søndag 8. desember 2013

Michael Rieu Solo

Michael Rieu Solo

Sculptor and painter. Rarely talented in both. An artist from the Netherlands who loves hard stones but treates them with soft senses. 

A voyager who workes in different countries and is always on the move.

His heads always make you reflect.

Playfulness, curiosity, bodies and heads in harmony with nature, moving, playing, interacting.

 A nice opening, many curious guests, good atmosphere.

Close to nature. Wood sculpture and poetic, organic bodies.

                           The well-known and unique "Rieu-head" on sculpture and painting.

 Heads on table. Marble, granite, larvikitt, quartzite.

søndag 20. oktober 2013

Sigrid Thorbjørnsen Solo

First serie of Washi prints is being scrutinised by the visitors. These prints are from a one month stay in Vadsø by the artist. She consecutively left for Tokyo to make the first serie of Washi prints. These came out, after several days of testdriving the poor printer.

Being dependant on  own printingmaterial, the size does matter. Beginning with small prints on heavier Washi paper prepares one for other greater challenges later.

These prints are from the Setesdal serie on Washi paper. Photographed in traditional style family portrait photography, they refer to our typical ideas of national romantic identity.

Artist and gallerist, flower moment.

Meeting an ol' printing-colleague at the opening brings back fond memories. Bit busy in different departments, and both passionate about printing.

Another Washi moment. The thin layers almost make the photographs live their own lives.

Browsing through the Sasakawa foundation material. This foundation made a substantial subsidy towards the artist and her project to explore the Washi paper possibilities combined with the exploration of her relationship with Norwegian culture.


søndag 29. september 2013


 Spain, Greece, Norway and Italy in the background

Nice crowd. Fun to see people in the house.

Irene Ikdal from the Vest-Agder Fylkeskommune gives a talk on Europe and the cultural situation. Behind her 'Uncontrolled areas'

Terje Dragseth and Peter van Lier read the poem of the latter, Do not bend. They are standing before Ireland and Great Britain.

Terje Dragseth and Machteld van Buren before 'Uncontrolled areas'

 Ireland in the background

Machteld, me and Irene

Søgne bygdekor, or for the rest of this year Stemmekoret, the Voice/Vote-choir, sang 'Din tanke er fri', Your thoughts are free, Alf Cranner.

Terje Dragseth performing his poem Circus Norwegen in English, translated by Annabelle Despard. In the background the artworks 'Uncontrolled areas'.

lørdag 17. august 2013

CHANDRAHAS: soloexhibition with Grete Swahn

Grete Swahn is a child of the fifties, with no television of course, and she had to make her own images as she was growing up. Later she joined the hippie-sixties, with communal living in Germany and Britain in the earliy seventies. In the eighties she managed life as a single mother being an advertisement artist. Certainly a child of her times, her experiences have been a part of shaping her as an artist.

Green, mysterious and goofy are three words that I think can describe many of the works of Swahn. The title of the exhibition is Chandrahas which means moonlike smile. This mysterious smile is a part of the athmosphere around some of the artworks, and they do something to our imagination, they trigger our curiosity.

But first some more about pop art and comics which are not at all mysterious, or not traditionally so. I have always loved comicbooks, even to the extend that I finally taught myself to read using Donald Duck. Comicbooks never had any artistic status of the high-brow kind in its beginning. It was fun and superficial. Goofy. But now comicbooks have reached a new era where low-brow art mixes with high-brow and where we no longer can speak of a fine defined line between the two.

Along with comic-culture, pop-art which gets its inspiration from the comic-world, has changed too. Before, pop-art used to comment the superficiality of the comics of the time. Nowadays there is a whole other comic world to comment on. Not superficial at all. It is defined as literature.

So, low-brow pop-art being a seemingly superficial medium, turnes out to have reached the status of  high-brow society. Not completely without sometimes being yelled at, but who cares?

Because comicbooks of telltale paintings have been here forever, just look at Hieronymus Bosch, altarpieces or any kind of religious art, the Bayeux tapestry, or even the caves in Lascaux.

Getting back to Swahn, and why I like her paintings: it is a bit like the comics. Some of them are still a bit childishly playful and goofy, but at the same time very grown up, with a grown up commitment. Like the green commitment of Grete Swahn to the environment.

This commitment is moralisimg, a very grown up thing to be. Then she succumbs to a moonlike smile, the Chandrahas of mysteriousness, while in the next moment she will surprise you with the most goofy expression of artistry.

She seems not to be able to take herself too seriously for too long. Suddenly she has to get out and get some air. As well with the new experimental works with mixed media on canvas.

My advice is to let goofiness live, together with mysteriousness and green commitment, along with experiments. In short, let diversity live!!