In abcense 01, 2023

Fired marine clay, bees wax


Documentation from the group exhibition Stedets Tyranni, Brugata 15, curated by Tina Kryhlmann


On the wall: 

Hann Sjöstrand, Axis combined, 2023

Tina Kryhlmann, Krot, 2023

In abcense 01, 2023

Fired marine clay, bees wax

50x120x15 cm

In abcense 02, 2023

Fired marine clay, bees wax, bronze

50x140x15 cm

In abcense 02, 2023

Detail

In abcense 02, 2023

Fired marine clay, bees wax, bronze


On the wall:

Hann Sjöstrand, Axis combined, 2023

Tina Kryhlmann, Krot, 2023

Installation view from the exhibition Djuptone at Volda og Ørsta Kunstlag


Bunnbærere, 2021

Fired marine clay from a river in Gerlesborg, bees wax, copper, tin


Reading the Ocean in a Pond -From right to left and back again

Sand from Flø (NO), casted glass, wire


Luftlommer, 2021

Håndblown glass, steel





Bunnbærere, 2021

Detail

Luftlommer, 2021

Håndblown glass, steel


Bunnbærere, 2021

Fired marine clay from a river in Gerlesborg, bees wax, copper, tin



før vandringene langs havet, før gesten, før bevegelsen, 2021

Lime stone from Faxe, casted and håndblown glass

Reading the Ocean in a Pond  -From right to left and back again

Ca 42x20x10 cm

Sand from Flø (NO), casted glass, wire

From right to left, 2022

Ca 42x42x7 cm

Sand from IJmuiden (NL), casted glass, wire


From the project Reading the Ocean in a Pond 

Documentation from Röstånga Konsthall, a duo exhibition with Hanna Sjöstrand


Reading the ocean in a pond

När vatten flyter genom ett landskap, eller krusningar uppstår i en vattenyta, skapas linjer som vittnar om riktning, styrka eller närvaro av land. I skulpturserien Reading the ocean in a pond har stöpta glasfat blivit fyllda av sand som hämtats från de yttersta kanterna av landmassor, platser där land möter ett hav som synes oss oändligt. Att teckna i sand är en tidlös men ändå flyktig mänsklig handling, en form av historieberättande, en ritual eller en tillfällighet. I Torgersens skulpturer möter sand och linjer de lokala naturkrafternas inverkan.

Direction Reflection Refraction, 2022

Ca 42x42x5 cm

Sand from Seixal (PT), casted glass, wire

Backwash, 2022

Ca 42x42x7 cm

Sand from Flø (NO), casted glass, wire

Breaking waves, 2022

Ca 42x42x7 cm

Sand from Fair Isle (UK), casted glass, wire

Bunnbærere, 2021

Installation view from the exibition Bunntone at Norwegian Sculpture Society

Burned marine clay, bees wax, copper, tin


Text by Julia Björnberg 

Bunnbærere, 2021

Detail from the exibition Bunntone at Norwegian Sculpture Society

Burned marine clay, bees wax, copper, tin

Bunnbærere, 2021

Installation view from the exibition Bunntone at Norwegian Sculpture Society

Burned marine clay, bees wax, copper, tin

Bunnbærere, 2021

Detail

Bunnbærere, 2021

Burned marine clay, bees wax, copper, lime stone from Fair Isle

Bunnbærere, 2021

Burned marine clay, bees wax, copper, tin

Bunnbærere, 2021

Burned marine clay, bees wax, copper, tin

Luftlommer, 2021

Installation view from the exibition Bunntone at Norwegian Sculpture Society

Handblown glass, steel

Luftlommer, 2021

Handblown glass, steel

Luftlommer, 2021

Handblown glass, steel

før vandringene langs havet, før gesten, før bevegelsen, 2021

Installation view from the exibition Bunntone at Norwegian Sculpture Society

Lime stone from Faxe in Denmark, handblown and casted glass

før vandringene langs havet, før gesten, før bevegelsen, 2021

Installation view from the exibition Bunntone at Norwegian Sculpture Society

Lime stone from Faxe in Denmark, handblown and casted glass

før vandringene langs havet, før gesten, før bevegelsen, 2021

Detail from the exibition Bunntone at Norwegian Sculpture Society

Lime stone from Faxe in Denmark, handblown and casted glass

før vandringene langs havet, før gesten, før bevegelsen, 2021

Detail from the exibition Bunntone at Norwegian Sculpture Society

Lime stone from Faxe in Denmark, handblown and casted glass

Ord etter vann. Parallell, 2021

Detail from the exhibition Bunntone at Norwegian Sculpture Society

Casted glass, sea weed, sand from Bygdøy (NO)

