SEPTEMBER 2018


42. TRØNDELAGS-UTSTILLINGEN

TRØNDELAG SENTER FOR SAMTIDSKUNST/

KUNSTMUSEET NORD TRØNDELAG 

22. SEPTEMBER - 12. JANUARY, 2019





DISKEN

2018

WOVEN SCULPTURE


WIRE, WOOL WARP, GLASS BEADS, BOTTLEBRUSH, PANTS, SNEAKER


90 X 45 X 15 CM

Disken består av flere elementer intuitivt satt sammen av Thea Meinert. Utgangspunktet er tekstilt materiale med metallinnslag vevd av kunstneren på en digital vev. Trådene fra veven er perlebesatte og referansene til håndarbeid komponert sammen med flaskebørster og rosa ullunderbukser gir konnotasjoner til et nostalgisk narrativ med kvinnelig perspektiv. En av kunstnerens egne, velbrukte joggesko bringer oss imidlertid tilbake til nåtiden igjen. Meinert undersøker sammenstilte materialer og blander det håndlagede med funnet materiale mens hun reflekterer subtilt over sin egen rolle som kunstner.


Lena Katrine Sokki/Trøndelagsutstillingen 2018

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🔻

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WIRE, WOOL WARP, GLASS BEADS, BOTTLEBRUSH,

PANTS, SNEAKER


PHOTO: INGA SKÅLNES

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WIRE, WOOL WARP, GLASS BEADS, BOTTLEBRUSH,

PANTS, SNEAKER


PHOTO: INGA SKÅLNES

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AUGUST 2018


GNEIS

KUNSTHALL 15

AUGUST 2018




GNEIS

2018

INSTALLATION


DIGITAL PRINT ON WOOL, LEATHER IMITATION, DENIM, WADDING, CLAY, SAND, GLUE, RUBBER FOAM, PVC


22,5 X 30 X 25 CM

DIGITAL PRINT ON WOOL, LEATHER IMITATION, DENIM, WADDING, CLAY, SAND, GLUE, RUBBER FOAM,PVC

DIGITAL PRINT ON WOOL, LEATHER IMITATION, DENIM, WADDING, CLAY, SAND, GLUE, RUBBER FOAM,PVC


PHOTO: VESLEMØY LILLEENGEN

DIGITAL PRINT ON WOOL, LEATHER IMITATION, DENIM, WADDING, CLAY, SAND, GLUE, RUBBER FOAM,PVC


PHOTO: VESLEMØY LILLEENGEN

I utstillingen Gneis har kunsthallens vegger og gulv blitt tapetsert med et ullstoff trykt med kunstnerens egne tegninger. I rommet presenteres fire forskjellige objekter: Lenende opp mot den ene veggen står et stykke leire, hvilende på en bit aprikosfarget skumgummi. På den bakre veggen henger to elementer som er flettet sammen til en, sydd på frihånd med symaskin, og fylt med vatt. Materialet er syntetisk, sølvfarget lær og svart dongeri. På gulvet ligger en haug bestående av sand drasjert i lim. I taket henger et stykke hvit skumgummi som er revet for hånd. 


Meinerts installasjoner er ofte sammensurium av ulike følelser og stemninger hun vil gjenskape, og materialer som hun finner på atelieret. Disse komponeres sammen i installasjoner hvor de ulike objektene kommuniserer med hverandre. I selve utførelsen drives kunstneren framover i søken etter en spesiell estetikk, personlig smak og interesse. Tittelen Gneis henspiller på bergarten med samme navn, som er omdannet fra en eller flere bergarter - en metafor for hvordan ulike materialer blandes og blir liggende lagvis, og at ting kanskje har mer dybde enn man først tror. 

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FEBRUARY 2018


FRAMED, UNFRAMED

GALLERI KIT

13. - 18. APRIL  2018

CURATED BY ANNETT BUSCH



GRDS

2018

INSTALLATION


REINFORCEMENT MESH, LUMINAIRE, COPPER PIPE, PVC, ACRYLIC PAINT, BUCKET, LEMONS, NAIL BRUSH, LYCRA, THERMOS TOP




350 X 350 X 350 CM

REINFORCEMENT MESH, LUMINAIRE, COPPER PIPE, PVC, ACRYLIC PAINT, BUCKET, LEMONS, NAIL BRUSH, LYCRA, THERMOS TOP

REINFORCEMENT MESH, LUMINAIRE, COPPER PIPE, PVC, ACRYLIC PAINT,

LYCRA, THERMOS TOP


COPPER PIPE, PVC, ACRYLIC PAINT,

LYCRA, THERMOS TOP

BUCKET, LEMONS

In painting and photography, a frame marks the border of the canvas; in film and performance, frames are single images that separate and contain a movement. By managing what is visible and what is present, processes of framing and un-framing are constitutive for the understanding of visual art.


The image is seen, rather than understood, as a storage unit for framed portions of reality. It is stamped out from an open field while its borders become both increasingly dynamic and asymmetrical. Such a technical definition allows us, first of all, to distinguish the image from the model. But it also raises the question what could be the significance of being in or out of the frame, in a post digital age?


Interfering with what is given or predominant, processes of framing and un-framing suspend the conventions of traditionally accepted frameworks as well as their actual conditions, in the true sense of the term "virtual." Ultimately, this is what composition means.


After almost two semesters exploring a range of approaches of doing and undoing frames and frameworks across disciplines, the exhibition Framed, Unframed presents experimental and preliminary, personal and conceptual answers to Theory.


