NABROADBERLIN

NEUKOLLN NORWEGEN

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Anna Karin StjernløfMai Hofstad Gunnes

Anna SærnblomMunan ØvrelidMarius EnghMaja NilsenLiv Bugge

Lars Morell Randi NygårdMagnus BjerkJannicke Låker Goro Tronsmo

Anders Kjellesvik Trygve Luktvasslimo

Curated by: Randi Nygård

Produced, Published and Designed by NABROAD www.nabroad.org all rights reserved © 2011

Supported by Virtual Portfolio: www.vfoliolite.com

NEUKOLLNNORWEGEN

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10Foreword:

Randi Nygård

18Essay:

Neighbours in Arts Neukölln/NorwayAndreas Schlaegel

106Artists:

122Credits:

130Thank You:

132The Cake:

138Neukölln:

More than 160 ethnic groups live side by side in north Neukölln. In recent years a growing number of Norwegian artists have come here to live or to have a studio.

Neukölln is best known for its social problems and high unemployment rates. However, there are more sides to Neukölln and one of them is rep-resented by the growing number of Norwegian artists living there. Considering the diverse social and cultural aspects of this area, integra-tion is a difficult subject; how and into what shall we integrate into?The Norwegian artists also face this challenge, on different levels. Do we need to, and in which way can we, adapt to our surroundings? What does it really mean to be integrated in Neu-kölln, when the mainstream culture is not easy to define? How relevant is it to talk about integration at all?

About a year ago, Kulturamt Neukölln announced an open call for cultural projects dealing with integration. I proposed a Project Space focusing on the growing number of Nordic artists

FOREWORDRANDI NYGÅRD

in Neukölln. My idea grew out of the fact that we seldom showed our artworks in the area and in that sense were not seen in our neighbourhoods, thus, not very well integrated. The Head of the Cultural Department of Neukölln, Dr. Dorothea Kolland was interested in my application and arranged a meeting. She informed me about the history of the area and the diverse groups living there, and I informed her about the artists coming to Neukölln. This is how the exhibi-tion with Norwegian artists living and/or working in Neukölln came about, Dorothea invited me to organ-ise the show in Galerie im Körner-park. She later held a lecture for the artists and we learned interesting facts about our neighbourhood.

The Norwegian artists are not in a closed community. We are a small group in Neukölln, almost invisible, and not many of us feel part of a local community there. We belong to different parts of larger international social art environments. We came here because of Berlin’s great art scene, Neukölln’s relaxed environment and affordable living costs. Work-ing and relating to a Norwegian and international art scene, but living in a diverse community, how do these realities meet? Can an exhibition make us more visible and at the same time sensitive to our surroundings? Within the field of Biology it is a well known fact that the larger the diversi-ty of an eco-system, the better its abil-ity to respond to change and be more productive due to the richness of po-tential within it. Diversity is an advan-tage! If this could also apply to social environments, the enormous potential of Neukölln would be realised, given that the diverse groups and identities made contact to form larger systems. Research also shows that working environments where differences are acknowledged and valued are the best and most productive ones.

This exhibition communicates diverse perspectives from a small group in Neukölln. Instead of asking the art-ists to work directly with integration or topics relating to Neukölln and/or Norway, I have chosen to openly show who we are and what we are interested in. By letting the artists choose what to show themselves as the exhibition focuses on the works by the individual artists. This means that the artists show works within their own areas of interest. So in the end the themes of the exhitbition are as diverse as those one can find in the artworks. The interpretation of the works should not only be directly linked to the places we come from or live in, they should be open and based on the art.

Inescapably we are Norwegians living and/or working in Neukölln, but what this means, is still an open question as it has diverse implications, similar to the diverse community of Neukölln.

What does living in a community stand for and what does it signify? How much responsibility are you willing to accept: as a visitor of the gallery in the Körnerpark, as a resident of Neukölln, as a temporary guest in Berlin, as a tourist - or as an artist?

And will you be able to do this responsibility justice?

Questions like these sparked off a recent fundamental debate on the subject of integration in Neukölln. A recurring topic of this borough of Berlin that is often defined by its population, which consists of many people with diverse immigrant back-grounds. Yet, in this context the term integration is often seen provocative, if not inflammatory, implicating ex-clusion and separation. Furthermore, suggesting a cultural adaption and lev-elling. Indeed, it is as if integration re-ally meant the ironing over of cultural differences and social conflicts, which exist in any living community. Carrying them out in public is hard work but essentially of vital impor-

ESSAYNeighbours in Arts Neukölln/Norway ANDREAS SCHLAEGEL

tance for the functioning of any society. Since many years, the word integration has sounded like a prob-lem, at best an insufficient remedy for a social deficiency symptom marked by an inadequate exchange inside the community.

