16. JANUARY - 28. FEBRUARY
NONOBJECTIVE REALITY - DIFFERENT STRATEGIES
Paul Brand, Kerstin Hedman, Tony J. Larsson, Edith Lundebrekke, Susanne Kathlen Mader, Janine Magelssen, Thomas Pihl, Ilkka Pärni, Terje Roalkvam, Dag Skedsmo, Heidi Kennedy Skjerve, Lars Strandh. Curator: Lars Strandh
The exhibition offers a unique opportunity to experience the breadth of non-objective art. On display are works by 12 artists who live in Norway and Sweden, all of whom work non-figuratively, i.e. with art that does not represent anything. Sometimes this discipline of art is referred to as "theoretical" and therefore " difficult" or "inaccessible"- but perhaps it is the opposite? The onlooker is challenged by the fact that the artwork not necessarily represents anything other than itself. At the same time the works appeal to something intuitive and emotional: a pure, perceptible experience of the artwork. Curiosity and reflection add to a fruitful dialogue between the art and the onlooker.
Several of the artists relate to a constructivistic tradition, a geometrical abstract school of art from around 1910. Early modernists such as Vasilij Kandinsky, Kazimir Malevich and Alexander Rodchenko sought to empty the artwork of literary meaning so as to fill it with meaning on a higher, divine level. For the exibition at Kunstbanken the artists explore colours, composistion and shape, which carry the significance in the artwork. Some reduce the expression further and focus solely on colour, surface and processing.Thoughts on time, presence and existence are often important both in the creation and the experience of the artwork. The work process itself is frequently of great significance to the expression and may start with philosophical or concrete throughts on creating art. In several of the pieces the reduced expressions converge with tactile, tangible materials and a high technical level of precision.
Definition nonobjective art:
Nonobjective art is another way to refer to Abstract art or nonrepresentational art. Essentially, the artwork does not represent or depict a person, place or thing in the natural world. Usually, the content of the work is its color, shapes, brushstrokes, size, scale, and, in some cases, its process.
12. MARCH - 1. MAY
MARKUS LI STENSRUD: SOLIFIED PHANTOMS.
In Solidified Phantoms Markus Li Stensrud (1983) focuses on the spiritual, religious and baroque history of modernism. With its large area, high ceilings and arched windows, Li Stensrud associates the main space at Kunstbanken with a church. The full-scale installation makes the room look like a cross between a church, a glyptotheque, an ethnographic museum and a museum of modern art. On display are sculptures, objects and wall art in a wide range of materials. The title of the exhibition is from a quote by Kasimir Malevitsj, one of the founders of modernism. Malevitsj developed his own art movement suprematism, which he described as "fragments of solidified phantoms caught on their journey through space". The exhibition is funded by Arts Council Norway.
Solidified Phantoms is a continued exploration of central themes in the exhibition Phantoms of Modernism which Li Stensrud showed at Kunstnerforbundet in 2014. One of the mantras of modernism was, as Bertolt Brecht put it, "to erase the traces." With the exhibition in Kunstnerforbundet, Li Stensrud sought to find these traces in an attempt to conjure the ghost of modernism. However, while Phantoms of Modernism primarily dealt with the primitive and classical origins of modernism, Solidified Phantoms will also focus on the spiritual, religious and baroque history of modernism.
The title of the exhibition is from a quote by Kasimir Malevitsj, one of the founders of modernism. Malevitsj developed his art movement, suprematism, which uses combinations of simple geometric shapes painted in a limited range of colours.
The exhibition is funded by Arts Council Norway.
12. MARCH - 1. MAY
SOLVEIG BERGENE: PORTAL 2. Drawings and artist
Bergene (1985) mainly works with pencil drawings in different formats and hand-bound artist books. Her drawings make reference to mysticism, cabinets of curiosities and natural history. She is interested in the periods of history when science was moving towards modernity, such as the Age of Enlightenment and the 1800s. She interprets these periods as borders between subjective and objective thinking in which natural science and knowledge of the world in general was characterised by superstition, misunderstandings and subjectivity.
Cabinets of curiosity were the 1600's version of the natural history collections we have today and they often comprised rare and falsified objects. These and old scientific educational posters are important references for Bergene. The posters set out to be objective and rational while in reality they were full of mistakes and fanciful exaggerations. Bergene is interested in the human factor, how we assign different characteristics to objects. Her desire to classify and control the world is mirrored in her drawings, which often have a symmetrical and geometrical or "tidy" structure. A contrast arises between the geometrical design and the organic hand drawn stroke, which she imagines can seduce and invite the audience to enter her world.
Bergene sees her exhibitions as a series and the title refers to her previous solo exhibition called Portal. The word portal offers an invitation to the audience to enter her visual world but it may also be a portal into the viewer's world of association.
