Stian Ådlandsvik, Are Blytt, Per-Oskar Leu - Scoundrel Days
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Stian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days June 16 – September 1, 2018
Stian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days June 16 – September 1, 2018 Installation view
Stian Ådlandsvik
A changing of his name is sufficient for the speculator who finds himself in difficulties, 2015
Steel railing reworked by unknown cars attempting to park, electrolytically chromed
85 x 185 x 14 cm
EUR 5.500
The above mentioned prices include VAT
Per-Oskar Leu
New Labor, 2018
Charvet Place Vendôme silk necktie and GDR workers flag mounted on plywood in oak frame, vintage
postcards in archival polyester sleeves
85,2 x 129,2 cm
EUR 6.500
The above mentioned prices include VAT
Stian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days June 16 – September 1, 2018 Installation view
Stian Ådlandsvik
Bruised Features #2, 2017
Partially flattened I-beam
187 x 34 x 10,9 cm
EUR 4.500
The above mentioned prices include VAT
Stian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days June 16 – September 1, 2018 Installation view
Are Blytt Untitled (Figure), 2018 // Untitled (Hands), 2018 Acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame 100 x 200 cm // 200 x 100 cm Installation view
Are Blytt
Detail of Untitled (Figure), 2018
Acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
100 x 200 cm
EUR 6.800
The above mentioned prices include VAT
Are Blytt
Untitled (Hands), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
200 x 100 cm
EUR 6.800
The above mentioned prices include VATAre Blytt
Detail of Untitled (Hands), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
200 x 100 cm
EUR 6.800
The above mentioned prices include VATStian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days June 16 – September 1, 2018 Installation view
Stian Ådlandsvik
Bruised Features #3, 2017
Partially flattened I-beam
171 x 31 x 15,2 cm
EUR 4.500
The above mentioned prices include VATPer-Oskar Leu
Red Trout, 2018
Antique Legras glass carafe, Charvet Place Vendôme silk necktie, fishing hook, wooden shelf
65 x 78 x 28 cm
EUR 6.000
The above mentioned prices include VATPer-Oskar Leu
Red Trout, 2018
Antique Legras glass carafe, Charvet Place Vendôme silk necktie, fishing hook, wooden shelf
65 x 78 x 28 cm
EUR 6.000
The above mentioned prices include VATStian Ådlandsvik Portrait of Leibniz, after Pierre Savart, 2017 Cape of Leibniz interpreted as a car-cover by a tailor in Leipzig, incised to replicate a car-cover in Oslo, frame, ink-jet print mounted on dibond 180 x 150 and 80 x 120 cm (Diptych) EUR 14.000
Stian Ådlandsvik
Detail of Portrait of Leibniz, after Pierre Savart, 2017
Cape of Leibniz interpreted as a car-cover by a tailor in Leipzig, incised to replicate a car-cover in Oslo,
frame, ink-jet print mounted on dibond
180 x 150 and 80 x 120 cm (Diptych)
EUR 14.000
The above mentioned prices include VATStian Ådlandsvik, Are Blytt, Per-Oskar Leu
Scoundrel Days
June 16 – September 1, 2018
Installation view
The above mentioned prices include VATStian Ådlandsvik, Are Blytt, Per-Oskar Leu
Scoundrel Days
June 16 – September 1, 2018
Installation view
The above mentioned prices include VATStian Ådlandsvik
Bruised Features #1, 2017
Partially flattened I-beam
173 x 32 x 10,5 cm
EUR 4.500
The above mentioned prices include VATStian Ådlandsvik
Detail of Bruised Features #1, 2017
Partially flattened I-beam
173 x 32 x 10,5 cm
EUR 4.500
The above mentioned prices include VATAre Blytt
Untitled (Nelson), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
100 x 200 cm
EUR 6.800
The above mentioned prices include VATAre Blytt
Detail of Untitled (Nelson), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
100 x 200 cm
EUR 6.800
The above mentioned prices include VATPer-Oskar Leu
Bonjour, Monsieur Charvet (1888) // (1890) // (1991), 2018
Digital UV Print on plywood in oak frame, Charvet Place Vendôme silk necktie, handwritten letter
signed by Édouard Charvet in archival polyester sleeve
58,2 x 49,7 cm (each)
Installation view
The above mentioned prices include VATPer-Oskar Leu
Bonjour, Monsieur Charvet (1991), 2018
Digital UV Print on plywood in oak frame, Charvet Place Vendôme silk necktie, handwritten letter
signed by Édouard Charvet in archival polyester sleeve