These were also the questions to be dealt with in this exhibition, as the organiser of this exhibition, the Nor-wegian artist Randi Nygard started asking herself. What shape does this exchange take in her own immediate surroundings? As Berlin attracts art-ists from all over the world, inevitably many have chosen to take up resi-dence in Neukölln. However, how and to what extent do they contribute to an exchange with their immediate en-vironment? Nygard found that hardly any of the artists she knew could be regarded as well integrated, rather most played a part in the „parallel society“ of the art circuit. Keeping conspicuously still and to themselves, reluctant if not outright unwilling to engage in the society they are a part of, if not inapt at communicating outside of the restrictions of their art world ghetto.

Randi Nygard decided to do some-thing about this - she wanted to draw attention to the works of art that were actually being produced around the corner, not in the format of an open studio tour to put the artists them-selves on display, but as a local gal-lery exhibition. Although, she did not intend to make this a primarily social project, it still has a substantial social dimension with the group of inter-national and local artists participating in a communal presentation at the Galerie im Körnerpark. It was important for Nygard to reflect on the fact that many like to take pride in the number of artists and galleries that dwell in Berlin, to the point of regarding it as the metropolis of the art world. At the same time

the district of Neukölln, even though recently becoming more and more attractive as a trendy place for going out, would hardly do the idea of an art mecca justice. In an idiosyncratic twist, she connected this fate to her home country of Norway, in spite of international observers taking no-tice of a whole generation of young Norwegian artists pushing into the international art scene. Today, she and many more of them live in Neukölln.

The show, which she assembled for the Galerie im Körnerpark does not attempt to offer a complete overview of Norwegian artists working here, nor is it an advance into the global art discourse. In fact, she doesn‘t even try to pass the show off as a big curato-rial deal, but she is rather taking pride in aiming for it to be a decidedly local event. In this sense it is simply an attempt to show the neighbours what artists from Norway are working on next door, in Neukölln, be it videos, photographs or installations. Thereby reaching out, giving the artists not only a platform, but also a chance to connect the artists to their local com-munities.

Therefore this show may not function along the usual representational strat-egies of city marketing or an official part of Norwegian cultural affairs, far removed from a national contribution to some sort of art Eurovision à la the much discussed and over hyped Berlin art overview „Based in Berlin“.Rather it can be regarded as a relaxed and easy alternative draft for an exhi-bition, which counters the overheated art and gentrification discourse in Berlin. In this it requires none of the ubiquitous rhetorics of self-legitimation that appear to be so much in fashion at the moment, but seeks to do nothing less and nothing more than actively initiate and establish a form of communication between the producers of art and their direct neighbours as a potential audience.

Some works shown here relate directly to specific qualities of the exhibition venue and Neukölln in general. As the artists selected their own works for the show, in terms of what they see fit to represent their general artistic approach, without referring to a larger or super ordinate curatorial concept, they often opted to reflect primarily on facets of their own practice. None of the works uses images, which metaphorically or speculatively exploit the aforementioned topics of national identity, migration or integration. And it is precisely for this that this exhibi-tion can be regarded as a program-matic contribution. As for the artists, this is a demonstration of presence, not only as artists, but also as mem-bers of a community, as neighbours.

But what forms does this take? Or what forms can sustain a sense of validity in this context?

The entrance of the show is marked by what at first appears a surreal installation, „Swan Song“ (2011). But Maja Nilsen‘s swan hanging head down from the ceiling is inspired by a real life event, of a an assassinated swan in a public park which at the time spiked significant controversy. A golden rope around its neck draws the dead swan to the stone that would sink it. An absurd image on many levels, bringing to mind the proverbial swan song as well as the famous solo of the dying swan in the ballet Swan Lake by Peter Tchaikovsky. But rather the installation appears to be a monu-ment to the erratic quality of vandal-ism, and the neglect of public prop-erty, which is basically what the swan was. Thereby it poses questions that reach further into the realm of the ev-eryday, such as: where does vandalism end? In the cuts of public funding of the arts maybe, that will affect young artists first - and established, so-called high art forms later, such as classical ballet or the canon of literature?

