OSCAR MURILLO | DAVID ZWIRNER | LONDON

Binary function, Oscar Murillo’s first solo exhibition at David Zwirner, London, includes paintings, an installation and a new video by the London-based, Colombian artist. The video projection depicts a street scene in Murillo’s hometown of La Paila, Colombia, in which people are seen chatting, drinking and dancing to live music. Filmed by the artist on New Year’s Day, its footage shifts between documentary and experimental styles, using both wide-angle and detail shots that, at times, abstract the figures’ bodies into a chaotic arrangement of imagery, color and movement. On view are his renowned large-scale paintings, which incorporate materials that change and react over time, with canvases literally moved around the artist’s studio to accumulate sole imprints, fingerprints and dust. The exhibition continues a recent development within Murillo’s practice in which multimedia works are grouped together within clear plastic tray frames. Comprising wide-ranging imagery and materials, such as small-scale drawings, screen prints and the artist’s own travel photographs, these compositions vary in their degree of engagement with the processes of painting, drawing, screen printing and installation. A major new installation in the upper galleries comprises large, heavily painted black canvases – made of several sewn-together fragments and reminiscent of leather hides – suspended across the gallery, piled on top of one another on steel pallets, and also strewn across tables.

Binary function by Oscar Murillo
David Zwirner, London
Through November 20

Courtesy the artist and David Zwirner, New York/London

http://www.curamagazine.com

BAROQUE BAROQUE | OLAFUR ELIASSON

OLAFUR ELIASSON | BAROQUE BAROQUE With works from Thyssen-Bornemisza Art Contemporary (TBA21) and the Juan & Patricia Vergez collections November 21, 2015–March 6, 2016 Roundtable: Creating Worlds: November 20, 5–6:30pm, with Olafur Eliasson, Aurélien Barrau, Mirjam Schaub, and Daniela Zyman Winter Palace of Prince Eugene of Savoy Himmelpfortgasse 8 1010 Vienna Austria www.olafurbaroque.at www.olafureliasson.net Facebook / Instagram: Belvedere Museum / Instagram: TBA21 / #OlafurBaroque

