https://entreebergen.no entreebergen.no Tue, 17 Jun 2025 09:22:06 +0000 https://entreebergen.no en https://entreebergen.no/Magnar-Moen Tue, 17 Jun 2025 09:22:06 +0000 entreebergen.no https://entreebergen.no/Magnar-Moen May 28 &nbsp;- July 19,&nbsp; 2026 Magnar Moen&nbsp; Opening Reception: Thirsday, May 28, 18:00–21:00 Entrée, Markeveien 4b, Bergen <img width="2044" height="3411" width_o="2044" height_o="3411" data-src="https://freight.cargo.site/t/original/i/f350bb46259d5e841a7319b8732bc1e1895a3406cacd3df31e559e41204c74b8/0022-kopi.jpg" data-mid="248323605" border="0" src="https://freight.cargo.site/w/1000/i/f350bb46259d5e841a7319b8732bc1e1895a3406cacd3df31e559e41204c74b8/0022-kopi.jpg" /> Entrée er stolte over å presentere separatutstillinga Dagar i skiftande ljos av Magnar Moen, under Festspillene i Bergen. I denne utstillinga visar han nye kolteikningar i stort format. Moens praksis er tufta på ei livslang utforsking av strek, materiale og persepsjon, med kol som hovudmedium. Arbeida til Moen oppstår i eit samspel mellom kropp, rørsle og konsentrasjon. I atelieret sitt utviklar han eit direkte, lyttande forhold til materialet. Særskilt er han oppteken av streken, som han skrildrar som ei kime til skaping, til å tenke, handle og fantasere utanfor det naturgjevne. Streken kan ha eit opphav ukjent for oss, men den&nbsp; har sin plass i medvitet og let seg verte ei forlenging av handa. Slik kan den leie merksemda mot det ukjende og uføreseielege. Det som skjer på papiret, kan treffe som ei sanseleg erfaring i augneblinken, eller peike attende på noko ein tidlegare har erfart. Teikningane til Moen ber spor av ei open og intens skaping – ei balansering mellom struktur og fridom, mellom stillheit og rørsle. Magnar Moens arbeid handlar om prosessar, der ulike svarte materiale som kol, grafitt og spinellsvart, står sentralt. Dette har gjeve han nye idear om kva teikning kan vere, og utvida forståinga av kva streken er, og kva den kan gjere. I det svarte fins volum, kraft og tyngde som gjev umiddelbare resultat i møte med eit kvitt papir. Ein seier ofte at svart ikkje er ein farge, men ein eigenskap i fråvere av ljos. På denne måten vert det svarte sjølvrefererande, det er ikkje assosiasjonsskapande slik ein farge kan vere. For Moen ligg det ein fridom i dette. Det opnast eit rom der merksemda vert retta mot sjølve prosessen. Her vert den fysiske handlinga og dialogen med papiret avgjerande. Om det mislukkast gong etter gong, lever trua og gleda vidare i det å sjå nye moglegheiter i teikneprosessen. &nbsp; Magnar Moen (f. 1945, Trøndelag) er ein biletkunstnar basert i Bergen. Han har si utdanning frå Bergens Kunsthandverksskule og 1 år som hospitant ved Vestlandske Kunstakademi. Sidan 1970-talet har han arbeidd med teikning og har hatt ei rekkje separatutstillingar, mellom anna ved Galleri Langegården, Haugesund kunstforeining, Nord-Trøndelag fylkesgalleri og Bergen kunstforeining. Arbeida hans er innkjøpte av fleire offentlege samlingar, mellom anna Kode, Bergen Kommune, Levanger Kommune, Haugesund Billedgalleri, Sogn og Fjordane Kunstmuseum, Nordtrøndelag Fylkesgalleri og Norsk Kulturråd, og han var seinast representert i 40-årsjubileumsutstillinga til USF Verftet i 2024. /// ENGLISH ///Entrée is proud to present the solo exhibition Dagar i skiftande ljos (Days in Changing Light) by Magnar Moen, coinciding with the annual Bergen International Festival. In this exhibition, he presents new large format charcoal drawings. Moen’s practice is rooted in a lifelong exploration of line, material, and perception, with charcoal as his primary medium. Moen's work emerge through an interaction between body, movement and concentration. In his studio he develops a direct, attentive relationship with the material. He is particularly fascinated by the line, which he describes as a seed for creation, for thinking, acting and imagening beyond what is given by nature. The line can have an origin unknown to us, yet it has its place in consciousness and becomes an extension of the hand. Through this, it can direct attention towards the unknown and unpredictable. What happens on the paper may strike as an immediate sensory experience, or point back to something one has previously experienced. Moen's drawings bear traces of an open and intense creation – a balance between structure and freedom, between stillness and movement. Magnar Moen's work is about processes, in which various black materials such as charcoal, graphite and spinel black play a central role. This has given him new ideas about what drawing can be, and expanded his understanding of what the line is, and what it can do. In black material there is volume, power and weight that give immediate results when faced with white paper. It is often said that black is not a color, but a property in the absence of light. In this way, the black becomes self-referential, it is not associative in the way a color can be. For Moen there is a sense of freedom in this. It opens up a space where attention can be directed towards the process itself, and the physical action and dialogue with the paper become decisive. Even if things fail over and over, faith and joy persist in discovering new possibilities within the drawing process. Magnar Moen (b. 1945, Trøndelag) is a visual artist based in Bergen. He was educated at the Bergen School of Arts and Crafts and 1 year as a visiting student at the Vestlandske Kunstakademi. Since the 1970s, he has worked with drawing and has held numerous solo exhibitions, including at Galleri Langegården, Haugesund Art Association, Nord-Trøndelag County Gallery, and Bergen Art Association. His works have been acquired by several public institutions such as Kode Art Museum, Levanger Municipality, Haugesund Billedgalleri, Sogn og Fjordande Art Museum and the Norwegian Art Council, and he was most recently represented in the 40th anniversary exhibition at USF Verftet in 2024. https://entreebergen.no/Kjetil-Skoien Tue, 17 Jun 2025 09:21:57 +0000 entreebergen.no https://entreebergen.no/Kjetil-Skoien March 20&nbsp; - May 10,&nbsp; 2026 Kjetil Skøien Evigheten varer lengst Opening Reception: Friday, March 20th, 18:00–21:00 Entrée, Markeveien 4b, Bergen <img width="3560" height="2374" width_o="3560" height_o="2374" data-src="https://freight.cargo.site/t/original/i/a841d1fb4de165e91345f6fb8333943872bcca54163d2b0e6e0af6a5e3726f90/20_Kjetil-Skoeien_Entree.jpg" data-mid="247327177" border="0" src="https://freight.cargo.site/w/1000/i/a841d1fb4de165e91345f6fb8333943872bcca54163d2b0e6e0af6a5e3726f90/20_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Evigheten varer lengst, installation view at Entrée. All photos by Øystein Klakegg. Press 05.04.2026 Kjetil Skøien at Entrée, BergenArtViewer Entrée har gleda av å presentere separatutstillinga Evigheten varer lengst av Kjetil Skøien. I denne utstillinga samlar han eit utval collagar – arbeid som dei siste tjue år har vakse fram gjennom opphald i ulike europeiske byar. For Skøien fungerer collagane som eit slags arkiv over stadene han har besøkt, der materiale vert samla, forskyvd og sett saman på nye måtar. Utstillinga på Entrée er hans første separatutstilling med collagar. Collagane tek utgangspunkt i fotografisk materiale funne i Paris, Berlin, Tangier, og Roma. Han plukkar bilete frå kafear, galleri, teater. Det som for andre er søppel, vert for Skøien eit potensiale for nye konstruksjonar. Fragment vert klipte opp og sette saman på nytt. Langs flatene trekker han konstruktive linjer og let organiske former vekse fram, som om teikninga både held og opnar biletet. Det performative ligg nært i arbeida: korleis elementa balanserer mot kvarandre, i spenninga mellom det presise og det opne, det kontrollerte og det improviserte.Å samle materiale er ein viktig del av praksisen til Skøien. Blikket skjerpast i møtet med det tilfeldige; byen vert lesen gjennom detaljar, overflater og restar. I collagane oppstår nye samanhengar der arkitektur, kropp og landskap glir over i kvarandre. Arbeida kan likne dagbøker – visuelle notat der tid og rørsle er lagra i papiret.Skøien har i fleire tiår arbeidd i skjæringspunktet mellom biletkunst og scenekunst, der performance, video, måleri, fotografi og tekst møtest i eit tydeleg performativt uttrykk. I Evigheten varer lengst kjem denne tverrfaglege tilnærminga til syne gjennom ein solo-performance basert på tekstar av Kurt Schwitters, framført på opningskvelden. Prosjektet som vert vist på Entrée fører vidare arbeidet frå Skøien si tidlegare teaterframsyning Evigheten varer lengst (1993–97), som tok utgangspunkt i Schwitters sine lyddikt og einakterar. Kjetil Skøien (f. 1952) bur og arbeider i Oslo og er utdanna ved Statens Kunstakademi. Han har sidan 1980-talet hatt brei utstillingsaktivitet både nasjonalt og internasjonalt, mellom anna på Institute of Contemporary Arts (London), Kunsthal Charlottenborg (København), Museum Moderner Kunst (Wien), Liljevalchs konsthall (Stockholm), Kunstnernes Hus og Stenersenmuseet (Oslo). Skøien var blant dei første norske kunstnerne som arbeidde med video, og har lang erfaring som teaterregissør og koreograf. I 1986 starta han Passage Nord, eit prosjektteater der visuelle verkemiddel vert likestilte med tekst, koreografi og lyd. Arbeida hans er representerte i fleire offentlege samlingar, mellom anna Nasjonalmuseet og Oslo kommunes kunstsamling. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/625b6944b346c7f363c0ab0213246347e40c1df69f017cbcff451b1dd1292438/11_Kjetil-Skoeien_Entree.jpg" data-mid="246480355" border="0" src="https://freight.cargo.site/w/1000/i/625b6944b346c7f363c0ab0213246347e40c1df69f017cbcff451b1dd1292438/11_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Evigheten varer lengst, installation view at Entrée. <img width="2218" height="1498" width_o="2218" height_o="1498" data-src="https://freight.cargo.site/t/original/i/bede87f92106cfc225602f124f68a667bf2e01e69c8e2d1e0f426d52f680df0c/liggende1.jpg" data-mid="246480425" border="0" src="https://freight.cargo.site/w/1000/i/bede87f92106cfc225602f124f68a667bf2e01e69c8e2d1e0f426d52f680df0c/liggende1.jpg" />Kjetil Skøien, Collage 17, (2017), found photographic material,&nbsp;soy sauce, pencil. 41 x 35 cm. <img width="2218" height="1499" width_o="2218" height_o="1499" data-src="https://freight.cargo.site/t/original/i/7aa0d7ac2cad8cdbfb325866ec716c12bdbc40c85fc17c90e93a1281d4fc8335/liggande2.jpg" data-mid="246480426" border="0" src="https://freight.cargo.site/w/1000/i/7aa0d7ac2cad8cdbfb325866ec716c12bdbc40c85fc17c90e93a1281d4fc8335/liggande2.jpg" />Kjetil Skøien, Collage 16, (2015 Found photographic material, soy sauce, pencil. 31 x 41 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/2d4a1abaa3c1b1f409d1485b40a403e6454d8cc1b13a51e4413bb3bd44bff18c/8_Kjetil-Skoeien_Entree.jpg" data-mid="246480352" border="0" src="https://freight.cargo.site/w/1000/i/2d4a1abaa3c1b1f409d1485b40a403e6454d8cc1b13a51e4413bb3bd44bff18c/8_Kjetil-Skoeien_Entree.jpg" /> Kjetil Skøien, Evigheten varer lengst, installation view at Entrée. <img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/f52c1935538678dab003a6fbd623703ed15e13a793d8707962923954587fe243/3_Kjetil-Skoeien_Entree.jpg" data-mid="246480349" border="0" src="https://freight.cargo.site/w/1000/i/f52c1935538678dab003a6fbd623703ed15e13a793d8707962923954587fe243/3_Kjetil-Skoeien_Entree.jpg" /> <img width="3517" height="4789" width_o="3517" height_o="4789" data-src="https://freight.cargo.site/t/original/i/bc6edf49d7af1e799feb0da9fd2a9d8ff04f00fe730ee9f48df5f97c86ca1753/5_Kjetil-Skoeien_Entree.jpg" data-mid="246480379" border="0" src="https://freight.cargo.site/w/1000/i/bc6edf49d7af1e799feb0da9fd2a9d8ff04f00fe730ee9f48df5f97c86ca1753/5_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Collage 15, (2019) Found photographic material, soy sauce, pencil. 31 x 42 cm. <img width="3583" height="4891" width_o="3583" height_o="4891" data-src="https://freight.cargo.site/t/original/i/ddbcad012ea7487f6e01ac6a7737e815a096c950e6e7bcbc218d052d765a59ca/6_Kjetil-Skoeien_Entree.jpg" data-mid="246480380" border="0" src="https://freight.cargo.site/w/1000/i/ddbcad012ea7487f6e01ac6a7737e815a096c950e6e7bcbc218d052d765a59ca/6_Kjetil-Skoeien_Entree.jpg" /> Kjetil Skøien, Collage 14, (2019) Found photographic material, soy sauce, pencil. 31 x 42 cm.<img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/b7c62fc084e57d6419d57eef750a824fae2c3325b5afc5155bd9650334cff6f0/12_Kjetil-Skoeien_Entree.jpg" data-mid="246480358" border="0" src="https://freight.cargo.site/w/1000/i/b7c62fc084e57d6419d57eef750a824fae2c3325b5afc5155bd9650334cff6f0/12_Kjetil-Skoeien_Entree.jpg" /> Kjetil Skøien, Collage 2–13, series (2025–26), found photographic material, soy sauce, pencil. 