In the 13-minute video „A sense of Beginning“ (2011) by Munan Øvrelid, the artist takes on one of the most iconic figures of German culture altogether, the poet and playwright Friedrich Schiller. In a tour de force of a sculptural and aesthetic decon-struction, the pits three plaster busts of the poet not only against his own words on poetry, but also the log-ics of reason and economy, in other words, the reality of the assembly line. Placed on a conveyor belt, the busts eventually fall and burst apart, and in more of the same treatment Schiller himself is subsequently reduced step by step to smaller and smaller shards. Finally, only a mountain of a crystal-line white dust is left, while excerpts of Schiller‘s text „On naive and senti-mental poetry“ run as subtitles, bring-ing nature and culture together with ideas of the sublime and perfection. The white dust, conjures up conflict-ing images, say, of sand in an hour-glass, or, alternatively, of mountains of cocaine, both ultimately symbolis-ing futility and vanity. The artist Anna Særnblom also works with seemingly simplistic forms, but employs a completely different set of existential references. She shows an enigmatic ensemble of bleak prints on canvas, in an installation titled after herself „Saernblom“. Her work appears to constitute a nearly hermetic self-portrait culled from disparate modernist and mythological fragments, ranging from Jean Arp to symbolist rays and a spear to material collages. Having lived in Neukölln for a while, she already exhibited here, alongside Liv Bugge, among oth-ers, in the legendary local basement gallery of the Café Warschau. Here, on Tuesdays at nine, the barkeeper allows groups of three (maximum) into the incredibly cheesy but cheerful basement, to experience the show in relative privacy. She also collaborated with Liv Bugge on the video piece „An average satisfaction“ (for flute

and piano). Bugge replies with the installation „Stigma Erection“(2011) , which picks up on the role of sexu-ality and social patterns, featuring a small watercolour on paper, installed on a wooden board, of a long haired figure carrying a stone in her (or his?) hand. The words „Ritual #2 Your Nipple Becomes a Stone“ are wrapped half around it, addressing ritualised aspects of sexuality as much as the inadequacies of the metaphor itself, emphasised by two stones lying on a shelf at the bottom of the board. A photograph of a hand with crossed fingers adds an element of narra-tive and suspense to the enigmatic arrangement - who is lying and to whom? Is the ritual a lie or the meta-phor? Or is it the artist? Who will cast the first stone?

While Bugge incorporates the pho-tograph into her installation, the photographer Magnus Bjerk created his own space by arranging a booth-like arrangement with four large photographs from his 12 piece series „The Inside Of The Outside Of The Inside“. Shot with an analogue camera in medium format and without the commonplace digital manipulation we have become accustomed to. Taken from inside trailers, the images con-struct never ending horizons, as the reflection of the landscape outside of the trailers expands seemingly infinite-ly inside. Thereby the trailer becomes part of a perception apparatus, an extension not only of the central perspective of the camera, but also of the eye of the photographer - and the beholder. The artist printed two of the photographs on transparent film and hung them into the room and off the wall, facing each other, a woman in the nude and a dog. They become characters in an ambiguous narrative of perspective and perception, pres-ence and absence, domestication and sexuality.

In comparison to Bjerk‘s ambitious

photographic craftsmanship the found collage „M.D.“ presented by Mai Hofstad Gunnes is an exercise in economy, with physical reduction expanding poetic potential. Picking up on another German icon, she reveals an unexpected storyline. She makes use of a damaged copy of the pocket book edition of Wolfgang Noa‘s seminal Marlene Dietrich biography, that she found at the flea market. Its purple, black and white cover features a photograph of Dietrich that is miss-ing to a large part. Having been cut out it leaves only her long legs visible and reveals the first page of the book with a hand written note by an anony-mous previous owner. The scribbles in hastily pencilled lines express self-doubts, and concerns about the feelings of his or her lover, that con-trast vividly with the self-assured and conscious sexuality of the film diva, palpable even in what is left visible here, the tip of her toe.

The strategy of reusing found imag-ery is also employed by Marius Engh but to completely different ends, in a panel of ten photographs, arranged to a grid. It constitutes a cluster of haunted imagery, including a dra-matic tomb, a door with a hole filled with the iconic film still from Stanley Kubrick‘s „The Shining“ of a mad Jack Nicholson breaking through a door, a tour poster for the 2008 Berlin show by American rock band KISS, a billboard advertising a pumpkin sale next to church in what appears to be a rather derelict area or the scenario of a horror movie, a cracked church bell with a swastika. The imagery shares formal qualities, such as the size and the snap shot look. But while the pho-tographs seemingly innocently capture specific details of existing objects, they also mark different aspects of a popular fascination with the darker aspects of the irrational, death and evil. The artist allows the viewer to connect the dots to render the sketch of a larger cultural landscape of drab

present haunted by history and a fu-ture foreboding doom.

This conjures up the idea of a „pa-limpsest“, a multilayered locale of possibly conflicting narratives. The neat horizontal arrangements of historical narratives are brought into disarray by Randi Nygard‘s paper works. They consist of two books that treat different readings of ideas of history and evolution. Pushing the books into each other, and cut-ting out and folding up the images to create what at first looks like figures of a fold-out book. But here there is a twist: these images can‘t be put back into their place back into the horizontal image, they stand out, jar into each other, creating a complex structure of dinosaurs and buildings, confined to the small space defined by the layout of the books. The title links these works to the idea of teeth, and brings to mind the German term „verzahnen“ using the image of the teeth of a cogwheel to describe the phenomenon of interlocking levels or events. Thereby she creates a strik-ing image for the way that evolution, and all of history for that matter, today, cannot be regarded as a linear narrative anymore, but as a complex process of interlocking occurrences, that happen for a plethora of reasons. Hardly anything can be seen as merely a singular event.

