SOFT galleri //
Norske tekstilkunstnere

Rådhusgaten 20
0151 Oslo

tlf: +47 22 33 59 82

E-postadresser:

formidling[att]softgalleri.no

Åpningstider:
Tirsdag-fredag: 12-17
Lørdag-søndag: 12-16
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Exhibits


Road Movie (verdure): Visiting Mom

Annika Ekdahl
Road Movie (verdure): Visiting Mom

Road Movie (verdure): Visiting Mom Road Movie (verdure): Visiting MomTrädens längtan efter storm

Sandra Norrbin
Trädens längtan efter storm

13 January - 13 February 2011

Welcome to opening Thursday 13 January 7 PM

SOFT gallery are proud to present a new project by Sandra Norrbin. Her site-specific sculptural installations have previously received widespread attention because of the way Norrbin merge idea, space and material into a new unity. Her projects deals with issues and problems related to the circuits the selected materials and objects are a part of. It also addresses the relationship between constructive and destructive elements. At SOFT gallery Norrbin has created a new project based on paper.

Norrbin are interested in the history of the material, she looks beyond its function and works with the material’s inherent qualities. The work can be seen as a frozen moment in a process that at any time can be continued. Conflicting forces are fighting against each other and provide an immediate and vital expression, as a materialized image of an inner conflict. The installation can be seen as a symbol of negative things that prevents one from moving on in life.These negative things or barriers may still be necessary steps along the way, and sometimes a storm is needed in order to make progress.

Sandra Norrbin (f.1976 in Vadstena, Sweden) lives and works in Oslo. Norrbin studied at the Art Academy in Trondheim. Norrbin has had solo exhibitions at Lautum Contemporary in Oslo, Galleri Verkligheten, Umeå, Sweden, and Supernova, Riga, Latvia. She has also participated in numerous group shows and has made public art projects in Porcelain Myra Kindergarten, and Sverresborg school, both in Trondheim.

The title is inspired by Edith Södergran’s poem “Färgernas Längtan,” from Poems (1916)

The exhibition is supported by Norske Skog Follum and Ramirent.

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), +47 47481770

Trädens längtan efter storm Trädens längtan efter storm Trädens längtan efter stormFargelag, fargelagt

Ingunn Bakke
Fargelag, fargelagt

24 February - 27 March 2011

Welcome to opening Thursday 24 February 7pm

With the exhibition “Multicoloured prints” SOFT gallery shows new work by textile artist Ingunn Bakke. Bakke has always been fascinated by the colour map - and not just the colours, but the graphical layout, with the overall patterns of squares or rectangles. But it is first now that she lets this interest be an artistic expression - a not unnatural need since she has worked primarily with white colours for years. Bakke is the first in this country to use digital printing technology in textile art. What she shows us is also a part of en exploration of what the digital technology can bring to this traditional crafts dominated artform.

Maps gives people a way to orient themselves, the square as the original form expresses a basic order in the world. The main work in the exhibition is a wall textile in a large format (2,5 X 4,4 m), digital printing on silk satin. Here Bakke has built differently shaped colour maps, laid them on each other, and through the use of repitition/variation, she has gotten the colours to work harmoniously. Annabeth Kolstø has designed a dress from this textile especially for the exhibition.

Bakke (f.1966) lives and works in Oslo. She is a graduate of the Institute the National Academy of art Oslo, and she has had solo exhibitions at Hå gamle prestegård, Jæren, and at Kunstbanken Hedmark Kunstsenter, Akershus Art Center and at Gallery Format. Bakke has participated in numerous group exhibitions, and her work is in the collections of the National Museum of Art Architecture and design, Sogn og Fjordane Art Museum and the West Norway Museum of Decorative Arts.

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), 47481770

Fargelag, fargelagt Fargelag, fargelagt Fargelag, fargelagt Fargelag, fargelagt

Soft Technology

31 March - 1 May 2011

Soft Technology is a research project on electronic textiles in a Scandinavian context. The project has a focus on materials and technique and aims to collect resources and plant a seed to an active network of practitioners outside and abeam the institutions.

We have through a series of worklabs, seminars and open workshops, explored the possibilities and challenges present when new technologies meet profession-based theoretical knowledge and artistic practise.

After two workshops at Atelier Nord in Oslo spring 2010 and two workshops in collaboration with Future Textiles at the College of Art in Bergen fall 2010, the project will be completed with an exhibition at Soft gallery in Oslo in April 2011 and in Gallery 3,14 in Bergen in August 2011.

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), 47481770

Kristina Aas – Leftovers

Celine Marcq – Inconspicuous Matter

Ricardo Nascimento – E-ansã

Hillevi Munthe – Laminaria

Everything awaits Fotograf Anders Rubing

Borghild Rudjord Unneland
Everything awaits

12 May – 12 June 2011

The power of paradox is a central starting point in Borghild Rudjord Unneland`s artistic production. With everyday objects as instruments she thematizes social connections and structural systems on both a micro and a macro level. Unneland has a vivid approach to fiberart in her works. Through the tactile and snug materials she reflects around recognition, sensibility and human existence. The language of the work points in direction of the absurd and nasty, but also the beautiful and vulnerable.

Borghild Rudjord Unneland (b. 1978) lives and works in Bergen. She is a graduate of the National Academy of Bergen (KHiB) and has exhibited at numerous institutions in Norway and abroad, including Akkershus Kunstsenter, Lillestrøm / Rogaland Kunstsenter, Stavanger/ Røhsska museet, Gøteborg / Oslo Kunstforening / Oslo, Bomuldsfabrikken, Arendal / Prøverommet, Bergen / Kaunas Biennial, Lithauen og Galleri By The Way, Bergen. She has also been responsible for a number of public art projects

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), +47 47481770

Everything awaits

Fotograf Anders Rubing

Everything awaits

Fotograf Anders Rubing

Everything awaits

Fotograf Anders Rubing

Everything awaits

Fotograf Anders Rubing

Everything awaits

Fotograf Anders Rubing

textile-fiber-leather

TRIENNALE 06
textile-fiber-leather

9 September - 8 October 2006

The exhibition was organised by Norwegian Association of Art & Crafts, and was shown in Oslo Kunstforening and SOFT. Of the 53 participating artists, six were showing in SOFT: Siri Berqvam, Lillan Eliassen, Tonje Kristensen, Anne Lene Løvhaug, Janne Nes and Sidsel Palmstrøm.
Online exhibition catalogue at http://www.triennale.no/2006/

RECONSTRUCTED LANDSCAPE

Anne-Gry Løland
RECONSTRUCTED LANDSCAPE

18 November – 17 December 2006

Private view 18 November at 13:00

“The beautiful in the imperfect”
Building up and tearing down are key words that Løland has employed to mediate the relationship between beauty and destruction in the monumental work “Reconstructed Landscape”. Patterns emerge and disappear, only to mutate and create new patterns.
“I am preoccupied with the transitory, that which disappears. I want to create a fragile expression, in which there is a sense that the textile itself disintegrates. The physical textile that remains may seem random and uncontrollable whilst the shadow on the wall is concrete and clear. It creates space and depth in the work.”

Løland’s work created considerable interest at the MA degree show at Bergen National Academy of the Arts, and was purchased by the Norwegian Arts Council - an unexpected honour for a graduate.

RECONSTRUCTED LANDSCAPESIRENS' SONG

Mija Renström
SIRENS' SONG

6 January - 18 Februar 2007

Mija Renström’s artistic practice explores and questions structures. She deconstructs them and reconstructs them in new ways. With a critial and analytical perspective, her work takes the creation of identity as its starting point. Her crocheted textiles break free from their predestined patterns and reinterpretates the feminine craft. Like a rebellious tangle the organic, crocheted objects escape all forms of limitation. They escape all forms of categorisation, name-giving and taxonomy. Without form and undefined like amobae, her objects take on new forms in different spaces.

In SOFT Renström shows the work “Sirens’ Song”. She uses coloured light that blends with the daylight. The light in the exhibition space is in a state of constant change as the daylight merges with the cool blue neon light. Mystical and seductive like a singing siren, her crocheted object lures the viewer into the room.

The exhibition is generously supported by OSRAM AS.

http://www.mijarenstrom.com/

SIRENS' SONGINSIDE OUT AND ROUND AND ROUND Foto: Vegar Moen

Hanne Friis
INSIDE OUT AND ROUND AND ROUND

3 March - 1 April 2007

Hanne Friis’ textile objects balance between the decorative and the corporeal. Although her works may evoke a multitude of associations, they defy all form of identification and thus remain merely themselves. Employing hand stitching and folding techniques the light material is transformed into compact, organic shapes. Friis’ works has a baroque and sensuous quality, a soft matter that invites touch; At the same time their imposing presence can be intimidating. Central in Hanne Friis’ work are the sets of opposing notions: order-chaos, beauty-horror, natural-artificial, inside-outside, positive-negative.

In SOFT Friis will show the new sculpture “Inside out and round and round” which has been made specifically for SOFT’s gallery space. She will also present new photographs relating to the textile objects. The works can easily be perceived as plain and direct, while at the same time they have a complex structure.

www.hannefriis.com

INSIDE OUT AND ROUND AND ROUND

Foto: Vegar Moen

INSIDE OUT AND ROUND AND ROUND INSIDE OUT AND ROUND AND ROUND INSIDE OUT AND ROUND AND ROUND INSIDE OUT AND ROUND AND ROUNDWORK ON PAPER

Dania Burger
WORK ON PAPER

14 April - 27 May 2007

“Like many artists of her generation, Dania Burger works intimately with her own biography and close to her personal experiences. The biographical is the singlemost important point of reference in her work. Ornamentation is another important source of information in her work. Dania Burger is deeply preoccupied with formal language of ornamentation. A third reference point for her is the textile material. She uses textile in many ways, like textile print, crochet works in the form of sculptures and embroidery on paper.”
Per Solvang

In SOFT Dania Burger will show new works. In the exhibition “Work on paper” she presents four big crochet-drawings, five smaller crochet-drawings, a curtain and a narrative text. Together these elements build an installation. The artist was inspired by ornaments from the exhibited curtain when she made the drawings. Compared to her earlier works the crocheting is now taking new and intricate shapes. Dania Burger’s combination of materials, colours, shapes and techniques opens up for sheer imagination and inspires the onlooker’s free interpretation.

http://www.daniaburger.com/

WORK ON PAPER WORK ON PAPER WORK ON PAPERPARADISE CITY

Masterstudenter fra KHiO
PARADISE CITY

7 June - 5 August 2007

Six students on master level from Oslo National Academy of the Arts, Faculty of Visual Arts, has chosen to make works relating to different aspects concerning the city centre of Oslo and the Quadrature. This is the area where SOFT is located. They will show new works in various techniques. The exhibition will give a picture of what the master students from the former faculty of textile are working with now in the new faculty of Visual Arts.

The students are: Runa Carlsen, Linda Hellevik, Karen Kviltu Lidal, Oda Broch, Elisabeth Storhaug and Maren Lohne Westlie.

PARADISE CITY

Runa Carlsen
1. Oslo bystyre
Runa Carlsen viser installasjonen Oslo bystyre
59 folkevalgte skal representere byens befolkning i viktige demokratiske prosesser. Bystyret tar beslutninger om hvem som og under hvilke premisser det felles og offentlige rommet taes i bruk. I installasjonen Oslo bystyre benytter Runa billige materialer som henspeiler på hverdagsliv, på former man vanligvis forbinder med hjemlige tekstiler eller prøvelapper laget i formingstimene på 70-tallet.
.(JavaScript must be enabled to view this email address) / 934 05 212

PARADISE CITY

Maren Lohne Westlie
2. Du fortjener noe spesielt, Kart og strikk
Westlie er opptatt av forfall og avskallinger, om ting som går i stykker og behovet for å reparere dem igjen. Hennes prosjekt handler om å fremheve det marginaliserte og se det man ikke alltid ser.
.(JavaScript must be enabled to view this email address) / 452 21 109

PARADISE CITY

Runa Carlsen & Karen Kviltu Lidal
3. Kappeland, Dokumentasjonsvideo
Kappeland er en live installasjon som fant sted på Youngstorget i Oslo 3.mai, 2007. Den besto av avlagte tekstiler (tepper, sengetøy, duker osv.) lagt utover plassen for en dag. 1700 kvm tekstiler ble gitt av Rådhuset, UiO, Fretex, loppemarkeder og enkeltpersoner i Oslo. Publikum kunne sette seg ned på teppene og ta byrommet og plassen i besittelse.

PARADISE CITY

Elisabet Storhaug
4. L’Apocalypse d’Angers, T-skjorter
Utgangspunktet for arbeidet er Apokalypsen fra Anger, en billedvev fra 1300-tallet som viser Johannes Åpenbaring bilde for bilde. Storhaug har hentet ut 7 figurer som hun har laget band t-skjorter av.
.(JavaScript must be enabled to view this email address) / 996 23 347

Linda Hellevik
5. Adaption, Fotografi, 29x21 cm
6. Adaption Performance, Performance 3:00 timer
.(JavaScript must be enabled to view this email address) / 478 13 657

PARADISE CITY

Oda Broch
7. Accept/ Decline #1, Serigrafi, 50x70 cm
8. Accept/ Decline #2, Tegninger, 41x59 cm
Oda Broch har denne gangen valgt å ta utgangspunkt i tegning. Arbeidet Accept/ Decline problematiserer intimitet i den offentlige sfære.
.(JavaScript must be enabled to view this email address) / 476 13 081

PARADISE CITY

Karen Kviltu Lidal
9. Jeg vil bygge meg en gård, Kritt på asfalt
Karen Kviltu Lidal arbeider med installasjoner hvor hun utforsker sammenhengene mellom privat og offentlig sted. I Jeg vil bygge meg en gård tar hun utgangspunkt i galleriets grunnplan som en avgrensning som får andre meninger når den er tegnet opp på gaten utenfor.
.(JavaScript must be enabled to view this email address) / 950 85175

EXCHANGE OF VIEWS

Caroline Broadhead
EXCHANGE OF VIEWS

25 August - 7 October 2007

Caroline Broadhead‘s practice brings the unusually autonomous areas of jewellery, textiles and performance art into close relationship. For some years now she has used garments to express ideas about personal identity and to reveal the characteristic feelings or emotions that a person may seek to conceal. In recent works, shadows have become an integral part of the work.

Born in 1950, Broadhead trained at the Central School of Art and Design, London. Public collections that hold examples of her work include the Stedelijk Museum, Amsterdam; the Museum of Modern Art, Kyoto; and the Victoria and Albert Museum, London. She was the winner of the Jerwood Prize for Applied Arts: Textiles in 1997.

At SOFT Caroline Broadhead will show the work “Exchange of Views”. The work is an image of a net curtain, made up of masses of fragments of mirror. This type of net curtain is very usual in the part of London where Caroline Broadhead lives. There is a choice about what one can look at. One can choose to look at the focal plane the mirror is on, or at the image reflected; where the image of the space and oneself is fragmented. Like the garment that the artist have used extensively in the past, the window and how it is dressed, is the interface between what is deemed one’s own and not one’s own - the boundary of ownership and territory.

EXCHANGE OF VIEWS

Foto: Annar Bjørgli

EXCHANGE OF VIEWS

Foto: Annar Bjørgli

EXCHANGE OF VIEWS

Foto: Annar Bjørgli

KRYPTO

Astrid Runde Saxegaard
KRYPTO

20 October - 9 December 2007

Astrid Runde Saxegaard is an artist that is mainly working with textile media. Intuitively she grabs used and discarded textiles and other used items from our culture, and combines them in new wall hangings and installations. When she combines these well known used textiles and objects in her works, new and often surrealistic stories are created. Discarded socks with a missing partner combined with rusted iron turns into sculptures. Part of destroyed toys and other household items are made into self portraits. An orange coloured tarpaulin is used as a “red carpet”. At the annual autumn exhibition in 2006 she showed the work Apollon which is made from a synthetic duvet and a dressing gown.
Her working process is impulsive and she works with many different techniques such as: drawing, photo, video and text. Parts from this process become integral elements of her installations.
Astrid Runde Saxegaard is born in 1968 in Volda.  She graduated from The National College of Art and Design in Oslo with a degree in textiles in 1996.

KRYPTO KRYPTO KRYPTO KRYPTOA text installation by Elisabeth Leinslie and Snorre Hvamen

MANIFEST 2007
A text installation by Elisabeth Leinslie and Snorre Hvamen

16 December 2007 - 1 January 2008

Manifest 2007 is a textile installation. Art manifestos are projected onto different surfaces; this Christmas on the windows and walls of SOFT. Here you will find a timeless mix of manifestos from a number of avantgarde movements and art theorists of the previous century. By removing the manifestos from their original time and context the installation employs the the revolutionary poetics of the avantgarde movements to say something about today’s art situation.

Authors: The Situtationist International, The Guerrilla art action group – G.A.A.G, Laurie Anderson, Hans Arp, Antonin Artaud, Philip Auslander, Hugo Ball, Marshall Bermans, Umberto Boccioni, Nicolas Bourriaud, Berthold Brecht, André Breton, Peter Brook, John Cage, Álvaro de Campos, Paul Cézanne, Edward Gordon Craig, Salvador Dalí, Tina Darragh, Gilles Deleuze, Felix Guattari, Jacques Derrida, Marcel Duchamp, Friedrich Dürrenmatt, Jean Epstein, Lucio Fontana, Julião Henning von Gärtner Blaue, Jean Genet, Johann Wolfgang Goethe, Hannah Higgins, Stewart Home, Carsten Höller, Henrik Ibsen, Wolfgang Iser, Isidore Isou, Wladimir Kaminer, Vassily Kandinsky, Tadeusz Kantor, Søren Kierkegaard, Michael Kirby, Heinrich von Kleist, La Rouchefoucauld, Fernand Léger, Hans-Thies Lehmann, Niels Lehmann, Lenin, Mina Loy, Georges Maciunas, McLuhan, F.T. Marinetti, Gustav Metzger, Vselovod Meyerhold, W.J.T. Mitchell, Laszlo Moholy-Nagy, Heiner Müller, Friedrich Wilhelm Nietzsche, Valère Novarina, Jyrki Nummi, Max Reinhardt, David Ross, Saint-Pol-Roux, Torben Sangild, Oscar Schlemmer, Anke Schleper, Susan Sontag, Gertrude Stein, Jan Løhmann Stephensen, Judith Schwarzbart, Bruno Taut, Tristan Tzara, Raoul Vaneigem, Samuel Weber, James Wierzbicki, Oscar Wilde, Robert Wilson, Richard Wagner, Stanislaw Witkiewicz, Ludwig Josef Johann Wittgenstein, Gunnar Wærness

The project is supported by the Fund for Performing Artists

THREETHOUSANDANDEIGHTYSEVEN WARS

Jorunn Irene Hanstvedt
THREETHOUSANDANDEIGHTYSEVEN WARS

12 January - 17 February 2008

Jorunn Irene Hanstvedt is an artist who works in many different medias. In the first period after graduating she was mostly working with sculpture, installations and video. For the last 10 years she has been concentrating on photography, although she is also still doing projects with objects and installations, often with textile objects. At SOFT Hanstvedt will show new works made especially for this show.

Jorunn Irene Hanstvedt graduated from The Academy of Arts in Oslo in 1991. She also has a degree in textiles from National College of art and design in Bergen from 1985. After graduating she has shown her works frequently in galleries both in Norway and abroad. Her works is represented both in private and public collections. In 1996 she got the PS1 studio program in New York, where she lived and worked for most of the time until 2003. Her studio is today in Ekely in Oslo. Hanstvedt was engaged as professor 2 in the textile department at The National College of Art in Oslo from 1997 to 2003.

THREETHOUSANDANDEIGHTYSEVEN WARS THREETHOUSANDANDEIGHTYSEVEN WARS THREETHOUSANDANDEIGHTYSEVEN WARSUNTITLED WITH CIRCLES

May Bente Aronsen
UNTITLED WITH CIRCLES

3 April - 11 May 2008

In October 2007 May Bente Aronsen received “The Nordic Award in Textiles 2007”, with a following solo exhibition at The textile Museum in Borås, Sweden. In 2000 The Norwegian Association of Arts and Crafts awarded her its prize for the most notable work at its annual exhibition.

May Bente Aronsen is known for creating large scale textile works that are both monumental and three-dimensional. She uses materials such as felted wool and polyester tissue. Precisely she cuts out geometrical shapes and patterns from the textile materials. Aronsen uses these as modules to build up her large scale reliefs. The technique is her own; she has developed and perfected it over several years. With this technique she manages to create pronounced textile works with her very own distinct signature. In her last works Aronsen has constructed her works by hanging cut out textile shapes with a certain space between them. This allows her to go further in experimenting with optic illusions; are you standing close to the work you may see right through it, are you watching from a distance it looks as if the surface is solid with geometrical shapes. At SOFT May Bente Aronsen is showing a brand new textile work. It is hanging from the ceiling and visitors can move around and see the work from all angles.

May Bente Aronsen is born in 1962 in Nordland and is now living and working in Oslo. She has studied textile art at both the College of Art in Bergen and Oslo with a master degree from The National College of Art In Oslo in 1991. May Bente Aronsen is a very active textile artist when it comes to exhibitions and commissioned works, both in Norway and abroad. Her works are purchased by all three Norwegian art and crafts museums. One may also see her art at the new House of Literature in Oslo where she delivered a large decorative installation last autumn. Aronsen is now working with a new commission; she is going to create decorations for the new courtrooms in Stockholm Rådhus (Stocholm Court).

UNTITLED WITH CIRCLES UNTITLED WITH CIRCLES UNTITLED WITH CIRCLESSUMMER EXHIBITION Marte Røed Hørbarhet En gang lette jeg etter tegn. Lyttet etter hemmelige meldinger. Barn er spirituelle vesener. Jeg hadde nesten glemt det. Alt jeg visste. Det er som alt holder en hemmelighet, i sin rytme, sitt mønster. Fortellingen er der bare, henger i luften, gror i trærne, venter ikke på at du skal høre etter, er der hele tiden, blir fortalt kontinuerlig. Av togene, kråkene, veiene, heisene. Verket består av installasjon med knappenåler montert direkte på vegg. Marte Røed fullførte masterstudiet vår 2008.

Studenter fra Kunsthøgskolen i Bergen
SUMMER EXHIBITION

30 May - 2 August 2008

We have invited Master and Bachelor students from Bergen National Academy of the Arts to exhibition at our summer show. The exhibition period is split in two:
Marte Røed, Bodil Gerber, Hilde K. Frantzen: 30 May - 15 June
Helene Horvei Mæhle, Ane Woll Godal, Anneli Sivertsen: 17 June - 2 August

SUMMER EXHIBITION

Bodil Gerber
Occhi
Håndverksteknikker er gode utgangspunkt for nye uttrykk. Etter å ha lært seg det tekniske, kan man gjennom undersøkelser og eksperimenteringer oppleve at noe nytt og annet oppstår, - både i innhold og estetisk uttrykk. Inspirasjon til denne måten å arbeide på får jeg både gjennom folkekunstens frodighet i form og dekor, tidligere tiders handverksglede og generasjoners overleverte kunnskap. Jeg ønsker å hedre gammelt handverk ved å ta det med inn i en kunstkontekst. Det handler om tid, om å hente frem noe fra en svunnen tid, - om å bevare og beskytte. Jeg ønsker å åpne for noe nytt, noe annet - en transformasjon og forandring, - over tid.

