Hen - Flytende Kjønn
27.januar - 6.mai 2018 Haugar Vestfold Kunstmuseum
Utstillingen tematiserer hvordan det flytende kjønn og spørsmålet om HEN – også kalt det tredje pronomen – reflekteres i samtidskunsten. Flere av verkene viser hvordan kjønn og identitet er konvensjonsbetinget og kan relateres til sosiale og politiske endringsprosesser. Diskusjonen rundt det flytende kjønn utfordrer ikke bare stereotypiene knyttet til det mannlige versus det kvinnelige, men også det biologiske versus en kulturbetinget oppfatning av kjønn. Under dette igjen ligger en kritikk av tokjønnsmodellen, som for mange opprettholder undertrykkende mekanismer der menneskets identitet blir tvunget inn i rigide og livshemmende strukturer.
Det kjønnsoverskridende handler ikke minst om menneskerettigheter. I mange land er det å være homofil eller transperson fortsatt kriminalisert. Det er også oppsiktsvekkende at ordet homo viser seg å være det mest utbredte skjellsordet i den norske skolen. Samtidskunsten kan her være et felt hvor kjønnsoverskridende praksiser tematiseres, et sted hvor grenseoppgangene utvides i en form for humanisme som både ivaretar ytringsfriheten og åpner opp et rom for et mangfoldig, flytende og performativt kjønn.
Begrepet HEN – det tredje pronomen – viser til en overbygning, en frigjørende strategi som griper inn i den pågående diskusjonen i den norske offentligheten der ulike organisasjoner kjemper for å få det tredje pronomen innført i den nye ordboken for 2017, slik som svenskene gjorde i 2015. Utstillingens arkivmateriale er produsert i samarbeid med Skeivt arkiv i Bergen.
Marit Victoria Wulff Andreassen, Anatoly Below, Dania Burger, Roxy Farhat & Kakan Hermansson, Nan Goldin, Timothy Greenfield-Sanders, Narve Hovdenakk, Hungry Hearts og Tonje Gjevjon, Marie Høeg og Bolette Berg, Ane Lan, Manoel Marques Lerin, Carlo Maria Mariani, Rafael Megall, Bjarne Melgaard, Geir Moseid, Astrid Runde Saxegaard, Fin Serck-Hanssen, Andres Serrano, Kjartan Slettemark, Sille Storihle, Christer Strömholm, Vibeke Tandberg, Lesia Vasylchenko, Synnøve Sizou G. Wetten og Ming Wong
Kurator: Tone Lyngstad Nyås
The new issue features 23 artistic positions focusing on erotic contemporary drawing. FUKT #16 is presenting a broad range of different techniques and expressions: from Martin Skauen’s humoristic and explicit cartoons to Bettina Krieg’s abstract line drawings, we show a spectra of different perspectives. Some are more or less self-experienced like Ulli Lust’s comic reportage from a Berlin fetish club and Audrey Jones drawings of text message dialogues with guys she met through the app Tinder. In Paul Davis’ drawings the genitals are erased, where they should be it’s just a void, leaving space for fantasy. Enjoy!
Alphachanneling, Audrey Jones, Aurel Schmidt, Bettina Krieg, Bjarne Melgaard, David Shrigley, Frances Waite, Fredster, Gagan Singh, Keith Haring, Marit Victoria Wulff Andreassen, Marlene Dumas, Martin Skauen, Max Kisman, Minzo King, Moussa Kone, Mrzyk/Moriceau, Patrick Angus, Paul Davis, Steingrim Veum, Stewart Helm, Tommy Olsson,. Tracey Emin, Ulli Lust
Editor: Björn Hegardt
Design: Ariane Span
The 25-Year Old
Purchases for the Collection of Stavanger Art Museum 1992 - 2017
19. Oct 2017 - 17. Mar 2018
Morning Glory, 2006, pen and colorpencil on paper, 69,5x56,5cm, framed
Part of Stavanger Art Museums collection since 2015.