Belvedere and Thyssen-Bornemisza Art Contemporary (TBA21) are pleased to announce their upcoming exhibition with the Danish-Icelandic artist Olafur Eliasson. BAROQUE BAROQUE is an ambitious venture that brings together and reconnects some of Eliasson's most significant works from the holdings of the Thyssen-Bornemisza Art Contemporary (TBA21) and the Juan & Patricia Vergez collections. The overview of artworks from two decades of Eliasson's artistic practice will explore the affinities between his work and the extraordinary baroque setting of the Belvedere's Winter Palace of Prince Eugene of Savoy in Vienna. Alongside these works, new site-specific interventions will activate and articulate the historical ensemble, establishing a dialogue between the volubility of the baroque architecture and the modulating perception provided by Eliasson's artworks. Eliasson states, "I find it inspiring that the baroque exhibited such confidence in the fluidity of the boundaries between models of reality and, simply, reality. The presentation of my works at the Winter Palace is based on trust in the possibility of constructing reality according to our shared dreams and desires and on faith in the idea that constructions and models are as real as anything." Over the last decades, Eliasson has probed the cognitive and cultural aspects of seeing, stressing the relativity of reality. Transcending the confines of art, his heterogeneous, thought-provoking body of work ranges from discreet interventions to large-scale installations and employs diverse frames of reference from the natural sciences, psychology, and philosophy to challenge the normative and internalized ways in which we perceive our surroundings. In works that make use of motion, projections, shadows, and reflections, Eliasson renders visible the elliptical relationships between body, perception, and representation. Ephemeral materials—including light, reflections, water, wave patterns, and air—are brought into conversation with the spaces of the exhibition and with viewers, who become protagonists of the engaging scenarios. Eliasson plays elegantly with visual illusion, with the liminal and the ephemeral, and with the material and the immaterial, using extroversion and introspection to resonate with cosmological ideas; his works relate strongly to notions of transformation and artifice inherent in the concept of the baroque. As an epoch of great turmoil, the baroque saw revolutionary optical and scientific discoveries as well as a blossoming of interest in the phantasmagoric and the occult. The baroque is here understood as a prolific process of constant reformulation; the tension between light and dark, knowledge and speculation, and rationality and spirituality opens up unexpected, "other" spaces of potentiality and transformation. The commissioner and original inhabitant of the Winter Palace, Prince Eugene of Savoy, was a visionary with magnificent taste and unrivaled interests in architecture, design, and art that were matched by his passion for the sciences, including mineralogy and astronomy. The exhibition catalogue is edited by Belvedere and TBA21 and published by Sternberg Press, with essays by Irmgard Emmelhainz, Paul Feigelfeld, Georg Lechner, Sandra Noeth, and Mirjam Schaub. Roundtable: Creating Worlds with Olafur Eliasson, Aurélien Barrau, Mirjam Schaub, and Daniela Zyman Friday, November 20, 5pm, Marble Hall at Upper Belvedere (Prinz Eugen Straße 27, 1030 Vienna) On the occasion of the opening of OLAFUR ELIASSON: BAROQUE BAROQUE, Belvedere and Thyssen-Bornemisza Art Contemporary are hosting a roundtable discussion in the lavish Marble Hall of Prince Eugene's Upper Belvedere. At the event, which will explore different notions of "world-making," Eliasson, physicist Aurélien Barrau, philosopher Mirjam Schaub, and TBA21 chief curator Daniela Zyman will come together to discuss creativity and knowledge production, as well as the expressive transgressions of reality and illusion that are evident both in the Baroque and in Eliasson's work. #OlafurBaroque Follow us on Twitter (@olafureliasson, @belvederewien, @tba21), Facebook, and Instagram. Please share your images and respond to the exhibition on social media under the hashtag #OlafurBaroque. Press contacts: Belvedere Iris Mickein : T +43 1 795 57 185 / i.mickein@belvedere.at / press@21erhaus.at Thyssen-Bornemisza Art Contemporary Ema Kaiser-Brandstätter: T +43 01 513 98 56 55 / ema.kaiser@tba21.org / press@tba21.org

E-FLUX JOURNAL | ISSUE 67

The Whatsapps, Opening of the Floodgates, 2015.e-flux journal issue 67 with Luis Camnitzer,Douglas Coupland, Natasha Ginwala, Boris Groys,Charles Tonderai Mudede,Reza Negarestani, Ana Teixeira Pinto, and David Riff

www.e-flux.com/issues/67-november-2015

In Djibril Diop Mambéty's 1992 dark comedy Hyènes, an extravagantly wealthy woman returns to her poor village seeking revenge. Her target is the man who humiliated her in her youth by getting her pregnant and abandoning her. It is not only death that she wants, but also justice. She will not murder the man by her own hand, as Charles Tonderai Mudede explains in this issue, but instead asks the village to mete out capital punishment, to murder him for his wrongdoing. In exchange, she will make the town wealthy. As the village reflects upon its principles, the people of the village begin buying things on credit. The wealthy woman will have her way not through the mechanism of justice, but through the mechanism of debt. If the film appears bleak for its conflation of money and justice, it is also a comedy about dividing them in the first place.

The paradoxical phrase "The King is dead, long live the King" originates in medieval Europe, where two divided bodies of the ruler reigned. One was eternal, embodying the principles and responsibilities of the role of ruler, and the other mortal—the human figure inhabiting the role. For Natasha Ginwala, there is a third body in this scheme, and it goes by the name corruption. Corruption is also a passageway between the responsibilities of the sovereign and the corporeal desires of human beings who come into contact with power. It sees an entire world inside the pious division and it goes to work at extracting a benefit from all that passes through this opening, undermining the sanctity of authority as well as the people who are subject to it. It is through this third body of the king that the informal sector or "back room" transforms from a dumping ground of undesirable elements and exchanges into an integral part of a society's basic structure.

