside, and the sense of happiness when the swallows
flew through the air above me. The sight of the swallows
might have reminded me of my early childhood in Alger. The
Philosopher, Paul Ricoeur, refers to Plato who states that:
”Thus, is what we call resemblance (eidola) in reality an
unreal non-being?” 1. Ricoeur follows by remarking that
”this means that we reluctantly must acknowledge that nonbeing in some sense must exist”3.
In other words, a perceived phenomenon, in this instance
the swallows, transfers a then being, which at the sight
and sound of swallows becomes part of a now being. This
suggests that over a period of time, and because of our
ability to recollect, an asymmetrical interaction between
two social, geographical, and language-based contexts will
be established. As a consequence of this apprehension, I
have chosen to question the relationship between sense
perception and language.
1.1
Subject of inquiry
-
A central goal for the project is to develop an
understanding in the mental processes that occur in
the individual due to migration. What happens when a
person is confronted with the need to translate a
social, geographic and historical cultural identity
into a new context?
-
How can I formulate an independent, critical course of
thought related to intercultural experiences and
discourses?
-
How can I formulate these thoughts in the form of an
artistic expression?
-
A further dilemma concerns the context of the project.
How does artistic research proceed, and is it relevant
to define artistic creation in relation to
epistemological thinking? I will not explicitly deal
with this dilemma in the project summary. However this
1
Paul Ricæur, Minne, historia, glömska, (Daidalos, 2005), 48.
3
Ibid.
5
dilemma will be implicit in my overall dealing with
project.
1. 2 Background and applied theory
The theme of the project stems back to a personal
experience as a refugee, coming from Alger, via Hungary, to
Norway. I grew up with a plurality of languages, cultural
and geographical experiences to deal with through out my
childhood. During the scholarship-period I have tried to
develop a visual language that can express my cultural
perspective. The professional background is built up
through many years of visual thinking, and practical
artistic experience. The challenge is nevertheless to be
able to establish a clear otherness in the artistic
expression.
To have time to develop new subjects of inquiry within the
relatively short time span of the scholarship-duration, I
have benefited from the many conversations with my
supervisor, chief curator at Kiasma, Maaretta Jaukkuri.
These conversations have laid the foundation for the
direction of my theoretical research. I have chosen to
concentrate my reading on phenomenological philosophy,
represented by some key-thinkers such as Hans Georg
Gadamer, Paul Ricoeur, Julia Kristeva and Jacques Derrida.
On another philosophical path, I have looked into Ram Adhar
Mall, who has developed an intercultural philosophy. In
order to broaden my conceptual framework in relation to the
project, I have looked into literary theories by writers
such as Mikhael Bakhtin, Edward Said, and Gayatri Spivak.
In addition, I have read books and articles that take a
critical approach to postcolonial history and contemporary
culture. These are texts written by the geographer Edvard
W. Soya, Homy K. Bhabha (cultural theory), Stuart Hall,
Richard Bauman and Charles L. Briggs.
Before I move on I would like to emphasize that my
lack of theoretical training unables me to make a
systematic or thematic analysis of the various
philosophical issues that I touch upon in my work.
Nevertheless, the study of philosophical problems
encourages intellectual effort, and I find that it has
helped in strengthening my visual thinking. It was
important in the development of this project to become
acquainted with Mikhail Bakhtins theory about the
polyphonic novel. Bakhtin discuss polyphony in the Antique
6
epos, the European medieval tales, and in Dostoevsky’s’
poetics. By reading this, I was able to see the contour of
a formal line of inquiry that could be developed in my own
artistic work. 4
In the project application I stressed the importance of
Kurt Schwitter’s ”Mertz Bau” project. I have spent time
making myself familiar with Kurt Schwitter’s art and its
relation to mystical currents in a contemporary Europe. 5
Further, I have spent time reading about Arthur Rimbaud’s
poetry. 6 The importance of studying artistic methods and
expressions has strengthened the project. At the same time
I acknowledge that there has not been sufficient time to do
any in depth research on the many topics and questions that
the oeuvres of these artists reveal.
