Mari S. Norddahl (f. 1990) går tredje året ved Kunst- og Designhøgskolen i Bergen. Ho arbeider med kropp, kjønn, seksualitet, kitsch, sjølvet og emosjonell estetikk. Ofte tar ho utgangspunkt i noko banalt, og brukar formar eller tema som kjennes framande for kroppen, men som følgjer ein organisk estetikk og kan ha ein likskap til det kroppslege. Ho er interessert i korleis vi ser på oss sjølve, korleis kjønn og førestillandar påverkar vår oppfatning av kropp.

I utstillinga HUDA utforskar ho kroppen som eit kryssingspunkt mellom performance og skulptur.

§ 11 If the exhibitor has provided false or misleading information about the exhibition he / she means to show at Blunk, or the exhibitor violates major provisions of this agreement, Galleri Blunk has a right to terminate the agreement with immediate effect. If Galleri Blunk neglect their duties as described in this agreement, the exhibitor may with immediate effect terminate the agreement.


Some contractual guidelines, seven photographs and a map of the gallery space (completed with measurements). This amounts to the collected knowledge we, as of now, have about this upcoming show. In this writing moment, Andreas is stuck in some backwards northern harbour town, riddled with hidden bigotry, lonely hearts and raging alcoholics. Øystein, on the other hand, has fucked off to some german forrest to subject himself to some of that sweet, sweet Central European discipline. And that´s were we are now. A pretty straight forward predicament in which to investigate our collaborative artistic practice, filtered trough some incessant conceptualism, and lower middle class quirks that we never seem to escape.

Our collaborative works are produced on-sight, as an authorless, self indulgent, lazy, hesitant, ephemeral, nonchalant and ever changing intervention within the gallery space. This would seem to evade the inherent structural hierarchy and implicit professionalism any exhibition format enforces, and this juncture, where institution becomes laboratory, becomes project space, becomes a framework, is our initial entry point for discussion. But, rather than dwelling into some wanton systemic critique, we wish to use these redefinitions and reapplications of terms and context as departure points and templates for re-evaluating our own artistic practice. This upcoming show is part of an ongoing project, that by now has lasted two years.

The citation above, proscribed by Galleri Blunk as the final point of our (now signed) agreement, should somehow be incorporated in our work. Though not unreasonable, the impending threat of cancelation might contribute to the conceptual framework - since our works are self-servient, self-indulged and ultimately a selfish exploration into our own mode of collaboration, presented trough some ascetic aesthetics. Luckily, we applied with a project stating the uncertainties of an intuitive on-sight mode of production, and the performative reactions towards the parameters we are give to work with. We do consider our project, and collaboration in general, as highly performative, but, paraphrasing a KHiO professors response to our last show; I don´t think you know what performative means!.

Probably not.

Øystein Larssen, 3 BFA Bergen

Andreas Olavssønn Rongen, 3 BFA Oslo

Vi lever i en tid der kortsiktige løsninger prioriteres fremfor det langsiktige perspektiv. Der viktigheten av våre handlinger måles ut i fra resultatet. Den enorme materielle standardøkningen hviler på idéen om å spare tid. Har tid blitt en handelsvare?
Ønsket om tilstedeværelse står i sterk kontrast til vår trang til å være flere steder på en gang.

I utstillingen «Hvor forsvinner tankene?» setter Ingeborg Blom Andersskog sin tålmodighet og utholdenhet på prøve og leter etter verdien i det langsomme.
Arbeidene hennes beveger seg mellom lek og alvor, intuisjon og refleksjon, det opphøyde og det spontane.

For mer informasjon se ingeborgblomandersskog.com

Performance Tirsdag til Torsdag 30.09-02.10 15:00-16:00
Vernissage Fredag 03.10 klokken 20:00
Lør-Søn 12:00-16:00

Hans Christian van Nijkerk (32) promises to deliver the best art possible, smashing the competition as art afficionados mobilise and flock to Galleri Blunk this autumn.
- In this exhibition I'm showing off some fantastic art and that's the most important thing, to show the audience something good, something that'll have them coming back for more. I hope we can create something wonderful together.

