Vicente Mollestad

Vicente Mollestad is an artist, ex-rapper, lo-fi guitarist and displaced being finding his way back. His practice develops within and around the theme of the West’s (conflicted) relationship to the non-Western. His work looks at how these two negotiate and position themselves in relation to power, history, philosophy and politics through his own autobiography and position as a meeting point between them. 

Since 2017 been based in La Paz, Bolivia, gradually favouring alternative spaces as a basis for production of meaning and discourse, through a flexible practice that ranges from text production, sound, interventions, activism, painting, performance and photo.

He is currently in a residency stay in Skien, Norway.


Upcoming:
  1. Hvitsten Salong 30.07.21
  2. Greenlight District 17.11.21
  3. Spriten Kunsthall 2022
Mark

3. Thomas Kuhn

 




TK / 1962
From The Structure of Scientific Revolutions

            Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none. New and unsuspected phenomena are, however, repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists.
            The practice of normal science depends on the ability, acquired from exemplars, to group objects and situations into similarity sets which are primitive in the sense that the grouping is done without an answer to the question, “Similar with respect to what?” One central aspect of any revolution is, then, that some of the similarity relations change. Objects that were grouped in the same set before are grouped in different ones afterward and vice versa. Think of the sun, moon, Mars, and earth before and after Copernicus; of free fall, pendular, and planetary motion before and after Galileo; or of salts, alloys, and a sulpuhur-iron filing mix before and after Dalton.





Mark