Gunnhild Torgersen
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
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
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
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
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
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