58,2 x 49,7 cm (each)
EUR 5.000
The above mentioned prices include VATAre Blytt
Untitled (Pigeon), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
100 x 200 cm
EUR 6.800
The above mentioned prices include VATAre Blytt
Detail of Untitled (Pigeon), 2018
Oil and acrylic paint on Belgian linen, archival print on self-adhesive textile paper, aluminum frame
100 x 200 cm
EUR 6.800
The above mentioned prices include VATStian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days. An exhibition initiated by Arne Austrheim Exhibition from June 15 to September 1, 2018 We are pleased to announce the inauguration of Scoundrel Days, an exhibition with the three Norwegian artists Stian Ådlandsvik, Are Blytt and Per-Oskar Leu, that was initiated by the Norwegian collector Arne Austrheim. Installations, sculptures and paintings will be shown; what all the works have in common is the involvement of their specific materiality, with a coexistence of abstraction and social topics, for example the history of socialism. Scoundrel Days is the title oft the second album of the Norwegian band A-ha. The artists of our exhibition feel, that this album is better than the more famous album Hunting High and Low, because it sounds darker and more mature. Ådlandsvik, Blytt and Leu are fans of A-ha, like a big part of Germany (at least the Germans used to be). Scoundrel Days is not just a fit- ting description of the current political situation of our world but also a concept, which is wide enough to serve as a shield for their three different artistic positions. Even though they have nothing to do with rogueship or the like. The fact that they are three reflecting and reflective positions suggests that they are unscrupulous in the sense that they cultivate positions that are questioning or even negating clearness. By Stian Ådlandsvik (Bergen, 1981) we show four sculptures and one wall piece, which consists of one photograph and a piece of cloth placed in a big white frame. The series Bruised Features #1–3 are life-sized sculptures that stand upright in the room, associating figures. Ådlandsvik hammered the I-beams flat in one end where one can imagine the head on a hu- man body. Apart from the violent fantasy it is also simply a de-functionalization produced by Ådlandsvik: the I-beams, which normally have a constructive function, turn into autono- mous objects, which are estranged from their original purpose. The work with the long title A changing of his name is sufficient for the speculator who finds himself in difficulties acts simi- lar. What‘s up with the change of the name, which is sufficient for the speculator who finds himself in difficulties? Just the different use of the title, that is not explaining anymore but non-distinctive, is a reflection of the strategy of the artist. For this piece of art he had others doing the work for him on a street paneling that was obviously in the way of Oslo‘s drivers. With this, a collective work was created that was transferred from „junk“ into a „valuable piece of art“ by being chromium-plated. Transfer is also the keyword for the work Portrait of Leibniz, after Pierre Savart. Here a detail of an etching (a portrait of Leibniz by Savart) is con- verted by Ådlandsvik: in the print a piece of cloth of the philosopher‘s coat overlaps the frame and thus exists in two areas. This overlapping of areas is mirrored by the artwork through elements that partly come from the streets and partly have been made by the artist‘s order (the cloth). Ådlandsvik mixes everything up with this: the depicting photography, the actual and framed cloth (serving as a relief), and again the cloth that covers the photograph, similar to a car cover with a tear covering a car on the streets in Oslo (and like this the associative cycle in the mind of the artist was started). By Are Blytt (Bergen, 1981) we show a group of four paintings that were created in the Wiels, Brussels, where he was an artist in residence during the last months. Three landscape formats and one portrait format, each 100 x 200 cm / 200 x 100 cm, painted in oil and acrylic on Belgian linen, each collaged with a pigment print on paper. The areas painted in light sha- des of grey and pink make one associate them with clouds, fog or smoke or make one think of spills of highly dissolved watercolor on paper.