Verket er en kombinasjon av tredimensjonal skulptur som forholder seg til rommet mellom tak og gulv og vegg, og todimensjonale objekter på vegg. Teknikken er nuperelle i viskosetråd kombinert med ståltråd som bærende konstruksjonsmateriale.

Bodil Gerber fullførte masterstudiet vår 2008.

SUMMER EXHIBITION

Hilde K. Frantzen
Hilde 35
Det finnes ingen garantier for noe som helst i framtiden. Hva som helst kan hende når som helst. Hvis man kunne velge hvem man vil være i framtiden, hvem ville man være? Jeg har iscenesatt meg selv i 2017. Gjennom kostymer, “skuespillere”, broderi og tekst forteller jeg historien om Hilde 35.

Verket består av fotografier montert på vegg.

Hilde K. Frantzen fullførte bachelorstudiet vår 2008.

SUMMER EXHIBITION

Helene Horvei Mæhle
Smerte og behag
- Kontraster og likheter knyttet til kropp/følelser.
“Smerte er privat og enestående, noe vi er alene om og ikke fullt ut kan formidle. Men smerte er samtidig en fellesmenneskelig erfaring, noe vi kan leve oss inn i, og identifisere oss med” (Kraft 2004:304)
Gjennom broderi og trykk på objekter som gir klare assosiasjoner til hjemlige, koselige og trygge, ønsker jeg å sette fokus på det smertefulle og behagelige. Er de så forskjellig? Jeg mener at det er opplevelsene i livet som gir innhold, om de er positive, negative, smertefulle eller behagelige. Alle sider av livet er like viktig for å skape kompleksitet.

Helene Horvei Mæhle fullførte bachelorstudiet vår 2008.

SUMMER EXHIBITION

Ane Woll Godal
Prosjektet handler om møte mellom tekstil og kropp og en stor fasinasjon over draperi og linjer. Når det kommer til min interesse for tekstil på kropp handler det ikke om klær, men om hvordan sjalet henger over skuldrene, eller legger seg om halsen; hvordan skjørtet beveger seg når man går, og legger seg når man sitter. Dette er flyktige øyeblikk som forsvinner, derfor har jeg vært på jakt etter måter å fange dem på og linjene har vært med på akkurat det.

Teppet er vevd på digital vev.

Ane Woll Godal fullførte bachelorstudiet vår 2008.

SUMMER EXHIBITION

Anneli Sivertsen
Bekkeblom
I mitt eksamensprosjekt Bekkeblom har jeg forsøkt å nærme meg denne blomstens form, farge og omgivelser. Jeg har gjennom silketrykk villet forene menneske og natur, gjennom å manipulere og forsterke naturens egne uttrykk. Blomster og repetisjoner gjenspeiler identiteten i prosjektet. Fargevalget er og en viktig del identiteten min. Inspirasjon til form og fargebruk kommer fra barndomsminner jeg har fra hjemplassen min; kyst og fjordstrøkene i Indre Billefjord, Porsanger kommune i Finmark.

Verket består av stofftrykk på bomullsstoff montert på plater som er installert på vegg og gulv.

Anneli Sivertsen fullførte bachelorstudiet vår 2008.

DESCONOCIDA UNKNOWN UKJENT

Lise Bjørne Linnert
DESCONOCIDA UNKNOWN UKJENT

21 August - 5 October 2008

Workshops Tuesday 26th August and Tuesday 9th September 7pm to 9pm

Download invitation to workshop (pdf)

Desconocida Unknown Ukjent is a political art project related to women’s fight against abuse, femicides and human trafficking. Through a traditional female activity: embroidery, people globally are invited to engage, protest and show solidarity with the fight against abuse. As an example of this worldwide issue, the critical situation in Juarez, a city on the border of USA and Mexico is presented. In this city close to 600 women have been found tortured, abused and murdered and hundreds have disappeared, suspected kidnapped to trafficking.

So far, in this embroidery project, 700 people in 22 countries have participated. Each participant embroiders the name of one murdered woman from Juarez onto 2x8cm nametags. To remember women worldwide experiencing similar abuse, each participant also embroider unknown in his or her own language and alphabet.

The project will be shown in gallery Soft as a room installation where the project’s global engagement will be addressed. The exhibition room will, during the period of showing, be an arena where the viewer is invited to enter the work through various forms of activities: embroidery workshops, presentations and artist talk

“Each women of Juarez is considered, and this, by only one embroiderer. More than one thousand « face to face » took place to this day:  silent, intimate and meditative dialogs, which happened in workshops that were created only in order to be part of this project. All these meetings, real and symbolic, allow the realization of a piece which tells us to what extent every life counts: wherever we live, whoever we are, we all belong to mankind. The use of embroidery (in a very simple way, with no previous knowledge required) and not of any « artistic » skillfulness contributes to give sense to the project, by emphasizing trivial, daily, “insignificant » gestures which are, though, at the origin of any human creation.”
Anne Clerget , Paris, France

DESCONOCIDA UNKNOWN UKJENT DESCONOCIDA UNKNOWN UKJENT DESCONOCIDA UNKNOWN UKJENT2 PARAGRAPHS

Bente Sætrang
2 PARAGRAPHS

16 October - 7 December 2008

Welcome to opening reception Thursday October 16, 7 PM

Bente Sætrang wishes to express her personal experiences and political comments through her art. She attempts to understand herself in a political context and one can see this involvement expressed in her artworks. The textile material has got its own language; historically the language is strong and filled with symbols, but for everyday use just banal and necessary. Within these possibilities for expressions Bente Sætrang creates her art.
Bente Sætrang works with printing, drawing and painting techniques direct on textile materials such as canvas and tarpaulin. She prints and paints in layers on the surface, and then she rubs down part after part to reveal the first layers. She also adds other details, small things from the textile world of duration and care, such as stitches, to underline the character of the textile materials. She is probably most known for her painted draperies on old and worn out tarpaulins.

At Soft gallery Bente Sætrang presents two new, large scale textile works. The material is old and used tarpaulins. The work ”(re-) construction” measures 280 cm X 283 cm, and consists of bright and intense yellow, green, pink and blue colours. Work nr. 2 “construction (-site)” makes a contrast with colours from deep blue to black. These two separate works of art relates in a dialogue with each other, and can be seen as two paragraphs, two flakes, taken from a larger continuity. 

For over 30 years, Bente Sætrang has explored the limits of textile art and the scope for going beyond them. By combining painting and printing techniques, and blurring the relationship between them, Bente Sætrang`s textile pictures break down traditional boundaries within art. Likewise, her tapestries constantly pose and formulate new questions; questions concerning the hierarchical relationship between our shared cultural values and a gender-related subjectivity.
Jorunn Haakestad

Bente Sætrang is one of Norway’s best known textile artists. She also plays a part at the international textile art scene. She was awarded the prize from the National Museum at the triennial “Textile 07” in Kaunas, Lithuania, and was given a silver medal at the 11th international Textile triennial in Lodz, Poland in 2004.

Sætrang has her diploma degree from the textile department at The National College of Art in Oslo in 1973, and from The Academy of Fine Arts in Poznan, Poland ( Prof.M. Abakanovicz) in 1974. She has had several exhibitions and commissioned works. She had a retrospective exhibition at The Museum of Art and Crafts in Bergen and in Oslo in 2003 – 2004 called”Pattern, Meaning, Memory.” Many collections have purchased her works such as The Museum of Contemporary Art in Oslo, all three Norwegian art and crafts museums and Victoria & Albert Museum.

Bente Sætrang was professor and head of the textile department at The National College of Art in Bergen from 1987 to 1993.

2 PARAGRAPHS 2 PARAGRAPHS 2 PARAGRAPHS15 BOKSTAVER / 15 LETTERS Nesten, 2008, 150x96cm

Inga Blix
15 BOKSTAVER / 15 LETTERS

15 January - 15 February 2009

Welcome to exhibition opening on Thursday 15 January at 7PM

Inga Blix works with textile materials and techniques. She makes her own colour palette by dyeing fabric into a variation of colours, and from that palette she composes tapestries using appliqué technique sewn by hand.
Inga Blix uses letters and words as pictorial elements in her works. She is influenced by the way grafitti uses text as image, but also by the use of text as image in traditional textile art and tapestries.

Inga Blix is interested in the concept “Synestesi”: how different impressions connects with each other in our brain, like the way many people connects words with colours. The connection between colour, words and letters has been apparent to the artist since her childhood. This is a phenomenon with big individual variations that makes it interesting to work with, and she uses her thoughts and ideas around this concept as elements in her art.
Blix wishes to say something about the way textile materials plays an important part of our lives; for everyday use in clothes and blankets and as an important product in the global economy.

Inga Blix, born 1956, lives and works in Hamar. She graduated from The National College of Art in Bergen, diploma in textiles in 1983, and from California College of Arts in 1982. She has showed her works in Norway and abroad, and participated in several exhibitions in Japan with textiles in shibori technique. She has made several commissioned works and her art has been purchased by Arts Council Norway among others.

15 BOKSTAVER / 15 LETTERS

Nok (Enough), 2008, 151x141cm

15 BOKSTAVER / 15 LETTERS

Varm (Warm), 2008, 185x100cm

15 BOKSTAVER / 15 LETTERS

Plutselig (Suddenly), 2006, 207x127cm

THE GREEN ROOM When the dawn grows green

Bjørn Båsen
THE GREEN ROOM

26 February - 5 April 2009

Welcome to exhibition opening on Thursday 26 February at 19:00

The subculture, whether contemporary or past, gives the opportunity to remove yourself from the common world and immerge into a society that suits your needs better. The subculture can be everything from the urban underground-life in the mega-cities of today to the secret life of the aristocratic society of old Europe.

Bjørn Båsen`s work introduces the concept of subculture into a personal mythology both visually and thematically. A mythology based on a decadent and deteriorating world, in which he treats the ceremonies and extravaganza of the nobility and bourgeois-society of Old Europe.

Båsen wishes to tell this through an aesthetic inspired by the sexualized cuteness you find in Japan and the masters of late 18th century painting such as Watteau and Boucher. By introducing a shiny surface or luxurious materials he uses the Wagnerian trick of seduction to lure the viewer to accept the tangy content. To Båsen kitsch is a source to sample from rather than to react against. Through the means of kitsch the artist wishes to create scenarios and sculptures in the twilight between the honest and the ironic. The work often take the shape of an interior installation, a scenery of seemingly authentical objects put together of components to give the impression of being taken from a place of historic and cultural origin slightly off-track of our own time. This idea can take the shape of installations, paintings and sculptures.

The element of the handmade object is important in the work. It gives it a tactile quality as well as carrying the personal touch from the artist. The quality also links it back to an old tradition of craftsmanship that ties the pieces into a historical tradition centered around the object as something precious. Materials such as brocade, golden ribbons and fur and indulging into the detail-making of the objects, gives the illusion of being made for a distinct purpose, but without providing the answer to this.
Bjørn Båsen, born 1981, lives and works in Oslo and Eggedal. He graduated from The National Academy of Arts in Oslo; Master of Fine Arts 2007. Batchelor of Fine Arts (Hons) from The Arts Institute of Bournemouth, UK in 2004. He has showed his works at Astrup Fearnley Museum of Modern Art, Galleri Brandstrup and Stenersen Museet. Several collectors such as Astrup Fearnley Museum of Modern Art and Statoil Hydro have purchased his art.

Read what Morgenbladet said about his exhibition.

THE GREEN ROOM

Remnants of an unsuccessful escape

THE GREEN ROOM

When the dawn grows green

THE GREEN ROOM

The bashful never goes empty-handed

Context and Collaboration: connections and differences in contemporary textile practice in Japan and Norway

CULTEX
Context and Collaboration: connections and differences in contemporary textile practice in Japan and Norway

Artists Presentations and discussion panel Kunstnernes Hus, Akademirommet, 1 April, 19:00 – 21:00

CULTEX at Kunstnernes Hus

Wednesday the 1st of April at 7 - 9 PM

Title: Context and Collaboration: connections and differences in contemporary textile practice in Japan and Norway A series of presentations followed by a panel discussion in which the participants in the CULTEX project describe and discuss their year long collaborative journey resulting in the exhibition Opening at Galleri F15 on April 4th

Taking part:
Moderator: Curator of CULTEX Professor Lesley Millar, Professor of Textile Culture,
University for the Creative Arts, UK
CULTEX Artists:

Japan

Professor Machiko Agano
Associate Professor Yuka Kawai
Professor Kiyonori Shimada
Keiko Kawashima, Project Co-ordinator Japan, Director Gallery Gallery Kyoto

Norway

Anniken Amundsen
Gabriella Goransson
Eva Schjølberg

The six artists in CULTEX have been working in three trans-national pairings, exploring the processes of realising form and structure in textiles in Norway and Japan. Their collaborations have taken place in the context of the developing relationship within each partnership and the surrounding social and material environments.

Each partnership was brought together by the Curator after careful research and matching of creative sensibilities. The use of materials, different technical expertise, relationships to concept and context were taken into consideration and recognised as representing appropriate yet diverse methodologies within both cultures.

The exchange was conducted in English, a second language for all 6 participants, which placed a special emphasis on the understanding of cloth and the making of cloth as a means of communication. Within the collaborative partnerships, these six highly respected artists have explored their different approaches to the creative process, approaches mediated by specific cultural identities and each artist’s established practice.

The prospect of producing collaborative work provided fertile ground for the artists to explore cross-cultural differences and connections. The outcome exhibition at Galleri F15 is an exciting and thoughtful new body of work, reflecting the artists’ individual and collaborative experience during the working exchange.

The event at Kunstnernes Hus provides a unique opportunity to hear first hand from the Japanese artists about their work and to join in the discussion with all the artists and the Curator about their experiences during the CULTEX project.

Notes:
Machiko Agano and Kiyonori Shimada are two of the foremost textile artists in Japan, their work is held in musuems in Japan, the UK, Australia and the USA. This is the first showing of their work and that of Yuka Kawai in Norway.
Lesley Millar is the Director of the Anglo Japanese Textile Research Centre and curator of several major touring exhibitions featuring the work of Japanese textile artists The CULTEX exhibition will travel to the UK in 2010 and Japan in 2011

PLEATS & FOLDS "Pleats and Folds 4" Video work

Clare Thornton
PLEATS & FOLDS

16 April - 29 May 2009

SOFT gallery proudly presents a solo show by British artist Clare Thornton.

A collector of private stories and curious about the memories we tenderly fold into personal objects, British artist Clare Thornton has created a series of new works for her solo exhibition ‘Pleats & Folds’ premiering at Soft gallery.

The works in this mixed media exhibition are a distillation of personal stories gathered during a UK residency at Arnolfini Art Centre, Bristol.  Comprising textile, sculpture and video works, the installation hints at the memories people shared with her - stories carried deep within and upon the body.

The pieces in this installation suggest an eclectic range of influences and inspirations. In a decorated, Baroque inspired, Ruff collar piece - which forms the centrepiece to the exhibition - one can see an interest in theatrical costume, body adornment and craft processes. The miniature silver charms adorning the collar represent the ’soft’ objects that people brought to the artist. Through interview and audio-visual documentation the artist unwrapped the stories associated with each item. To go full circle those participants will be given the corresponding silver charm at the end of this project – a gift for a gift.

The abundance of curves and folds moving throughout the installation create an impression of tracing, hinting at overlapping story lines (and lines of enquiry); at one moment open and fully on view, and at the next moment hidden and curved back in on themselves. There is a desire to both share yet protect the precious and private tales gifted to the artist.

These new works form part of an ongoing series of experimental pieces. ‘Pleats & Folds’ is a collection of works investigating story/time lines, body memory and the processes of working with personal objects laden with meaning. The artist intends to next create a bookwork drawing together this body of research materials, as well as to produce a new video installation for the British Live Art Festival – In-between Time/ What Next The Body? In winter 2009.

The exhibition is made with support from Arts Council of England and Arts Council Norway.

PLEATS & FOLDS

“Pleats and Folds 2” Book work, shelf and step

PLEATS & FOLDS

Installation View

PLEATS & FOLDS

“Pleats and Folds 3” Ruff collar decorated with glass bobbins and silver charms

PLEATS & FOLDS

Ruff collar object and flesh tone curtain

PLEATS & FOLDS

“Pleats and Folds 2” Book work

PLEATS & FOLDS

Cello case and flesh tone curtain

HYPO

MA Visual Art KHiO 2009: Kjersti Nordskar
HYPO

6 June - 21 June 2009

Welcome to the exhibition opening on Saturday 6 June at 12:00.

More information at www.kunstfag.no

HYPO

Photo: Laila Meyrick

HYPO

Photo: Laila Meyrick

HYPO

Photo: Laila Meyrick

TOMGODS - TJUVGODS

Siri Berqvam
TOMGODS - TJUVGODS

25 June - 2 August 2009

The homely and the intimate establish the base for the work of Siri Berqvam, which consists of installations made up by various sculptures and small fragments put together. Berqvam finds the uniformity in the rigorous use of the soft textile appealing, the techniques are also taken from the familiar sphere, for instance embroidery, sewing, chrocheting. These caricatures of reality could have the potential to express human experience, because of the obvious presence of these things in our lives.

Time becomes visible as her work is conceived quietly and slowly. It becomes a silent protest against the everyday pressure of beeing rational, by means of spending time on objects which are usually associated with cheap consumtion products.

Imitation is an important way of which the child is learning about the adult world. Their world becomes fascinating and mysterious, secrets are hidden in their minds which we cannot understand. They are aliens entering our home. For us, the secrets are lost forever. By detaching things from functionality, they can exist in another dimention. In this state, the inanimate arise to life.

Sudden change may be disturbing in such a way that the surroundings are perceived differently. Subdued by cotton or as in vacuum. The need for adjustment and turning back to zero becomes necessary. I am also looking for ways to emphasize on details, nonsense and rubbish. Siri Berqvam`s latest installations are presenting details in an oversized manner, describing insignificant situations or moments.
Siri Berqvam (born 1977) has got a Masters degree from The National College of Art and Design in Bergen in 2006. Since graduating she has been very active and visible on the Norwegian Art scene. Berqvam was represented at the Exhibition “LIGHTS ON” at Astrup Fearnley Museum of Modern At in 2008 and at Norwegian Sculpture Biennal 2008.

For more information: www.siriogatle.no

TOMGODS - TJUVGODS TOMGODS - TJUVGODS TOMGODS - TJUVGODSWRONG - RIGHT

Hans Hamid Rasmussen
WRONG - RIGHT

13 August - 27 September 2009

SOFT gallery are proud to present the latest work of Hans Hamid Rasmussen.
Works by Rasmussen was shown at Kunstnernes hus, during the event ”Africa in Oslo” last winter, where he presented large sculptural shapes of embroidered textiles.

SOFT gallery shows a new installation with the title ”Wrong – Right”. The title of the installation makes a reference to the phenomena of turning the cloth inside out, to show the reversed side of the material. The wrong side is normally facing the skin or a thing, away from the room. In Rasmussens installation the viewer can see the wrong side and get access to ”the other“. Hans Hamid Rasmussens intention is to combine the narrative and the room in such a way that one can frame the question of being on the inside – outside, wrong – right.

In many ways this installation by Rasmussen can be defined as a project discussing different issues within the textile media itself. In addition to that, it is referring to its own agenda of dialogue across cultural inheritance, nationality and artistic languages. He is often using text in his works. This put emphasis on one of his main themes, cultural differences.
Rasmussens embroidery challenges also the stereotype thinking about gender and craft.

Hans Hamid Rasmussen was born in Algeria but has been raised in Norway.
Through his work at the Oslo National Academy of art, he has been an important voice in the development and understanding of the field of textile based art in Norway.
Rasmussen has made important contributions to the Norwegian contemporary art scene through many exhibitions both at home and abroad.

He represented Norway at the São Paulo Biennal in 2004, and The Third International biennal Guangzhou in China in 2008.

Read what Kunstkritikk said about the exhibition.

WRONG - RIGHT WRONG - RIGHT WRONG - RIGHTRAW WAR

Unn Sønju
RAW WAR

8 October - 15 November 2009

Since 1980 Unn Sønju`s primary aim has been to liberate tapestry from its traditional past by using its unique plastic properties to find new visual solutions to current concerns and observations.

The exhibition “RAW WAR” is a selection from a series of tapestries made as an angry outcry and demonstration against war.

“War is an abomination created by mankind for his own destruction
War is senseless
War is created by the few and destroys the many
War is violent
War is the alibi to murder each other, officially
War is obscene
War hits children and women hardest
War is raw”

Images of conflict, violence and blood bombard us daily in the media. Fact and fiction merge into one gory horror. While the newscasts of current warfare and terror censor out the blood and body parts, this is more than made up for by action films and data games. It appears that violent horror is just an everyday thing mankind must live with! Mankind is becoming increasingly insensitive to the real. War is seemingly not dangerous. It is just entertaining.

The nature of war and the nature of tapestry are very different. Making images and statements about the chaos and consequences of war in wool and linen is obviously perverse. Yet the thinking is that tapestry’s unique plastic properties are so removed from actual war that they can bring a different perspective and vision to the nightmare of war. Equating blood and gore with woven red wool is so extreme it might just trigger a reaction?

Unn Sønju is born in 1938 in Oslo. She has her degree from Oslo University College (former Den Kvinnelige Industriskole i Oslo) 1960 – 62, and College of Arts Leeds, UK, 1957 – 59. She has participated in an impressive amount of group and collective exhibitions in Norway and abroad, and has had more then 30 solo exhibitions from 1971 till today. Sønju has mad numerous commissioned works, several to among others Oslo University College, and her works has been purchased to both private and public collections. She has also had the position of professor in tapestry at Oslo University College.

RAW WAR

RAWAR

RAW WAR RAW WAR

WON NOW

Re: Frozen Flowers

Aslaug Juliussen
Re: Frozen Flowers

26 November 2009 - 3 January 2010

It is a pleasure to present the Tromsøbased artist Aslaug Juliussen at SOFT gallery. Juliussen has for many years been an important contributor to the Norwegian artscene. For more than twenty years Juliussen has been living in Karasjok. A personal engagement for nature and culture in the northern region are a strong theme throughout her artistic career.

The exhibition consists of a new installation on the floor called RE: FROZEN FLOWERS. It consists of eight floral elements resting on a bed of tags used to mark livestock. The tags are used to categorise the animals. A combination og colour, number and letters is a code that tell who the owner are, which gender the animal is and when it is born. The floral objects are made of a broad variety og materials such as horns from reindeer, wire, glass and pieces of used furcoats. This eclectic selection of materiels gives a new viewpoint of life in the arctic region.
The installation invites to reflect upon the human cycle – from fertility and birth, to growth, life and death. The artworks of Juliussen is continousley developing, each artwork is part of a greater process.

Aslaug Juliussen lives and works in Tromsø. She graduated from The National College of Art, textile department, in Oslo in 1980. She has had several solo exhibitions, for example the show “Hornverk” at The National Museum of decorative Arts in Trondheim in 2006. Juliussen has participated in many group exhibitions in Norway and abroad, and has received numerous grants for artists. Her most outstanding commissions are the new tow hall in Tromsø, the Sami Parlament, and the ship Hurtigruta Midnatsol, and her art is purchased by and represented in many public collections.

