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Markeveien 4b
5012 Bergen, Norway
Thursday 12-4pm
Friday 12-4pm
Saturday 12-4pm
Sunday 12-4pm


Ask Bjørlo
Livets kraft
23.5 - 4.8

Max Paul
Han Bo
T-Yard Residency

Past Projects  
— 2023

Sveinung Rudjord Unneland

T-Yard Residency
w/ Eric Otieno Sumba

Writer in Residency April

Liu Yujia, Ji Jia

Entrée Cinema

Tanya Busse
Wind Sings to Wire

Louise Sidelmann

T-Yard Residency
w/ Isabel Baboun Garib

Writer in Residency

Flex Point w/ Northing Space
Naeun Kang, Lydia Soo Jin Park, Tansiyu Chen, Dominique Nachi, Kaho Suzuki, Kuan-Cheng Yeh, Lexy Liangzi Xiao, Jia Ji, Carmilly Yeung, Su Liao, Yun Hao

Kim Hankyul
( ͡°( ͡° ͜ʖ( ͡° ͜ʖ ͡°)ʖ ͡°) ͡°)

Entrée Cinema
Marthe Thorshaug,
Esteban Rivera
, curated by Tatiana Lozano

Kunstbokhandel Under Press
- Kristen Keegan
- Kurt Johannessen

How Artists’ Books Live, by Heather Jones
Bjørn Mortensen 
Ciara Phillips
Mari Kanstad Johnsen
- David Horvitz

Mari Kvien Brunvoll & Elida Brenna Linge
Lars Korff Lofthus

Emily Weiner
I took my lyre and said

Past Projects  
— 2022

Cato Løland
Turning Strangers Into Family

T-Yard Residency
w/ Yara Nakahanda Monteiro Writer in Residency

T-Yard Residency
w/ Kalaf Epalanga
Writer in Residency

Andrea Spreafico
Poor Dictionary (from Distance to Rage)

Cato Løland
Paris Internationale

Marco Bruzzone
GLUB CLUB (An Underwater Turmoil)

Lera Sxemka
Artists in Residency

Nastya Feschuk
Artist in Residency

Tuda Muda,
Sigrún Hlín Sigurðardóttir,
Unn Devik
Artists in Residency

Ivana Králíková
Future City Earth Systems
Artists in Residency

T-Yard Writers Residency
︎ www.t-yard.com

Karoline Hjorth & Riitta Ikonen
Eyes as Big as Plates

Entrée Cinema
Lasse Årikstad
Bergen Filmklubb

Pamflett & BABF
Bergen Art Book Library

Magnhild Øen Nordahl
Oppløyste abstraksjonar

Past Exhibitions
— 2021

- a group exhibition

Entrée Cinema
Calderón & Piñeros
Paul Tunge &
Egil Håskjold Larsen
Cinemateket i Bergen

Kåre Aleksander Grundvåg

Dan Brown Brønlund
Magnus Håland Sunde
Linda Morell

Lisa Seebach
I’d Rather Be Rehearsing the Future

Entrée Cinema:
Ina Porselius
Bergen Filmklubb

Ann Iren Buan
Falm varsomt, hold om oss

Sjur Eide Aas
At Hermit Street Metro Entrance

Entrée Cinema:
Esteban Rivera,
Marthe Thorshaug
Cinemateket Bergen

Karin Blomgren
Summen av alle krefter

Entrée Cinema: 
Jon Rafman,
Claudia Maté
at Bergen Filmklubb

Past Exhibitions
— 2020

Lin Wang
Exotic Dreams Tattoo Shop

Unfolding Questions, Codes,
and Contours

at Tromsø Kunstforening

Ida Wieth
wander / wonder

Lilian Nabulime, Bathsheba Okwenje,
Miriam Watsemba, Maria Brinch.
My Mother Is Forgetting My Face.
Curated by Martha Kazungu

Ian Giles
After BUTT
at Kunstnerforbundet

Oliver Ressler
Carbon and Captivity

Sara Wolfert
Head Channel & Lion 
- Waking of the Sleeping Lion Ear

Entrée Cinema
Kjersti Vetterstad
A Beehive in My Heart
at Cinemateket Bergen

Halldis Rønning

Past Exhibitions
— 2019

Kristin Austreid
Et underlig redskap

Bergen Assembly
Actually, the Dead Are Not Dead

Anne de Boer, Eloïse Bonneviot
the Mycological Twist

Kamilla Langeland
Stories of the Mind
(Transitioning Into Uncertainty)

