Technique: Text on paper. Laser print on acid free paper. Size: 2 sheets, 29,7 x 21 cm.

Unique edition.

AA-MHUMA-AITI-KITTEKITII is a supposedly warming word that must be said in order to fulfil its function.

The word is mediated in various forms. First and foremost, its medium is speech: it can be pronounced and passed over orally.

For Post Capitalist auction, the word is materlalised and mediated as writing on paper.

The word is constructed, based on a memory of the existence of such a warming word that is long, hard to remember and with a particular combination of soft and hard sounds. Delivered orally and in its written representation, the word is accompanied with an explanation for its function:

There is a word you can say to warm yourself up when freezing. The word is not a spell. It does not work by magic. It is a word that, when uttered, makes you stop being cold because of the physical movement that the word makes you perform. The way the word shapes your mouth causes your body temperature to rise. When you give voice to the word, the signals sent to your brain and spinal cord mitigate contractions of the muscles, and your shivering ceases.

Toril Johannessen (b.1978, Norway). Ways of seeing — and not seeing — are recurring themes in Johannessen’s artistic practice. By combining historical records with fiction and her own investigations, she applies a critical, playful and subjective view on various forms of knowledge production. Her works often has elements of storytelling in visual or written form, and she makes use of various media and genres such as photography, print, textile, installation and, lately, audio play. She has made works on optical illusions, impossible energy cycles, time measurement and and spatial disorientation. Currently she is interested in eyes, and, as before, in cognitive dissonance and how rationality and logic coexist with myths and superstition in one and the same person, in one and the same society.

Johannessen received her MFA from the Bergen National Academy of the Arts, Norway (2008), and in 2011 she was a student at The Mountain School of Arts, LA.

Solo exhibitions includes The Invention and Conclusion of The Eye at OSL Contemporary, Oslo and Hordaland Art Centre, Bergen (2017); Unlearning Optical Illusions at AROS, Århus, Denmark (2017), Trondheim Kunstmuseum (2016) and Kabuso, Øystese (2016); NORSK NATUR, with Tue Greenfort, Museum of Contemporary Art, National Museum, Oslo (2016); AA-MHUMA-AITI-KITTEKITII, OSL Contemporary, Oslo (2015) and Teleportation Paradigm, UKS, Oslo (2013). Her works has been included in group exhibitons such as STAGES, Plug In ICA, Winnipeg (2017); If Seeing is Believing, Fullersta Gård, Stockholm (2017); What Remains, Fotogalleriet, Oslo (2017); Foreign Places, WIELS, Brussel (2016); The Sculpture Biennial, Vigeland-Museet (2015); On the moment of change (…), ARTSPACE, Auckland, New Zealand (2014); Paradise Reclaimed, Galleri Nord-Norge, Harstad (2014); Allegory of the Cave Painting, Extra City Kunsthal, Antwero, Belgium; Mom, Am I Barbarian? 13th Istanbul Biennial, Turkey; Nouvelle Vagues, Palais de Tokyo, France; Curiosity: Art and the pleasures of knowing, deAppel, Amsterdam and Turner Contemporary, Margate, UK (2013-2014); dOCUMENTA (13), Kassel, Germany; Machine Worries, Machine Hearts, Blank Projects, Cape Town, South Africa; Biennale Bénin, Cotonou, Bénin; The End of Money, Witte de With, Rotterdam (2011).


Read our interview with Toril here.

Visit Toril’s website on www.toriljohannessen.no