ENTRÉE

2012-01-16T07:05:00.000-08:00

Anna Lundh (b.1979) is a Swedish artist, based in Stockholm and New York. Much like a detective or archaeologist she is investigating cultural phenomena, social agreements, language and technology.

The work shown at Entrée is concerning our personal and social relationships to the concept of time. Lundh has for several years run a research project to collect individual reflections and visual perceptions of time, which are partly presented in the video work The Year is a Python that swallowed an Elephant. From the Swedish Television archive Lundh has collected ”wait-time” (a ticking clock between programs) spanning from 1983-93; for example 16:50:08 - 16:55:00, August 28^th 1990. Included is also her latest project New Years Eve (GMT -0:30), where she created a unique time zone for the gallery space Platform Sthlm, 1,5 hours behind local time. Research for the current exhibition Grey zone has now led her to Frøken Ur´s lost recordings…

Anna Lundh graduated from Konstfack in 2008 and has since participated in residency programs such as LMCC Workspace, New York and Omi International Arts Center. Lundh has exhibited at Bonniers Konsthall, Haninge Konsthall, Rhizome, Marian Spore, Apexart and Franklin Street Works to name a few and also published text-based works for Squid, Hjärnstorm and Triple Canopy.

Lecture performance by Anna Lundh Friday January 20th at 21.00, offering insight into her research project The Year is a Python that swallowed an Elephant.

The exhibition is made possible with the kind support from The Norwegian Art Council, Iaspis, Kulturkontakt Nord and Bergen Kommune.

2011-12-10T05:25:00.001-08:00

Karen Skog and Mia Øquist have been working towards this collaborative exhibition from completely different parts of the country, Øquist from Bergen and Skog from Svalbard. Through images sent from one to the other, unexpected associations has emerged that have resulted in both finished and unfinished works which after new processing, sorting and systemizing are now presented at Entrée.

The materials consist of MDF boards, drawing paper, light bulbs, wood, masking tape, glass, pencil, watercolours, ink, metal, plastic, balloons, stamps, copy paper, photography, notebooks, artificial grass, wire,mechanics, nails, wire, glue, screws and more.

Karen Skog (b.1982) lives and works in Bergen and is currently a resident at Bergen Kjøtt`s brand new program AiR Svalbard. In 2009 she completed her Masters at the Bergen National Academy of the Arts during which she also had an exchange to the Universität für Angewandte Arts in Vienna. Skog has exhibited at BGO 1, Bergen Art Museum and Caprisious Space, New York and with her Karen Skog Orchestra she has played several concerts including at Landmark, Grieghallen and Sound of Mu.

Mia Øquist (f.1980) lives and works in Bergen where she currently has a studio at Bergen Kjøtt. Øquist has a Master of Arts from Bergen National Academy of the Arts from 2009 and had an exchange to The Royal Art Academy in Stockholm. Øquist has held performances in Norway and abroad including at the Never or Nowfestival in Bergen, Storåsfestivalen and during the Caochandi Biennial in China.

2011-09-30T11:43:00.001-07:00

When the Lumière brothers screened their first short film, the impression of reality was so ‘new’ that when a train “arrives”, spectators are terrified by the locomotive that appears to be dashing towards them. Disbelief is suspended in favour of immersion into the fiction of the screen.

Danilo Correale further elaborates on the collapse of reality into hyperrealism as identified by Baudrillard in Symbolic Exchange and Death. The work shown at Entrée, We Are Making History, consists of a three-channel video that features a Chroma Key-equipped film studio, where the production rhetoric and the backstage itself are revealed. The viewers will face 'the image for what it is’, in what is now perceived as the standard definition of digital cinema.

Danilo Correale (b.1982) lives and works in Naples, Italy. We Are Making History was commissioned and shown at Manifesta 8. Correale has exhibited at The 11th Istanbul Biennal, Pistoletto Foundation, MADRE Contemporary Art Museum, Kunstraum Lakeside and Klagenfurth among other places. He`s been in residency at A.I.R. Antwerpen, Belgium and Mazama Residence, Seattle.

