Natasja Askelund

Kjenner du min mor?

Exhibition period 27th of February – 11th of April

Do you know my mother?
Installation view

Please scroll for Norwegian version

Retrieved from a space forgotten in the contemporary. Reconfigured from the past the motifs are known to us – yet we pass them by. Often seen within the sphere of the private, the familiar and the known, the paintings retracted by Natasja Askelund entails a capacity to travel through generations. Their value often attributed by those who own them and by those who live amongst them. Embedded with memories conjoined with the sentimental, through time the paintings become conceptual memorials, individually specific in the hands of their current owner, a marcour of ones belonging. We also see them in hallways of nursing homes, public offices or even hotel rooms. Spaces of fluctuant movements of people headed towards something else – not towards the paintings themselves. It is here we pass them by. 

These paintings depict landscapes with creeks and woods, seas and rocky hills rising against the force of waves. The scenes are familiar, both within the art-historical and folklore discourse as they render notions of tradition and the magnetic capability of nature. A painted rim around the edge of the canvas simulates the traditional frame. Wooden, golden and slithering ornaments convey the presence of the physical frame, which in cases of the past were unaffordable, and therefore applied in paint 

” Do you know my mother?” consists of a series of works founded upon these recollected paintings. Gathered from local artists their immediate visual attributes are transferred, their motifs restored against a new canvas, their dimensions pulled and redrawn – yet still recognisable within the realm of their origin. The presence of Askelund is reinforced by incorporations of half-figurations that are placed over parts of the original motif. Found in Askelund´s previous works, these abstract shapes emphasize the artists own position within the frame as elements from the past are regathered. Rousing colours stretch towards the beholder, restrained by their applied perimeter they vibrate on the surface of the landscape. Neither hiding nor underlining aspects of the directly figurative of the original painting, they manage to manoeuvre our ways of perception. They challenge the approach as they intervene through their own manifestation, questioning the manner in which its viewer positions oneself as they meet. As one moves towards the paintings these structures confront our expectations of the landscape and to the painting itself through their abrupted expression of the visual. The title of the exhibition “Do you know my mother?” can be perceived within the melancholic notion in which these paintings exist. It speaks of belonging, tradition and memory – the presence of what we care for and its manifestation in our surroundings. 

Hentet tilbake fra et rom glemt i nåtiden. Motiver gjenskapt fra det forgangne – velkjente motiver for oss – likevel går vi forbi dem. Gjerne sett innenfor privatsfæren, det familiære og kjente, makter de maleriene Natasja Askelund i sitt format tilbakekaller, å bevege seg over generasjonene. De får den verdien som ofte tillegges dem av eierne og de som lever og bor blant dem. Mettet med minner i kombinasjon med sentimentalitet, blir maleriene konseptuelle minnesmerker, personlige og spesielle i hendene på dagens eier, som en markør av tilhørighet. Vi ser dem også i inngangspartiene til pleieheimer, i offentlige kontorer eller til og med hotellrom, rom for mennesker i flyktig bevegelse på vei mot noe annet – ikke mot bildene selv. Det er her vi går forbi dem.

Disse maleriene avbilder landskaper med viker og skoger, sjøer og steinete bakker som reiser seg mot bølgenes krefter. Scenene er kjente, både innenfor en kunsthistorisk og folkloristisk diskurs, der de formidler forestillinger om tradisjon og naturens magnetiske muligheter. En malt kant rundt lerretet simulerer den tradisjonelle rammen. Treaktige, gyldne og glidende ornamenteringer gir en fornemmelse av en fysisk ramme, som man før i tiden gjerne ikke hadde råd til, og som derfor ble påmalt.

«Kjenner du min mor?» består av en serie arbeider basert på disse erindrete maleriene. Deres umiddelbare lokale attributter samlet fra lokalekunstnere overført og motivene gjenopprettet mot et nytt lerret, dimensjonene strukket og trukket opp på ny – og likevel gjenkjennelige innenfor originalenes verden. Askelunds tilstedeværelse er forsterket av inkorporerte halv-figurasjoner plassert over deler av de originale motivene. Selv om de ikke er identiske, kan disse halv-figurasjonene gjenkjennes i Askelunds tidligere arbeider og derfor leses som en forlengende forestilling om hennes egen tilstedeværelse ved siden av det de tilfører i kraft av seg selv.  

