Your profession hurts me, but at the same time inspires me // Nicolás D. Lillo
In his artistic practice, Nicolas Lillo, takes Gothic Aesthetics as a reference, linking it with the present feeling of overload information, administrative rituals of prevention and the imminent collapse of the modern Edens of comfort.
Following the instructions from anti-tutorials or uncompleted catalogs, and looking forward to undermine creativity, statements and concept, he works with oil painting, video and music, exhibiting the act of creation as overpack snapshots of prejudices ( framed into a Delay sequence).
With the excessive amount of material, amplified layers, regretting, delays, feedback of colors and the ongoing accumulation of misgivings, he attempt to escape from the reductionist representation of immaculate objects, interesting toys or speculative souvenirs, in favor of the multiplication of perspectives.
Therefore, he has developed a technique of reverberances of excuses where the oil material plays a major role and where he is transformed into a disable user, unable to elaborate a successful long term contract for choosing images, opening franchises or drinking antidotes.
For this reason Nico Lillo’s work reflect a corrupted decoration from where emerges a colored organic Pattern which works as a distortion of disciplined events, legal advices, Design, domestic life, sponsoring or any institutionalized materialization of the instinct
Sailor - Failure // Lorie Ballage
I look at clouds that come and slip northward. I see waves that form and deform. The wind enters my eyes. Colors blend and I even forget where I am. I fantasize about possibilities. Life flows and shakes my face. I am hot and I am cold. As the waves dance on the horizon, I think about those who return and those who don’t. Always a face, always a thought. At the edge of the ocean, there must be space. A wave deforms and another forms again. Such is life.
I live in a cargo of flesh and bones, carefully carrying a few litters of oxygen and carbon dioxyde. It dissolve in the frames of my nerve endings, in my native engine pistons, in the rear of my scented synapses castles. I live as a surveyor of the foundations of a hidden world, adjusting meter by meter through the viewfinder of my closed eyes. Water follows its swings. And as for me, I am not sure.
The Sea is the poetic catalyst of Lorie Ballage’s practice. Through different mediums, she navigates into unexplored territories where the potentialities of failures and thrills arises from uncertainty.
HOLD RESET WHILE YOU TURN POWER OFF // Victor Guzman
The title relates to his memories of being a 10 year old immigrant, attempting to integrate to a small Norwegian town named Røyken in 1997. The title refers to a quote from a video game called Final Fantasy, where the player have to do these instructions to save the memory in the game.
He sees his works in the form of a diary where he, in a narrative way, shows us different memories of confrontations with bullies and pop culture. Identity issues and the act of survival are some of the main topics Victor wants to portray in this exhibition. He does not see these works as revenge or settlement, but rather as an awareness about xenophobia and bullying.
On this exhibition Victor comments:‘’The refugee crisis in Europe gave me flashbacks of the way I was treated in school. More borders got closed and the desperate got left outside. It was a matter of survival. I was attacked physically and often with racist words because me and one other boy were the only minorities in a white school at that time. It came to a point where I desired to be white like the others, so that they would accept me. It came to a point where I had suicidal thoughts. Luckily, I found an escape from these identity issues: video games and cartoons’’
Spenningstilstander II / States of Tension II // Robert Julian B. Hvistendahl
In the exhibition the artist presents a series of sculptures. Through the use of rubber bands different tensions are created which either cooperates or work against each other to mantain an apparent static state. The relations of tensions are set at the start of the exhibition. Given time tensions will be released, but depending on the individual stress and the interplay of tensions, questions as to when and which remains open, until they are released.
The background for this project is an interest in the interactions and relations between different components within a greater context, whether the context is psychology, interpersonal relations, or on a societal level.
The exhibition at Galleri Fisk will be the second version of this project.
Delayed gratification is a sign of maturity // Cara Lien
How are you supposed to relate to the fact that apparently your most valuable attribute is a body part? Can you embrace internalized objectification as a rebellious act, or are you just part of the problem? Is there a proper way to deal with things that have hurt you, and are we bad people if we choose something else?