From 26 - 28 september, the artist will be exhibiting at Galleri Blunk. Hans Christian is of the opinion that he needs to concentrate on delivering the goods in every exhibition he takes part in. The reward he seeks? Well, a work stipend would be nice. (ELLER: Hans Christian feels that if he concentrates on delivering the goods, his reward will come, in the form of a work stipend)

- My payment for a convincing exhibition will be largely symbolic at this point. I have to keep on delivering, that'll give me the best shot at scoring those stipends and project support payouts.

However, this up and coming artist isn't all about self glorification
- Hey, I edited my works with an old version of Adobe Premiere and filmed with a borrowed camera before I got my first grant... I don't know, I guess I'm just good at making do with what I've got, he says, smiling.
- This is just one more entry for the CV, one more in the long list of entries I'm going to have to fight for in the future. I'm not going to rest on my laurels, I'll be keeping a low profile and working hard like always, he concludes.

Hans Christian van Nijkerk (b.1982, Amsterdam NL) is a Norwegian/Dutch artist, performer and musician living and working in Bergen. He has a studio at BLOKK.

Some highlights from van Nijkerk's artistic career:

Group exhibition «Melancholy Lover of a Vanished Space» at Silverlens Gallery Singapore (2013), group exhibition «As Time Goes By» at Nordnorsk Kunstnersenter (2011), concerts at Melbu Elektronika Festival (2012), Phonofestivalen (2008+2010), Ole Bull Scene m/ Bergen Impro Laug (2007), NM-finalist i poesislam in Oslo (2011), the performance "HomeMade" during Vårscenefest in Tromsø (2013) and "Never Give Up" with choreographer and dancer Kristine Nilsen Oma during Vårslepp at Dansens Hus in Oslo (2011).

Friday 26. Sep 20:00
Performance: 20:30

Opening Hours:
Saturday 27. Sep 12:00-16:00
Sunday 28. Sep 12:00-16:00

Ofte kan det ta dagar, veker, månadar, mellom når eg fotograferer. Det er som om eg må svelte meg til trongen for å fotografere blir så sterk, at eg må sleppe alt eg har i hendene og dra med meg Hasselbladet ut i naturen på regntunge dagar. Det er då eg jobbar best. Det er då det fort går eit par timar og eg plutseleg står klissblaut att med 5 rullar film i handa, utan å ane kva det er eg nettopp har gjort.

Emotional Landscape handlar om å høyre til, samstundes som ein kjenner seg utanfor. Om å lengte etter noko som ikkje lenger fins. Om draumar og håp, og barrieren ein må bryta igjennom.

Reidun Synnøve Gravelseter (f. 1983) går det siste året av bachelorgraden i biletkunst ved kunstakademiet i Trondheim, og jobbar hovudsakleg med fotografi, film og broderi. Tema som opptar ho er tid, kvardagsliv, psykologi, draumar, vatn, mellommenneskelige relasjonar, fantasi og natur.

Det finnes uprøvde former, en stolt form er en god form. Materialer jeg bruker

kan jeg finne over alt, det som er viktig for meg er at det gir meg lyst til å ta det

med videre. Prosess og komposisjon er uadskillelig, det starter som en fysisk

hard kamp ute på gata, som sakte men sikkert roer seg ned inne på studio,

men det tar tid. Lysten blir sterkere når oppgaven ser umulig ut, jeg startet på helsestudio.


Art and gender as appropriations, reproductions and repetitions

My artistic project deals with gender and identity as a transformative action and views the search for identity as ”…a transformative exercise, an example of desire itself as transformative activity” (Gender Outlaw, K. Bornstein). It’s my wish that the art should function as a platform where dialogues can happen. Social change will not happen through the artworks alone, but through the dialogues and discussions they have the power to create. My aim is to reconstruct the negative and passive performativity of gender and turning it around to becoming an active positive act of gendered behavior.

In my work I use appropriation, copying, imitation and reproduction to comment on, reveal and deconstruct the ideas of originality, art, identity, gender and sex. Trough the use of found and already existing images we can both reveal and suspend the truths we take for granted. Paving the way for queer perspectives, looking towards a queer horizon.