23 x 32 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f07b969218aaeb92815f6db98a2bc1cbd9122c6ec59b2f8fbe1971f5eec113d1/13_Kjetil-Skoeien_Entree.jpg" data-mid="246480359" border="0" src="https://freight.cargo.site/w/1000/i/f07b969218aaeb92815f6db98a2bc1cbd9122c6ec59b2f8fbe1971f5eec113d1/13_Kjetil-Skoeien_Entree.jpg" /> <img width="2500" height="3621" width_o="2500" height_o="3621" data-src="https://freight.cargo.site/t/original/i/03fd56fcefdb5d51032242bd6b775f9b2028a6f8172a2c73e18429e977e16b0a/6_Kjetil-Skoeien_Entree.jpg" data-mid="246480346" border="0" src="https://freight.cargo.site/w/1000/i/03fd56fcefdb5d51032242bd6b775f9b2028a6f8172a2c73e18429e977e16b0a/6_Kjetil-Skoeien_Entree.jpg" /> ///English/// Entrée is proud to present the solo exhibition Evigheten varer lengst (Eternity Lasts the Longest) by Kjetil Skøien. In this exhibition he gathers a selection of collages – works that over the past twenty years have developed during stays in various European cities. In Skøien’s collage works, the city becomes an archive of fragments, a space for collecting, displacement, and recomposition. The exhibition at Entrée is his first solo exhibition of collages. The collages are based on photographic material found in Paris, Berlin, Tangier, and Rome. He picks up images from cafés, galleries, and theatres. What for others is trash becomes for Skøien a potential for new constructions. Fragments are cut up and reassembled. Across the surfaces he draws constructive lines and allows organic forms to emerge, as if the drawing both holds and opens the image. The performative lies close within the works: how the elements balance against each other, in the tension between the precise and the open, the controlled and the improvised. Collecting material is an important part of Skøien’s practice. His gaze sharpens in encounters with the accidental; the city is read through details, surfaces, and remnants. In the collages, new connections arise where architecture, body, and landscape slide into one another. The works can resemble diaries – visual notes in which time and movement are stored in the paper. For several decades, Skøien has worked at the intersection of visual art and performing arts, where performance, video, painting, photography, and text converge in a distinctly performative practice. In Evigheten varer lengst, this interdisciplinary approach becomes visible through a solo performance based on texts by Kurt Schwitters, presented on the opening night. The project at Entrée draws upon Skøien’s earlier theatre production Evigheten varer lengst (1993–97), which was based on Schwitters’s sound poems and one-act plays. Kjetil Skøien (b. 1952) lives and works in Oslo and was educated at the Norwegian National Academy of Fine Arts. He has had extensive exhibition activity nationally and internationally since the 1980s, at Institute of Contemporary Arts (London), Kunsthal Charlottenborg (København), Museum Moderner Kunst (Wien), Liljevalchs konsthall (Stockholm), Kunstnernes Hus and Stenersenmuseet (Oslo) among others. Skøien was among the first Norwegian artists to work with video and has long experience as a theatre director and choreographer. In 1986 he started Passage Nord, a project theatre in which visual means are given equal status with text, choreography, and sound. His works are represented in several public collections, including the National Museum and the City of Oslo Art Collection. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/73fbf702d07288a8f5a195db9a872fb42e0ce9725144c890335877c12fcbb057/10_Kjetil-Skoeien_Entree.jpg" data-mid="246480354" border="0" src="https://freight.cargo.site/w/1000/i/73fbf702d07288a8f5a195db9a872fb42e0ce9725144c890335877c12fcbb057/10_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Evigheten varer lengst, installation view at Entrée <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/500a3eabd7b6cfa6797d931ddefa4913c125c840a6ec1fec14dd65d78a5f652c/9_Kjetil-Skoeien_Entree.jpg" data-mid="246480353" border="0" src="https://freight.cargo.site/w/1000/i/500a3eabd7b6cfa6797d931ddefa4913c125c840a6ec1fec14dd65d78a5f652c/9_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Collage 1, (2019) Found photographic material, soy sauce, pencil. 22,5 x 29,5 cm. <img width="2400" height="3600" width_o="2400" height_o="3600" data-src="https://freight.cargo.site/t/original/i/2d999b0539b91511ceacdbfdd6d7ac91d0c7c2d0ec753df67b6766f25f6250ad/1_Kjetil-Skoeien_Entree.jpg" data-mid="246480347" border="0" src="https://freight.cargo.site/w/1000/i/2d999b0539b91511ceacdbfdd6d7ac91d0c7c2d0ec753df67b6766f25f6250ad/1_Kjetil-Skoeien_Entree.jpg" />Kjetil Skøien, Evigheten varer lengst,&nbsp;exterior view at Entrée, March 2026. All photos by Øystein Klakegg. https://entreebergen.no/Marthe-Minde Tue, 17 Jun 2025 09:16:47 +0000 entreebergen.no https://entreebergen.no/Marthe-Minde January 23&nbsp; - March 15,&nbsp; 2026 Marthe Minde Ljospost Opening Reception: Friday, January 23, 18:00–21:00 Entrée, Markeveien 4b, Bergen <img width="3500" height="2830" width_o="3500" height_o="2830" data-src="https://freight.cargo.site/t/original/i/ddddf8be1ce3eed426ad91b715b4adf149e0f87701b6b8ea9f92a561416d0846/utvalg2.jpg" data-mid="244464808" border="0" src="https://freight.cargo.site/w/1000/i/ddddf8be1ce3eed426ad91b715b4adf149e0f87701b6b8ea9f92a561416d0846/utvalg2.jpg" />Marthe Minde,&nbsp;Ljospost, installation view at Entrée. Press 26.02.2026 Marthe Minde at Entrée, BergenArtViewer 10.03.2026Kunstavisen Ljospostav Renate Rivedal Entrée er stolte over å presentere Ljospost, Marthe Minde si første separatutstilling i Bergen. Utstillinga viser nye verk der tekstilkunsten vert strekt ut i det skulpturelle og det lyriske. Med røter i Vestland, og med tråden som både reiskap og tankefigur, utviklar Minde eit kunstnarisk språk som bind saman materialkunnskap, eksistensiell erfaring og tilhøyrsle.I 1897 tek Frida Hansen patent på ein vevteknikk på oppstadvev som vert kalla transparentteknikken. Ved å nytta ei ullrenning og la delar av renningstrådane stå uvovne skapar ho vevnadar der ljoset får trengja gjennom. Inspirert av Hansen sin teknikk og kunstnarskap har Marthe Minde dei siste ti åra utforska ulike teknikkar for å veva tredimensjonalt og transparent i ein manuell flatvevstol. I utstillinga på Entrée vev Minde uteljosa ho ser frå kjøkkenglaset i barndomsheimen. Den eine lykta heng på ein vegg under eit takoverheng, den andre står på ei steinsøyle. I dei vovne verka er veggen viska vekk, og berre toppen av steinsøyla heng att. Arbeida fungerer som varsame undersøkingar av tilhøyrslas grenser, og det som går tapt i minnet – men som igjen finn att si form gjennom handa. Lyktene er vovne flatt og kan faldast ut til eit romfang når ein løyser dei frå vevstolen. Materialet er handspunnen, svart spælsauull. Lykteglasa og delar av ulla er dekte av grankvae. Renningstrådane objekta er vovne av, omsluttar dei lik eit slør av tungt vestlandsregn. Tynne trådar held det heile og kviskrar om den skøyre tilhøyrsla. Tittelen Ljospost kan lesast på fleire måtar. Ordet post kan visa til ein stolpe, ei støtte, ein tilvist stad for vaktteneste, eller noko ein får tilsendt. I ein avisartikkel om ei redningsøving av Røde Kors vert ordet lyspost nytta: «Jeg satt på lyspost fra klokken fire i natt til åtte i dag morges. Da sitter vi og med lys, slik at savnede kan se oss hele natten».Verka i denne utstillinga er ein del av Marthe Minde sitt pågåande doktorgradsarbeid ved Kunsthøgskolen i Oslo. I doktorgraden leitar ho etter nye teknikkar for å veva tredimensjonalt, ho utforskar lokalt vevmateriale, og ho undersøkjer lyriske tekstar i møte med vovne verk. Rokk og flatvevstol er hovudreiskapane hennar, og materialbruken er tett knytt til landskapet ho kjem frå. Ho sirklar seg inn på barndomsdalen og leitar etter nytt vevmateriale i vegkanten, skogen og badevatnet. Ho grev opp røter, flettar siv, spinn ull og sankar kvae. Dei lokale materiala tek ho med seg inn i vevstolen og byggjer lag på lag. Med formskorne treplater, oppkutta vevskeier og spennreimer lagar ho lommer og pressar inn ulike former i vevnadane. Doktorgradsprosjektet er eit eksperimenterande og undersøkjande arbeid som testar grensene for kva ein kan få til med fleirlagsveving. Prosjektet byggjer på vevteknikkar Minde har utvikla tidlegare, og gjennom doktorgraden søkjer ho nye teknikkar og fremjar problemstillinga: Korleis kan ein utvikla tredimensjonal veving og skapa nye visuelle uttrykk med ein manuell flatvevstol? Marthe Minde (f. 1984, Bergen) er stipendiat i Kunstnarleg utviklingsarbeid innan tekstilkunst ved Kunsthøgskolen i Oslo (KHiO). Ho har ein mastergrad i Medium- og materialbasert kunst (KHiO) og ein bachelorgrad i Kles- og kostymedesign (KHiO). Minde har hatt separatutstillingar ved Galleri Format, Galleri Hans og Trafo Kunsthall, og delteke i gruppeutstillingar som Generation Why i Rundetårn i København og Risør Kunstpark, Kunst·Hånd·Verk og Jeg kaller det kunst ved Nasjonalmuseet og Hannah Ryggen Triennale i Trondheim. Arbeida hennar er innkjøpte av Nordenfjeldske Kunstindustrimuseum og Nasjonalmuseet i Oslo. &nbsp;<img width="3500" height="5250" width_o="3500" height_o="5250" data-src="https://freight.cargo.site/t/original/i/d7db54e6283950513e8b53860627046d9132760f0de7e411d0f82889c879d5b6/0017-kopi.jpg" data-mid="244464814" border="0" src="https://freight.cargo.site/w/1000/i/d7db54e6283950513e8b53860627046d9132760f0de7e411d0f82889c879d5b6/0017-kopi.jpg" /> Marthe Minde, Ljospost I, Four-layer weave, manual floor loom. Handspun black Norwegian short tailed sheepswool, spruce resin, slate, glass, steel, tape, wood., 447 x 70 x 70 cm. In the background: Weaving draft for Ljospost I. Felt-tip marker on Wenzhou paper, warping sticks, magnet, 400 x 138 cm. <img width="3500" height="5249" width_o="3500" height_o="5249" data-src="https://freight.cargo.site/t/original/i/8fdf3da360864d5845625e8b7140ed4338946aa5f8c4c87b30f4601124b9a030/0022-kopi.jpg" data-mid="244464815" border="0" src="https://freight.cargo.site/w/1000/i/8fdf3da360864d5845625e8b7140ed4338946aa5f8c4c87b30f4601124b9a030/0022-kopi.jpg" /> <img width="3258" height="4352" width_o="3258" height_o="4352" data-src="https://freight.cargo.site/t/original/i/f9ad0cacb090cccca1aee6cc8f5e8acc1bac043d3a418182b836462b3b4b6035/0054-kopi-2.jpg" data-mid="244465247" border="0" src="https://freight.cargo.site/w/1000/i/f9ad0cacb090cccca1aee6cc8f5e8acc1bac043d3a418182b836462b3b4b6035/0054-kopi-2.jpg" /> Marthe Minde, Ljospost II, Nine-layer weave, manual floor loom. Handspun black Norwegian short tailed sheepswool, spruce resin, roof tiles, glass, steel, tape, wood. 447 x 33 x 70 cm. To the right: Weaving draft for Ljospost II. Felt-tip marker on Wenzhou paper, warping sticks, magnet, 400 x 138 cm. <img width="3500" height="5251" width_o="3500" height_o="5251" data-src="https://freight.cargo.site/t/original/i/12dfaff00dc25ad003841402890d9f925c04daa6974f1d094a123b68c7a73022/0009-kopi.jpg" data-mid="244464812" border="0" src="https://freight.cargo.site/w/1000/i/12dfaff00dc25ad003841402890d9f925c04daa6974f1d094a123b68c7a73022/0009-kopi.jpg" /> Marthe Minde, Ljospost II, detail.&nbsp; <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/8778460fef8aa57a6b0684e5952f27558075f4e0df1c0391fe44c8df799d4d7d/0045-kopi.jpg" data-mid="244465021" border="0" src="https://freight.cargo.site/w/1000/i/8778460fef8aa57a6b0684e5952f27558075f4e0df1c0391fe44c8df799d4d7d/0045-kopi.jpg" />Marthe Minde, Ljospost, installation view at Entrée /// English /// Entrée is proud to present Ljospost (Light Post), Marthe Minde’s first solo exhibition in Bergen. The exhibition features new works in which textile art is extended into the sculptural and the lyrical. Rooted in Western Norway, and with thread as both tool and conceptual figure, Minde develops an artistic language that brings together material knowledge, existential experience, and belonging. In 1897, Frida Hansen patented a weaving technique for the upright loom known as the transparent technique. By using a wool warp and leaving parts of the warp unwoven, she created textiles through which light could pass. Inspired by Hansen’s technique and artistic practice, Marthe Minde has spent the past ten years exploring different methods for weaving three-dimensionally and transparently on a manual floor loom. In the exhibition at Entrée, Minde weaves the outdoor lights she sees from the kitchen window of her childhood home. One lantern hangs on a wall beneath an overhanging roof, the other stands on a stone pillar. In the woven works, the wall has been erased, and only the top of the stone pillar remains. The works function as gentle investigations into the boundaries of belonging, and what is lost in memory – yet finds its form again through the hand. The lanterns are woven flat and can be unfolded into spatial forms once released from the loom. The material is hand-spun wool from Norwegian short tailed sheep. The lantern glass and parts of the wool are coated with spruce resin. The warp threads from which the objects are woven envelop them like a veil of heavy Western Norwegian rain – thin threads holding everything together, whispering of fragile belonging. The title Ljospost can be read in several ways. The word post may refer to a pole, a support, an assigned position for keeping watch, or something one receives. In a newspaper article about a Red Cross rescue exercise, the term lyspost / light post is used: “I sat at a light post from four o’clock last night until eight this morning. We are sitting with light, so those missing can see us throughout the night.” The works in this exhibition are part of Marthe Minde’s ongoing artistic research project at the Oslo National