Contributions by Casey Asprooth-Jackson, Letizia Balzi, Katherine Butcher, Hasan Daraghmeh, Unnur Andrea Einarsdottir, Nanna Hougaard, Lou Vincent de Lestrade & Solène Pasztor, Veslemøy Lilleengen, Thea Meinert, Martin Palmer, Hilde Pytkowski, Sebastian Schumacher, Anaclara Talento.


Introduction by Annett Busch, Curator

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FEBRUARY 2018


GLOVE

RAKE VISNINGSROM

9. - 11. FEBRUARY 2018



GLOVE

2018

INSTALLATION


PINE WOOD, ACRYLIC PAINT, PLINTH, PINEAPPLE, BIRCH WOOD, PVC, SOUND INSULATON FOAM, BRUSH FIBRE, FOIL, WADDING, ANTI-SKID FABRIC, THREAD




400 X 560 X 350 CM

PINE WOOD, ACRYLIC PAINT, PLINTH, PINEAPPLE, SOUND INSULATON FOAM

PINE WOOD, ACRYLIC PAINT, PLINTH, PINEAPPLE, SOUND INSULATON FOAM, ANTI-SKID FABRIC 

PINE WOOD, ACRYLIC PAINT, PLINTH, FOIL, RUBBER FOAM, BRUSH FIBRE, WADDING, THREAD

FOIL, WADDING, THREAD

GLOVE is created during a stay as artist-in-residence at RAKE visningsrom (Trondheim, NO) lasting from December to February 2018. The gallery became a working space, enabling me to produce larger installations than I normally do. Very low temperatures made it challenging to work in the space. Several layers of clothes would make it hard to move around naturally, and all the «making» needed to be executed with gloves on.

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SEPTEMBER 2017


RAPP

SURNADAL BILLAG

21. - 24. SEPTEMBER 2017



RAPP

2017

INSTALLATION


BROOMSTICKS, BRUSH FIBRE, RUBBER FOAM, 

SPRAY PAINT, STEEL, FLUORESCENT LIGHT, 

MOUSE TRAPS, ACRYLIC PAINT, PVC, COFFEE 

TABLE, ACRYLIC PULLOVER


210 X 600 X 800 CM

BROOMSTICKS, BRUSH FIBRE, RUBBER FOAM, COFFEE TABLE

BROOMSTICKS, BRUSH FIBRE, RUBBER FOAM, COFFEE TABLE

STEEL, SPRAY PAINT, FLUORESCENT LIGHT, ACRYLIC PULLOVER, RUBBER FOAM, BRUSH FIBRE

RUBBER FOAM, BRUSH FIBRE

PVC, MOUSE TRAPS, ACRYLIC PAINT

The exhibition presents new works created during a four-week stay as artist-

in-residence at Surnadal Billag (Surnadal, NO). The sculptures are inspired, both thematically and in material, from a local factory - Nordenfjeldske Børstefabrikk AS - established in 1933 and Norway's only surviving mousetrap factory. These create the basis for new material combinations and point to underlying themes through association and playing with words. The title of the exhibition hints at the factory’s patented mouse trap through 75 years. 


The exhibition is supported by the Norwegian Cultural Fund.

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MAY 2017


EXIT - MFA DEGREE SHOW, TRONDHEIM KUNSTMUSEUM GRÅMØLNA

21. MAY - 11. JUNE, 2017



WARE

2017

INSTALLATION


INK ON PAPER, BIRCH WOOD, PADDED WINDSCREEN 

PROTECTION (POLYETYLEN), POLYESTER-STRETCH, 

ACRYLIC PAINT, LUMINAIRE, ALUMINIUM HANDLE, 

DIGITAL PRINT ON WOOL, WALL PAINT


170 X 600 X 400 CM

INK ON PAPER, BIRCH WOOD, PADDED WINDSCREEN 

PROTECTION (POLYETYLEN), POLYESTER-STRETCH, 

ACRYLIC PAINT, LUMINAIRE


PHOTO: REIDUN SYNNØVE GRAVELSETER

PADDED WINDSCREEN 

PROTECTION (POLYETYLEN), WALL PAINT


PHOTO: REIDUN SYNNØVE GRAVELSETER

BIRCH WOOD, ACRYLIC PAINT, INK ON PAPER, POLYESTER-STRETCH,

PADDED WINDSCREEN 

PROTECTION (POLYETYLEN), ALUMINIUM HANDLE


PHOTO: GARD AUKRUST

INK ON PAPER, BIRCH WOOD, ACRYLIC PAINT, POLYESTER-STRETCH


PHOTO: REIDUN SYNNØVE GRAVELSETER

POLYESTER-STRETCH, ALUMINIUM HANDLE


PHOTO: REIDUN SYNNØVE GRAVELSETER

Ware explores themes such as mass production and manufacturing in relation to the individual and the unique object. It is an imaginary industry, employed by women workers exclusively, in the process of restructuring from one sector to another. My research questions the value of material, craftsmanship, and labor from a contemporary perspective where technology, digitalization, and increased efficiency prevails.


The loom is often the starting point because it initiated the first computers, programming and punch cards; the idea of the both digital and analogue tool. By applying mechanical, repetitive processes in the execution of the work, I explore the body and human capacity. Suggestive rather than insistent these surveys become into poetic sculptures; Studies of materiality, rhythm, and repetition, where I at the same time both continue and problematize craftsmanship in a conceptual context.

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