Re: Frozen Flowers Re: Frozen Flowers Re: Frozen Flowers Re: Frozen FlowersRed River Boy in the Cotton Candy Garden

Jan Steinum
Red River Boy in the Cotton Candy Garden

14 January - 14 February 2010

Jan Steinum examines the crossroad between the authentic and the constructed, where he finds a fruitful tension between the prosaic documentary and the dramatics of the fiction. Steinum makes use of a variety of media, such as video, installation, sculpture and performance. Changing from media to media allows his ideas to evolve from one field to another. The exhibition “Red River Boy in the Cotton Candy Garden” will contain a textile installation with a newly produced video.

Jan Steinum has a degree from The Academy of Fine Arts, Prague, The Academy of Experimental Dance Theatre, Copenhagen, The Oslo National Academy of the Arts and The Trondheim Academy of Art. He has had a number of solo exhibitions and has participated in many group shows in Norway and abroad. Steinum has also an extensive live art activity.

Red River Boy in the Cotton Candy Garden Red River Boy in the Cotton Candy Garden Red River Boy in the Cotton Candy Garden Red River Boy in the Cotton Candy GardenComing Community

Runa Carlsen
Coming Community

25 February - 4 April 2010

In the exhibition Coming Community Runa Carlsen puts focus on the rapid growth of building activity in the Bjørvika area in Oslo, where a new part of town is being developed. Carlsen contributes to this development in her own way by creating another type of space - a space within the space.

Her means of construction is a conceptually orientated weaving technique. The loom is a piece of scaffolding on wheels. This ”loom” can be moved around the city, where Carlsen finds materials and inspiration for her work.

The artist is concerned with the structures of the city, and how people interact in different ways in the community. Carlsen is engaged in how people meet and share experiences and knowledge, and she asks the question of how to create a more human environment by means of collective strategies.

Runa Carlsen has a degree from The Oslo Academy of Fine Art, Oslo University College, and from Parsons School of Design, New York. She has worked with a number of socially orientated art projects, and interventions in public space. The show at SOFT gallery is her first solo exhibition.

Coming Community Coming Community Coming CommunitySilent Night and the Realities

Kristian Øverland Dahl
Silent Night and the Realities

15 April - 30 May 2010

Kristian Øverland Dahl’s work is about installation as an allegory to art and its environment. The allegory is a tool to make materials visible in a liberating way.

Øverland Dahl debates the material as a problem and as history. His works deals with economical, political and psycho social aspects of production and everyday use of textiles. The artist works with a broad spectre of techniques, with the emphasis on the sculptural format. He works with dramatic representations of conflict, where the subject meets antagonistic powers.

Kristian Øverland Dahl has a degree from Oslo National Academy of the Arts and from The Bergen National Academy of the Arts. He has recently had solo exhibitions at The Trafo Gallery in Asker and at UKS gallery in Oslo. He has also participated in a number of group exhibitions both in Norway and abroad.

Silent Night and the Realities

Protrett av Dorthy Lawrens

Silent Night and the Realities Silent Night and the Realities

Den villige tjenerens nederlag

Silent Night and the Realities

X-ray

Contribution to the Development of Norway

Katrine Meisfjord
Contribution to the Development of Norway

3 June - 27 June 2010

Mainstream western thinking is spreading throughout the world. It introduces itself as a bearer of universal values, more or less ignoring the very existence of other sets of values, or other types of knowledge. Through aid, for instance, the West creates a picture of itself as competent, and having valuable experience to share with people in other parts of the world, but the same is not valid the other way around.

In our time, it has becoming obvious that the western way of thinking has its limitations. The globe suffers from serious climate challenges, increasing differences between rich and poor, over consumption, and an increasing number of dropouts from the mainstream way of life. Maybe it is time for modern man to seek advice and alternative knowledge, and let their culture be complemented and enriched by other types of thinking.

Katrine is investigating which kind of knowledge we actually have in Norway today, by inviting certain people to the gallery to share their specific knowledge in dialogues, lessons and in practical work.

Included in the project is the artists redesign of uniforms and elaboration of titles, - both illustrating and questioning the hierarchies between cultures and types of knowledge. Sometimes the uniforms form a part of an installation; sometimes the public or others can wear them.

Katrine Meisfjord finished her art education with a master degree from KHiB in 2009. She is also educated as a nurse. The exhibition at SOFT gallery is her first major solo exhibition.

Polyphonic Immobility

Gunvor Nervold Antonsen
Polyphonic Immobility

30 June - 1 August 2010

SOFT galleri is this summer presenting Gunvor Nervold Antonsens latest works. Two large and two smaller works that combines elements from both the textile, the painterly and the sculptural field of action.

The title Polyphonic Immobility is pointing to the result of integrating all these techniques in the same work. The two large works , Luminous I & II, is challenging the room by filling the full height and witdh of the gallery space with its energetic presence. The two dimentional works are creating here a three dimentional experience.The exhibition is completed by the two smaller works, The Flood I & II. They are relating to the large works by further investigating intermedial and textile tecniques, and shows the artists constant urge to develope, renew, and mix traditional tecniques and forms of presentation.

Antonsen often starts the process of creating the work based on a sheet of rough canvas, fabric from old awnings, or other found objects. She vigorously applies spraypaint, pearls, other fabrics, neat or rough embroidery and spangles.The collages created by this process has referances to Jackson Pollock´s action painting, traditional female craft, and graffiti. Antonsen´s methods are physical and process orientated. Existential themes like inner strength and identity are the foundation for the workprocess and the physical effort of the artist is tracable in the dynamics of the work. Contrasts are another central theme in the work. The mutual dependency of debth and surface, light and darkness. Antonsen´s intention is to combine the dark underlying powers with an expressiv energetic and glittering surface.

Gunvor Nervold Antonsen (b.1974) lives and works in Oslo. She has a master degree form Bergen National Academy of the Arts (KHiB) i 2001, and has had solo exhibitions at Kunstnerforbundet in Oslo, HV-Ateljer in Stockholm and at Galleri Gathe in Bergen. She has participated in many group exhibitions in Norway and abroad, and has received several grants for artists. Antonsen has made a commission at Våler ungdomsskole, Hedmark , and her art is purchased by and represented in several public collections.

Polyphonic Immobility Polyphonic Immobility Polyphonic ImmobilityMorphology in the Morning Gartneren Anderes

Hanne Frey Husø
Morphology in the Morning

5 August - 5 September 2010

The art critic Trond Borgen has written the text “The Archive Filed” for the catalogue.

In a dreamlike landscape, before sunrise, the spider spins and spreads out its web. In a house in a dreamt garden sits the archivist and works on his morphological description of the spider. His text is a web of his own thoughts and quotations from philosophers and poets.

The animated movie “Morphology in the Morning” is a combination of Stop Motion, 2D-animation and still images. The term “morphology” was developed by Goethe in his work “The Metamorphosis of Plants”. The term is used in the film as a metaphor on the relationship between the fragments and the full volume of the archive - the fragments stored in dusty drawers. The archivist takes out a presumably dead object, the spider, and animates it.

The stage sets, the puppets and the drawings from the film is presented in the gallery space, transforming the gallery into an archive. All of the stage sets are made of handmade paper by the artist. The spider web is spun of Mulberry paper. The archivist are carved in wood. The drawings are on machine-typed sheets form old sises and lexica. Some of the animations are collages of illustrated books on mechanics, inventions and anatomy.

“Morphology in the Morning” is part of a greater project titled “The Archive of Insel Freyhaus”. This project contains puppets, each of them with a book made of thick handmade paper - everything filed in a dark cabinet. The exhibition at SOFT gallery is a digitalisation of a small part of the greater ” The Archive of Insel Freyhaus”. Frey Husø underlines the handmade aspect of the archive: the film is slow, and is made with the patience of the classical / traditional animation technique.

The voice of the archivist is read by former Supreme Court judge Gunnar Aasland.

The sound track is a composition for tuba, harmonica and ukulele that has been composed and recorded especially for the film.

Hanne Frey Husø (b.1974) lives and works at Nesodden, Oslo. She has a masterdegree from the Department of Textile Art at Oslo National Academy of the Arts (KHiO), and has also studied Comparative Literature and Informatics at The University of Oslo. Frey Husø has studied in Prague, learning puppet making and Stop Motion-animation from Mirek Trejtnar. Her masterproject ” The Archive of Insel Freyhaus ” has previously been shown at Seilduksfabrikken, Oslo and at Hå Gamle Prestegard, Stavanger. The exhibition at SOFT gallery is Frey Husø´s first solo exhibition. She has participated in several group exhibitions.

The project is supported by the Arts Council Norway and Pedro´s Memorial Foundation.

Morphology in the Morning

Arkivaren

Morphology in the Morning Morphology in the MorningElectric Weft

Eva Kun
Electric Weft

16 September - 17 October 2010

The exhibition will be opened by Art Historian and Managing Director Janicke Iversen.

Eva Kun has taken over the gallery space with hundreds of meters of light thread. The thread is stretched from wall to wall “weaving” the space together as an all-encompassing installation. The shape is undulating, creating a volume that surrounds the visitor.

Despite the thin and almost intangible nature of the light thread, the installation as a whole constitute a strong physical presence. Kun seeks in this way to challenge the human sensuality and perception when experiencing the installation and the quality of the space it creates. Rather than to limit the meeting between the audience, the space, and the installation to linguistic and technical definitions, the purpose is to open for an extended experience and cognitive dimension.

Kun emphasizes a clear interest in the meeting point between art and architecture. Using immaterial means as light and shadow Kun creates sculptural elements in various proportions and volume. The work is always to be understood as site-specific in the sense that a close reading and dialogue with the room are essential for the installation form and intended effect. A landscape is for Kun the same as a defined and limited architectural space, a site for a possible intervention.

Interest in the Nordic light stands as a vital source of inspiration for Kun. The ethereal effects that are brought forth in her sculptural and three-dimensional installations are being created by extensive experimentation in materials and methods. In the exhibition at SOFT gallery Kun works for the first time with light thread - a tight, minimalist choice of material.

Eva Kun (b.1952, Budapest, Hungary) lives and works in Bergen. Kun studied at the Art Academy in Warsaw, Poland. Exhibition activities include solo exhibitions at The Artists House (Kunstnernes Hus), Oslo, Bergen Kunsthall, Bergen, The Young Artists Society (UKS), Oslo, Trøndelag Art Centre, Trondheim and Palacio Dom Manuel, Évora, Portugal, as well as group exhibitions including Bergen Art Museum, UKS Biennial, Tempo Skien, Skien, Bomuldsfabriken, Arendal and Peace Center, Bethlehem, Israel. Kun is responsible for a variety of public art in Norway. She teaches at the Bergen School of Architecture (BAS).

Exhibition period: September 16 - October 17.

Press contact: Janicke Iversen, .(JavaScript must be enabled to view this email address), 47481770

Electric Weft Electric Weft Electric WeftDestination Damaskus

Britt Smelvær
Destination Damaskus

21 October - 21 November 2010

Britt Smelvær has in recent years worked with the ornament as a topic. A stay in Damascus in the period 2008-09 has thus formed the basis for her in-depth investigations within Islamic ornamental art, and its philosophical and historical traditions. In the exhibition at SOFT gallery she presents new works based on the experience and knowledge from her stay in Damascus.

One basic theme in the Islamic world view acknowledges a distinction between the material and the spiritual world. These two worlds and the relationship between them are illustrated as a layered section of life’s stages of maturation, and consists of five steps: Nasut, Malakut, Jabarut, Lahut and Huwa.

To visualize this order of layers the geometrical pattern derived from the decagon is used as an underlying system. The harmonious and symbolic pattern constitutes a basic iconography to convey the connection between, and understanding of, the earthly and the cosmic whole of Islamic philosophy.

The decagon pattern is a strong inspiration and basis in Smelvær’s latest work, creating a common pivot point in the reading of the works. Through various materials, such as window foil, fluorescent lamps, wood and paper, Smelvær has created two- and three-dimensional works that examines and discusses the Islamic ornamentation and its visual understanding.

Britt Smelvær (b.1945, Årdal, Norway) lives and works in Copenhagen, Denmark. Her long artistic career includes a wide range of techniques and medial expressions from textile to paper, two-dimensional works, objects, installations and landscape art. Smelvær has been a professor at Bergen National Academy of Arts (KHiB), 1993-97. She has held a number of solo exhibitions in Norway and abroad, i.e. Gallery F15, Norway, Bergen Art Association (Bergen Kunstforening), Norway, the Norwegian Embassy, Denmark, and Gallery Mortensen & Markman, Denmark. Smelvær has been responsible for numerous public art projects in Scandinavia. Her work is in the collections of the National Museum of Art, Architecture and Design, The Norwegian Council for Cultural Affairs and West Norway Museum of Decorative Arts.

Supported by Danish Arts Council, Denmark

Press Contact: Janicke Iversen, .(JavaScript must be enabled to view this email address), +47 47 48 17 70

Destination Damaskus Destination Damaskus Destination Damaskus Destination Damaskus Destination DamaskusMonument Fotograf Thomas Løberg

Sidsel Palmstrøm
Monument

16. June - 30. July 2011

SOFT gallery will present a new project by Sidsel Palmstrøm in this year`s summer exhibition. Through a broad range of techniques and instruments Palmstrøm examines the tension between art as materiality and art as a conceptual illusion. Her work is often based on found objects, so-called ready mades; where the textile material is particularly important. Adaptation through knitting, crocheting and embroidery creates new constellations and new dimensions of meaning. Palmstrøm materializes her ideas through installations and sculptural objects, she often includes text. Palmstrøms artistic language is constantly increasing. Recently her installations in stainless steel, and text works in the form of video animation and neon lights has formed the basis for new readings of her work.

Sidsel Palmstrøm lives and works in Oslo. She is a graduate from the National Academy in Oslo (KHiO) and has held numerous solo exhibitions: Kunstnerforbundet, Oslo / Hå gamle prestegard, Jæren / Kunstbanken Hamar Kunstsenter, Hamar / Akershus Kunstsenter / RAM galeri, Oslo og UKS, Oslo. In addition, Palmstrøm works as a costume designer for several Norwegian theatres, including the Norwegian Opera and Ballet.

Monument

Fotograf Thomas Løberg

Monument

Fotograf Thomas Løberg

Monument

Fotograf Thomas Løberg

WARRIOR GLOSS

Aurora Passero
WARRIOR GLOSS

4 August - 4 September 2011

At SOFT galleri the fall program starts off with Aurora Passero’s first solo exhibition in Norway. In the span between sculpture and painting Passero works with site-specific installations. She gives tradition-oriented textile techniques like crochet, weaving and macrame an experimental form using non-traditional materials such as nylon, acrylic, wax, paint, plastic and plaster. These cross-over studies in technique and materiality produces abstract shapes and organic structures that emphasize the work`s inherent qualities such as artistic expression, form and vocabulary. Unusual juxtapositions of example, textile and plastics, wax and sand, the liquid and cemented, or the synthetic and natural creates contrasting textures that opens up new visual and tactile experiences. The material`s inherent characteristics and physical abilities are thus central to the understanding of Passeros work.

Aurora Passero is born in 1984 and lives and works in Oslo. She has studied at Oslo National Academy of the Arts (KhiO), textile department,  with master degree in 2011. She has also studied at the Glasgow School of Art, Dep. of Sculpture and Environmental Art.  Passero is going to have a solo exhibition at Akershus Kunstsenter in 2012.

The exhibition is supported by Norsk kulturråd.


Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), +47 47481770

WARRIOR GLOSS

The Sun’s Corona. Fotograf: Øystein Thorvaldsen

WARRIOR GLOSS

Fotograf: Øystein Thorvaldsen

WARRIOR GLOSS

Warrior Gloss. Fotograf: Øystein Thorvaldsen

WARRIOR GLOSS

Les anmeldelsen til Kjetil Røed i Aftenposten 06.08.11.

FRAGILE ENERGY Fragile Energy I. Fotograf: Hugo J. Mackenzie-Robinson

Ingunn Skogholt
FRAGILE ENERGY

8 September - 9 October 2011

Welcome to opening Thursday 8 September 7 PM

Ingunn Skogholt is mainly working with tapestries. The works represents the most simplified and abstract forms with references to nature and landscape fragmentation. In recent years she has expanded her scope to include collage, based on a rich variety of materials and techniques. Skogholt`s interest in experimentation and studies of the opportunites of the textile media will be presented through a series of new works at SOFT galleri in autumn 2011.

Ingunn Skogholt lives and works inOslo. She studied at the Royal College of Art in London, Edinburgh College of Art, Art Academy of Bratislava and the National Academy in Oslo. In addition to a number of group exhibitions in Norway and internationally, Skogholt has had solo exhibitions among others at Galleri K, Oslo, CC Gallery, London and Kunstnerforbundet, Oslo. Her works are in the collections of the National Museum, the Stenersen museum, Oslo Municipality art collections, Kloster Rederiet, NRK, Statoil, Hydro and Craft Council, London.

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), +4747481770

FRAGILE ENERGY

Fragile Energy I. Fotograf: Hugo J. Mackenzie-Robinson

FRAGILE ENERGY

Fragile Energy II. Fotograf: Hugo J. Mackenzie-Robinson

FRAGILE ENERGY

Fragile Energy II. Fotograf: Hugo J. Mackenzie-Robinson

ANIMUS CENTRI

Ane Lan
ANIMUS CENTRI

20 October - 20 November 2011

The exhibition opens with a performance by Ane Lan together with Rikke Lundgreen, Birgitte Fjeld Bjørsvik og Aurora E. Sandlilje .

SOFT Gallery is pleased to present the performance artist Ane Lan.
Through performative “actions” staged in video / film, photography, experimental music and theater performances, he investigates gender and identity issues. Ane Lan is particularly keen to question what we mean by the term “identity” and “individuality,” based on the theory that discusses the relationships between globalization processes, the mass media and social systems. The name ANE LAN is an adaptation of the name of the famous female sufragette Anne Land living in the UK at the beginning of last century.

The exhibition ANIMUS CENTRI consists of a series of drawing / textile objects, video installation and performance work that he shows on the opening.

Thematically, the exhibition is based on Jacob Böhmes theosophical teachings. Jacob Böhme (1575-1624) was a German philosopher and Christian Theosophist who was branded a heretic in his own time. His writings became known only after his death. His expression of Christian mysticism was neither affected by ecstasy or of contemplative calm, but of inner knowledge. An important part of Böhmes realizations is God and mans (Adam) inherent androgynitet that he sees in relation to a wider interpretation of the forces of nature, the Fall of Man and evil. Evil and the Fall of Man is, for Böhme, not separated from Gods creation but a necessity for God’s self-knowledge. God gave man free will to be able to understand himself and his creation, and since man are also part of God, understand God and thereby acknowledge themselves.

ANIMUS CENTRI is based on Böhmes cosmological thinking where he concentrates on 7 different forces of nature (and planets) each of which represents a special power that works in the human body and spirit.
Later philosophers such as Boris Mouravieff and Georges Gurdjieff has built on Böhmes philosphy and developed “the law of three” and “the law of seven” as mathematical principles.

Ane Lan (Eivind Reierstad) was born in 1972 and lives and works in Kløfta, outside of Oslo.
He has studied the field of textile and colour (The National Academy of the Arts in Oslo), and graduated in 2002.
Ane Lan has participated in numerous exhibitions and festivals internationally in the last 10 years. Among others The Whitney Museum of American Art in New York, Paco das Artes in Sao Paolo, Venice Biennale 2005, Istanbul Biennial in 2007. In Norway he has had solo exhibitions at the Henie Onstad Art Centre, Gallery F 15 and Fotogalleriet. Ane Lan is also working on a solo exhibition at the Museum of Contemporary Art in Krakow, and a performance at the theater A SPIRITI the Meteor international theater festival in Bergen in October.

The exhibition is supported by Billedkunstnernes Vederlagsfond og Fond for Lyd og Bilde.

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), 47481770

ANIMUS CENTRI

Principunio. Performance på åpningen. Fotograf Silje Storm Fredriksen

ANIMUS CENTRI

Principunio. Performance på åpningen. Fotograf Silje Storm Fredriksen

ANIMUS CENTRI

Principunio. Performance på åpningen. Fotograf Silje Storm Fredriksen

Backdrop for absolute sovereignty Petrine Lillevold Vinje. " Kulisse for absolutt suverenitet". Foto: Øystein Thorvaldsen

Petrine Lillevold Vinje
Backdrop for absolute sovereignty

24 November - 1 January 2012

The exhibition will be opened by Stephanie von Spreter, art historian and director of Fotogalleriet.

We welcome you to an exhibition of new works by Petrine Lillevold Vinje. The main element of the exhibition is the sculpture Backdrop for absolute sovereignty (2011).

Petrine Lillevold Vinje has in recent years worked on the basis of sacred space and with monumental sculpture. In the sumptuous baroque decorations of European chapels and cathedrals we find modeled draperies made of plaster or colored marble. The draperies can be seen as set designs for the essential in the assignment of the baroque artist – a portrait of a cleric or saint. The wooden sculpture Backdrop for absolute sovereignty is a reproduction of the drapery in Bernini’s statue Constantine the Great in the Scala Regia, Vatican City (1654-1669). The work acts as a contemporary version of a familiar but not recognizable object, given that it is taken out of its proper context and is not the essential element of the original.

In the exhibition, we also find a photo ... Hell (2011), of a garment. It is part of a photoseries of images of items from our recent history and popular culture, which has a individual symbolic significance.

Petrine Lillevold Vinje’s artistic pracice can be seen as a reflection on the use of visual language, the power of image and meaningless traditions. In the distance between the object and its symbolic value, there is a longing and something unfulfilled. This is a general interest for the artist and she processes this through her own interpretations of key visual elements from western art history and society. Petrine Lillevold Vinje shows monumental sculptures in installations with drawings and photographs. Through her work she wants to attribute the history with new stories - and create new connections. The distance between her conceptual base and the materiality of her work stresses them as structures for a new, imaginary historiography.

The exhibition can also be a contribution to a discourse on craft traditions in the contmeporary art. The project also explores a possible flattening in the history of art, where layer upon layer of interpretation reach a climax in today’s informal practice of appropriation.

A small, pamphlet in two parts is published in conjunction with the exhibitions. Part I was released at the opening of The Right Finds the Pearl at Akershus Kunstsenter (Oct–Nov 2011) and Part II is published at the exhibition in SOFT gallery.

Petrine Lillevold Vinje, born 1980 in Askim, lives and works in Oslo. She holds a MA from the Institute of color of National Academy of the Arts in Oslo in 2005. She has had solo exhibitions in Arendal Fine Art Society, Kunstnerforbundet, Oslo and just finished a solo exhibition at Akershus Kunstsenter, Lillestrøm. Petrine Lillevold Vinje has participated in several group exhibitions.
For more information: http://www.petrinelillevold.com

Press Contact: Karianne Sand, .(JavaScript must be enabled to view this email address), 47481770

Backdrop for absolute sovereignty

Petrine Lillevold Vinje. ” Kulisse for absolutt suverenitet”. Foto: Øystein Thorvaldsen

Backdrop for absolute sovereignty

Petrine Lillevold Vinje. ” Kulisse for absolutt suverenitet”. Foto: Øystein Thorvaldsen

Backdrop for absolute sovereignty

Petrine Lillevold Vinje. “...Hell” Fotografi. Foto: Øystein Thorvaldsen

Backdrop for absolute sovereignty

Petrine Lillevold Vinje. ” Kulisse for absolutt suverenitet”. Foto: Øystein Thorvaldsen

<p>Sky travellers</p>

Regien Cox

Sky travellers

12 January - 12 February 2012

http://www.regiencox.com

<p>Sky travellers</p> <p>Sky travellers</p> <p>Sky travellers</p> <p>Sky travellers</p><p>“ulp,glubb,svoosj”</p> Tonje Høydahl Sørli. A Critical Culimination!

