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Current:


Kristin Austreid
Et underlig redskap
15. 11—22.12

. . .


Past Exhibitions
— 2019



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
INYA LAKE

— 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



Exhibitions 
— 2018



Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic
Reenactment/Process
Reprise/Response


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
Orientering 
—  a group show in public space


Jon Rafman
Dream Journal
2016-2017


Goutam Ghosh &
Jason Havneraas
PAARA

Ian Giles
After BUTT

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

Exhibitions
— 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 Counter-Clockwise

Pedro Gómez-Egaña
Pleasure

Ane Graff
Mattering Waves


Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger


Exhibitions
— 2016


ALBUM
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
Stimulus

Sinta Werner
Vanishing Lines

Exhibitions
— 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
Collision

Steinar Haga Kristensen
The Fundamental Part of Any Act

Exhibitions
—2014


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
Yuanmingyuan3D

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

Exhibitions
— 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
Trialog

Lars Korff Lofthus
New Work

Exhibitions
— 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
Lethargia

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

Exhibitions
— 2011


Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland
U.T.

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

Exhibitions
— 2010



Michael Johansson
27m3

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...

Mart
Ciara Scanlan
Matthew Nevin
An Instructional

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

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

Lars Korff Lofthus
West Norwegian Pavilion


Serina Erfjord
Repeat


Mattias Arvastsson
Presence No.5


Malin Lennström-Örtwall
It`s like Nothing Ever Happened

Exhibitions
— 2009


Tor Navjord
FM/AM

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
Contact/Info/CV
Other projects







Mark
January 21st- March 18th, 2017

Jenine Marsh
Lindsay Lawson

Dear Stranger




Lindsay Lawson
The Slip
55,5 x 22 ø cm
Rubber glove, MIDI cable, plastic clog, fake flowers, sponge, champagne glass, plastic tray, metal soap dish, wooden beads






She called three phone numbers. She did this every day. The numbers were conjured in the way of wiggling fingers in an improvised screen tap dance. The first rang and rang thirty-one times before she ended the call. The second went immediately to voicemail. The third was answered on the second ring. The voice said, “Hello, who's this?” Her number was blocked. She replied only “Hello” and let a pause spread like a stain until she heard an intake of breath and hung up. Her arm hair was all on end, her fingers quivered and her breathing was like hot bellows.

Later when she went walking to work she would meet eyes with ten people. Just ten, exactly. Her walk was forty-five minutes on a busy street so she could be selective. Without looking she would notice them and try to get a sense of them through their stride, dress and activity. If they were on their phone or fucked up on something she wouldn't bother. It wasn't about the challenge. When she and they were almost shoulder-to-shoulder she would look up and see if they would look or were looking. Almost every time they would or were.

In the evening she sat at the bar, elbow-to-elbow with the others. She kept her eyes on her cocktail, a Swamp Water. The glass was cold in her hand, and the maraschino cherry stained the dirty-water coloured mix with its sticky blood. What would it be to be as transparent as this glass? Skin like an albino tree frog, guts seen colourful and cartoony through the crystal belly? The heart would bob wet and red as a cherry, and purple intestines would coil here like a worried snake. And what would it be to be this hand here, holding this glass? Like a starfish, five-fingered and blind, living in and digging out an existence from salty black mud. A starfish regurgitates its insides to eat. It feels its way, digesting externally.

When she got home she took out paper and a red pen. The letter began “I don't know you”. She crossed that out and wrote, “you don't know me”, and then waited for the rest to come. There wasn't much more to it; the letter had no body, it was all intro, chopped off with a vague but optimistic “hope the feeling's mutual.” No return address or name. She folded the letter into an origami frog and hopped it out of her window. The street below was quiet. She and the receiving stranger would make contact, but there would be no further exchange, only this one isolated incident of a paper frog. She and it and them, they and it and her. She notices red ink smeared on her palm. “We are like swamp water”, she thinks; “clearest at the surface.”

Text by Jenine Marsh










Jenine Marsh
Dear Stranger
Pressed flowers, saliva



Entrée is excited to start the year off with Jenine Marsh and Lindsay Lawson’s duo-show ‘Dear Stranger’, an exhibition that has used the election process and algorithms of Curatron. Welcome this Saturday from 8pm!

Lindsay Lawson (US) is based in Berlin. Her work has been exhibited internationally at venues such as Gillmeier Rech, Berlin; Galerie Lisa Kandlhofer, Vienna; Herald St., London; Frutta Gallery, Rome; LAXART, Los Angeles; Yossi Milo Gallery, New York; Carroll/Fletcher, London; 1646, The Hague; Galerie Jeanroch Dard, Brussels; Galerie Tobias Naehring, Leipzig; and Justina M. Barnicke Gallery, Toronto. She recently presented a large-scale performance in addition to a symposium about objectum sexuality as part of the 9th Berlin Biennale.

Jenine Marsh (CA) is based in Toronto. She has exhibited her work in numerous venues including COOPER COLE, Toronto; Lulu, Mexico City; ASHES/ASHES, Los Angeles; Hannah Hoffman Gallery, Los Angeles; CK2, New York; 8-11, Toronto; and Fourteen30, Portland OR. She participated in residencies at the Banff Centre in 2009 and 2010, and in February 2017 she’ll be in residence at Rupert in Vilnius, Lithuania.

Curatron is an online algorithm system designed to allow artists to apply to an open call and to collectively select the successful applicants. In the case of the exhibition at Entrée, 1300 artists participated in the open call, and their selections were calculated to present the group of Lindsay Lawson and Jenine Marsh. Curatron is implemented for exhibitions this year in institutions such as Flaggfabrikken, Rogaland Kunstsenter, Nida Art Colony and Platform Stockholm.






Jenine Marsh
Coins and tokens
Open series









Installation view.



Jenine Marsh
Night Vision
Plaster, ink, cellophane, flowers, synthetic rubber, polyurethane adhesive, acrylic, acrylic varnish, wire
20 x 6 x 33 cm




Installation view.



Jenine Marsh
Dear Stranger
Pressed flowers, saliva




Jenine Marsh
Night Shade
Plaster, ink, flowers, synthetic rubber, polyurethane adhesive, acrylic, acrylic varnish, wire
16 x 5 x 24 cm





Lindsay Lawson
The Wrong Tree
55,5 x 22 ø cm
Stencil, Mannequin hand, rope, plastic cup, Ethernet cable, fake leaves, stainless steel ball, knife, tinsel




Exterior Entrée, January 21st, 2017.




Jenine Marsh
Correspondent
Plaster, ink, cellophane, synthetic rubber, polyurethane adhesive, acrylic varnish, wire
16 x 5 x 22 cm





Jenine Marsh
Shadowing
Plaster, ink, cellophane, synthetic rubber, polyurethane adhesive, acrylic varnish, wire
16 x 10 x 24 cm





Lindsay Lawson
Arm and a Leg
27 x 11 ø cm
Oil paint tube, MasterCard, driftwood, stainless steel ball, colored pencil, fake flowers





Jenine Marsh
Dear Stranger
Pressed flowers, saliva





Jenine Marsh
Coins and tokens
Open series







Lindsay Lawson
Eighty-Six
55,5 x 22 ø cm
Wireless keyboard, rope, Ethernet cable, 3D glasses, fake flowers, twig, colored pencils, CD-R





Lindsay Lawson
Both Worlds
27 x 11 ø cm
Thunderbolt cable, wax, Surf Stick, toothbrush, stainless steel ball, fake leaf, colored pencils, dollar bill






Jenine Marsh
Dear Stranger
Pressed flowers, saliva




Mark