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Østfold Kunstsenter i Fredrikstad, oktober – desember 2023.
Mobiltelefon: 0047-91341255
Mail: patrikentian@gmail.com
Websider:
Utdanning:
2007-2011/2014 Phd. fra Program for kunstnerisk utviklingsarbeid, Kunsthøgskolen i Bergen, KHiB. Avd. Kunstakademiet
1996-2001 Kunstakademiet i Trondheim
1998-1999 Bildkonstakademien i Helsingfors
1991-1993 Skånska Målarskolan, Malmö
Inngår i kunstnergruppen -& Co. sammen med Aleksi Wildhagen og Jens Hamran ogco.no
Skriver kunstkritikk om norske kunstscenen for svenske fagforumet omkonst.se
Separatutstillinger:
2024 Kommende utstilling med -& Co. på Bryne Kunstforening
2024 Kommende utstilling på LNM, Oslo
2023 Heinz, Østfold Kunstsenter, Fredrikstad
2022 Wall of Thuja (sett fra tre trillebårer), Heimdal Kunstforening
2022 opacité, Kunstgarasjen, Bergen
2021 Ut og Male Hester -& Co., Indre Østfold Kunstforening og Homstvedt gård
2021 På leit mellom plikt og fridom -Hardanger -& Co., Kabuso Kunsthall, Øystese
2021 Wall of Thuja, Galleri Christinegaard, Bergen
2020 Mellom tuja og syrin, Hardanger- og Voss museum, Lofthus
2019 Gilhus Flaskehals -& Co., Lier Kommune
2018 The Artist -& Co., Kunstnerforbundet. Oslo
2017 Knyken – & Co., Møre og Romsdal kunstsenter, Molde
2017 Knyken – & Co., Surnadal Billag AS/AiR, Surnadalsøra
2017 The Painters -& Co., Galleri LNM, Oslo
2016 Don Quixote, Sancho Panza -& Co., Trøndelag Senter for Samtidskunst.
2015 Hvittingfoss -& Co., Best bensinstasjon, Hvittingfoss.
2013 Looking South – Looking for Painting, Trondheim Kunstmuseum, TKM
2013 Transience, Ås Kunstforening
2012 About watching, maerzgalerie, Berlin
2011 Looking for Painting, Galleri S.E., Bergen
2011 Att synliggöra det synliga, Prosjekthallen, Bergen
2011 Looking for Painting, Rom8, Bergen
2011 Norge er et land i verden, med Aleksi Wildhagen, Gallery Zink, Lillehammer
2010 Fermente, maerzgalerie, Leipzig
2009 På en helt annen plass omtrent samtidig, Galleri Langegården, Bergen
2008 Alaska on a clear day, med Ellen Røed, Sound of Mu, Oslo
2007 Finn fem fel, Galleri By The Way, Bergen
2006 Sommerutstillingen, Bogen Kunstnerverksteder
2006 Utdrag ur svenska målarkonstens historia, No5 Bergen Kunsthall
2005 Geografi, med Ellen Røed, Trøndelag senter for samtidskunst, Trondheim
2005 Holmgang, med Ellen Røed, Rogaland kunstnersenter, Stavanger
2004 Månedens kunstner, Hurtigruta M/S Finnmarken
2003 Geografi I, Prøverommet Teatergarasjen, Bergen
2003 Geografi II, Prøverommet Teatergarasjen, Bergen
2002 Salong, med Aleksi Wildhagen, Lindesnes Kystkultursenter
2001 Salong , med Aleksi Wildhagen, Studentersamfundet,Trondheim
2001 Kolla, vilka snygga moln!, Galleri Kit, Trondheim
2001 Salong (i stua til Jonas og Mona), med Aleksi Wildhagen, Trondheim
2000 Fullmåne, Galleri KiT, Trondheim