Abstract shapes, which first and foremost look elegant and ethereal and under no circum- stance transport additional information. However, Blytt collaged a pigment print of a pho- tography into every piece of art: of a pigeon, hardly recognizable as such, or of the view of a man‘s back with hands that seem to give us signs, or of a black man sitting at a table in a bar, and also of a probably naked man hiding behind a curtain. And these pictures in the picture may suggest possible approaches to the solution for a clear understanding of the works but then let them drain away. They are stumbling blocks for our perception. A painting cannot be (and should not be) only the portrayal of its painting process but be entitled to argue further. The Norwegian critic Erlend Hammer writes on Blytt‘s paintings, that „the medium is no longer the message, but rather a vessel, a transportation device through which all manner of information keeps flowing“. The pure elegance of the painting is been questioned by this. The works by Per-Oskar Leu (Oslo, 1980) refer to the French revolution, or rather to its decadent, capitalistically painful aftermaths towards the end of the 19th century. He is going to show: three reproductions of the self-portrait of Courbet L‘homme à la pipe (1848, the year of the revolution), printed on plywood, combined with Édouard Charvet‘s ties and autographs (handwritten letters); an assemblage on wood, consisting of postcards (photographs of the Paris Commune), a Charvet silk-tie, a worker‘s flag, a glass carafe of the 19th century in the shape of the Colonne Vendôme in combination with a Charvet-silk-tie. Courbet, a sympathizer of the Paris Commune, had proposed to pull down the Colonne Vendôme. He was punished for that but was able to flee into Swiss exile. And: At the Place Vendôme the store of Édouard Charvet is placed since 1877, the most elegant shirt and tie manufacturer in France. Leu‘s pieces of art are amongst other things understandable as complex and critical reflections of the fact that capitalism has beaten socialism with it‘s fashion. The revolution failed, to put in another way, Charvet‘s silk-ties won. We‘d like to thank Arne Austrheim especially for introducing us to the three artists and to pursue the idea of an exhibition with young Norwegian artists in Cologne. For further information and/or images, please contact the gallery.
Stian Ådlandsvik, Are Blytt, Per-Oskar Leu Scoundrel Days. Eine Ausstellung initiiert durch Arne Austrheim Ausstellung vom 16. Juni bis 1. September 2018 Wir freuen uns, am 15. Juni 2018 um 19 Uhr mit Scoundrel Days eine Ausstellung mit den drei norwegischen Künstlern Stian Ådlandsvik, Are Blytt und Per-Oskar Leu zu eröffnen, die dankenswerterweise der ebenfalls norwegische Sammler Arne Austrheim initiiert hat. Wir zeigen Installationen, Skulpturen und Gemälde; allen Werken gemeinsam ist die Auseinan- dersetzung mit der spezifischen Materialität der Arbeiten, mit Abstraktion und gleichzeitig mit gesellschaftlichen Themen – wie zum Beispiel der Geschichte des Sozialismus. Scoundrel Days (deutsch: Schurkentage) ist der Titel des zweiten Albums des norwegischen Pop-Trios A-ha. Es ist, so findet das Künstlertrio unserer Ausstellung, besser als das berühm- tere Album Hunting High and Low, weil es von einem dunkleren, reiferen Sound geprägt ist. Ådlandsvik, Blytt und Leu sind Anhänger von A-ha, so wie auch große Teile des deutschen Publikums (es jedenfalls mal waren). Und „Schurkentage“ sei nicht nur eine relativ gut pas- sende Beschreibung der gegenwärtigen politischen Situation unserer Welt, sondern es sei auch ein Begriff, der weit genug sei, als Schirm für drei ganz verschiedene künstlerische Posi- tionen zu dienen. Die allerdings haben mit Schurkenhaftigkeit oder ähnlichem nichts zu tun. Allerdings sind es drei jeweils sehr reflektierte und reflektierende Positionen und insofern könnte man sagen, daß es in gewisser Hinsicht skrupellose Positionen sind, denen die Vorstel- lung von eindeutiger Klarheit abgeht, die vielmehr diese Klarheit in Frage stellen. Von Stian Ådlandsvik (Bergen, 1981) stellen wir vier Skulpturen und eine Wandarbeit, die aus einer Fotografie und einem in einem großen weißen Rahmen platzierten Stück Stoff besteht, aus. Die drei Bruised Features #1–3 sind ca. lebensgroße Skulpturen, Figuren asso- ziierend, die aufrecht im Raum stehen. Ådlandsvik hat für sie H-Stahlträger an einem Ende mit einem Hammer platt geschlagen, ungefähr dort, wo man sich bei einem Menschen den Kopf vorstellt. Abgesehen von dieser gewaltvollen Phantasie ist es aber auch einfach eine De- Funktionalisierung, die Ådlandsvik hier wirksam werden läßt: die Stahlträger, die normaler- weise einen konstruktiven Zweck haben, werden zu autonomen, ihrem ursprünglichen Zweck entfremdeten Objekten. Ähnlich verhält es sich bei der Arbeit mit dem langatmigen Titel A changing of his name is sufficient for the speculator who finds himself in difficulties. Was hat es mit der Namensänderung, die dem in Schwierigkeiten befindlichen Spekulanten genügt, auf sich? Genau die Umnutzung eines Titels, der eben nicht mehr erklärend, sondern ver- unklärend ist, ist eine Spiegelung der Strategie des Künstlers. Er hat für diese Arbeit Ander sich abarbeiten lassen an einer Straßensperre, die den Autofahrern Oslos offensichtlich im Weg war. So entstand eine kollektive Arbeit, die nur noch mit ihrer Verchromung vom Status „Schrott“ in einen neuen Status „wertvolles Kunstobjekt“ transferiert werden mußte. Transfer ist auch das Stichwort für die Arbeit Portrait of Leibniz, after Pierre Savart. Hier überträgt Ådlandsvik ein Detail aus einem Stich (ein Leibniz-Portrait von Savart), nämlich ein über den abgebildeten Rahmen hinausragendes Stück Stoff vom Mantel des Philosophen, auf Elemen- te, die zum Teil wiederum von der Straße kommen, zum Teil in seinem Auftrag geschneidert wurden. Ådlandsvik bringt damit alles durcheinander: die abbildende Fotografie, den tatsäch- lichen und gerahmten und als Relief dienenden Stoff und wiederum den Stoff, der das Foto bedeckt, so wie eine Autoschutzhülle mit Riß ein Auto im Straßenraum Oslos bedeckte (und so den assoziativen Kreislauf im Kopf des Künstlers anstieß).