Performance 30th of May 20:30
"The performance tonight will be a repetition of Cut Piece by Yoko Ono. By performing the piece as a transgender individual I’m addressing issues related to identity politics, body politics, trans-feminism and feminism at large. This, I hope, will place the performance within a queer feminist durational perspective."

Hermann Helle Grøndahl
Mob. +47 934 22 500


a small absence

absence of agitation



an unconscious future

as they rose and fell with the waves, the horizon fell and rose to their vision

there is a veil of ignorance

Anne Cecilie Lie(1983, Oslo, Norway) has currently just finished her BFA at the Art Academy in Trondheim.

She works in a variety of media, but mainly with installations and performance.

Through her works she is examining memory and identity, issues of our body and our affluent society.

Recent exhibitions and performances include Constant Decay by Rake Visningsrom, Trondheim Kunstmuseum, Galleri Fisk and Multiplié Dancefestival.

Ane Vik Eines utforsker hvordan hun kan bryte det forventede ved strikking. Hun ønsker å utfordre og strekke forståelsen til denne veletablerte teknikken. Arbeidene forholder seg til tyngdekraften, og hva som skjer når den tar over. Den hårfine grensen mellom det å være oppreist og det å være knekt. Å holde seg selvbærende. Det handler om vekst, forgjengelighet, hendelser og det skrøpelige.

Ane Vik Eines (f. 1983) avsluttet sin master ved avd. Tekstil, Kunsthøgskolen i Oslo våren 2013. Hun bor og jobber i Oslo.


"Hidden Operations", an exhibition by Marit Tunestveit Dyre and Kerstin Juhlin, opening Friday, May 2 at 20:00.

Marit Tunetveit Dyre (NO) and Kerstin Juhlin's (SW) collaboration emerged after graduating from the Bergen Academy of Art and Design, in 2013. Their mutual approach to art is characterized by dialogue and their interest in interpersonal relationships. In various ways, interaction is both a source of inspiration and a driving force for the artists. Tunestveit Dyre is attentive of the interface and communication in her nearby relationships and examines how these can be translated into a visual language. Juhlin develop her work based on a curiosity with her surroundings where meetings, situations and objects function as guides and storytellers. “Hidden Operations” explores how the artists’ work is in dialogue with each other and with the audience, featuring drawings, artefacts, sculpture and audio elements.

Å observere maleriene til Audun Alvestad kan være som en leksjon i frihet og maleriets eklektiske natur, om man ønsker det. Ved første øyekast virker det som om Alvestad hensynsløst hopper fra et uttrykk til et annet innenfor samme ramme. Når man gransker dette nærmere, observerer man en iboende likhet i disse forskjellige strømningene, enten det skal være innenfor fargenes likhet, enhet eller tingenes iboende, mørke tilstedeværelse. Maleriene vil dermed fungere som et drømmeaktig bilde på tilfeldighetenes overfladiske natur, og understrømningenes ankerpunkt i forhold til de.

-Karen Nikgol, billedkunstner og kurator

" Perfektion handlar bara om det första försöket.
Det som inte görs perfekt vid första försöket kan aldrig kallas perfekt.
Det som en gång gjorts perfekt förblir således (det i) all evighet. "

Med cirkeln som grund utförs en studie i perfektion och en tillfällig tatueringsstudio inrättar sig på Galleri Blunk, lördagen den 5e april.
Besökare uppmanas att tvätta fötterna innan de kommer.

Tiina Tinouschka Nilsson kommer från södra Sverige och avslutar snart sitt andra år vid Kunstakademiet i Trondheim. Hennes huvudsakliga fokus är bilden - dess yta, tvådimensionalitet och, inte minst, autonomi. Vanligtvis är hennes sätt att närma sig bilden metodiskt, med teckning och kollage som främsta tekniker. I "Allt som är evigt är cirkelformat" på Galleri Blunk vill hon utmana dessa tekniker så väl som sitt eget tillvägagångssätt. Resultatet blir skissartat och tillfälligt, om än permanent för de som väljer att lägga sig under hennes hand i den tatueringsstudio som huserar på Galleri Blunk för en kväll.