Tove Pedersen, Kristin Sæterdal og Tonje Høydahl Sørli

“ulp,glubb,svoosj”

16 February - 18 March 2012

www.tovepedersen.com
www.kristinsaeterdal.com
www.tonjesorli.com
www.absolutetapestry.com

<p>“ulp,glubb,svoosj”</p>

Tove Pedersen. Soloppgang. Fotograf: Arthur Sand.

<p>“ulp,glubb,svoosj”</p>

Kristin Sæterdal. Mørkredd.

<p>“ulp,glubb,svoosj”</p>

Tove Pedersen. Stjernenatt. Fotograf: Arthur Sand.

<p>“ulp,glubb,svoosj”</p>

Kristin Sæterdal. Kaboom 1.

<p>“ulp,glubb,svoosj”</p><p>Inside / Outside</p>

Nina Bang Larsen

Inside / Outside

22 March - 29 April 2012

Welcome to opening Thursday 22 March 6 pm to 8 pm

We are happy to present the first solo show by Nina Bang Larsen after she graduated from National College of Art and Design in Bergen with master degree. The exhibition Inside / Outside is a site specific installation made especially for SOFT gallery.  The installation consists of many soft sculptures hanging from the roof, walls and standing on the floor.

Nina Bang Larsen works with second hand textiles, furniture and other domestic objects in her sculptures. Her chosen materials can be pillows, lamps, clothes and shoes, glasses, rocking chair and stools, hangers and frames, almost everything you can find in an ordinary home, and most of the works in this exhibition are inflatable.

The sculptures reflects emotions and thoughts about what it is to be inside and outside in many different ways. Each sculpture represent different feelings and thoughts, but they are at the same time open for the onlookers own interpretation. The works in this exhibition balances between being attractive and repulsive, and they are both humoristic and melancholic.

Nina Bang Larsen (born 1981) lives and works in Bergen. She has her master degree from The National College of Art and Design in Bergen in 2010. Her works has been shown in Vestlandsutstillingen 2011, Sculpture by the Sea and Sculpture Inside in Århus, Denmark in 2011, and other group exhibitions. Nina Bang Larsen is one of three artists in the artist group Camilla Bang Frantzen.

Webpage: http://www.ninabanglarsen.com

The exhibition is made with support by Arts Council Norway.

<p>Inside / Outside</p>

Morgenbladet 23. mars 2012. Tommy Olsson anbefaler.

<p>Inside / Outside</p>

Nina Bang Larsen. Innanfor / Utanfor

<p>Inside / Outside</p>

Nina Bang Larsen. Innanfor / Utanfor

<p>Inside / Outside</p>

Nina Bang Larsen. Innanfor / Utanfor

<p>Inside / Outside</p>

Nina Bang Larsen. Innanfor / Utanfor

<p>Inside / Outside</p>

Nina Bang Larsen. Innanfor / Utanfor

<p>The Stars down there</p>

Elise Storsveen

The Stars down there

10 May - 10 June 2012

The exhibition The stars down there consists of one large textile work. The project of Elise Storsveens has been to create an illusion of images of space by using tiedye technique on seconhand textile materials.

The space has allways fascinated people and been a source of inspiration to both scientific research and literary fantasies. The hubble telescope and various other technical devices makes it possible to take photographs, make documentation and research of stars, planets and galaxis. But still there is a lot we do not know about the space, and many of the teories are soo abstract that they can only be understood by experts.

The exhibitions title, The stars down there, is borrowed from a science fiction short story by the american writer Manly Wade Wellman. In the short storys fictional univers the notion that the world is round is set up against the recognition that it is flat. The science fiction genre mixes science and fantasy and creates fictive universes with a certain kind of inner logic. Elise Storsveen is doing something similar in this installation. She stresses the distiction between fiction and reality in her attempt to create an illusion of images of space with stars and planets.

Elise Storsveen (1969) lives and works in Oslo. She studied at The National College of Arts in Oslo, graduated in 1996. She has had solos exhibitions at Galleri Trafo, Asker, 0047, Kunstnerforbundet, Fotogallery in Oslo, among others. In 2010-2011 she participated in the group show Take me to your leader at The National Museum and Bergen Art Museum. She has done sveral collaborative projects with Jon Gundersen. She is working together with Eline Mugaas with the fanzine ALBUM#, which is currently exhibited at Kunsthalle Zürich and at MoMa in New York.

<p>The Stars down there</p>

Stjernene der nede

<p>The Stars down there</p>

Stjernene der nede

<p>Elements</p> Grunnstoff / Elements. Fotograf: Øystein Thorvaldsen.

Hanne Øverland

Elements

14 June - 31 July 2012

Hanne Øverland reflects around the colour green and how strongly this colour represent what we feal is natural and unnatural. The works span from picturesque wall hangings to a big floor textile that invites the visitors to sit down and enter the art work.

The colour green can represent both the beauty and the ugly. Sprouting grass is green, so is mould and decay, both the hale and poisonous in nature can be green. By working with the colour in homogenous, nearly monochrome colour surfaces, the artist leaves the colour open for the onlookers own reflections, thoughts and views.

Hanne Øverland (born 1958) lives and workes in Oslo. She studied at Oslo National Academy of the Arts in the textil department, with a diploma in 1987. She has had solo exhibitions at Kunstnerforbundet in 1998 and 2007, Gallery Format in Bergen and Vestfold Art center. Hanne Øverland has taken part in various group exhibition such as the annual autumn exhibition and annual crafts exhibition. Her work is in the collection of the 3 Norwegian museums of applied art in Oslo, Bergen and Trondheim, and she has made several public commisions.

For more information about the artist: http://www.hanneoverland.com

<p>Elements</p>

Grunnstoff / Elements. Fotograf: Øystein Thorvaldsen.

<p>Elements</p>

“Det første” og “Det siste.” ” Utsnitt 2.”  Fotograf: Øystein Thorvaldsen.

<p>Elements</p>

“Utsnitt 1” og “Utsnitt 2.”  Fotograf: Øystein Thorvaldsen.

<p>Elements</p>

“Grønt område.”  Fotograf: Øystein Thorvaldsen.

<p>Elements</p>

“Det første.”  Fotograf: Øystein Thorvaldsen.

<p>Unwound</p>

Elisabet Storhaug

Unwound

7 August - 9 September 2012

Elisabet Storhaug is showing a work made of thousands of music cassettes. The cassettes are assembled close together underneath the roof. The artist has pulled out the music tape from the cassettes into long ribbons that meets the floor, making a voluminous dark cube in various brown colours.

Elisabet Storhaug ( born 1980 ) has MA from Oslo National Academy of the Arts (KhiO). This is her first solo exhibition. She has shoved her work in several group exhibitions such as Utstillingen 09 at The National Museum, Triennale 2006 at Oslo Kunstforening and Røsshka Kunstmuseum.

Elisabet Storhaug also worked with the music cassette in her Master at KhiO; she used her own music collection from the years 1984 - 2002, and weaved a nine meter long wall hanging with the music tapes.

<p>Unwound</p>

Unwound. Elisabet Storhaug. Foto: Øystein Thorvaldsen

<p>Unwound</p>

Unwound. Elisabet Storhaug. Foto: Øystein Thorvaldsen

<p>Unwound</p>

Unwound.Elisabet Storhaug. Foto: Øystein Thorvaldsen

<p>Unwound</p>

detalj. Unwound.Elisabet Storhaug. Foto: Øystein Thorvaldsen

<p>Tapestry</p>

Marianne Magnus

Tapestry

13 September - 14 October 2012

<p>Tapestry</p> Spazio. 180 cm x 170 cm. <p>Tapestry</p>
Eco
. 160 cm x 180 cm <p>Tapestry</p>
Samurai.
200 cm x 170 cm Karen Havskov Jensen, Det daglige brød

Karen Havskov Jensen

18 October - 18 November 2012

Welcome to opening Thursday 18 October 6 PM - 8 PM

Karen Havskov Jensen, Det daglige brød. Karen Havskov Jensen, Det daglige brød. Karen Havskov Jensen, Det daglige brød, detalj. Karen Havskov Jensen, Det daglige brød, detalj.Evaporations Kirsti Willemse. OVER UNDER. Foto: Øystein Thorvaldsen.

Kirsti Willemse
Evaporations

22 November - 31 Desember 2012

We are happy to present a young and promising artist here at SOFT gallery.
Kirsti Willemse graduated (MA) from Oslo National College of the Arts in May this year, and this is her first solo exhibition after graduating.

The exhibition Evaporations consists of text, textile materials and stone. A text work is on display in the window facing the street, a textile work - where loose threads are assembled into a grid, centered towards the middle of the room, and a work on the floor consists of chalk drawings on stone.

Willemse is working with transitions - transitions between the line, the thread and the room, transitions between the two dimensional and three dimensional, the transition between inside and outside space. She investigates text as a material, and weave as a form of text. Her choice of materials from everyday-life reflects an interest for the temporary.

With the use of a minimum of materials and means, Kirsti Willemse creates poetic tableaus that are both beautiful and thought-provoking.


Kirsti Willemse (born in 1985) lives and works in Oslo.

www.kirstiwillemse.com

 

Evaporations

Kirsti Willemse. Evaporasjonar 1. Foto: Øystein Thorvaldsen

Evaporations

Kirsti Willemse. Evaporasjonar 1 og 2. Foto: Øystein Thorvaldsen

Evaporations

Kirsti Willemse. Evaporasjonar 2. Foto: Øystein Thorvaldsen

Evaporations

Kirsti Willemse. OVER UNDER. Foto: Øystein Thorvaldsen

Evaporations

Kirsti Willemse. OVER UNDER. Foto: Øystein Thorvaldsen

rush hour rush hour / shanghai 5 / 2010/ 380 x 161 cm / materiale nerceriseret bomuld/ digital jacquardvævning

Grethe Sørensen
rush hour

10 January - 10 February 2013

www.grethesorensen.dk

rush hour

Grethe Sørensen
Headlights 1 / Shanghai (2012)
230 x 162 cm

rush hour

Grethe Sørensen
Headlights 2 / Shanghai (2012)
232 x 161 cm

rush hour

Grethe Sørensen i SOFT galleri.

rush hour

Grethe Sørensen i SOFT galleri.

rush hour

Grethe Sørensen i SOFT galleri.

Løvaas & Wagle. Sang 1 og Larm 2. Foto: Øystein Thorvaldsen.

Løvaas & Wagle

14 February to 17. March 2013

www.lovaas-wagle.no

Løvaas & Wagle. Larm 2. Foto: Øystein Thorvaldsen.

Løvaas & Wagle. Rosemarie. Foto: Øystein Thorvaldsen.

Løvaas & Wagle. Larm 2 og Rosemarie. Foto: Øystein Thorvaldsen.

Løvaas & Wagle. Sang 1. Foto: Øystein Thorvaldsen.

Løvaas & Wagle. Bærtling i kvadrat 2. Foto: Øystein Thorvaldsen.

Løvaas & Wagle. Sang 1, Bærtling i kvadrat 2, Uten tittel 1 og 2. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik

21 March to 28 April 2013

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

Else Leirvik. mellomgulv. Foto: Øystein Thorvaldsen.

In memory of Turid Holter. Persefone. detalj

Turid Holter
In memory of

2 May to 2 June 2013

In memory of

Norsk frise. (1990) 118 x 390 cm. Tekstil, laminat.
Foto: Øystein Thorvaldsen

In memory of

Andreaskors.(1988) 248 x 248 cm. Tekstil, laminat.
Foto: Øystein Thorvaldsen

In memory of

Rondo. (2005) 108 x 162 cm. Stofftrykk, søm.
Foto: Øystein Thorvaldsen

In memory of

Persefone. (2010) 145 x 103 cm. Søm, gjenbrukstekstiler, lerret. Tilhører Fredrikstad museum.
Foto: Øystein Thorvaldsen

In memory of

Foto: Øystein Thorvaldsen

In memory of

Detalj. Norsk frise.
Foto: Øystein Thorvaldsen.

Evening Falls Flat

Ingrid Toogood
Evening Falls Flat

13 June to 31. July 2013

Evening Falls Flat

Ingrid Toogood. Evening Falls Flat. Foto: Øystein Thorvaldsen.

Evening Falls Flat

Ingrid Toogood. Evening Falls Flat og Le Plagiat.

Evening Falls Flat

Ingrid Toogood. Le Plagiat.

locus communis

Anne Karin Jortveit
locus communis

8 August to 8 September 2013

Locus communis is a textile-based installation made up of wool in different phases from raw material till spun and knitted. The window facing the street is filled with layers of raw wool. The public are invited to take a handfull of this wool making the window gradually change throughout the exhibition period. A woven fabric element contributes as a counterweight and a reinforcement of the rooms other objects.
Anne Karin Jortveit explores the textile medium through links between textile art and the use and function of textile - including aesthetics, tradition, consumption and labour. She is concerned with the manual processes and offers in this exhibtion free spinning lessons.
Anne Karin Jortveit (1964) lives and works in Oslo and has studied at the Academy of Art, University in Oslo and at Oslo and Akershus University College of Applied Sciences. In addition to her artistic career, she works as a freelance writer and gust lecturer. She has also been a curator at the Museum of Contemporary Art.

locus communis

Anne Karin Jortveit.  Dekke
Foto: Øystein Thorvaldsen..

locus communis

Anne Karin Jortveit. Dekke.
Foto: Øystein Thorvaldsen.

Anne Karin Jortveit. Stabel.
Foto: Øystein Thorvaldsen.

locus communis

Anne Karin Jortveit. Hylle.
Foto: Øystein Thorvaldsen.

locus communis

Anne Karin Jortveit. locus communis.
Foto: Øystein Thorvaldsen.

locus communis

Resultat fra 9 spinnetimer med Anne Karin Jortveit i SOFT galleri.

Tomas og huset på Ask

Karina Nøkleby Presttun
Tomas og huset på Ask

13 September to 13. October 2013

In this exhibition Karina Nøkleby Presttun portrays the Norwegian author Tomas Espedal in a custommade wedding dress. The main work is a monumental textile work, size 270 x 170 cm.
She works with an application technique based on photography and laser cutter. The work is time consuming and takes four to six months.
Karina Nøkleby Presttun (1981) lives and works in Bergen. She graduated from the Art Academy in Bergen, BA in textiles, and from the Writers Academy in Hordaland. She was recently included in the exhibtion “Tendencies” at Galleri 15. Her art has been purchased by the National Museum of Art, Architecture and Design and Nordenfjeldske Kunstindustrimuseum. Her work from this exhibiton Tomas og huset på Ask was recently sold to KODE Art Museums of Bergen.

Tomas og huset på Ask

Fotograf: Øystein Thorvaldsen

Tomas og huset på Ask

Karina Nøkleby Presttun. Tomas og huset på Ask.
Fotograf: Øystein Thorvaldsen.

Tomas og huset på Ask

Karina Nøkleby Presttun. Tomas og huset på Ask. Detalj.
Fotograf: Øystein Thorvaldsen.

Tomas og huset på Ask

Karina Nøkleby Presttun. Tomas og huset på Ask. Detalj.
Fotograf: Øystein Thorvaldsen.

Tomas og huset på Ask

Karina Nøkleby Presttun. Tomas og huset på Ask. Detalj.
Fotograf: Øystein Thorvaldsen.

Tomas og huset på Ask

Karina Nøkleby Presttun. Med ryggen til.
Fotograf: Øystein Thorvaldsen.

within white Anne Knutsen. within white. Foto: Øystein Thorvaldsen.

Anne Knutsen
within white

24 October to 24 November 2013

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

within white

Anne Knutsen. within white.
Foto: Øystein Thorvaldsen.

SALE Marit Helen Akslen. SALE. Foto: Øystein Thorvaldsen

Marit Helen Akslen
SALE

28 November 2013 to 1. January 2013

Welcome to opening Thursday 28 November. The gallery wil be open from 4:30 pm, with vernissage at 6 - 8 pm.

http://www.akslen.net

SALE

Marit Helen Akslen. Behind the Scenes og no. Foto: Øystein Thorvaldsen.

SALE

Marit Helen Akslen. Detalj. Behind the scenes. Foto: Øystein Thorvaldsen.

SALE

Marit Helen Akslen. uten tittel. Foto: Øystein Thorvaldsen.

SALE

Marit Helen Akslen. Detalj. uten tittel. Foto: Øystein Thorvaldsen.

SALE

Marit Helen Akslen. Do not bleach. Foto: Øystein Thorvaldsen

SALE

Marit Helen Akslen. Behind the scenes. Foto: Øystein Thorvaldsen.

John K. Raustein. Husflidfellen og andre feller. Foto Øystein Thorvaldsen

John K. Raustein

9. January - 9. February 2014

Welcome to opening Thursday 9. January 6 pm - 8 pm.

We are pleased to start the year with an exhibition with brand new works by John K. Raustein. Raustein is a significant and very active textile artist, and we are very proud to finally be able to show his works in SOFT gallery. The exhibition “Hemmeligheter uten sammenheng”  conisists of several works in various formats and can be read as a coherent spatial installation.

John K. Raustein has in recent years worked with everyday materials and created monumental textile installations and sculptures. He has used the materials inherent qualities, such as fall, rigidity and weight, and almost pushed them farther than they can tolerate, to the border of collapse.

John K. Raustein was born in 1972 in Stavanger, and lives and works in Oslo. He has a Masters degree from the Art Academy of Bergen, department of textile in 2000. He has exhibited separately at, among others, RAM gallery, gallery FORMAT, Hå gamle prestgard, House of Foundation, and was recently shown at Akershus Kunstsenter. Raustein has participated in many group exhibitions both at home and abroad; Forårsudstillingen in Copenhagen, Høstutstillingen in Oslo, Wireless, Connection, Slump - luck by chance, and Tendenser to name a few. His art has been purchased by the Museum of Applied Art in Oslo, Trondheim and Bergen, and to Gascco Collection. He has made commissioned works to Goshen School and to Royal Caribbean ship Mariner of the Seas.


www.johnkraustein.com

John K. Raustein. Under trappen, under bordet, bak sofaen. Foto: Øystein Thorvaldsen.

John K. Raustein. Det vi ikke prater om, det vi ikke fikk sagt, det vi ikke fikk gjort. Foto Øystein Thorvaldsen.

John K. Raustein. Foto Øystein Thorvaldsen.

John K. Raustein. Ukjent opphav. Foto Øystein Thorvaldsen.

John K. Raustein. Foto Øystein Thorvaldsen.

John K. Raustein. Tulipansesongen blir bare lengre og lengre. Foto Øystein Thorvaldsen.

Akt I Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Kristina Skantze
Akt I

13. February - 16. March 2014

www.kristinaskantze.se

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Akt I

Akt I. Kristina Skantze. foto: Øystein Thorvaldsen.

Conversation with Anni Albers Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Kiyoshi Yamamoto
Conversation with Anni Albers

20. March - 27. April 2014

Welcome to opening Thursday 20 march 6 PM - 8 PM

www.kiyoshiyamamoto.com

www.thestitchproject.org

www.bergenreaktivebevegelse.no

Conversation with Anni Albers

Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Conversation with Anni Albers

Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Conversation with Anni Albers

Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Conversation with Anni Albers

Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Conversation with Anni Albers

Conversation With Anni Albers. Kiyoshi Yamamoto. Foto: Øystein Thorvaldsen.

Brita Been. SKYBRAGD. Foto: Øystein Thorvaldsen.

Brita Been

30 April - 1 June 2014

www.britabeen.no

SKYBRAGD. Brita Been. Foto: Øystein Thorvaldsen.

SKYBRAGD. Brita Been. Foto: Øystein Thorvaldsen.

SKY. Brita Been. Foto: Stina Glømme.

SKYBRAGD rød. Brita Been. Foto: Stina Glømme.

SKYBRAGD jade. Brita Been. Foto: Stina Glømme.

back and forth

Anna J. van Stuijvenberg
back and forth

12. June - 31. July 2014

The exhibition will be opened officially by Arild Hartmann Eriksen, director of Nordic Artists` Centre Dale.

We are pleased to present a site-specific installation made for SOFT galleri by the Dutch artist Anna J. van Stuijvenberg.

van Stuijvenberg creates her sculptural installations by cutting out shapes in industrially-produced felt and mounting the pieces, layer-by-layer, in the gallery room. Her motifs are reminiscent of places she has been, oftentimes a landscape where people, nature and history interconnect. This encounter becomes an exploratory site when the memory of the experience of nature is recreated in felt, an industrially produced material that takes possession of the gallery’s space in the urban environment.

The impetus for the exhibition at SOFT is the artist’s encounter with Norwegian birch trees. She became aware of them during an artist-in-residence sojourn at Nordic Artists` Centre Dale in 2012. van Stuijvenberg now explores her memory of this encounter. As a preliminary project for the installation, she returned to Norway several times to photograph the trees. While entitling the exhibition back and forth, she explores ideas related to recurrence and seasonal cycles. Her efforts coalesce into a coherent installation: cut from felt in nuances of grey, yellow and white, the work dramatically changes and possesses the exhibition space.

Anna J. van Stuijvenberg (b. 1961) lives and works in Den Haag in the Netherlands. She studied sculpture and installation art at Willem de Kooning Academy, Rotterdam. She has held solo exhibitions in the Netherlands, Germany and the USA, also participating in numerous group shows in the Netherlands and elsewhere in Europe. van Stuijvenberg has also produced public art for governmental and private patrons.

During the month of July, when the gallery is closed, back and forth will remain in the gallery. You will still be able to experience it from the sidewalk, looking in through our large window.

http://www.annajvanstuijvenberg.nl

Translation: Arlyne Moi

back and forth

Anna J. van Stuijvenberg. back and forth.

back and forth

Anna J. van Stuijvenberg. back and forth.detalj

back and forth

Anna J. van Stuijvenberg. back and forth.detalj

back and forth

Anna J. van Stuijvenberg. back and forth.

In preparedness Bente Sommerfeldt-Colberg. I beredskap. Foto: Øystein Thorvaldsen.

Bente Sommerfeldt-Colberg
In preparedness

7. August - 7. September 2014

Welcome to the exhibition In preparedness featuring new works by Bente Sommerfeldt-Colberg.
The show begins on Thursday, 7 August, from 6-8pm, and will be officially opened by Lise Bjørne Linnert, artist and board member of Norwegian Textile Artists.

The exhibited works take recourse in functional objects from everyday life. Because their sizes and functions are changed, they allow us to see aspects of reality from an oblique angle.

