Parking Statoil

Screened week 18 - 22

Gitte Sætre was born in 1975, the year International Women's Day was marked for the first time. 43 years after, there are more women in the streets than ever before. Sætre works with art politically and she actively uses her freedom of expression through various projects. She is always ready to clean your dirty mess.
Since 2014, she has been working on an ongoing project where she searches for places and / or events that needs a feminist look. A project she calls Woman Cleaning. One of the projects that might have received the most attention is Woman Cleaning Shame ', Oslo 2014. Where she cleaned outside the national parliament with the Norwegian flag, in connection with the government's decision not to greet Dalai Lama officially due to economic threats from China.

Continuing towards the national election in 2017, she aimed at an important and complex theme; oil and gas industry. Woman Cleaning Growth; Parking Statoil is the artist's contribution to the debate. She invites us to look into the connection between finance and politics, and between the state and individuals. Even after the collapse of the financial crisis in 2008, real policy and the daily life of the individual will continue to exist in the principle of perpetual growth. Something that can be seen as an impossibility of democracy.
If Norway is to honor its obligations to the Paris agreement, it is said that we have 6-12 years left before we have used our carbon budget. After the carbon budget has been used up, Norwegian working life and everyday life is sought to have gone through a shift, a green shift. We do not know today how this conversion will manifest, but we know it's urgent.

Gitte Sætre has given time for reflections about capital return, increased inequality and debt growth, the state's program for new jobs, increased research funding for the future green technology and, not least, the decline of the oil and gas industry, yes while she went from Oslo Børs via the parliament and the road to Stavanger Oil Museum where she abandoned the Statoil sign she had dragged with her all the way.

The artist Gitte Sætre retrieves her material for artistic adaptation from national and international contemporary issues that characterizes our publicity. She does, in other words, not engage in daring journalism, she uses existing material to investigate what reality does with us as individuals and with society. The methodology she uses is called detournament; a technique that was developed in the '50s by' Letterist International ', and later taken up by Situationists. The method was used to reveal wear and tear of significance and eventually the method has been used to reverse the expression of the capitalist system and its media culture towards itself. Ex. Slogans / logos are turned against advertisers or political status quo. Détournement was also used to set up subversive political "pranks" during the punk movement in the late 1970s and inspired cultures in the late 1980s. Ref. to the art activist group: 'The Yes Men'.

Gitte Sætre