Kraftfulle farger strekker seg mot betrakteren og vibrerer i landskapets overflate, holdt på plass av figurasjonenes egne perimeter.Uten verken å skjule eller understreke de direkte figurative aspektene i det originale maleriet, klarer de å styre persepsjonen vår. De utfordrer tilskuerens tilnærming, som de ved sin egen manifestasjon bryter inn i ved å sette spørsmål ved måten betrakteren posisjonerer seg. Som man beveger seg mot maleriene, konfronterer disse strukturene våre forventninger til et landskap og til maleriet selv gjennom sitt avbrutte uttrykk av det visuelle. Utstillingens tittel, «Kjenner du min mor?»  oppfattes innenfor det melankolske konseptet disse maleriene eksisterer i. Den taler om tilhørighet, tradisjon og minne – nærværet av det vi bryr oss om og dets manifestasjon i våre omgivelser.

English text by Pernille Dybvig / Norwegian translation by Jan Askelund

Do you know my mother?
2021 / Oil on canvas / 200 x 300 cm
Do you know my mother?
Installation view
Into the woods III, 2021 / Oil on canvas / 120 x 120 cm
Do you know my mother?
Installation view
Into the woods II, 2020 / Oil on canvas / 160 x 195 cm
Remember I, 2021 / Oil on canvas / 69,5 x 89,5 cm
Remember II, 2021 / Oil on canvas / 69,5 x 89,5 cm
Knowing Me, 2020 / Oil on canvas / 195 x 150 cm
Knowing you, 2021 / Oil on canvas /195 x 150 cm
Into the woods, 2020 / Olje på lerret / 165 x 200 cm
Haugesund, 2021 / Olje på lerret / 195 x 300 cm
Til mor, 2021 / Oil on canvas / 160 x 120 cm
Stealing a landscape, 2021 / Oil on canvas / 165 x 200 cm
Piotr Łakomy
Doorway

Due to the recent COVID-19 restrictions issued by the Norwegian Government, we unfortunately have to postpone the exhibition Doorway by Piotr Łakomy.

Be sure to check out the latest issue of Mousse Magazine no.74 and émergent magazine 06, featuring Piotr Łakomy’s work.

Please stay tuned for further updates

ART COLOGNE

2020

REBECCA ACKROYD / PER DYBVIG / DICKON DRURY / SVERRE WYLLER

November 18 – 22

Art Cologne online catalogue:

https://2020.artcologne-katalog.koelnmesse.online/catalogue/site/index?category=0&l=O

Galleri Opdahl at Art Cologne ARTSY:

https://www.artsy.net/show/galleri-opdahl-galleri-opdahl-at-art-cologne-2020?sort=partner_show_position

Key in, house burning
2020
Somerset satin paper, gouache, soft pastel
188 x 127 cm
Rebecca Ackroyd
Unwinding Night
2020
Epoxy resin, polyurethane resin, steel
60x 60 x 80 cm
Sverre Wyller
Westend #17
2018
Egg tempera and charcoal on canvas
160 x 140 cm
Per Dybvig
Approx like this
2009
ink on paper
Series of 16 drawings / Each: 24 x 31 cm
Per Dybvig
Approx. like this
2009
Ink on paper
Series of 16 drawings / Each: 24 x 31 cm
Dickon Drury
Untitled, 2020
Oil on flax
42 x 30,5 x 2 cm
Oil on Flax
Dickon Drury
Untitled, 2020
Oil on Flax
31,5 x 42 x 2 cm

herfra

April 30th – May 31st 2020

Liv Ertzeid / Olve Sande / Martin Sæther / Tarald Wassvik / Lene Baadsvig Ørmen

The exhibition is organized by Olve Sande and Martin Sæther

Olve Sande
Hűvösvölgy (August/Mars), 2020
Pigment, plaster, clay, ink, marble and rabbit skin, glue on canvas
155 x 120 cm
Martin Sæther
Strie, 2020
Acrylic plaster, fiberglass, acrylic paint
106 x 80 x 4,5 cm
herfra
Installation view

