Fallen apple; skin, core and tissue
No I in you, a birds-eye view
Mother of pearl
Bedroom # 8, rubber & milk
The Pith, 2020
You said I was, 2020
About a belt, 2020
Basement #2, my uncle’s house 2020
Simon, as a young man 2020
monkey-like. 2016
I thought I knew. 2016
The shape of a pear, 2019
the moon, the ocean, and I. 2018
the island. 2015
Taking umbrage, 2019
FMU.058351/SNRAA556 & FMU.061333/SNR73913. 2013
Viktoria’s dirty little secret. 2014
picture this_figure study #23 from the series FUCK. 2013
green apples. 2014
we live in the house across the street. 2013
your table, my apples. 2016
pink sweats, striped wall / pink sweats, striped wall. 2016
nightsky. 2011
tiger. 2006
Playing house, 2019
third party. 2011
circles of confusion. 2016
untitled - the drawing. 2016
sun setting on grey curtains. 2011
the polite elephant. 2011
public grounds. 2011
the perimeter. 2018
Making Worlds - Objektiv Press, 2020. An extended essay on photography- Click for introduction and excerpts from the book
Sannhet i postproduksjonens tid, av Heidi Bale Amundsen, publisert på Kunstkritikk.no
I thought I knew. 2016.
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“An image is a stop the mind makes between uncertainties.”I think about this line from Djuna Barnes’s most famous novel,Nightwood, on a plane above the clouds, on my way to see an exhibition of Tom Sandberg’s vintage prints at Nils Stærk Gallery in Copenhagen. An image is a stop the mind makes between uncertainties seems to sum up much of what happens when I see one of his photographs, whether in my mind’s eye or in real life. The phrase describes the space of the image not as certainty, but as an experience situated beyond the all-too-familiar space of uncertainty—a huge distinction. To read the full article, click here
Becoming who you are.
Else Marie Hagen’s latest exhibition at Galleri K in Oslo consists of twenty odd photographs that, as always with her work, delve into questions about photographic representation and its reach far beyond the scope of art. Roughly translated as index of behaviour, Hagen borrows her title from a questionnaire used to index the behavioural patterns of children and young adults, so as to assess anomalous behaviour. Confronted with Hagen’s title, I immediately think of what Gerhard Richter once said, that he does not distrust reality, he distrusts the picture of reality conveyed to him by his senses. Even though many would answer such surveys about the behaviour of oneself or a child with straightforward statements of fact, others will become indecisive and ambivalent, conscious of how far their sensory apparatus is willing to go in order to uphold a basic level of coherence.
Torbjørn Rødland. In the garden. 2016-2018
The artist wore stripes - Morten Andenæs on Torbjørn Rødland’s Fifth Honeymoon at Bergen Kunsthall, published in Objektiv.
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Teksten dråpen og havet, en del av vårutstillingen 2018, på fotogalleriet, Oslo. Vist i sammenheng med verket månen, havet, og jeg, 2018. Dråpen og havet er et utdrag fra romanen Du, jeg, og Erik som publiseres på Teknisk Industri forlag i 2019 sammen med fotoboken we live in the house across the street. Dråpen og havet ble trykket i 300 eks.
For å lese Dråpen og havet i sin helhet, klikk her.
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Månen, havet, og jeg. 2018.
For å lese anmeldelsen i sin helhet, klikk her
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eõ, noplace, Oslo. Works by Janne Kruse, Chris Marker, Andrew Amorim, Sverre Strandberg, Behzad Farazollahi, Damian Heinisch and Janne Talstad.
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Italian Coastal Guard Flying Rescue Mission off Lampedusa, 2008, © Wolfgang Tillmans
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Kronikk i Klassekampen, 2016, om regjeringens plan om å forkaste Jonas Dahlbergs Memory wound, vinnerutkastet til minnested etter 22. Juli 2011.
For å lese kronikken, klikk her
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Espen Gleditsch, A Place by the Sea #1 (E-1027), 2016
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the other room. 2008
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Unkown unknowns
"With each new photographic event, we change not only the possibilities of a photographic future yet to come, but also the totality of photographic history."
Morten Andenæs in conversation with Lucas Blalock.
To read the conversation in full, click here
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HOPELESSLY REALISTIC
To read the full text, click here
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to read the full text, click here
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With texts by Andre Gali, Barbara Pollack and Line Ulekleiv. click on name to read full text
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Children on their birthdays, or; red-eye. By Darryl Turner. Text published on the occasion of the exhibition Greyscale, at Fotogalleriet. 2007. Click here to read in full
Click on text to view