Review at Kunstkritikk by Arne Skaug Olsen.

2011-08-09T13:22:00.000-07:00

Sveinung Rudjord Unneland

U.T.

Exhibition premises are totally transformed by Unneland when he presents a shrunken version of Entrée, which transforms the gallery space into one immersive sculpture. The down scaled gallery displays new sculptures and inlaid in the walls a series of paintings witch are accessible from both sides. In addition, Unneland uses the windows as canvases for the work Jigsaw and from the speakers you`ll hear the sound piece Underneath produced in collaboration with Kjetil Bjøreid Aabø.

With the stated inspiration from Kurt Schwitters Merzbau, Unneland has created a site-specific work at Entrée. Through the exploration of the specific and formal room, issues seem to increasingly touch upon living conditions in a broader sense. The works alternate between formal research and subjective expression, as a conflict between private and public sphere.

Sveinung Unneland (b.1981) lives and works in Bergen. Unneland is educated from Bergen National Academy of the Arts and Kunsthochscule Berlin-Weissense. Unneland has exhibited among other places at Hordaland Kunstsenter, Galleri LNM, Kunstnerforbundet, Christianssands Kunstforening, Lautom Contemporary and Høstutstillingen.

Sunday September 4th at 4pm. Artist-talk at Entrée with Sveinung Unneland. Limited seating. Sign up via entree.randi@gmail.com, or let us know.

2011-08-02T08:30:00.001-07:00

B-opens reading at Entrée
Wednesday August 3rd /18.00.

Brian O`Dohertys
"Inside the White Cube"

2011-05-13T10:13:00.001-07:00

The work of Ethan Hayes-Chute suggests potential living situations based on his concepts of self-sufficiency, self-preservation and self-exclusion in a variety of media including drawing, painting, sculptures and the artist book. For this exhibition at Entrée, he takes his vision to a life-sized scale, creating a fully-immersive cabin built from found and reclaimed materials, outfitted with recycled and improvised furnishings, as well as day-to-day ephemera and artifacts. The public is encouraged to enter and examine this comprehensive and elaborate example of habitation.

According to the artist, Make/Shifted Cabin "refers to the handmade in general, the editing process that naturally occurs with such an ad-hoc creation, as well as the somewhat rudimentary or ramshackle construction, as well as the idea of a cabin transplanted from it's natural habitat to another, as well as the lifestyle adjustments required to produce such an object."

Ethan Hayes-Chute was born and raised in Freeport, Maine, USA. He lives and works in Berlin and is currently a resident at The Nordic Artists' Centre Dalsåsen. Hayes-Chute has a BFA in painting from Rhode Island School of Design (2004) and was named the Maine Arts Commission's Visual Arts Fellow for 2011. He can often be found exploring dumps and scrapyards or walking the streets perusing second hand shops for potential objects with which to populate his constructions.

www.ethanhc.com

The exhibition is made possible with support from Arts Council Norway and Bergen Municipality`s art & culture department.

Funded also in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.

This exhibition is made in collaboration with The Nordic Artists' Centre Dalsåsen.

Ethan Hayes-Chutes Make/Shifted Cabin

has moved to Marineholmen!

2011-03-22T15:17:00.001-07:00

Pica Pica er en utstilling som drøfter det irrasjonelle i menneskers fascinasjon for visse materialer. Springbrettet har vært den heller ubestemmelige, etnografisk/medisinske tilstanden pica: et adferdsmønster der den som er rammet, gir etter for en trang til å spise en utvalgt substans – gjerne jord, isbiter, fargestifter, hår, såpe eller lim.

Pica er ikke bare et medisinsk og psykiatrisk, men også et kulturhistorisk og etnologisk fenomen. I et Geographical Review fra april 1973 står det å lese: «geofagi-skikken [å spise jord/leire] spredte seg fra Afrika til USA med slaveriet. En undersøkelse fra Mississippi, utført i 1942, viste at minst 25% av alle skolebarn regelmessig spiste jord. Voksne (…) gjorde det også. Mange grunner ble oppgitt: jord er sunt, det hjelper gravide, det smaker godt, det er surt som sitron, det smaker best om det røykes i ovn, og så videre». I vestlig legevitenskap er det vanligere å støte på pica i form av enkeltpasienter med magesmerter eller nedkjørte tenner som viser seg å skyldes inntak av alt fra gafler til vaskepulver.