Liv Ertzeid
Når solen varmer lukter det støv, 2020
Oil and acrylic on glued cotton
60 x 50 cm
Olve Sande
April, 2020
Pigment, plaster, clay, ink, marble and rabbit skin, glue on canvas
120 x 100 cm
Martin Sæther
Installation view
herfra
Installation view
Tarald Wassvik
Høyt gress og ugress gror der ingen vandrer, 2020
Pigmented furniture lacquer , pencil, acrylic, oil, poplar veneer, spruce, screws, glue, acrylic sealant and filler
185 x 188 x 6 cm
Installation view
Olve Sande
Mantova I(Oktober/April), 2020
Pigment, plaster, clay, ink marble and rabbit skin, glue on canvas
160 x 120 cm
Liv Ertzeid
Blandet blomsterbed, høy, 2019
Oil on glued cotton
Liv Ertzeid
Maursti, 2020
Oil and acrylic on glued cotton

Lene Baadsvig Ørmen
Nr 6, 2020
Concrete, bronze, steel
43 x 77 x 30 cm
Lene Baadsvig Ørmen
Nr 6, 2020
Concrete, bronze, steel
43 x 77 x 30 cm
Lene Baadsvig Ørmen
Nr 2 , 2020
Bronze, concrete, steel
123 x 42 x 30 cm
Liv Ertzeid
Blandet blomsterbed, lav, 2019
Oil on glued cotton
120 x 110 cm
Tarald Wassvik
Om natten er lampen Gud, 2020
Charcoal, dry pastel, watercolour and pencil mounted on wood, veneer, pigmented filler, glue screws and furniture lacquer
Tarald Wassvik
Innlandet, 2020
Pigmented furniture lacquer, pencil, acrylic, oil, poplar veneer, spruce, screws, glue, acrylic sealant and filler
52 x 45 x 10 cm
Lene Baadsvig Ørmen
Nr 3, 2020
Concrete, bronze
10 x 60 x 60 cm

(The text is currently only available in Norwegian)

Herfra

fra dette sted, fra dette

Romanene jeg har skrevet er for meg som knagger, merker i tiden, og på samme måte som jeg kan dele inn livet etter stedene jeg har bodd, kan jeg dele det inn etter bøkene jeg har skrevet. Jeg kan se for meg at det må være på samme måte med kunstverk. De markerer et skille i tiden, først for den som har laget det, og siden, muligens, for betrakteren.
Verket har spor i seg fra forutsetningene det ble laget under, og fra stedet hvor det ble skapt. Jon Fosse skriver at god litterær skrift bærer i seg konkrete minner, fra huset der den ble skrevet, han skriver om Samuel Beckett – om hvordan vind og mørke har satt seg fast og kan høres som en stemme i skriften.
Kunsten tilhører kanskje i enda større grad et eget rom enn skriften. I kunsten kan høyden under taket i atelieret synes, hvor lyset faller fra, hvor stor døråpninga må ha vært for å kunne bære arbeidet ut. Tidligere hørte maleriet til rommet helt bokstavelig, på huleveggene og i freskene. Selv om man på et tidspunkt begynte å skille maleriet fra rommet det ble laget i, kan jeg se for meg at hvis en kunstner nå blir spurt om når et tidligere arbeid er fra, så vil tankene gå til stedet hvor det ble laget.
I tillegg til å finne tegn på hvor i livet kunstneren befant seg rent fysisk, kan man i kunsten se hvilke prosesser som fant sted i kunstneren. Når jeg skriver en roman begynner jeg ett sted, og ender bestandig opp et helt annet sted enn jeg trodde, et sted som tidligere har vært ukjent for meg. Det å skape kunst blir en form for løsrivelse. Det er noe man ønsker å bli fri fra, og det er noe annet man ønsker å finne. Kunstneren må vokse og forandre seg i prosessen, og arbeidet er et skritt mot noe en ikke vet, om hvem man er, hvem man kan bli. Gjennom å skape og oppleve kunst forandrer man seg som menneske.
Det ferdige kunstverket er også noe annet enn hva det var mens det ble laget. Et ferdig verk er et fremmed verk, og når det har kommet ut i verden, vil man som kunstner få en ny forståelse av det, man ser det med et utenfrablikk, med lesernes og betrakternes blikk. På denne måten blir verket både et vitnesbyrd fra kunstnerens posisjon da det ble laget, samtidig som verket oppstår helt på nytt – i samtalen mellom kunstneren og mottakeren. Og da er det som om verket endelig snakker helt for seg selv.

