Gunnhild Torgersen

 

BOWS, 2017

 

Installation view from the group exhibition Omformulerte forekomster curated by Kjersti Solbakken, Kunstnerforbundet, Oslo

 

 

BOWS / Fluidity, 2017

Steel, concrete, pigments, digital print, glass, copper

159x21x25 cm

BOWS / Fluidity, 2017

Detail

BOWS / changing positions, constant movement, 2017

Painted wood from roadblocks, concrete, copper, pigments, glass

225x15x62 cm

BOWS / things of each possible relation differently, 2017

Painted wood from roadblocks, concrete, copper, pigments, glass

127x21x70 cm

BOWS / things of each possible relation differently, 2017

Detail

Turners, 2016

Installation view from the the exhibition No man is an Island at Verdens Ende Kunstforening, Tjøme

Wood from roadblocks, concrete, pigment, wax, copper

Turners, 2016

Installation view from Verdens Ende Kunstforening, Tjøme

Wood from roadblocks, concrete, pigment, wax, copper, photo, glass

Turners, 2016

Detail

Turners, 2016

Detail

Installation view from Verdens Ende Kunstforening, Tjøme

 

Sculpture: Gunnhild Torgersen, Turners, 2016

Photos: Karen Gimle, Amygdala, 2016

Turners, 2016

Detali

Wood from roadblocks, concrete, pigment, copper, wax

A shift within a limited physical space (2015)

Steel, cement, rubber, spray paint, paper from novels, rust, plastic wheels, transparent film

 

Installation view from Akershus Kunstsenter

See text by Simen J Helsvig

A shift within a limited physical space #06 & #04 (2015)

Steel, cement, rubber, spray paint,, rust, plastic wheels, transparent film

 

A shift within a limited physical space #01 & #02 (2015)

Steel, cement, rubber, spray paint, rust, plastic wheels

A shift within a limited physical space #06 (2015)

Steel, cement, rubber, spray paint, rust, transparent film

A shift within a limited physical space (2015)

Detail

Steel, cement, rubber, spray paint, transparent film

A shift within a limited physical space #04 (2015)

Steel, cement, rubber, spray paint, rust, plastic wheels

A shift within a limited physical space #05 (2015)

Steel, cement, rubber, rust, paper from novels, transparent film

A shift within a limited physical space #07 (2015)

Steel, cement, rubber, stain

A shift within a limited physical space #07(2015)

Detail

Steel, cement, rubber, spray paint,, rust, plastic wheels, transparent film

Restpiece (Stone Cold part II), 2015, in collaboration with Karen Gimle

Granite, stainless steel

 

 

 

From the exhibtion

ISLAND FEVER

 

AiR and outdoor exhibition, initiated by Gunnhild Torgersen and Karen Gimle

Gamle Ormelet Art and Culture Centre, Tjøme.

11.06.2015 - 001.09.2015

 

Anne Guro Larsmon (NO/USA), Olof Nimar (SE), Lene Baadsvig (NO), Rene Haustein (DE), Inga Krüger (DE), Gisa Pantel (DK), Synnøve G Wetten (NO), Mathias Kristersson (SE), Ingrid Eggen (NO), Ihra Lill Scharning (NO), Karen Gimle (NO), Gunnhild Torgersen (NO).

 

You are by the forest, the wavy sea, by the gas-station, by the one and only supermarket, by the tall bridge to another small island, close to the end of the world. Here the nature is present as wild and powerful, but yet reorganized as controlled and restricted. The trees, the ocean, the free is everywhere, but less existing in the society around. Island Fever, the realization that you are stuck on which ever island you are living and not going anywhere. The island is physically separated from the mainland. But the isolation is also present in how individuals are shielding from situations not affecting them directly, and how passivity is defended by isolation. Power structures acts in a micro perspective, zooming in is also a way of zooming out. The flow of information and peoples motion across countries and nations generates a larger understanding, but also an increasing need of control and limitation. Power shifts and moves. Boundaries are both physical and imaginary, constructed with an idea of need and necessity. Borders are built and withdrawn, decomposition can happen when the need of withholding no longer exists.