I utvidet forstand kan pica sees som et både absurd og konkret bilde på hvordan mennesker kan utvikle lidenskapelige fascinasjoner og irrasjonelle følelser for fysiske materialer, objekter, teksturer eller substanser – tilbøyeligheter som kommer til syne også utenfor de diagnostisertes rekker, og nokså hyppig i kunsten. Det er noe ømt, klossete og forvirret her; iblant en maktkamp mellom person og stoff, iblant en besjeling eller identifikasjon.

Pica Pica tar tilstanden inn i utstillingens og katalogens rom som en metafor for en videre, kollektiv utforskning av det feilfølte, grenseoverskridende, komiske, kleine eller direkte livsfarlige i akutte, frivillige sammenstøt mellom menneske og stoff.

/ Johanne Nordby Wernø

Ebba Bohlin (1976) har en Master of Fine Arts fra Konstfack i Stockholm (2008). Verket här ble produsert i anledning utstilingen på Entrée.Per-Oskar Leu (1980) er utdannet ved Statens Kunstakademi i Oslo, Glasgow School of Art og Städelschule i Frankfurt am Main. I Crimes of the Future (produsert for Pica Pica) er Henning Carlsens filmatisering av Hamsuns Sult ett av flere omdreiningspunkter. Kaia Hugin(1975) fullfører våren 2011 en MA i kunst ved Kunstakademiet i Bergen. I hennes pågående serie videoarbeider, Motholic Mobbles, blandes eksistensialisme med det humoristiske. Johanne Nordby Wernø (1980) er kurator og skribent.

I forbindelse med utstillingen publiseres en katalog. Bidragsytere: Arve Rød er kunstner, kritiker og skribent tilknyttet Dagens Næringsliv som frilans kunstkritiker (DN lørdag); Sara Orning er doktorgradsstipendiat ved University of California, Santa Cruz (kontinental filosofi, monsterhistorie, film, og litteratur); Joar Tiberg (SE) er forfatter og oversetter. Grafisk design: Christian Brandt.

Utstillingen er anmeldt av Tommy Olsson på kunstkritikk.no

2011-02-22T04:13:00.000-08:00

KRITIKK AV UTSTILLINGEN,

PÅ KUNSTKRITIKK.NO

AV ARNE SKAUG OLSEN

The central conceit of Jean-Paul Sartre’s 1937 novel “Nausea,” involves its protagonist, Antoine Roquentin, peculiar relationship with the external world and the things residing there, which, for Roquentin, have come to be characterized by a malevolent disassociation of their thingness, their istigkeit, from linguistic signification itself. In one scene, Roquentin’s visit to a neighborhood café turns into a nightmare of visual over-saturation precipitated by the barman’s purple suspenders: “The Nausea is not inside me: I feel it out there in the wall, in the suspenders, everywhere around me. It makes itself one with the café, I am the one who is within it.”

Clearly, Roquentin is undergoing an experience characteristic of schizophrenia, which is in essence a disease of language and signification described by Frederic Jameson as a “break-down of the relationship between signifiers.” The inability to fabricate and maintain interiority and exteriority, normally the job of language, leads to spatio-temporal collapse, a confusing of inside and outside, often accompanied by a sense of persecution or grandiose fantasies of omnipotence. Yet, from a distance of more than seventy years, Sartre’s novel and the world-view it implies seems reassuring in its faith in a physical world that is somehow, given some effort, within our reach. Kjersti Vetterstad’s new work, Lethargia, seems to ask what happens when this reassuring verisimilitude is replaced by a bottomless vertiguity. Another way of phrasing the question is to ask what happens to human subjectivity in a world where the most extreme of postmodern fantasists—Jean Baudrillard chief among them—have been proved right. In a world in which the fashion advertisement is more alluring than the person depicted, the pornographic image more erotically charged than the sexual act itself, the filmic narrative more real than the narratives we ourselves create through living, virtual communication more common than face-to-face encounters, it is as if we cede more and more power to objects, as if “things themselves have transgressed their own limit.”

