Solveig Øvstebø – författare

Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 – February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Øvstebø. Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist’s book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Øvstebø, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.

The second of two books published alongside Strau's 2014 Renaissance Society exhibition, The New World, Application for Turtle Island, this features an essay by Jay Sanders alongside introductions to different aspects of Strau’s practice by artists with whom he has recently collaborated: Bernadette Van-Huy, Stefan Tcherepnin, Antek Walczak, Fernando Mesta, and José Rojas. Also included are full color images of the installation and an exhibition checklist, as well as an introduction by Solveig Øvstebø and a text by Strau.

In 2015 the Renaissance Society presented an exhibition of newly commissioned works by Los Angeles-based artist Mathias Poledna. Coinciding with the museum’s centennial, it marked the final show in the institution’s first hundred years.For this project Poledna used the notion of iconoclasm and its various historical contexts as a conceptual backdrop for two new works: a 35-mm film installation, co-produced with and premiering at the Renaissance Society, and a substantial alteration to the gallery space: the demolition, dismantling and removal of the gallery’s ceiling structure, a steel truss grid that had horizontally bisected the double-height gallery since 1967. This catalog—featuring a cover designed by artist Peter Downsbrough—documents the exhibition and its installation, and in doing so celebrates a century of the Renaissance Society.

Published on the occasion of the eponymous exhibition, Let me consider it from here features color reproductions of artworks by Saul Fletcher, Brook Hsu, and Tetsumi Kudo and transcriptions of the audio works of Constance DeJong, alongside newly commissioned poems by Geoffrey G. O’Brien, Simone White, and Lynn Xu, and an epilogue by Solveig Øvstebø. These artists frequently draw from their own histories, humors, and instincts as they grapple with or reimagine what’s happening in the world around them. Across a range of mediums, their works open up spaces that oscillate between strange and familiar, registering deeply personal experiences as well as more ambient cultural and political pressures.  Their practices are all similarly anchored in solitude and stretch outward to meet the world, guiding us to the liminal realms between the public and the intimate, the concrete and the fantastical.

In 2019, the Renaissance Society at the University of Chicago and the Carpenter Center for the Visual Arts, Harvard University co-organized an exhibition of a newly commissioned body of work by the Canadian artist Liz Magor. The accompanying publication, Liz Magor: BLOWOUT, is the artist’s first US catalog in ten years, and it features thorough photographic documentation of the new work, commissioned texts by Mitch Speed and Sheila Heti, and a conversation between the artist and curators Dan Byers and Solveig Øvstebø.For more than four decades, Magor’s practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as “a collection of tiny and intense narratives.” Each written contribution responds in its own way to Magor’s new installations, which feature altered stuffed toys, bits of paper, and rat skins—sculptural “agents,” in the artist’s words—suspended in transparent Mylar box forms, and thirty-two pairs of secondhand shoes, each displayed within its own box amidst elaborate embellishments.