Von Are Blytt (Bergen, 1981) zeigen wir eine Gruppe von vier Gemälden, die in den letz- ten Monaten im Wiels in Brüssel, wo er ein Residenzstipendium hatte, entstanden sind. Es sind drei Querformate und ein Hochformat, jeweils 100 x 200 cm, resp. 200 x 100 cm, gemalt in Öl und Acryl auf belgischem Leinen, jeweils collagiert mit einem Pigmentdruck auf Pa- pier. Die in zartesten Grau- und Rosatönen gemalten Zonen lassen uns Wolken, Nebel- oder Rauchschwaden assoziieren oder an Schüttungen hochaufgelöster Aquarellfarbe auf Papier denken. Abstrakte Formen, die zunächst einmal vor allem elegant und ätherisch wirken und keinesfalls weitere Inhalte transportieren. Allerdings collagierte Blytt in jede Arbeit einen Pigmentdruck einer Fotografie: mal von einer Taube, als solche kaum zu erkennen, mal von einer männlichen Rückenansicht mit Händen, die uns ein Zeichen zu geben scheinen, mal von einem Schwarzen, an einem Kneipentisch sitzend, und schließlich auch von einem vermut- lich nackten Mann, hinter einem Vorhang versteckt. Und diese Bilder im Bild, die mögliche Lösungsansätze für ein klareres Verständnis der Arbeiten suggerieren, aber dann diese wie- derum ins Leere laufen lassen, diese Bilder im Bild sind Stolpersteine für unsere Wahrneh- mung. Ein Gemälde kann nicht (soll nicht) allein die Verkörperung seines Malprozesses sein, sondern den Anspruch haben, darüber hinaus zu weisen. Es ist, wie der norwegische Kritiker Erlend Hammer schreibt, bei Blytt so, daß nicht mehr das Medium allein die Botschaft ist, sondern vielmehr ist das Gemälde ein Gefäß, das uns eine Vielzahl interpretativer und infor- mativer (im zeichentheoretischen Sinne) Möglichkeiten bietet. Die Eleganz der Malerei wird dadurch gebrochen. Die Werke von Per-Oskar Leu (Oslo, 1980) beziehen sich auf die französische Revolution, bzw. ihre dekadenten, kapitalistischen Nachwehen im ausgehenden 19. Jahrhundert. Er wird zeigen: drei Reproduktionen des Courbet-Selbstportraits L‘homme à la pipe (1848, das Jahr der Revolution), auf Holz gedruckt, kombiniert mit Krawatten von Édouard Charvet und Autographen (handgeschriebene Briefe) Charvets; eine Assemblage auf Holz, bestehend aus Postkarten, die Fotografien der Pariser Kommune zeigen, einer Charvet-Seidenkrawatte, ei- ner Arbeiterflagge, eine Karaffe aus dem 19. Jahrhundert in der Form der Siegessäule auf der Place Vendôme, wiederum in Kombination mit einer Charvet-Krawatte. Courbet, ein Sympa- thisant der Pariser Kommune, hatte dazu angeregt, die Siegessäule auf der Place Vendôme niederzureißen. Er wurde dafür bestraft, konnte jedoch ins Schweizer Exil entkommen. Und: An der Place Vendôme sitzt seit 1877 das Geschäft Édouard Charvets, des elegantesten Hem- den- und Krawattenherstellers in Frankreich. Leus Werke sind entsprechend unter anderem als komplexe und kritische Reflektion der Tatsache zu lesen, daß der Kapitalismus den So- zialismus geschlagen hat, mit seiner Mode. Die Revolution war gescheitert, es siegten, wenn man so will, die Krawatten Charvets. Wir danken Arne Austrheim ganz besonders dafür, daß er uns mit den drei Künstlern be- kannt gemacht hat und die Idee einer Ausstellung junger norwegischer Künstler in Köln nachhaltig verfolgt hat. Bei Fragen oder dem Wunsch nach Abbildungen, wenden Sie sich bitte an die Galerie.