2. Model
2.1 Forming of a theoretical model
In order to concretize the project, I have found it
necessary to form a model that can accommodate and clarify
the thoughts that has been developed. After a visit to my
family in the Algerian Kasbah, I believe to have found a
city-structure, which can be transferred into both a
theoretical, and practical model.
According to The New Shorter Oxford Dictionary,
Kashba/”kazba”:/ (Fr.casbah) Maghribi, is a pronoun of Arab
kasaba fortress. The city-structure takes form of a
labyrinth. It has stairs, subways, nameless mews and
streets running underground, crisscrossing the city’s more
open and accessible networks. There are countless hidden
rooms and corridors. The structure of the Kasbah seems to
fit very well with intercultural experiences.
A kasbah model becomes an imagined place. It can
accommodate and interconnect geographical, social and
language sedimentations. The mapping is conducted through
4
Mikhail Bakhtin, Det dialogiska ordet, (Anthropos, 1997). Og Mikhail
Bakhtin, Dostojevskijs poetikk, (Anthropos, 1991).
5
Elizabeth Burns Gamard, Kurt Schwitters´Merzbau The Cathedral
of Erotic Misery, 1. utg. (Princeton Architectual Press 2000).
6
Arhur Isfelt, Ur askan av mitt forna jag- Rimbauds alkemiska
poetikk, RES PUBLICA, Nr. 66, (Stockholm: Brutus Östling 2005),
29-39.
7
introspection, practical visual work, and through the study
of theoretical discourses. The experience of breaks, cuts,
fractions and hollows can find its place within this model.
The Kasbah model can accommodate their coalitions, speed,
direction and various interrelations.
By attending PhD. seminars at the Academy of Arts in Malmö,
and through the correspondence with my supervisor,
professor Maharaj at Lund University, a model has taken
form. Here are some of the advises Sarat C. Maharaj has
given me in the process and development of my work.
”What about something like ‘Walking the Casba’ – modes of
thinking, representing and creating writing making
sewing...?
a.
b.
c.
d.
e.
f.
g.
Read up a little on the notion of modes of locomotion and
thinking. Compare and contrast these modes...
‘Strolling’ in the Situationist manifestos – random,
epiphanic
‘Promenading’ in the colonial quarter of the city – what
sort of walk-thinking is this – authoritative, visible,
mastering
‘Aboriginal Walkabout‘ in the Australian- subterranean,
liquid thinking, rhizomatic
Urban walking in Oslo – some photographic analysis of city
centre walks – what do they say about think-movement –
regulated, industrial
Is there something like ‘walking the Fjords’ ? – Is this a
counter-model to walking Oslo –
Always look for multiplicity of modes so you do not end up
stereotyping a place.
Where would you fit in the Casaba walk – how to describe it
as a mode of thinking, making, stitching – embroidering also vis a vis authority, self-presence of the walker in
the colonial city space.”
2.2 Visual approach
The challenge in the ”Hybrid” project is to elaborate many
diverse forms of statements into one and the same visual
image. In the Kasbah model mentioned above, the visual work
becomes a concrete landscape. Conceptual and visual themes
undergo a critical reflection as they are incorporated into
the artwork. A critical process takes place when, in the
light of new insights, old visual themes and problems are
being revised.
8
Thoughts developed through oral- or written language stands
in an ”asymmetrical” relation to thoughts that are being
expressed through a visual form. I have, in dialogue with
my supervisor, professor Nina Roos, learned that conceptual
lines of inquiry can be developed according to logical and
formal criteria. However, it is through the visual work
that the artistic progress takes place. Professor Roos has
on many occasions pointed out that the artistic language,
like other forms of language, must appear as clear and
consistent. Roos has stressed that visual thought follows
an inner logical process. This process is characterized by
the transcendence that occur when visual ideas take form as
artworks. Through conversations around various works art,
Roos has showed how even small formal adjustments can help
to clarify the meaning in a picture. In other works, Roos
has pointed out how the theme has come out of proportions,
considering the visual means applied. I recognize that it
will take many years to find solutions to the artistic
ideas and problems that have come up during the dialogues
with Nina Roos.