Works like these stand in stark for-mal contrast to the narrative video „Sunday Morning“ (2007) by Jannicke Låker, It shows the painful minutes of a large lady after what must have been a long night out, stumbling into her beautifully spacious Berlin flat, in a drunken stupor. In the course of the video, she gets herself into increasing-ly awkward positions, which develop from mishaps to destruction and eventually disaster. As a parody the story may represent different clichés to different audiences: the bohemian lifestyle of an artist to a regular citizen

of Neukölln, or maybe a lifestyle that is only possible where the booze is cheap, to a regular Norwegian? Al-though it is not long and often quite comical, it is not so easy to stand the humiliating situation of the protago-nist, even if it is not real, but simply well acted. Her overweight implies an often-used stereotype of physical comedy, made famous by pioneers of the silent film era, such as Fatty Arbuckle or Oliver Hardy. In spite of these references, the main focus of this work is clearly not the history of comedy, but the existentialism of a contemporary way of life, where personal excess is only a reflection of a larger social status quo. One can see this as a portrait of a life of abun-dance that extends into every niche of our western society. It reminds the viewer that it is actually true, that the private is political. And most of all, exactly the part one tries to hide or run away from, because that‘s where things go wrong.

This inherent idea of not wanting to see certain things, or of editing the domain of the visual is where Lars Morell‘s work becomes increasingly interesting. “The Symbolic Order Circle” is a series of still life photo-graphs, with arrangements from ob-jects and printouts from his research on the aesthetics of magic, such as posters and flyers announcing public performances by magicians or the legendary escape artist Harry Hou-dini. „Be Aware of Invisibility“, reads one flyer, another leaflet advertises the Dye Box Book, a legendary compen-dium of magician‘s tricks, while a glass bell and a rope are reoccurring props in all but one of the images, where they are substituted by a glove. Houdini is a key figure in this arrange-ment, as his artistry had nothing to do with magic, but with his albeit secre-tive skills. He considered it his mission to demonstrate, that magic is in the eye of the beholder, and essentially an

illusion. It is created

illusion. It is created and therefore an art of presentation. This division be-tween magic and illusion, or an object and its subjective perception, intro-duces the age we live in today, that appears to be dominated by a fixa-tion on facts and reality, but can only process them as simplistic narratives, having become addicted to stories and their presentation, having created a whole culture based on showing or storytelling - but not on understand-ing.

The inability to create an own narra-tive of relevance is what agitates the characters in Goro Tronsmo‘s video „Muscle Temple“ part of a five week project documenting different young actors while they struggle trying to come up with an idea of their own, for the project they are part of. Self-mockingly the artist described her work as depicting „a bunch of hip-sters that talk about projects without ever getting anything done“, which sounds like a caricature of much of Berlin‘s self-celebratory youthful art scene. As an artist who is also a direc-tor of staged events, she devised a kind of happening for the opening of the exhibition, by having a huge cake produced in a local bakery. Again she hardly gave instructions but went with the flow, leaving it to the shop assis-tants to decorate the tart, in a „Nor-wegian style“, with the standardised decorative elements they had available.

As the final product turned out too big for delivery or transportation, the artist resorted to the spontaneous help of some young men passing by in their convertible, who drove it to the gallery. Here it was given away for free, to the bewilderment of the local kids, who after having their piece im-mediately left again, only to drag their friends into the exhibition. In effect, the cake became a vehicle for the arts, by attracting many people, who under normal circumstances would hardly have visited the gallery, thereby turn-

ing the opening into a veritable block party. In this, her work finally fulfilled the unspoken promise of the show, and established contact.

But Tronsmo‘s cake wasn‘t the only one at the show. A second “Cake” (2011), is a contribution by sculptor Trygve Luktvasslimo, and consists of a multi-layered structure, reminiscent of display furniture for shop windows from the 1950’s. Not at all edible, but with a surface cold and black, it is also quite the opposite of what a birthday or wedding cake usually represents, a joyous occasion. It appears to be more of an inversion, pretty, but gothic, and dark, as if in mourning. A second piece, a wooden structure entitled “That Way”, a man-sized capital “T” leans against the wall, cov-ered in drips of oozing goo, consist-ing of melted wine gums. It could be regarded as reminiscent of a cross, as if one would get crucified for being „That Way“, not „This way“, italic instead of regular. But this also work suggests a more personal reading: the artist is plannning to use the structure for a happening on occasion of his 33rd birthday, the age Jesus had when he was nailed to the cross. The art-ist‘s first name begins with the letter T, and after all, even if it looks like a prop from a horror movie, the melted wine gum is still not only edible, but also probably still quite sweet, mak-ing for a sculptural self portrait, that has all the charm of a complex idea quickly and easily executed, with the narcissism of a sprayed tag, yet in full three dimensions.