In both physics and information theory, the term entropy describes a quantity of heat and energy loss that cannot be converted into mechanical work. For Ana Teixeira Pinto, the second law of thermodynamics is also a social idea that describes the waste or dissipation of labor integral to the supposed equilibrium of any thermodynamic system. As a social idea, entropy directs the poor or unemployed to perform those necessary tasks that do not reflect the ordering principles of society, but are nonetheless crucial to its functioning. In information theory, entropy denotes the element of noise in any signal, or chaos in any orderly system. If allowed to overtake the system, these elements would lead to catastrophe or death. Were they to be eliminated completely, the system would also die. Thermodynamic equilibrium is maintained by managing the constant presence of death within life and waste within work. This holds true for information ecologies, markets, and national bodies alike.

Thirty years ago, the "Neue Slowenische Kunst" (NSK) collective formed in Yugoslavia and gained a reputation for appropriating constructivist avant-garde signs and repressed Nazi and totalitarian iconography into their own form of hypermodernist Slovene national art. At its three decade anniversary, Boris Groys considers how the collective's often hilarious mix of highly charged official and subversive ideological signs in Yugoslavia not only precisely targeted the contradictions of the official ideology at the time, but also advocated a universalist message within communism, as well as within and in spite of the era of modernity. Interestingly, for Groys, the universal message of their avant-garde ultra-nationalism at the end of the communist era extended almost seamlessly into the period of global capitalism with the formation of the NSK State, a passport-issuing entity "in time" with citizens but without a territory—a universal state.

The enormous challenge to universalist thinking today is often attributed to its capture by globalization's market ideology, where the planetary or human scale is only accessible by way of free flowing heteronymous signs. For Reza Negarestani, philosophy can break this stranglehold of heteronymy through its programmatic and functionalist deployment of thought and thinking as an already autonomous enterprise. By establishing and structuring realizable commitments towards their own ends and demands, philosophy still has the capacity to release a full-blown project of emancipation via the extreme rationality of thought's computability and capacity for abstraction. For Negarestani, thought itself is an ancient artificial intelligence whose resilience stems from its artificial capacity to reinvent itself.

—Julieta Aranda, Brian Kuan Wood, Anton Vidokle


In this issue: 

Ana Teixeira Pinto—Death Wall: Extinction, Entropy, Singularity
In the 1940s, entropy was grafted onto information theory, after the physicist Erwin Schrödinger reconceptualized it as a measure of disorder. Thomson's twin blades of "work" and "waste" reappear as "signal" and "noise," while information—heretofore a concept with a vague meaning—was recast as the negation of entropy (negentropy). As biological and computational systems were treated as informationally equivalent, organisms came to be described as thermodynamic systems that extract "orderliness" from their environment in order to counteract increasing entropy.

Douglas Coupland—Stuffed: How Hoarding and Collecting Is the Stuff of Life and Death
The collecting of stuff—slightly out-of-the-ordinary stuff—is different now than it was in the twentieth century. eBay, Craigslist, and Etsy have gutted thrift and antique stores across North America of all their good stuff, and in Paris, the Marché aux Puces de Saint-Ouen is but a shadow of its former self. eBay itself, once groaning with low-hanging fruit being sold by the clueless, is now a suburban shopping center with the occasional semi-okay vintage thingy still floating around. This same sense of sparseness is felt in the museum world, where the slashing of programming budgets remains the norm.

Luis Camnitzer—Brother, Can You Spare a Dime?
When a philanthropic institution commits itself to an activity normally performed by a government, it enters something akin to a marriage contract, one that only death or the Pope should be allowed to annul. Hopes are raised, and there is no recourse when these are allowed to fall. Once a private entity starts a project on this scale, it forfeits the right to stop it, unless it wants to show arrogance and capriciousness.