Stavanger Art Museum’s collection has doubled in size since the museum moved to its premises in Mosvann Park 25 years ago. Which works have entered the collection? Who decides what should be purchased? What are the criteria for the purchases? What possibilities and limitations has the museum had for developing its collection?
This exhibition focuses on the museum’s own purchases of contemporary art from 1992 to today. One or two works from each year are featured. There’s also an overview of which works were purchased each year, the amount of the purchasing budget for each year, and the members of the acquisition committe.
Artists included in the exhibition:
Marit Victoria Wulff Andreassen, Natasja Askelund, Tone Kristin Bjordam, Håkon Bleken, Per Christian Brown, Sophie Calle, Per Dybvig, Anne Marthe Dyvi, Snøfrid Hunsbedt Eiene, Jens Erland, Jan Groth, Tommy Olsson og Una Henry, Jone Kvie, Roald Kyllingstad, Andrea Lange, Ma Liuming, Elin Melberg, Ulf Nilsen, Kjell Pahr-Iversen, Thomas Pihl, Aase Texmon Rygh, Torbjørn Rødland, Mari Slaattelid, Lars Traegde, Mette Tronvoll, Erling Valtyrson, Sverre Wyller, Toby Ziegler.
Inger M. L. Gudmundson, Vibece Salthe og Hanne Beate Ueland (Acquisition committe)
Ephemerality - A permanent Collection
Bergen Academy of Art and Design / KORO
My sketch for the To The Moon series made back in 2002 is now a part of the KORO project Ephemerality - A permanent Collection at Bergen Academy of Art and Design
Read more about the project and collection here: https://publicartnorway.org/prosjekter/bergen-academy-of-art-and-design/
DIVE - Into The Collection
Stavanger Art Museum 17.June - 1.October 2017
Most people collect, or have collected. From the childhood joy of adding new stones, shells or licence-plate numbers to an ever-growing accumulation devoid of any goal other than the mere act of collecting, to adult life’s more systematic gathering in of historical material, objects or art.
Stavanger Art Museum has three collections: the finalised private collection of Halvdan Hafsten (1905–1993), the Jan Groth and Steingrim Laursen Collection, and the Permanent Collection. Each year new works are added to the latter two collections: the Groth and Laursen Collection through private purchases, and the Permanent Collection through gifts, deposits and purchases negotiated by the museum’s purchasing committee.
Part of the nature of any collection is that it is defined in relation to the collector’s motivation, preferences and, no least, taste. Public art museums collect on behalf of society. By collecting and making their collections available to the public, museums write art history. It is well-known that the majority of works in most art collections are created by male artists, so also that an ethnocentric perspective has marked the writing of Western art history. Both the selection of works to be exhibited and how they are displayed influence how we understand the history of art. These activities are matters of art policy that bear witness to reigning structures and attitudes about art. A public museum’s purchasing policy should therefore be an object for discussion. But art history is not solely written by collectors, museums and other art institutions. Artists are also deeply involved.
In this exhibition, we present a selection of works that have been added to Stavanger Art Museum’s holdings in recent years. Some have been in the collections for several years yet never been on show before now. Others are new acquisitions. The exhibition title Dive – Into the Collection is inspired by Sandra Vaka Olsen’s series Dive (Skin). In her artistic research on photography, Vaka Olsen takes photos of her own already-existing photographic material and manually manipulates it to create new expressions. It is reasonable to interpret her method as a corrective to Abstract Expressionism’s masculine artist-gesture and use of the female body as both a printing template and paintbrush. In this way, the exhibition’s title invites a deeper exploration of the artworks, their place in our collections and in art history.