Like the one Anders Kjellesvik found on a piece of wood in a public park, that inspired the painter and print-maker for his installation, that crosses over into sculpture. Similar to a whole tree that the artist had charred, turn-ing it into a gigantic stick of charcoal, so big it is rendered unusable, and was shown at a biennale in Moss dedicated to drawing. His current piece is posi-

tioned in front of an assemblage of images, that appear like a vault of the motifs he has exploited for his paint-ings and silk screen work in the past, ranging from private snaps to land-scape imagery. The tagged tree trunk in front of the piece on the wall could be seen as an act of vandalism turned into exhibition furniture. Yet, it also addresses the difficulty of approach-ing nature as a topic in art - and paint-ing in particular - without resorting to traditional perspectives and stereo-types. In this sense this work is a piece of true contemporary romanticism, an attempt of artistic appropriation as much as any tag, but also a painterly claim, to reach out and grasp - or at least touch - what defines nature or landscape today.

There is a similarity here to the work of Anna Karin Stjernløf, as evident in her video titled „Closing in“ (2011), showing a hardly moving scenery accompanied by a meditative sound-track, to be listened to over head-phones. It appears to invite the viewer to become immersed, to consume the landscape offered on the screen as a place of projection of yearn-ing. Somehow, the image refuses this. Pretty as it may seem, it resists an easy identification, staying immobile - neither near nor far, but removed from the actual site of the exhibi-tion. As if it was about addressing the impossibility of being in two places at once, however much one would dream of transgressing the obstacle of the space that separates one from the object of desire.

References to nature, classical and popular culture helped to make the works on display if not comprehen-sible so in any case accessible, even to an audience completely unacquainted with strategies of analysing the com-plex language of visual art. But educa-tion was never an issue here. Still, with more than fifteen hundred visitors at the opening weekend alone

it can be safely said, that the mission of establishing an initial contact of the local Norwegian artists with their immediate surroundings has been achieved. Now, it is a question of expanding this relationship, and the question arises, who will be next? Certainly, the success of this exhibi-tion has helped to put the location of the Galerie im Körnerpark on the extensive Berlin map of art spaces to look out for. But for the artists, the show has already achieved much more - it has marked a point of arrival, not only as artists in Neukölln, but in this sense, as real people, as neighbours.

Andreas Schlaegel is an artist and writer. As an artist, he has shown and performed expansively, in Europe, Asia and the US, and recently at the Venice Biennial as part of the Gelitin Pavilion.

He has written numerous essays on contem-porary artists for publications edited by The UCLA Hammer Museum (Los Angeles), the Aspen Museum (Aspen, Colorado), Thys-sen Bornemisza Contemporary (Vienna), Schirn Kunsthalle (Frankfurt/M), Temporäre Kunsthalle Berlin, to just mention a few. He contributes regularly to international art magazines such as Frieze d/e (Berlin), Spike Quarterly (Vienna), Flash Art (Milano), Pro-gramma (Tel Aviv) and others.

In 2003, he founded the Art Critics Or-chestra, who since have given playing songs written by themselves and artists. Their new EP with songs by Lawrence Weiner/Peter Gordon, Peter Weibel and Tom Wesselman will be published by Little & Large Editions later this year. He is also a member of the all-artist band B-Men, who earlier this year pub-lished “Amen” on Sick Fuck Records, and will be giving their collaborative debut at Galerie Diane Kruse in Hamburg in September.

ARTISTS

Marius Enghborn 1974, Oslo Norway, studied at Oslo Academy of Fine Arts (1996- 2001) and The Royal Danish Art Academy in Copenhagen (1999-2000).

Solo exhibitions at STANDARD, Oslo, Galleria Gentili, Prato, Suppor-tico Lopez, Berlin, Galerie Emanuel Layr, Vienna and Preus Museum - The National Museum of Photogra-phy, Horten Norway.

Group exhibitions at Witte de With Center of Contemporary Art, Rot-terdam, Westfälischer Kunstverein, Münster, Kunsthalle Bern, Mehdi Chouakri, Berlin, Brussels Biennial, Bergen Kunsthall and Bergen Art Museum.

Engh’s work is represented in collec-tions at The National Museum of Art in Oslo, Fondazione Mora Grecco in Napoli, Deka Bank in Frankfurt am Main, Preus Museum - the National Museum of Photography in Horten.

Publications: “An Aggregation of Ad-versary” published by Torpedo Press 2011.

Link:http://www.standardoslo.no/en/art-ist/marius_engh

Magnus Bjerkborn 1980, Sarpsborg Norway, award-ed with Fine Art Photography, Edinburgh College of Art (2001-2004).