2000 Someone who watch over you, Galleri KiT, Trondheim
1999 Efter Finland, Prosjekthallen, Trondheim
1998 Kolme henkilöä, tai 350 kg, Helsingfors
1996 Pulsar, Galleri Skånes Konst, Malmö
Gruppeutstillinger:
2023 Bølertriennalen, Trolltun kunstnerboliger, Oslo
2022 Brennende kveldshimmel, Novemberutstillingen, Drammen Museum
2021 Verden som den føles, 6 malere på Kunstbanken, Hamar
2020 Hardanger Machina #2, Novemberutstillingen, Drammen Museum
2020 Utan titel (Tänk på döden) Stipendutstillingen Buskerud Kunstsenter
2019 Erik XIV:s tapet och pantalånger, Novemberutstillingen, Drammen Museum (Vinner av Årets mest markante verk)
2019 Stipendutstillingen Buskerud Kunstsenter, Drammen
2018 Munch, Wirkola -& Co., Haugar Vestfold Kunstmuseum, Tønsberg
2018 Dance of Life, Novemberutstillingen, Drammen Museum
2018 3 kg oljefarge fra et veikryss i Hvittingfoss, Juleutstilling på Kunstnerforbundet, Oslo
2017 Et sted og sveve uten å falle, Novemberutstillingen, Drammen Museum
2017 Efterårsudstillingen -& Co., København
2016 A collective psycho geographic guide to Oslo, Tegnebiennalen 2016
2016 Vestlandsutstillingen -& Co., VU 2016 (-& Co)
2015 Novemberutstillingen, Drammen Museum
2015 Stolte setuasjoner 1814-2014, Sogn-og Fjordane kunstmuseum, Førde
2014 Stolte setuasjoner 1814-2014, Hå gamle prestegård
2014 Høstutstillingen #127 & Co., Kunstnernes Hus, Oslo
2014 Stolte setuasjoner 1814-2014, Kabuso, Hardanger
2014 Dagens kaker, Today cakes, Jacob Sandes tun, Dale
2013 Malerjam, LNM
2012 65 Malerier på Bergen kjøtt, Bergen
2011 11. Galleri S.E., Bergen
2011 Practise for a Sunset, Tidens Krav, Oslo.
2010 BGO Vol 1., Bergen Kunstmuseum
2010 Real Deal, Christianssands Kunstforening, Kristiansand
2008 Ad Hoc, USF Verftet, Bergen
2007 Site Specific Revisited, Bjørgvin Fengsel
2007 Høstutstillingen, Christianssands Kunstforening
2006 Ibsen mens du venter, Bergen
2004 Kjærlighet, Vestlandske kunstmisjon, Bergen
2004 Vestlandsutstillingen
2003 TAMPA, Quartfestivalen, Kristiansand
2003 Vestlandske Kunstmisjon, Bergen
2003 The Bridge, Vestlandske Kunstmisjon, Bergen
2002 motherboard@landmark, Bergen
2001 Videopuls 2001, Filmfestivalen, Haugesund
2001 ISFIT, Studentersamfundet, Trondheim
2000 KiT 2000, Edsvik Konst och Kultur, Stockholm
2000 Crisis Management, Momentum Moss
2000 Avgångsutställning 2000, Trondheim Kunstmuseum
1999 På papir, Nord Trøndelag Fylkesmuseum
1999 In The Air, Helsingfors
1997 Desemberutstillingen, Trøndelag Kunstmuseum
1997 Galleri Bispen, Trondheim
1997 Studentutstilling, Galleri Norske Grafikere, Oslo
1995 Decemberutställning, Göteborgs Konsthall
1994 Fyra unga, Skara konsthall, Skara
Kuratering:
2018 Borgen Museum, 24 kunstnerer invitert av kunstnergruppen -& Co. i samarbeid med Terje og Berith på deres eiendom Borgen i Hvittingfoss.