Solveig Bergene graduated with a master's degree from Kunsthøgskolen i Bergen avd. Kunstakademiet (Bergen Academy of Art and Design, Department of Fine Arts) in 2012. She has exhibited at Høstutstillingen (The Autumn Exhibition) and Østlandsutstillingen (The Østland Exhibition) amongst others.
12. MARCH - 1. MAY
HEBE CAMILLA WATHNE: EQUILIBRIUM. Sound
Earth of Sound, Sound of Light, Echo of Everything
Wathne (1977) shows the sound sculptures Earth of Sound, Sound of Light, Echo of Everything. She uses sound recordings from space and explores how patterns emerge when sounds are sent through water. The sound elements in the sculptures are from different sources but all use light waves (electromagnetic radiation) as a point of departure. The sound sculptures comprise audio tracks from the sun, earth's magnetic field and echoes from the Big Bang. Wathne is critical of the current worldview that justifies overconsumption of natural resources and contributes to a climate imbalance. She is concerned with nature and the environment and sees the importance of developing a new sensitivity for the subtle connections in the world; between the earth and the sun, water and air, us and the others, us and the world.
In Earth of Sound she has used soundwaves from the American space agency NASA. With the aid of advanced measuring tools they have registered vibrations in the magnetic field around the earth. The vibrations are on a frequency the ear cannot pick up but have been recorded to sound waves that are audible to us.
In the sound sculpture Sound of light the sound comes from the sun. Sound cannot travel through the vacuum of space. However, by analysing the electromagnetic radiation from the sun and through observations made by the space probe SOHO, researchers have transformed movements and vibrations in the solar mass to sound. It is too deep for the human ear but by increasing the speed 42 000 times it becomes audible.
In Echo of everything the sound material originates from the first light created, the so-called cosmic background radiation which hails from the birth of the universe, the Big Bang. Millions of years have been compressed to a sound track of a few minutes but the frequency has been raised 50 octaves so that we can hear it. The audio tracks have also been transformed to vibrations on the surface of water.
Wathne is a graduate of Bergen Academy of Art and Design, Camberwell College of Art, London and Glasgow School of Art. She has exhibited at Haugesund Art Society and participated at the Østland Exhibition, the Vestland Exhibition and The Autumn Exhibition.
14. MAY - 21. AUGUST
JON GUNDERSEN: AROUND MJØSA - AND A BIT MORE. Collage,
Jon Gundersen (1942) enjoys a special position in Norwegian art, especially with his peculiar and finely-tuned sculptures. He has three main areas of focus: pictures that can be cut and glued; things that are put together and text-based works. These expressions are either combined or displayed separately. This exhibition is made especially for Kunstbanken and will comprise several new works of art in the shape of sculptural juxtapositions of things, as Gundersen puts it. We will also see the coastline of Mjøsa stretched out as a wall frieze of map sheets. Gundersen's works appeal to the viewer's sense of humour, disarming and opening up for experiencing, sensing, associating and fantasising. Gundersen's Dobbeltdyr outside the town hall in Hamar is one of many examples of his larger sculptures.
One might say that Gundersen works inside an
object-based art and collage tradition. He prefers the word
thing rather than object about the elements he uses.
Gundersen feels that putting together two things is ideal as with
fewer items the viewer can associate more freely. The things he
uses have been found at flea markets, in containers and in nature.
They carry their identity from a previous condition or function.
Each of the things, whether a stick, a stone, a zipper or a clothes
hanger, are all objects of association in themselves. Gundersen
wants to share his discovery of and excitement about the unexpected
and manifold possibilities for a new meaning when they are
juxtaposed. At the same time, the unusual or unexpected
combinations come across as obvious - not least due to the skilful
craftsmanship of the artist. The joining and preparation of
materials and objects are deftly carried out with great precision.
The artist uses illusions and proverbs as humorous ploys. A title
may guide - or misguide - how a work is interpreted. With a kind of
melancholic humour, the opportunity for dialogue opens between the
past and the present, between the thing and the onlooker. Our idea
of art and reality in general, is put to the test.
Jon Gundersen, who is based in Oslo, studied at Norwegian National Academy of Craft and Art Industry in Oslo (1963-67). He has had a number of solo exhibitions, including Kunstnernes Hus, Bomuldsfabriken Kunsthall, Kunstnerforbundet and Stenersenmuseet. His work has been acquired by, amongst others, The National Museum in Oslo, Arts Council Norway and Oslo municipality. Jon Gundersen has also been commissioned to do a number of large public decoration projects including the main hospital in Trondheim, Hamar town hall, the University of Oslo, Oslo University Hospital (Rikshospitalet and Ullevål Sykehus), Spikersuppa in the centre of Oslo, Nordmarka in Oslo and Kolsås Metro station.
