Inkjet print, white frames, ar-glass

Transcription

1 Slices of Time Th th th thousandths of a Second 2017 Inkjet print, white frames, ar-glass 85x170 cm 2+1 AP Installation view: SNAP. Documentary and portrait photography from the collection, Museum of Contemporary Art, Norway

2 Slices of Time Th th th thousandths of a Second x60 cm 2+1 AP 200x30 cm 2+1 AP

3 Loitering Linguistics 2016 Inkjet print, etched glass, oak frames, security fences The main exhibition space has huge windows that face the foot-bridge over the railway tracks to Bjørvika and the surrounding buildings in Schweigaards gate and Tøyenbekken. The commissioned photographic series, Loitering Linguistics, consists of eleven new works, mounted onto security fences, commonly found on construction sites. The metal grid enables visitors to see through the support structure, whereas the large windows allow the works to be framed by the cityscape. The photographs depict different symbols found in the urban landscape. Via the street art technique of etching on glass, Tallerås has doubled these symbols by repeating them on the glass that covers the photographs. The works thus convey a sense of the multiple layers of communication that operate in the city, from the con- struction industry via graffiti to the language of photography, which Tallerås himself employs. Installation view: wander ponder going yonder, Munchmuseum on the move, Galleri Oslo

4 Loitering Linguistics x 75x100 cm Unique

5 Loitering Linguistics 2016

6 Ingen veier utenom (No alternate route) 2015 Video Installation Scaffolding HD Video 7.15 min Edition of 2+1 AP Installation view: Disappearing Acts, LIAF - Lofoten International Art Festival

7 Temporary Dicplasements I-XI 2014 Inkjet prints 52 x 34 cm Unique Temporary Displacements I-XI is a series of analogue photographs documenting temporary sculptures made in the streets of Kristiansand. The sculptures are made by reconfiguring whatever materials Tallerås find on his journey through the city. During these walks Tallerås also gathered materials for framing the photographs, a part of a green bench, pallets, driftwood from the sea, a piece of the railway company s storage shed among others. Installation view: Game of Life II - Knust i Offentlig rom, Kristiansand Kunsthall

8 Temporary Dicplasements I-XI 2014

9 Errant Wandering 2013 Video Installation with bench, HD 13,20 min loop Edition of 2+1 AP In the video work Errant Wandering, we are accompanied by a person exploring the margins of functional architecture: An unused area between the highway and train tracks, the space that has come into existence between an old and a new building. The film presents the person s wanderings juxtaposed with live still frames that portrait the places through which he moves. Several of the clips are so-called transport scenes that are often edited away so as to increase the momentum and pace of a movie. The exploration and discovery of the city functions as the primary goal, a feeling that is further increased by the looping of the film. Installation view: Sparebankstiftelsen DnB stipendutstilling, Oslo Kunstforening, Oslo

10 Errant Wandering 2013

11 Etyder 2012 Inkjet prints 39,5 x 55,5 cm Edition of 3+2 AP Etyder [Studies] is a series of analogue photographs made with a ten-second self-timer, capturing Tallerås s improvised physical explorations of spaces that don t have any function for humans or that for other reasons are rarely used. Limiting himself to one photograph at each location, Tallerås leaves the final image to chance, and the artist s body describes a series of off-balance hieroglyphic shapes as he scrambles away from the camera and climbs and clings to the architecture. Installation view: Lediggang og Omkringdriven, Kunsthall Oslo

12 Etyder 2012

13 Inntrinn, Opptrinn, Tristesse 2012 Acrylic one, mdf 19 x 220 x 30 cm Unique The sculpture Inntrinn, Opptrinn, Tristesse, an apparently abstract form that is in fact a cast of the accidental oozing of asphalt down a set of steps on a street in central Oslo. Tallerås set up an unauthorised construction-site tent around the steps and spent seven days and nights building up layers of silicon to make a mould, encountering every kind of curious nocturnal visitor in the process. As Tallerås writes, The mistake with the asphalt looks like some kind of ornament and I wanted to archive a random part of the city and process it into a sculpture. A way of stealing a part of the city without stealing it, and a way of giving this small beautiful mistake its due attention. Installation view: Lediggang og Omkringdriven, Kunsthall Oslo

14 Inntrinn, Opptrinn, Tristesse 2012 Images from the casting process in Grubbegata