Reza Negarestani—What Is Philosophy, Part One: Axioms and Programs
Even though the corollary problems of philosophy as a specialized discipline (the tenor of its discourses, its traction beyond its own domain, its applications and referential imports) can in no way be ignored, they are however problems that, as it will be argued, can only be sufficiently addressed in the context of philosophy as deeper cognitive enterprise. The primary focus of this cognitive program is to methodically urge thought to identify and bring about realizabilities afforded by its properties (theoretical and practical intelligibilities pertaining to thinking as such), to explore what can possibly come out of thinking and what thought can become.

Boris Groys—NSK: From Hybrid Socialism to Universal State
In fact, contemporary globalization is the direct opposite of the modern ideal of internationalism and universality. The world of globalization is not a world of international solidarity or shared cultural values. Nor is globalization the realm of the anonymous "crowd mind" as it was celebrated by postmodernism. Rather, it is the world of the global competition of everybody against everybody. This competition pushes the subject who participates in it to mobilize his or her own human capital. And human capital, as described, for example, by Michel Foucault, is primarily the cultural heritage that is mediated by the family and milieu in which an individual grows up.

David Riff—Was Marx a Dancer?
Actually, there is a quite a bit of dancing in Marx. To begin at the beginning, there are his poems, written for his distant love and ballroom baroness, Jenny von Westphalen, who waited for him seven long years as he studied to get his degree. Marx's poetry reaches out to its promised partner with memories of the ballroom, or so one imagines, interrupted by long, if chaperoned, afternoon strolls. The verses whirl and twist, curl and rust. These are generic salon rhythms, hammered out somewhat mechanically, but the goal is earnest enough: to protect transcendent love and shared ideals from the dirty world.

Charles Tonderai Mudede—Neoliberalism and the New Afro-Pessimism: Djibril Diop Mambéty's Hyènes
The mayor, with the town's approval, rejects the offer, saying: "We are in Africa but the drought will never make us savages." The village agrees with the mayor. They have rules, customs, beliefs, morals. They will not kill an innocent man for money. That is immoral. That is what animals do in Darwin's race for survival. They are not animals. They are humans. Linguere Ramatou sets up a tent outside of the town and waits. Her offer still stands. How long can this community resist her money? Not long at all.

Natasha Ginwala—Corruption: Three Bodies, and Ungovernable Subjects
The status of corruption may be said to lie at the division of visible and invisible labour, and at this tipping point it "acts out" and loops back into the body politic as a sentient character. The daily-wage worker and the cognitariat are equally implicated in this realm and made subservient to the uncanny sweep of the veiled hand of corruption. The social contract is breached repeatedly through its perverse pleasure fantasies and subterranean nightmares.


