LICK PICK KICK
Tenthaus Oslo, 14-31 October 2021.
An exhibition with a VR (Virtual Reality) installation based on the classroom learning experience and gamification.
Repeat after me:
I work successfully as a team member.
Now; grade yourself on a scale from 1 to 10.
Do you agree?
Shake your wand to start your session.
(from script Lick, Pick, Kick)
In her third installation concerned with institutional spaces, Maren Dagny Juell has focused on the learning institution, specifically the classroom. Previously she recreated the gym in SQUAT and the office in Flexible Schedule. In this work, which consists of three rooms, you are guided through a set of lessons, where self-evaluation forms, testing, and play are a part of exhibition design and experience.
Maren is interested in examining power structures through languages that praise optimization, flexibility and progression. The exhibition is conceived as a whole, and the work evolves from the theme and uses aesthetic markers and formal choices borrowed from institutions and systems that create and continue these structures, but in the gallery space, they are reworked into sculptural form. In VR she uses a game engine, and gaming language as a tool for visual representation and movement.
«The physical states of the brain are closely connected to the social posture of the body, the way in which they fit into the space of the community»
Morphing intelligence. From IQ measurement to artificial brains. Cathrine Malabou. 2019
The script that guides you, uses Maren’s usual method of blending quotes borrowed from a wide range of sources, including science-fiction, games, and popular science. In the same vein, the title is based on research in neurological science. In a study by Olaf Hauk, Ingrid Johnsrude, and Friedemann Pulvermüller (2004) fMRI was used to examine how the brain operates being exposed to passive reading tasks of worlds like Lick, Pick and Kick. These action words activated areas along the motor strip that either were directly adjacent to or overlapped with areas activated by actual movement of the tongue, fingers, or feet. This means that when we read a word like Kick, we activate the same areas in the brain as we use when we do the motion with our foot.
Maren Dagny Juell is an artist working in moving images, installation, and virtual reality. Her Virtual Reality work is immersive experiences where a physical gallery space acts as an abstracted double of the Virtual Space. You navigate both spaces simultaneously. Maren seeks to activate the hardware and the engagement of VR with performative aspects, instructions, and an institutional setting where the expectation of behaviour is established as rules/habits. She is concerned with embodied cognition in institutional spaces. In these spaces, she questions how we relate to demands on the body and mind that are imposed on us in subtle ways and expose methods of control and pressure you cannot see.
The VR work is made in collaboration with Breach VR and the sound is recorded and produced in the UK by Soundcuts. Voice Over actor is George Weightman. The Interaction objects are made in collaboration with Simen Brekke.
The exhibition is supported by Norsk Kulturfond and Billedkunstnernes Vederlagsfond.
Maren Dagny Juell is an artist working with moving image, installation and VR.
Currently based in Ski, Norway she received her MA from Chelsea College of Art (London) and has exhibited widely. Including solo shows at Atelier Nord Oslo, Trafo Kunsthall, Trøndelag Senter For Samtidskunst, Akershus Kunstnersenter, Podium Oslo and group shows at Bergen Center for Electronic Arts, Astrup Fearnley Museum of Modern Art, Stavanger Kunstmuseum and Riga Photography Biennial 2020 among others. Moving image works have been screened internationally including The Australian video Biennial in Melbourne.
Maren co-run SHE WILL art space with Liv Tandrevold Eriksen.
Tenthaus is an art collective and artist-run space in Oslo initiated in 2009. Its profile is characterized by an open, process-oriented form of participation from an internationally orientated group of artists. The context of contemporary art practice is re-examined through exhibitions as well as a broader field of discursive activity such as radio, dinners, workshops for youth, residency, events and collaborations.
Tenthaus has developed from an artist in school project to encompass a project room and exhibition space using socially engaged art as a platform for expanding and exploring our practice. Tenthaus wishes to uphold its work with children and youth as well seek to find other relevant contexts to expand and explore our socially engaged practice.