Stian Ådlandsvik
Lives and works in Oslo
1981 Born in Bergen, Norway
2003–2006 National Academy of Fine Arts, Oslo
2005 Hochschule für Bildende Künste, Hamburg (Prof. Eran Schaerf)
2001–2003 Rogaland School of Art, Stavanger
Residencies
2018 URRA, Tigre
2013 FLACC, Genk
2012 Amsterdams Grafisch Atelier, Amsterdam
2011 Künstlerhaus Bethanien, Berlin, OCA (Office for Contemporary Art Norway)
2010 W17, Oslo
Air Bergen, Bergen
2008 Platform China, Beijing, OCA (Office for Contemporary Art Norway)
Selected solo shows
2018 Hå Gamle Prestegård, Hå
2017 Negative Growth, Galleri K, Oslo
Bruised features, Z Gallery Art, Vancouver
Copernicus (with Lutz-Rainer Müller), Norwegian Sculptors Society, Oslo
2016 Goblin Treasure, Noplace, Oslo
2015 Société Anonyme, Galleri K, Oslo
Unholy Matrimony (with Lutz-Rainer Müller), FLACC, Genk
2014 Breaking out of prison with a safety pin, Galleri Gann, Sandnes
2013 Silk & Sour (with Lutz-Rainer Müller), MELK, Oslo
2012 Abstract simplicity of need, Entree, Bergen
Greasy Lace, Waxy Pith, Brussels
Take these hands, MK gallery, Milton Keynes
The cyclical behaviour of equlibrium, Østfold Kunstnersenter, Fredrikstad
2011 Echo, Künstlerhaus Bethanien, Berlin
Hinterland/Bakomland (with Lutz-Rainer Müller), public performance, Kunsthall Oslo, Oslo
2010 Hell is Chrome, Gallery Erik Steen, Oslo
Still life with modern guilt (with Lutz-Rainer Müller), MOT international, London
You Only tell me you love me when you’re drunk (with Lutz-Rainer Müller), Hordaland Arts
Centre, Bergen
Still life with hyena, lotus and cave (with Lutz-Rainer Müller), W17, Oslo
2008 Vehiculare, Gallery Erik Steen, Oslo
If it won’t fly, try using it as a reducing machine (with Lutz-Rainer Müller), Galerie
HfbK; Elektrohaus; Trottoir; St.Pauli Kunstverein, Hamburg
2007 Stream Day, Young Artists Society, Oslo
2006 HAMC jubilee (with Frode Markhus & Lutz-Rainer Müller), The National Museum, Oslo
...and then it suddenly inverted, Galleri Gann, Sandnes
In, Reversed, Out, Avav123, Hamburg
sketches for the meantime (with Lutz-Rainer Müller), Fotogalleriet, Oslo
2005 It’s Not Unlike Being on the Top of a Snowcovered Mountain, Galleri 21:24, Oslo
2004 Deluxe Emergency Equipment, Galleri 21:24, OsloSelected group shows
2018 NOMADIC MOUNTAINS (a Survey on High Altitude Mental Architecture), Schunck, Heerlen
Copernicus (with Lutz-Rainer Müller), Trondheim kunstmuseum, Trondheim
2017 Season Gallery, Seattle
2016 SYZYGY (with Lutz-Rainer Müller), Objectiv magazine, Oslo
Drawing biennale 2016: The sketch: A collective psycogeographical guide to Oslo, Oslo
2014 PIEROGI XX: Twentieth Anniversary Exhibition, Pierogi, New York
New Arrangements, Galleria Rajatila, Tampere
Restate, Art:I:Curate, London
2013 Örebro open art, Örebro
Performa 13, New York
5 kunstenere, Galleri K, Oslo
2012 Not even light can escape, A und V, Leipzig
So near the garden but still miles away, 1/9Unosunove, Rome
Diamonds are forever, Galleri Erik Steen, Oslo
Grounded, bb15, Linz Stadt mit Vollausstattung (with Lutz-Rainer Müller & Pepper + Woll),
Dortmunder Kunstverein, Dortmund
2011 Reminds me of tomorrow, Skalitzer140, Berlin
Precarious Interchange, Waxy Pith, Brussels