Maria Brinch

— at Kunstnernes Hus

Bathsheba Okwenje
Freedom of Movement
at  Kunstnernes Hus

Lina Viste Grønli
Nye skulpturer

Toril Johannessen
SKOGSAKEN (The Forest Case)

Marysia Lewandowska
It’s About Time

(in Venice Biennial)

Films by
Mai Hofstad Gunnes

Isme Film
Collectively Conscious Remembrance

Trond Lossius
Jeremy Welsh
The Atmospherics
River deep, mountain high

— 2018

Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic

Eivind Egeland
Father of Evil

Marysia Lewandowska
Rehearsing the Museum

Anton Vidokle
Immortality for All: a film trilogy on
Russian Cosmism

Curated by
Ingrid Haug Erstad

Johanna Billing
Pulheim Jam Session,
I’m Gonna Live Anyhow Until I die,
I’m Lost Without Your Rhythm,
This is How We Walk on the Moon,
Magical World

Jenine Marsh
Kneading Wheel, 
Coins and Tokens

Jenine Marsh
Sofia Eliasson
Lasse Årikstad
Johanna Lettmayer
Lewis & Taggar
Jon Benjamin Tallerås
—  a group show in public space

Jon Rafman
Dream Journal

Goutam Ghosh &
Jason Havneraas

Ian Giles
After BUTT

Films by Yafei Qi
Wearing The Fog, 
I Wonder Why, 
Life Tells Lies

— 2017

Daniel Gustav Cramer
Five Days

Kamilla Langeland
Sjur Eide Aas
The Thinker, Flower Pot and Mush

Danilo Correale
Equivalent Unit
Reverie: On the Liberation from Work

Valentin Manz
Useful Junk

Jeannine Han
Dan Riley
Time Flies When Slipping

Pedro Gómez-Egaña

Ane Graff
Mattering Waves

Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger

— 2016

Eline Mugaas
Elise Storsveen
How to Feel Like a Woman

DKUK (Daniel Kelly)
Presents: Jóhanna Ellen
Digital Retreat Dot Com

Cato Løland
Folded Lines, Battles and Events

Harald Beharie
Louis Schou-Hansen
(S)kjønn safari 2.0

Lynda Benglis
On Screen
Bergen Assembly

Linn Pedersen
Bjørn Mortensen
Terence Koh
NADA New York

Ida Nissen
Kamilla Langeland
Marthe Elise Stramrud
Christian Tunge
Eivind Egeland
Fading Forms

Anders Holen

Sinta Werner
Vanishing Lines

— 2015

Bjørn Mortensen
Pouches and Pockets
/ Compositories in Color

Linn Pedersen
Plain Air

Øystein Klakegg
Entrée # 55

Leander Djønne
Petroglyphs of the Indebted Man

Lewis & Taggart
Black Holes and other painted objects

Azar Alsharif
Bjørn Mortensen
Steinar Haga Kristensen
Lewis & Taggart
Vilde Salhus Røed
Heidi Bjørgan
NADA New York

Linda Sormin
Heidi Bjørgan

Steinar Haga Kristensen
The Fundamental Part of Any Act


Tora Endestad Bjørkheim
Bjørn-Henrik Lybeck

Mathijs van Geest
The passenger eclipsed
the object that I could have
seen otherwise

Marit Følstad
Sense of Doubt

Oliver Laric

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

— 2013

André Tehrani
Lost Allusions

Pedro Gómez-Egaña
Object to be Destroyed

Flag New York City

Christian von Borries
I’m M
Institute of Political Hallucinations
Bergen Assembly

Dillan Marsh
June Twenty-First

Vilde Salhus Røed
For the Sake of Colour

Azar Alsharif
The distant things seem close (…)
the close remote (…) the air is loaded

Magnhild Øen Nordahl
Omar Johnsen

Lars Korff Lofthus
New Work

— 2012

Anngjerd Rustan
The Dust Will Roll Together

Cato Løland
Oliver Pietsch
Love is Old, Love is New

Stian Ådlandsvik
Abstract Simplicity of Need

Sinta Werner
Something that stands for
Something / Double
Described Tautologies

Kjersti Vetterstad

Anna Lundh
Grey Zone

Arne Rygg
Borghild Rudjord Unneland
Lisa Him-Jensen
Cato Løland
Lewis & Taggart
Klara Sofie Ludvigsen
Magnhild Øen Nordahl
Mathijs van Geest
Andrea Spreafico
Flag Bergen

— 2011

Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland

Ethan Hayes-Chute
Make/Shifted Cabin

Ebba Bohlin
Per-Oskar Leu
Kaia Hugin
Pica Pica

Gabriel Kvendseth
First We Take Mannahatta

Roger von Reybekiel
Do Everything Fantastic

— 2010

Michael Johansson

Tone Wolff Kalstad
This Color Is Everywhere

Knud Young Lunde
Road Show Event Plan

Alison Carey
Ivan Twohig
Benjamin Gaulon
On The In-Between

Mercedes Mühleisen
Øyvind Aspen
Birk Bjørlo
Damir Avdagic
Annette Stav Johanssen
If Everything Else Fails...

