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Wednesday 12-6pm
Thursday, 12-6pm
Friday, 12-6pm
Saturday, 12-6pm
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

April 26th — June 2nd, 2019

A Two-Part Exhibition at Entrée and Trykkeriet

Toril Johannessen

Skogsaken (The Forest Case)

Saturday May 25th, 6-8pm:  Join us for an event at Chistinegaard (Formannsvei 3), where Network / The Forest Case
(2019), three grafted pines, will be planted - followed by a conversation between Toril Johannessen and curator Randi Grov Berger. Refreshments will be served.

Opening hours Trykkeriet          Opening hours Entrée
Mon—Fri, 9.30—5pm                Thu—Sun, 12—4pm
Fjøsangerveien 70a                  Markeveien 4b

Toril Johannessen, Network / The Forest Case (2019). Three pines grafted together from branch to branch.

Toril Johannessen, Normalbaum / The Forest Case / network 000140 – 015572
(2019). Detail from installation. Animation, 3:00 min.

In the project SKOGSAKEN (The Forest Case), Toril Johannessen combines forest history with new image technologies. She looks at how notions of proximity, distance and coexistence with nature and technology affect each other, by examining nature representation filtered through technology. With Bergen´s local history as backdrop and artificial intelligence as optics, the project explores how nature is shaped and mediated.

The forested city mountains around Bergen bear witness to a particular part of Norwegian afforestation history. The establishment of The Nature Park, 150 years ago, took place at a time when the forests in Western Norway and elsewhere in the country were in poor condition after vast harvesting and grazing pressure. Targeted tree planting in the mid-1800s was a national project to make forestry more long-term. The idea of "clothing the mountains of Bergen", which was Bergen Forest and Tree Planting Company´s main objective when they established in 1868, arose in part from resource shortages and the idea of nation-building, but also had to do with aesthetic preferences, as the forest landscape was preferable to the "grey and bald mountains," which at that time dominated the landscape around the city. Today the "forest case" in Norway is mainly concerned with forest management, industry and outdoor life. Also, we see paradoxes arising between concerns and measures for global climate change, and local preservation of nature and environment.

Johannessen, in collaboration with software developer Sindre Sørensen, has started training a machine-learning tool to generate images of new "hybrid" species and forest landscapes, using thousands of her own photographs from the forested urban mountains as raw material. The machine-learning tool used for the project is StyleGAN, an open source image generator where two so-called artificial neural networks work together. This approach can in principle generate an infinite number of new images, which change character as the neural networks learn. Johannessen makes use of printing techniques such as photopolymer and screen-print in new works created from extracted snapshots of this training process.

With the invention of printmaking, art changed forever, and mass-produced etchings and woodcuts democratized the access to, and consequently increased the audience for art. Artists discovered the possibilities of the Renaissance techniques early on - and furthermore used them in creating the very first pure representations of landscapes, where nature was the primary content. Representations of landscapes were early on linked to the construction of national identity and consciousness. In parallel with these representations of nature, the need arose to control and shape nature and to create our own landscape.

After the Enlightenment, the image of a single weather-beaten tree and the mighty magnificent forest expressed the idea of elemental “nature”. The more recent understanding of the forest as a network in which the trees communicate with each other, perhaps represents a form of nature romanticism of our time. In Johannessen's project, associations intersect between nature's networks and artificial intelligence, suggesting connections between man-made landscapes, the representation of nature and image technologies.

Toril Johannessen (b.1978, Trondheim, Norway) is an artist currently based in Tromsø, Norway. She is educated from Mountain School of Arts, Los Angeles, California (US) and Bergen National Academy of the Arts (NO). Exhibitions include the solo shows Liquid Properties (with Marjolijn Dijkman), at Munchmuseet on the Move, Munch Museum, Oslo, (NO) and Verbeke Foundation, Kemzeke, (BE); Toril Johannessen, ARoS, Aarhus (DK); Oppfinnelsen og Avviklingen av Øyet, Hordaland Kunstsenter, Bergen (NO); NORSK NATUR, with Tue Greenfort, Museum of Contemporary Art, National Museum of Art, Architecture and Design, Oslo (NO); Unlearning Optical Illusions, Trondheim Kunstmuseum, Trondheim (NO); AA-MHUMA-AITI-KITTEKITII, OSL Contemporary, Oslo (NO); Variable Stars, Preus Museum, Horten (NO); Teleportation Paradigm, UKS, Oslo (NO). International group shows include the 13th Dak’Art Bienniale de Dakar (SN), the 13th Istanbul Biennial (TR) and Documenta 13 (DE).

The project is supported by The Norwegian Cultural Fund and Billedkunstnernes Vederlagsfond. Thank you to Bergen Forest and Tree Planting Company,  Aldea - Center for Contemporary Art, Design and Technology and to Christinegaard.


I prosjektet SKOGSAKEN kombinerer Toril Johannessen skoghistorie med nye bildeteknologier. Ved å undersøke naturrepresentasjon filtrert gjennom teknologi, ser hun nærmere på hvordan forestillinger om nærhet til, avstand fra og sameksistens med natur og teknologi tangerer hverandre. Med bergensk lokalhistorie som bakteppe og kunstig intelligens som optikk, er prosjektet et blikk på hvordan natur blir formet og mediert.

