"The Universal Machine" (2021),  Multi-Channel video installation. Installation view, Spriten Kunsthall.

THE UNIVERSAL MACHINE  
2021 © Stine Gonsholt and Åse Løvgren
Sound by Tolga Balci

HANDS AND FEET IN CODE THROUGH SOIL SOAKED
Spriten Kunsthall 2021
The exhibition emerges from a series of online and on-site workshops during 2020 and 2021 titled "Entangled Landscapes." In the exhibition the seven participating artists deploy different approaches to our involvements with landscape, revealing layer upon layer of entanglements and interactions across the contours of stone, plants, humans, industry and digital extraction. Participating artist: Neal Cahoon, mirko nikolić, SKIFTE.LAND and Åse Løvgren
Supported by Arts Council Norway, Cultural Point North, Visual Artists remuneration Fund, Vestfold and Telemark County and Skien Municipality
In the multi-channel video installation "The Universal Machine the relation between machine and body is negotiated. The user interface between nature and the digital is in movement, and the organic structures of nature are invading the digital body. 
A face has entered the machine and addresses us from the inner workings behind the screen. It tells us how the body is immersed in code, about the history of the machines, as well as the desire it has to watch over us and facilitate our future actions. A machine-adjusted user-friendliness, where it is thinking of us with care and seeing every move, emotion and action.

Stiil from video, The Universal Machine (2021)

Installation view, Spriten kunsthall

Photo: Malin Lobell 2021

Installation view, Spriten Kunsthall

Stills from video installation. The narrator in the video is Klara von Neumann, one of the earliest computer programmers, and the imagery consists of photogrammetry, facial recognition techniques and imagery from digitalised maps and weather services.

One and Three (Papers) #1-3, C-print with imprints from the crumbling walls of a derelict paper mill.

One and Three (Papers) #4-5, C-print with imprints from the crumbling walls of a derelict paper mill.

The collages consist of satellite-photographed images of forest, and on the images the artists have made imprints from the crumbling walls of a derelict paper mill Together they form a trinity that is gathered inside one and the same frame: The paper’s raw material, the factory that refined it, and the paper itself. One and Three Papers.