Solo exhibitions at Blomqvist Kun-sthandel, Oslo, Oslo Central Station, Galleri 5, Lund Sweden, 340 Old Street Gallery, London, Galleri S12, Bergen, Østfold Kunstsenter, Fredrik-stad Norway.

He has participated in group exhibi-tions internationally and presented works at Fokus Biennale in Lodz Po-land and National Museum of Poland Warsaw.

Bjerk’s work is represented in numer-ous national, corporate and private art collections.

Link:http://www.magnusbjerk.com/

Liv Buggeborn 1974, Oslo Norway, awarded with Fine Arts, Oslo Academy (2001) and The Royal Academy of Fine Arts Antwerp, Belgium (2003).

Solo exhibitions at WE, Brussels, Galleri Trafo, Asker Norway, Gallery Annie Gentils Antwerpen, Rijeka, Croatia, Galleri 21:25, Oslo. Group exhibitions at Tate Modern, Momen-tum Biennial, HEDAH, Mastricht, LLS 387, Antwerp.

Bugge has participated in artist resi-dencies in Brussels and Antwerp and her work is in the collection of Art Council Norway.

Publications: “You Make Me Want To Die in The Countryside” published by Torpedo Press, 2010.

Link:http://www.livbugge.com/

Mai Hofstad Gunnes born 1977, Lørenskog Norway, stud-ied at Universität der Kunste, Berlin, CCA Kitakyushu, Japan and Trond-heim Academy of Fine Art, Norway, where she was awarded an MFA in 2004.

Group exhibitions at Cneai de Paris, Museum of Contemporary Art, Oslo, Sils, Rotterdam, Oslo Fine Art Society. Gunnes was awarded the OCA (Of-fice for Contemporary Art Norway) residency at Wiels Contemporary Art Centre, Brussels, Belgium.

Upcoming exhibition includes “Oh how time flies” at Bergen Kunsthall (2011).

Trygve Luktvasslimoborn 1978, Mosjøen Norway, awarded with Master of Fine Arts, Malmö Art Academy (2006) and Edinburgh College of Art, Scotland (2003).

Trygve Luktvasslimo has participated in exhibitions and festivals in Norway, Spain, Sweden, Denmark, Finland and Scotland.

In 2011 Luktvasslimo took part in a research trip to the Arctic Sea fol-lowed by the PolArt exhibition at Tromsø Kunstforening, and he con-cluded a residency at Persbo Studio, Sweden with his solo exhibition and performance 33.

Link:http://www.trygveluktvasslimo.com/

Jannicke Låkerborn 1968, Drammen Norway, studied at Trondheim Art Academy (1993-1997), The Royal Academy of Fine Art Copenhagen, Denmark (1995-1996) and The Royal Academy of Fine Art/ Video Dep. Stockholm, Sweden (1997-1998).

Solo exhibitions at Kunstlerhaus Bethanien, Berlin, DUMBO, New York, Stenersen Museum, Oslo.

Group exhibitions at Whitney Mu-seum, New York, Moderna Museum, Stockholm.

Låker received the ‘Terje Vigen Film Award’ and the ‘Film Critics Award’, Grimstad Film Festival 2008, and was nominated for the Arte prize Ham-burg 2009. Låker’s work is represented in collec-tions of Oslo Museum of Contempo-rary Art and The National Museum in Oslo, Bomulldfabrikken and Norwe-gian Arts Council.

Link:http://www.jannickelaker.com/

Anders Kjellesvikborn 1980, Stord Norway, studied at Bergen National Academy of Arts (2001-2004), The Royal Danish Academy of Fine Arts Copenhagen, Denmark (2003-2005).

Solo exhibitions at Giga, Stord, Gal-leri Hartwich, Sellin, Rügen, at GAD, Oslo, Danske Grafikeres Hus, Co-penhagen and at Kuvataideakatemian Galleria, Helsinki.

He has exhibited in group shows internationally.

Kjellesvik’s work is represented in collection of Malmö Art Muesum in Sweden, Statoil ASA in Norway and private collections in Norway and Germany.

Since 2004, Anders Kjellesvik and Andreas Siqueland have been working together under the name “aiPotu”.

Link:http://www.anderskjellesvik.com/

Lars Morellborn 1980, Kristiansand Norway, studied Academy of Fine Arts, Oslo (2005).

Solo exhibitions GAD in Oslo, Perla Mode, Zürich, Kunstnerforbundet, Oslo, Galleri S.E.,Bergen, Kunstmu-seet Kube, Ålesund, Point Éphémère, Paris.

He has exhibited in group shows internationally. Morell took part in the Deutsche Börse Residency Program, Frankfurter Kunstverein, Frankfurt.

Morell’s work is represented in col-lections of StatoilHydro, Sørlandets Kunstmuseum, Malmø Kunstmuse-um, Bergen Kommune and in various private collections.