This condition, which the Situationists long ago diagnosed as symptomatic of consumer capital, and which Deleuze and Guattari identified as in itself schizogenic, becomes more apparent with each passing year. If we were to reformulate the thinking of these French intellectuals in the guise of a species of second-rate science fiction speculation, we might describe capital as a virus capable of penetrating our cognitive boundaries, turning subject-object relations inside out. One might characterize the resulting human subject as a bricolleur assembling identity out of the flotsam and jetsam of media. Vetterstad has diagnosed the condition, creating a kind of Situationist sci-fi noir film where the inherent visuality of the Spectacle has been suppressed and its banality foregrounded; a world where everything is black except the subtitles. Thus we are free to project our own dis-simulations onto a pastiche of cult Hollywood films, documentaries, soap operas, and anonymous horror pabulum. Here dream logic is regnant, yet what is remarkable is how the fantasies Vetterstad articulates appear banal. This banality underscores how much electronic media (and consumer society) feeds on infantile fantasies of omnipotence—the type which can abide destruction more than sublimation or deferral. Hence, borrowing from Baudrillard, this is “a fatal vision of the banal.” And in our contemporary world banality has grown prodigious.

This is not simply a postmodern worldview but a postmodern eschatology, or a postmodern epidemiology if you will, for disease has both an etiology and an outcome. . If we suppose that the collapse between interiority and exteriority from which Sartre’s hero Roquentin suffered has, under commodity capital, mutated into something far more pernicious, we can expect its symptoms to be correspondingly more severe. So she doesn’t need to allude directly to the external phenomenon that make our world an increasingly disturbing place, because for the composite characters inhabiting her monochrome world, these phenomenon already prevail, and further, have produced a corresponding psychopathology. But Vetterstad has not produced a diagnosis in which she mistakes symptom for disease so much as let the symptom speak for itself. And speak it does.

/ Michael Baers--

Documentation of the installation including an extract from the video Lethargia by Kjersti Vetterstad

2011-01-27T07:05:00.001-08:00

Gabriel Kvendseth

First We Take Mannahatta

Entrées collaboration with Kvendseth started with bringing in his Arrows at the BGO Vol 1 exhibition at Bergen Kunstmuseum in 2010. In 2011 Entrée participated in Supermarket Artfair where we showed a solo exhibition with Kvendseth and pieces form his series First We Take Mannahatta.

Entrée ///// Supermarket 2011

SUPERMARKET 2011 will for the second year in a row take place at Kulturhuset (The House of Culture) in Stockholm. Kulturhuset is located at Sergels torg in the very centre of Stockholm.

The goal of SUPERMARKET is to provide a showcase for artists' initiatives from all over the world and to create opportunities for new networks in the Swedish and international art scenes. It is also an art fair that strives to offer the visitor an experience, rather than focusing on sales.

Read more about Supermarket at www.supermarketartfair.com

2011-01-10T12:40:00.000-08:00

Roger von Reybekiel (born 1981) lives and workes in Stockholm where he graduated from Konstfack in 2010. Previous exhibitions and performances include Moderna Museet, Crystal Contemporary Art, Galleri Hangups, Circulationscentralen, Kalmar Konsthall, Tensta Konsthall and Node Gallery in Tokyo among others.

Reybekiel works with installations that often include text, drawing, painting, sculpture, music and video. He is also active in the music and performance group Knight Music and the artistic and curatorial project Rymdgymnasiet.

For the exhibition at Entrée he has made a series of new paintings and drawings that revolves around love and work. In edition to the exhibition there is a release for the Happy and Sad Magazine and the I Love You CD, published by Madame Cryptica.

http://www.rymdgymnasiet.net/
http://www.knightmusic.se/

2010-11-21T13:56:00.000-08:00

I november besøker Tor Navjord og hans turnerende stedsspesifikke støyprosjekt, FM/AM, Bergen.

