Camilla Steinum (click here for full biography/CV) was born 1986 in Oslo. She lives and works in Berlin. Steinum predominantly works with textiles, ready-made objects and metal frameworks, while focussing on the qualities and characteristics of materials and objects as such. When carefully arranged and manipulated, these materials create a juxtaposition that highlight their ‘material contrasts’ (dirty/clean, organic/structured, soft/hard). These analogues can also refer to ‘human’ features, such as manners and other traits connected to social conventions. Many of the objects used by the artist are existing items that form part of our daily routine. These non-descriptive items and ‘voiceless’ things are pulled away from their traditional uses and reimagined into sculptural assemblages.
She graduated with a BA (in Visual Art Textiles, 2009) and an MFA (2012) from the Oslo National Academy of the Arts. In 2015 Camilla Steinum visited The Mountain School of Arts, California. Her solo exhibitions include In Spite of Chores, Soy Capitán (Berlin, 2017), Dubious Desire for Cleanliness at Rod Barton (London, 2015) and Symbols of Existential Dirt at One Night Only (Oslo, 2014). In 2017 Steinum took part in the 9th Norwegian Sculpture Biennal (Oslo), in the Åpning Wildlife Skulpturpark / Nesoddparken, (Akershus, NO) and in the NTK, Textile 40 Years Anniversary Exhibition, Kunstnerforbundet, Oslo, NO amongst others. She has been an artist in residence at MeetFactory (Prague 2017, CZ) and Do It With Others (Tilburg, NL). In 2018 Camilla Steinum will be a resident at CCA Andratx (Mallorca) and participates in group exhibitions such as Hvorfor bøye seg så dypt? Genland Kunsthall (Porsgrunn, NO,) Ode to a Dishrag, Hymn to a Tiger, Kunsthall Stavanger (Stavanger NO) and at Philipp Haverkampf Galerie (Berlin, DE).
Review, in FRIEZE, 4/2017, by Chloe Stead.
Critics‘ Picks, in ARTFORUM, 3/2017, by Mitch Speed.
Review, in KubaParis, 3/2017, by Hanna Fiegenbaum.
Interview, in AQNB, 2/2017, by Inger Wold Lund.
Online feature, in Art Viewer, 2/2017.