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Geir Moseid

@geirmoseid

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Ambiguous Notions of Humanity

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For første gang stiller studenter og lærere ved #ofks ut sammen. Verkene er kuratert side om side, hvor studentens arbeid snakker med sin lærers arbeid.
Utstillingen kan du se på @oslonegativ på @detgamlebiblioteket
Ønsker du kjøpe kunsten, ta kontakt med kunstnerne direkte.

Utstillere er:
Lærere - @behzad_f_ @geirmoseid @una_____hunderi @jennyrydhagen @henrikfollesoegeland @mariusmoldvaer #espengleditsch

Studenter - @einarstabenfeldt @stromlinestudio @aleksanderangell @hakon_ingstad @amaliedagostino @aleksanderangell @agathe_berjaut @katsiurek @thandosikawuti @sebastianvetsch @trond.lindholm @kinessofie Brukeren min er @marte.jpeg.00 Amalie Marano @marius_strom_naess @kuzmina_svetlana_ @monicaisaksenolsen Line Strømnæss Hanna Maria Hatlen @s1ian @cato_symrebu

Utstillingen er kuratert av rektor ved Oslo Fotokunstskole #hannesophieclaussen

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Today on C41 Magazine: ‘Plucked’ by Geir Moseid @geirmoseid #c41magazine⁣
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Read more → www.c41magazine.com⁣
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«The element of time and death is also present in the repetition of flowers throughout the series. Here flowers act as a subtle metaphor concerning the duality of life and death, of which are inseparable through time, not unlike photography itself. The act of plucking/picking flowers is death and once the plucked flower is severed from its life force, it is subject to a slow, often beautiful, process of dying. This dialogue with death has the ability to create notions of the uncanny. By depicting something that is familiar, yet strange, or appealing and repulsive at the same time is often regarded as a signifier of the depiction of the uncanny and raises contradictory beliefs (cognitions) for the viewer, encouraging the viewer to create his/her own opinion, which is hopefully based on the emotion that the photograph offers the viewer.»

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Oslo, Norway-based photographer Geir Moseid’s (@geirmoseid) “Plucked” (Teknisk Industri, 2020) explores domestic life, confronting themes of alienation and social segregation. “The home is often known to be a safe space where one can be private and Intimate,” he explains. “The home has a sentiment of security that is built around the fact that we can seclude ourselves, distancing oneself from the interference and surveillance of others.”

Moseid juxtaposes these points with the notion that home can also represent something darker, citing the many crimes that occur behind closed doors. The subtly ambiguous images in “Plucked” represent the duality of these two experiences of home. “By depicting something that is familiar, yet strange, or appealing and repulsive at the same time is often regarded as a signifier of the depiction of the uncanny and raises contradictory beliefs (cognitions) for the viewer, encouraging the viewer to create his/her own opinion, which is hopefully based on the emotion that the photograph offers the viewer.”

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Geir Moseids bok Plucked, som kom på tampen av fjoråret, er allerede utropt til en klassiker av den toneangivende fotobloggen @americansuburbx. Vi gratulerer! Les intervju med OFKS-lærer Geir på vår blogg om boken han har finspisset siden 2007. Link i bio. #geirmoseid #tekniskindustri

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Geir Moseid — Plucked.⠀
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The series Plucked is an investigation into the duality of the home, urban alienation, social segregation and human relationships. This duality of the home extends further, adding layers to the series, incorporating the ethics of both social documentary and staged photography, as well as the possible cognitive dissonant experience of the viewer. This dissonance was built around notions of ambiguity and the uncanny.⠀
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The home is often known to be a safe space where one can be private and intimate. The home has a sentiment of security that is built around the fact that we can seclude ourselves, distancing oneself from the interference and ⠀
surveillance of others. It is with this point that its most problematic duality is made evident. The home is a harbourer of some of humanities gravest crimes. These crimes occur behind closed doors, including physical, sexual and psychological abuse.⠀
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The element of time and death is also present in the repetition of flowers throughout the series. Here flowers act as a subtle metaphor concerning the duality of life and death, of which are inseparable through time, not unlike ⠀
photography itself. The act of plucking/picking flowers is death and once the plucked flower is severed from its life force, it is subject to a slow, often beautiful, process of dying. This dialogue with death has the ability to create ⠀
notions of the uncanny. By depicting something that is familiar, yet strange, or appealing and repulsive at the same time is often regarded as a signifier of the depiction of the uncanny and raises contradictory beliefs (cognitions) for the viewer, encouraging the viewer to create his/her own opinion, which is hopefully based on the emotion that the photograph offers the viewer.⠀
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By plucking specific moments of everyday narrative my work is confronting the way in which social truth can be depicted.⠀
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Photographs by @geirmoseid⠀
Published by Teknisk Industri AS⠀
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#nowherediary #photobookjousting

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The Story of the Week is Undertaking by @geirmoseid. “Our world is currently going through a political shift. Rhetorical platitudes, once thought outmoded, serve to perpetuate long-established feelings of anger. It appears that fear has become the primary factor determining how groups relate to one another. “Truth” has become a fluid term relating to news, science, and photography alike.” Read more at phmuseum.com/news.
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#PHmuseum #storyoftheweek #photography #cinematography #psychology

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Tonight from 6pm at @fotogalleriet_oslo, members of @fffotografer will give short talks about their recent publications! Welcome 💫

Note: There is a limited capacity of seats at the venue. Arrive early to avoid disappointment!

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