Eamon O’Kane at Norwegian Sculpture Biennial
Vigeland Museum, Oslo, NO
9 October 2015—31 January 2016

01/07 «»
Eamon O'Kane: Wood Archive 2015, wooden structure and objects, 600 x 500 x 240 cm
Eamon O'Kane: Wood Archive 2015, wooden structure and objects, 600 x 500 x 240 cm

Welcome to the opening reception
8 October 7—9pm
at the Vigeland Museum.
Afterparty at Kunstnernes Hus!

Norwegian Sculpture Biennial 2015: Art Belongs to Those Who See It
The Sculpture Biennial 2015 raises the questions if the three-dimensional art field is about to change in a fundemental way as a consequence of the fact that the way we percieve rooms and images are changing. Significant for the selection of works is that our relationship with the screen culture is clearly present. Several political and aesthetical issues will be the mainstays, and by adopting a clear now-perspective the exhibition's narrative is composed in dialogue with the Vigeland Museum's premises.

Architecture is also what Eamon O’Kane explores in his work The Wood Archive [2015], created for the biennial. The building blocks in the particular structure we can walk through, study up close and partially move around make visible how we produce organic shapes and processes—not only scientific but also social ones, as for instance in play. O’Kane has for several years now been interested in the nineteenth-century educator Fredrich Fröbel, the man who originated the modern day kindergarten. As part of his approach to encouraging children to learn, Fröbel also developed educational toys such as wooden building blocks. O’Kane has also long been fascinated by carbon as one of the vital elements for life. Both scientific models and building blocks help us visualise and explore the world around us, but here the objects have been placed without any immediately discernible relationship to one another. O’Kane thus breaks from the very order alluded to in the title. This is neither an archive nor a library of recognisable shapes: rather, the common feature in this installation is that everything is made of wood. O’Kane sees this as a study of entropy, where the material of wood represents a snapshot of carbon on its way towards decomposition. The material is thus treated by the artist as an accumulation of associations.
—Text from the catalogue essay by Biennal curator Anne Szefer Karlsen

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