De skogkledde Byfjellene rundt Bergen vitner om en særegen del av norsk skogplantingshistorie. Etableringen av naturparken for 150 år siden skjedde i en tid der skogene på Vestlandet og i Norge forøvrig var i dårlig forfatning, blant annet etter rovhogst og stort beitetrykk. Målrettet skogplanting ble på midten av 1800-tallet et nasjonalt prosjekt for å gjøre skogbruket mer langsiktig. Ideen om ”beklædning av Bergens fjælde”, som Bergens Skog- og Træplantingsselskap hadde som sin hovedoppgave da de ble etablert i 1868, sprang blant annet ut fra ressursmangel og tanken om nasjonsbygging, men handlet også om estetiske preferanser der skoglandskapet var å foretrekke foran de ”graaskaldede bjerge” som dominerte landskapet rundt byen. Dagens ”skogsak” i Norge handler i stor grad om forvaltning, industri og friluftsliv, der paradokser som oppstår mellom globale klimaperspektiver og lokale verneperspektiver også kommer til syne.

Ved å benytte tusenvis av egne fotografier fra de beplantede byfjellene som råmateriale har Johannessen, i samarbeid med programvareutvikler Sindre Sørensen, startet opptrening av et maskinlæringsverktøy for å generere bilder av nye ”hybride” arter og skoglandskaper. Maskinlæringsverktøyet som er anvendt for prosjektet er StyleGAN, en type bildegenerator med åpen kildekode der to såkalt kunstige nevrale nettverk arbeider sammen. Denne fremgangsmåten kan i utgangspunktet generere et uendelig antall nye bilder, som endrer karakter etter hvert som de nevrale nettverkene lærer. Johannesen tar videre i bruk trykketeknikker som fotopolymer og silketrykk i fremstillingen av nye arbeider basert på øyeblikksbilder hentet ut fra opptreningsprosessen.

Med trykkekunsten forandret kunsten seg for alltid, og masseproduserte etsninger og tresnitt demokratiserte tilgangen og gjorde at kunstpublikummet vokste. Kunstnere oppdaget tidlig mulighetene i renessansens teknikker – og benyttet også disse til de aller første rene fremstillinger av landskap, hvor nå naturen var selve innholdet. Representasjoner av landskap ble tidlig koblet til bygging av nasjonal identitet og bevissthet. Parallelt med fremstillinger av natur kom behovet for å kontrollere og formgi den for å slik skape sitt eget landskap.

Der bildet av det enslige, værbitte treet og den mektige storslagne skogen formidlet menneskets naturfølelse i kunsten etter opplysningstiden, er den nyere forståelsen av skogen som et nettverk der trærne kommuniserer med hverandre kanskje vår tids naturromantikk. I Johannessens prosjekt griper slike assosiasjoner mellom naturens nettverk og kunstig intelligens inn i hverandre og det antydes forbindelser mellom menneskeskapt forming av landskapet, naturrepresentasjon og bildeteknologi.

Toril Johannessen (f.1978, Trondheim, Norge) er basert i Tromsø (NO). Hun har utdannelsen sin fra Mountain School of Arts, Los Angeles, California (US) og Kunst- og Designhøgskolen i Bergen (NO). Soloutstillinger inkluderer Liquid Properties (Marjolijn Dijkman & Toril Johannessen), ved Munchmuseet i bevegelse, Munchmuseet, Oslo, (NO) og Verbeke Foundation, Kemzeke, (BE); Toril Johannessen, ARoS, Aarhus (DK); Oppfinnelsen og Avviklingen av Øyet, Hordaland Kunstsenter, Bergen (NO); NORSK NATUR, med Tue Greenfort, Museet for samtidskunst, Nasjonalmuseet, Oslo (NO); Unlearning Optical Illusions, Trondheim Kunstmuseum, Trondheim (NO); AA-MHUMA-AITI-KITTEKITII, OSL Contemporary, Oslo (NO); Variable Stars, Preus Museum, Horten (NO); Teleportation Paradigm, UKS, Oslo (NO). Deltakelse i internasjonale gruppeutstillinger inkluderer 13th Dak’Art Bienniale de Dakar (SN), 13th Istanbul Biennial (TR) og Documenta 13 (DE).

Prosjektet er støttet av Norsk Kulturfond og Billedkunstnernes Vederlagsfond. Takk til Bergens Skog- og Træplantingsselskap,  Aldea - Center for Contemporary art, Design and Technology og til Christinegaard.

Left: Toril Johannessen, Spruce at dusk / The Forest Case / network 014090 (2019). 
Right: Toril Johannessen, Tree study / The Forest Case / network 013248 (2019).

Photographs from the City Mountains in Bergen are used as raw material for automatically generated images of forests and trees. Printed as screen prints.

Toril Johannessen, Winter forest by Skomakerdiket, Svartediket or Melkeplassen / The Forest Case / network 015572 (2019). Screen print.

Toril Johannessen, Tree study / The Forest Case / network 013248 (2019)

Toril Johannessen, Normalbaum / The Forest Case / network 000140 – 015572 (2019). Installation with 16 x letterpress print on newspaper, photopolymer, b/w. 32 x 45 cm. Edition: 1000. Fibreboard, wood, cardboard, paper. Animation, 3:00 min.

Photographs from the City Mountains in Bergen are used as raw material for automatically generated images of forests and trees.  Printed as photopolymer letterpress print on newspaper in large edition. Copies are available for the audience to bring. Animation from generated images.

Toril Johannessen, From the City Mountains/ The Forest Case / network 010664 (2019). Screen print. 76 x 104 cm.

Toril Johannessen, Spruce at dusk / The Forest Case / network 014090 (2019). Screen print.

Toril Johannessen, Wind gust at Løvstakken or Sandviksfjellet / The Forest Case / network 014931 (2019). Screen print.

Entrée May 2019, all images by Thor Brødreskift.

Minnet av materia
Om Toril Johannessen, Skogsaken (The Forest Case)
Av Patrik Entian