Tre unge lovende

Kaja Cxzy Andersen, Linda Karin Larsen, Erik Sæter Jørgensen
Kunstgalleriet, Stavanger
13.-30-6.14
Works of young aspiring local artists, and one invited bonus artist

In this event Kunstgalleriet invited three local artists, all young and aspiring, to present their works in an exhibition. One of them also invited a friend to join. This is a great action by the gallery, and a great opportunity for us viewers to experience something fresh and new. Here we are invited into the underground of Berlin, into the surface of peanuts and red items, and into the virtual life on the web.


Erik Sæter Jørgensen: Steve on Red + German Pinazo: Pris ved forespørsel


Exhibition view


Germano Pinazo: Pris ved forespørsel


Kaja Cxzy Andersen: ELEGY #2 Its Over + ELEGY #3 Eclipse of Yang


Kaja Cxzy Andersen: Monument for a Recluse


Linda Karin Larsen: Oloibiri


Linda Karin Larsen: Red Palm Oil + Red Earth + Red Drill Pipe

Pushwagner

Pushwagner
Galleri Sult, Stavanger
10.6.-10.7.14
Colourful prints from the psychedelic world of Pushwagner

New works, in the meaning newer than at his last exhibition at Galleri Sult, by the unique artist Pushwagner are on display. Again we are invited into the psychedelic world of Pushwagner, of the slightly trembling outlines and strong colours. We meet old acquaintances, in the Bogeyman, The Pill and High Society, but more interesting are the new motives. Both the pop-art styles of burlesque dancers and circus managers, and incredible universes in Baby Trip and Cosmos. And the self-portrait of the artist thirteen years old.


Lasergun Love


Baby Trip


Cosmos


Satosh


Lul


Thirteen

Dot Dot Dot: While You Slept...

While You Slept...
Dot Dot Dot
8.-28.6.14
Reed Projects / Skur 2, Stavanger
Street art stencils into the gallery

What used to be surprises in the streets signed the artist Dot Dot Dot, have now entered the gallery space. This is not the first street artist to enter the white cube, and will surely not be the last. There is a risk involved in that transition. Not necessarily for the artist, who then hopefully is secured a more stable income from sales. But the art may suffer. If the works exhibited are just copies of what is in the streets, they only trigger the recognition feeling for those who saw it in the streets. But if the artist use the opportunity the change of scene offers to develop his style, this may have a major impact of his works, and may also influence later works in the streets.




So how has Dot Dot Dot handled this transition into the gallery space? Most of the stencils are already known from the streets. The new part are mostly the backgrounds. As a canvas has really no structure or history, this has to be created by the artist. Some backgrounds are quite neutral, while others are more filled with energy. Most interesting are actually the backgrounds created by other artists: Several of the prints have had guest appearances by other artists, adding a totally different context and impact of the stencil part. And the most apparent is the "guest appearance" by Edvard Munch in the Scream and Theft series.




My impression is that Dot Dot Dot mostly prefer being in the streets, working while we are sleeping (hence the title "While you slept..."). The impact of the works are mostly the instant one, the surprise factor when you discover the work and then the joy of the impact of the motive.

Still I sense a playfulness and the beginning of a creative process in the canvas works, and I am curious on where this will lead, especially when it comes to the public works. I consider the burnfire and the theft/scream topics the most promising ones, and wonder if I will see more unmasked protagonists in the future.




Protester


Dunkelziffer


Tectyl / Tectyl190 / Carosol


Theft AP / Scream AP
              

Utsnitt

Utsnitt
Kunstskolen i Rogaland - 1.årsutstillingen
3.-8.6.14
Rogaland Kunstsenter, Stavanger 
Exhibition by the 1st year students at Rogaland Art College

Experiencing the works created by the first year students gives several suspenses. Who has been able to establish a personal voice already through the first year? Who will continue to the second year to develop further? Make up your own mind.

The students have taken several vacant rooms at Rogaland Kunstsenter in use, both displaying their work and exploring the possibilities of the rooms. Walking through the exhibition is also a journey of discovery for the visitor.

   
Janna Sunset: Energisky

   
Kim Hyunh: Connect

                    
Christine Nissen: Bestemors selskaps-asjetter


Thomas Hay Djup: IDTHD


Silje Ellin Amdal: Up on a Pedestal (Del 1)


Mia Hellemo: En reise i tid og rom med tre arbeider


Silje Ellin Amdal: Up on a Pedestal (Del 2)


Ana Bulatovic: Remembering Memories


Solveig Hattaland: Opne Opp


Frode Schelderup: Keratokonus (You see, you don't see)


Paulina Marchewa: Underground


Christian Ormøy: PAX 268


Espen Pedersen: Aspekt


Simon Eikaas Loken: Sjikt (detail)


Simon Eikaas Loken: Sjikt (detail)


Henriette Prytz: Janteloven


Silje Ellin Amdal: Up on a Pedestal (Del 4)

Fem blikk

Fem blikk (Five views)
Gunvor Olsen, Birgit Eide, Torill Brosten, Aud Bækkelund, Ida Helland-Hansen
8.5.14-
Sandnes kunstforening, Kinokino
Textile art, installations, paintings.

In this nice collaborative exhibition by five female artists, textile art is mixed with puppet installations and abstract paintings. I am specially impressed by the contrasts of sharp items and soft wool, crisp geometry in textile, frightening dolls, and a biblical quote in the context of islamic headwear.


Aud Bækkelund: Fargen i latteren din


Gunvor Olsen: By på høgsletta


Birgit Eide: Avkledd


Birgit Eide: Tildekket + Bibelvers + Tildekket
Included a Bible verse saying every woman should cover their hair, or else they might as well remove the hair totally.


Ida Helland-Hansen: Gyldne tider


Gunvor Olsen: Kosmisk møte + Birgit Eide: Innenfor sirkelen + Torill Brosten: Gyllent øyeblikk

Ingrid Toogood: Gest

Gest
Ingrid Toogood
24.4.-8.6.14
Kinokino, Sandnes
Installations, abstract paintings, mirrors

Lately Ingrid Toogood has changed from painting fairytale landscapes to abstracts and optical illusions. At Kinokino she had vast areas at her disposal, but made the brave decision to put in only a few artworks. Here are abstract paintings on canvas, seemingly floating above it, paintings on glass in a cubistic portrait, reflections in modified mirrors. And a print with several levels of illusions. What I first see seems like a giant ribbon lying on the floor, reflected in a mirror in front of an abstract painting. But then I realize the ribbon is not three-dimensional, it is two-dimensional on the floor. And finally I understand the mirror is not a mirror either, and in fact the whole scene is a print hanging from the roof, continuing flat on the floor.