Prosjektet som aktualiserer spørsmål om rettigheter i det offentlige, kvesser performance, musikk- og tekstutgivelser til strategier for artikulasjon, interaksjon og publisering.

Formatet som presenteres ved Entrée er en kombinasjon av konsert og lydperformance: hvor 52 radioer og frekvensregistret mellom tilgjengelige stasjoner benyttes til å mane en sonisk mental kidnapping av støy, droner, svart ambient, fri impro og devosjonell musikk. All audio relateres direkte fra radioene uten noen form for amplifikasjon.

Siden debuten ved Nordnorsk Kunstnersenter i mars, har FM/AM utgitt to kassetter; opptrådt ved Insomnia Festival, UKS og Kurant; etablert samarbeid med Ben Overlaet fra støyduoen Tithonus (BE), Svulst (Taakeferd) og Runaway Road Circus.

Performance på Entrée fredag 26.november kl 19:00.

2010-11-12T00:00:00.000-08:00

Exhibition at Entrée Nov 18th-21th,

opening hours 16-20!
+ Sunday concert at 17:00

Angular Moments // Signe Lidén & Michal Kindernay

Lidén and Kindernay makes metal sing and moments of momentum seeable. The installation is built up by resonated metal objects embodied by strips of interacting images. The objects are both microphones and speakers and their feedback agitates continuously new layers of sound. The singing, hauling, droning scrap metal modulates numerous of moving pictures that are projected on the objects. Natural patterns mutating in abstract generative forms. Sometimes the sound draws and the image sounds. Tiny granular insects revive contemplative wired environment.

2010-11-04T02:40:00.000-07:00

Entrée is co-curating the exhibition BGO1 at Bergen Art Museum. The exhibition is open October 29th- January 3oth. Read more about BGO1 here; MOMENT/C, Kunstkritikk, KHiB , Kunstforum & P2 Radio.

Entrée invited Swedish artist Michael Johansson to make a new site-specific work. The result is the sculpture 27m3 which is as big as the name suggest and consist of material from art institutions and artist studios in Bergen. Read more about Johanssons work on his webpage http://www.michaeljohansson.com/.

We also invited Gabriel Kvendseth who graduated this year from the bachelor program at Bergen National Academy of the Arts (KHiB), to show a piece called Bow & Arrows from his series First We Take Mannahatta. The collaboration with Kvendseth will continue next year when Entrée will bring him to the artist-run alternative art-fair SUPERMARKET in Stockholm.

2010-10-09T04:01:00.000-07:00

This Color is everywhere er Tone Wolff Kalstad si første soloutstilling. Wolff Kalstad jobber i brytningspunktet mellom fiksjon og dokumentasjon som ho saumlaust flettar saman med teikning. Arbeida hennar blir ikkje berre brukt til å gjere undersøkelsar men og som eit verktøy til å forandre. For utstillinga på Entrée har ho laga nye to- og tredimensjonale skulpturelle teikningar.

Tone Wolff Kalstad(f.1982, Førde) er utdanna fra Kunstakademiet i Oslo 2008, har tidligare studert ved Kunstskolen i Bergen og stillt ut i gruppeutstillingar i inn- og utland.

2010-09-29T03:26:00.000-07:00

Entrée har motatt 3 -årig støtte fra Kulturrådet!

Takk til alle som har jobbet frem prøveordingen.

Hurra!

2010-09-07T05:35:00.000-07:00

Av og til kan tilværelsen fremstå som en opphopning av iscenesatte hendelser tilrettelagt for konsum og effektivitet. I utstillingen Road Show Event Plan opererer Knud Young Lunde som forkludrende eventbyrå og presenterer et roadshow parkert i krysningspunktet mellom planlegging og resultat, informasjonsbevegelse og kommunikasjonsforstyrrelse, skuespillsamfunn og lekeplass.