Offentlige utsmykninger:
2024 Kommende utsmykning på Nye Narvik Sykehus
2023 Lokalproduserte landskaper, Vestland Fylkeskommune, Bergen
2018 Sett fra Damsgård, Damsgård skole, KORO/Bergen Kommune
2017 Geografiske oversikter, et sted og sveve uten å falle, Jarleveien 10, Trondheim Kommune.
2016 Koffen, med Ellen Røed, Hølen skole, Vestby kommune.
2012 Bosque de la Esperanza, med Aleksi Wildhagen, Skagerak Energi AS, Porsgrunn
2011 Emphasis, Contrast , Balance, Alignment, Repetition, Flow, IFI 2 – Institutt for Informatikk, Universitetet i Oslo. (skisseutvikling i samarbeid med Ellen Røed)
2007 Grunntanker og påstander, G.C.Rieber,Bergen
2006 Nummenhet Evighet, Vesta Hovedkontor, Resepsjonen, Bergen
2006 56 ikoner, med Ellen Røed, Kalvatreet Skole, Bergen
2006 Infomedia, med Ellen Røed, Inst. for informasjons- og medievitenskap, UiB.
2005 Geografi #1-35, med Ellen Røed, Nevrosenteret Sankt Olav Hospital, Trondheim
1996 Morsesignaler, Statoils forskningslaboratorium, Trondheim
Stipendier:
2023 3-årig arbeidstipend BKV
2022 Prosjektstøtte Kulturrådet
2021 Statens 2-årige arbeidsstipend, Norsk Kulturråd
2020 Prosjektstøtte BKV ( med kunstnergruppen -& Co. høsten)
2020 Prosjektstøtte BKV (våren)
2020 Prosjektstøtte Kulturrådet
2019 Prosjektstøtte Kulturrådet (med kunstnergruppen -& Co.)
2018 3-årig arbeidsstipend Billedkunstnernes vederlagsfond, BKV
2018 Prosjektstøtte Kulturrådet (med kunstnergruppen -& Co.)
2017 Prosjektstipend BKH/ Møre og Romsdal kunstsenter (med kunstnergruppen -& Co.)
2017 Prosjektstøtte Kulturrådet (med kunstnergruppen -& Co.)
2017 1-årig arbeidsstipend BKH
2016 Prosjektstøtte Billedkunstnernes vederlagsfond (med kunstnergruppen -& Co.)
2016 Prosjektstøtte Kulturrådet (med kunstnergruppen -& Co)
2015 Prosjektstøtte Billedkunstnernes vederlagsfond (med kunstnergruppen -& Co.)
2015 Prosjektstøtte Kulturrådet (med kunstnergruppen -& Co.)
2014 Statens 3-årige arbeidsstipend, Norsk Kulturråd
2012 2-årig arbeidsstipend Billedkunstnernes vederlagsfond, BKV
2010 Prosjektstøtte vederlagsfondet
2007 Vederlagsfondet
2005 Vederlagsfondet
2005 Utstillingsstøtte Norsk Kulturråd
2004 Vederlagsfondet
2004 Utstillingsstipend
2004 Prosjektstøtte vederlagsfondet
2003 Bergen Kommunes etableringsstipend
2002 Utstyrsstøtte Norsk Kulturråd
2001 Carl Jervs Minnefonds stipend
Innkjøpt:
2022 Oslo Kommunes Kunstsamling
2022 Trondheim Kommune
2018 Damsgård skole, Bergen Kommune
2017 Ephemerality – A Permanent Collection! KMD/UiB
2010 Sørlandets Kunstmuseum
2006 Bergen Katedralskole, Bergen Kommune.
2006 UiB Infomediainstituttet, Bergen
2006 Norsk Kulturråd
2006 Sørlandets Kunstmuseum
2006 Stord kommune
2005 Norsk Kulturråd
2004 Universitetet i Bergen
2000 Permanent Printcollection, University of Texas, Austin USA
Publikasjoner:
2017 El Rancho – & Co. Fotobok. Støttet av Kulturrådet og Vederlagsfondet.
2017 Malerisk feltarbeid, Interview -& Co. Magasinet kunst, (artmagazine)
2016 Don quixote, Sancho Panza – & Co. Fanzine/Essay.
2015 Hvittingfoss -& Co. Bok utgitt på forlaget -& Co. Støttet av Kulturrådet.
2014 Stolte setuasjoner. Utgitt av NK Dale. Den Nasjonale 200-årsmarkeringen 1814 – 2014
2013 Looking South – Looking for Painting. Utgitt av Trondheim Kunstmuseum, TKM
2011 Looking for Painting. Utgitt av Kunsthøgskolen i Bergen, KHiB
2005 Geografi/ Holmgang. Utgitt av Ellen Røed og Patrik Entian. Støttet av Norsk Kulturråd.
Undervisning/ offentlige verv:
2022 Sensor for Mastereksamen ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2021-23 Hovedveileder på Einar Granum Kunstfagskole, Oslo
2021 Undersvisning i maleri på Strykejernet Kunstskole, Oslo
2021 Juryleder for Østlandsutstillingen, Oslo
2021 Sensor for Mastereksamen ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2021 Jureringskomité for Østlandsutstillingen, Oslo
2021 Sensor for Mastereksamen ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2020 Komitéleder kompetansevurdering ved Fakultet for Kunst, KMD/UiB
2020 Sensor for Mastereksamen ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2020 Nominasjonskomitéen for Landsforeningen Norske Malere (LNM), Oslo
2019 Sensor for Mastereksamen ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2019 Nominasjonskomitéen for Landsforeningen Norske Malere (LNM), Oslo
2019 Plen-air maleri, kurs/workshop ved UiB Fakultet for Kunst, KMD/UiB, Bergen
2017 Plen-air maleri, kurs/workshop ved Kunstakademiet i Trondheim, NTNU
2016 Sensor for Bacheloreksamen ved KHIB, Kunsthøgskolen i Bergen
2016 Kurs/workshop ved Kunstakademiet i Trondheim, NTNU
2015 Jureringskomité YPP (Young Painters Prize, Balticum), Vilnius, Litauen
2015 Jureringskomité for AiR NKD, Nordisk kunstnarsenter Dale
2015 Sensor for Bacheloreksamen ved KHIB, Kunsthøgskolen i Bergen
2014 Jureringskomité for AiR NKD, Nordisk kunstnarsenter Dale
2013 Forelesning og undervisning ved KiT, vår, Kunstakademiet i Trondheim
2012-13 Medlem i Regionalt samarbeidsutvalg, RSU, Bergen.
2012 Sensor for eksamen ved KIB, Kunstskolen i Bergen
2011-12 Undervisning KIB, Kunstskolen i Bergen
2007-11 Undervisning, forelesninger, kurser og workshops som Phd-ansatt ved KHIB, Kunsthøgskolen i Bergen
2006 Forelesninger og undervisning ved KHIB, vår og høst , Kunsthøgskolen i Bergen
2005-07 Undervisning KIB, Kunstskolen i Bergen
Medlemskap:
Norske billedkunstnere (NBK)
Landsforeningen norske malere (LNM)
Buskerud bildende kunstnere (BBK)
]]>Art critic: https://artscene.no/2022/09/23/patrik-entians-buskevekster-fra-nye-synsvinkler/
During a series of forced quarantine periods in 2020-21, I started painting in my own garden in Drammen, and became particularly interested in the neighbour’s large tuja hedge. These silent and eternally dark green figures who, at the time, had the thankless task of keeping the dangerous out. Now, during the spring painting work, they have increasingly taken the form of an obscure threatening darkness that eats the air and suffocates any form of overview. A wall of phantoms that can neither be encompassed, understood nor overlooked.
Svajande fantomer i februari. Olje på lerret. 24 x 33 cm.
Mutasjon i januar (Flesh Tint i snøfall). Olje på lerret. 41,5 x 56 cm.
(t.v.) Kohort i desember (kraftig regn, alt flyter). Olje og tøy på lerret. 60×80 cm. (t.h.) Karantene i juni (hvite peoner i pøsregn). Olje på lerret. 60×80 cm.
Plaststol og trillebår (ved vedskuret på gården til Terje og Berith). Olje på lerret. 110 x 70 cm
(Maleriet i midten) Innmarksovertredelse. Olje og tøy på lerret. 68 x 102 cm.
Trillebår og vognshjul i snøsludd (på nordøstsiden av Terje og Beriths hus). Olje på lerret. 70 x 110 cm.