3. Method
3.1 Applied technique
My visual expression is based on digital machine embroidery
and hand embroidery on textile. The visual expression is
decided by the physical properties of the textile, and the
technical devices that are being used in working on the
textile.
Before starting this research project I would present
stories on the picture surface, much like painting on
canvas or drawing on paper. During the research, I have
started establishing new surfaces that I sew on so that
they are attached either behind, or in front of the main
picture-surface. This method makes it possible to
establish several pictorial planes within the same
rectangular format, whilst the various planes fold
physically out or in relation to each other.
”Relievo (from Italian relievare,“to raise”), in sculpture,
any work in which the figures project from a supporting
background, usually a plane surface. Reliefs are classified
9
according to the height of the figures' projection or
detachment from the background”.7
In the works that has been produced during the period of
research, the technique of relief has been explored and
problematized. The swellings and embossments are being used
as a mode or form of storytelling. On the frontal plane of
the picture, another story takes place. Thus, a pictorial
parallel to Bakhtin's idea of the polyphone novel is
attempted. 8
3.2 Visual thinking
To illuminate this issue of visual polyphony, I would like
to refer to an observation described by Marcel Proust in
his novel ”Remembrance of things past”. Marcel’s
observation of the Laterna Magica in his bedroom is
described in the following way:
Golo paused for a moment with a sad look, in order to
listen to the text that was being read out by my grandaunt
– then he went off again with the same bumping trot. And
nothing could stop his slow ride. If one moved the lantern,
I could see Golo riding across the curtains, where he would
swallow up or shrink in, as he moved over their folds.
Golo’s body, which was just as ethereal by nature as his
container, combated every material obstacle, every
bothersome object on his way, by integrating them as bone
structure, and thus assimilate them into his own person;
even the door handle which he immediately adjusted to, and
on the round knob of the handle one could observe his red
dress move in continuous waves. 9
As I understand it, Proust is here using a visual,
polyphonic technique. The representation of Golo becomes
visually accessible by the aid of the Laterna Magica. The
story of Golo is taking place on one level, whilst on
another level; a new story unfolds, departing from Marcel’s
observations of the interior of the room.
7
Encyclopedia Britannica Online, s.v. ”Relief”
http://www.britannica.com/eb/article-9063136/relief
8
Michail Bachtin, Dostojevskijs poetikk, (Anthropos 1991).
9
Marcel Proust, På sporet av den tapte tid 1, (Gyldendal 1999),15. (my
translation)
10
In a series of handmade drawings in one of the houses of
prayer in the Casbah, it is possible to observe how the
depicted mosques are positioned in a circle around the holy
Muslim Kaba in Mecca. The formal solution in this drawing
displays a different way of representing space on a flat
surface, then what we see in Western church paintings or
Russian orthodox icons.
On the basis of studio work, and the observations
mentioned, I have tried to develop a polyphonic, visual
method. I have applied this method in a series of works
bearing the title ”The Cyclop and Odysseus” and ”The young
Cyclop”.
In the Odyssey, the cyklop is described as a one-eyed
creature. 10 I have tried to focus on the fact that the
cyclop is told to have only one eye on the forehead. It is
common knowledge that the artist closes one eye in order to
best measure proportions in his motif when transferring it
to the canvas. The artist does so in order to play down the
perception of objects unfolding in three-dimensional space.
In a two-dimensional visual perception, objects, or our own
movement in a landscape, will be perceived as geometrical
formation changing shapes and positions in relation to each
other.
I have started out from this idea in order to explore
the possibilities of the narrative in relation to surface
and space within the picture. In the attempt to create a
”polyphonic language”, I have developed a figurative, and
narrative structure on the frontal plane. In the spatial
depth, an abstract sequence of colour is taking place. For
example, in the work ”Cyclopen”, we can observe the
following; the cyclop aims his eye at a three centimetre
wide stripe of horizon, containing different shades of blue
colour. The eye is embroidered on the picture surface,
while the ”horizon” makes up a tangible, embossed depth in
the image.