Sommerfeldt-Colberg’s works are characteristically associative, referring to rituals and focusing our attention on the actions performed. The exhibited works are based on two familiar functional objects, yet we see them in new, unfamiliar contexts and can create multiple narratives about what is happening. While they hold inherent conflicts that can trigger feelings of unease and ambivalence, they are also poetic, beautiful and humorous.

In the exhibition we see a mechanical installation entitled In Preparedness. The public’s movement and proximity activate two large umbrellas; they open and close as if inhaling and exhaling. While one umbrella opens like a screen or flower petals, the other closes to become as sharp as a spear.

The exhibition’s second work is called Needle, and that is exactly what it is. But when a needle is as strong and large as this one – larger than a person – it no longer simply references a useful sewing tool. It becomes a sharp, threatening weapon.

Bente Sommerfeldt-Colberg (born 1966) lives and works in Lier, Norway and studied at Vestlandets Art Academy in Bergen from 1991-1995. She has held a large number of exhibitions and currently is presenting a parallel exhibition at Sogn and Fjordane Museum of Fine Art. In recent years she has held solo shows at Kunstnerforbundet in Oslo, Kongsberg Art Society and Østfold Artists’ Centre, to name a few. She has participated in numerous group shows at home and abroad and her works are included in the permanent collections of Hå Municipality, Sørlandets Art Museum, Arts Council Norway and the airline Braathens SAFE. She has created public artworks for the University of Tromsø and several other schools.

www.bentesommerfeldt-colberg.no

Translation: Arlyne Moi.

In preparedness

Bente Sommerfeldt-Colberg. I beredskap.
Foto: Øystein Thorvaldsen.

In preparedness

Bente Sommerfeldt-Colberg. Nål.
Foto: Øystein Thorvaldsen.

In preparedness

Bente Sommerfeldt-Colberg. I beredskap.
Foto: Øystein Thorvaldsen.

In preparedness

Bente Sommerfeldt-Colberg. I beredskap.
Foto: Øystein Thorvaldsen.

SUB PROSPECT Skilpadde over Oslo.Detalj. Foto: Øystein Thorvaldsen.

Kristine Fornes
SUB PROSPECT

12 September - 12 October 2014

The exhibition will be officially opened by the textile artist Kristin Lindberg.

We are pleased to present an exhibition of new works by Kristine Fornes, an artist who has gained critical acclaim for her hand-embroideries with motifs of agricultural and cultural landscapes on the verge of dissapearing. Her whimsical characatures – animal, human or otherwise – are another important part of her artistic production. Oftentimes the base materials for her motifs are old cast-off textiles that imbue the works with additional layers of meaning.

Old stories and legends about the city of Oslo are the fountain head from which SUB PROSPECT springs. In the embroidered works, Fornes combines foregone and contemporary urban landscapes with well-known prospects from earlier centuries. Artists working with the prospect genre have tended to beautify and perfect nature, the landscape and culture. But Fornes asks: What lies under, behind and to the right and left of the perfected motif?

Fornes’s artistic expression alternates between ornate and figurative to sketchy, almost disolved drawings, with the thread barely attached to the underlying fabric. She shows us the breadth and possibilities inhering in the craft and media she masters so well.

There are many stories about Oslo which most of us have never heard. Even if we have, we probably don’t think about them. Golden columns underneath Old Aker Church, murder in Tivoli Theatre, and the devil from Oslo are examples of such stories.

Kristine Fornes (b. 1971) lives and works in Oslo. Her educational background stems from Oslo National Academy of the Arts, Bergen Academy of Art and Design and the University of Tromsø. She has held solo exhibitions at venues such as Østfold Art Centre, the Finnskog Exhibitions, Lørenskog Art Society and Gallery Format in Bergen. She has also participated in numerous group shows, including Høstutstillingen (‘The Fall Exhibition’ – a national, jurried annual show), Årsutstillingen for norsk kunsthåndverk (annual jurried show of the Norwegian Association for Arts and Crafts), Østlandsutstillingen (annual jurried show for eastern Norway), Vestlandsutstillingen (annual jurried show for western Norway), and Vevringutstillingen (annual exhibition in the district of Sogn og Fjordane). Her works can be found in the permanent collections of the National Museum for Art, Architecture and Design in Oslo, KODE in Bergen, Telemark University College, and the Pilot Galleries in Buskerud and Akershus.

SUB PROSPECT is generously supported by Arts Council Norway.

Translation by Arlyne Moi.

http://www.kristinefornes.no/

SUB PROSPECT

Gruven.(150 x 70 cm)  Foto: Øystein Thorvaldsen.

SUB PROSPECT

Skilpadde over Oslo. (100 x 150 cm) Foto: Øystein Thorvaldsen.

SUB PROSPECT

Djevelen fra Oslo. (135 x 59 cm) Foto: Øystein Thorvaldsen.

SUB PROSPECT

Via Sacra.Detalj. (130 x 130 cm)

SUB PROSPECT

Eskapist. Detalj. (120 x 210 cm) Foto: Øystein Thorvaldsen.

SUB PROSPECT

Musenes sorti. (145 x 82 cm)

Millefleur Ingrid Aarset. Millefleur. detalj. Foto: Øystein Thorvaldsen

Ingrid Aarset
Millefleur

16 October - 16 November 2014

The exhibition will be officially opened by art historian and art journalist Monica Holmen.

We are delighted to present an exhibition of entirely new works by Ingrid Aarset. In recent years she has won marked attention and recognition for her interpretations of textiles depicted in Renaissance paintings. She has created monumental works that often consist of several layers of textiles cut by laser – a relatively new technique within the field of textile art.

For this exhibition, Aarset has immersed herself in a medieval French and Flemish tradition – the millefleur pattern. This ornamentation involves a multitude of stylized flowers and other vegetal motifs that function as a background in tapestries. La Dame à la licorne (The Lady and the Unicorn), a series of six tapestries from ca 1500, is perhaps the most famous example from this tradition. During the winter of 2013/14, Aarset sojourned at Cité des Artistes in Paris. Whilst there, she studied these fantastic tapestries and made preliminary works for the exhibition Millefleur, which will now be shown at SOFT galleri.

Aarset argues that textiles can be read as strong cultural expressions of human life. Patterns and motifs recur throughout textile history, re-emerging as ‘new’ whenever a culture gains awareness of new qualities and develops new technology. The patterns thus become carriers of stories about the era in which they were made, and the lives of people living at the time.

Ingrid Aarset (b. 1958) lives and works in Hanevik, on Askøy (island) near Bergen. She is an associate professor of textiles at Bergen Academy of Art and Design. Some of her solo exhibitions have been held at Oseana Art Museum in Os, Northern Norway Art Museum in Tromsø, Sogn og Fjordane Art Museum in Førde, and at Kunstnerforbundet and Galleri Format in Oslo. Aarset has also participated in numerous group shows, not least, the annual juried exhibitions of the Norwegian Association for Arts and Crafts, Wireless, Vevringutstillingen and Essens. She has been commissioned to produce public artworks for churches and nursing homes, and her art has been purchased by the Norwegian Ministry of Foreign Affairs, Arts Council Norway, the National Museum for Art, Architecture and Design in Oslo, KODE Art Museums of Bergen, and the National Museum of Decorative Arts and Design in Trondheim.

translation: Arlyne Moi


http://www.ingridaarset.no/

Millefleur

Ingrid Aarset. Millefleur. Foto: Øystein Thorvaldsen

Millefleur

Ingrid Aarset. Millefleur. Foto: Øystein Thorvaldsen

Millefleur

Ingrid Aarset. Millefleur. detalj.Foto: Øystein Thorvaldsen

Millefleur

Ingrid Aarset. Millefleur. detalj.Foto: Øystein Thorvaldsen

Millefleur

Ingrid Aarset. Uten tittel.Foto: Øystein Thorvaldsen

Millefleur

Ingrid Aarset. Millefleur. Foto: Øystein Thorvaldsen

SPRANG Maia Urstad og Hilde Hauan Johnsen. SPRANG. Foto: Øystein Thorvaldsen

Hilde Hauan Johnsen og Maia Urstad
SPRANG

27 November - 31 December 2014

The exhibition will be officially opened by Anne Hilde Neset, artistic director for nyMusikk.

We are delighted to present a fibre-optic sound installation made especially for SOFT galleri. The installation uses the gallery’s window as a resonanating surface, so the sound will also be audible from the sidewalk.

For several years, Hilde Hauan Johnsen and Maia Urstad have colaborated on projects and exhibitions, using new technologies as artistic languages and means. This is also the case for the installation SPRANG, which consists of sound and fibre optics. The starting point for the work is the ancient textile technique called ‘sprang’. Here the technique interfaces with aural phenomena such as overtones, sound waves and vibrations that are based on Pythagorian theories about accoustics and geometry.

As a textile production technique, sprang has been known in the Nordic region since the Bronze Age. It involves only warp threads and can resemble a simple type of weaving. In the installation SPRANG, we do not encounter a physical textile but a composition of sound that metamorphoses into light and activates a network of fibre-optic cables.

Maia Urstad and Hilde Hauan Johnsen have created several fibre-optic sound installations since 2006, presenting them at places such as Kaunas Biennial in Lituania, Lydgalleriet in Bergen, Intervall – Bergen Rådhus (initiated by Curate.no), Article Biennial in Stavanger, Sogn og Fjordane Kunstmuseum, Nord Norsk Kunstmuseum and Kunstsenteret in Buskerud.

Origionally from Tromsø, Hilde Hauan Johnsen is a professor of textile art at Bergen Academy of Art and Design. In addition to being an active visual artist, she has worked as a scenographer for theatre, music and television productions.
www.hildehauanjohnsen.no

Maia Urstad lives and works in Bergen. She has produced many audiovisual exhibitions in Norway and abroad, most recently at the Marrakech Biennale and at VOLT in Bergen. Also in 2014 she was a guest artist at URRA in Buenos Aires. The last time she presented her works in Oslo was during the Only Connect Festival of Sound, held at at Blå.
www.maia.no

The exhibition is supported in part by Arts Council Norway, BEK-Bergen Centre for Electronic Art, Bergen Academy of Art and Design, and Atelier Nord.

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

SPRANG

Maia Urstad og Hilde Hauan Johnsen. SPRANG.
Foto: Øystein Thorvaldsen

Unidentified Objects Sarah Vajira Lindström.Unidentified Objects

Sarah Vajira Lindström
Unidentified Objects

8 January - 8 February 2015

We are pleased to be the first gallery in Norway to present Sarah Vajira Lindström and her project Unidentified Objects. The starting point for the project is Lindström’s obsession with collecting things she finds in nature. She takes them home and arranges them in new constalations – a nature-romantic’s yearning to organize nature.

Lindström explores the relation we as people have to the nature around us, and the contrast between wild and cultivated nature. For the exhibition at SOFT galleri, she has created a collection of small, unidentifiable objects. The works look like things she has found in the woods, but they are all unique works she herself has made. They are naturalistic creations of fictive, non-existant organisms. It seems as though the artist, through the process of creating each object, has captured a moment, frozen a growth process, and preserved it in her own natural-historical archive.

The exhibited works are the artist’s own collection of experiments with different techniques and materials. She has investigated knotting techniques, heat-fixing and embroidery, but also the melting and burning of materials such as textiles, plastics and rubber. She has worked layer-upon-layer with transparency and opacity. The objects are small and varried, and we need to see them up close to discover all the details. The experience could resemble a walk through nature for the purpose of exploring a leaf or seed capsule’s details.

Sarah Vajira Lindström (b. 1981) is a Swedish artist who lives and works in Oslo. She holds an MA in textile arts from the Royal College of Art in London, and a BA from Central Saint Martins in London. She has participated in numerous collective exhibitions, e.g., Nordisk Salong, Helsingborg; Talente 2014 in Munich; Talente 2009 in Eindhoven; Konstslöjdsalong at the Arkitekturmuseum in Stockholm; and Fablernas Värld at Konsthantverkarna in Stockholm. This spring she will participate in Liljevalchs Vårsalong in Stockholm.

www.sarahlindstrom.com

Translation: Arlyne Moi.

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects. Foto: Øystein Thorvaldsen

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects. Foto: Øystein Thorvaldsen

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects. Foto: Øystein Thorvaldsen

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects. Foto: Øystein Thorvaldsen

Unidentified Objects

Sarah Vajira Lindström.Unidentified Objects. Foto: Øystein Thorvaldsen

I would have liked to stroke your cheek and tell you everything will turn out OK. Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra Foto: Øystein Thorvaldsen.

Eli Eines
I would have liked to stroke your cheek and tell you everything will turn out OK.

12 February - 15 March 2015

The exhibition will be officially opened by the artist Anne Rolfsen.

SOFT galleri is pleased to present a site-specific exhibition of works by Eli Eines.

The exhibition, which takes the form of an installation that includes sculpture, text and performance, is built around a double-finger-crochet chain that covers much of the floor. Eines started making this chain when she was an art student in the late 1990s; she has continued working on it periodically, alongside other art projects. This work has many similarities with traditional handicraft. Over the years meter upon meter of textiles have passed through the artist’s hands and been treated by her. But in contrast to the normal handicraft that results in a garment or finished product, this particular work is a visualization of a process – of time and of the artist’s effort and concentration.

Eines will be in the gallery several times during the exhibition period, working on the chain as a performance. At the same time she invites the public to join her in discussion.

Eines is interested in the intrinsic meaning of textile techniques. She uses their visual languages to say something about the world in which she lives. With appliqué techniques and felt, she has made a globe and mounted it on a lampstand. This sculpture gives no light but makes our world more present, reflecting a concern for what happens in and to the world.

Accompanying the exhibition is a series of texts called ‘Textile Monologues’, in which five women talk about why they do handiwork. Each person’s reasons are closely related to her lifeworld. The women preserve resources, clothe and protect their fellow human beings and create a space for personal creativity.

Eli Eines lives and works in the municipality of Ås. Having graduated from Trondheim Art Academy in 2000, she has since done additional studies at university. Some of her solo exhibitions have been held at Galleri F15’s project space, Trøndelag Centre for Contemporary Art, and at Galleri BOA (in 2014). She has participated in (among others) the regional Trøndelag Exhibition, in several group shows at Trondheim Art Museum, in Video Works at Kunstnernes hus in Oslo, and in Drabantbyen kommer! (The Suburb City is Coming!) at Oslo Bymuseum. Eines has received numerous stipends and her works have been purchased by Crafts Council Norway.

www.elieines.no

Translation: Arlyne Moi.

I would have liked to stroke your cheek and tell you everything will turn out OK.

Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra
Foto: Øystein Thorvaldsen.

I would have liked to stroke your cheek and tell you everything will turn out OK.

Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra
Foto: Øystein Thorvaldsen.

I would have liked to stroke your cheek and tell you everything will turn out OK.

Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra
Foto: Øystein Thorvaldsen.

I would have liked to stroke your cheek and tell you everything will turn out OK.

Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra
Foto: Øystein Thorvaldsen.

I would have liked to stroke your cheek and tell you everything will turn out OK.

Eli Eines. Jeg ville så gjerne strøket deg over kinnet og sagt at alt kommer til å gå bra
Foto: Øystein Thorvaldsen.

Through Yellow

Janne Nes
Through Yellow

19 March - 26 April 2015

The exhibition will be officially opened by textile artist Solveig Aalberg.

We are pleased to present a solo exhibition by Janne Nes, who has created a new artwork especially for the exhibition space at SOFT galleri. The work is a three-dimensional object hanging in a way that enables the public to move around it.

The study of colour and the way it affects us is a recuring theme in Janne Nes’ artistic practice. For this exhibition, she has studied the colour yellow. Instead of focusing on symbolic aspects, Nes explores the immediate and instinctive sensations of colour, as experienced by viewers.

By using watercolour techniques on silk organza, then group-mounting the sheets to create a three-dimensional form, Nes cause the colour to materialize as a concrete object. She works with each sheet individually, painting forms which, through the watercolour method, gain an organic quality as the water-disolved pigments encounter the silk.

Nes’ tools for composing the cube shape are painted silk and the elements of light and air. When we move near the work, we experience the painted form’s movement in the transparent layers. At the same time, the strict cube shape floats lightly on the room’s air currents.

As a complimentary dimension to the exhibition, the Berlin-based sound artist and musician Silje Nes has contributed an element of sound – as if to ‘tune the room’. The electronic signals are transferred via a piezo contact-loudspeaker that is fastened to the installation’s steel strings. The vibrations of the work itself are what create the sound. It is barely audible, yet nevertheless present.

Janne Nes (b. 1954, Hamar) studied at Bergen Academy of Art and Design (MA, 2002) and lives and works in Leikanger. She has held solo exhibitions at Nord-Trøndelag Art Museum, the Art Centre in Buskerud, Cooper House in Balestrand and Sogn og Fjordene Art Museum. She has also participated in numerous jurried group exhibitions, among others, the Høstutstillingen (national annual fall exhibition); Craft (produced anually by the Norwegian Association for Art and Craft); Tendencies at Galleri F15 in Moss; and the 3rd International Art Festival in Krakow. Her works have been purchased by Nordenfjeldske Kunstindustrimuseum (museum for decorative art and design in Trondheim). Nes has also produced public art, not least for the Norwegian Labour and Welfare Administration, the Sarpsborg police headquarters and the Sogn og Fjordane County Governor’s office.

Translation: Arlyne Moi.

http://www.jannenes.no/

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Through Yellow

Janne Nes. Gjennom gul. Foto: Øystein Thorvaldsen

Soft Links, Local Positions "Rekonstruert sommer." Detalj. Foto: Olav Bjørkum.

Aud Bækkelund
Soft Links, Local Positions

7 May - 7 June 2015

The exhibition will be officially opened by textile artist and art historian Runa Boger.

We are pleased to present new works by Aud Bækkelund, in an exhibition that includes installations, a sculptural object and works relating both to the wall and the room. Common to all these works is that the artist has appropriated used materials and readymades, things that by virtue of previous use, are loaded with content and history.

This is a poetic, atmospheric exhibition. Bækkelund invites us to make our own associations, to create our own interpretations and stories about what we see. All the works have something recognizable about them, yet they also trigger surprise because they consist of mundane items combined in unexpected ways.

Bækkelund is inspired by the poetic qualities of everyday materials and the objects with which we surround ourselves. She often uses low-status materials, for instance clothes hangers, old clothing and thread spools, exploring their possibilities as artistic visual languages – their ability to communicate about what is written between the lines of ordinary language. We also sense an involvement with environmental issues, through the use of materials that would normally be considered garbage in our (over-) consumer society.

Born and raised in Furnes in Hedmark, Aud Bækkelund graduated from SHKD – National College of Art and Design, Bergen (hovedfag, 1989), and has since lived and worked in Norheimsund in Hordaland. She has held solo exhibitions at Kunstnerforbundet and Ram Galleri, both of which are in Oslo, and at selected galleries and art centres in Stavanger, Trondheim and Bergen. Bækkelund has participated in juried, annual shows such as Høstutstillingen, Vestlandsutstillingen, Kunsthåndverk (organized by the Norwegian Association for Arts and Crafts), and other group exhibitions at home and abroad. She is currently participating in the 5th International Textile and Fibre Art Triennial in Riga. Bækkelund has received numerous stipends, and her works have been purchased by Arts Council Norway and the National Museum in Oslo.

Translation: Arlyne Moi.

http://www.audbaekkelund.no/

Soft Links, Local Positions

“Rekonstruert sommer” og “Starry, starry night.”
Foto: Øystein Thorvaldsen.

Soft Links, Local Positions

“Å praktisere uendelighet” og “Spektrale muligheter.”
Foto: Øystein Thorvaldsen.

Soft Links, Local Positions

“Å lokalisere hjemløsheten.”
Foto: Øystein Thorvaldsen.

Soft Links, Local Positions

“Rekonstruert sommer.”
Foto: Olav Bjørkum.

Soft Links, Local Positions

“Spektrale muligheter.”
Foto: Olav Bjørkum.

Soft Links, Local Positions

Oversiktsbilde av utstilling.
Foto: Øystein Thorvaldsen

Stone Cold Gold

Ane Vik Eines
Stone Cold Gold

11 June - 2 August 2015

Ane Vik Eines
Stone Cold Gold

Welcome to the exhibition opening, Thursday, 11 June 2015, 6-8pm.

The exhibition will be officially opened with a performance by Antidote.


I’m completely Stone Cold Gold.
Got gold in all my pores, drink Blue Nun Gold Edt.
and dig gold every day.
Oh, you’re gold! Completely goldfinger.
Stay gold, I said, but meant peace out.

Ane Vik Eines works with knitted sculptures and objects. She explores the textures that knitting techniques enable, and how gravity is a generative force in her works. Her fearless, direct approach to knitting leaves her open to any and every possibility inhering in the technique.

For the exhibition Stone Cold Gold, Ane Vik Eines explores the world of gold. She is attracted to glitter and shine, to everything that is gold in her environment, for instance, to the sun reflecting off the ocean’s surface and to videos of rappers with hefty jewellery. The contrast and tension between the gaudy and the natural is a recurring theme. Elements from nature also find a place in her works, for instance tree trunks and branches. These elements stand is stark contrast to the textiles that are often knitted with synthetic yarn, yet they also have a supporting function in her sculptures.
Ane Vik Eines (born 1983, Aure) lives and works in Oslo. She has an MA from Oslo National Academy of the Arts (KHiO, 2013). Her previous solo exhibitions have been held at Galleri Blunk in Trondheim, at Aure Art Society and at the student galleries of KHiO. Ane Vik Eines has participated in numerous group shows, not least Knock Knock, which was organized by the Association of Norwegian Sculptors; ++ at the Black Box Theatre in Oslo; Textiles Unbehagen in Munich; and Vår Salong! 2015, held at Nackunga Prästgård in Sweden. In 2014 she received a three-year work stipend for young artists.

The exhibition has received funding from Arts Council Norway and Billedkunstnernes Vederlagsfond.

Translation: Arlyne Moi.

http://www.anevikeines.no/

 

 

Stone Cold Gold

Ane Vik Eines. Stone Cold Gold. Foto: Øystein Thorvaldsen

Stone Cold Gold

Ane Vik Eines. Stone Cold Gold. Foto: Øystein Thorvaldsen

Stone Cold Gold

Ane Vik Eines. Stone Cold Gold. Foto: Øystein Thorvaldsen

Stone Cold Gold

Ane Vik Eines. The Gleam.  Foto:Øystein Thorvaldsen

Grumset inni der

Camilla Steinum
Grumset inni der

6 August - 6 September

We are pleased to present the exhibition Grumset inni der (Murky Inside) by Camilla Steinum. The exhibition consists of sculptures made with felt in combination with metal structures. In her practice, Steinum combines found materials such as branches, weeds, hair and fragments of clothing with raw wool. These are felted together to create new surfaces, then divided and sewn into new combinations.
Felting is the world’s oldest textile-creation method. It only requires moisture and friction to interlock the wool fibres. “In contrast to weaving, a piece of felt has no top of bottom and can extend in all directions. It doesn’t require any machinery or ‘system’. The process is open and the results unpredictable” Steinum is fascinated by this direct and unpredictable method. The felt’s organic qualities stand in contrast to the static, controlled metal structures.