Ciara Scanlan
Matthew Nevin
An Instructional

Patrick Wagner
Nina Nowak
Samuel Seger Patricia Wagner
South of No North

Agnes Nedregaard Midskills
Patrick Coyle
Boogey Boys Santiago Mostyn
Bergen Biennale 2010 by Ytter

Lars Korff Lofthus
West Norwegian Pavilion

Serina Erfjord

Mattias Arvastsson
Presence No.5

Malin Lennström-Örtwall
It`s like Nothing Ever Happened

— 2009

Tor Navjord

Ragnhild Johansen
Erased Knot Painting

Entrée Radio

Lewis and Taggart
Ledsagende lydspor

In Conversation:
Gómez-Egaña and
Mathijs van Geest

In Conversation:
Andrew Amorim and
Mitch Speed

In Conversation:
Ane Graff and Alex Klein

In Conversation:
Martin Clark and Daniel Kelly

Ludo Sounds with
Tori Wrånes

In Conversation:
Stine Janvin Motland,
Kusum Normoyle,
Mette Rasmussen,
Cara Stewart

Randi Grov Berger
Other projects

February 28nd- April 22nd, 2017

Andrew Amorim

Lest We Perish

2037 Fifth Ave.
New York

Chemical Perfume

By Mitch Speed

We've developed a lot of strange methods for confirming life. The “pinch me I'm dreaming” protocol is a little trite by now, but think of the way a person might anxiously pick a scab, or bite their lip. A ruby droplet appears, and with it comes a little flash flood of adrenaline, which lets us know we're still here.

Looking at Andrew Amorim's recent work, I remembered how tricky it's become to know what surfaces to reach for, in order to verify existence. Skin doesn't seem as sensitive as it once was. The problem is that our nervous systems and spirits have extended into clothing and accoutrements. This is a dilemma long in the making. In Marx's theory of commodity fetishism, consumer objects are separated from their functional use value, and imbued with an almost pharmacological power to tune our identities. It follows that the costumes we wear have become surrogate nerve endings of social proprioception. You can test this theory by letting a bead of ink fall onto the cuff of a new coat or sweater. As black blooms into gore-tex or merino wool, so too does a quiet existential panic.

Amorim's recent videos have wended through the commodity's role in self-protection and belonging. Often combining found and original material, his montage method discloses a lineage of experimental film running from surrealism to the late 1990's. Mark Leckey's Fiorucci Made me Hardcore (1999) is a crucial precedent, comprised as it is from found footage of the English hardcore dance scene, and casuals – troupes of puffy chested young men whose confidence was amplified by Italian fashion. Casting further back, there's a substantive link between Amorim's new work and Hans Richter's 1928 film Ghosts for Breakfast, which was banned by the Nazi party. In that film, testosterone suffused accessories of conformity – bowler hats, bow ties, guns – come alive, outstripping and eventually dictating their wearer's intentions.

In Amorim's After Touch II (2015-16) we find ourselves in a montage dream space where young men are guised in luxurious street-wear – prostheses that garnish like peacock feathers and guard like carapaces. There's a distinctly masculinist intonation to the video. But as often as Amorim's protagonists pose statuesque, they relish in perverting the outfits that proffer their power. Amorim is less a traditional film-maker than an editor of cultural material. Here, he's drawn from a community of online fetishists, who video themselves sullying licentious urban gear, before posting the results to youtube.

A starring role in After Touch II is given to a limited edition Adidas track suit. It billows and glistens like an inky jellyfish metamorphosed into pleather. Late nineties hip-hop videos flash into mind – in particular the BET triad of Missy Elliot, Puff Daddy and Ma$e, who glided and floated in ballooning jumpsuits through futuristic chambers, likely constructed on some Los Angeles soundstage. But it was the habiliments of African American dandies that delivered such lavish styles into the North American vernacular. The brand name tracksuits in Amorim's video are corporatized offspring to these anti-conformist vestments. Having been processed by cultural appropriation, the Adidas track suit here cloaks the body of an un-identified young man, on a gravel road, spot-lit and suggestive of the suburban outer rim. The strangeness of this setting is matched by the wearer's movements – heroic poses one moment, awkward calisthenics the next. Soon, the video cuts through shots of sports car interiors, populated by drivers in similar uniforms, accompanied by obsidian helmets and rubber gloves. There's a strange bastard archetype developing here, assembled from hip hop culture, memories of Mad Max, and kevlar suffused mercenary fantasy.