In the next stadium in the development of the project, I
tried to use the Kasbah as a model. The ”relief” technique
becomes a way of thinking, and I try to connect the
different levels in the thought process, both by means of
theory, and the visual method.
10
Homer, Odysseen, 1Opplag, (Gyldendal Norsk Forlag ASA 2000).
11
Bellow follows a description of the development of one of
my works:
While reading ”The Force of Law” by Jaques Derrida, I
encountered descriptions concerning mythical and divine
law, and the social dynamics of law. 11 The text reminded me
of a story I have been told form Alger. In colonial time,
two boys made a failed attempt at sabotage on the railway
line. As a consequence of their misdeed, one of the boys,
sixteen years old, was executed while his two years younger
friend was spared due to his young age. The story leads me
to reflect on the juridical practise concerning the
relationship between play and responsibility. Here my
thoughts are being lead onto a new path, this time about
the mythical king Arthur. I think of the incident where he
drew the sword out of the stone and thus laid the grounds
for a new order of law. Through these stories I then recall
a boy who cuts his finger deeply while making a wooden toysword with his new sheath knife. The thoughts described
above, becomes the streets, mews and subways of the Kasbah.
Visually, I have tried to express this line of thought in
the following way in ”Vain Åre”: In the picture, made up of
embroidered visual elements, one can see a hand embossed
six centimetres behind the picture surface. On the textile
surface a sheath knife is attached, and also a hand with
cuts in three fingers and a wooden sword. In the middle of
the picture, a red circular form rise out ca. five
centimetres from the picture surface.
In the essay to come, I wish to place the picture in
relation to some of the reflections represented in this
summary. Thus, I will attempt to trace some of the elements
of the picture back to a language structure.
4. Conclusion
A conclusion at this stage of the project would anticipate
some of the processes still in progress. Nevertheless, I
still wish to hint at some ideas leading towards a
conclusion.
The experiences I have made in my studio work suggest that
the Kasbah model, and the visual method applied, has given
11
Jacques Derrida, Deconstruction and the Possibility of Justice,
(Routledge1992), 95
12
me concrete support in developing my artistic work. Yet, it
is difficult to see how the results of the artistic work
can be used to substantiate a set of theoretical
hypothesis. As I presently see it, the ”Hybrid” project
takes form as the “mapping out” a field of thought and
experience. The artistic results seem to illuminate a
landscape that lies in the periphery of intentionality.
Based on the experiences mentioned above, I expect the
conclusion to take form as a wider summary of the project
in the final essay.
5. Results
5.1 Discourse
1) ”Introduction” consists of a series of short texts. They
are written for publication in a newly established academic
journal, “Kontur”. The editorial intentions for this
journal is
to focus on intercultural, political discourse. Due to
economic circumstances, “Kontur” has yet not come into
print. Parts of the text is presented on the “Hybrid”
project website. 12
2) ”Point of view” was initially developed for a
presentation at NTNU’s conference on globalization, summer
2005. Later it has been reworked and used as a catalogue
text in connection with the exhibition ”[59°54¹49²N
10°43¹44²E] Meeting Point” at Stenersen Museet in Oslo,
autumn 2005.
5.2 Visual results
1) ”Dialogos” has been carried out during the period of the
scholarship. The idea behind the project has been to invite
the inhabitants of Levanger to develop a personal logo
based on local belonging. In this way a heterogeneous
group, both in terms of age profession, culture and social
background, has expressed visually what they see as
important in their local environment. By doing the
”Dialogos” project in Levanger,
12
http://www.hanshamid.com/blog/
13
I have been able to include in my thinking, experiences
regarding identity in relation to place.
”Dialogos” will be presented in the form of postcards,
and the cards will be folded in A5 format. The logo will
found the basis for a series of texts where the
participants explain their choice of motif. A series of
black and white photographs of landscapes and cityscapes
will be presented on the front of the cards. These photos
will be based on the chosen logo motives. A ready sewed
logo will be attached inside the folded card as a souvenir.
