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Sunday, 12-6pm

Andrea Spreafico
Poor Dictionary (from Distance to Rage)

Cato Løland
Paris Internationale

Past Projects  
— 2022

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

January 15th - Frebruary 7th, 2010

Malin Lennström-Örtwall

It`s like Nothing Ever Happened

Maybe I`ll never see you again. Part 2. Neon sign produced in Palestine and shipped to Norway.

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. The exhibition will consist of a series of installations related to her stay in Palestine in 2008.

Malin Lennström-Örtwall (b. 1976) lives and works in Bergen. She received a BA from Bergen National Academy of the Arts in 2006 and an MA from Trondheim Academy of Fine Art in 2009. She also studied at The International Academy of Art Palestine in Ramallah in 2008. She is one of the founders of Bergen Ateliergruppe (BAG) and the workshop BAG Art Camp. Lennström-Örtwall has exhibited in numerous places such as in Trondheim Kunstmuseum, UKS, Bergen Kunstmuseum, Bonniers Konsthall, Al Mahatta Gallery in Ramallah, Vestlandsutstillingen and Høstsutstillingen. Solo shows include Galleri Mors Mössa in Gotenburg and PASAJist Art Space in Istanbul.

Maybe I’ll Never See You Again
By Tina Sherwell
(Director of the International Academy of Art Palestine)

Malin Lennström-Örtwall came to Palestine to undertake research for her final project, her practice centers around working with objects and re-inventing their meaning through deconstructing their structure or via their relationship with other objects, in which they often take on an unhomely presence and speak of separation and loss.

The piece ‘Maybe I’ll Never See You Again’, explores questions of location, separation, workmanship and the nature of confinement within the Palestinian territories. The phrase itself carries with in undertones of a farewell and a fleeting encounter. 

However it also is the reality for many visitors to Israel who are often denied re-entry after visiting the West Bank or Gaza. Malin Lennström-Örtwall herself has also spent many hours being questioned at the border crossings into Israel. So while the phrase carries with it a certain ‘romance’ it also speaks of the confinement and isolation that Palestinians live under in the occupied territories, that manifests itself in regulations of ID cards, checkpoints and the Separation Wall.

In a gesture that attempted to probe the boundaries of the location, Malin decided to create the neon sign in Ramallah using local craftsmanship to execute her piece and then to ship it back to Trondheim, testing the logistics of transporting an object across the borders out of Ramallah and Israel to Norway.

The result of which is what you see in the exhibition, a partial sign, damaged in transit? Deliberately or through negligence? The fragility of the sign becomes a metaphor for the fragility of the reality on the ground and the power of the border authorities. To re-shape and disturb human gestures relations and belonging.

It’s like nothing ever happened
By Maj Hasager

Gaza 5 January 2010: An Israeli air strike has killed one Palestinian militant and injured three others in the Hamas-run Gaza Strip, according to Palestinian and Israeli officials. The death was the first of the Israeli-Palestinian conflict this year. (BBC news 5 January 2010)

Gaza 5 January 2009: The Israeli army says it has hit 40 targets, including several tunnels and the homes of a number of Hamas officials. Hospitals say they are overwhelmed by casualties, mostly civilians including women and children. Ground forces enter the edges of the urban area of Beit Lahiya. (BBC news 5 January 2009)

Bergen/60° 23' 28" N 5° 19' 29" E: While the family is seated around the dinner table with the light from the television flashing in the background, the flow of news pass unnoticed. They talk about events which have happened during this day that is about to turn into night, feeling comfortable and safe in this very moment. Tomorrow is another day filled with work, school or another structure that seem recognisable, and brings certain expectations that are most likely to be fulfilled.

Gaza City/31° 30' 0" N 34° 28' 0" E: Seated in front of the television another family is watching the devastating news that concern them on a personal level. News here is being served as a main course at the table – along with conversations on water shortage, lack of mobility and the uncertainties of the everyday. Still, in an attempt to maintain a familiar structure dinner is served and homework is being discussed, not knowing if the children will make it on time for class tomorrow. The instability within the current situation and the Occupation has seeped through every crack in the walls, and has become ingrained within every individual in the family.

The everyday is political – the unwanted and sudden separation between people remains an unspoken dinner conversation.

Kalandia/31°51’47.21”N 35°12’27.30”E: A bit further north east at the crossing from the West Bank, a woman is standing in a queue. She has walked the same distance several times before, but still feels quite sick when she is queuing up behind the long tail of people suspended between the metal bars that are parting them from the others. They all have their gaze fixed on the turnstile that is supposed to be the ”golden” gate to the other side, a concept she still can’t grasp in her mind. She is almost rubbing against the person in front of her, and to draw the attention to something else than her growing discomfort as the minutes turn into hours in this waiting position – she begins to notice the family in front of her.

The family consists of a father and four children, three boys and a girl in the age 3-12 years. The father is trying to entertain the children as they quickly are getting bored in the uncomfortable situation – waiting to walk through the checkpoint. They play games for a while, which seems to distract the children, and her as well, as they are moving slowly towards the turnstile, which occasionally flashes a green light to let people in for a very short period of time. The father asks the children to keep their place in the queue – as he squirms his way through the sea of people to see why nothing is happening. The children are right behind him in this action, which causes even more discomfort to the people in the crowd, but kindness lets them keep their new and better position. She still watches them, now from a distance as she is pushed further back in the queue. The father manages to shove all four children through the turnstile when the lamp turns green, but unfortunately he is not able to get inside before the lamp turns red.

Now the family is separated by a barrier, and the youngest starts crying. None of the children carry an ID, the soldiers sitting behind bulletproof glass at the checkpoint are not allowing them to pass, and the father is not being let through, which means everyone in the queue is completely stuck. This goes on for a while before something happens, and during this time she meets herself in the darkest corners of her mind – with all the ugliness a human being can contain when forced into a claustrophobic set up. They are all released from the situation as the father finally is let through the turnstile to his children, and more important: the family is let through to the other side.

Before she is allowed to pass, several people are turned back for whatever reason, and with the rejected people moving in the opposite direction through the queue, the composition and order is rearranged over and over.

Maybe she’ll never see them again, but the image of the father diverting the attention of the young ones stays in her mind as she gets back on the bus taking her to the destination of the day. A journey of 17 km has taken her more than three hours. A lot of people face these obstacles every day, and live with the possibility of being denied passage the next time they attempt to cross the checkpoint. She wonders how people maintain their sanity under such extreme and fragile conditions, where the power of the soldiers sets the order of the day.

Gaza 14 January, 2009: Israel's bombardment continues for a 19th day, with overnight air raids on 60 targets, including 35 weapons-smuggling tunnels on the border with Egypt and an unknown number of rocket-launching sites. One air strike damages a cemetery in Gaza City. (BBC News 14 January 2009)

Gaza 14 January 2010: [Please insert news here]

It’s like nothing ever changes.

Untitled (Family Table)

Maybe I`ll never see you agian. Part 1. 1387 postcards produced for the exhibition at Entrée.