Solo-show at Baerum kunsthall in Oslo, Norway. It was a show of seductive, multi-faceted and color-saturated sculptures and textile works. A central piece in the show is the inventory of ideas and artifacts that is the “Sculptural library”, a refined version of a shelf system in his studio presenting hundreds of objects that is raw material and elements for his sculptural cosmology. Liveröd uses a combination of his role as a maker of things as well as a collector of things.
Surrounding this motley and complex system, a group of sculptures take to the floor acting out a strange kind of choreography. The setting hints of the phenomena of floorshows, whcih is a set of performances held in a nightclub, restaurant. This performative act taking place in the shady hours of nightlife is a time when we ourselves act as bodies and things. Exstatic, horny, confused, intoxicated and unaware of ourselves. Like the scene out of Fransisco Goyas 19th century painting The Burial of the sardine, were a carnevalesque crowd cheers an impending doom, the sculptures act out as if they own the room. The sculptures are near human size and remind us that we, the spectators are also objects – things. Surrounding the scene are a number of textile works created using deconstructed second-hand clothes, in particular denim. These works act as if it they were abstracts, flirting with art history and abstract expressionism. However in actuality they are of course very figurative, as they in fact are repurposed pants, jackets, shirts filled with the odors and fluids of the human body.