2) “Bølger og Lakuner” (Waves and Lacunas) is a sitespecific work, developed for LIAF 06 in Lofoten. Wave is a
word we usually associate with water and seas, but it can
also be used to describe social development. In this
setting, Lacunas are meant to describe social events that
are withheld from public debate. The story presented in the
installations belongs to the leaders of three different
organizations in Svolvær, The Music Association, The
Taekwondo club and “Sanitetforening” (a charity
organization). The stories reveal important details about
lives being lived, and a strong social and local
engagement. The stories tell of a local social order, which
on the one hand is constructive and inclusive, but on the
other hand, creates specific social formations. To get to
Svolvær, we need to cross the sea. There are different wave
formations; circles, ripples on the surface and the
currents from the Atlantic Ocean. I have used the textures
created by sewing lines with a digital sewing machine. The
visual formations created, are physically shaped as circles
and waves. The stories are retold by Stein Alsos, actor at
Svolvær Theater. The stories are presented by the aid of
sound-showers.
3) “Odysseus og Kyklopen” was produced for the exhibition
”[59°54¹49²N 10°43¹44²E] Meeting Point” at Stenersen
Museet in Oslo 2005. The idea behind the project has
already been described on page. 6. The exhibition consisted
of five works. One further work was added to the series in
the autumn 2005. This last work was titled “Den unge
Kyklop” (The Young Cyclop).
4) Parallel with the projects mentioned above, I have
produced a number of studio works. The intention is that
this works will play the central part in the exam
exhibition.
14
5.3 Social results
One of the questions in the instruction for the examination
relates to my ability to participate professionally in
society. First and foremost, I wish to contribute locally
and internationally with artworks of high quality.
Further, through participating on the board of the
Norwegian Cultural Council, I already experienced that
accumulated intercultural understanding is important in
order to make good decisions. The minister of culture,
Trond Giske, has appointed 2008 as the year of diversity.
In this context, the competence I have had the opportunity
to acquire at the Academy of art, NTNU, will be a valuable
resource in my work at the Norwegian Cultural Council.
The research has also stimulated regular conversations
artist colleagues, among them Samir M’Kadmi who organized
“Meeting Point” at Sternesen Museet in 2005. He was also
chairman for the jury of “Høstutstillingen” in 2006 and
2007.
I have been requested to participate in project at the
International Academy of Arts in Ramallah. I have also been
scheduled for two solo exhibitions in 2008, one at Martin
Asbæk Gallery in Copenhagen, and one at Porsgrunn Artsociety in September.
6. The Exam
6.1 The visual examination
The exam exhibition will be held at Trondheim Museum of
Art, and the opening will be on the 3. December 2007.
The main part of the exhibition will consist of ca. 10
framed works. The works are divided into three different
sizes; eight of them measure 95x110 cm, two works measure
160x14cm and one work measure 220x180 cm.
In addition, the exhibition will present the site-specific
work “Dialogos” for LevArt in Levanger. This work will be
shown in a separate room.
The exhibited artworks are meant to answer to the
questions/theme that the project has investigated. The
15
works presented, has been developed through out the entire
period of scholarship, from 2004 and towards the
examination in 2007. The works are intended to shed light
on, and substantiate the ideas, which has been developed.
For this reason, the exhibition should not be evaluated as
a conventional exhibition. The works argue a set of
specific formal and conceptual ideas, and it is within this
framework that the works asks to be assessed.
As the amount of work unable me to have both the
essay, and the exhibition ready at the same time, I have
decided to present a relatively substantial summary of the
project at this stage, prior to the visual examination.
6.3 Theoretical, oral examination
For the oral examination I will have ready for presentation
an essay, which will discuss the content and the structure
of the project. This essay should not be expected to read
as an academically substantiated text in a strict sense.