Steinum explores juxtaposed qualities and characteristics: dirty-clean, small-large, inside-outside – also a clear thought encountering a more diffuse, poetic thought. She is interested in the stories and symbolic value of everyday objects and the ‘relics’ with which we surround ourselves. Recycled clothing testifies to past events, bodily waste symbolizes human transience. The need to establish an order or system of categories comes to a head when encountering refuse, in part because we associate it with disgust and hold purity as an ideal.

Camilla Steinum (b. 1986, Oslo) lives and works in Berlin and Oslo. She studied at Oslo National Academy of the Arts (KHiO, textile section), Weißensee kunsthochshule in Berlin and Malmö Art Academy (MA from KHiO, Academy of Fine Art, 2012). She has already participated in several solo, duo and group exhibitions at home and abroad. We make due to mention Akershus Kunstsenter, ‘One Night Only’ at Kunstnernes Hus and Unge Kunstneres Samfund (both in Oslo), Pleasant Project Space in Copenhagen, and Rod Barton Gallery in London. During the summer of 2015, Steinum is currently also showing a solo show at the newly established project space M.I. in Berlin.

Exhibition period: 6 August – 6 September 2015
The exhibition has received support from Kulturrådet and Billedkunstnernes Vederlagsfond.

Translation: Arlyne Moi.

http://www.camillasteinum.com/

Grumset inni der

Camilla Steinum. Grumset inni der. Foto:Øystein Thorvaldsen

Grumset inni der

Camilla Steinum. Det Barberes Bak Vinduene. Foto: Øystein Thorvaldsen

Grumset inni der

Camilla Steinum. Det Barberes Bak Vinduene. og Bløt Ting.  Foto: Øystein Thorvaldsen

Uro Foto: Øystein Thorvaldsen

Kristin Wexelsen Goksøyr
Uro

10 September - 11 October 2015

The exhibition will be officially opened by Erik Steen, director of the Association of Norwegian Sculptors (Norsk Billedhoggerforening).

We are pleased to welcome you to an exhibition featuring the art of Kristin Wexelsen Goksøyr. Although she does not work with textiles, she aims to create a soft expression with materials that are in fact ‘hard’, for instance stone, plaster and bronze. Her sensitive treatment of surfaces engenders associations to soft materials such as textiles and skin. We immediately want to touch them.

Goksøyr’s works can be read as playful experiments with abstract and organic forms. They suggest something almost recognizable. Many people experience them as beautiful, calm and sensual, but also as disturbing. She wants her works to generate wonderment. T hey come into being over time, partly through a process involving a chain of associations.

The exhibition Uro presents some of Goksøyr’s newest works: wall objects made of plaster or bronze, one larger sculpture and a series of drawings.

Kristin Wexelsen Goksøyr (b. 1965) lives and works in Oslo and Nittedal. She studied at the National College of Art and Design in Oslo, completing a hovedfag degree in 1992. She has held several solo exhibitions, for instance at Agder Art Centre in Kristiansand, Gallery BOA in Oslo, and the Young Artists’ Society (Unge Kunstnernes Samfund) in Oslo. She has also participated in numerous group exhibitions such as the Sculpture Biennial and the annual Autumn Exhibition in Oslo. Her art is currently represented in the sculpture park at the arts-and-crafts centre ‘Bærums verk’. Goksøyr has produced several decorative commissions, one large project being for Naddreud High School in Akershus. Also notable are four smaller installations imbedded in floors at Oslo’s Gardermoen Airport.

The exhibition has been generously supported by Crafts Council Norway and the arts fund ‘Billedkunstnernes Vederlagsfond’.

Translation: Arlyne Moi.

www.kristinwexelsengoksoyr.no

Uro

Oversiktsbilde Uro
Foto: Kristin Wexelsen Goksøyr

Uro

Uro
Foto: Øystein Thorvaldsen

Uro

.. og hvor ble røttene av?   
Foto: Kristin Wexelsen Goksøyr

Uro

Uro
Foto: Øystein Thorvaldsen

Uro

Uten tittel
Foto: Kristin Wexelsen Goksøyr

Fables

Silja Puranen
Fables

15 October - 15 November

Welcome to the opening of the exhibition Fabels, on Thursday, 15 October 2015, from 6pm to 8pm.

The exhibition will be officially opened by Anne Stabell, former director of the Norwegian Textile Artists Association.

SOFT Galleri is pleased to be the first to present the Norwegian public with a solo exhibition by the Finish artist Silja Puranen.

General themes in Puranen’s works are the modern society and the relation between an individual and the society. In her latest productions, she looks critically at global issues such as justice, violence and sustainable development.

Puranen’s works are figurative and narrative. In this exhibition, animals have replaced human figures and become symbols for human activities and civilization. Although the focus for her artistic practice is the critical observation of society, one can also find a combination of poetic beauty, disturbing strangeness and a singular type of humour. She seeks to create art that can be interpreted on many levels.

Puranen works with several genres. In the exhibition Fables, she presents video works and digitally-manipulated photos transferred to found textiles. Each found textile is related to a photo or underlying concept that could concern the textile’s historical context, former use or visual references.

Silja Puranen (b. 1961) lives and works in Finland. She first studied textile design at Kuopio Institute of Art and Design, then design at Lahti University of Applied Sciences, Institute of Fine Arts. She has held numerous solo exhibitions in Finland, Sweden and Spain and has participated in an even greater number of group exhibitions in Finland and elsewhere in Europe. Her works can be found in several Finish and European public collections, not least, in the Museum of Contemporary Art Kiasma in Helsinki; Musée du Feutre, Mouzon, France; and the Textilmuseet in Borås, Sweden. She has received numerous stipends and prizes, among others, the Nordic Award in Textile for 2009 and the WCC-Europe Award for Contemporary Crafts.

Translation: Arlyne Moi.


http://www.elisanet.fi/silja.puranen/

Fables

Fabler
Silja Puranen
Foto: Øystein Thorvaldsen

Fables

Circus Princess (235 x 325)
Silja Puranen
Foto: Øystein Thorvaldsen

Fables

War horse
Silja Puranen
Foto: Øystein Thorvaldsen

jag lyssnar under tyget

Liv Zachrisson
jag lyssnar under tyget

26 November 2015 - 3 January 2016

The exhibition will be officially opened by art critic Lars Elton.

The installation jeg lyssnar under tyget (I Listen from under the Cloth) is multi-faceted. It concerns listening, both to the world and to oneself, but also deals with themes such as vulnerability, accessibility and strength. A cloth can be seen as a membrane between an external world and an internal space; it can be a tool for listening, either to oneself or to the world outside.

Through visual and aural expressions, Zachrisson explores different forms of existential presence. The work combines the media of photography, painting, drawing, sculpture and audio-recorded text. The variously interfaced elements create unusual connections, yet also work to unify the expression in the exhibition space. To quote Anne Karin Jortveit:

‘…our body knows what it is doing. It remembers, it has experience. Liv Zachrisson uses this fundamental insight and develops it in her art; she herself trusts that the body knows where it is going in the artistic process. (…) Each and every artistic idea requires a certain medium. As an artist, Zachrisson takes this seriously, working in a borderland between technology and craft. Her works are thus enigmatic yet well defined – inscrutable yet material. (…) It is not simply a matter of an artwork, but equally much an artistic way of thinking.’
lyden av stillhet, stillheten i lyd – en introduksjon til Liv Zachrissons kunst (our translation)

Liv Zachrisson (b. 1958 Malmö) lives and works in Oslo. She studied at the Norwegian National Academy of Craft and Art Industry and at the National Academy of Art (1991). Her numerous solo exhibitions have been held at venues such as Vigelandsmuseet, Bergen Kunsthall, Ram Galleri, Unge Kunstneres Samfund, Agder Kunstnersenter and Galleri Rostrum in Malmö. She has also participated in group shows in Norway and in the Nordic countries, some of which have been at Oslo Kunstforening, Kunstnerforbundet in Oslo, Galleri Nylist- ásafni∂ in Reykjavik and Galleri Overgaden in Copenhagen. Her works have been featured in the juried exhibitions Høstutstillingen and Østlandsutstillingen. Zachrisson has received numerous grants, and her works have been purchased by Arts Council Norway, Linkøpings Kulturnämnd and Sørlandets Kunstmuseum.

The exhibition has received funding from Arts Council Norway and Billedkunstnernes Vederlagsfond.

jag lyssnar under tyget

Liv Zachrisson.  jag lyssnar under tyget
foto: Øystein Thorvaldsen

jag lyssnar under tyget

Liv Zachrisson. mellan grenarna står stammarna
foto: Øystein Thorvaldsen

jag lyssnar under tyget

Liv Zachrisson.  jag lyssnar under tyget
foto: Øystein Thorvaldsen

jag lyssnar under tyget

Liv Zachrisson.  jag lyssnar under tyget
foto: Øystein Thorvaldsen

jag lyssnar under tyget

foto: Øystein Thorvaldsen

jag lyssnar under tyget

foto: Øystein Thorvaldsen

Gult fanger lyset

Kari Hjertholm
Gult fanger lyset

07 January- 07 February 2016

We are pleased to welcome you to the exhibition Gult fanger lyset (Yellow Captures the Light) featuring works by Kari Hjertholm. The exhibition will be officially opened by the textile artist and art historian Runa Boger.

The exhibition presents two new works, one a monumental wall piece four meters wide. Aspects that characterize Kari Hjertholm’s previous works are tactility and the absence of colour. In the exhibition at SOFT Galleri she shows two yellow works, each with different colour harmonies – from warm to decidedly sour.

Kari Hjertholm uses an old and time-consuming floss technique, also called tufting. With this technique she creates what appear to be partly transparent surfaces. Thousands of small folds of yellow thread are sewn to a blue background material, stich by stich with a small hand-held tool. The loops of thread have an irregularity that creates liveliness and tactile presence in the surface. Yet unlike all the lights illuminating the city during this time of year, the interplay of yellow and blue engenders a subtle and poetic conversation.

‘I want to achieve a visual and poetic musicality, an interplay between tactile experience at close range and monumentality at a distance. Interpretation I leave to the viewer’.

Kari Hjertholm (b. 1954) lives and works in Bergen. She studied at the Norwegian College of Applied Art and Design in Bergen (textiles), West Norway Art Academy in Bergen and Valand Art Academy in Gothenburg. Along with holding many solo exhibitions and participating in group exhibitions, she has contributed several times to Norway’s annual Autumn Exhibition. Hjertholm’s works have been purchased by notable institutions including the National Museum – Museum of Decorative Arts and Design in Oslo, West Norway Museum of Applied Art and Design and Bergen Picture Gallery (the latter two are incorporated into KODE – Art Museums of Bergen). She has received numerous stipends over the years (also a government-guaranteed income) and has produced several public decorative commissions.

The exhibition is generously supported by Arts Council Norway and Bergen Municipality.


www.karihjertholm.no

Gult fanger lyset

Gult fall
Kari Hjertholm
foto: Øystein Thorvaldsen

Gult fanger lyset

Gult fanger lyset
Kari Hjertholm
foto: Øystein Thorvaldsen

Gult fanger lyset

Gult fanger lyset.
Kari Hjertholm
foto: Øystein Thorvaldsen

Gult fanger lyset

Syrlig krusning
Kari Hjertholm
foto: Øystein Thorvaldsen

Gult fanger lyset

Gult fanger lyset
Kari Hjertholm
foto: Øystein Thorvaldsen

SOFT galleri

8 February - 03 March 2016

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues Marthe Karen Kampen & Hanna Roloff

SOFT moments
Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

03. March - 06. March 2016

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

Hanna Roloff & Marthe Karen Kampen

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

Hanna Roloff & Marthe Karen Kampen
foto: Øystein Thorvaldsen

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

Hanna Roloff
foto: Øystein Thorvaldsen

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

Marthe Karen Kampen
foto: Øystein Thorvaldsen

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues

Hanna Roloff
foto: Øystein Thorvaldsen

Hanna Roloff & Marthe Karen Kampen //Blå himlen blues Mikkel Wettre Detalj, In Praise of Shadows Foto: Øystein Thorvaldsen

Mikkel Wettre

10.March -17.April 2016

The exhibition will be officially opened by Gunnar H. Gundersen, artist and professor at the Department of Product Design, Oslo and Akershus University College of Applied Sciences.

SOFT galleri is pleased to welcome you to an exhibition featuring a new work by Mikkel Wettre: a site-specific installation consisting of seven perforated panels that hang from the ceiling and rotate slowly on their own axes. The installation is lit by a strong light, and its cast shadows create continuously changing ornaments on the walls.

In the streets around the gallery cars pass continuously, and light moves and changes from day to dusk to night. As we look through the large window, our awareness of light and architecture mixes with our experience of the large ornaments and the projections moving in the gallery space. Phenomena such as repetitive movements and light that constantly comes into and goes out of focus usually remain in our peripheral vision. We tend not to give them our full attention.

By focusing on the connection between movement, basic shapes and the eye’s functionality, Mikkel Wettre explores the circumstances that make up the transition between actual and fictive experience. What our eyes perceive is dependent on light, distance, placement, contrast and, not least, our previous experience. The installation is conceived as a materialisation of what happens in the eye’s peripheral field of focus – as constant manifestations of forms or fleeting glimpses. These are mutable visual impressions lacking a fixed position in a specific cultural framework, much like incomplete memories.

Mikkel Wettre (b. 1974 in Sierra Leone) lives in the municipality of Fet near Oslo. He is currently a professor of product design at Oslo and Akershus University College of Applied Sciences. In 2000 he completed a Master’s degree at the Institute for Colour, Oslo National Academy of the Arts. Wettre has participated in numerous group exhibitions in Norway and abroad. We make do to mention his contribution to the sculpture biennial at Vigeland Museum in 2015, his presentations at the annual Autumn Exhibitions, and his participation in exhibitions in Japan, Spain, Ireland, Thailand and England. He has also held numerous solo exhibitions in Norway. His most recent Oslo show was in 2014 at Prosjektrommet Carl Berner, and before that in 2012 at the gallery Kunstnerforbundet.

mikkelwettre.com

Mikkel Wettre
Detalj, In Praise of Shadows
Foto: Øystein Thorvaldsen

Mikkel Wettre
In Praise of Shadows
Foto: Øystein Thorvaldsen

Mikkel Wettre
Detalj, In Praise of Shadows
Foto: Øystein Thorvaldsen

A Kind of Memory

Ingrunn O. Myrland
A Kind of Memory

28. April - 29. May 2016

The exhibition will be officially opened by Marte Østmoe, author and editor for the publisher Lyst Forlag.

We are delighted to welcome you to an exhibition featuring the art of Ingrunn O. Myrland. At SOFT Gallery, Myrland will present a new modularly-based wall work, an installation and several smaller works, each relating in some way to a kind of physical experience – a kind of memory.

Myrland talks about the stimulus for her works:

Recollections and experiences link up like a network in our memory. Encountering a smell, a sound, a pattern or a form can open the memory archive. Our experiences and knowledge about ourselves and our environment are grounded in our bodies. The textiles we are dependent on function like a second skin and are perhaps our most important sources for sensory experience. When planning a visual expression, my starting point is often my own ‘tactile memory’.

Myrland’s installations and tableaux invite us to enter a private, intimate sphere. She creates forms using a sewing machine and hand-stitching, combining colours and materials in ways that allude to skin and the body. We find obvious references to underwear and other types of clothing. The structure of these works, however, also recalls organic nature and geometry.

Ingrunn O. Myrland (b. 1976) lives and works in Hov, in the municipality of Søndre Land (Oppland County, Norway). She has a Bachelor’s degree in textiles from Bergen Academy of Art and Design (2002), and a Master’s degree in textiles from Oslo National Academy of the Arts (2005). Myrland has participated in numerous group exhibitions in Norway and abroad. With Ann Kristin Aas, she started the artist-duo IOMAKA, to create spatial installations and objects. The two have collaborated on several exhibitions in Norway. Ingrunn O. Myrland’s art has been purchased by KODE, Art Museums of Bergen.

A Kind of Memory

Ingrunn O. Myrland
En form for hukommelse
Foto: Øystein Thorvaldsen

A Kind of Memory

Ingrunn O. Myrland
En form for hukommelse
Foto: Øystein Thorvaldsen

A Kind of Memory

Ingrunn O. Myrland
Parametriske erindringer
Foto: Øystein Thorvaldsen

A Kind of Memory

Ingrunn O. Myrland
En form for hukommelse
Foto Øystein Thorvaldsen

A Kind of Memory

Ingrunn O. Myrland
Mors tårer
Foto. Øystein Thorvaldsen

Fig Tree Bay Monika Mørck: Fig tree bay Foto: Øystein Thorvaldsen

Monika Mørck
Fig Tree Bay

9. Jun -31. July 2016

The exhibition will be officially opened by the aesthetician and art historian Martin Berner Mathiesen and the art historian Vilde M. Horvei.

We are pleased to welcome you to this year’s summer exhibition Fig Tree Bay by Monika Mørck. The starting point for the show is SOFT Galleri’s location. The gallery is in an area of Oslo characterised durring the daytime by art galleries and businesses, but during the evenings and at night by prostituion and strip clubs. This is the context for Fig Tree Bay.

With peach-coloured and ornamented silk drapery, wallpaper and a dance pole, Mørck seeks to create a room we reccognise from nineteenth-century paintings of harem girls. Art historical references and decorative means are used to illucidate contemporary attitudes to private and public sexuality. The gallery’s front window reveals the exhibition to the outside world, thus allowing it to interfere in the local environment.

In art history, there is a long tradition of presenting the nude female body with drapery and ornamentation. This points to the woman’s role as an object of desire but also to decorative art’s historical status. The dance pole in the middle of the room can be read as symbolising today’s sex culture and popular culture.

The draped textiles and pattern spreading across the gallery walls establish an abstract picture. Symbol representing a socio-critical question are transformed into a seductive pattern. The elements Mørck uses are symbols from Christian and Renaissance art, for instance the fig leaf: a symbol of desire, shame and the act of hiding nakedness. It is combined with icons from popular culture: Marilyn Monroe and the singers Madonna and Rihanna. Mørck also includes a stylised Instagram image of her own body. By combining Christian symbols with popular culture, she wants to say something about how Christian morality largely informs our attitudes to the body and sexuality, how selling one’s body or the use of sexuality in public is stigmatised, and how social media today is used as a forum for moralising, judging and expressing opinions about right and wrong.

Pole dancing offers an example of how sex is present in everyday exercise regimes. Even though most professional pole dancers are not strippers by profession, modern gyms tend to play on erotic connotations when promoting their classes by using expressions like ‘sexy training’. Thus the pole in the exhibition points both to erotic activity in itself and to how sex is present in popular culture.

Monika Mørck (b. 1984) lives and works in Oslo. She holds a Master’s degree (2013) from Oslo National Academy of the Arts. In the summer of 2015 she presented the exhibition Tie Me Up Tie Me Down at TM51 Infill in Oslo. Mørck has participated in several group and collective shows, examples being ++ at Black Box Theatre, Kasbah vandring II at Galleri F 15, and Knock Knock at the Association of Norwegian Sculptors. In 2014 she received a three-year government work grant for young artists. Parallel to her artistic practice, she is part of the design duo MØRCK, along with her mother Marianne Mørck. This fall, Monika Mørck’s art will also be featured in an exhibition marking the 40th anniversary of Trøndelagsutstillingen – a regional exhibition held at Trøndelag Centre for Contemporary Art in Trondheim.

Fig Tree Bay has received support from Oslo Municipality.

Fig Tree Bay

Monika Mørck: Fig tree bay
Foto: Øystein Thorvaldsen

Fig Tree Bay

Monika Mørck: Fig tree bay
Foto: Øystein Thorvaldsen

Fig Tree Bay

Monika Mørck: Fig tree bay
Foto: Øystein Thorvaldsen

Fig Tree Bay

Monika Mørck: Fig tree bay
Foto: Øystein Thorvaldsen

Fig Tree Bay

Monika Mørck: Fig tree bay
Foto: Øystein Thorvaldsen

In this fever of defiance Foto: Magnús Elvar Jónsson

Pia Antonsen Rognes
In this fever of defiance

11 August - 11 September 2016

What moves inside of me

a smouldering place of blunt pain, of swollen mass
that which fills the cavity of my chest

the void that swells and pushes through the ribs
runs out in clusters and glues me to the bed

melts meat and bones
guides me to the ground

then rises in discomposure
gruelling, hungry, taking me in tow

demanding my humanity
devours and seduces

To make shape of this wordless place
this shapeless being
that extrudes onto me



It is with great pleasure that we begin the 2016 autumn season by presenting Pia Antonsen Rognes’s very first solo exhibition. In This Fever of Defiance features newly produced sculptural works. The central work, Shapes of Violence, hangs from the gallery ceiling and spreads out across the floor. Using synthetic textiles, fake fur, latex and metal, Rognes creates complex surfaces suggesting contorted and swollen bodily forms. She moulds bodies that are free of the limitations of the human body, free of the tight camouflage of skin, free to express themselves through meta-human and anthropomorphic qualities.

In her works Rognes focuses on self-destructive human behaviour: impossible and complicated things that compel a person to commit self-damage. She tends to see self-destructiveness from a developmental perspective, as helping a person cope with difficult emotional states. The destructive drive would thus also involve a type of loving care, perhaps like the joy and necessity of an escape route, a welcome solution to something far more difficult, insurmountable.

Through her sculptural works, Rognes searches for parallels between an emotional experience and a sensory experience brought about by the fusion of negatively and positively charged objects – how the human body can accommodate urges such as the desire to be violent and loving at one and the same time. These conflicting extremes are at the core of her art: to cultivate self-destructivity as something positive, and the fact that one is damaged by such behaviour.

Rognes searches for materials and combinations that conjure strong and conflicting associations. For her, materials and forms that appeal to the senses and which resemble the body are like a vocabulary for reading feelings into a work.

Pia Antonsen Rognes (b. 1986, Trondheim) lives and works in Oslo. She holds a Master’s degree from Iceland Academy of the Arts in Reykjavik (2014), and a Bachelor’s degree from Bergen Academy of Art and Design (textile department, 2012). She has participated in a number of group exhibitions in Norway and Iceland, among others, the regional Trøndelag Exhibition in 2015, where she won the debut prize for the work As They Believe My Lying Body. In 2013 she participated in Norway’s annual national Autumn Exhibition and in Craft – the annual exhibition organised by the Norwegian Association for Arts and Crafts. There she won the prestigious Craft Prize for the work River i meg venter lokker vekker den som lengter (loose translation: ‘Tearing into me, waiting, tempting, arousing one who yearns’). In autumn 2018, she will hold a solo exhibition at Trøndelag Centre for Contemporary Art.

The exhibition has been generously supported by Arts Council Norway.

www.piaarognes.com

In this fever of defiance

Pia Antonsen Rognes: In this fever of defiance
Foto: Magnús Elvar Jónsson

In this fever of defiance

Pia Antonsen Rognes: In this fever of defiance
Foto: Magnús Elvar Jónsson

In this fever of defiance

Pia Antonsen Rognes: Tease 2016
Foto: Magnús Elvar Jónsson

«Skissen»

Tegnebiennalen 2016
«Skissen»

23. September -  23. October 2016

«Skissen»

Robin Danielsson
Foto: Ingjerd Sandven Kleivan

«Skissen»

Robin Danielsson
Foto: Ingjerd Sandven Kleivan

«Skissen»

Robin Danielsson
Foto: Ingjerd Sandven Kleivan

«Skissen»

Robin Danielsson
Foto: Ingjerd Sandven Kleivan

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold
Tell me your dreams and I will make them come true

27 October - 20 November 2016

The photographer and author Heidi Furre will officially open the show.