Link:http://www.larsmorell.net/

Maja Nilsenborn 1978, Klæbu Norway, awarded Master of Fine Arts from Trondheim Art Academy (2005).

Nilsen was one of the founders of ‘Marienborg’, an artist organised stu-dio and exhibition space for emerging artists in Trondheim.

Nilsen has participated in several group exhibitions in the Nordic coun-tries, but also in Scotland, Iceland, Japan, Germany and England. Nilsen has lately won competitions for public commissions in Norway.

Upcoming solo exhibitions at Roga-land Kunstsenter, Stavanger, Gallery Noplace, Oslo and Nordnorsk Kunst-senter, Svolvær.

Link:http://www.majanilsen.com/

Randi Nygårdborn 1977, Bergen Norway, awarded Masters of Fine Art from Malmö Art Academy, Sweden (2005) and Trondheim Art Academy (2006).

Randi Nygård is the initiator and cura-tor of “Neukölln Norwegen”.

Group shows at The National Mu-seum Castel Sant’Angelo, Rome, Italy, La Centrale Electrique, Brusseles, Belgium, Tessaloniki Centre of Con-temporary Art, Greece, at Tromsø Kunstforening, Norway, Fotogalleriet, Oslo, Norway and the Nordic House in Reykjavik, Iceland.

In 2011 Nygård participated in the artist residency at Nordic Artists Center Dalsåsen, Norway, and she is part of the W17 studio programme at Kunstnernes Hus in Oslo.

Nygård’s work is represented in public and private collections in Norway, Denmark, Germany and France.

Link:http://randinygard.blogspot.com/

Anna-Karin Stjernløfborn 1978, Drammen Norway, studied at Trondheim Art Academy (Master of Fine Arts 2001-2006) and Estonian Art Academy (2005) and (Art History) University of Bergen (2000-2001).

She has participated in group shows in Barcelona, Tallin, Kukora ( Japan), Berlin, Bergen, Trondheim, Oslo, Florø and Vevring (Norway).

Stjernløf, together with Randi Nygård and Munan Øvrelid, curated the video programme Up North for Casa del Mig and Cuando el video llego del frio for Loop-05 in Barcelona, Spain. Stjern-løf organised and curated the group exhibition under the title Seeing Is Believing at Sogn og Fjordane Coastal Museum in Florø, Norway.

Anna Særnblomborn 1977, Oslo Norway, studied phi-losophy at the University of Oslo (1996-1999) and at Oslo Academy of Fine Arts (2004-2008) and Trondheim Art Academy (2003-2004).

Solo exhibitions at Galleri 24:25, Oslo, Gallery Babel, Trondheim and Grünerløkka Kunsthall, Oslo.

Særnblom has participated in group exhibitions internationally, GAD, Ma-ria Veie, Rod Bianco, Kunstarena Øst-Carl Berner Project Room and Rub-ber Soul, Trafo, Asker, Bar Moskwa Exhibition Room, Berlin and Haugar Vestfold Kunstmuseum in Tønsberg.

Link:http://www.jimmibeat.blogspot.com/

Goro Tronsmoborn 1975, Tromsø Norway, studied at the University in Oslo (1994-1997) and at s.e.t.-Stockholm Fundamental Theatre School (1999-2000).

Goro Tronsmo works as an artist and stage director with performances at Black Box Theatre and Showbox, Oslo, Teaterhuset Avantgarden, Trondheim, BIT-Teatergarasjen, Ber-gen, Dublin Fringe Festival, LIDO/Teatertribunalen, Stockholm.

Tronsmo participated in the perfor-mance installation at The Collapsable Hole, New York and Parken festival in Bodø, Norway (August 2011).

Link:http://gorotronsmo.com/

Munan Øvrelid born 1978, Oslo Norway, awarded Masters of Fine Art from Malmö Art Academy, Sweden (2005) and Trondheim Art Academy (2006).

Solo exhibitions at Gallery Galuzin, Oslo, Skånes Kunstforening, Malmö, Sweden and Young Artist Society, Oslo (UKS).

Group exhibitions at Prosjekt 0047, Oslo, Kunst i Nordland, Bodø, Kris-tiansand Kunstforening, Kristiansand, Babel, Trondheim, Dortmund Bo-dega, Oslo, Kino Kino, Sandnes, Tou Scene, Stavanger and Tegnebiennalen Norway 2010.

Øvrelid is part of the W17 studio programme at Kunstnernes Hus, Oslo 2011.