3. JUNE - 21. AUGUST
IDENTITET - Idè i tet
The Norwegian Folk Art and Craft Association's product
In 2015 The Norwegian Folk Art and Craft Association (NH) invited its member groups (Norske Husflidhåndverkere, Norske Brukskunstnere, Norske Kunsthåndverkere) as well as other artisans to a product competition. With the competition, aimed at craftsmen who wish to develop their business with new products, NH want to inspire and stimulate for increased knowledge and a focus on our artisans and Norwegian made handicrafts on the market. The exhibition at Kunstbanken shows the winner as well as a collection of the other submitted products and previous winners.
The product must:
-be good handicraft
-be user friendly
-be possible to produce as a series
-be made in Norway in 2015 - 2016
-not be previously exhibited or sold publicly
-be linked to Norwegian traditions but with an innovative design
-give background information, which may make it more attractive
3. SEPTEMBER - 23. OCTOBER
KARINA NØKLEBY PRESTTUN AND KRISTINA AAS: ENTERTWINE.Textile.
Karina Nøkleby Presttun (1981) works with laser
cut textiles. During the period 2009 to 2013 she made a series of
textile collages portraying boys in women's clothing. On these
large format collages the surface is important. From a distance
they look like paintings but up close one sees that the pictures
are made up of hundreds of pieces of textile. Since 2013 she has
focused on making sculptural objects by stacking cut textiles on
top of each other.
Kristina Aas (1978) mainly focuses on digital jacquard weaving, her artwork offering a wide range of sensory impressions. She challenges the technical aspects of weaving by finding ways to weave threads so that one loses the feeling of surface and instead perceives three-dimensional shapes. Her objects and motifs are both commonplace and general with references to the subconscious and the development of civilisation. Nøkleby Presttun and Aas wish to create something together, Entertwine being a result of this. The exploration of each other's materials and knowledge, as well as different approaches, has been a great inspiration for both.
3. SEPTEMBER - 23. OCTOBER
KARI MØLSTAD: RIPPLE. Glass.
Glass artist Kari Mølstad (1977) makes
functional glass objects as well as unique glass pieces. She blows
shapes that she adapts with sanding or cutting to bring out the
unique structures and contrasts in the glass. Typically, Mølstad
continuously makes use of new methods when she works on the glass
surface and its ability to communicate.
Using a range of techniques, she looks for reflections and optical effects within the glass. She is interested in contrasts such as matt vs. blank, transparent vs. opaque and organic shapes vs. rigid lines. The nature of the work process is guided by random variations that she facilitates. She is inspired by the interplay and changes in nature and how this works. Water, with its surface, transparency and spectrum of colours and nuances, is a recurring theme in her art. Her works may give associations to this vital resource, and through her artistic expression she wishes to communicate the need for preserving it. Kari Mølstad lives in Lillehammer and works at Hett Glass i Fabrikken, a glass blowing company.
She is a graduate of the National School of Glass in Orrefors and the Royal Danish Academy of Fine Arts School of Design, Bornholm, Denmark. She has been gaining work experience with various glass artists in Scandinavia and USA. She has also studied at Asker Art & Design College and Einar Granum School of Fine Art.
3. SEPTEMBER - 23. OCTOBER
LENE KILDE: BETWEEN DRAWING AND SCULPTURE. Wire
After completing her studies in 2012, Lene Kilde (1981) was awarded a three-year scholarship and started making steel wire sculptures. Through her artwork she wants to challenge the idea of where the boundaries go between drawings and sculptures. The steel wire sculptures form the starting point for further experimentation with absence and presence, as well as movement, lines, shapes and surfaces. She is interested in studying the shadow effects of the sculptures. As a counterweight to the light metal sculptures, she also works with concrete. She created a sculpture for the underwater sculpture park in Grenada, which in spring 2015 was submerged 8 metres. The underwater park, which is one-of-a-kind and a popular attraction, acts as an artificial reef for marine plants and animals.
Lene Kilde completed her master's degree in Production Design at Oslo and Akershus University College of Applied Sciences in 2012. She has exhibited at Varmtbadet, Drøbak Art Society (2015), Jessheim Art Society (2015), Skedsmo Art Society in Lillestrøm (2015), Nordhordland Art Centre (2014), Gallery Ramfjord, Oslo (2014), Galleri Festiviteten, Eidsvoll, Exhibit No. 1 (2013), Galleri Festiviteten, Eidsvoll, Exhibit No. 2 (2013).