Tell me your dreams and I will make them come true, by Marte Edvarda Tidslevold, is an exhibition that develops through interactive performance: The artist invites members of the public to participate in a ca. 15-minute personal conversation. During this time, she sews a portrait that takes the form of an abstract mask. Afterwards she photo-documents the participant wearing the mask, and invites him or her to take the mask home as a souvenir of the conversation. The photo, however, is hung on the gallery wall. The exhibition is therefore constantly changing and becomes a visual record of the personal conversations the artist has had during the exhibition period.

How do we present ourselves to others? Who do we want to be, and who in fact are we? These are questions we relate to all the time in society, and they concern the masks we present to others in any given situation. We show aspects of ourselves that are contingent on the situation we are in; we adopt a role that underscores something we think is beneficial in the specific context.

‘In my works I focus on textiles and performative expressions involving bodily presence and materials. These result in subtle and sensitive performances emphasising interpersonal encounters. The themes often concern how we relate to others, how we read, understand or misunderstand unwritten rules in social situations, also the distress that arises when the boundaries of our intimate sphere are broken.’ (Marte Edvarda Tidslevold)

Marta Edvarda Tidslevold (b. 1985, in Misvær, Norway) lives and works in Malmö, Sweden. She earned a Bachelor’s degree from Trondheim Art Academy, and a Master’s degree from Umeå Academy of Fine Arts (2013). She has exhibited in Norway, Sweden, Denmark and Russia. Selected exhibitions include the Northern Norwegian Art Exhibition in Bodø, 24 Spaces, A Cacophony at Malmö Konsthall, and Performing Identity at Luda Gallery in St. Petersburg. In 2016 Tidslevold received the prize Malmö Stads Kulturstipend.

Exhibition period: 27 October – 20 November 2016

www.marteedvarda.com

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold:
Tell me your dreams and I will make them come true

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold:
Tell me your dreams and I will make them come true

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold: Tell me your dreams and I will make them come true.
Foto: Øystein Thorvaldsen

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold: Tell me your dreams and I will make them come true.
Foto: Øystein Thorvaldsen

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold: Tell me your dreams and I will make them come true.
Foto: Øystein Thorvaldsen

Tell me your dreams and I will make them come true

Marte Edvarda Tidslevold: Tell me your dreams and I will make them come true.
Foto: Øystein Thorvaldsen

White Matter

Anne Tveit Knutsen
White Matter

24 November 2016 - 1 January 2017

The exhibition will be officially opened by Per Kvist.

White Matter addresses the theme of dementia. It is nourished by the artist’s experiences with senile dementia in her previous occupation as a nurse, also through her encounters with relatives who suffer from Alzheimer’s disease. The exhibition explores the theme from the perspectives of patients and close family members. With titles such as To Mother and To Father, she invites us to reflect on what happens when a parent develops dementia.

This disease poses great challenges to modern medicine. It will affect most of us at one time or another, if current developments continue unabated. While the disease is puzzling, researchers think it relates to a white substance in the brain/nervous system. Hence the exhibition title.

Anne Knutsen shows new works in this exhibition at SOFT Galleri. She uses video, sound and the written word as artistic media. The works belong to the series Am I too loud? T he first video in this series earned the ‘special prize’ in the Nordic-Russian competition PORTRÆT NU (Portrait Now, Nationalhistoriske Museum, Frederiksborg Slot, Denmark, 2013).

Artist’s Statement:
I am interested in the topic of individual self-worth. Using video as my main artistic medium, I focus on people in different situations in life. The videos show quiet sequences of events that are often obviously staged. I explore themes such as comfort, discomfort, control and the lack thereof, whether in interpersonal relations or on an internal, individual level. The themes vary from the intimate and personal to more universal issues that cut across cultures. I am interested in an individual’s encounter with himself/herself and the surrounding world, and how this is filtered through earlier experiences. How much space is a person allowed to take up? And how much space do others allow that person to take up? How do power and its abuse affect our ability to raise our personal voice? How quiet can a person be and yet still be heard? (Anne Knutsen)

Anne Tveit Knutsen (b. 1961) lives and works in Bergen. She received an MA from Bergen Academy of the Arts / Textile Department in 2004. Selected solo exhibitions include Galleri Format (Oslo), House of Foundation (Moss) and Visningsrommet USF (Oslo). She has participated in group shows in Norway and abroad. Knutsen is a member of the artist group ‘Knutsen, Paulsen & Hoem’, which has mounted several exhibitions in Norway, from Karasjok in the north to Fredrikstad in the south.

http://www.anneknutsen.com


Translation: Arlyne Moi.

White Matter

Stillbilde fra videoverket Til far (2016)
Verket er innkjøpt av innkjøpsfondet for norsk kunsthåndverk til KODE i Bergen

White Matter

Anne Tveit Knutsen: Hvit substans
Foto: Øystein Thorvaldsen

White Matter

Anne Tveit Knutsen: Hvit substans
Foto:Øystein Thorvaldsen

White Matter

Anne Tveit Knutsen: Hvit substans
Foto:Øystein Thorvaldsen

White MatterGlossy

Sissel Blystad
Glossy

5. January – 3. February 2017

The exhibition will be officially opened by Sissel Ree Schjønsby.

In 1977 the organisation which serves the interests of Norwegian textile artists – Norske tekstilkunstnere (NTK) – was established. Throughout 2017 we mark this historic event. The 40th anniversary year opens with a solo exhibition by Sissel Blystad at SOFT galleri. Blystad is a notable artist who has worked with textiles in various ways throughout a career spanning more than 50 years. We are therefore very proud she has agreed to participate in the celebrations with an exhibition at SOFT. Blystad will also be included in our big anniversary exhibition Ode til en vaskeklut, hymne til en tiger (‘Ode to a Washcloth, Hymn to a Tigre’), which opens on 24 March 2017 at the gallery Kunstnerforbundet in Oslo.

Sissel Blystad has used rug yarn from the Hoelfeldt Lund spinning mill throughout her years of artistic practice. This thick Norwegian yarn is glossy and strong, and with it she has woven many tapestries. In 2002, however, put the loom aside.

Curiosity and a need for innovation led me and my friend, the yarn, to develop new techniques in the last decade. I started gluing the yarn onto old blankets, and most recently, onto carton. The works have become smaller, details have been photographed, digitally manipulated, printed and then framed under glass. But the main goal remains almost always the same: the pictorial room that I can create with this yarn and with colour. (Sissel Blystad)

When Blystad stepped back from weaving, her works became freer in form. Some shapes resemble keyholes, others suggest stars or completely abstract figures. Blystad has dyed the rug yarn herself, producing strong and clear colours. All the strands are remnants from her years of weaving, and she uses them to create new works that seem to point to a textile lifecycle. The colourful strands bend this way and that, creating pictorial depth and sending our eyes on a perpetual circuitous dance. The works have been photographed on studio walls that are marked by many years of artistic activity. The photos are then ‘baked into acrylic’, as she puts it. The acrylic glass gives the pictured strands of yarn a heightened glossiness. It is these works she exhibits at SOFT for the first time: an exhibition of new works based on photographs of earlier works.

Blystad asks herself: ‘How far can I “stretch” a textile work and have it still appear to be textile?’

Sissel Blystad (b. Oslo 1944) lives and works in Bergen. She studied at the National Academy of Craft and Art Industry in Oslo (1964–65) and the National College of Art and Design in Bergen (1968–70). Since receiving Bergen Municipality’s artist stipend in 1974, Blystad has won more than twenty artist stipends. During the period 1994–2011, she received a guaranteed income from the Norwegian government.

Blystad exhibits widely in Norway and internationally. Some of her solo exhibitions have been presented by the galleries Bergen Kunstforening (1996), Kunstnerforbundet in Oslo (2002), HV Galleri in Stockholm (2003), Tidens Krav in Oslo (2014), Vestfossen Kunstlaboratorium (2014), Sandnes Kunst-forening (2015), Kunstgarasjen in Bergen (2016) and Hester in New York (2016). She has participated in numerous national and juried group shows and collective exhibitions: the annual autumn exhibition (17 times), and the annual regional exhibition for western Norway (16 times).

Of more international format, we mention her contributions to exhibitions such as ‘Expression Textile Nordique’ at Angers in France (1973), ‘Norwegian Textile Art’ in Moscow (1989), ‘New Norwegian Tapestry’ at the National Museum of Decorative Arts in Trondheim (1992), ‘Accordion’ at the Laura Bartlett Gallery in London (2014), ‘Soft Monuments’ at KODE Art Museums of Bergen (2015), LIAF (Lofoten International Art Festival) in Svolvær (2015), ‘Tefriss’, Kvit Galleri /Felt Galleri in Copenhagen, and the art fair NADA (New Art Dealers Alliance) in Miami Beach (2016).

Sissel Blystad has produced a large number of public artworks, including what is perhaps the best known tapestry in Norway: ‘Landscape’ (2005) which hangs in the foyer of the Norwegian Parliament. Her works are also acquired for public collections, among others, for Arts Council Norway, the North Sea oil rigs Gullfaks B and C, the National Museum of Decorative Arts in Trondheim, the University of Bergen, Oslo Municipality, the National Museum in Oslo, and KODE Art Museums of Bergen.


http://www.sisselblystad.no

Glossy

Glanset.  Sissel Blystad
Foto: Øystein Thorvaldsen

Glossy

Glanset. Sissel Blystad
Foto: Øystein Thorvaldsen

Glossy

Glanset 21 (2016)  Sissel Blystad
Foto: Øystein Thorvaldsen

Glossy

Glanset 19 (2016) Sissel Blystad
Foto: Øystein Thorvaldsen

Glossy

Foto. Øystein Thorvaldsen

The lines that defines

Tobias Alexander Danielsson
The lines that defines

  9. February - 12. March 2017

Tobias Alexander Danielsson
The Lines that Defines
9 February – 12 March 2017

We are pleased to welcome you to the opening of an exhibition by Tobias Danielsson – his first solo show in Norway since completing his studies. The exhibition will be officially opened by Professor Jeannette Christensen from Oslo National Academy of the Arts/Art Academy.

At SOFT galleri, Danielsson presents new works made expressly for the space. His starting point is the room’s large window facing the street: a window that is a boundary for what is inside, but simultaneously opens it up to what is outside. The exhibition presents sculptures that are framed by a network construction extending from the floor to the ceiling.

The title, The Lines that Define, relates to the empty spaces that emerge in and between the works. Because the works in the exhibition relate to the body and to movement, the public enter into dialogue with the space. Danielsson sees the sculptures as frames undergoing change, as both inviting and excluding the viewer.

The works are made by binding and knotting textiles around constructions of metal and wood, after which they are painted and varnished. The surfaces become solid and able to support something, but at the same time fragile and vulnerable.

Danielsson has for some time been interested in the relation between objects and the human body. Through wall- and floor-based works bordering between sculpture, painting, installation and performance, he explores interactive elements that negotiate between work and body.

Tobias Alexander Danielsson (b.1987, Jönköping, Sweden) lives and works in Oslo. He studied at Oslo National Academy of the Arts/Art Academy, earning a master’s degree in 2015. His previous solo shows have been at Göteborg Art Society (2016), Pushwagner WindowBox Gallery in Oslo (2014), and Konsthall 1.0 in Jönköping (2011). He has participated in several group exhibitions, some of which are Offside at Akershus Kunstsenter (2016), Hanging Gardens at Kunsthall Grenland (2016) and The African Art Show at Kunstplass 10 (2015). I 2016, one of his works was purchased for the collection of the National Museum of Decorative Arts in Trondheim.

The exhibition has received support from Oslo Municipality

http://tobiasdanielsson.tumblr.com/

The lines that defines

Tobias Alexander Danielsson
The lines that defines

Foto: Øystein Thorvaldsen

The lines that defines

Tobias Alexander Danielsson
The lines that defines
Foto: Øystein Thorvaldsen

The lines that defines

Tobias Alexander Danielsson
The lines that defines
Foto: Øystein Thorvaldsen

Syersken i Trastevere Kari Steihaug Syersken i Trastevere Foto:Øystein Thorvaldsen

Kari Steihaug
Syersken i Trastevere

23. Match - 30. April 2017

Norwegian Textile Artists (Norske tekstilkunstnere) held its first annual meeting in 1977. The organisation was started by textile artists who struggled to enter the arena of visual art on their own terms and to be allowed to define their own field. In 2017 NTK celebrates its 40th anniversary and invites Kari Steihaug to continue the party with an exhibition at SOFT Gallery.

Please join us for the opening of Kari Steihaug’s exhibition Seamstress in Trastevere. The exhibition will be officially opened by the art historian Kathrine Lund. The opening will also feature a performance by Kristina Bræin and the choir Borgen Åndelige Kor.

Rome diary, February 2010: Walk past the seamstress in Trastevere and her embroideries. They brighten the grey cement wall. She sits in rapt concentration, small stitches on light evenweave. Rapid steps on cobblestones, and I have a whole month here at Circolo Scandinavio. She reminds me of the seamstress in a painting by Helene Scherfbeck, or Vermeer’s lace-maker. She’s in the state of mind I myself seek: concentration and flow in time. But most of all she’s in hard reality. She’s the one I see in all cities, on many street corners, in all types of weather. Some knit or sew, play music or polish shoes. Some just sit. Every day.

“And, what is this moment of time, this particular day in which I have found myself caught? The growl of traffic might be any uproar – forest trees or the roar of wild beasts. Time has whizzed back and inch or two on its reel; our short progress has been cancelled. I think also that our bodies are in truth naked. We are only lightly covered with buttoned cloth; and beneath these pavements are shells, bones and silence.” (Virginia Woolf, The Waves, 1931)


Kari Steihaug collects wool garments and unfinished knitting projects, combining them into installations that converse with their surroundings. She finds her themes in the work of hands and lived life, history and memory, the private and the collective. The installation at SOFT Gallery, The Seamstress in Trastevere, consists of a knitted picture, film, sound, yarn, wool garments that unravel, are patched and repaired. The exhibition is created especially for the gallery space at SOFT.

KARI STEIHAUG (b. 1962) lives and works in Oslo. Studied at the National College of Art and Design in both Oslo and Bergen, and at Manchester Metropolitan University (1994-2000). Selected solo exhibitions: Luleå Konsthall (2014), Norwegian Knitting Industry Museum (2008), Kunstnerforbundet (2007), West Norway Museum of Decorative Art (2007), Henie Onstad Art Centre (2005), Rogaland Art Centre (2003); Akershus Artist Centre (2003), RAM Gallery, Oslo (2001). Has participated in numerous group and collective exhibitions in Norway and abroad, among others: the drawing biennial SKISSEN, Gallery ROM, Oslo; Unravelled, Contemporary Arts Center, Cincinnati (2016); Rijswijk Textile Biennial (2015); Soft Monuments, KODE, Bergen (2015); A Thousand Threads, Lillehammer Art Museum & Maihaugen, Lillehammer (2014); SOFT, Gustavsberg Konsthall, Stockholm (2013); “I tråd med tiden” (Keeping up with the times), Haugar Art Museum, Tønsberg (2013); Bomuldsfabriken Kunsthall, Arendal (2009); Everyday Life, Galleri Norsu, Helsinki (2008); 12th International Triennial of Tapestry, Lódz (2007); Trøndelag Centre for Contemporary Art (2006); Norway’s national Autumn Exhibition (1997, 2009, 2011).

Steihaug has received several art grants. In 2006 she received the state’s guaranteed income for artists. Her works can be found in several public collections, among others, that of Oslo Municipality, Lillehammer Art Museum, the National Museum in Oslo, Arts Council Norway, KODE Art Museums of Bergen, and the National Museum of Decorative Arts in Trondheim. She has produced several public art commissions, not least, for Gassco on the island of Karmøy, Dragvoll Senior Centre in Trondheim, Melum School in Skien and Kongsvinger Public Library. 2017 will be a busy year for her, with projects such as a solo exhibition at Kongsberg Art Society and participation in the 7th Biennial of Contemporary Textile Art, Montevideo, Uruguay. This fall she starts a six-month artist residency in Paris, and in 2018, will present a solo exhibition at the artist-run gallery Kunstnerforbundet in Oslo.

www.karisteihaug.no

Syersken i Trastevere

Kari Steihaug
Syersken i Trastevere

Syersken i Trastevere

Kari Steihaug
Syersken i Trastevere

Syersken i Trastevere

Kari Steihaug
Syersken i Trastevere

Syersken i Trastevere

Kari Steihaug
Syersken i Trastevere

Syersken i Trastevere

Kari Steihaug
Syersken i Trastevere
Alle foto: Øystein Thorvaldsen

Grete Johanne Neseblod: A Lick Of Sense Grete Johanne Neseblod A Lick Of Sense 2017 Foto: Øystein Thorvaldsen

Grete Johanne Neseblod
Grete Johanne Neseblod: A Lick Of Sense

11. May - 11. June 2017

We are pleased to welcome you to Grete Johanne Neseblod’s exhibition A Lick of Sense, opening on Thursday, 11 May, 6 pm–8 pm.

Along with being a visual artist, Neseblod owns Neseblod Records, a specialist shop for metal music. Located in Old-Town Oslo (Gamlebyen), the shop is a meeting place for black metal enthusiasts. Neseblod is also a mother, and it is at the intersection between these spheres of life that her art emerges. By laying hold of and mixing together stereotypes of the black-metal environment and the mother’s role, she develops new models of identity at the same time as she challenges prejudice.

“There are obvious contrasts between being a mother of three children, an artist and running Neseblod Records. I recognise and understand these three cultures from both the inside and the outside, and I work to deconstruct the different roles”, says Neseblod.

The artist combines forms of expression in textiles, printing and installation art. At SOFT Gallery, she presents a site-specific installation where clichés about caring for children and black metal aesthetics are combined with humour and gravity. She lets a large roll of black vinyl flooring spread through the exhibition space and obstruct the view. While some leather jackets lie in a stack, others crawl up alongside the vinyl. What appears to be a leather biker-banner with embroidered text leans against the wall, and on a pink banner made of PVC, one can read the exhibition title.

Grete Johanne Neseblod was born in Trondheim and lives and works in Oslo. Since completing a master’s degree (2014) in art at Oslo National Academy of the Arts, she has participated in several group exhibitions and held solo exhibitions at Kunstplass [10] (2016) and at the art society Levanger Kunstforening (2017). Neseblod’s works have been featured in Hustutstillingen (a juried annual national exhibition) in both 2014 and 2015. In the autumn of 2017 she will collaborate with Signe Arnborg Løvaas in a duo-exhibition at the artist-run studio-collective BLOKK in Bergen.


http://gogroretote.wixsite.com/neseblod

Grete Johanne Neseblod: A Lick Of Sense

Grete Johanne Neseblod
A Lick Of Sense 2017
Foto: Dona Gashi

Grete Johanne Neseblod: A Lick Of Sense

Grete Johanne Neseblod
Fra performance v/@zombiebimbo på åpningen av A Lick Of Sense 2017
Foto: Dona Gashi

Grete Johanne Neseblod: A Lick Of Sense

Grete Johanne Neseblod
A Lick Of Sense 2017
Foto: Øystein Thorvaldsen

Grete Johanne Neseblod: A Lick Of Sense

Grete Johanne Neseblod
A Lick Of Sense 2017
Foto: Øystein Thorvaldsen

Jorunn Steffensen Farger i Flaten, 2017 Foto: Øystein Thorvaldsen

Jorunn Steffensen

15. June - 30. July 2017

We are pleased to welcome you to the exhibition Farger i Flaten (Colour in the Pictorial Plane) by Jorunn Steffensen. The exhibition will be officially opened by the artist Wenche Gulbransen.

Jorunn Steffensen works within a constructivist visual language, reducing form and content to simple geometrical fields of colour. She focuses on how the colour’s energy develops through slow construction, layer upon layer and stroke upon stroke, through several stages with different colours and shades. It is a matter of finding the format, the pictorial plane, the form and then the colour, also of transcending boundaries and the interplay between the formal elements. She glues textile material onto veneer, treating it before the painting process begins. The colours and forms work together to create an illusion of three-dimensionality in the pictorial plane. As she herself puts it:

I work with different themes springing from architecture, art or a visual impression that affects me. This year, colour, pictorial planes and the illusion of space are the starting point for my pictorial expression.

Jorunn Steffensen will present a site-specific installation at SOFT galleri. The pictures will mainly be composed using pieces of veneer. In addition, she shows sketches based on her everyday life. The drawings are small, rapid sketches describing the normal everyday situation leading up to the exhibition. They give us glimpses of small moments, observations, of things incomplete. The sketches stand in sharp contrast to the large and colourful pictorial planes that take so long to construct. Ultimately, however, they deal with the same themes: the forms, fields of colour and spaces that are around us at any given time.

Jorun Steffensen (b. 1950) lives and works in Skien. In 1973 she graduated with a diploma in textiles/textile printing from the National College of Art and Design, Oslo (Statens håndverks- og kunstindustriskole, SHKS). She has received many work grants, also now the government’s guaranteed income for artists. Of her numerous solo exhibitions, we make do to mention those at the artist-run gallery Kunstnerforbundet, at Skien Art Society and Telemark Art Centre. She has participated in many group shows and collective exhibitions at home and abroad, not least the regional exhibition Sørlandsutstillingen, and the 14th International Textile Triennial in Lódz, Poland. Steffensen is a sought-after artistic consultant and has held positions of trust in organizations that seek to improve conditions for artists. Her works of art can be found in several important public collections.

The exhibition has received funding from Billedkunstnernes Vederlagsfond and Bildende Kunstneres Hjelpefond.

Jorunn Steffensen
Farger i Flaten, 2017
Foto: Øystein Thorvaldsen

Jorunn Steffensen
Tegninger, 2017
Foto: Øystein Thorvaldsen

Jorunn Steffensen
Farger i Flaten, 2017
Foto: Øystein Thorvaldsen

Jorunn Steffensen
Farger i Flaten, 2017
Foto: Øystein Thorvaldsen

Jorunn Steffensen
Farger i Flaten, 2017
Foto: Øystein Thorvaldsen

Dream Machine Yola Maria Tsolis: Dream Machine Foto: Øystein Thorvaldsen

Yola Maria Tsolis
Dream Machine

10. August - 10. September 2017

We are pleased to welcome you to Yola Maria Tsolis’ exhibition Dream Machine, at SOFT galleri, on Thursday, 10 August 2017, from 6 to 8 pm. The exhibition will open with a performance by Joakim Blattmann.

Yola Maria Tsolis works with tessellation in textiles. She starts with a cloth surface that is pre-organized with a grid, and then folds it to create intricate structures. The grid enables her to mould soft material into strict geometric structures. Their relief-like quality can bring to mind Arabic mosaics. In addition to textile tessellation, she works with similar abstractions and collages in media such as photography, video and sound. The abstractions come about in different ways, but she uses the same principles as in the textile tessellations. She fragments the material, then puts it together again using a geometric system.