Link:http://munanovrelid.blogspot.com/

CREDITS

pg 1Maja NilsenSwan Song2011Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay.5,5 m l x 0,8 m

pg 4, 5, 6, 7, 8, 9Munan ØvrelidSense of a beginning2011Blue ray dvd 13:00 min

pg13Maja NilsenSwan Song2011Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay.5,5 m l x 0,8 m

pg 14, 15, 16, 17Trygve LuktvasslimoCake2010Sculpture

pg 22, 23Exhibition overview

pg 24, 25Bugge and SærnblomAn average satisfaction (for flute and piano)2011Dvd, color and sound5,5 minPer Platou - PianoEivind Sandgrind – Flute

pg 30, 31Overview andTrygve LuktvasslimoGehry2010Toilet paper, composite board, metal grid

pg 32, 33, 35Jannicke LåkerSunday Morning2007

HD 1080i sound and color09:00 min

pg 39Trygve LuktvasslimoGehry2010Toilet paper, composite board, metal grid

pg 40Magnus BjerkThe Inside Of The Outside Of The Inside 9 2004-2010 Durst UV print on 1 cm Acrylic (plexi glass). 90x110 cm

pg 42, 43Magnus BjerkThe Inside Of The Outside Of The Inside 3 and 2 2004-2010 C-type lambda print laminated and mounted on aluminium. 90x110 cm

pg 44, 45Magnus BjerkThe Inside Of The Outside Of The Inside 4 and 92004-2010 Durst UV print on 1 cm Acrylic (plexi glass)90x110 cm

pg 46, 47Randi NygårdDie Zähne sind mit der Erinnerung eng verbunden Fossillien und Vision, Memory and Media2011Object&Randi NygårdDie Zähne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kief-erheilkunde2011Object

&Mai Hofstad GunnesM.D.2011Collage 13,6 x 19,7cm&Mai Hofstad GunnesUntitled2011Collage22 x 28,5cm

pg 48, 49, 50, 51Mai Hofstad GunnesM.D.2011Collage 13,6 x 19,7cm

pg 52Mai Hofstad GunnesUntitled2011Collage22 x 28,5cm

pg 54, 55Randi NygårdDie Zähne sind mit der Erinnerung eng verbunden Fossillien und Vision, Memory and Media2011Object&Randi NygårdDie Zähne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kief-erheilkunde2011Object

pg 56, 57Randi NygårdDie Zähne sind mit der Erinnerung eng verbunden Auf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kieferheilkunde

2011Object

pg 58, 59Randi NygårdDie Zähne sind mit der Erinnerung eng verbundenFossillien und Vision, Memory and Media2011Object

pg 60, 61, 62, 63, 64, 65Anders KjellesvikOhne titel (Waldblick Berlin)2011Tree trunk, xerox prints, laquer

pg 66, 67, 68, 69, 70, 71,72, 73Marius EnghFigureheads201010 photographs36,6 x 29,8 cm

pg 74, 75, 76, 77Goro TronsmoMuscletemple2011Video 20:00 min

pg 78, 79, 80, 81Anna-Karin StjernløfClosing in2011Video loop

pg 82Trygve LuktvasslimoCake2010Sculpture&Trygve LuktvasslimoThat Way2011Sculpture

pg 84, 85Trygve LuktvasslimoThat Way2011Sculpture

&Anna SærnblomSaernblom2011Bleak prints and canvas85x65 cm

pg 86, 88, 89Anna SærnblomSaernblom2011Bleak prints and canvas85x65 cm

pg 90, 91Exhibition overview

Maja NilsenSwan Song2011Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay.5,5 m l x 0,8 m

pg 92, 93Maja NilsenSwan Song2011Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay.5,5 m l x 0,8 m

pg 94, 95, 96, 98Lars MorellSymbolic Order Circle2011Photo34.5 x 23 cm (11 stk)

pg 100, 101, 103, 104, 105Liv BuggeStigma erection2011Mixed media

pg 107Anna SærnblomSaernblom2011Bleak prints and canvas85x65 cm(Detail)

pg 123Randi NygårdDie Zähne sind mit der Erinnerung eng verbundenAuf der Suche nach (Ab)bildern von Wirklichkeit und Moderne bildgebende Diagnostik in der Zahn-, Mund- und Kieferheilkunde2011Object

pg 131Goro TronsmoMuscletemple2011Video 20:00 min

pg 133, 134, 135, 136, 137Goro TronsmoThe Cake2011Performance and video

pg 142Maja NilsenSwan Song2011Foam, metal, paper, rope, paint, fabric, stone, plastic and fimo-clay.5,5 m l x 0,8 m

THANK YOU

Dr. Dorothea KollandKulturamt NeuköllnThe Royal Norwegian Embassy in BerlinAndreas Schlaegel NABROAD (Norwegian Artists Abroad)Jasmina BosnjakAnna-Karin StjernløfMagnus BjerkSimon MennerTechnicians, Galerie im Körnerpark

THE CAKEperformance by

GORO TRONSMO

KORNERpARK..

NABROADBERLINWWW.NABROAD.ORG