Kjersti Annesdatter Skomsvold

The exhibition is supported by

Laid Bare

In light of the development of the Covid 19, the exhibition LAID BARE by Rebecca Ackroyd will be open by appointment only until March 22nd, 2020

Please contact the gallery at:

T: +47 99296636 / info@galleriopdahl.no

Laid Bare
Installation view

Rebecca Ackroyd

Laid Bare

14.02.2020 – 22.03.2020

Laid Bare
2020
Mixed Media
200 x 660 x 400 cm

Familiar yet immediately unsettling, Rebecca Ackroyd’s work spans within the notion of time and space. Anchored in questions of collective and national identity, loss and absence, reality and the surreal, reflections on alternative paths not taken in the past rise to the surface. Ideas of what could have been, fragments that got lost, the overlooked and underrated that now only lives in the forgotten are taken back into question and given a new body.
 
Through her multifaceted approach Ackroyd explores expressions within objects, sculpture and drawing. Varying in scale and format, the works are often extended into their surroundings by site-specific installations that with the use of light, textiles and architectural structures enable an extended narrative. A dialogue between the objects and the space opens as their memories and capabilities begins to share experiences, a fluid confabulation released from the boundaries constituted by time.
 
Rebecca Ackroyd’s drawings inhabit a three-dimensional quality that presents an almost physical manifested structure one is eager to touch. Slithering hair-like tentacles intertwine with familiar objects such as keys and buildings, moving between and within the realm of the abstract and figurative. As in a dream, the tentacles seem to be seconds away from devouring its objects, oozing a sensation of a collected yet dangerous determination.  Heavily pigmented colours in pink, green and red are balanced with the emptiness of black open spaces, penetrating the surface of the paper and disappearing into a depth far beyond the wall on which they are mounted.
 
Extending the sentiment of pulsation throughout Ackroyd’s drawings, her sculptures and objects embody a narrative strongly conjoined with the aftermath of a disaster. Hands without bodies left in the process of typing on a computer, writing in a book, legs in fishnet stockings and thigh-high boots without a torso still sitting on a chair. Fragments of bodies left in positions detached from the catastrophe they seem to have experienced, locked in an act as if their bodies still remained as a whole.  Dirty, sticky, burnt and dead, the materiality of the detached limbs resembles how one could imagine human flesh that has been dragged to hell and back while simultaneously reflecting an absurdly disjointed consciousness to their recent trauma. As flickering fragments of a grotesque scenario, the objects are manifested in an existence difficult to comprehend, laid bare as silent witnesses to a memory yet to be revealed.

Text by Pernille Dybvig
 

Laid Bare
2020
Mixed Media
200 x 660 x 400 cm
Detail
Laid Bare
2020
Mixed Media
200 x 660 x 400 cm
Detail
Laid Bare
2020
Detail
Another note to self
2020
Epoxy resin
55 x 77x 30 cm
Daily Dig
2020
Epoxy resin
50 x 70 x 10 cm
Bare Bones
2020
Pastel on paper
188 x 132 cm
Key in, house burning
2020
Pastel on paper
188 x 127 cm
Oppressive desires, don’t forget
2020
Pastel on paper
188 x 127 cm
Lost and found and stuck in time
2020
Pastel on paper
188 x 127 cm
Ironside Home
2020
Pastel on paper
103 x 154 cm
1972
Pastel on paper
103 x 154 cm
2019
Laid Bare
2020
Installation view
Forever ago, close to me still
2020
Epoxy resin, steel, bedsheets from Rebecca’s childhood
260 x 135 x 75 cm

Dickon Drury

To Be The Key

Opening Friday Nov 22nd, 2019

Exhibition period Nov 23rd 2019 – Jan 12th 2020

To Be The Key, 2019
Oil on Flax
180 x 250 cm

Oscillating between fiction and illusion, Drury’s images embrace the uncanny as a vehicle for investigating the practice of painting. Best known for his large-scale oil paintings, Drury also makes prints, pastel drawings and watercolours.