The print edition of e-flux journal can now be found at:
Amsterdam: De Appel arts centre / Rijksakademie van beeldende kunsten Andratx: CCA Andratx Antwerp: M HKA Museum van Hedendaagse Kunst Århus: Kunsthal Aarhus Athens:OMMU Auckland: split/fountain Austin: Arthouse at the Jones Center Baden-Baden: Staatliche Kunsthalle Baden-Baden Banff: Walter Phillips Gallery, The Banff Centre Barcelona: Arts Santa Mònica / MACBA Basel: Kunsthalle Basel / Museum für Gegenwartskunst Basel Beijing and Guangzhou: Vitamin Creative Space Beirut: 98weeks Belgrade: Cultural Center of BelgradeBergen: Bergen Kunsthall / Rakett Berlin: b_books / Berliner Künstlerprogramm – DAAD / Bücherbogen am Savignyplatz GmbH / do you read me? / Haus der Kulturen der Welt / Motto / Neuer Berliner Kunstverein (n.b.k.) / Pro qm Bern: Kunsthalle Bern / Lehrerzimmer Bialystok:Arsenal Gallery Bielefeld: Bielefelder Kunstverein Birmingham: Eastside Projects / Ikon GalleryBologna: MAMbo – Museo d'Arte Moderna di Bologna Bregenz: Kunsthaus Bregenz Bristol:Arnolfini Brussels: WIELS Contemporary Art Centre Bucharest: National Museum of Contemporary Art Bucharest (MNAC) / Pavilion Unicredit Cairo: Beirut / Contemporary Image Collective (CIC) / Townhouse Gallery Calgary: The New Gallery Cambridge: Wysing Arts CenterCastello: Espai d´art contemporani de Castelló (EACC) Chicago: Graham Foundation / Reva and David Logan Center for the Arts / The Renaissance Society at The University of ChicagoCologne: Kölnischer Kunstverein Copenhagen: Overgaden Derry: CCA Derry~LondonderryDijon: Les Ateliers Vortex Dublin: Dublin City Gallery The Hugh Lane / Project Arts CentreDusseldorf: Kunstverein für die Rheinlande und Westfalen Eindhoven: Van AbbemuseumFrankfurt: Städelschule / Portikus Gdansk: Łaźnia Centre For Contemporary Art Geneva: Centre de la photographie Ghent: S.M.A.K. Glasgow: CCA Centre for Contemporary Arts / Glasgow Sculpture Studios Graz: Grazer Kunstverein / Kunsthaus Graz / Künstlerhaus KM– / para_SITE Gallery Grijon: LABoral Centre for Art and Creative Industries Groningen: University of Groningen Hamburg: Kunstverein in Hamburg Helsinki: Museum of Contemporary Art KiasmaHobart: CAST Gallery / INFLIGHT Hong Kong: Asia Art Archive Iași: theartstudent at the University of Fine Arts, Iași Innsbruck: Galerie im Taxispalais Istanbul: BAS / Cda-Projects / DEPO / SALT Johannesburg: Center for Historical Reenactments Kansas City: La Cucaracha Press Klagenfurt: Kunstraum Lakeside Kristiansand: SKMU Sørlandets Kunstmuseum Kyiv:Visual Culture Research Center Leeds: Pavilion Lisbon: Maumaus, Escola de Artes Visuais / Oporto / Kunsthalle Lissabon Ljubljana: Moderna galerija Llandudno: MOSTYN London:Architectural Association—Bedford Press / Calvert 22 / Chisenhale Gallery / Gasworks / ICA / Serpentine Gallery / The Showroom / Visiting Arts Los Angeles: REDCAT Loughborough:Radar, Loughborough University Luxembourg: Casino Luxembourg Madrid: Brumaria / CA2M / PENSART Maastricht: Jan van Eyck Academie Marfa: Ballroom Marfa Melbourne: Monash University Museum of Art (MUMA) / World Food Books Mexico City: Librería Casa Bosques / Proyectos Monclova Milan: Fondazione Nicola Trussardi / HangarBicocca Milton Keynes: MK Gallery Minneapolis: Walker Art Center Monaco: Nouveau Musée National de MonacoMoncton: Fixed Cog Hero (a bicycle courier company) Montreal: Canadian Centre for Architecture (CCA) Moscow: Garage Center for Contemporary Culture Munich: Haus der Kunst / Museum Villa Stuck / Walther Koenig Bookshop New Delhi: Sarai CSDS New York: e-flux / Independent Curators International (ICI) / Printed Matter, Inc Nottingham: Nottingham Contemporary Omaha: Bemis Center for Contemporary Arts Oslo: Kunstnernes hus Oxford:Modern Art Oxford Padona: Fondazione March Per L'Arte Contemporanea Paris: castillo/corrales – Section 7 Books / Centre Pompidou / Les Laboratoires d'Aubervilliers Philadelphia: BodegaPori: Pori Art Museum Portland: Portland Institute for Contemporary Art (PICA) / Publication Studio Porto: Museu de Arte Contemporânea de Serralves Prague: DOX Centre for Contemporary Art Prishtina: Stacion – Center for Contemporary Art Prishtina Providence:AS220 Reykjavik: Reykjavik Art Museum Riga: kim? Rio de Janeiro: Capacete / A Gentil Carioca Rome: MACRO Museo d'Arte Contemporanea Roma / Opera Rebis Rotterdam: Piet Zwart Institute / Witte de With | Center for Contemporary Art Saint-Nazaire: Le Grand Cafe, centre d'art contemporain Salzburg: Salzburger Kunstverein San Antonio: Artpace São Paulo:KUNSTHALLE São Paulo / Master in Visual Arts, Faculdade Santa Marcelina Sarajevo: Sarajevo Center for Contemporary Art (SCCA) Seoul: The Books / The Book Society Sherbrooke:Foreman Art Gallery of Bishop's University Singapore: The Ngee Ann Kongsi Library Skopje:Press to Exit Project Space Sofia: ICA-Sofia / Sofia Art Gallery / SWIMMING POOL St Erme Outre et Ramecourt: Performing Arts Forum St Louis: White Flag Projects Stockholm:Bonniers Konsthall / Iaspis / Index - The Swedish Contemporary Art Foundation / Konstfack, University College of Art, Craft and Design / Konsthall C / Tensta konsthall Stuttgart:Württembergischer Kunstverein Stuttgart Sydney: Artspace Tallinn: Kumu Art Museum of Estonia The Hague: Stroom Den Haag Toronto: Art Metropole / Mercer Union / The Power PlantTorun: Centre of Contemporary Art Znaki Czasu in Torun (CoCA) Toowoomba: Raygun Contemporary Art Projects Trieste: Trieste Contemporanea Trondheim: NTNU University LibraryUmeå: Bildmuseet, Umeå University Utrecht: BAK, basis voor actuele kunst / Casco – Office for Art, Design and Theory Vaduz: Kunstmuseum Liechtenstein Valencia: IVAM–Biblioteca Valletta:Malta Contemporary Art Foundation Vancouver: Artspeak / Fillip—Motto / Morris and Helen Belkin Art Gallery, University of British Columbia / READ Books, Charles H. Scott Gallery, Emily Carr University of Art and Design Vienna: Kunsthalle Wien / Salon für Kunstbuch—21er HausVigo: MARCO, Museo de Arte Contemporanea de Vigo Vilnius: Contemporary Art Centre (CAC)Vitoria-Gasteiz: Centro Cultural Montehermoso Kulturunea Visby: BAC – Baltic Art CenterWarsaw: Zachęta National Gallery of Art Wiesbaden: Nassauischer Kunstverein (NKV) Yerevan:Armenian Center For Contemporary Experimental Art (NPAK) Zagreb: Galerija Miroslav Kraljevic / Gallery Nova / DeLVe | Institute for Duration, Location and Variables Zurich: Postgraduate Program in Curating, Zürich University of the Arts / Shedhalle / White Space.




