The National Museum has always been exceptionally good at group presentations. Unfolding the history of art, design and architecture through objects and expressions. They are less good at setting the agenda in the art world, being the supplier of premises that a national museum with responsibility for, among other things, contemporary art should be. It is rare for them to be at the forefront of pointing out new artists and phenomena. Instead, they usually choose the safe canonized figures and make solid presentations of them. Maybe this is exactly what they are now trying to do something with through the exhibition “I call it art”. An exhibition that, according to the press material, examines what is good and what is bad art, and who really decides this. What is inside and what is outside? The artists have been selected based on one main criterion: that they do not already exist in the museum’s collection. But does that mean they are outside? There are quite a few completely unknown names here, and some defined outsider figures such as Trude Viken, but there are also artists who are very well established and recognized: Aage Gaup is represented at the Venice Biennale this year, Joar Nango participated in the renowned art show Documenta in Kassel in 2017 and was also a festival exhibitor in 2020. Not exactly what we can count as outsiders. HOT: Joar Nango is considered one of our hottest artists of the day, and it is only a matter of time before he is widely represented in the National Museum’s collections. Photo: Rolf Petter Olaisen / news Considering going home On press day, director Karin Hindsbo said that she expects people to experience “I call it art” as a surprise. I certainly did. It is clearly a different exhibition experience. In the first part of the large light hall, the works of art are formally thrown into a wild chaos. It’s so tiring to be in there that it’s right before I turn around and go out. SONJA’S DISABLED LEGS: I do not agree with architect Shuwerk that this portrait is bullying of the royal family. It’s just a very faint painting. Notice Sonja’s completely crippled legs, and the position of his head on his upper body. Photo: Rolf Petter Olaisen / news Here it is probably an idea to break with a conventional way of showing art, but personally I find it more unhelpful than innovative. Conventions often arise because a particular way of doing things is logical and appropriate. It is not always a value to break with a convention if you do not have something very exciting and new to offer. Disappears in the chaos An insight that lies in the exhibition convention is that some works require peace around them to get to their right. Either because it is an expression that is in itself characterized by chaos or noise, or works that on the contrary are quiet and vulnerable. In the exhibition, we see examples of good works of art that drown in the wild chaos. I like Herman Mbamba’s colorful, semi-abstract paintings and Vilde von Krohg’s dystopian and space-consuming installation, but both projects depend on a little arm-twisting. CHAOTIC SURROUNDINGS: Herman Mbamba’s fine colorful paintings could have needed a little more arm wrestling around him. What is good drowns in the chaos, writes news’s art critic. Photo: ANNAR BJØRGLI AND IWAN BAAN / NATIONAL MUSEUM Vilde Von Krohg’s dystopian and space-consuming installation. Photo: Rolf Petter Olaisen / news Marthe Minde’s fragile thread work also suffers from the chaotic surroundings. Nor is it the case that everything that is banned necessarily deserves to enter. Some of the works on display are so incredibly weak that it is difficult to understand that they have found their way into the National Museum. Lene Trydal’s kitschy and anatomically helpless group portrait of the royal family is one such example. I can also not say that I am very impressed with Tilda Moiseff’s ass fountain, which squirts brown coffee liqueur you can drink. BANAL: It is an exciting topic, and exploring taboos related to both body fluids and body openings can be interesting, but in my eyes this fountain artwork is just quite banal. Photo: Annar Bjørgli / The National Museum Is this really the level the museum wants to go to? And is that how they will welcome us after so many years of closed doors? I almost cried with disappointment I cried with joy as I walked through the professionally curated group exhibitions at the brand new National Museum. It was so beautifully and skillfully executed. It was almost as if I shed tears up in the light room as well, but this time out of disappointment that the museum does not put the list a little higher for itself. THE CHILDHOOD STAIRS: Marthe Minde’s “The stairs at home” depict the stairs of the childhood home and explore how nature, history and traditions shape us. This work also suffers from being placed in a chaotic environment. Photo: Annar Bjørgli / National Museum Why do they waste this golden opportunity to create, for example, a bold thematic exhibition, where they through the best contemporary art has to offer explores an exciting and relevant theme? The big questions that are asked related to quality and what art really is and who decides are exciting, but I do not experience that the exhibition brings out interesting reflections or answers about this. The exhibition concept is thin and the quality varies. I call it sad. news reviewer Photo: Nasjonalmuseet Title: «I call it art» Where: Nasjonalmuseet, Oslo About: Opening exhibition in Lyshallen. Works by 150 contemporary artists. Curators: Geir Haraldseth and Randi Godø Date: 11 June to 11 September 2022
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“I call it art” at the National Museum – Reviews and recommendations