With the privelege of access to technology I can take part in the culture around social media. With photography and the distribution of it through social media being this accessible, we have an opportunity to curate a seemingly more intimate insight into our everyday life. The intention of the series is to reveal the intimacy of self-reflection in self-photography.
This exhibition is part of an ongoing project where I work with oilpainting, currently with myself as the subject. I take nudes and I paint them on a square, Instagram friendly canvas, in order to elevate the selfie. Through this I also explore how we allow body parts to trend as a result of a culture that dictates how an ideal woman should look. The body part of my generation is the ass.
Botanikens historia // Daniel Hansen
"[...] The surf was too great to permit us with a single boat and that so small to attempt to land, so we were obligd to content ourselves with gazing from the boat at the productions of nature which we so much wishd to enjoy a nearer acquaintance with. The trees were not very large and stood seperate from each other without the least underwood; among them we could discern many cabbage trees but nothing else which we could call by any name. In the course of the night many fires were seen." - The Endeavour Journal of Sir Joseph Banks
I'm a swedish artist born in 1991.
I think about ecology, historicity and most recently the issues nationalism brings with it into some situations. Across different media, but mainly through photography and text, I wish to open up for new ways of imagining the world and ourselves.
Materia Prima // Aurora Solberg
To paint, to look at paintings, to immerse myself in color, is an obsession. In brief moments and long-term observations watercolor allows me to experience the movements and interactions between water, pigment and paper.
Watercolor is abstract and concrete at the same time. In the figurative images the movements in the material becomes concrete figures; a sky, a night, a distant place.
Abstraction makes the painterly processes concrete, and the materials represent themselves, here, in this room. Simultaneously, shapes take form in the viewer's gaze, forms that are affected by memories, associations and intuition.
Daylight, light from a projector or twilight hides and reveals the spaces where painting unfolds.
Froontimmer // Alison Darby, Marta Djourina, Sidsel Ladegaard and Karin Salathé
It is Monday. The sun rises at 8.40 and we enter an empty room. The sun will set at 18.05, then we leave the
room. The white room will change, the light will change. And the walls and the sounds. Then it is Tuesday and the
sun rises again. The door will be opened, and there will be a smell of coffee and rain in the air.
We invite you to follow the changing of a room during one week from Monday to Sunday. It is a working week,
and not only the light will come and go, also materials, objects and sounds will appear and disappear. What does it
mean to have a routine, what returns, what moves and what stays? What is a day, what is a perfect day?
The show is open all week and can be visited as often as you like. The four artists will work directly
in the space and follow the rhythms of the day. The room opens every morning at sunrise and closes
at sunset. The days are getting shorter. On Friday the space will also be open in the evening and
sicfwiwilf // Andreas Dyrdal
‘SICFWIWILF’ is the result of the somewhat banal task of undertaking a 1:1 photographic reproduction of gravel; an installation caving in on itself, a display that short-circuits.
Initially tracing personal narratives and experiences, Andreas Dyrdal’s current research is concerned with the ambiguity of evoking meaning through artistic procedures and representations; questioning the ability of objects and images as relational tools and referents. Within this lies a deep concern to question the notion of indexicality within the photographic image and to tackle concepts of history and context, and their possible absence.
This puts us in greater danger of weeping than laughing // My Sjöberg and Albin Bergström
The works shown in the exhibition are based on personal family stories. They’re homages to the big and existential feelings and questions of life. An attempt to create something that with an explicit, literal and power ballad-esque aesthetic really puts us closer to tears than laughter.
DeStruct ReStruct // Tia Casper
Tia Casper’s artwork allows her to take a critical look at social, political, religious and environmental issues.
Casper is drawn to content that is controversial and makes the viewer think and feel heavy emotions. Casper produces works of this type because she cannot ignore what she sees on a daily basis in the media and in her everyday life. Arriving at this point in her practice has given her a profound view of society and it's complex structure.
