The average artist’s yearly earnings from art practice is estimated at less than $10,000 US dollars. In the wake of widespread public defunding of the arts, there is mounting pressure on artists and galleries to “innovate or die”. Emerging from this crisis is the seductive but problematic image of the Artist Entrepreneur, a creative entropic force, leveraging the tools of startup culture and capital to self-disrupt and innovate new models of artistic production. Should artists embrace, subvert or actively resist this new identity? What does it risk?
The exhibition THE STUBBORNLIFE OF OBJECTS III marks the completion of Yuka Oyama’s artistic research fellowship at Oslo National Academy of Arts. Oyama has been exploring how and why certain domestic objects trigger our imagination, take on a life of their own, cause inconvenience – in short, make us behave differently.
Yuka Oyama’s artistic practice combines contemporary art, art jewellery, wearable sculpture, performance, film, and material based art. Based on this cross-disciplinary approach, she has established a method to explore the intermediary relations between a person and an object by constructing life-sized wearable objects that allow a person to become the object. In the course of her artistic research, Oyama has implemented cross-disciplinary research in cooperation with diverse groups of people – such as mime dancers and object theatre actors, the artist’s Karate colleagues, young adults and seniors, collectors of unusual things, as well as students from the Norwegian Theatre Academy and Oslo National Academy of Arts.