Installation views from the exhibition Bunntone at Norwegian Sculpture Society, 2021


Ord etter vann. Høyre til venstre

Casted glass, sea weed, sand from Malmö (SE)


Ord etter vann. Parallell

Casted glass, sea weed, sand from Bygdøy (NO)


Ord etter vann. Venstre til høyre og tilbake

Casted glass, sea weed, sand from IJmuiden (NL)


Ord etter vann. Tilbaketrekning

Casted glass, sea weed, sand from Shetland (UK)


Ord etter vann. Tilbaketrekning II

Casted glass, sea weed, sand from Flø (NO)

Dive, 2020

Installation view from Vermillion Sands 2021

Photos: Kevin Malcolm

POLYMONO PLEXUSGEL

Polymono Plexusgel is a group exhibition with works by Francis Patrick Brady, Mélodie Mousset, Hedda Grevle Ottesen, and Gunnhild Torgersen. It is the third exhibition in the series You Don’t Know - Radical Imaginaries – four exhibitions curated by Vermilion Sands. The exhibition opens on Saturday December 5th 2020 from 2pm-5pm. 
 
What we are able to imagine is often linked to what we surround ourselves with, simply put; our environment determines the scope of our imagination. The artists in Polymono Plexusgel share a common interest in generating imaginative landscapes. Whether the point of departure is virtual, visual or bodily – they are all engaged in a kind of world building. By putting materials, bodies, images and ideas together in new formations, they create experiential propositions for potential tomorrows. These suggestive works and practices open a door to possible worlds, at once fictional and real, in which we might dream together new possibilities of where and how we live.  

Polymono Plexusgel by Drexciya

Dive #6, 2020

Detail from Vermillion Sands 2021

Handblown glass, marine clay, silicone

Dive #5, Dive #1, 2020

Detail from Vermillion Sands 2021

Handblown glass, limestone from Fair Isle, bronze, marine clay, silicone

Dive #4, 2020

Detail from Vermillion Sands 2021

Handblown glass, limestone from Fair Isle

Dive #2, 2020

Detail from Vermillion Sands 2021

Bronze, marine clay

An Ostrich Play, 2020

Documentation from Hvitsten Salong 2020

Marine Clay, mussels, seawater

An Ostrich Play, 2020

Documentation from Hvitsten Salong 2020

Stoneware, seawater, rubino rosso pigment

An Ostrich Play, 2020

Documentation from Hvitsten Salong 2020


An Ostrich Play, 2020

Documentation from Hvitsten Salong 2020

Marine Clay, seawater, glass

An Ostrich Play, 2020

Documentation from Hvitsten Salong 2020

Stoneware, seawater, mussels, led light

Crowd, 2018

Installation view from Noplace, Oslo


Text by Ludvig Uhlbors

Crowd, 2018

Installation view from Noplace, Oslo


Crowd, 2018

Installation view from Noplace, Oslo

Stoneware, bronze, tin

Crowd, 2018

Installation view from Noplace, Oslo

Stoneware, bronze, tin, stainless steel

Crowd, 2018

Stoneware

Crowd, 2018

Stoneware

Crowd, 2018

Stainless steel

Crowd, 2018

Bronze

Crowd, 2018

Bronze

Hulls and Skins, 2019

Birch, leather, rubber line

Documentation from Hvitsten Salong

Hulls and Skins, 2019

Birch, leather, rubber line

Documentation from Hvitsten Salong

Hulls and Skins, 2019

Birch, leather, rubber line

Documentation from Hvitsten Salong

Hulls and Skins, 2019

Stoneware

Documentation from Hvitsten Salong

Hulls and Skins, 2019

Spruce, lime stone from Fair Isle

Documentation from Hvitsten Salong

Flokk, 2019

Bronze

Documentation from Grand Complications at Rommen, curated by Andrea Bakketun

For more information: https://grandcomplications.net/

Flokk, 2019

Glazed stoneware

Documentation from Grand Complications at Rommen, curated by Andrea Bakketun


Flokk, 2019

Bronze

Documentation from Grand Complications at Rommen, curated by Andrea Bakketun


Flokk, 2019

Glazed stoneware

Documentation from Grand Complications at Rommen, curated by Andrea Bakketun


Entré Nous, 2018

Installation view from Møre og Romsdal Kunstsenter, Molde

Stoneware, bronze, tin, nylon thread, stainless steel

 

 

Entré Nous, 2018

Installation view from Møre og Romsdal Kunstsenter, Molde

Stoneware, bronze, tin, nylon thread, stainless steel

 

 

Entré Nous, 2018

Bronze 

Detail

 

 

Entré Nous, 2018

Bronze 

Detail

 

 

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