Et road show eller en road show event er en spektakulær, promoterende service kalkulert av eventbyråer for kunder med kommersielle interesser. Spektakulær på en omreisende-utbrettbar-transformer-semitrailer-aktig måte. This is how you get 25 minutes of full attention. Historisk sett et amerikansk fenomen, nå også i vokabularet til nordiske tilbydere av hendelser. Event planning betegner prosessen med å planlegge et større evenement.

Utgangspunkt for utstillingen er observasjoner gjort i globusprogrammet Google Earth, hvor satelitter deler opp jorda i et rutenett, knipser og måler høyder. Satelittfotografiene strekkes så nedover en triangulert topografi i et verdig forsøk på å kopiere verden. Lundes fokus falt på den virtuelle veibanen som så åpenbart skal være flat og funksjonell og friksjonsløs, men som ved hjelp av uforutsigbare høydemålinger nå og da warpes ut av dimensjoner.

Utstillingens road show er altså av en mer bokstavlig karakter. Her er det selve veien som står i fokus fremfor varene og budskapene som fraktes langs den. Mediet er budskapet. Tilfeldige events i selve veidekket. Ifølge Marshall McLuhan, var veien det første kommunikasjonsmediet som satte fart på informasjonsbevegelsen. Idag, under tilnavnet ”Information Superhighway”, kan budskap distribueres med umiddelbar elektronisk virkning uavhengig av geografisk avstand. Knirkefritt og friksjonsløst, på en god dag.

I et samfunn som tidvis kan oppleves kommersialisert, regulert og iscenesatt, vil det ikke finnes mye rom igjen for tilfeldighet og spontanitet. Barn sorterer ofte input impulsivt og på uforutsigbart vis. Og står dermed for mye ubevisst meningsproduksjon. Kanskje til og med slumpmessig kritikk. Barnets bokstavelige blikk egner seg til å stikke hull på konvensjoner. (Knud Young Lunde)

KNUD YOUNG LUNDE

Knud Young Lunde (f. 1980) er billedkunstner og en språkforstyrrelse. Han produserer primært installasjoner, gjerne bestående av skulptur, tekst, video og fotografi. Arbeidene kjennetegnes av en leken og forkludrende tilnærming til etablert mening og minimalistisk formspråk. Innholdsmessig opererer Lunde som forbrukervennlig data sapiens i gråsonen mellom system og glitch, skuespillsamfunn og lekestue, medieøkologi og eksistensialisme.

Knud Young Lunde er utdannet ved Kunsthøgskolen i Bergen, avdeling Kunstakademiet, og eksaminerte derfra i 2009 med en mastergrad i kunst. Sammen Aleksander Stav utgjør han kunstkooperativet Ministry of Transport and Communications, for tiden aktuell med prosjekt i Warsawa.

www.knudyounglunde.com

www.ministryoftransportandcommunications.com

2010-07-27T05:27:00.000-07:00

Entrée presents an exhibition of new work by Alison Carey (Irl), Ivan Twohig (Irl) and Benjamin Gaulon (Fr).

Working collaboratively Alison Carey and Ivan Twohig have used as a point of departure for their sculptural installations the act of transportation of the artwork itself. The work is designed to adhere to the parameters of the funding awarded which allowed for the shipping, packaging and transportation of artwork. The works are made to the maximum baggage dimensions (L+B+H=158cm) and combined weight allowed (40kg) for checked luggage on their SAS flights from Dublin to Bergen. The work subsequently shares its visual language with that of the processes and materials of packaging and protection. Wooden crates and packaging foam do not so much act as containers but reveal their own structural integrity as an elemental part of the work itself.

Benjamin Gaulons L.S.D, Light to Sound Device, invites its users to engage in a new perception of their daily environment. In ecology this class of relationship is called commensalism. L.S.D feeds on light via two LDR (light depending resistor) mounted on a suction cup, allowing the sensors to be mounted on any screen surface. An analogue synthesizer converts the light input to sound waves. This device can be used in many different configurations and feeds from any light sources. Even if the L.S.D can be controlled by any light source, its design is aimed at screen reading/listening. This project will also be developed into a street intervention by placing several L.S.D into public spaces for anyone to use (by plugging your own headphones) or steal. Finally a dedicated youtube channel will support the creation of videos for L.S.Ds allowing users to share their compositions.