Lørdag 5. April, kl 18-22

Galleri Blunk
Strandveien 23
7042 Trondheim

Artist duo, Martinka Bobrikova (SK/NO/SE) & Oscar de Carmen (ES/NO/SE), has been working together since 2005. Their artistic practice is located in the act of transcending the boundaries between art and social research. The main theme is related to transitory and utopian. They graduated from Malmö Art Academy in 2012 and since then they have been more or less nomadic with major base in Norway.

The presented project is based on our long lasting research of the possibilities of generating the energy from redundant fruit and vegetables. By means of a simple open hardware the energy acquired from fruit and vegetables is transformed through integrated circuits into audio-visual installations.

Apart from an interesting audio-visual form the installations become the social criticism of the current consumerist society and also offer a certain alternative for a further use of fruit and vegetables, which were considered as redundant and unsalable by superstore chains.

more: madefromwaste.org

Galleri Blunk ønsker velkommen til åpning av Veslemøy Lilleengens utstilling «Finske fisker og noen hundre handlelister»

Veslemøy Lilleengen studerer ved Kunsthøgskolen i Bergen og arbeider med samlinger og arkiv med utgangspunkt i hverdagslivet.

I videoverket «Finske fisker» møtes to kvinner oppvokst på hver sin side Østersjøen til samtale. Samtalen drives fremover ved hjelp av en kortstokk. Foruten kunnskap om matauk og mathistorie deler de evnen til å dvele over et tema.

«Mer enn eple» er et arbeid med utgangspunkt i en samling handlelister skrevet av fremmede. Lilleengens samling hastige nedskrevne lister som aldri var ment for store leserskarer avslører mye om menneskene og tiden vi lever i. De er ærlige på en måte som berører oss, og får oss til å le og relatere dem til våre egne hverdagslige valg. Samlingen utforskes gjennom ulike medier og arbeidsmetoder og vises denne gang som originaler og fortolkninger i digital vev og bokform.

Mone Noberta Nedberg (f. 1991) går andre året på kunst- og designhøgskolen i Bergen og arbeider med film, scenografi, tekstil, tegning og installasjon. Hun tar utgangspunkt i ensomhet i tillegg til sin egen hverdag og bakgrunn og arbeidene hennes bærer ofte preg av repetisjoner, enten i form av gjentagende handlinger eller objekter og mønstre.

I utstilling "Vi sees i Oslo" viser Mone Noberta to tegninger som er et resultat av arbeider med forlatte hus langs Riksvei 3 i Hedmark, hvor hun selv kommer fra. Prosjektet er en del av en større undersøkelse av hva som skjer med hus når mennesker forlater dem, det fraflyttede og forfalne distrikts-Norge og boligmangelen som hun er få timer unna.

In Freudian psychology, displacement is an unconscious defence mechanism whereby the mind substitutes either a new aim or a new object for goals felt in their original form to be dangerous or unacceptable.

Kobie Nel's 'The Shape of Things to Come' intimately plays with displacement of everyday thoughts of female sexuality, psychology, death and a longing for something to arrive.

"My work is engaged in the ways that falseness/staged can bring us closer to the world. I pursue this through a variety of overlapping strategies that in some way alienate the “natural” view in the hope that the viewer will, by engaging this alienation, come into more active terms with the picture."

South African artist Kobie Nel (b.1984) studied her BA of Art (Photography) in Melbourne at The Royal Institute of Technology. Kobie has participated in a number of group shows most recently she was chosen to exhibit work in Mirror Mirror: Contemporary photographic self-portraiture curated by Linsey Gosper in Melbourne. She was also a finalist for The National Photographic Portrait Gallery in Australia. Kobie is currently working on projects in Scandinavia and is attending the international SIM Residency in Reykjavik this forthcoming March.

Galleri Blunk åpner sesongen med visning av videoverket "Magic Blood Machine" av Ingrid Torvund.