We don't question what happens to our things once they lose their usefulness. We discard them and replace it with a newer, better version. The rate at which society is producing and discarding items has never been seen before.
DeStruct ReStruct is an attempt to challenge the viewer with refuse, raising questions of sustainability and environmental concerns in the capitalist-consumerist world in which we live.
Thinking Like a Mountain // Sisse Mark
Thematically Sisse’s work revolves around life on earth, usually with a focus on anthropocentric consumerism in relation to environmental issues. She raises questions concerning the coexistence of human as well as non-human sentient beings, living in a modern industrial society.
The title of the exhibition refers to an essay by philosopher, scientist, ecologist etc., Aldo Leopold, written in 1945 and was at that time a seminal piece frame-working the way of perceiving ecosystems.
In the essay Leopold describes how he and others shot and killed a wolf for no particular reason. Watching the wolf die was a revelation to Leopold: “I realized then, and have known ever since, that there was something new to me in those eyes (the wolf’s) – something known only to her and to the mountain.”
Leopold explains how he has seen the entire ecosystem change as the number of wolves decreased. The deer proliferate and eat the vegetation that grows on the side of the mountain which affect other plants and animals living in that habitat and even the mountain is at risk of landslides. When thinking like a mountain, Leopold suspects that “just as a deer herd lives in mortal fear of its wolves, so does a mountain live in mortal fear of its deer.”
Life Lessons // Taru Kallio
My work deals with:
- future and other current crisis
- embarrassment and glory of forgetting
- the relationship between maker and the one to be made
- artists´ process as performative act
- something unknown
// Siska Katrine Jørgensen
overfladen slutter når undersiden begynder
overfladen slutter der hvor oversiden på undersiden begynder
overfladen slutter når overfladen på undersiden begynder
overfladen slutter der hvor undersidens overflade begynder
overfladens underside slutter der hvor undersidens overflade begynder
det som er under overfladen begynder der hvor overfladen slutter
An exhibition dealing with the relationship between form and content / shape and material and how this relationship can be rearranged.
Nedarvet Retning // Arild Våge Berge
"During the 60s, my grandfather was administrator of a local hydropower company and responsible for the construction of a hydroelectrical power station in the mountains above the small community of Bjørke in Hjørundfjorden. The project was large in scale and technically difficult.11 lives were lost during the construction and the facility remains the most serious alternation of the landscape in the area today.My father works in the same company and has been doing so for 35 yars.I, on the other hand, have chosen to pursue a career as an artist, a decision not really understood by the men in my family.I have grown up being concerned about the alternation the power station has done to the natural landscape.At the same time I do admire the skill of the work and since my childhood I remember being fascinated by the scale of the water dams and sublimity of the natural forces they withstand.Within the first months of working on the project my grandfather passed away.My understanding of technology as an opposite to nature was then deeply challenged as the power station now continues to operate,hence preserving somehow a lifeforce initiated by my grandfather.Difficult questions concerning intrusion into nature rise as the infrastructure of the station is connected to affective values ofdealing with the loss of my family member"
A central topic to Arild Våge Berges work has been to investigate the threshold between humans and nature. This often comes to expression through landscape works with photography as a starting point. He is interested in maps and landscapes and understand these as a result of historical, political and ideological conditions
OFFLINE // Helle Lindskog, Isis Maakestad and Iris Brinkborg
Things take time,
Let’s have a break!
Svelg meg ned // Hedda Hørran
Med tidligere fokus på tekstarbeid og foto stiller hun nå ut større tegninger og malerier produsert i perioden november 2015 opp til nå.
Arbeidene er produsert med blandet teknikk, på lerret, tepper, bomull, velur, med akryl, oil sticks, spraylakk, blyant etc., og oppstod i et ønske om å, i mangel på et bedre uttrykk frigjøre sin egen arbeidsprosess, fjerne seg fra en konseptuell tankegang og gå inn i handlingen, bruke det en har for hånden og være så enkel og åpen som mulig i sitt uttrykk.