Unfolding: Processes, Grimmuseum, Berlin
Acting on a tip, Grünerløkka Kunsthall, Oslo
2010 Babelsk, Bergen Art Museum, Bergen
Reflected in a drop of oil, Galleri Niklas Belenius, Stockholm
The drawing biennale, Moss
Kunstnerforbundet, Oslo
Unfinished Business, Waterside Project Space, London
2009 Tempo Skien, Telemarks Kunstnersenter, Skien
Dark matter, Peder Balke Center, Toten Barentz Triennale, Oslo, Tromsø, Rovaniemi, Helsinki,
Murmansk, Moscow
SnowballEditions2008, Lautom Contemporary, Oslo
2008 New works, Galleri Erik Steen, Oslo
Platform China, Beijing
Lights On, Astrup Fearnley Museum of Moderen Art, Oslo
2007 Be One, Get Three, Cluster Galerie, Berlin
Obergeschoss Dritter Finger Rechts, Ballhaus Ost, Berlin
2006 Take Off, Galleri Brandstrup, Oslo
2004 Vestlandet i verden, Vestlandsutstillingen (touring exhibition)
Public commissions (with Lutz-Rainer Müller)
2019 Polarsirkelen High school, Mo I Rana (upcoming)
2018 Greifswald University Hospital, Greifswald (upcoming)
Heimdal High school, Heimdal (upcoming)
2017 Tolkewitz High school, Dresden
2016 Ullerntunet carecentre, Oslo
Oslo Red Coss, Oslo
2015 University of Tromsø, Tromsø
Granstangen primary school, Oslo
2014 Bergen university college, BergenStein mit Vollausstattung, Dortmund City Children and youth psychiatric clinic, Jessheim
2013 Hadeland High school, Gran
Selected institutional and public collections
Astrup Fearnley Foundation
Bergen Art Museum, Bergen
Nomas Fundation, Rome
Wintershall, Stavanger
_______________________________________________________________________________________________
Are Blytt
Lives and works in Oslo and Brussels
1981 Born in Bergen, Norway
2003–2008 Trondheim Academy of Fine Art, Trondheim
2001–2002 Bergen School of Art, Bergen
Residencies
2018 WIELS Residency Programme for emerging artists, Brussels
CCA Studio Program, Kunsthalle CCA Andratx, Mallorca
2017 Circolo Scandinavo, Rome
2015 Circolo Scandinavo, Rome
CCA Studio Program, Kunsthalle CCA Andratx, Majorca
2011 Circolo Scandinavo, Rome
2008 The Scandinavia – Japan Sasakawa Foundation, Tokyo
Selected public awards
2014 Jackson Pollock & Lee Krasner Foundation, New York
2014 Forsberg & Aulies Painters Award, Oslo
Selected solo shows
2017 Galleri K, Oslo
2015 Kunsthalle CCA Andratx, Mallorca
2014 Trafo Kunsthall Project Room, Asker
2013 Noplace, Oslo
2012 Kunsternes Hus – W17, Oslo
Trafo Kunsthall Project Room, Asker
2011 The Agency Gallery, London
2009 The Agency Gallery, London
Selected group shows
2018 Kunsthalle CCA Andratx, Mallorca
Philipp von Rosen Galerie, Cologne
2015 QB Gallery, OsloKunsthalle CCA Andratx, Mallorca
2014 Kunsthall Stavanger w/ Entrée, Stavanger
Performa 13 w/ Entrée, New York
The National Annual Autumn Exhibition, Kunstnernes Hus, Oslo
2013 Platform Stockholm, Stockholm
Galleri K, Oslo
Vestfossen Kunstlaboratorium, Vestfossen
2012 The National Annual Autumn Exhibition, Kunstnernes Hus, Oslo
Art Gwangju w/ The Agency Gallery, Gwangju
The Agency Gallery, London
Norwegian Drawing Biennale 2012, Oslo
2011 KOBE Biennale 2011, Kobe
The Agency Gallery, London
Selected institutional and public collections
Arts Council Norway
Jack Helgesen Family Collection