I "Magic Blood Machine" blir vi introdusert for et skrudd eventyrunivers. I løpet av en rekke tablåer ser vi maskekledde karakterer i et skoglandskap som forsøker å gjenopplive en teddybjørnaktig gudeskikkelse, ved å rekonstrure kroppen hans. I dvelende bilder er vi vitne til et mytologisk spill uten dialog men med mystiske ritualer, sorg, tidsreiser, håp og krystallhealing.

Ingrid Torvund ble ferdig med bachelorgraden sin på Kunstakademiet i Oslo i 2012. Arbeidene hennes har blitt vist på Høstutstillingen, Oslo Kunsthall, Oslo S, 0047, Galleri 69 og ulike filmfestivaler.

I could have remained closer to the ‘raw’

data in which these patterns appear. I could

have distilled them further towards an abstract

logico-mathematical calculus. I hope they are not so

schematized that one may not refer back to the

very specific experiences from which they derive;

yet that they are sufficiently independent of ‘content’, for

one to divine the final formal elegance in these

webs of maya.

Två ytor, lika men ändå helt väsensskilda, möts i en rumslig balansakt där lager av associationer och begrepp ömsom binds samman, ömsom bryts upp.

Läge (Kontinuerlig förhandling) är en del i projektet famnad:fjärmad:förändrad, en serie platsspecifika installationer bestående av millimetertunna våder av vit väggfärg. Sinsemellan fristående verk, som med begreppen sensualitet och ett milt vansinne som förtecken tar sin början i en undersökning av vad som händer när ett av de element som utgör rummet lösgörs och intar en helt ny relation till såväl rum som betraktare.

Annika Vilhelmson, (född -79)

Relationen rum-jag-kropp är central i Annika Vilhelmsons arbete. Mellan dessa oupplösligt sammanlänkade element rör sig impulser fram och tillbaka, fritt men inte utan ett visst motstånd. Detta är utgångspunkten både för hennes verk i sig och för hennes sätt att arbeta. Resultatet är installationer präglade av en ständig växelverkan mellan helhet och detalj, tanke och sinnesintryck, skörhet och brutalitet. Rum för betraktaren att kliva in i och ta del av med hela sin varelse.

Bakom Annika Vilhelmsons installationer ligger vanligtvis ett omfattande arbete, där ett utgångsmaterial för hand omvandlas till något nytt, som i sin tur blir del av det färdiga verket. De spår som lämnas i materialet under dess väg från en form till en annan fortplantas genom verket och ger en mänsklig dimension till det som annars kunnat uppfattas som sterilt och opersonligt, en kroppslig koppling som låter betraktaren bli varse sin egen närvaro i rummet.

Annika Vilhelmson är utbildad vid Kungl. Konsthögskolan i Stockholm och har ställt ut på bl a Galleri Mors Mössa och Galleri 54, båda i Göteborg.

Se fler bilder på ArtSceneTrondheim

Rina Eide Løvaasen - Resolution Revolution feat. Eva Ballo

Concur. Abuse. Create an image and let the future know this was the

A stir so good, an inseparable blend.
A cocktail berry atop of the swirl makes the mend.
There’s a constant flow of applications manifesting through time.
They archive under the layers of history for no one ever to find.
Still being the genesis of our spine.

I am a witness, a medium and a source.
I am a brick in the construction of our force.
A skeleton of a horse states the prefix.
I produce the remix.

I see, perceive, memorize and remain.
The appearance of time through violation of itself is what I obtain.
Fiction has mass consumed history and left the origin in disdain.
The composing, the colors, the setting of lights, the tendency I fight,
the inescapable perception of your own sight.
The coating over what you actually see is the retina’s incapability.
So what contradiction appears in the bodily reflection of what you
The relay is depending on liability.
What you adapt, presence will preserve.

Modesty. Retrace.
Discover the satisfaction of the haze.

We’re all tangled up in a masquerade.
Come embrace the phenomenon. There’s no evade.
Notoriously we’re unaware of the parallel between it’s derivation,
and our process through levels of degradation.
Under the structure of a hidden core we stray.
To the Gods we may pray for a clearer way.
But they can’t do shit, can they?