Yola Maria Tsolis works site-specifically, in the sense that her abstractions become an extension of the exhibition space. She takes photos of the space’s architecture and details, then digitally prints them on textile material before they are tessellated and mounted in the space that is their starting point. In this way, part of the picture will emerge clearly, while other parts will be hidden in folds of fabric. Tsolis’ works deal with the theme of perception and how certain expectations about time and space influence the way we experience our surroundings.

By mixing genres such as textile, photography and video, I explore ideas related to perspectives, time and space. The works are often in-situ constructions, where viewing and observation become the most important aspects.

Tsolis presents a site-specific exhibition at SOFT galleri. Here she uses her method of textile tessellation to create a work that becomes an extension of the gallery’s architecture and character. She creates the textile installation in combination with a video. The video work is made in collaboration with the artist Ricardo del Pozo. Del Pozo challenges the viewer with the question of what it means to experience something: does a room have an autonomous truth, or does this truth of the room exist in the experience itself – in the act of viewing? Tsolis and del Pozo both explore how time and space influence us as viewers and what we experience. The exhibition space and the documentation of it are the preconditions for the artistic research and the exhibition’s final character.

Yola Maria Tsolis (b. 1981) earned a master’s degree in art from Oslo National Academy of the Arts in 2014. She is part of the artist group Svartjord, which held an exhibition at Spriten Kunsthall in Skien, Norway earlier in 2017. She has participated in several group exhibitions and has received a two-year work-grant. The exhibition at SOFT galleri will be her first solo show since graduation.

Ricardo del Pozo (b. 1978) earned a master’s degree from Bergen Academy of Art and Design. He works with video and sound. Recently he curated a concert series in collaboration with Joakim Blattman, one of the venues of which was RAM galleri in Oslo.
www.yolamariatsolis.com

 

Dream Machine

Yola Maria Tsolis: Dream Machine
Foto: Øystein Thorvaldsen

Dream Machine

Yola Maria Tsolis: Dream Machine
Foto: Øystein Thorvaldsen

Dream Machine

Yola Maria Tsolis: Dream Machine
Foto: Øystein Thorvaldsen

Dream Machine

Yola Maria Tsolis: Dream Machine
Foto: Øystein Thorvaldsen

Lodd og Frie Fugleflokker Elin Igland: Detalj, Lodd og Frie Fugleflokker, I (2017) Foto: Øystein Thorvaldsen

Elin Igland
Lodd og Frie Fugleflokker

14. September -15. October

Weights and Free Flocks of Birds

We are pleased to welcome you to an exhibition by Elin Igland at SOFT Gallery, Thursday, 14 September, 6-8 pm. The exhibition will be officially opened by the artist Unn Sønju.

The exhibition comments on the ability of a weaving to keep strands of yarn under control. Chaos emerges in the absence of this control. Igland, in her works, relinquishes the loom in order to explore the extent to which the concept of freedom in a weaving can be stretched before it dissolves and no longer is a weaving. The works are completed in the gallery space and are anchored in the walls and ceiling to hold them upright. She explores what the mounting of a work can say about the identity it receives. Her works therefore move away from the wall and the two-dimensional surface and take place in the exhibition space as three-dimensional sculptures. Instead of viewing the weaving as pictures, we find ourselves surrounded by them. As the boundaries of individual works are erased, we are drawn into a physical world of thread.

‘The calm and mediation I dare claim many associate with weaving are unknown to me. For me, weaving is like a physical battle with materials. It requires large movements with my whole body. I need to work quickly, to have a high level of energy, and be able to make intuitive decisions throughout the work process’, says Igland.

Igland’s works consist primarily of wool and a type of elastic, expanding nylon fibre. Material experiments are an important part of her process of creating a visual expression. The yarn’s elasticity and volume also play important roles.

Elin Igland (b. 1982) lives and works in Grimstad. She studied at Oslo National Academy of the Arts, earning an MA in 2013. She has held several solo exhibitions, among others, at Agder Kunstsenter, Kristiansand; Arendal Kunstforening, Arendal; Prosjektrommet, Trafo Kunsthall, Asker; Grimstad Kunstforening, Grimsatad; and at Kampen Visningsrom, Oslo. She has participated in numerous group and collective exhibitions. We make due to mention the 20th anniversary exhibition for Sørlandets Kunstmuseum, the Høstutstilling at Lillesand Kunstforening, the regional exhibition Sørlandsutstillingen and ‘Hatch’ at ARTendal in Arendal. Igland is represented in the collection of Sørlandets Kunstmuseum. In 2016 she initiated the project ‘Soft Moments’, in collaboration with Ana Paula Garzia at Sørlandets Kunstmuseum. She has also received several grants, among others, a three-year work stipend (2017).


www.elinigland.wordpress.com

Lodd og Frie Fugleflokker

Elin Igland: Lodd og Frie Fugleflokker I
Foto: Øystein Thorvaldsen

Lodd og Frie Fugleflokker

Elin Igland: Lodd og Frie Fugleflokker, II &I (2017)
Foto: Øystein Thorvaldsen

Lodd og Frie Fugleflokker

Elin Igland: Lodd og Frie Fugleflokker II & III (2017)
Foto: Øystein Thorvaldsen

Lodd og Frie Fugleflokker

Elin Igland: Lodd og Frie Fugleflokker, III (2017)
Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Annie Johansson
Jorden vilar tungt under mig

19. October -  19. November 2017

SOFT Gallery welcomes you to the opening of an exhibition by the Swedish artist Annie Johansson. This is Johansson’s first solo exhibition in Norway, and it will be officially opened by the artist Kari Steihaug.

Several things exist in advance of thoughts and words: reformulation, the body, purely physical knowledge – distance, eternity, proximity, awe – in an interweaving of emotions and sensations. The body knows things the mouth cannot say; it perceives things the brain cannot fathom.

Annie Johansson wants her art to be physical, bodily. She uses textiles as means of expression precisely because they relate closely to the human body. It is thanks to this relation that a textile can conger memories, knowledge, emotions and identity. Such tactile memories that can be difficult to formulate in words, but we recognize as emotions, as bodily knowledge. This is the spawning ground for Annie Johansson’s art: a message embedded wordlessly in the body – a feeling.

At SOFT Gallery, Johansson exhibits works linked to her recent artist residency in Iceland and to summers spent at her childhood home in Värmland:

These places trigger thoughts and feelings in me, about inner and outer landscapes, intimacy, inheritance and belonging. Using textile material as my starting point, I hold a kind of conversation with the landscape and past generations. Common bodily experiences and physical memories are with me as I work; I think about people – those who have sat at looms, stooped over embroideries or felted material – as traces of touch in an activity that is about being present in time: stitch after stitch, weft pass after weft pass. At the same time, I think of how the landscape seems endless, how it is compressed and formed, like wool that, in theory, can be felted on and on to create an endlessly expanding textile. Then a feeling develops, of the landscape as endless.

Johansson’s artistic practice could be described as an attempt to combine textile traces from past generations with her bodily relation to a landscape, also as an attempt to convey how that relation feels in the body. It can be perceived as a search for belonging and as a means for gaining a greater realization of how we share the surrounding landscape with others both past and present.

Annie Johansson (b. 1986 in Värmland) lives and works in Gothenburg, Sweden. In 2014 she completed a master’s degree in textile art at the Academy of Design and Crafts, University of Gothenburg. Since graduation, she has held one solo exhibition in Sweden and participated in several group exhibitions in her home country as well as in Turkey, Iceland and Ukraine.


www.anniejohansson.com

19 October – 19 November 2017

Jorden vilar tungt under mig

Annie Johansson:Stum blekrosa, 2016. Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Annie Johansson: Att stå bredvid berg, 2017. Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Installasjonsfoto. Annie Johansson: Jorden vilar tungt under mig, 2017. Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Annie Johansson: I det mest ensamma, 2017. Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Annie Johansson: Tunt mörker, 2016. Foto: Øystein Thorvaldsen

Jorden vilar tungt under mig

Annie Johansson: Jorden vilar tungt under mig, 2017. Foto: Øystein Thorvaldsen

OLJE OG VANN

Line Solberg Dolmen
OLJE OG VANN

30. November -3. January 2018

In the period of 23 December -1. January 2018 the gallery door will be closed. During this period you can see the exhibition from our large window in Rådhusgata 20. Tuesday 2 and Wednesday 3 January 2018 we will stay open as usual between 12-17.

We are pleased to welcome you to a solo exhibition by Line Solberg Dolmen – her first since completing her master’s degree at Oslo National Academy of the Arts in 2016. This exhibition marks the end of the Norwegian Textile Artists’ 40th anniversary celebrations. Dolmen has had a strong presence in this jubilee year, through her participation in the anniversary exhibition Ode to a Dishrag, Hymn to a Tiger, at the gallery Kunstnerforbundet in March 2017, through her interview in the anniversary book with the same title, and her contribution to the exhibition SOFT Moments at Trøndelag Centre for Contemporary Art. It is therefore fitting to end this celebratory year with a solo exhibition of her works at SOFT Gallery.

Line Solberg Dolmen works primarily with larger textile installations that reflect some of today’s critical issues. In recent years, ‘migration’ and ‘belonging’ have been central themes for her. She has studied global migration, temporary and mobile architecture, how places are used, and people’s rootedness in a place. The materials she chooses help her explore her themes: a tarpaulin from China, found at a building site in Oslo is sewn into tents; oil-based PVC becomes canvas for telling stories about melting glaciers and dried up lakes. The materials have often have had a function before she integrates them into her works. She has, for example, used worn-out sheeting, mass-produced shopping bags, protective awnings for scaffolding and ground cloths.

For the exhibition at SOFT Gallery, she presents an installation themed on the relation between oil and water. Oil and water are our era’s most important resources. They form the basis for how we live and where we live. We move about in relation to where the water is, and we strive to reach the oil. But oil and water do not mix. The exhibition presents a map showing how the ocean rises. We see past, present and possible future scenarios drawn on it. Lines resembling topographical contours show us several epochs simultaneously: primordial geological epochs are pictured alongside epochs no one has as yet experienced – we can just sense their contours because they are so distant from our own lifetime. From runners mounted on the ceiling, there hang several transparent plastic sheets treated with appliqué, embroidery and oil-based crayon. Spotlights on the plastic cast shadows on the walls and floor, such that details and stitches are magnified and rendered obvious. We as viewers can move the sheets back and forth such that they change in relation to our involvement.

Line Solberg Dolmen (b. 1982) lives and works in Oslo. She earned a bachelor’s degree from Tromsø Academy of Contemporary Art and Creative Writing (2010) and a master’s degree in art and craft from Oslo National Academy of the Arts (2016). She also has a journeyman’s certificate in dressmaking and tailoring. Since completing her education, Solberg Dolmen has distinguished herself through participating in several group and collective exhibitions, examples being the Norwegian Textile Artists’ 40th anniversary exhibition Ode to a Dishrag, Hymn to a Tiger, at the gallery Kunstnerforbundet (2017) (the exhibition will travel to Stavanger Kunsthall and open on 25 January 2018); the 130th national exhibition Høstutstillingen (2017) at the gallery Kunstnernes Hus in Oslo, where one of her works was purchased for the art collection of the City of Oslo; and the annual national exhibition organized by the Norwegian Association for Arts and Crafts, Craft 2017, at Nordenfjeldske Kunstindustrimuseet in Trondheim. In early November, she also participated in the exhibition SOFT Moment at Trøndelag Center for Contemporary Art in Trondheim.

http://linesolbergdolmen.com

30 November – 3 January 2018

OLJE OG VANN

Line Solberg Dolmen: OLJE OG VANN
Foto:  Øystein Thorvaldsen

OLJE OG VANN

Line Solberg Dolmen: OLJE OG VANN
Foto:  Øystein Thorvaldsen

OLJE OG VANN

Line Solberg Dolmen: OLJE OG VANN
Foto:  Øystein Thorvaldsen

OLJE OG VANN

Line Solberg Dolmen: OLJE OG VANN
Foto:  Øystein Thorvaldsen

OLJE OG VANN OLJE OG VANNProtection against an evil friend Stillbilde: Ingrid Torvund Protection against an evil friend Foto:Jonas Mailand

Ingrid Torvund
Protection against an evil friend

11 January -18 February 2018

SOFT Gallery is delighted to welcome you to the opening of a solo exhibition featuring works by Ingrid Torvund: Protection Against an Evil Friend. This is also the world premiere of a new staging of a film stage-set with the same title as the exhibition.

Since Ingrid Torvund graduated from Oslo National Academy of the Arts in 2012, she has immersed herself in working with art films. Thus far she has produced the films Magic Blood Machine (2012) and When I go out I bleed magic (2015). She is now working on the last film in the trilogy: I found you under earth, under blood, of which this new staging is a part. For the exhibition at SOFT, Torvund will also present costumes and textile works from the trilogy.

Torvund is inspired by the human need to create mythology – a system out of the chaos that exists between nature and culture. The films walk a thin line between planned fiction and the documentation of a performance. In her latest film she mixes ancient folk religion with the aesthetics of science fiction films. Her productions are filmed in Kviteseid in West-Telemark, where she was raised. As such, her films reflect a unique familiarity with the natural surroundings.

West-Telemark is an area of Norway that is famed for its rich cultural heritage; it’s a place where folk music, woodcarving and oral story telling [ballad recitation] are still practiced. In the many ancient churches and wooden storehouses, there are many examples of pre-Christian and Christian symbols existing side by side. Dragons, angels, crosses and demons, nymphs, trolls and talking animals are all part of this tradition. This syntetism fascinated me greatly in my formative years. In my films, you can trace a desire to emphasize or characterize these elements.

The films are made through collaboration with Jonas Mailand.

The journalist and author Marie Laland Ekeli has written a text about Ingrid Torvund, which will be launched in connection with of the exhibition.

Ingrid Torvund, (b.1985)
Torvund studied at Oslo National Academy of the Arts, earning a bachelor’s degree from the art academy department in 2012. She has held several solo exhibitions, some of which have been at Kurant in Tromsø, Kunsthall Grenland, Sprinten Kunsthall in Telemark and Rom for kunst at Oslo Central Station. She has also participated in group shows, including Oslo Museum of Contemporary Art, at Kunsthall Oslo, Nordic Matters, Southbank Center in London, Bokkunst at Bomuldsfabriken Kunsthall in Arendal, Pluss Pluss at the Blackbox in Oslo, and Sound VS. System at Kunsthall Oslo. She has twice participated in the annual national jurried exhibition Høstutstillingen at Kunstnernes hus in Oslo. In the spring of 2018, Torvund will present an exhibition at BLOKK in Bergen as well as participate in the exhibition Vårutstillingen at Forbundet Frie Fotografer in Oslo (the national organization for photographers and camera-based artists).

Protection against an evil friend

Stillbilde: Ingrid Torvund
Protection against an evil friend
Foto:Jonas Mailand

Protection against an evil friend

Installasjonsbilde SOFT galleri
Foto: Øystein Thorvaldsen

Protection against an evil friend

Installasjonsbilde SOFT galleri
Foto: Øystein Thorvaldsen

Protection against an evil friend

Stillbilde: Ingrid Torvund
Protection against an evil friend
Foto:Jonas Mailand

Protection against an evil friend

Installasjonsfoto SOFT galleri
Foto: Øystein Thorvaldsen

Protection against an evil friend

Installasjonsfoto SOFT galleri
Foto: Øystein Thorvaldsen

The Ornamentation of Existence Foto: Øystein Thorvaldsen

Petter Hellsing
The Ornamentation of Existence

1 March - 8 April

We are delighted to welcome you to an exhibition featuring works by the Swedish artist Petter Hellsing – his first in Norway, here at SOFT Galleri. . 

Through several exhibitions, Hellsing has pursued the theme of alteration between chaos and order in globalized cities. At SOFT Galleri, he continues exploring this theme through a site-specific improvisation entitled Tillvarons Ornamentik (The Ornamentation of Existence). With simple weavings, textile collages, ceramics, animation and wood, he builds the installation during an intense ten-day period leading up to the exhibition opening. The creative process is a central part of the work.

Hellsing has a special interest in modern China, having himself experienced the energy of its rapid urban transformation. Changes in the social and physical landscape erase the boundary between the local and the global sphere. In a city of cement and steel, textiles have a specific role to play. As temporary constructions, they can create flexible places in the urban space between the private and public domain and become a challenge to permanent architecture. For his exhibition at SOFT Galleri, Hellsing approaches the ornamentation of existence through improvisation made by hand. The hand reads the pattern of change, allowing a story to emerge in the gallery room, in the now and in social dialogue. The rhythm in his warp and woof repeats in his wooden architectonic constructions. The size of the body and hands are reflected in the crafting process. It is an action which communicates a story through sensory experience, where the idea continues through the hand, and the hand extends the body out towards the world through the crafting tool.


Petter Hellsing (b. 1958) lives and works in Stockholm and Gotland. He studied sculpture at the art, craft and design school Konstfack in Stockholm (1983-89), “Textilism” at the Royal Institute of Art in Stockholm (2011-12) and social anthropology at the University of Gothenburg (1980-81).

He has held several solo exhibitions, among others, at Galleri Tegen2 in Stockholm, Galleri PS in Göteborg, Galleri 21 in Malmö, Overgaden in Copenhagen and at Luleå Konsthall. From 2002 to 2005 he toured Sweden with the exhibition and workshop In a cabin in the woods, in collaboration with the national touring-exhibition platform Riksutställningar. Parts of this project were shown in the group show Pricked: Extreme Embroidery, at the Museum of Arts & Design in New York (2007-08), and at Flexible 4: ‘Identities’ in Odense, Linz, Tilburg and Manchester (2003-04).

Hellsing has contributed to many group exhibitions in Sweden and abroad. In China, he participated in the 2nd Hangzhou Triennial of Fibre Art (2016), From Lausanne to Beijing: the 7th International Fibre Art Biennale Exhibition in Nantong (2012), and the 5th International Fibre Art Biennale Exhibition in Beijing (2008). He was also the ‘artist in residence’ with a solo exhibition at Tainan National University of the Arts in Taiwan (2014). Hellsing’s art has been purchased for public collections such as the National Museum in Stockholm and Public Art Agency Sweden, also by Swedish municipalities and counties. He has also produced public artworks, among others, Arboretum for Danderyd’s Hospital (2016), Patch-Up for Region Gotland (2014) and Contemporary Patterns for the Swedish Air Force Museum in Linköping (2010).

www.petterhellsing.se


The art historian Jorunn Veiteberg has written a text for the exhibition:

Stripes against Chaos

Stripes are a recurring motif in Petter Hellsing’s installation Tilvarons Ornamentik (The Ornamentation of Existence). While his woven textiles are richly furnished with stripes, they also appear as a logical consequence of how the wooden constructions are built. The stripes are both structure and decoration in this total installation, but they are much more besides. Regardless of being wide, narrow, thick or as thin as a line, stripes are a cultural symbol, a sign for something created and constructed. And they can have many functions. In a chaotic world, we use stripes to create visual and concrete order. We use them to mark boundaries and divisions. Not least, in the chaos of impressions in a large city, we seem to have an innate will to sort and order our impressions according to specific patterns. The buildings in an urban landscape therefore allow themselves to be experienced as a pattern built on repetition and variation in rhythmic intervals. The word choice for the title of this installation is deliberate. Ornamentation has much in common with music, and as a rhythmic art form, it appeals first and foremost to the body and to feelings.

Each and every stripe is a rhythm, a kind of visual music stretching out in time and creating movement: Where does it begin and where does it end? What is under and what is over? Stripes catch our attention and create visual tension. It is not surprising that many painters are interested in what they can do with stripes. Petter Hellsing’s striped weavings participate in a dialogue with this painterly tradition, but they are also deeply rooted in folk-traditions for weaving in many places in the world. To weave has largely been identical to creating striped patterns. Through his entire artistic practice, Petter Hellsing has been keen to challenge contemporary art’s understanding of what should be considered relevant media and techniques, and of what is artistically central. His art points towards other possible answers, not least by opening up for ornamentation as one way of sensing existence.


Photos of the exhibition

The Ornamentation of Existence

Foto: Øystein Thorvaldsen og Petter Hellsing

Solo exhibition Foto: Øystein Thorvaldsen.

Gitte Magnus
Solo exhibition

April 12th - May 27th 2018

Gitte Magnus works with textiles, using an abstract pictorial language with references to Modernism and Impressionism. Her great interest has long been to explore the relation between diverse materials using colouring processes and chemicals. She builds up and breaks down, glues several qualities together, prints layer-on-layer, etches away and steeps in lye. Through such exploratory processes as these, she develops her textile surfaces and forms.

As always, I search for ‘stories I haven’t been told’ and ‘colours that don’t exist’. These formulations are like lodestars for me. They challenge me to experiment and take seriously all that I don’t know. Doubt is an important driving force in all I do.

The exhibition at SOFT galleri builds on Magnus’s solo exhibition projects in 2011 and 2015, when she began digitizing her earlier textile experiments and ideational material. It is therefore a further step in her ongoing exploration of possibilities for expressing herself through textile materials and techniques.

Magnus often uses her own experiences as starting points for the themes of her works. In spring 2016, she was compelled to move out of her studio on Yongs gate in Oslo, where she had worked and had good relationships for 33 years. This marked the start of a project with the working title Flyttefot (idiomatic for ‘on the move’ or ‘moving house’). Everyday life at her workplace was integral to Magnus’s identity as an artist, and it took her about two years to find a rhythm and establish work routines in her new surroundings.

In this exhibition, Magnus transfers the theme of her own experience of having to move to a more general level: to the need for belonging and fixed reference points in life. She presents three very different works – three stages in a story. Two of the works are large textiles: one is printed digitally, the second is printed by hand in combination with being painted, shrunk and treated in several other ways. The third work is a photo of the old stairwell in the building at Yongs gate, which Magnus ascended and descended several times a day for three decades, and which became an important part of her ‘journey’ as an artist.

Gitte Magnus (b. 1949) lives at Høvik and has her new studio in Asker. She studied at Statens håndverk- og kunstindustriskole in Oslo (1968–1974, diplom), with one year as an exchange student at Angewante Kunst in Vienna (1970–71), plus further education in later years. She has held several solo exhibitions, among others, at TRAFO Kunsthall in Asker, Galleri Format in Bergen, Kunstnerforbundet in Oslo and Hå Gamle Prestegard in Jæren. Her participation in group exhibitions includes the Norwegian Textile Artist’s 40th anniversary exhibition Ode to a Dishrag, Hymn to a Tiger (Kunstnerforbundet 2017, Kunsthall Stavanger 2018) and Soft Monuments (KODE, Bergen 2015). Magnus has been a professor and institute leader at Kunsthøgskolen in Bergen for 6 + 1 years, also an art consultant, curator and exhibition architect. She has produced numerous works of public art and is represented in several important public collections, among others, Nordenfjeldske Kunstindustrimuseum, KODE in Bergen and Norsk kulturråd.

www.gittemagnus.no

The exhibition is supported by The Relief Fund for Visual Artists.

Solo exhibition

Foto: Øystein Thorvaldsen.

Solo exhibition

Foto: Øystein Thorvaldsen.

Solo exhibition

Foto: Øystein Thorvaldsen.

Malin Bülow "Framed Elasticity" (2017)

Malin Bülow og Elna Hagemann

31 May - 5. August 2018

www.elnahagemann.com

www.malinbulow.com