Art_prospect

NORDIC PAVILLON | VENICE BIENNALE

Photo: OCA / Marta Buso.

Camille Norment Rapture Performances by: Camille Norment Trio 20 and 22 November 2015, 2:30pm Sofia Jernberg  21 November 2015, 2:30pm  The Nordic Pavilion Giardini di Castello Venice Italy www.oca.no

Commissioner: Office for Contemporary Art Norway (OCA) Curator: Katya García-Antón, OCA Director, in collaboration with Antonio Cataldo, OCA Senior Programmer  The Office for Contemporary Art Norway (OCA) is pleased to announce the upcoming and concluding performances within Rapture, Norway's contribution to the 56th Venice Biennale. This year Norway is solely responsible for the Nordic Pavilion at the Venice Biennale for the first time in its history. For this unprecedented occasion, OCA has commissioned artist Camille Norment (b.1970) to develop the project. Norment's Rapture is a site-specific sculptural and sonic installation in the Nordic Pavilion, for which the American-born, Oslo-based artist has composed new music on the glass armonica—a legendary 18th-century instrument which creates ethereal music from glass and water. Invented by Benjamin Franklin and once played by Mozart and Marie Antoinette, the glass armonica was at first celebrated for curing people with its entrancing music, but was later banned because it was thought to induce states of ecstasy and arouse sexual excitement in women. If it had the power to cure, so the logic went, this bewitching instrument might also have the power to kill by overexciting its listeners. In a contemporary context, Norment explores the tensions this music sustains today by creating a multi-sensory space within which she reflects upon the history of sound and contemporary concepts of consonance and dissonance. The artist composes a chorus of voices corresponding to the unresolved notes of the much-censored "devil's" tritone of the glass armonica, thus immersing visitors into Rapture. Rapture explores the relationship between the human body and sound through visual, sonic, sculptural and architectural stimuli. Today the sonic realm can be both a space of misuse—as we have seen in the militaristic use of sound to abuse the body—and of affirmation—as in the performative utterance of free speech to affirm the right of the body's very existence. The body can be stimulated and moved by sound, and in Norment's work, the Nordic Pavilion itself becomes a body in rapture and rupture, subject to consonance and dissonance. Throughout the run of the Venice Biennale, Norment has been performing new compositions on the glass armonica and has invited artists as well as musicians to participate in a series of performances that echo elements of the installation. On Friday 20 and Sunday 22 November at 2:30pm, Norment will present new compositions with The Camille Norment Trio, whose instrumentation parallels the artist's investigations into the relationship between vibration and the body as perceived during the Enlightenment period and today through social and scientific discussions. The Camille Norment Trio consists of the glass armonica, played by Norment; the Hardanger fiddle, played by Vegar Vårdal; and the electric guitar, played by Håvard Skaset. Each of these instruments was thought, at various points in history, to invoke a socially and sexually transgressive experience in the body, especially the female body, and was subsequently banned. On Saturday 21 November at 2:30pm the Swedish soprano, voice-artist, improviser and composer Sofia Jernberg will perform in the pavilion.Throughout her career, Jernberg has developed a unique vocabulary of sounds and techniques which include split-tone, pitchless and distorted singing which allow her to appear in a broad constellation of music performances across time and genres. Jernberg's versatile vocalisation will expand the 12-voice chorus that Norment composed for the soundscape of the pavilion, pushing the limits of sound and music. The performances are co-produced by OCA, nyMusikk and Ultima Oslo Contemporary Music Festival, with the kind support of Music Norway. Another counterpart to Rapture is a three-volume publication reflecting on the relationship between sound and the visual arts across time, while complicating the hegemony of vision in contemporary theory and art practice.Rapture Vol.1, 2 and 3 features contributions by an international set of practitioners from various fields in music, research and theory. These include David Toop, María del Pilar Blanco and Rob Stone (first volume, published May 2015); Anne Hilde Neset, Greg Tate, and Sami Khatib (second volume);and Nabil Ahmed and Nida Ghouse (third volume). The publications also contain a series of discussions between Norment and curators Katya García-Antón and Antonio Cataldo, addressing the reasoning behind an artistic practice which seeks to highlight the influence of sound upon our collective consciousness. For media enquiries please contact OCA's Communications Manager Tara Hassel at tara.hassel@oca.no. For more information about the artist and performers, please click here. About Office for Contemporary Art Norway (OCA) OCA is a foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001 with the aim of developing cultural collaborations between Norway and the international arts scene. OCA aims to become one of the main organs in the international contemporary arts debate through initiatives such as exhibitions, seminars and publications, as well as by providing support to Norwegian artists for their activities in the international art arena, and by inviting international curators and artists to Norway. OCA has been responsible for Norway's contribution to the visual arts section of the Venice Biennale since 2001.