Benjamin Gaulon is an artist and lecturer at NCAD Dublin. His work has been widely exhibited internationally in France, Ireland, The Netherlands and the U.S. Benjamin is currently the co-coordinator of DATA the Dublin Art and Technology Association. He was co-founder of IMOCA and has curated numerous exhibitions, workshops and discussions in the areas of art and technology.

Working as an artist and an arts manager, Alison Carey has extensive experience with coordinating and contributing to major international art projects and events. She has previously held roles in institutions such as the Irish Museum of Modern Art, IMOCA and the Guggenheim Museum, New York.

Ivan Twohig is an interdisciplinary artist who has exhibited internationally. His work has been included in the St.Etienne Design Biennale in 2009 in France and the Fenomen IKEA exhibition at MKG in Hamburg Germany. Ivan has previous links with Bergen art institutions and has previously exhibited in Landmark at Bergen Kunsthalle in 2007.

This project is supported by Culture Ireland.

2010-06-28T01:44:00.000-07:00

If everything else fails...

2010-06-16T04:29:00.001-07:00

An instructional with MART as part of their tour in June-July

2010-06-16T04:18:00.000-07:00

BREAKFAST AT ENTRÉE JUNE 14th

2010-06-08T15:44:00.000-07:00

Entrée visited the “Sphere of Art” Fair in Bielsko-Biała June 9th -12th to

talk about Entrée and to see some new polish art. Visit Galeria Bielska here.

2010-05-03T16:01:00.000-07:00

South of No North shows four positions of contemporary sculpture from Germany and Norway. These very different approaches from subtle installation to (at times seemingly) spontaneous sculptural gestures share a passion for material sensibility and clashes / juxtapositions.

Nina Nowak lives and works in Düsseldorf. She is a student of the Düsseldorf Academy of Fine Arts in the class of Tal R. In her work she explores ideas of identity and meaning by the use of different materials.

Samuel Seger lives and works in Kiel. He is a student in the Sculpture Department of the Muthesius Academy of fine Arts. His work investigates the construction and deconstruction of (supposedly) given structures.

Patrick Wagner studied in Kiel, Bergen and Bucharest. He currently lives and works in Bergen, with no idea where he'll end up next. In his prints and sculptures he merges influences from literature and architecture.

Patricia Hansen-Wagner is a student at the Muthesius Academy of Fine Arts, in the class of Jürgen Partenheimer. In her work the fabric wraps itself around the drawing, the print. It gives the line a body, in the same manner as the fold in baroque sculpture creates the body.

2010-04-29T04:17:00.000-07:00

The second part of the much anticipated Bergen Biennale 2010 took place at Entrée, including performances by Agnes Nedregaard (Bergen/Glasgow), Midskills (Tromsø), a continuation of Patrick Coyle’s “100 Red Exercise Books,” a concert by the Boogey Boys (Bergen/Etc.) and carried into the night with a DJ set by Santiago Mostyn (New York) Flaggfabrikken’s current Artist in Residence). To read more about the Biennale visit underskog or ytter. See also Kunstforum`s article here.

2010-03-29T06:36:00.000-07:00

Pavilion is a word that can be associated with biennial-representation, cultural events and spectacular construction projects. The idea of Western Norway as a cultural center and the pavilion as form is a play with authority and bombastic ambitions. All places can become central through strategic work and branding.

The fictional location for Lars Korff Lofthus` pavilion is a pier in a port facility in Kinsarvik, Hardanger. The area has visual qualities that are a suitable framework for a pavilion. The shape of the pavilion is flirting with forms from famous international cultural buildings, while literally borrowing form from a main garment in the official Hardanger costume. visit: www.larskorfflofthus.no

2010-03-08T10:49:00.000-08:00

The 4th exhibition at Entrée shows new works by Serina Erfjord. Erfjord’s subtle, poetic sculptural work usually reflects and includes its surroundings, as it often constitutes interventions within the gallery space or in the public realm. Her interest in various movements within a material is shown through her use of for instance electromagnets, gravity, freezing elements, motors, sound, light and different kinds of liquids. A certain movement is created, things are brought to life.