Academy of the Arts. In her PhD, she searches for new techniques for three-dimensional weaving, explores local weaving materials, and investigates lyrical texts in dialogue with woven works. The spinning wheel and the floor loom are her main tools, and her use of materials is closely tied to the landscape she comes from. She circles back to the valley of her childhood, searching for materials along roadsides, in forests, and in swimming spots. She digs up roots, braids rushes, spins wool, and gathers resin. These local materials are brought into the loom and built up layer by layer. Using wooden boards, transformed weaving reeds, and straps, she creates pockets and forms various shapes within the woven textiles. The PhD project is an experimental and investigative practice that tests the limits of what can be achieved through multi-layered weaving. It builds on techniques Minde has developed earlier, while seeking new methods and advancing the central question: How can three-dimensional weaving be developed further, and how can new visual expressions be created using a manual floor loom? Marthe Minde (b. 1984, Bergen) is a PhD fellow in Artistic Research in textile art at the Oslo National Academy of the Arts (KHiO). She holds a Master’s degree in Medium- and Material-Based Art (KHiO) and a Bachelor’s degree in Fashion and Costume Design (KHiO). Minde has held solo exhibitions at Galleri Format, Galleri Hans, and Trafo Kunsthall, and has participated in group exhibitions such as Generation Why at Rundetårn in Copenhagen and Risør Kunstpark, Kunst·Hånd·Verk and Jeg kaller det kunst at the National Museum, and the Hannah Ryggen Triennale in Trondheim. Her works have been acquired by the Nordenfjeldske Kunstindustrimuseum and the National Museum in Oslo. <img width="3500" height="5250" width_o="3500" height_o="5250" data-src="https://freight.cargo.site/t/original/i/46e1d4d056bac409e3309a76a2e2bc0cb5b951567614900c4c5e02a3a4a4a75a/0070-kopi.jpg" data-mid="244464825" border="0" src="https://freight.cargo.site/w/1000/i/46e1d4d056bac409e3309a76a2e2bc0cb5b951567614900c4c5e02a3a4a4a75a/0070-kopi.jpg" />Marthe Minde, Ljospost, night time installation view at Entrée.&nbsp; All photos by Øystein Klakegg. https://entreebergen.no/Mari-Kanstad-Johnsen Tue, 17 Jun 2025 09:16:33 +0000 entreebergen.no https://entreebergen.no/Mari-Kanstad-Johnsen November&nbsp; 21, 2025&nbsp; - January 18,&nbsp; 2026 Mari Kanstad Johnsen Inn til mosen Opening Reception: Friday, November 21, 18:00–21:00 Entrée, Markeveien 4b, Bergen <img width="3167" height="2111" width_o="3167" height_o="2111" data-src="https://freight.cargo.site/t/original/i/422a9417f646663e92921732a280f224867f20b768e01f2225dbcab1132e6e0b/1_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385525" border="0" src="https://freight.cargo.site/w/1000/i/422a9417f646663e92921732a280f224867f20b768e01f2225dbcab1132e6e0b/1_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen, exterior view at Entrée. All photos by Øystein Klakegg. Press05.12.2025Kunstkritikk Larven i øyehøydeav Kristoffer Jul-Larsen22.12.2025 Mari Kanstad Johnsen at Entrée, BergenArtViewer Entrée er stolte av å presentere separatutstillinga Inn til mosen av Mari Kanstad Johnsen. I utstillinga inviterast vi inn i hennar visuelle verd – ein stad mellom det barnlege og vaksne, mellom røynd og draum. Her er mosen ikkje berre eit motiv, men eit taktilt landskap der alt levande heng saman, og pustar i same rytme. I arbeida på Entrée leikar Kanstad Johnsen med proporsjonar, forstørrar det mikroskopiske og sidestiller det med velkjende vesen. Det kan opplevast som undervasslandskap der fortid, notid og framtid flyt saman i kvarandre. Ei av inspirasjonskjeldene er Chauvet-grotta i Sør-Frankrike, som huser dei eldste kjende hulemåleria. Gjennom blyantteikningar og akvarellar, veggmaleri og keramiske figurar let ho improvisasjon og teikneflyt forme detaljrike univers der ein kan dykke inn – og gå seg vill. Arbeida hennar viser organiske komposisjonar som tematiserer tap av natur og tap av tilhøyrsle, både for dyr og menneske. Snarare enn å skape ein dyster visjon av kvar verda vår er på veg, søker Kanstad Johnsen å forme meditative tablå som opnar for eigne refleksjonar over moglege framtider – og over korleis vi, verda og naturen heng uløyseleg saman. No, før og framover. Mari Kanstad Johnsen (f. 1981, Bergen) bur i Oslo og arbeider som biletkunstnar, frilansillustratør og forfattar. Hennar uttrykk er fullt av barnleg livslyst, med underlege dyr og menneske. Ho er utdanna ved Kunsthøgskolen i Oslo og Konstfack i Stockholm. Ho har illustrert fleire bøker, skrive bøker for barn og hatt oppdrag for mellom anna Morgenbladet, The New York Times, Kunstløftet og Nasjonalmuseet, samt utført temporære veggmaleri ved Deichman bibliotek og Nasjonalmuseet, og permanente verk ved Nordnes skole, Tøyen skole og Høgskulen på Vestlandet. Ho har hatt fleire utstillingar i inn- og utland og motteke ei rekke prisar for arbeidet sitt. I 2022 vart Dyrene sover (Bedtime for Bo) (med tekst av Kjersti Annesdatter Skomsvold, Aschehoug 2021) kåra til ei av årets ti best illustrerte barnebøker av The New York Times, og til Årets vakreste bok i konkurransen Årets vakreste bøker i Noreg. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/272a0768c4b1c18dbcffc1ad296ef60ab2b27c42cb165d83aa88fbc9c90286b2/12_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385534" border="0" src="https://freight.cargo.site/w/1000/i/272a0768c4b1c18dbcffc1ad296ef60ab2b27c42cb165d83aa88fbc9c90286b2/12_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen, exbibition view at Entrée. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/954496bafbbf39bcdcbe20c2336be6eb7db838f6fd2f798c376a59e8ccfa552d/13_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385535" border="0" src="https://freight.cargo.site/w/1000/i/954496bafbbf39bcdcbe20c2336be6eb7db838f6fd2f798c376a59e8ccfa552d/13_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Skumring 1-9, (2025). Watercolor and pencil on awagami washi paper, 9 á 42 x 52 cm //English// Entrée is proud to present the solo exhibition Inn til mosen (Into the Moss) by Mari Kanstad Johnsen. In this exhibition, we are invited into her visual world – a place between childhood and adulthood, between reality and dream. Here, the moss is not merely a theme, but a tactile landscape where all living things are connected, and everything breathes with the same rhythm. In her works at Entrée, Kanstad Johnsen plays with proportions, magnifying the microscopic and juxtaposing it with familiar creatures. It can be experienced as an underwater landscape where past, present, and future flow together. One of her sources of inspiration is the Chauvet Cave in southern France, home to the oldest known cave paintings. Through pencil drawings and watercolours, wall paintings and ceramic figures, she lets improvisation and the flow of drawing shape intricate universes that one can dive into – and lose oneself within. The works consists of organic compositions that address the loss of nature and belonging, both for animals and humans. Rather than creating a dark vision of where our world is headed, Kanstad Johnsen seeks to form meditative tableaux that open up for personal reflection on possible futures – and on how we, the world, and nature are inextricably connected. Now, before, and onwards. Mari Kanstad Johnsen (b. 1981, Bergen) lives in Oslo and works as a visual artist, freelance illustrator, and author. Her expression is full of childlike vitality, featuring strange animals and people. She was educated at the Oslo National Academy of the Arts and Konstfack University College of Arts, Crafts and Design in Stockholm. She has illustrated several books, written children’s books, and completed commissions for, among others, Morgenbladet, The New York Times, Kunstløftet, and the National Museum. She has also created temporary wall paintings at Deichman Library and the National Museum, and permanent works at Nordnes School, Tøyen School, and Western Norway University of Applied Sciences. She has exhibited widely in Norway and abroad and has received numerous awards for her work. In 2022, Dyrene sover (Bedtime for Bo) (with text by Kjersti Annesdatter Skomsvold, Aschehoug 2021) was named one of The New York Times’ten best illustrated children’s books of the year and was awarded The Most Beautiful Book of the Year in Norway’s Most Beautiful Books competition. <img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/82b28306bc4ecae68669729f1403afd31a34fad68a5f4ca7e9a80e51e19412f0/5_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385527" border="0" src="https://freight.cargo.site/w/1000/i/82b28306bc4ecae68669729f1403afd31a34fad68a5f4ca7e9a80e51e19412f0/5_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 1-6 , (2025). Pencil, watercolor and ink on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2919" width_o="3500" height_o="2919" data-src="https://freight.cargo.site/t/original/i/dba149f1538b2b36d92082058feca363f78daa1e4a1eceea034ab9774baaf46e/6_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385528" border="0" src="https://freight.cargo.site/w/1000/i/dba149f1538b2b36d92082058feca363f78daa1e4a1eceea034ab9774baaf46e/6_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 1, (2025). Pencil and watercolor on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2919" width_o="3500" height_o="2919" data-src="https://freight.cargo.site/t/original/i/367b490789363576759e10f119fb20133064743348ddc3c0b4c819181d13e5e2/7_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385529" border="0" src="https://freight.cargo.site/w/1000/i/367b490789363576759e10f119fb20133064743348ddc3c0b4c819181d13e5e2/7_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 2, (2025). Pencil and watercolor on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2919" width_o="3500" height_o="2919" data-src="https://freight.cargo.site/t/original/i/c5452fec21b3aa2e53fc3b6f5a67821573e30946f7b5657b8c55d21652ea20a0/8_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385530" border="0" src="https://freight.cargo.site/w/1000/i/c5452fec21b3aa2e53fc3b6f5a67821573e30946f7b5657b8c55d21652ea20a0/8_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 3, (2025).Pencil on paper, oak frame and museum glass, 52 x 62 cm. <img width="2997" height="2500" width_o="2997" height_o="2500" data-src="https://freight.cargo.site/t/original/i/f9248a6dc01daa4609a67b21c5557f542fcaaa05051388dace14a5d2f1a6a47d/9_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385531" border="0" src="https://freight.cargo.site/w/1000/i/f9248a6dc01daa4609a67b21c5557f542fcaaa05051388dace14a5d2f1a6a47d/9_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 4,&nbsp;(2025). Pencil and ink on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2919" width_o="3500" height_o="2919" data-src="https://freight.cargo.site/t/original/i/218e43936b2ee1d9d40d9b34dffff473b3fc6b95e92d4ca90d8038930654e364/10_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385532" border="0" src="https://freight.cargo.site/w/1000/i/218e43936b2ee1d9d40d9b34dffff473b3fc6b95e92d4ca90d8038930654e364/10_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 2, (2025). Pencil and watercolor on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2919" width_o="3500" height_o="2919" data-src="https://freight.cargo.site/t/original/i/d2218ad7a3bd43a1cdbe5bf2d3871169c9542e59a298c569e976c64eb26bccd7/11_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385533" border="0" src="https://freight.cargo.site/w/1000/i/d2218ad7a3bd43a1cdbe5bf2d3871169c9542e59a298c569e976c64eb26bccd7/11_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 2, (2025). Pencil and watercolor on paper, oak frame and museum glass, 52 x 62 cm. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/fc73e4cfe192b5fa36534de404fafcaaeddf889778bf38ad531d5c99e4d35842/2_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385526" border="0" src="https://freight.cargo.site/w/1000/i/fc73e4cfe192b5fa36534de404fafcaaeddf889778bf38ad531d5c99e4d35842/2_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen, exbibition view at Entrée. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/283aa283cfe82a6e80c4a2d81f21e71d6f6a2fbc17b2018eea6722e8c60d4189/15_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385536" border="0" src="https://freight.cargo.site/w/1000/i/283aa283cfe82a6e80c4a2d81f21e71d6f6a2fbc17b2018eea6722e8c60d4189/15_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Rester, (2025). Ceramic figures, glazed stoneware with colored underglaze, variable dimensions. <img width="2333" height="2333" width_o="2333" height_o="2333" data-src="https://freight.cargo.site/t/original/i/f48f4a818e0868828d51d7ad9aeb2b9a642bcd49879e1c56a583cbc919fa2355/17_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385537" border="0" src="https://freight.cargo.site/w/1000/i/f48f4a818e0868828d51d7ad9aeb2b9a642bcd49879e1c56a583cbc919fa2355/17_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Rester, (2025). Ceramic figures, glazed stoneware with colored underglaze, detail. <img width="2333" height="3500" width_o="2333" height_o="3500" data-src="https://freight.cargo.site/t/original/i/d8a308e70fe828b488fea33cc2c03e69a7bb7599430e94f0be48820fbe37149f/20_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385539" border="0" src="https://freight.cargo.site/w/1000/i/d8a308e70fe828b488fea33cc2c03e69a7bb7599430e94f0be48820fbe37149f/20_Mari-Kanstad-Johnsen_Entree.