Rina Eide Løvaasens Website
See images from the exhibition at ArtSceneTrondheim

Full Moon Friday October 18th

An international group show featuring works by:

Janicka Ravenhirst (NL)
Prana Estu (BE/ID)
Maia Lyon Daw (UK)
Mathias R. Samuelsen & Andreas Schille (NO)
With secret contributions by Egil & Einar Asprem (NO).

:: Refreshments for earlybirds :: flying carpet performance at 8pm ::


The point of view enabled by time-lapse transcends the limitations of ordinary human perception. The way we experience time is determined and shaped by our bodies and brain, and through the technology of time-lapse we can enhance and expand our perception of time. In this manner we can experience duration in a magnitude beyond our normal phenomenal life-worlds. In this manner we can witness SPACE-TIME WORMS.

The way that nature’s forms extend through time can be represented in two different ways. They may appear as stable time-lines, fixed structures, Platonizing forms, order and stability. These endless and stable forms are bound up in space-time worms, four-dimensional creatures previously known only to metaphysicians. But nature also expresses itself through change; endless cycles of birth, growth, and decay. Extension in time thus appears as instability and entropy, old forms withering and new ones emerging. Both understandings provide ways of seeing and visualizing nature in time that transcends our limited, everyday perception. By utilizing the idea of time-lapse one can aim to expose nature’s hidden stories of stability/order vs. chaos/complexity, veiled from our ordinary perceptions.

Northern Light Residency Exhibition is anchored in these concepts, and we invite the audience to use these ideas as a point of orientation when engaging with the exhibited works.

Paintings by Olli Piippo

Decoration is a sin. It is not allowed, not tolerated. The decorative touch and trace are on the eternal top of the list of do not acts. Fundamentally, positively and totally to be avoided.

Or are they?

What if the decorative touch and the trace, what if they are like that original notion of a sin? Not anymore a completely commodified object of fetish, but an open-ended conflictual process that seeks chances and challenges, confrontations and collisions? A touch and a trace that has re-generated, re-won, re-actualized its inherent elements of surprises, its sense and sensuality that cannot be reduced to just a flat sorry sordid image?

In the works of Olli Piippo, the decorative mode and mood is strongly present. To be precise: It is thrown straight at our face. With no mercy, and no apologies they do exactly that what one should not do. But not with any kind of annoying violent frenzy, or an outburst of an aggressive take. These paintings talk to us, they take us for a ride with full and beautiful persuasion that has a name: seduction.

The notions, in and through emotions and motions, used in these acts of seduction are as simple as they are effective. What’s more, and what’s the very point of this particular strategy of a seduction, it is done with the inherent means of the act of painting. They are works of art that painstakingly claim to be nothing more and nothing less than paintings.

Olli Piippo (b.1980, Fin) lives and works in Berlin. This is the first time he exhibits his paintings in Norway.

Read the interview with ArtSceneTrondheim
Or view more photographs.

Åpning Fredag 11. Oktober kl. 20

Øvrige åpningstider er:
Lørdag 12. Oktober 12-16
Søndag 13. Oktober 12-16

The Infinite Vanishing er en installasjon om en sløv form for eskapisme, sjarmerende pessimisme, og svimmelheten som følger med når man innser at man har kastet bort mer tid enn gjort nytte av den. Når tiden har gått for fort, men ting har skjedd for sakte.

Bente Ånestad (f.1985) fullførte bachelorgrad i samtidskunst på Kunstakademiet i Tromsø i år. Dette blir hennes første soloutstilling.

Se mer på ArtSceneTrondheim

"Selv om tyngdekraften påvirker tilstanden i liv og objekter, kan motorikken i menneskekroppen eller en maskin skape motvekt – manipulere. Natur og menneske. Menneske og natur. I dette samspillet er bevegelse kultur og kommunikasjon."

Joakim Holm Toreg (f. 1983) går nå 2. år ved kunstakademiet (NTNU) i Trondheim.

Toreg arbeider innenfor mange teknikker/uttrykk, og ved siden av visuelle inspirasjonskilder trekker han fram den siste norske arbeiderpoeten Bjørn Aamodt (1944 – 2006).
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