Nevertheless, I will attempt to argue reasonably to support
the visual results presented in the first part of the
examination. I have produced the raw material for this
essay, which however, needs to be structured and reworked.
Since my first visit to Alger, the project has developed in
the direction of a thematic clarification. In the light of
this, my supervisors have suggested that I should undertake
a second trip to Alger.
In the, essay I wish to focus on translation as phenomenon
in relation to language and geography. I will also try to
place my project in an art historical context, and discuss
the formal choices made in the development of the works by
establishing some lines and connections back in time.
Parts of the essay will present my reflections recorded in
the form of a log, kept through out the course of the
project.
7. Website and publications
7.1. Website
16
“A Homage to the Hybrid” has a website, which will be
updated with documentation from the exam exhibition, once
this is has been assessed. I have also decided to present
theoretical and poetic texts on this website. The site is
formed as a blog. However, I have not been able to follow
this up in other ways than by putting out new material on
the site at a regular basis.
7.2. Publication
A process has been developed with the aim of presenting the
project in the form of a book. We have made estimation as
to the expenses of layout and printing. I hope to be able
to have the book printed soon after the oral examination,
i.e. in April or Mai.
8. Obligatory part
I have participated at all the seminars being held at
Voksenåsen, organized by the board, through out the period
of scholarship. I have given presentations at the Global
Conference at NTNU in the summer 2005, and for the “Meeting
Point” seminar at Stenersen Museum in Oslo.
A presentation of my work has been given at the PhD.
seminar at the Academy of Arts in Malmö, Lund University.
Further presentations has been given a “The Sensuous
Knowledge” seminar at Solstrand, at the College of Arts in
Oslo, the College of Art in Bergen, Teater Avantgarden, and
at the Academy of Arts in Trondheim. A presentation has
also been given at the seminar at Lyngheisenteret at Lygra,
the department of textile at the College of Art in Bergen.
I have been responsible for supervising students at the
occasion of the “Open day exhibition” 2006. This was held
at Galleri KIT at the Academy of Art in Trondheim (KIT). I
have also participated, by appointment, in studio
conversations with the students at KIT. Finally, I was
engaged as examiner of applicants for the Master program at
the College of Art in Oslo and Bergen.
9. Solo/group exhibitions, bibliography and
presentations
17
9.1 Exhibitions
2004
Momentum in Moss, 26 Bienal de São Paulo
«Daa Att » permanent installation in
Fredrikstad, a Baphomet project.
2005
Museo Nacional de Bellas Artes in Buenos Aires,
Andre/Others Kristiandsand
Kunst museum, “Godt for Moss” Momentum i Moss, a
Baphomet project,
“Meeting Point” Stenersen, Museum in Oslo.
“Dialogos” for LevArt in Levanger
2006
Levanger kunstforening, LIAF 06 Svolvær in
Lofoten, Østfold
Kunstnersenter Fredrikstad,
“Norske bilder” Galleri Bradstrup.
Art fair Berlin, Martin Asbæk Project
2007
Brussel art fair, and Volta show, Basel with
Martin Asbæk Project
9.2 Bibliography
Haugen, Halvor, 2004, Hans Hamid Rasmussen, Momentum,
p.134.
Haugen, Halvor, 2004, Hans Hamid Rasmussen, 26 Bienale
de São Paulo, p.198-199.
Bianchi, Von, Paolo, og Schiff Hajo,173 November
December 2004, Kunstforum Bd,
p. 236-238
Sandor, Claudia, 2004, How Does Your Garden Grow? Four
looks at Norwegian art production, Fjords
Connolly, Maeve, 2005 Emporium of the Senses. Third
Text, volume 9, edition;
Juli, 399-409
Kadmi, Samir, 2005, Meeting Point, p. 28
Rasmussen, Hans, Hamid, 2005, Point of wiev, Meeting
Point, p. 82-84
Saenger, Thomas, and Bart Theo, 2005, Godt for Moss
Floor, Harald, 2006, Liaf 06, Dagbladet
18
9.3 Purchases and public assignments
Malmö Stads Konstmuseum
Permanent installation at Verket Skole Moss a
”Baphomet” prosject i collaboration with Theo Barth
and Thomas Saenger
Sale to private collections in Brussels and Copenhagen
10. Literature
Bachtin, Michail. Det dialogiska ordet. Oversatt av Johan Öberg.