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/83e26095175c05729c24d862fb083e01804d2a93d68eb37172158c85c4c96174/23_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385540" border="0" src="https://freight.cargo.site/w/1000/i/83e26095175c05729c24d862fb083e01804d2a93d68eb37172158c85c4c96174/23_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Fotfeste, (2025). Watercolor on wall. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/9c51880bd58adf0f322b3be54dbb720f1c8885fe87cde16ffa1f626a6fd1efe8/24_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385541" border="0" src="https://freight.cargo.site/w/1000/i/9c51880bd58adf0f322b3be54dbb720f1c8885fe87cde16ffa1f626a6fd1efe8/24_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Fotfeste, (2025). Watercolor on wall, detail. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/59e0e2b8a256e9150ebc160672f880027d9b31dbf109ba0b736c4b24a3d24ca3/26_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385542" border="0" src="https://freight.cargo.site/w/1000/i/59e0e2b8a256e9150ebc160672f880027d9b31dbf109ba0b736c4b24a3d24ca3/26_Mari-Kanstad-Johnsen_Entree.jpg" /> <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/bf549701e6f9fa4468d8c619cd9636bcec9f1c2f3b8e0a8f4c6168e203b924f3/27_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385543" border="0" src="https://freight.cargo.site/w/1000/i/bf549701e6f9fa4468d8c619cd9636bcec9f1c2f3b8e0a8f4c6168e203b924f3/27_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen 7, (2025). Pencil and watercolor on paper, without frame. 57 x 76 cm. <img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/e31232fed43f8d186452285fb2905fdb493e9cec66c462431dca1c59d8d352c6/28_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241987745" border="0" src="https://freight.cargo.site/w/1000/i/e31232fed43f8d186452285fb2905fdb493e9cec66c462431dca1c59d8d352c6/28_Mari-Kanstad-Johnsen_Entree.jpg" /> <img width="2143" height="3214" width_o="2143" height_o="3214" data-src="https://freight.cargo.site/t/original/i/249cb01e8d69eb59579740f1d7eee7b6924f54013c9fd70d874efa87ac9e0b79/29_Mari-Kanstad-Johnsen_Entree.jpg" data-mid="241385544" border="0" src="https://freight.cargo.site/w/1000/i/249cb01e8d69eb59579740f1d7eee7b6924f54013c9fd70d874efa87ac9e0b79/29_Mari-Kanstad-Johnsen_Entree.jpg" />Mari Kanstad Johnsen, Inn til mosen, exterior view at Entrée. https://entreebergen.no/Bergen-Assembly-Maasai-Mbili-Republic Tue, 17 Jun 2025 09:16:20 +0000 entreebergen.no https://entreebergen.no/Bergen-Assembly-Maasai-Mbili-Republic September 11&nbsp; - November 9,&nbsp; 2025 Maasai Mbili Republicpart of Bergen Assembly:&nbsp;across, with, nearby / på tvers, med, nær Introduction: Thursday, 11. september, 15:00-16:00 Opening Days: 11. - 14. september (Thu-Sat 11-19, Sun 11-17) Entrée, Markeveien 4b, Bergen <img width="2334" height="3500" width_o="2334" height_o="3500" data-src="https://freight.cargo.site/t/original/i/0d4648ac5e8146d631b0f0a9e0b69046aa49355d3a7357819952ef5f8ce46d75/BA_Abrakadabra_2025_D1_-1050.jpg" data-mid="238607338" border="0" src="https://freight.cargo.site/w/1000/i/0d4648ac5e8146d631b0f0a9e0b69046aa49355d3a7357819952ef5f8ce46d75/BA_Abrakadabra_2025_D1_-1050.jpg" />Opening day of Bergen Assembly at Entrée. Photo by Studio Abrakadabra. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/c22901eddeb33454cb61582e0bbb5a8df9a8703556cb4ade0f19292774851008/BA-Entree-foto-Thor-Brdreskift_30.jpg" data-mid="238607258" border="0" src="https://freight.cargo.site/w/1000/i/c22901eddeb33454cb61582e0bbb5a8df9a8703556cb4ade0f19292774851008/BA-Entree-foto-Thor-Brdreskift_30.jpg" />Maasai Mbili Republic, exhibition view at Entrée. Photo by Thor Brødreskift. Press18.10.2025Art Viewer Maasai Mbili Artist Collective at Entrée, Bergen 03.10.2025Kunstkritikk Think Tank Triennialby Jakob Myklebust Huus16.09.2025NRK Dynamisk og levandeav Mona Pahle Bjerke Mapping Bergen from Maasai Mbili’s perspective, this project engages with the city from the marginalised positions of a society. At Entrée, distinctions between the studio and gallery space are blurred to ask: is it possible to simultaneously exhibit and not exhibit; to show without showing?Artworks are placed everywhere: on the walls or leaning against them, and in piles upon the floor. The public is invited to touch and hold the artworks, and it is expected that they may even unintentionally change their position within the space, creating new formations and relations.Alongside this, drawing upon two on-going projects, Obange: Games of the Map and Karibu Mtaa, Maasai Mbili members will engage with the community in Bergen. The former is a street radio station that asks: who gets to speak, and where?. ‘Obange’ is a figure who moves unpredictably through the city, observing, narrating, and avoiding categorisation. Meanwhile, Karibu Mtaa, which translates as ‘welcome to the neighbourhood’, is a mapping project shaped by everyday life in various districts and informal structures. Both projects engage with art as a way of moving through place, listening, learning, and knowing.During their time in Bergen, Maasai Mbili Artist Collective will also present a co-ritus event at Bergen Kunsthall. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/529e9c91aab5173da67820df4e46a408cd3a5ba85a3909b33fd49a2be138e704/BA-Entree-foto-Thor-Brdreskift_3.jpg" data-mid="238607243" border="0" src="https://freight.cargo.site/w/1000/i/529e9c91aab5173da67820df4e46a408cd3a5ba85a3909b33fd49a2be138e704/BA-Entree-foto-Thor-Brdreskift_3.jpg" />Maasai Mbili Republic, exhibition view at Entrée.&nbsp;Photo by Thor Brødreskift. <img width="7434" height="4956" width_o="7434" height_o="4956" data-src="https://freight.cargo.site/t/original/i/1805a592775ac6d409efdb5319bd68af2f9e6b6e54b9b2ee5e4371bc73ba2249/BA-Entree-foto-Thor-Brdreskift_18.jpg" data-mid="238607251" border="0" src="https://freight.cargo.site/w/1000/i/1805a592775ac6d409efdb5319bd68af2f9e6b6e54b9b2ee5e4371bc73ba2249/BA-Entree-foto-Thor-Brdreskift_18.jpg" /> Works by Maasai Mbili Artist Collective member Fabian Sakwa. Maasai Mbili Artist Collective, also called M2, was founded in 2001 as a collective of Kenyan artists based in Kibera, Nairobi. In 2004, they moved from the streets of Kibera into their current studio. Their name means ‘Two Maasai’ in Kiswahili, which reflects their relation to Maasai culture and its values while linking it to the contemporary world. This reference mainly carries an ironic undertone, given that the Maasai are widely stereotyped in East Africa and also around the world. The collective’s practice, instead of tapping into such an idea of tradition, is deeply connected to its members’ experiences of life in the Kibera, the biggest urban slum on the African continent. The artists work across the mediums of drawing, performance, fashion, sound, and installation, and their interactive multimedia projects function as both studio and public platform. Rooted in community, the collective is committed to staying with social struggles and enhancing education, particularly in relation to disadvantaged communities and youth in Kibera. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/dbbf525eaea50839f4557ca1df992f156aa137c8eca2559f417489a68c342b15/BA-Entree-foto-Thor-Brdreskift_28.jpg" data-mid="238607498" border="0" src="https://freight.cargo.site/w/1000/i/dbbf525eaea50839f4557ca1df992f156aa137c8eca2559f417489a68c342b15/BA-Entree-foto-Thor-Brdreskift_28.jpg" /> Works by Maasai Mbili Artist Collective member Kevo Stero.&nbsp; The current members of Maasai Mbili are Sharon Atieno, Otieno Gomba, Anita Kavochi, Otieno Kota, Joachim Kwaru, Xavier Makokha (Muliro), Vincent Masinde, Shivan Nafula, Fabian Sakwa, Kevo Stero, and Obi Vincent. Kevo Stero and Vincent Masinde are working in Bergen for this edition. Stero’s work draws on informal architecture, urban movement, and social ritual, with projects that travel between gallery and street to challenge the boundaries of ownership, authorship, and display. Masinde’s paintings consider the relationships between time, space, intimacy, and being away from the public eye.<img width="7956" height="5304" width_o="7956" height_o="5304" data-src="https://freight.cargo.site/t/original/i/265ab581b70e1d58d5a87a05490c714a638ac96ff7ad8c0988b5b45cf8233315/BA-Entree-foto-Thor-Brdreskift_14.jpg" data-mid="238607370" border="0" src="https://freight.cargo.site/w/1000/i/265ab581b70e1d58d5a87a05490c714a638ac96ff7ad8c0988b5b45cf8233315/BA-Entree-foto-Thor-Brdreskift_14.jpg" /> Works by (from left) Otieno Gomba, Akinyi, Shivan Nafula and Joachim Kwaru. <img width="7875" height="5250" width_o="7875" height_o="5250" data-src="https://freight.cargo.site/t/original/i/2d5a1c69ea88c5786d9b70334975a967bd22a177eedb71436083d1825ea0aee8/BA-Entree-foto-Thor-Brdreskift_16.jpg" data-mid="238607249" border="0" src="https://freight.cargo.site/w/1000/i/2d5a1c69ea88c5786d9b70334975a967bd22a177eedb71436083d1825ea0aee8/BA-Entree-foto-Thor-Brdreskift_16.jpg" /> Works by Mbuthia Maina. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/ec4d69b52d3c6d0e69024b5c741b0672c0e0d72befee955e283c039814d76527/BA-Entree-foto-Thor-Brdreskift_5.jpg" data-mid="238607244" border="0" src="https://freight.cargo.site/w/1000/i/ec4d69b52d3c6d0e69024b5c741b0672c0e0d72befee955e283c039814d76527/BA-Entree-foto-Thor-Brdreskift_5.jpg" /> Maasai Mbili Republic, exhibition view at Entrée.&nbsp; <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/29e7a932656388e320bf19483d2e0297a5dc12ac130b019f2c63fa18c092ca2d/BA-Entree-foto-Thor-Brdreskift_26.jpg" data-mid="238607257" border="0" src="https://freight.cargo.site/w/1000/i/29e7a932656388e320bf19483d2e0297a5dc12ac130b019f2c63fa18c092ca2d/BA-Entree-foto-Thor-Brdreskift_26.jpg" /> Works by Vincent Masinde and Fabian Sakwa. <img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/075da9ced73aed6893a3727cccb5c52bfd1ce2bbbd7b814a95c49020f5a6195d/BA_Abrakadabra_2025_D1_-1062.jpg" data-mid="238607343" border="0" src="https://freight.cargo.site/w/1000/i/075da9ced73aed6893a3727cccb5c52bfd1ce2bbbd7b814a95c49020f5a6195d/BA_Abrakadabra_2025_D1_-1062.jpg" />Maasai Mbili Republic at Entrée. Photo by Studio Abrakadabra. About Bergen Assembly: across, with, nearby What does it mean to nurture gestures of neighbourliness, nearby and from afar? How might love shape the very act of assembly, capable of countering social, ecological, economic, and political injustices? How can we challenge pedagogy that flattens diverse worlds, cultural differences, forms of knowledge, engagement, and ways of being? This edition of the Bergen Assembly is an invitation to participate alongside others in approaching these questions and to share in processes of learning across, with, and nearby. It is experiential: a communal, living, and evolving process. It weaves together artistic formations and knowledge creations through practices of sharing rather than showing. This assembly is led by the intention to foster collective encounters and responses to the paralysing cruelties and ensuing insecurities of our time. By embracing uncertainty, fragility, and intimacy we seek to forge paths through the abyss into reflective and creative kinds of engagements. Guided by curiosity and a spirit of collaboration, new and abandoned insights alike shape this edition’s experiences.Carried in such questions and pursuits is the diversity of practices that interlace in this edition of the Bergen Assembly, convened by Ravi Agarwal, Adania Shibli, and the Bergen School of Architecture (BAS). As the assembly’s programme unfolds over and beyond a period of three months, these inquiries bring together artists and practitioners from other disciplines, while also inviting you to join, expand upon, and carry them forward.Throughout, the convenors have sought forms of continuously ignored knowledge that are in motion and in relation to one another. In their complexity, these forms might recall poetic knowledge that precedes Modern scientific knowledge and ideas that embody knowing by letting ourselves be known. This approach foregrounds a kind of learning that resists categorisation or exclusion, and which is cultivated over time across places, humans, and more-than-humans. It invites each one of us to allow a space for what is there, though unacknowledged, as well as new modes of understanding and ways of being, both in Bergen and beyond. https://entreebergen.no/Monica-Takvam Tue, 17 Jun 2025 09:05:21 +0000 entreebergen.no https://entreebergen.no/Monica-Takvam August 1&nbsp; - August 31,&nbsp; 2025 Monica Takvam&nbsp; The Disobedient Researcher: On Method and Knowing Opening Reception: Friday, August 1, 18:00–21:00 Entrée, Markeveien 4b, Bergen <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/1f49e37bf1abf32565a98394e51da5f1969cedec0bf0331e91977757ed8b0b9b/4_Monica-Takvam_Entree.jpg" data-mid="237059953" border="0" src="https://freight.cargo.site/w/1000/i/1f49e37bf1abf32565a98394e51da5f1969cedec0bf0331e91977757ed8b0b9b/4_Monica-Takvam_Entree.jpg" />Monica Takvam, The Disobedient Researcher: On Method and Knowing, exhibition view at Entrée. All photos by Øystein Klakegg. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/fb06fda1540ddcc96dc5aa91a34189606f8e063754b09918f9f8e81e71245e24/19_Monica-Takvam_Entree.jpg" data-mid="237059891" border="0" src="https://freight.cargo.site/w/1000/i/fb06fda1540ddcc96dc5aa91a34189606f8e063754b09918f9f8e81e71245e24/19_Monica-Takvam_Entree.jpg" /> Monica Takvam, Method # 7. Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. Press20.08.2025Monica Takvam at Entrée, BergenArtViewer29.08.2025Frå London til Dale – med verda som arbeidsfeltKent Amundsen Vaksdalsposten In&nbsp;The Disobedient Researcher: On Method and Knowing, Monica Takvam invites us to reflect on how we learn, share, and experience knowledge. After many years of teaching in higher education, she turns her attention to the structures of learning – questioning the rules, assumptions, and hierarchies that define academic research and education. The exhibition continues her long-standing engagement with themes of language, perception and the body as a site of knowing. Exploring the space between theory and practice, between what can be measured, and what resists categorisation, she questions the conventions of conducting research: the manuals, the methodologies, the systems designed to produce ‘objective’ results. She uses rules as both framework and resistance, working within them, bending them, and allowing them to break. This method of ‘disobedient research’ opens space for subjectivity, softness and contradiction. In her new series of photographs (and artist’s book) presented at Entrée, the expected objects and step-by-step instructions from various handbooks have been omitted. Instead, we are left with gestures and compositions that resist immediate interpretation. With each image stripped of its original context, our brain instinctively searches for patterns and logic. Guiding the visitors, instructions are played through a public announcement speaker. Mind the gap. &nbsp; Monica Takvam (b. 1984, Dale) has an interdisciplinary practice across Norway and the UK. Her work spans photography, video, sound, text and installation, and explores positionality, perception, blindness, nostalgia, and language. Takvam has taught at leading institutions, including the London College of Communication - University of the Arts London, City of Westminster College, Canterbury Christ Church University, and University of Hertfordshire. She holds degrees from the University for the Creative Arts and London College of Communication - University of the Arts London. She has contributed widely to academic research and publishing, including editing Photography &amp; Culture and directing Renaissance Photography Prize. Takvam’s work has been recognised with awards, artist residencies and grants, including Celeste Visible White Photo Prize. In addition to her artistic practice, she currently works as a curator for KORO - Public Art Norway and is the managing director of Kunstgarasjen in Bergen. The exhibition is kindly supported by The Norwegian Photographic Fund, Bergen Municipality and Arts and Culture Norway. //Norsk// I The Disobedient Researcher: On Method and Knowing inviterer Monica Takvam oss til å reflektere over hvordan vi lærer, deler og erfarer kunnskap. Etter mange år med undervisning i høyere utdanning, retter hun blikket mot strukturer i akademia og forskning – og stiller spørsmål ved reglene, antakelsene og hierarkiene som definerer disse institusjonene. Utstillingen viderefører hennes engasjement for temaer som språk, persepsjon og kroppen som en sanselig kunnskapsplattform. Hun utforsker rommet mellom teori og praksis, mellom det som kan måles, og det som motstår kategorisering. Takvam utfordrer konvensjonene for hvordan forskning utføres: håndbøkene, metodene, systemene som er utformet for å produsere ‘objektive’ resultater. Hun bruker reglene både som rammeverk og motstand – arbeider innenfor dem, bøyer dem, og lar dem brytes. Hennes tilnærming gir rom for subjektive perspektiver, følsomhet og paradokser. I en ny serie fotografier (og kunstnerbok) er objekter og trinn-for-trinn-instruksjoner fra ulike lærebøker utelatt. I stedet konfronteres vi med gester og komposisjoner som ikke umiddelbart lar seg tolke. Hver anvisning er tatt ut av sin opprinnelige kontekst, og hjernen vår leter instinktivt etter mønstre og logikk. Gjennom en hornhøyttaler får publikum et sett med instruksjoner. Mind the gap. Monica Takvam (f. 1984, Dale) har en tverrfaglig praksis i Norge og Storbritannia. Hennes arbeid inkluderer fotografi, video, lyd, tekst og installasjon, og hun utforsker persepsjon, blindhet, nostalgi, posisjonalitet og språk. Takvam har undervist ved ledende institusjoner, inkludert London College of Communication – University of the Arts London, City of Westminster College, Canterbury Christ Church University og University of Hertfordshire. Hun har utdanning fra University for The Creative Arts og London College of Communication – University of The Arts London. Hun har bidratt bredt til akademisk forskning og publisering, blant annet som redaktør for Photography &amp; Culture og som leder for Renaissance Photography Prize. Takvams arbeid har blitt anerkjent med priser, kunstneropphold og stipender, inkludert Celeste Visible White Photo Prize. I tillegg til sin kunstneriske praksis, arbeider hun som kurator for KORO og er daglig leder ved Kunstgarasjen i Bergen. Utstillingen er støttet av Norsk Fotografisk Fond, Bergen kommune og Kulturdirektoratet. <img width="1288" height="1933" width_o="1288" height_o="1933" data-src="https://freight.cargo.site/t/original/i/82812a45c3b7c069b77744f7691b8e0a2cefdc7631384399f6ad479e8bdee92a/21_Monica-Takvam_Entree.jpg" data-mid="237059876" border="0" src="https://freight.cargo.site/w/1000/i/82812a45c3b7c069b77744f7691b8e0a2cefdc7631384399f6ad479e8bdee92a/21_Monica-Takvam_Entree.jpg" /> <img width="3477" height="2319" width_o="3477" height_o="2319" data-src="https://freight.cargo.site/t/original/i/77baeee984ff1a6e9152e73341e9daa7750fab1cabb80becf04f180bb62f9873/3_Monica-Takvam_Entree.jpg" data-mid="237059911" border="0" src="https://freight.cargo.site/w/1000/i/77baeee984ff1a6e9152e73341e9daa7750fab1cabb80becf04f180bb62f9873/3_Monica-Takvam_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9324c7e9016f218a5088572cda6657cf8dbbf568b7b9b29ad2850835e1dce19f/5_Monica-Takvam_Entree.jpg" data-mid="237059912" border="0" src="https://freight.cargo.site/w/1000/i/9324c7e9016f218a5088572cda6657cf8dbbf568b7b9b29ad2850835e1dce19f/5_Monica-Takvam_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/60479676580afa1c46e56350acd40d9f48d465696bdbd5b9539e6ae3a202c60f/16_Monica-Takvam_Entree.jpg" data-mid="237059881" border="0" src="https://freight.cargo.site/w/1000/i/60479676580afa1c46e56350acd40d9f48d465696bdbd5b9539e6ae3a202c60f/16_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 3. Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d4ee28712ae6b6b89908ec19a40b22ca438b3bda25bfa88b8eff5b277215521a/8_Monica-Takvam_Entree.jpg" data-mid="237059905" border="0" src="https://freight.cargo.site/w/1000/i/d4ee28712ae6b6b89908ec19a40b22ca438b3bda25bfa88b8eff5b277215521a/8_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 5.&nbsp;Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/75fd65adbbcd0d0b9d0ccfdafb88ad1bb90cb376dded252917a33ca3cd52c5bc/15_Monica-Takvam_Entree.jpg" data-mid="237059871" border="0" src="https://freight.cargo.site/w/1000/i/75fd65adbbcd0d0b9d0ccfdafb88ad1bb90cb376dded252917a33ca3cd52c5bc/15_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 2.&nbsp;Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9055f62077274172de3f497e89e0972357ba12a071d784a8bea4ba739084ad02/11_Monica-Takvam_Entree.jpg" data-mid="237059934" border="0" src="https://freight.cargo.site/w/1000/i/9055f62077274172de3f497e89e0972357ba12a071d784a8bea4ba739084ad02/11_Monica-Takvam_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f3464d10edaabdd903de5d5396e7468572c770af802f308e52340a312b1d8e5a/18_Monica-Takvam_Entree.jpg" data-mid="237059922" border="0" src="https://freight.cargo.site/w/1000/i/f3464d10edaabdd903de5d5396e7468572c770af802f308e52340a312b1d8e5a/18_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 9. Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9120b5dd0f193753b0afee34f33d9e5947d0912b942133b3c39431fbbb01684b/14_Monica-Takvam_Entree.jpg" data-mid="237059866" border="0" src="https://freight.cargo.site/w/1000/i/9120b5dd0f193753b0afee34f33d9e5947d0912b942133b3c39431fbbb01684b/14_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 8.&nbsp;Photography. Inkjet on cotton paper, aluminium, oak frame, museum glass. 50 x 64 cm. <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/39fe6283f476539d900c9038bd77bd0b68d279b78680ea727003d0817401049f/12_Monica-Takvam_Entree.jpg" data-mid="237059942" border="0" src="https://freight.cargo.site/w/1000/i/39fe6283f476539d900c9038bd77bd0b68d279b78680ea727003d0817401049f/12_Monica-Takvam_Entree.jpg" />Monica Takvam, Method # 6 (left), and The Researcher's Handbook. Artist’s book (right). <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/67b85d4f6e914e354eca1389cca326961e319fc7545980994d2c6fea8f8f5d2d/13_Monica-Takvam_Entree.jpg" data-mid="237059948" border="0" src="https://freight.cargo.site/w/1000/i/67b85d4f6e914e354eca1389cca326961e319fc7545980994d2c6fea8f8f5d2d/13_Monica-Takvam_Entree.jpg" />Monica Takvam, The Researcher's Handbook. Artist’s book. Offset, soft cover. 10,5 x 15 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d595e6132141ab0814861c4f6d0e29dcc60196a22e912d1d2408cffdfdef6df8/9_Monica-Takvam_Entree.jpg" data-mid="237059928" border="0" src="https://freight.cargo.site/w/1000/i/d595e6132141ab0814861c4f6d0e29dcc60196a22e912d1d2408cffdfdef6df8/9_Monica-Takvam_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/3aac928f51eb7ad01d8d1e01ee1ee0c009c4e8d2d8f01e88960316b9ab69e893/10_Monica-Takvam_Entree.jpg" data-mid="237059959" border="0" src="https://freight.cargo.site/w/1000/i/3aac928f51eb7ad01d8d1e01ee1ee0c009c4e8d2d8f01e88960316b9ab69e893/10_Monica-Takvam_Entree.jpg" />Monica Takvam, Instructions. Audio on public announcement speaker. 28 min loop. <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/f16be0a538916337fb767012e4a2e8817c4f9b2044e881b87bbe561004eb1009/1_Monica-Takvam_Entree.jpg" data-mid="237059963" border="0" src="https://freight.cargo.site/w/1000/i/f16be0a538916337fb767012e4a2e8817c4f9b2044e881b87bbe561004eb1009/1_Monica-Takvam_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/ea1a919bc71e23018208060b319d6dcd9a538373c57647bcb23a6655c11e0e5a/2_Monica-Takvam_Entree.jpg" data-mid="237059896" border="0" src="https://freight.cargo.site/w/1000/i/ea1a919bc71e23018208060b319d6dcd9a538373c57647bcb23a6655c11e0e5a/2_Monica-Takvam_Entree.jpg" />Monica Takvam, The Disobedient Researcher: On Method and Knowing, exterior view at Entrée. https://entreebergen.no/Admir-Batlak Thu, 15 May 2025 13:04:38 +0000 entreebergen.no https://entreebergen.no/Admir-Batlak May 22 - July 27,&nbsp; 2025 Admir Batlak I Pose for Scale Opening Reception: Thursday, May 22, 18:00–21:00Artist Talk: Saturday, May 24, 12:00 Entrée, Markeveien 4b, Bergen <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/707f1356f1ac49c854876f4de3bf28a67cf4dd8250a42f24d8502e13b33b9f22/25_Admir-Batlak_Entree.jpg" data-mid="234064723" border="0" src="https://freight.cargo.site/w/1000/i/707f1356f1ac49c854876f4de3bf28a67cf4dd8250a42f24d8502e13b33b9f22/25_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 25 (2024). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 50 x 44 x 10 cm. Press30.06.2025 Admir Batlak at Entrée, BergenArtViewer 01.12.2025 Anna Näumann En taktil eksplosjon av minner Kunsthåndverk magasinet Årgang 45, Nr. 172, Utgave 3, 2025 Entrée is proud to present a solo exhibition with Admir Batlak, coinciding with the annual Bergen International Festival. The exhibition features a new large-scale piece that continues Batlak’s investigation of textiles as both medium and message. Inspired by Yugoslav monuments, Batlak merges imagery from his birthplace Mostar, Bosnia and Herzegovina, with scenes from his current surroundings. The resulting digital landscape—altered, patched, and created through touchscreen—invites reflection on monumentality and materiality. Printed directly onto wadding, he creates a "digital quilt" composed of abstracted motifs. Typically a hidden mid-layer in quilts, the porous texture of the wadding is further animated by ink that bleeds into the surface, softening boundaries and blurring lines. Admir Batlak (b. 1982, Mostar) is based in Oslo and works across textile, sculpture, and fashion. His practice centers on a deep engagement with craft and the development of new textile forms. Through a wide range of techniques and references—from fashion and social movements to history and mainstream culture—Batlak constructs complex expressions that reflect on contemporary tastes and ideals. Trained in fashion design at Istituto Marangoni, Milan (2006), Batlak has in recent years shifted his focus toward contemporary art. Recent solo exhibitions include Look at me at Cité Internationale des Arts (2025), Every Frill is an Edge at Galleri Riis (2024), «In the Kink» at MUNCH (2023) and Fake a Patina, DealBreak a Vibe at Soft (2022). His works are held in the collections of the National Museum of Norway, Kode Museum, the Nordenfjeldske National Museum of Decorative Arts, and Stavanger Art Museum. The exhibition is accompanied by a newly commissioned essay by art historian Mathias Danbolt, who will join Batlak for an artist talk on Saturday, May 24 at 12:00. We warmly welcome you to both the opening and the conversation! The exhibition is kindly supported by Art Council Norway, Billedkunstnernes Vederlagsfond (BKV), Regional Project Grants from the Norwegian Art Centres, and Bergen Municipality. <img width="8384" height="5589" width_o="8384" height_o="5589" data-src="https://freight.cargo.site/t/original/i/3176e359ffce851a91ee435913538ee51546b1eaac8d8ddd928049c6052fc1b2/2_Admir-Batlak_Entree.jpg" data-mid="234064698" border="0" src="https://freight.cargo.site/w/1000/i/3176e359ffce851a91ee435913538ee51546b1eaac8d8ddd928049c6052fc1b2/2_Admir-Batlak_Entree.jpg" /> Admir Batlak, I Pose for Scale, soloutstilling ved Entrée. Alle foto: Øystein Klakegg. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/8d73e86a240f4ad197bd937de7116e16dea2fd0f70cfb4c44ae9de8d9592def9/6_Admir-Batlak_Entree.jpg" data-mid="234064705" border="0" src="https://freight.cargo.site/w/1000/i/8d73e86a240f4ad197bd937de7116e16dea2fd0f70cfb4c44ae9de8d9592def9/6_Admir-Batlak_Entree.jpg" /> Admir Batlak, I Pose for Scale (2025), veggteppe. UV-trykk på vatt, quiltklyper, 440 x 300 x 2 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/60025b7e7418dfafa201f9afd605fdfc4b60f2cf25f82d56ce95714e054adeac/10_Admir-Batlak_Entree.jpg" data-mid="234064709" border="0" src="https://freight.cargo.site/w/1000/i/60025b7e7418dfafa201f9afd605fdfc4b60f2cf25f82d56ce95714e054adeac/10_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/846ca912de264a07704837e1bdfeb71a9775459ab0ffddbd990617b71e634dc4/11_Admir-Batlak_Entree.jpg" data-mid="234064710" border="0" src="https://freight.cargo.site/w/1000/i/846ca912de264a07704837e1bdfeb71a9775459ab0ffddbd990617b71e634dc4/11_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/9b58a61b8fd6db576225273d2427f3cd6653f6974391462765addbd17decc217/5_Admir-Batlak_Entree.jpg" data-mid="234064704" border="0" src="https://freight.cargo.site/w/1000/i/9b58a61b8fd6db576225273d2427f3cd6653f6974391462765addbd17decc217/5_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin, skulpturserie (2023-2025).&nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/4a2e91829d2b3ecd500d007af87a855f0aeb90abea72d16a2a85f051f0a81d2b/17_Admir-Batlak_Entree.jpg" data-mid="234064715" border="0" src="https://freight.cargo.site/w/1000/i/4a2e91829d2b3ecd500d007af87a855f0aeb90abea72d16a2a85f051f0a81d2b/17_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 31 (2024). Detalje. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/5b97d646b610f99492f02fb3a4fc25f23c0ab30f8465649f7ffb3138117a88fe/18_Admir-Batlak_Entree.jpg" data-mid="234064716" border="0" src="https://freight.cargo.site/w/1000/i/5b97d646b610f99492f02fb3a4fc25f23c0ab30f8465649f7ffb3138117a88fe/18_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 21 (2024). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 121 x 50 x 15 cm <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/073985e37727fc7c70ccab18604e399eb0ec3ad2320a02220e1eb3d003cc2100/19_Admir-Batlak_Entree.jpg" data-mid="234064717" border="0" src="https://freight.cargo.site/w/1000/i/073985e37727fc7c70ccab18604e399eb0ec3ad2320a02220e1eb3d003cc2100/19_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/eb62f61b7b92c7d973aefc089d1a9a6a095bcbb2bd29f3df4798dd8c84cf78a8/23_Admir-Batlak_Entree.jpg" data-mid="234064721" border="0" src="https://freight.cargo.site/w/1000/i/eb62f61b7b92c7d973aefc089d1a9a6a095bcbb2bd29f3df4798dd8c84cf78a8/23_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 18 (2023). Detalje. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/cbe53513bc6796b79c7895aa7a8f66c8bea7789a7310e323dfb63a07538c0aad/22_Admir-Batlak_Entree.jpg" data-mid="234064720" border="0" src="https://freight.cargo.site/w/1000/i/cbe53513bc6796b79c7895aa7a8f66c8bea7789a7310e323dfb63a07538c0aad/22_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 18 (2023). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 37 x 41 x 12 cm. ///NORSK/// Åpning: Torsdag 22. mai, kl. 18:00–21:00Kunstnersamtale: Lørdag 24. mai, kl. 12:00Entrée, Markeveien 4b, Bergen Utstillingsperiode: 22. mai – 27. juliÅpningstider: Torsdag–søndag, kl. 12–16 Entrée er stolte av å presentere separatutstilling med Admir Batlak, under Festspillene i Bergen. Sentralt i utstillingen er et nytt storskala verk som viderefører Batlaks utforskning av tekstil som både medium og budskap. Inspirert av jugoslaviske monumenter, forener Batlak bildeelementer fra fødebyen Mostar i Bosnia-Hercegovina med scener fra hans nåværende omgivelser. Det resulterende digitale landskapet – manipulert, sammensatt og skapt gjennom berøringsskjerm – inviterer til refleksjon over monumentalitet og materialitet. Verket er trykket direkte på vatt, og danner et slags "digitalt lappeteppe" bestående av abstraherte motiver. Vatt, som vanligvis er et skjult mellomlag i lappetepper, får en ny rolle gjennom blekk som trekker inn i overflaten, og som mykner opp grensene og visker ut linjene. Admir Batlak (f. 1982, Mostar) er basert i Oslo og arbeider på tvers av tekstil, skulptur og mote. Hans kunstnerskap er preget av et dypt engasjement for håndverk og utvikling av nye tekstile uttrykksformer. Gjennom en bred bruk av teknikker og referanser – fra mote og sosiale bevegelser til historie og populærkultur – konstruerer Batlak komplekse uttrykk som reflekterer over samtidens smak og idealer. Han er utdannet innen motedesign ved Istituto Marangoni i Milano (2006), og har i senere år vendt fokuset mot samtidskunsten. Nylige separatutstillinger inkluderer Look at me ved Cité Internationale des Arts (2025), Every Frill is an Edge ved Galleri Riis (2024), «In the Kink» ved MUNCH (2023) og Fake a Patina, DealBreak a Vibeved Soft (2022). Verkene hans er representert i samlingene til Nasjonalmuseet, Kode museum, Nordenfjeldske Kunstindustrimuseum og Stavanger kunstmuseum. Utstillingen ledsages av et nyskrevet essay av kunsthistoriker Mathias Danbolt, som også vil delta i en kunstnersamtale med Batlak lørdag 24. mai kl. 12:00. Vi ønsker deg hjertelig velkommen til både åpningen og samtalen!Utstillingen er støttet av Kulturrådet, Billedkunstnernes Vederlagsfond (BKV), Regionale prosjektmidler fra Norske Kunstforeninger og Bergen kommune. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/7234cae31862f769ae5a4ba8f8ea2b7bdf615fb9699b75dc6c8be0a2ffbe2a95/14_Admir-Batlak_Entree.jpg" data-mid="234064712" border="0" src="https://freight.cargo.site/w/1000/i/7234cae31862f769ae5a4ba8f8ea2b7bdf615fb9699b75dc6c8be0a2ffbe2a95/14_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 31 (2024). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 66 x 59 x 11 cm. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/b08b24314eae52c156fc8b9446d44aad805a55bd85411503c115cef12122bec2/16_Admir-Batlak_Entree.jpg" data-mid="234064714" border="0" src="https://freight.cargo.site/w/1000/i/b08b24314eae52c156fc8b9446d44aad805a55bd85411503c115cef12122bec2/16_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/dcc77b8f29a623690af933eee806d8b28308039328b48f82465262c2151cc24b/21_Admir-Batlak_Entree.jpg" data-mid="234064719" border="0" src="https://freight.cargo.site/w/1000/i/dcc77b8f29a623690af933eee806d8b28308039328b48f82465262c2151cc24b/21_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/54b547a32504101b2fee48a28a89ee1022d6cfa2fee9a4f5c8a78584b5468877/20_Admir-Batlak_Entree.jpg" data-mid="234064718" border="0" src="https://freight.cargo.site/w/1000/i/54b547a32504101b2fee48a28a89ee1022d6cfa2fee9a4f5c8a78584b5468877/20_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 15 (2023). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 86 x 41 x 11 cm. <img width="3542" height="2361" width_o="3542" height_o="2361" data-src="https://freight.cargo.site/t/original/i/a07a48bdfbe442dd2bde89d2ca99a95f0584f6ba0340af4c02f9ffb83bd3e1c2/29_Admir-Batlak_Entree.jpg" data-mid="234064727" border="0" src="https://freight.cargo.site/w/1000/i/a07a48bdfbe442dd2bde89d2ca99a95f0584f6ba0340af4c02f9ffb83bd3e1c2/29_Admir-Batlak_Entree.jpg" /> <img width="3542" height="2361" width_o="3542" height_o="2361" data-src="https://freight.cargo.site/t/original/i/eb94ec4528bf19d9fe528864ae24ddbf5b5132386c191f6121c98f1b13e90442/28_Admir-Batlak_Entree.jpg" data-mid="234064726" border="0" src="https://freight.cargo.site/w/1000/i/eb94ec4528bf19d9fe528864ae24ddbf5b5132386c191f6121c98f1b13e90442/28_Admir-Batlak_Entree.jpg" /> Admir Batlak, Sequin Skin # 27 (2024). Paljetter, netting, blonde, ull, silke, vliesofix, stål, 50 x 44 x 10 cm. <img width="4297" height="6445" width_o="4297" height_o="6445" data-src="https://freight.cargo.site/t/original/i/69cc3dd50346ba0198802069d04a8adc52b44d4aaaf59505bd8dcb3c2e448aa8/30_Admir-Batlak_Entree.jpg" data-mid="234064728" border="0" src="https://freight.cargo.site/w/1000/i/69cc3dd50346ba0198802069d04a8adc52b44d4aaaf59505bd8dcb3c2e448aa8/30_Admir-Batlak_Entree.jpg" /> <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/26db2d72db98a443d75d554d4cd2ba5ea8c1d8cfa1a8536dacf04ead9a29cd3c/31_Admir-Batlak_Entree.jpg" data-mid="234064729" border="0" src="https://freight.cargo.site/w/1000/i/26db2d72db98a443d75d554d4cd2ba5ea8c1d8cfa1a8536dacf04ead9a29cd3c/31_Admir-Batlak_Entree.jpg" /> Admir Batlak, I Pose for Scale, soloutstilling ved Entrée. Alle foto: Øystein Klakegg. https://entreebergen.no/Mathias-Danbolt-Admir-Batlak-I-Pose-for-Scale Mon, 16 Jun 2025 07:40:07 +0000 entreebergen.no https://entreebergen.no/Mathias-Danbolt-Admir-Batlak-I-Pose-for-Scale May 22 - July 27,&nbsp; 2025 Admir Batlak: I Pose for Scale essay by&nbsp;Mathias Danbolt (scroll down for&nbsp;English) <img width="3542" height="2361" width_o="3542" height_o="2361" data-src="https://freight.cargo.site/t/original/i/b0b5e46d052e6809b69b304623be2ac343e37a8a53653b94d15c4718d99117fd/9_Admir-Batlak_Entree.jpg" data-mid="234630689" border="0" src="https://freight.cargo.site/w/1000/i/b0b5e46d052e6809b69b304623be2ac343e37a8a53653b94d15c4718d99117fd/9_Admir-Batlak_Entree.jpg" />&nbsp; Jeg har alltid vært en mammagutt. En som holdt seg i skjørtekanten hennes, mens jeg forsøkte å ta inn så mye som mulig av det vell av kunnskap hun alltid øste ut. Det var slik jeg begynte å samle på blomster. Jeg gikk ingen steder uten blomsterpressen min – for de ville og sjeldne plantene dukket alltid opp når man minst ventet det – i en sprekke mellom asfalten på en parkeringsplass eller langs bilveien på vei til fjells. Innen jeg var tolv, hadde jeg bygd opp et imponerende herbarium med flere hundre planter. Mens jeg satt og kjempet med å feste tørkede blomster til papir, satt mamma på den andre siden av stuebordet med sytøyet – klar til å kaste seg over enda en tekstilhåndverkstradisjon hun bare måtte forstå og beherske. I årevis arbeidet hun med å lære å quilte – denne tidkrevende teknikken hvor stoffrester sys sammen til et lappeteppe, som deretter applikeres til et underlag av vatt for å bli et varig, varmt og vakkert bruksobjekt. Slik gikk årene – jeg med blomstene mine, hun med sin endeløse quilt. Selv om jeg i dag nok ligner mer på en pappagutt, som – i mitt tilfelle – betyr at jeg sitter på et kontor og skriver om kunst hele dagen, lever den lille botaniker fortsatt i meg, med sin umettelige nysgjerrighet etter å samle, studere, kategorisere – og kontrollere. Men det er lærdommen fra mammas tålmodige insistering på å fortsette å sy på quilten som aldri blir ferdig, som holder meg gående i de sene nattetimer og tidligere morgener på kontoret. Jeg tenkte på mamma da jeg så Admir Batlaks nye verk I Pose for Scale. Selv om dette ikke er første gang Batlak arbeider med quilten som form og format, preges verket – med sitt monumentale format og intrikate, abstrakte mønster – av en liknende insisterende vilje til å sy fragmenter sammen til en ny helhet, som i mammas evighetsquilt. Men i dette tilfellet er det digitale bildefiler og ikke stoffrester som er skåret, foldet, vendt og satt sammen, for deretter å bli trykket direkte på dynelignende vatt. Håndverket har ikke forsvunnet, selv om nål og tråd er byttet ut med en touchscreen – det er bare en annen måte å sette restmaterialer sammen til en ny helhet. Mens det i tradisjonelle quilter er lappeteppet på toppen som omslutter vatten og gir teppet volum og varme, er det her innmaten som alene bærer overflatens hakkete og takkete fargetrykk. Denne avkledde quilten er derfor mer sårbar og skjør enn de slitesterke variantene som kan gå i arv i generasjoner. Den krever mer varsom håndtering – litt som en tørket blomst, som lett faller fra hverandre ved for hardhendt bruk. Stående foran I Pose for Scale går botanikeren i meg straks i gang med å granske former og mønstre i et forsøk på å registrere og klassifisere hvilke bildematerialer Batlak har brukt for å skape sin monumentale quilt. Enkelte elementer vekker umiddelbar gjenklang – som fotofragmentet med paljetter litt under midten til venstre, som minner om installasjonene i utstillingen «I knekken» på MUNCH i 2023. De grønne sypressene som tårner over den avkappede lyktestolpen nederst i midten, dukket også opp i et verk fra utstillingen Every Frill is an Edge, der de inngikk i et fotografi fra Batlaks fødeby Mostar i det tidligere Jugoslavia. I tillegg til bildeutdrag fra tidligere arbeider rommer quilten også fragmenter av urbane landskap: palmer i San Francisco, oaser av smaragdgrønt vann fra elven Neretva, flislagte gateløp, trapper, busker og blomster. De mange lagene av snapshots er presset sammen til en helhet som ikke lenger lar seg separere. Som minner som glir inn i hverandre, overlapper og forvirrer i forhold til tid og sted. I Pose for Scale kan fra denne vinkelen fremstå som et erindringsmessig lappeteppe, der bruddflatenes kollisjoner mellom former, farger og forestillinger forblir forstyrrende og forvirrende. Og kanskje er det nettopp dette jeg finner en merkelig trøst i: At I Pose for Scale ikke lar seg samle, sortere eller systematisere – slik jeg selv har forsøkt å gjøre med planter, minner og meg selv, i en verden som tidlig forsøkte å sette mammagutter som meg i en maskulin boks jeg aldri passet inn i. I verkets tittel – I Pose for Scale – ligger det kanskje også en slags invitasjon til å bli stående, og gi plass til alle disse patosfylte følelsene som har det med å spire frem, selv om man for lengst trodde de var presset, tørket og sirlig gjemt vekk i et album. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/8d73e86a240f4ad197bd937de7116e16dea2fd0f70cfb4c44ae9de8d9592def9/6_Admir-Batlak_Entree.jpg" data-mid="234630686" border="0" src="https://freight.cargo.site/w/1000/i/8d73e86a240f4ad197bd937de7116e16dea2fd0f70cfb4c44ae9de8d9592def9/6_Admir-Batlak_Entree.jpg" /> Admir Batlak, I Pose for Scale (2025), veggteppe. UV-trykk på vatt, quiltklyper, 440 x 300 x 2 cm. Alle foto: Øystein Klakegg. <img width="5074" height="3382" width_o="5074" height_o="3382" data-src="https://freight.cargo.site/t/original/i/b32a81f5b93c0745206fa1eb55910caee2fa3eb7fb40863ed090246564e68393/7_Admir-Batlak_Entree.jpg" data-mid="234630687" border="0" src="https://freight.cargo.site/w/1000/i/b32a81f5b93c0745206fa1eb55910caee2fa3eb7fb40863ed090246564e68393/7_Admir-Batlak_Entree.jpg" /> <img width="3081" height="2055" width_o="3081" height_o="2055" data-src="https://freight.cargo.site/t/original/i/eae401b4743cb3fbc3f152ac8747af5a97323b375e4c0bfc4bc30e29006b7540/8_Admir-Batlak_Entree.jpg" data-mid="234630688" border="0" src="https://freight.cargo.site/w/1000/i/eae401b4743cb3fbc3f152ac8747af5a97323b375e4c0bfc4bc30e29006b7540/8_Admir-Batlak_Entree.jpg" /> Mathias Danbolt: Admir Batlak: I Pose for Scale I’ve always been a mama’s boy. The kind who stayed close to her skirts, trying to absorb as much as possible of the wealth of knowledge she was always pouring out. That’s how I started collecting flowers. I went nowhere without my flower press – wild and rare plants always appeared when you least expected them, sprouting from cracks in the asphalt of a parking lot or along the roadside on the way to the cabin in the mountains. By the time I was twelve, I had built up an impressive herbarium with several hundred plants. While I sat hunched over the press, struggling to fix dried flowers onto paper so they could be organized by category and family, my mother sat on the other side of the dinner table with her sewing kit – ready to throw herself into yet another textile craft tradition she simply had to master. For years, she worked on learning how to quilt – that time-consuming practice of sewing remnants of fabric together into a patchwork top, which is then appliquéd onto a layer of wadding to become a lasting, warm, and beautiful everyday object. And so, the years passed – I with my flowers, she with her endless quilt. Today, I probably resemble more of a “papa’s boy,” in the sense that I – like him – sit in an office all day writing about art. But the little botanist still lives in me, with his insatiable curiosity to collect, study, categorize – and control. But it’s the lesson from my mother’s patient insistence on continuing to stitch her never-ending quilt that keeps me going through late nights and early mornings at my desk. I thought of my mom when I first encountered Admir Batlak’s new work I Pose for Scale. Although this isn’t the first time Batlak has worked with the form and format of quilting, this piece – with its monumental scale and intricate abstract pattern – carries a similar insistent drive to stitch fragments together into a new whole, like my mother’s eternal quilt. But in this case, it is digital image files, not scraps of fabric, that have been cut, folded, flipped, and arranged, then printed directly onto a thick quilt-like wadding. The sense of craft hasn’t disappeared, even though needle and thread have been replaced by a touchscreen – it’s just a different time-consuming way of assembling remnants into something cohesive. In traditional quilts, it’s the patchwork top that encloses the wadding and gives the piece volume and warmth. Here, it’s the inner layer that alone supports the jagged, pixelated printed surface. This stripped-back quilt is more delicate and vulnerable than the durable versions handed down through generations. It demands gentler handling – like a dried flower, which can easily fall apart if handled too roughly. Standing before I Pose for Scale, the botanist in me immediately starts scanning forms and patterns, trying to register and classify the source material Batlak has used to create this monumental quilt. Certain elements strike a familiar chord – like the photographic fragment of sequins slightly below center-left, which echoes his installations from «In the Kink», shown at MUNCH in 2023. The tall green cypresses rising above the truncated lamppost at the bottom center also appeared in a work from his 2024 exhibition Every Frill is an Edge at Galleri Riis, where they were part of a photograph taken in Batlak’s birth city, Mostar, in the former Yugoslavia. Alongside these echoes of earlier works, the quilt also includes fragments of different urban landscapes: from palm trees in San Francisco, oases of emerald green water from the river Neretva, tiled streets, stairways, bushes, and flowers. These snapshots have been stacked and compressed into a whole where the parts can no longer be separated. Like memories that blend, overlap, and blur across time and place, I Pose for Scale reads like a patchwork of remembrance, in which the collisions of forms, colors, and associations remain disorienting and unresolved. And perhaps that’s precisely where I find a strange kind of comfort: the shards pressed together in I Pose for Scale resist being sorted or systematized – just as I’ve spent a lifetime trying to do with plants, with memories, and with myself, in a world that early on tried to fit mama’s boys like me into a macho box I never belonged in. In the work’s title – I Pose for Scale – there is also, perhaps, an invitation to stand tall and give space to all these pathos-laden feelings that keep sprouting up, even when you thought they’d long since been pressed, dried, and neatly filed away. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/60025b7e7418dfafa201f9afd605fdfc4b60f2cf25f82d56ce95714e054adeac/10_Admir-Batlak_Entree.jpg" data-mid="234630690" border="0" src="https://freight.cargo.site/w/1000/i/60025b7e7418dfafa201f9afd605fdfc4b60f2cf25f82d56ce95714e054adeac/10_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/846ca912de264a07704837e1bdfeb71a9775459ab0ffddbd990617b71e634dc4/11_Admir-Batlak_Entree.jpg" data-mid="234630691" border="0" src="https://freight.cargo.site/w/1000/i/846ca912de264a07704837e1bdfeb71a9775459ab0ffddbd990617b71e634dc4/11_Admir-Batlak_Entree.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/5ae295aa2f75a039783f9f37eb2804c2196fa61398c8cda524f8aba411fe6a33/12_Admir-Batlak_Entree.jpg" data-mid="234630692" border="0" src="https://freight.cargo.site/w/1000/i/5ae295aa2f75a039783f9f37eb2804c2196fa61398c8cda524f8aba411fe6a33/12_Admir-Batlak_Entree.jpg" /> <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/26db2d72db98a443d75d554d4cd2ba5ea8c1d8cfa1a8536dacf04ead9a29cd3c/31_Admir-Batlak_Entree.jpg" data-mid="234630710" border="0" src="https://freight.cargo.site/w/1000/i/26db2d72db98a443d75d554d4cd2ba5ea8c1d8cfa1a8536dacf04ead9a29cd3c/31_Admir-Batlak_Entree.jpg" /> Admir Batlak, I Pose for Scale, soloutstilling ved Entrée. Alle foto: Øystein Klakegg. https://entreebergen.no/NADA-New-York-2025 Thu, 20 Mar 2025 08:41:43 +0000 entreebergen.no https://entreebergen.no/NADA-New-York-2025 Lars Korff LofthusNADA New York&nbsp;May 7 — 11,&nbsp;2025 <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/377f647a036bc697ad22f8a51831b747234380a3a98d78ee39ea2600939759ee/2F7A1964-copy.jpg" data-mid="233023367" border="0" src="https://freight.cargo.site/w/1000/i/377f647a036bc697ad22f8a51831b747234380a3a98d78ee39ea2600939759ee/2F7A1964-copy.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/281359b1c41b6131b0450b61083aa0d7f8be43d287429bafbf2b652ed3139a1d/2F7A1959-copy.jpg" data-mid="233023577" border="0" src="https://freight.cargo.site/w/1000/i/281359b1c41b6131b0450b61083aa0d7f8be43d287429bafbf2b652ed3139a1d/2F7A1959-copy.jpg" /> All install images from NADA New York by&nbsp;Gabriele Abbruzzese.&nbsp; Press 28.3.2025Hardanger Folkeblad Harding får solopresentasjon i New YorkAv Eli Lund 06.05.25 Feature: NADA New York 2025ArtViewer <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/9183f69ca0308cd862341e15fafaec410e02035f1c685650c6766b4bded2d8dc/2F7A1707-copy.jpg" data-mid="232897002" border="0" src="https://freight.cargo.site/w/1000/i/9183f69ca0308cd862341e15fafaec410e02035f1c685650c6766b4bded2d8dc/2F7A1707-copy.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/5cbdddc38a4079f0abb7637603feef9122a11835611a83bb03d253ae1b212d00/2F7A1704-copy.jpg" data-mid="232897001" border="0" src="https://freight.cargo.site/w/1000/i/5cbdddc38a4079f0abb7637603feef9122a11835611a83bb03d253ae1b212d00/2F7A1704-copy.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/381c07ec06d038d735c0df3843b08273daf7ad2c7277e9f9e812dd96e64093d0/2F7A1713-copy.jpg" data-mid="232897004" border="0" src="https://freight.cargo.site/w/1000/i/381c07ec06d038d735c0df3843b08273daf7ad2c7277e9f9e812dd96e64093d0/2F7A1713-copy.jpg" /> <img width="2000" height="1350" width_o="2000" height_o="1350" data-src="https://freight.cargo.site/t/original/i/281323e18e8b2c75f446e237d177270a0e0f89682ce2c5dabafa55463e51789f/NADANewYork25_Newsletter.jpg" data-mid="228533551" border="0" src="https://freight.cargo.site/w/1000/i/281323e18e8b2c75f446e237d177270a0e0f89682ce2c5dabafa55463e51789f/NADANewYork25_Newsletter.jpg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/8bb2d72d999a615542bfa5707e1b13c1df344fd09459e8e2d7c658c259cc2cfa/The-Starrett-Lehigh-Building.jpg" data-mid="228533544" border="0" src="https://freight.cargo.site/w/1000/i/8bb2d72d999a615542bfa5707e1b13c1df344fd09459e8e2d7c658c259cc2cfa/The-Starrett-Lehigh-Building.jpg" />NADA New York 2025 is taking place in the Starrett-Lehigh Building in Chelsea. Entrée is excited to take part in the 11th edition of NADA New York with a solo presentation of Norwegian painter Lars Korff Lofthus. The booth (B204) will feature several large-scale paintings and sculptures.Growing up as an heir to the family farm, Lofthus’ work delves into the complex interplay between identity and place, weaving together themes of rural life, folklore, cultural landscapes, pop culture, and queer masculinity. His work engages with historical crafts and centuries-old cultural traditions; patterned quilts, decorative ornamental “rose” painting, and beer-bowl rituals that he himself participated in during his upbringing. Drawing from a diverse array of sources—including museum archives, books, photographs, online gay erotica, and folklore objects—Lofthus challenges conventional representations of masculinity through his unique approach to material, color, and surface. In his latest works, Lofthus blurs the line between abstraction and figuration, incorporating elements that reflect both sensuality and vulnerability. His paintings are a play on desire, visually oscillating between the bare minimal and fully saturated, exploring excess and restraint in equal measure. With these new pieces, Lofthus offers a fresh, intimate perspective on themes of identity, culture, and longing. Lars Korff Lofthus lives and works in Bergen and Hardanger, Norway. Recent solo exhibitions include Jeg bæres frem til törstig Mand at Kristiansand Kunsthall,Nu vandrer jeg for hver Mands Mund at Kunstnerforbundet in Oslo, and Drik av mig som en fuldkommen Mand at Hordaland Art Center. His work has also been featured in notable group exhibitions such as Jeg kaller det kunst at The National Museum, Norway, The Queer Gaze at Kode Bergen Art Museum, and Yasmine and the Seven Faces of the Heptahedron at Bergen Assembly.NADA New York 2025 will include a diverse and expanded selection from over 120 galleries, art spaces, and non-profit organizations spanning 19 countries and 50 cities such as Brussels, Shanghai, Berlin, Mexico City, Wroclaw, Belgrade, New York, and Philadelphia—and showcases 65 NADA Members and 54 first-time exhibitors.