SATURDAY 29. OCTOBER
For the 5th year running we have the pleasure of inviting you to what we hope will be an inspirational meeting with artists who sell glassware, graphic art, ceramics, paintings, jewellery, drawings and textiles. The actual artists will be here to present their work. In previous years, around 30 artists affiliated with Bildende Kunstnere Hedmark and The Norwegian Association of Arts and Crafts Øst-Norge have participated.
5. NOVEMBER - 30. DECEMBER
STÅLE BLÆSTERDALEN: LANGT NORDI LYSET. Woodcut, collage,
Blæsterdalen (1951) uses inner and outer
realities as raw material for his work with woodcuts, collages or
sculptures. He prefers inexpensive and accessible materials,
altered with simple tools that are also used for working on boats
and houses. Loss, lust and want shape the theme and charge what is
seemingly ordinary and commonplace with a greater significance. He
draws to capture and adapt sudden ideas. Blæsterdalen compares
consumer society with his own upbringing on a mountain farm in
Atndalen in Folldal. Common themes include reindeer, elk, high
mountain landscapes and people. Through a simplified graphical
expression, he seeks to define what gives meaning to modern and
traditional ways of life. As black and white converge, everything
that is unnecessary is stripped away leaving room for a simple and
timeless poetic expression.
Blæsterdalen grew up in Atndalen in Folldal, in the far north of Hedmark. He says that 'the mountains and moors are close to my heart.' His own roots and upbringing in these marginal outskirts of the Northern Hemisphere have always fascinated and inspired him. The contrasts are there in light and dark, winter and summer, young and old. The different components complement and define each other. A lifetime may appear mundane, with a given start and end, with conventions and traditions, but also moments that are almost magical. This magic the artist strives to capture visually, sometimes in the convergence solely of black and white.
He is fascinated by the paradoxes of changing landscapes and the seriousness of human influence on the climate and the resulting social challenges. Through his art, he seeks to highlight the foolishness in the world and its thin veneer of civilisation. He compares the increased material consumption in society to his own experience of growing up on a mountain farm; apportioned time, energy and resources were literally ploughed into the running of the farm in a continuous strive for sustainability and the security of coming generations.
Blæsterdalen feels that words fall short when he tries to describe these contrasts and relationships. Nevertheless, through graphic expressions he finds a way in which to define and delineate the fundamental aspects that offer meaning to the different variations of modern and traditional ways of life. By exploring these underpinning structures, he strives to add a poetic, as well as timeless, dimension to his work.
5. NOVEMBER - 30. DECEMBER
MAYA ØVREBØ: WHAT I LOST/WHAT I FOUND.
Øvrebø (1974) works with drawings, paintings and
installations. The theme of this exhibition is memories and our
search for ways in which to keep the good ones and let the bad ones
fade. Øvrebø explores her own memories by recreating them in
paintings, photos, objects and texts that together become an
installation. In this manner she creates a new version of her own
past. The installation is a tool for exploring how we are shaped by
our experiences, and the artwork makes use of classical symbols
from religion and psychology as a point of departure.
Øvrebø refers to recent research which suggests that our memory does not work objectively but is shaped by previous experiences. The original memory is subjective and we will therefore never get an accurate or "true" recollection of the past.The exhibition comprises small drawings and objects that each represent a memory or experience, some her own and some shared with her by others. The audience are invited to leave their own memories, good or bad, in the room for others to experience. In this fashion everybody contributes towards creating a kind of shared subconsciousness.
Øvrebø holds a Bachelor of Fine Arts from Gray's School of Art in Aberdeen, Scotland, and has exhibited at Klepp kunstforening, Tysvær kunstlag and Arendal kunstforening. In 2014 she received funding from Norsk Illustrasjonsfond for the graphic novel «Labyrinten».
5. NOVEMBER - 30. DECEMBER
TURID HAYE: PLANE, FORM AND FIGURE. Ceramics.
Shapes, surfaces and figures are recurring
themes in Turid Haye's (1951) ceramic art. The alternation between
two- and three-dimensional expressions provide an opportunity for
exploring unique combinations of strengths and weaknesses in clay.
With reference to the dynamic lines of nature, she explores the
relationship between shape and surface, and lines, curves and
planes. She models and builds alternately with porcelain and
stoneware clay, letting the colour of the clay support the
sculptural characteristics of the object.
Haye lives in Hamar and has worked with ceramic
art for a number of years. She is a graduate of Bergen Academy of
Art and Design and has studied ceramics and sculpture at the
University of Oregon, USA. She also holds an honours degree in Art
History from the University of Oslo. In 1978 she opened her own
workshop and has since done at a number of exhibitions and public
art commissions. Selected exhibitions: Taktil, NK Vest-Norge 2008,
Galleri Natthagen 2007, Galleri Fjordheim 2006, Tid, NK Øst-Norge