- - - - -

Serina Erfjord was born in Erfjord in 1982. She graduated from Oslo National Academy of the Arts (Kunstakademiet) in 2008 and is currently living in Oslo. Repeat is her first solo show.

UTSTILLINGEN REPEAT ER ANMELDT I MORGENBLADET!

2010-02-08T02:21:00.000-08:00

Using a variety of cameras and different software tools, Mattias Arvastsson creates systems for deconstructing and manipulating static forms. He defines an outline of how the material will be treated and transformed over time, and through an array of mutation algorithms, random functions and chance operations, he lets the material take on new forms, finding new rhythms and creating unexpected patterns. The raw material always comes from video recordings created through hands-on experiments prompted by a curiosity of how things work. Taking cameras apart and experimenting with the lens and imaging sensors, or simply changing a battery’s power output, can reveal an unpredictable and highly aesthetic expression.

This non-narrative approach to video has taken the work in a more spatial direction, making the common way of presenting video, on a monitor or by wall projection, inadequate. The solution became a spatial meeting between solid sculptural elements and floating video surfaces, where the fusions can be seen as «presences» within a defined space. In a similar approach as to video, the artist lets these sculptures take shape through experiments and by playing around with material, using mostly pieces of paper that are folded and shaped until an interesting form emerges. These shapes are then scaled up and constructed mainly in wood, with a lot of time and attention put into making the once fragile paper shape appear in a solid form.

Mattias Arvastsson is a Swedish artist currently living in Bergen. In 2010 he graduates from Bergen National Academy of the Arts (KHiB).

2010-01-15T05:43:00.000-08:00

On Thursday the 14 th of January at 19.00 we welcome you to Entrée for the opening of the exhibition: ”It`s like nothing ever happened”, by Malin Lennström-Örtwall. Lennström-Örtwall is an emerging Bergen artist and one of the founders of Bergen Ateliergruppe/Dokken (artist studio). The exhibition will consist of a series of installations related to her stay in Palestine in 2008. www.malinlennstromortwall.com

"Untitled (family table)" (2009)

The postcard "Maybe I`ll never see you again. Part 1"

Produced in Palestine and shipped to Norway (2010)

"Maybe I`ll never see you again.Part 2"

Produced in Palestine and shipped to Norway (2009)

Se omtale fra Studvest og Ytter

2009-12-05T05:38:00.001-08:00

Flaggfabrikken Presenterer vil i forbindelse med deres seminar Why are artists poor? invitere til en screening kuratert av Catherine Hug og Isabel Reiß på Entrée 11.desember fra kl 21. Seminaret starter 10. desember på Bergen Kunstmuseum.

sjekk ut COMPILER#3

2009-11-16T11:03:00.001-08:00

Arbeidene i utstillingen Erasing Knot Paintings tar utgangspunkt i materialet de er malt på. Kunstneren har gjortinngrep i ulike trematerialer, hovedsakelig ved hjelp av maling. Inngrepene er knyttet til materialets egenskaper,men på samme tid bryter inngrepene med disse egenskapene: maleriet endrer dem og leker med slutningene vi rutinemessig trekker i møte med materialet. Ofte er ikke inngrepene åpenbare, men må oppdages. Det er ikke alltid klart hvor materialet er naturlig presentert og hvor det er reprodusert eller endret. Maleriene har et tilsynelatende enkelt uttrykk, men er et resultat av en nitid prosess som vektlegger det håndverksmessige. Det er en subtil fremmedgjøring av velkjente objekter som fordrer til å se etter - enda en gang.

Ragnhild Johansen bor og arbeider i Bergen
og gikk nylig ut fra masterprogrammet
i kunst ved Kunsthøgskolen i Bergen.
Se også www.ragnhildjohansen.com

Intervju og bilder på ytter.no og kunstforum.as

2009-10-30T08:52:00.000-07:00

2009-09-04T04:33:00.000-07:00