 

Island fever is an outdoor exhibition in the area surrounding Gamle Ormelet Art and Culture Centre at Tjøme, interacting with the landscape and the local community. Tjøme is an island in Vestfold, also known for the nature reserve "The end of the world" at the south peak of the island. The project is initiated by Karen Gimle and Gunnhild Torgersen, and the exhibition is a result of a two week mini-residency at Gamle Ormelets AiR studio, based on process related work, collaboration and dialogues between the participating artists.

 

Text: G. Torgersen and K. Gimle

Restpiece (Stone Cold part II), 2015, in collaboration with Karen Gimle

Granite, stainless steel

 

Restpiece (Stone Cold part II), 2015, in collaboration with Karen Gimle

Granite, stainless steel

 

Pushback Prickly, in collaboration with Karen Gimle, 2015

Installation view from One Night Only, Oslo

Stripped tree trunks, digital print on canvas, nylon rope

PUSHBACK PRICKLY

 

The hand holding the burning cigarette travels sideways like a storm drifting over the open desert. How far can I reach? Im in a car traveling the folds of the southwest region of the country and the road is steadying out and becom- ing flat and giving off an energy like a vortex leading into the horizon. (David Wojnarowicz)

 

In the past, many borders were not clearly defined, but neutral zones called marshlands. The concept of a marshland has been replaced by demarcation and clearly defined lines. In this project, we are moving in landscapes of borders, experiencing a growing fear and an increasing need of creating and withholding boundaries. Walls of stone and walls of cactus, defined paths that you are allowed to move within. The prickly pear cactus has become an object of complex history and important symbolic values. Because of its impervious and resilient characteristics the cactus has been used to divide spaces, agricultural as well as politically conflicted. It contains significant yet paradoxical cultural value for both Israel and Palestine. In hebrew the cactus is called Sabra, describing a Jew born in Israel, while for the Palestin- ian people it represents a struggle for freedom and surviving. In 1961 the cactus was used to build a “natural fence” surrounding Guantanamo Bay in order to keep Cubans from escape to the US. It was dubbed the Cactus Curtain.

In the construction of a performative and spacial language, we are using the symbolic and historical value of selected materials. Discussing the need of control, and the fear of chaos in contrast to the nature of disorder.

 

Text: K. Gimle and G. Torgersen

Pushback Prickly, in collaboration with Karen Gimle, 2015

Stripped tree trunks, digital print on canvas, nylon rope

Pushback Prickly, in collaboration with Karen Gimle, 2015

Stripped tree trunks, digital print on canvas, nylon rope

Sphinxes of cement and aluminium (2013/2014)

Cement, aluminium, paper from novels, mesh, pine wood, stain

Installation view from New Shelter Plan, 2014

 

For more info: www.newshelterplan.com

Sphinxes of cement and aluminium (2013)

Installation view from Galleri Mors Mössa, 2013

Cement, aluminium, paper from novels, mesh, pine wood, stain

 

For more info see text

 

Sphinxes of cement and aluminium (2013)

Installation view from Galleri Mors Mössa, 2013

Cement, aluminium, paper from novels, mesh, pine wood, stain

 

Sphinxes of cement and aluminium (2013)

Installation view from Galleri Mors Mössa, 2013

Cement, aluminium, paper from novels, mesh, pine wood, stain

Sphinxes of cement and aluminium (2013)

Detail

Cement, aluminium, paper from novels, mesh, pine wood, stain

Sphinxes of cement and aluminium (2013)

Installation view from Galleri Mors Mössa, 2013

Cement, aluminium, paper from novels, mesh, pine wood, stain

Sphinxes of cement and aluminium (2013)

Installation view from Galleri Mors Mössa, 2013

Cement, aluminium, paper from novels, mesh, pine wood, stain

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

 

See text for more info

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

Stone Cold, 2013, in collaboration with Karen Gimle

Installation view from Tag Team Studio, Bergen

February-June 2008, 2010

Tabloid flyers, glue

210x250 cm

 

June-December 2008, 2010

Tabloid flyers, glue

210x250 cm

 

January-December 2008, 2010

Tabloid flyers, glue

210x250 cm

 

January-October 2009, 2010

Tabloid flyers, glue

210x250 cm

February-June 2008, 2010

Tabloid flyers, glue

210x250 cm

January-December 2008, 2010

Tabloid flyers, glue

210x250 cm

Boy, 2011

Screen print on newspaper

30x40 cm