Fluid lines and vibrant fields of colour play a key role in the construction of his images, which include recurring liminal motifs of shadow, reflection, and refraction. The world he creates is an off-kilter echo of our own. Perspectives are bent while picture planes are flattened and littered with visual puns and nods to personal and art histories.

Drury’s new body of work employs a saturated palette to depict unpopulated interiors. Informed by ideas of house-sitting, these paintings offer us an opportunity to snoop around domestic spaces that are not our own. Standoffish and quiet at first, the images track the progress of a fictional house-guest as they begin to make themselves at home.

Dickon Drury (b.1986, Salisbury, UK) Completed a BFA in Fine Art Painting at Falmouth College of Art before graduating from his MFA in Painting at The Slade School of Fine Art in 2016.
Solo shows include The Who’s Who Of Whos at Koppe Astner, Glasgow (2016) IF THE SEA WAS WHISKEY at Frutta, Rome (2017) and Holed Up at Galleri Opdahl, Stavanger (2018)
Forthcoming exhibitions include a solo presentation at Carlos Ishikawa for CONDO London in January 2020 and a solo show at Koppe Astner in late 2020.

Goofing at the Table, 2019
Oil on Flax
250 x 200 cm
To Be The Key
Installation view
Reading Room, 2019
Oil on Flax
200 x 150 cm
Honey Lamb in the Winter Garden, 2019
Oil on Flax
210 x 150 cm
After Dinner, 2019
Oil on Flax
150 x 200 cm
Entrance Hall. 2019
Oil on Flax
250 x 180 cm
Family Dresser, 2019
Oil on Flax
200 x 150 cm
To Be The Key
Installation view

lunaxxx

Natalie Dray

October 26th – November 18th, 2019

lunaxxx
Installation view
hey baby are you soft ware update? Because not now, 2019
Pewter (alloy:tin, bismuthcopper, silver), haft promoter, 1k auto body paint, degraded steel
125 x 260 x 40 cm
lunaxxx
Installation view
lunaxxx
Installation view
lunaxxx
Installation view

Tom Howse

Precambrian Swamp Jazz

Opening Saturday 31st of August, 1 – 4 pm

Hyperconscious Frog Sonnets / 2019 / Acrylic on Flax / 220 x 350 cm

Tom Howse’s paintings balance between realism and fantasy and explore what the artist describes as the dichotomy between our quest to know and our fallibility to comprehend. Explaining the mysteries of the cosmos, the earth and humanity; the theme of life and death; and the causes and meaning of natural phenomena, has bewildered humanity since ancient times. Taking it’s form in folklore and myths, Howse is interested in how humans are drawn towards explanations found within these stories and how they are used to sooth the fear of the unknown.

Tom Howse was born in Chester, England in 1988. The artist currently lives and works in London.
In 2018 he was one of five artists to receive the John Moore’s Painting Prize and was shortlisted for the Caitlin Prize (2012) and the Prunella Clough Painting Award (2012). Recent solo exhibitions; Post- Celestial Compost, 2017, Rod Barton Gallery, London; Secondhand Toad Poems, 2017, Tanja Pol Galerie, Munich. Selected group exhibitions; I Must Be Seeing Things,2019, Ratskeller Galerie, Berlin; Kaleidoscope,2019, Saatchi Gallery, London; Condo London,2019, Koppe Astner, London; John Moore’s Painting Prize, 2018, Walker Art Gallery, Liverpool

Installation view
Smoke in the Rain, 2019 / Acrylic on Flax / 190 x 170 cm
Boltzmann’s Desert, 2019 / Acrylic on Flax / 220 x 350 cm
Carl and the Coelacanth, 2019 / Acrylic and pastel collage on Flax / 220 x 350 cm
Bat Cactus, 2019 / Acrylic on linen / 41 x 31 cm
Installation view