Galerie Gabriel Rolt is pleased to present Norwegian Summer, a group exhibition with new works by four young Norwegian artists: Kristin Nordhøy, Ane Mette Hol, Toril Johannessen and Stian Eide Kluge, from July 4 to August 22. Each has a scientist-like rigor and complexity in the research and development of a work. Their practices combine a highly conceptual and theoretical process with an emotional, human involvement, which frequently relies on a high level of craftsmanship.
Kristin Nordhøy (1977) will present three recent drawings and a site-specific wall piece consisting of masking tape and black acrylic paint. Her drawings are severe, intense, monumental works. The lines and shapes accumulate into abstract, almost sculptural structures. Though it has a formalistic appearance, the hand of the artist - the direct physicality - is always apparent in Nordhøy's work.
Nordhøy obtained a Ma of the National College of Art and Design in Oslo and exhibited at a.o. Kunstnerneshus and Lautom Contemporary, both in Oslo. She received grants from a.o. Arts Council Norway.
In ‘12 Colour Drawing' by Ane Mette Hol (1979) one can see a direct reference to Sol Lewitt. It appears to be a piece of plasterboard leaning against a wall. Blank, unadorned, it bears the hallmarks of abstract, minimal sculpture. The object, however, is no ready-made; it has been created entirely by the artist. Many layers of hand-crafted white paper have been joined and Hol has made a fine-mesh of line drawings on its outer surface, all creating the illusion of plasterboard.
Hol pursues this contradiction - of investing large amounts of time and craft into making something that appears entirely manufactured - throughout her drawings. She often reproduces books and printed pages, capturing even the blemishes of the paper and faults in the printing. Hol is exploring the limitations, effects and possibilities of mechanical and personal reproduction. In Duplication (After Xerox Untitled), Hol has reproduced photocopied pages from art books. Here she is exploring the nature of reproductions of art works, whereby the truth and essence of the original becomes massively distorted - in this case, the original image is obliterated, replaced by a dense, blackened space, becoming useless as documentation.
Hol obtained a Bachelor from Oslo Academy of the Arts, and followed the Masterprogram Fine Arts at University College of Arts, Crafts and Design in Stockholm. She exhibited at a.o. Lautom Contemporary in Oslo, Kunsthall C in Stockholm and Astrup Fearnly Museum of Modern Art, Oslo.www.anemettehol.com
Stian Eide Kluge (1977) inhabits a similar space in relation to drawing. He shares with Hol a focus and meticulous attention to detail in his reproductions and reinterpretations of existing materials - from books, photos, other people's drawings. The intentions in these densely worked pencil studies, however, are more emotional, idiosyncratic. For Kluge, the act of drawing is almost an attempt to retrieve or understand something from his past. For instance, in AC.KNOWL.EDGE.MENT, he has made a series of drawings about his father who recently died. There are drawings of holiday snaps, photographs that belonged to his father and illustrations about ageing. In Untitled drawing # 19 (the parting), Kluge remakes a drawing his father did as a 12-year-old child. To reproduce another's work, one seeks to understand the process, intention; to learn how and why it was made; to see how they saw.
Therefore, in this piece, Kluge is trying to understand and be closer to his father. Kluge is using drawing almost as therapy - as a cathartic, informative act.
Kluge's works strays between mediums and intentions, from personal works like these to more playful, conceptual approaches. In The Complete Beatles, for example, he mixed the entire back catalogue of the Beatles into one song. As well as making a vinyl record of the subsequent music, Kluge presented it as a wall drawing, each track described by a line of different colour and length.
Kluge graduated from the National Academy of the Arts in Oslo and the School of Visual Arts in New York, department film and video. He exhibited at a.o. Konsthall C, Stockholm and will show his work next year at Kunstnerforbundet, Oslo.
The National Museum for Art, Architecture and Design in Oslo acquired his work.
Toril Johannessen (1978) made ‘Variable Stars' as an enquiry into a group known as The Harvard Computers - unqualified women who were employed by Harvard College Observatory in the early twentieth century to process astronomical data. Though the women were considered cheap, accurate labour, they went on to make many important findings and theories as a result of the data they collected. Johannessen takes their theories of measuring distance in space as the starting point for this work. Using the original archive of photographic plates - stunning images of light emitted from stars - alongside growing crystals, an array of telescopes and suite of drawings, ‘Variable Stars' inhabits a space between art instillation, museum exhibit and laboratory.
Johannessen obtained a MA in Fine Art, Bergen National Academy of the Arts, Norway and a BA at the same school, dept. of Specialized Arts and photography.
She exhibited her works at a.o. Oslo Kunstforening, Bergen Kunsthall and Hasselblad Center in Gothenburg, Sweden and received grants from a.o. Arts Council Norway, Norsk Fotografisk Fond and BKH Academy Grant.www.toriljohannessen.no
These artists are intrigued and inquisitive - about their lives, histories, surroundings. Their works stray between the realms of art, science and personal biography, making visual interpretations of ideas, resolutions, concepts that are often abstract and intangible. For both the viewer and the artist, these works carry an awe and wonder at the process and content.