Frants Bøe / Sophie Calle / Guerrilla Girls / Cecilie Gravesen / Käthe Kollwitz / Zofia Kulik / Ingeborg Kvame / Kristina Matousch / Bruce Nauman / Louise Nevelson / Howardena Pindell /
Man Ray / Iiu Susiraja / Sandra Vaka Olsen / Marit Victoria Wulff Andreassen
Text: Helga Nyman
Curated by: Helga Nyman, Katharina S. Ueland and Elin Lillebråten
Photo: Zofia Kulik, Lady Halina on the Surface (detalj), 1968-71.
Regress - Griegsamlingen - Oseana
11.March 2017 - 2.April 2017
Marit Victoria Wulff Andreassen
Opening on Saturday March 11 at 2pm
3pm-4pm: A conversation between Marit Victoria Wulff Andreassen and the art historian Sigrun Åsebø
At a first glimpse, Marit Victoria Wulff Andreassen’s excellent and skillfully executed drawings seem like pure beauty with fabulating lines winding their way as ornaments on the surface. This impression gets disturbed by further inspection; all is not as it should be, and definitely not as it uses to be. Body parts connect organically to plants, entrails or body orifices appear in unexpected places and gender identities are blurred. At the same time seductive and provocative, her works are often interpreted in a gender political context; but if the aesthetic is feminine or feminist remains unresolved. This unclarity might not be an opposition at all. Rather it is the result of a raw and direct experience coming from within, hiding in plain sight.
Wulff Andreassen graduated from the Bergen Academy of Art and Design in 2003, and she has since then participated in a row of exhibitions in Norway and abroad. She has done several public projects, for the Bergen University among others, and her works have been purchased by Haugesund Art Association, Stavanger Art Museum, The National Museum and others.
Sigrun Åsebø is an assistant professor at the University of Bergen. In her research she focuses on gender, body and sexuality in fine art, feministic theory and historiography as well as female artists in historical and contemporary perspective. Åsebø also works as an art critic and is one of the initiators of Network for Gender and Diversity in the Art Museums. She finished her phd in 2011 with the dissertation "Femininitetens rom og kvinnekroppens grenser. Å lese kunstens historie med A. K. Dolven og Mari Slaattelid".
Curator: Evelyn Holm
Underway - Sørlandets Art Museum
8.October 2016 - 5.March 2017
First Meeting, 2005, pen and color pencil on paper, 48x38 cm, framed, Collection of the artist
Childhood and adolescence are decisive periods in each and every person’s life. The process of growing up, of exchanging a child’s existence for that of a teenager, involves physical, psychological, social and cultural change. Much of one’s identity takes shape, and this can mean a new experience of both the body and one’s gender. This phase in life has its own cultural expressions that are manifested through play and other activities. New digital media offer possibilities for a type of self-staging unknown to earlier generations. Life offers many challenges, and for some children and youths, there are major events, for instance today’s migrant and refugee crises, that have severe consequences.
Many artists today focus on issues related to this period of life. For Sørlandets Kunstmuseum, young people are an important focal group. With a wide approach to the exhibition’s theme, we seek to convey some of the aspects that mark this part of human existence.
Participating artists (in alphabetical order):
Marit Victoria Wulff Andreassen (Norway), Rineke Dijkstra (Netherlands), Andrea Gjestvang (Norway), Annika von Hausswolff (Sweden), Preben Holst (Norway), Ove Kvavik (Norway), Peter Land (Denmark), Artist group Leo Gabin (Belgium), Sharon Lockhart (USA), Wynne Neilly (Canada), Mari Slaattelid (Norway), Fiona Tan (Netherlands).
Curator: Frank Falch
Marit Victoria Wulff Andreassen - ONS Artist 2016
29.August - 1.September 2016, Stavanger, Norway
In our Nordic Year at Teckningsmuseet Laholm SE. Six contemporary artists has been selected to represent Norway:
Marit Victoria Wulff Andreassen, Ingri Haraldsen, John Høie, Rina Charlott Lindgren, Sverre Malling and Christian Messel.