"Reality is shit, art is super!" - Jonathan Mese
Spør Pent // Ane Krogseth
As a kid I was taught it´s not nice to point.
I see all these objects, situations, landscapes. I see all these situations, objects, landscapes. I see all these landscapes, situations, objects. I see all these landscapes, situations, objects. I see all these landscapes, situations, objects.
I own my view of them, but don´t know if i like it. Who does?
Did Roland Barthes´ mother like the picture of herself?
Through various artistic medias she produces her works with a base in social and personal experiments. Ane combines painting, photography, video, sculpture, drawing, text, performance and installation, she often uses appropriation and repetition of details.
Del 1; Protolitt // Sara Kollstrøm Heilevang
Sara Kollstrøm Heilevang (b. 1991),
presents Stones (a tale of pressure, temperature and slow metamorphosis
Shaping // Ludmila Hrachovinov
The project Shaping is an interactive installation consisting from the objects made out of soil, in which everybody is invited to participate and influence the whole character of it
Observations on Graph Paper 1-24 // Eva Eich
»Observations on Graph Paper 1-24« is a series that consists currently of 24 drawings. Lines are drawn with white ink on ordinary A4 graph paper. The ink is added onto the surface, partly covering and removing the grid and thereby revealing structures and patterns which seem to exist within the grid or maybe just the mind.
Eva´s medium is the line. Her work shifts between drawing and weaving. She deals with the passing of time, duration and the rhythms of everyday life. She is interested in repetition and the process of making and passionate about putting lots of little things together to make larger pieces. Considering rules and constraints as liberating for the mind, she often works within self imposed settings, which allow to focus on the making and being in the moment
GRAVALLVARLIGT TALAT // Nikki Fager Myrholm
My father chose a life where there wasn't any room for children. It's a fact, but not the only one.When he was still alive, I never really got to know him. I did not realize there was more. Layers and layers. Like an onion, forgotten at the back of the refrigerator until it shriveled up and disappeared.
I am disappointed that he never gave me answers to all my questions. Then again, I never asked him.
But I do now instead.
BROKEN LOOP SERVES MIND SOUP // PerErik Larsen
With a combination of drawings and sculpture/apparatus he explores the rhythms and structures of the rays of the world. The project revolves around the uneven repeat of time, as it decreases and extends depending
of the loop´s duration. When the loop is broken hierarchies dissolves, time keeps evolving, but in unpredictable directions. Disorientation. Reorientation. The outer gaze creates an inner space of reflection, or is it the other way around? Like evolving organisms of any scale and dimension, we leave our sensational footprints and vibrations.
Plastic, Rust and Dust // Guttorm Glomsås
Plastic, Rust and Dust
- How matter comes to matter
Some believe the world is made of matter, and that matter are systems that will appear, multiply, separate, connect, collapse and overlap with other systems. In Plastic, Rust and Dust mechanical principles and chemical processes will be used to fold out different folds of meanings. It will be showed works with themes varying from how to produce plastic out of piss, with all is legal limits (norwegian law is quite strict on this), to attempted control of plant growth.
Guttorm works with a model of the identity (of things and people) as a meeting point between different systems, such as linguistic, biological, chemical and mechanical systems. Systems that connects and disconnects, collapse and builds up. In his work he works in opposition to the idea of a stable natural state (for example within gender, nationality, class and nature).
Spring Screen - One Day Only // Galleri Fisk
GALLERI FISK is happy to present 13 video works by artists, working with video and short animation.
Eli Maria Lundgaard (NO) Josefina Malmegård (SE)
Moa Gustafsson Söndergaard (SE) Angelika Szkucik (PL) Kevin Luna (SE) Camilla Topuntoli (SE) Richard Krantz (SE) Beatrice Orlandi (IT) Espen Pedersen (NO) Wendimagegn Belete (ET) Angelica Falkeling (SE) Dorota Tylka & Amadeusz Ferduła (PL) Madlen Hirtentreu (EE)