Anyone who has bought new sneakers knows their sweet chemical perfume. This scent merges with exoskeletal and reptilian leather surfaces to produce a steroid effect. The resultant power is echoed in Amorim's video when a scientist clad in heat repellent foil works at the verge of roiling lava, under an apocalyptic voice over. This theatre of technologized masculinity is a little creepy. You can almost see Filippo Tommaso Marinetti lurking in the shadows, with his futurist manifesto in one hand and his fascist manifesto in the other. But the aggressive intonation of this fetish dream almost belches its own self-consciousness, when the actors begin debasing their apparel. In one shot, a Nike Air-Max trainer is force fed cake. Shortly, a track-suited corpus slumps on a restroom floor, slathered in soap. When a nylon clad body rolls in forest mud, it seems to pursue futile communion with iron age bog people.

In their carnal performances, these characters echo the Viennese Actionists, who took abjection further than anyone before or since. Those feral masters of impropriety can now be found in grainy online videos, wadding their faces with food, and subjecting one another's bodies to hosts of favor and violation. Amorim's cult youtube stars in a way seem tame compared to Otto Muehl and his Viennese coterie, but they're just performing a different style of transgression, hypertrophying the inspiritment of luxury commodities. Saturated in organic substance, the jackets, pants and shoes are pulled into a theatre of abjection – enveloped in the messy interior of the human spirit they so smoothly mimic.

There is a weird sensitivity to these internet performers. In violating their macho protections, they rejoin an infantile urge. In documenting these rituals, Amorim becomes a kind of anthropologist-critic, who does his work through reproduction, editing and recombination. From the perspective of contemporary art, which craves socially incisive gestures, there's a temptation to project criticality into these performances, but it might be that Amorim's subjects just crave a more lecherous gratification than the products already provide. When I asked Amorim about this, I got the impression that his own critical curiosity contrasts with their hedonism. I like how this unguarded indulgence clashes with the art world's intellectual mores. The relationship between criticality and pleasure is never simple, and I can't help but think that ill intentions towards the enchanting commodity, run latently through these relished desecrations.

Amorim recently sent me clips from the video he'll be showing in New York. In them, a white Nike trainer is violated, first with a scalpel and then a lighter. It is a procedure between torture and dissection. But the shoe is just dumb matter. So why do I grope for these human metaphors? I must be as implicated in the fetish complex as Amorim's collaborators. The executor of this violence seems to be testing the commodity's life force, watching for winces in foam and rubber, but also in himself.

Mitch Speed is an artist and writer based in Berlin. A contributing editor at Momus, he writes regularly for Frieze, and has contributed to Flash Art, Camera Austria, Artforum, and Turps. He was co-founder and editor of Setup, a journal of contemporary art and writing published by Publication Studio. 

Central to Andrew Amorim's exhibition “Lest We Perish” is a collaboration with ToKillSneakers, an anonymous, France-based youtube user known for destroying sneakers. His youtube channel is part of an international community of online fetishists who frequently post amateur videos of their sneaker-wrecking acts. Following previous works where Amorim has sampled material from similar online communities, this time he further engages in the destructive act through the commissioning and co-production of a new video.

Andrew Amorim (b. 1983, Belém, Brazil) is an interdisciplinary artist working with photography, film, video installation, sound, and text to explore themes of memory and decay. A recent graduate of the Bergen Academy of Arts and Design, Norway, Amorim often works by staging actions in front of a camera, subsequently combining found and original material through reproduction and editing. In 2017, his work will be included in exhibitions at Preus Museum, Horten, Melk, Oslo, NoPlace, Oslo, Bergen Kjøtt, Bergen, and I: project space, Beijing.

- - -

Entrée is taking over the second floor at Independent’s Fifth Avenue property in Harlem and presents the two inaugural solo exhibitions part of the brand new Independent's Gallery Residency Program, both exhibitions opens Tuesday February 28th at 6pm.

The exhibitions are made possible with support from Office for Contemporary Art Norway, Norwegian Consulate General New York, City of Bergen and Art Council Norway.

Andrew Amorim, Lest We Perish, 2017. Two-screen 4K Video
Install photos by Paula Abreu Pita.

Exhibition view, Entrée at Independent Hq. in Harlem.

Still from Lest We Perish.

Still from Lest We Perish.