&nbsp;The fair will also feature NADA Presents, the organization’s signature programming series of conversations, performances, and events. Part of the program, Entrée warmly invite you to a conversation between Lofthus and Greg Newton, co-founder of Bureau of General Services–Queer Division, the beloved queer bookstore and cultural hub in NYC. WHEN Friends of NADA Preview:Wednesday, May 7, 9:30–10amVIP Preview (by invitation only):Wednesday, May 7, 10am–4pmVIP Hour &amp; Breakfast Reception (by invitation only):Friday, May 9, 10–11am Open to the Public:Wednesday, May 7, 4–7pmThursday, May 8, 11am–7pmFriday, May 9, 11am–7pmSaturday, May 10, 11am–7pmSunday, May 11, 11am–5pm WHERE The Starrett-Lehigh Building601 W 26th Street, 3rd FloorNew York, NY 10001(Enter on 11th Avenue)May 9, 2025, 4pmLars Korff Lofthus in Conversation with Greg NewtonNADA New York, 601 W 26th Street, 3rd FloorOn the occasion of Lars Korff Lofthus’ solo show with Entrée at NADA New York as well as the launch of his first artist monograph, Lofthus will chat with Greg Newton, Co-founder and Co-owner of Bureau of General Services–Queer Division, the beloved queer bookstore and cultural hub in NYC.Presented with Entrée and supported by the Norwegian Consulate General in New York, this dialogue will explore the evolving role of queer publishing today, the place of artist monographs within that landscape, and how these platforms shape visibility, community, and discourse as well as Lofthus’ distinctive practice, which weaves together rural identity, historical crafts, folklore, and queer masculinity in vivid and unexpected ways. &nbsp; <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b92a795b8a7378c857df970425417d9960e47aa8f30710883fd09a663935b42a/2F7A1710-copy.jpg" data-mid="232897003" border="0" src="https://freight.cargo.site/w/1000/i/b92a795b8a7378c857df970425417d9960e47aa8f30710883fd09a663935b42a/2F7A1710-copy.jpg" /> All install images from NADA New York by Gabriele Abbruzzese. <img width="3000" height="3597" width_o="3000" height_o="3597" data-src="https://freight.cargo.site/t/original/i/353cd178e429c311ebeb00bbb9e11f613b571019472aa52c1a273410c39d1abe/Lars-Korff-Lofthus_Adornment-Red_Entree.jpg" data-mid="231873981" border="0" src="https://freight.cargo.site/w/1000/i/353cd178e429c311ebeb00bbb9e11f613b571019472aa52c1a273410c39d1abe/Lars-Korff-Lofthus_Adornment-Red_Entree.jpg" /> <img width="2000" height="2373" width_o="2000" height_o="2373" data-src="https://freight.cargo.site/t/original/i/1f20a23f20055fee3df440903df7b358fe3c73816313ad8fc0357deeeec2f464/Lars-Korff-Lofthus_Cabinet-Blue_Entree_web.jpg" data-mid="231873982" border="0" src="https://freight.cargo.site/w/1000/i/1f20a23f20055fee3df440903df7b358fe3c73816313ad8fc0357deeeec2f464/Lars-Korff-Lofthus_Cabinet-Blue_Entree_web.jpg" /> <img width="2000" height="2359" width_o="2000" height_o="2359" data-src="https://freight.cargo.site/t/original/i/de1e844543d7f6a3c139bd18c2176d96d3ac1c5af2eaa29cbe991fe99c4e06d6/Lars-Korff-Lofthus_Jeg-baeres-frem_2-I-am-Presented_Entree_web.jpg" data-mid="231873984" border="0" src="https://freight.cargo.site/w/1000/i/de1e844543d7f6a3c139bd18c2176d96d3ac1c5af2eaa29cbe991fe99c4e06d6/Lars-Korff-Lofthus_Jeg-baeres-frem_2-I-am-Presented_Entree_web.jpg" /> <img width="2429" height="2884" width_o="2429" height_o="2884" data-src="https://freight.cargo.site/t/original/i/22efffc8c4026f638ea7910f7486fb456a17d2d0b444484d42c31613fa8b2d98/Lars-Korff-Lofthus_Mot-Sorfjorden-Fjord-view_Entree.jpg" data-mid="231873985" border="0" src="https://freight.cargo.site/w/1000/i/22efffc8c4026f638ea7910f7486fb456a17d2d0b444484d42c31613fa8b2d98/Lars-Korff-Lofthus_Mot-Sorfjorden-Fjord-view_Entree.jpg" /> https://entreebergen.no/NADA-LARS-KORFF-LOFTHUS Wed, 30 Apr 2025 07:05:11 +0000 entreebergen.no https://entreebergen.no/NADA-LARS-KORFF-LOFTHUS Lars Korff LofthusNADA New York&nbsp;May 7 — 11,&nbsp;2025<img width="2429" height="2884" width_o="2429" height_o="2884" data-src="https://freight.cargo.site/t/original/i/4c605408f131dbdd658390c660b6f164eb51218a6fb9129447140ff06f62f937/Lars-Korff-Lofthus_Mot-Sorfjorden-Fjord-view_Entree.jpg" data-mid="231735948" border="0" src="https://freight.cargo.site/w/1000/i/4c605408f131dbdd658390c660b6f164eb51218a6fb9129447140ff06f62f937/Lars-Korff-Lofthus_Mot-Sorfjorden-Fjord-view_Entree.jpg" /> Lars Korff Lofthus Mot Sorfjorden (Fjord View)2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesSOLD <img width="2455" height="2909" width_o="2455" height_o="2909" data-src="https://freight.cargo.site/t/original/i/a97f4d49f0d46fba408540add27a7613218366ba35a9b1ea23575fdda287a41b/Lars-Korff-Lofthus_Ghost-Bed_Entree.jpg" data-mid="231735945" border="0" src="https://freight.cargo.site/w/1000/i/a97f4d49f0d46fba408540add27a7613218366ba35a9b1ea23575fdda287a41b/Lars-Korff-Lofthus_Ghost-Bed_Entree.jpg" />Lars Korff Lofthus Ghost Bed 2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="2470" height="2919" width_o="2470" height_o="2919" data-src="https://freight.cargo.site/t/original/i/16dec436519ace3257ac1fd077a9103280a0ab676ca75e53308803ce4db58194/Lars-Korff-Lofthus_Adornment-Blue_Entree.jpg" data-mid="231735937" border="0" src="https://freight.cargo.site/w/1000/i/16dec436519ace3257ac1fd077a9103280a0ab676ca75e53308803ce4db58194/Lars-Korff-Lofthus_Adornment-Blue_Entree.jpg" /> Lars Korff Lofthus Adornment (Blue) 2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="2691" height="3193" width_o="2691" height_o="3193" data-src="https://freight.cargo.site/t/original/i/c25b8618e1b0500b365a24efd21263584bfb873603cbc747c05af20ff8c38d42/Lars-Korff-Lofthus_Cabinet-Blue_Entree.jpg" data-mid="231735941" border="0" src="https://freight.cargo.site/w/1000/i/c25b8618e1b0500b365a24efd21263584bfb873603cbc747c05af20ff8c38d42/Lars-Korff-Lofthus_Cabinet-Blue_Entree.jpg" /> Lars Korff Lofthus Cabinet (Blue) 2023Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="2425" height="2890" width_o="2425" height_o="2890" data-src="https://freight.cargo.site/t/original/i/f22a9ac32334c3d553413a76914175f5b683d00092040d0ebcb1514ba3d470c5/Lars-Korff-Lofthus_Bed_Entree.jpg" data-mid="231735939" border="0" src="https://freight.cargo.site/w/1000/i/f22a9ac32334c3d553413a76914175f5b683d00092040d0ebcb1514ba3d470c5/Lars-Korff-Lofthus_Bed_Entree.jpg" /> Lars Korff Lofthus Bed 2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="2468" height="2906" width_o="2468" height_o="2906" data-src="https://freight.cargo.site/t/original/i/57030524976c147fcef2fbfb96e21d1dd0fe0c4a27565caed810321f445bfa91/Lars-Korff-Lofthus_Beer-Bowl-Rhymes_Entree.jpg" data-mid="231735940" border="0" src="https://freight.cargo.site/w/1000/i/57030524976c147fcef2fbfb96e21d1dd0fe0c4a27565caed810321f445bfa91/Lars-Korff-Lofthus_Beer-Bowl-Rhymes_Entree.jpg" /> Lars Korff Lofthus Beer Bowl Rhymes 2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="2462" height="2911" width_o="2462" height_o="2911" data-src="https://freight.cargo.site/t/original/i/002b4bb15cf77843c90b63da3bda07de3edd2cc0757de16e61ac8f73286d2beb/Lars-Korff-Lofthus_Drinking-Ceremony_Entree.jpg" data-mid="231735942" border="0" src="https://freight.cargo.site/w/1000/i/002b4bb15cf77843c90b63da3bda07de3edd2cc0757de16e61ac8f73286d2beb/Lars-Korff-Lofthus_Drinking-Ceremony_Entree.jpg" /> Lars Korff Lofthus Drinking Ceremony 2025Painting, acrylic and pigment on canvas75 × 63 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="5109" height="6027" width_o="5109" height_o="6027" data-src="https://freight.cargo.site/t/original/i/2b6457dd60531fd5aedb9428df42aaf7a5b9d60dfee9d698b5d8015a7e397d4b/Lars-Korff-Lofthus_Jeg-baeres-frem-I-am-Presented_Entree.jpg" data-mid="231735946" border="0" src="https://freight.cargo.site/w/1000/i/2b6457dd60531fd5aedb9428df42aaf7a5b9d60dfee9d698b5d8015a7e397d4b/Lars-Korff-Lofthus_Jeg-baeres-frem-I-am-Presented_Entree.jpg" /> Lars Korff Lofthus Jeg baeres frem (I am Presented) 2023Sculpture, wood carving and acrylic12 × 15 × 12 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="3000" height="3597" width_o="3000" height_o="3597" data-src="https://freight.cargo.site/t/original/i/908788a9590f8fe1e9f812079d1edbd93ba317f07dd3ffaebfc4a5ae4e93e106/Lars-Korff-Lofthus_Adornment-Red_Entree.jpg" data-mid="231735938" border="0" src="https://freight.cargo.site/w/1000/i/908788a9590f8fe1e9f812079d1edbd93ba317f07dd3ffaebfc4a5ae4e93e106/Lars-Korff-Lofthus_Adornment-Red_Entree.jpg" /> Lars Korff Lofthus Adornment (Red) 2025Painting, acrylic and pigment on canvas70 × 60 × 1 inchesUnique For price inquiries, contact entree.randi@gmail.com <img width="4939" height="4183" width_o="4939" height_o="4183" data-src="https://freight.cargo.site/t/original/i/9603877890de0f487ed7b8fb6d133d490b30f25cb11e97102d5afba87eab4af0/Lars-Korff-Lofthus_Exhibition_Entree.jpg" data-mid="231735944" border="0" src="https://freight.cargo.site/w/1000/i/9603877890de0f487ed7b8fb6d133d490b30f25cb11e97102d5afba87eab4af0/Lars-Korff-Lofthus_Exhibition_Entree.jpg" /> Lars Korff Lofthus Exhibition 2021Painting, acrylic and pigment on canvas63 × 75 × 1 inchesFor price inquiries, contact entree.randi@gmail.com <img width="2604" height="3072" width_o="2604" height_o="3072" data-src="https://freight.cargo.site/t/original/i/bbdc3a466243379d121983a26557ce580f5ad3adbcba596bb193b6ba91a296b9/Lars-Korff-Lofthus_Staup-med-landskap-og-kar.jpg" data-mid="232852585" border="0" src="https://freight.cargo.site/w/1000/i/bbdc3a466243379d121983a26557ce580f5ad3adbcba596bb193b6ba91a296b9/Lars-Korff-Lofthus_Staup-med-landskap-og-kar.jpg" /> Lars Korff Lofthus Staup med landskap og kar 2024Sculpture, wood carving and acrylic19 × 12 × 10 inches UniqueFor price inquiries, contact entree.randi@gmail.com <img width="1000" height="1328" width_o="1000" height_o="1328" data-src="https://freight.cargo.site/t/original/i/cbbb21951628d5adb9d54c941a3c24cb3149d984b9d4b8b90a69cae50d4d133f/attraa_cover_s.jpg" data-mid="231737390" border="0" src="https://freight.cargo.site/w/1000/i/cbbb21951628d5adb9d54c941a3c24cb3149d984b9d4b8b90a69cae50d4d133f/attraa_cover_s.jpg" /> Lars Korff Lofthus - ATTRÅ Artist’s Monograph. 30,5 x 23 cm. Hardcover. First Edition (500). 128 pages. Paper: Bravia Gloss. Printing: DZA Druckerei zu Altenburg Gmb. Designer: Øystein Aarbo Studio. Editor: Cecilie Almberg Størkson. Texts: Merete Jonvik, Bjørn Hatterud, Lars Korff Lofthus, Cecilie Almberg Størkson. Photos: Bent René Synnevåg. Published by Entrée. ISBN 978-82-999017-2-7 $ 35 By here: Tekstallmenning (with international shipping) or&nbsp;email: entree.randi@gmail.com Entrée is excited to take part in the 11th edition of NADA New York with a solo presentation of Norwegian painter Lars Korff Lofthus. The booth (B204) will feature several large-scale paintings and sculptures.Growing up as an heir to the family farm, Lofthus’ work delves into the complex interplay between identity and place, weaving together themes of rural life, folklore, cultural landscapes, pop culture, and queer masculinity. His work engages with historical crafts and centuries-old cultural traditions; patterned quilts, decorative ornamental “rose” painting, and beer-bowl rituals that he himself participated in during his upbringing. Drawing from a diverse array of sources—including museum archives, books, photographs, online gay erotica, and folklore objects—Lofthus challenges conventional representations of masculinity through his unique approach to material, color, and surface. In his latest works, Lofthus blurs the line between abstraction and figuration, incorporating elements that reflect both sensuality and vulnerability. His paintings are a play on desire, visually oscillating between the bare minimal and fully saturated, exploring excess and restraint in equal measure. With these new pieces, Lofthus offers a fresh, intimate perspective on themes of identity, culture, and longing. Lars Korff Lofthus lives and works in Bergen and Hardanger, Norway. Recent solo exhibitions include Jeg bæres frem til törstig Mand at Kristiansand Kunsthall,Nu vandrer jeg for hver Mands Mund at Kunstnerforbundet in Oslo, and Drik av mig som en fuldkommen Mand at Hordaland Art Center. His work has also been featured in notable group exhibitions such as Jeg kaller det kunst at The National Museum, Norway, The Queer Gaze at Kode Bergen Art Museum, and Yasmine and the Seven Faces of the Heptahedron at Bergen Assembly.NADA New York 2025 will include a diverse and expanded selection from over 120 galleries, art spaces, and non-profit organizations spanning 19 countries and 50 cities such as Brussels, Shanghai, Berlin, Mexico City, Wroclaw, Belgrade, New York, and Philadelphia—and showcases 65 NADA Members and 54 first-time exhibitors.&nbsp;The fair will also feature NADA Presents, the organization’s signature programming series of conversations, performances, and events. Part of the program, Entrée warmly invite you to a conversation between Lofthus and Greg Newton, co-founder of Bureau of General Services–Queer Division, the beloved queer bookstore and cultural hub in NYC.