Gråbo: Anthropos,1997.
Bachtin, Michail. Dostojevskijs poetikk. Ovesatt av Lars Fyhr,
Johan Öberg Gråbo: Anthropos,1991.
Gamard, Elizabeth Burns. Kurt Schwitters´Merzbau The Cathedral of
Erotic Misery. 1. utg.
New York: Princeton Architectual
Press 2000.
Isfelt, Arhur. ”Ur askan av mitt forna jag- Rimbauds alkemiska
poetikk”, RES PUBLICA, Nr. 66,
Stockholm: Brutus Östling, 2005.
Pissaro, Joacim. Cézanne/Pissarro, Johns/Rauschenberg:
Comparative Studies on Intersubjectivity in
Modern Art. Cambridge; Cambridge University, 2006.
Proust, Marcel. På sporet av den tapte tid 1, Oversatt av Anne-Lisa
Amadou. Oslo: Gyldendal, 1999.
Homer. Odysseen, Gjediktet av Peder Østbye 1. Opplag, Oslo: Gyldendal
Norsk Forlag
ASA, 2000.
Derrida, Jacques. Force of Law. Oversatt av Mary Quaintance, in
Deconstruction and the
Possibility of Justice, eds., Drucilla Cornell, Michael
Rosenfeld, and David Gray Carlson. New York: Routledge,
1992.
Derrida, Jaques. Adieu to Emmanuel Levinas. Oversatt av Michael
Naas and Pascalle-
19
Anne Brault. Stanford: Stanford University Press, 1999.
Derrida, Jaques. Rösten och fenomenet. Oversatt av Daniel
Birnbaum och Sven-Olov
Wallenstein. Stockholm: Thales, 1991.
Ricæur, Paul. Minne, historia, glömska. Oversatt av Eva
Backelin.Göteborg: Daidalos, 2005.
Hall, Stuart og Du Gay, Paul m.fl. Cultural Identity. London:SAGE
Publication Ltd.2005.
Gadamer, Hans-Georg. The Beginning of Knowledge.Oversatt av Rod
Coltman.
London, New York: Continuum, 2001.
Kristeva, Julia. Svart Sol- Depresjon og Melankoli. Oversatt av
Agnete Øye. Norge: Pax Forlag
A/S, 1994.
Bhabha Homi K. Barrell, John, Beer, Gillan m.fl. Nation and
Narration. London, New York:
Routledg, 2006.
Spivak, Gayatri, Chakravorty. The Spivak Reader. Redigert av Don
Landry og Gerald MacLean
London, New York: Routledg, 1996.
Hall, Stuart og Maharaj Sarat. InivAnnotation 6. Redigert av
Sarah Campbell og Gilan Tawadros
London: Institute of International Visual Arts, 2001
Bauman, Richard og Briggs, Charles L. Voices of Modernity.
Cambridge: Cambridge
University Press, 2003.
Said, W.Edward. Culture and Imperialism. London:Vintage Books,
1994.
Said, W. Edward. Out of Place: A Memoir. New York: Random House
Inc, 2000.
Eriksson, Ulf I. , Verlaine, Paul og Wraak, Elias m.fl. Rimauds
nej. Res Publica, Nr. 66. Stockholm:
Brutus Ôstling, 2005.
Rogof, Irit. Terra Infirma - Geography's Visual Culture, London
og New York: Routledge, 2000.
Pamuk, Orhan. Snow. Oversatt av Maureen Freely. London:Faber and
Faber Limited, 2004.
20
Pissaro, Joacim. Cézanne/Pissarro, Johns/Rauschenberg:
Comparative Studies on Intersubjectivity in
Modern Art. Cambridge: Cambridge University Press, jul
2006.
21