A equilibristic generation of artists whose drawings are full of history, landscapes, destruction and sexuality. See epic shades of gray in elegant depictions with contemporary graphic finesse. Well-chosen characters form new stories that fascinate and deepen both at a visual and intellectual level. The artists’ enormous concentration and dedication is contagious and affects the viewer.
Seksualitet, kjønn, kropp, identitet, tilhørighet, erindring…. Haugesund Kunstforening ønsker velkommen til vårens to siste salgsutstillinger. Vi har gleden av å presentere Marit Victoria Wulff Andreassen med tegninger i sal 1, og Trine Hovden med keramiske arbeider i sal 2.
Marit Victoria Wulff Andreassen (f. 1971, Harstad/Stavanger) er en av vår tids mest interessante og særpregede kunstnere. Med en billedverden som sentrerer rundt temaene kropp og kjønn samt problematisering av aspekter knyttet til identitet og seksualitet, tar hun tak i emner som berører helt sentrale menneskelige erfaringer. Arbeidene hennes kan oppleves både provoserende og pirrende, vakre og frastøtende på samme tid.
Andreassen er utdannet ved Kunsthøgskolen i Bergen (2003). Hun arbeider med tegning på papir, store veggtegninger og maleri. Andreassen har deltatt i en rekke internasjonale utstillinger og har gjort utsmykninger bla. for KORO og Gassco (Karmøy). Hun har mottatt en rekke stipender, er støttet av Norsk Kulturråd i flere omganger og presentert i flere tidsskrifter og bøker. I 2009 ble hun nominert til Carnegie Art Award.
Andreassens er bla. innkjøpt av Nasjonalmuseet for kunst, arkitektur og design, Stavanger kunstmuseum, De Samiske samlinger og Haugesund Billedgalleri. Hun er omtalt i Gunnar Danbolts reviderte utgave av Norsk Kunsthistorie (Samlaget) og i Øystein Ustvedts : Ny Norsk Kunst - etter 1990 (Fagbokforlaget).
Andreassen viste sine arbeider i en omfattende utstilling i Stavanger kunstmuseum i 2015, og i år er hun oljemessens ONS kunstner i Stavanger. Natt & Dag i Stavanger kåret Marit Victoria Wulff Andreassens utstilling «Through the Woods» på Stavanger kunstmuseum, som fjorårets beste kunstopplevelse.
Utstillingen er støttet av Norske Kunstforeninger
Through the Woods - Marit Victoria Wulff Andreassen
Stavanger Art Museum 6.March - 25.May 2015
The Second Coming, 2014
Pen and colorpencil on paper, 75x96 cm
Stavanger Art Museum MUST
Marit Victoria Wulff Andreassen is one of our era’s most interesting and singular artists. With motifs centering on the body and gender, plus her critical questioning of aspects related to identity and sexuality, she draws our attention to core human experiences. Her works can be seen as vexing and titillating, beautiful and repulsive, all at the same time.
Even as a student, Wulff Andreassen’s artistic practice generated great interest; before she graduated, her drawings were purchased by Norway’s National Museum of Art, Architecture and Design. Since then her works have been incorporated into several key collections, and she has exhibited in notable art institutions in Norway and abroad. Her art is also featured in central art-historical publications. The impact of it, however, extends beyond the traditional sphere of art, provoking interest amongst academics and others who work with research questions related to gender and identity.
Despite the considerable attention and extensive exhibition activity, Through the Woods will be the first solo show Wulff Andreassen holds in a museum.
The catalogue published in connection with the show is the first to present a comprehensive overview of her artistic practice. Along with beautiful colour reproductions of the exhibited artworks and several public commissions, the catalogue contains essays by Sigrun Åsebø, Wencke Mühleisen, Tommy Olsson, Helga Nyman and Vibece Salthe.
The exhibition features more than 70 works created since the early 2000s, some quite recently.
Curator: Vibecke Salthe
2016 © Marit Victoria Wulff Andreassen