Kunsthalle CCA Andratx Collection, Mallorca
Sørlandet Art Museum
Vestfossen Kunstlaboratorium Collection
_______________________________________________________________________________________________
Per-Oskar Leu
Lives and works in Oslo
1980 born in Oslo, Norway
2012–2013 Whitney Independent Study Program, New York
2008–2009 Staatliche Hochschule für Bildende Künste – Städelschule, Frankfurt/Main
2006 Glasgow School of Art, Department of Environmental Art, Glasgow
2002–2006 National Academy of Fine Art, Oslo
Solo shows
2017 Before the War, 1/9 unosunove, Rome
2014 c/o – An Alternate Correspondence (with Benjamin Tiven), 1/9 unosunove, Rome
(T)reason and Emotion, Volt, Bergen
2012 The Suitcase of Mr. O.F., 1/9 unosunove, Rome
Crisis and Critique, Triple Canopy, New York
The English: Are They Human?, London Metropolitan University, London
2011 Dortmund Bodega, Oslo
2010 Vox Clamantis in Deserto, 1/9 unosunove, Rome
Part Thirteen, Vanish, Frankfurt am Main
BFF, Johan Berggren Gallery, Malmö
Ideal Setting (with Frederik Værslev), Ping-Pong Gallery, Malmö
2009 XXXIII, Lothringer 13 Städtische Kunsthalle, Munich
Ascension, Landings Project Space, Vestfossen
2008 Like a Dog!, UKS, Oslo
2007 Americka, Torpedo, Oslo
2006 At the Crossroads, The Montgomery Sculpture Trust, London2005 THREE TO GET READY – The Second Skin, Bastard,
2004 Closure, Galleri 21:24, Oslo
Group shows and projects
2018 Vitamin D is for Don’t Give Up (with Halvor Rønning), Destiny’s Atelier, Oslo
2017 Segunda Vez seminar (with Halvor Rønning), Trondheim Kunstmuseum, Trondheim
2016 Freux Follets, BBB centre d’art, Toulouse
FEED, Kunst Vardo, Oslo
2015 I skuggan av kriget, Malmö Kunstmuseum, Malmö
2014 Vi lever på en stjerne, Henie Onstad Kunstsenter, Høvikodden
In These Great Times, Kunstnernes Hus, Oslo
EVA International Biennial, Limerick
Répétition Générale, 1/9 unosunove, Rome
2013 Global Revolt: Cinematic Ammunition, Anthology Film Archives, New York
The Limits of My Language Means the Limits of My World, Platform, Stockholm
Whitney IPS Studio Exhibition, {Temp}, New York
Wanna be a masterpiece, ISCP, New York
2012 When it Stops Dripping from the Ceiling, Kadist Art Foundation, Paris
Library of INCA, Institute for Neo Connotative Action, Detroit
how to make a delicious tea, Art Metropole, Toronto
2011 Pica Pica, Entrée, Bergen
Wordperfect 1.0, NoPlace, Oslo
2010 Tracks, Malmö Konstmuseum, Malmö
Timing, Centro per l’Arte Contemporanea Luigi Pecci, Prato
Who Cares, Redux, Appartement, Berlin
ourtv series2, SWG3, Glasgow
2009 ...On Guyton, Galerie Parisa Kind, Frankfurt/Main
First View, Johan Berggren Gallery, Malmö
Snowball Editions, Lautom Contemporary, Oslo
Kunstnerboken, Tegnerforbundet, Oslo
Art Recipe, Podium, Oslo
2008 Reality Effects, Henie Onstad Kunstsenter, Høvikodden
Botnik Space Off, Botnik Studios, Gerlesborg
“Rykk tilbake til start!”, 0047, Oslo
High Come Down, Smia, Kristiansand
2007 I Would Eat That, 70 Eddy St, Providence
2006 Bokaktig, Fotogalleriet, Oslo
10x, Galleri Seilduken, Oslo
Avgangsutstillingen, Stenersenmuséet, Oslo
2004 Vækerø skulpturhage, Oslo
2003 Let’s Get Physical, Altin Turk Showroom, OsloYou can also read
