Gravity and Grace - Dana Dawud
Sep
25
to Oct 18

Gravity and Grace - Dana Dawud

Gravity and Grace
Dana Dawud

Opening:
25.9 18:00

Open Saturdays and Sundays for four weekends.
13:00-15:00

25.9-18.10.2026

K4 presents video works by Dana Dawud. Dawud explores the restless life of images online: how they are made, shared, copied, fragmented, and transformed. Rather than treating filmmaking as a controlled, linear process, Dawd embraces its more fluid and unpredictable possibilities, moving freely between cinema, visual art, music, writing, and online presence.

Collaboration and collective production are at the heart of Dawud’s practice. In works such as the Monad series, she passes scripts, images, or loose instructions between artists and online collaborators, allowing each participant to reinterpret and reshape the material. Repetition never produces an exact copy: gestures shift, voices change, and something of each individual enters the image. Chance, improvisation, and loss of control consequently become generative forces. Dawud’s role is less that of a director controlling the final image than a curator of conditions, creating a space in which multiple versions, voices, and identities can emerge.

Visibility and concealment run throughout Dawud’s work. Blurred faces, anonymous figures, selfies, and endlessly circulating images evoke the peculiar tension of a culture in which we are constantly watching and being watched, performing ourselves while trying to retain some control over our visibility. The works enter an environment of surveillance, advertising, architecture, and everyday life, opening up a new encounter between the unstable visual world of the internet and the physical space of the city.

Bio:
Dana Dawud is an artist and writer whose work moves between cinema, the archive, sound, and the internet.

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As long as I remember, as fast as I remember, as strong as I remember
Mar
15
to Mar 30

As long as I remember, as fast as I remember, as strong as I remember

As long as I remember, as fast as I remember, as strong as I remember is an ongoing multi-legged research departing from individually (re)collected visual memories of the collectively-experienced ‘glory’ that was the 2004 Olympic Games in Athens.

2024 marks the 20th anniversary of the games, which carry historical, economic, and political importance and contrasts with the societal decay that followed. Nevertheless, the memory of it remains to be a mass- scale sense of euphoria, celebration, and perhaps even a tool for escapism. It remains to be a prominent drop filling up pools of memory.

The selected works, presenting Greek visual artists are making contact with the peripheral victory and decay throughout different branches of visual and auditory storytelling. It acts as retelling of this historical era experienced by many all around the world, suggesting our memory to be a selective tool in regards to success stories and how they interact with time.

With contributions by:
Loukia Alavanou
Mikhail Karikis
Lina Theodorou
Eriphyli Veneri
Anna Vasof
Kostas Bassanos
Georgia Sagri

Curated by:
Ferdinand Waas

15.3-31.3

Fridays and Saturdays
13-15

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The Video Show   I can’t see a thing. I’ll open this one
May
6
to Jun 4

The Video Show I can’t see a thing. I’ll open this one

06.05-04.06.23

Vernissage: 19-22.00 Saturday 06.05
Opening hours: Saturday and Sunday 12.-14.00

Participating and contributing artists:
Morag Keil (Scotland), Atiéna R. Kilfa (France), Miriam Laura Leonardi and Gabriele Garavaglia (Switzerland), Max Göran (Sweden), Maddy Plimmer (New Zealand/UK), Ruth Angel Edwards (UK), Stanislav Iordanov (Bulgaria/UK), Nora Joung (Norway)

Curated by Marie-Alix Isdahl

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Pinlig forhør - Marin Håskjold
Jun
3
to Jun 19

Pinlig forhør - Marin Håskjold

PINLIG FORHØR
Av Marin Håskjold

Kuratert av Una Mathiesen Gjerde

*

Glovarme kullstykker treffer en naken brystkasse. De brenner seg inn i huden. Bekjenn! Bekjenn at du har trosset Gud og inngått pakt med djevelen!

Trolldomsprosessene som fant sted på 1500- og 1600-tallet kostet i alt 350 menneskeliv, noe som gjør Norge til et av stedene i verden hvor trolldomsprosessene kostet flest liv per innbygger. Enkelte mindre landsbyer ble som resultat av store kjedeprosesser så og si tømt for kvinner. Majoriteten av de som ble dømt tilsto å ha inngått pakt med djevelen – hvordan hendte det?

Dette spørsmålet er omdreiningspunktet for Marin Håskjolds utstilling Pinlig forhør på K4. Trodde straffemyndigheten virkelig at de anklagede kunne trolldom? Eller var trolldomsprosessene først og fremst en kynisk hersketeknikk for å kontrollere kvinner? Og hvorfor innrømmet så og si alle som ble anklaget at de kunne trolldom? Trodde de at de faktisk kunne det – eller var de for redde for makthaverne til å si imot? Med sin særegne filmatiske metode undersøker Håskjold disse spørsmålene på jakt etter å forstå hva som drev fram det mest omfattende justismordet i norsk historie.

OM KUNSTNEREN

Marin Håskjold (f. 1993) er en kunstner og filmskaper med base i Oslo. Hun har studert bevegelige bilder ved Nordland kunst- og filmskole i Kabelvåg. Identitet er et sentralt tema i Håskjolds arbeid, hvor hun går filosofisk til verks i sin utforskning av ulike oppfattelser av kjønn og genus fra et skeivt og feministisk perspektiv. Hennes verk har blitt utstilt og vist på en rekke kunstinstitusjoner og filmfestivaler, deriblant Tate Modern, Bomuldsfabriken Kunsthall, Coast Contemporary, Kyiv International Film Festival, Helsinki International Filmfestival og Kortfilmfestivalen i Grimstad. Håskjolds kortfilm «Hva er en kvinne?» (2020) har mottok Amandaprisen i 2021 i kategorien beste kortfilm.

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