]]>
opacité has its origins in a few windy weeks in January when the usually so still, guarding tuja trees were in violent motion. They swayed back and forth against each other, making the garden restless and eerily refreshing, while canvases and easels blew away. The often rather small painting formats bear the impression of having been exposed to this strong wind, with sometimes a sudden quiet breath between the gusts. Like a handful of direct impressions from a then and there.
Erased Compost Bin. Eggoljetempera på lerret. 255 x 210 cm.
Fantomsmerter. Eggoljetempera på lerret. 213 x 255 cm.
Fantasmi in tempesta. Olje på lerret. 40 x 30 cm.
Voktere i storm. Olje på lerret. 30 x 40 cm.
Kaos i stort og smått nr. 2. Olje på lerret. 51 x 71 cm.
Jag tänker på grönkål, jag tänker på floden Ob. Eggoljetempera på lerret. 200 x 150 cm.
Etwas Luft (epler, appelsiner & bananer i februar). Olje på lerret. 40 x 30 cm.
En rabarber som älskar livet. Olje på lerret. 50 x 40 cm.
En ubeskrivelig stillhet. Olje på lerret. 33 x 27 cm.
Parkslirekne og pøbelplanter bak solstudion. Olje på lerret. 70,5 x 50 cm.
Innovasjon oppsummert i en busk. Olje på lerret. 50 x 40 cm.
]]>Kunstnergruppen -& Co. består av de tre malerne Jens Hamran, Patrik Entian og Aleksi Wildhagen. I utstillingen På leit mellom plikt og fridom -Hardanger -& Co., presenterer de maleriske resultater fra tre reiser til Hardanger, supplert med tegning og fotografi. De tre Hardanger-etappene foregikk i desember 2020, da det var kaldt og mørkt, i juni 2021 da grønsken var intens, og i september da høsten stod for døren. Disse tre reisene har bragt kunstnergruppen til Storteigen, Fitjardalen, Ålvik, Fyksesund, Børve i Sørfjorden, samt skulpturhagen til Ingebrigt Vik museum, rett utenfor vinduene til Kabuso i Øystese. I denne totalinstallasjonen, inngår også et video og maleri-sammensurium fra to malerøkter ved regjeringskvartalet i Oslo, rett og slett for å trekke maktens tinder inn på scenen.
Kunstnergruppen -& Co. har siden 2019, reist ut til Homstvedt gård i Mysen, for å male. Vertskapet, Halvard Haugerud og Hilde Svalheim, kunstnere de også, veksler mellom arbeidet i kunstnerboligene på Ekely og alle gjøremålene på Homstvedt. Hestene, Perryman og Gnist ris jevnt og trutt, ikke minst av den punktlige Fritz, hver onsdag klokken tre.
Halvard Haugerud vokste faktisk opp og gikk på skole her på gården, den gang den huset 120 elever og undervisningen ble fordelt slik at hver gruppe kun hadde to dager skole i uken. Men det vi altså egentlig mente å si, var at Haugerud og Svalheim, og ikke minst hestejenta Aud i kårboligen, hun som har vært trailersjåfør og fisket opp samtlige vann i Østfold, de har alle sammen vært svært generøse, og ofte stelt i stand langdryge lunsjer. Her forleden knerta forresten det ene -& Co. medlemmet, Jens, hanen, slik at Halvard tilberedt en nydelig Coq au vin, som med bobler og rødt i både glass og sinn, ble elsket ned i svelg og mage.
Men tilbake til arbeidet og utstillingstittelens åpenbare motiv; altså de enorme og forunderlige dyrene som er så vanskelige å male. Så vil vi påpeke at disse årene, først og fremst, har vært et omfattende søk etter billedlig mening, utover motivene på gården. Vi søker nemlig like mye i malermaterien som i det vi avbilder. Fokuset starter gjerne på et motiv, men så snart dette har begynt å etableres som et maleri, skiftes fokuset over til maleriet i sin helhet, og hva bildet nå behøver, for å bli interessant og godt, altså noe man både kan nyte, bryne seg på, og som samtidig tilfredsstiller hode og hjerte, med undring og nysgjerrighet.
Og vi har malt mye, både mursteiner, låver og låvedører, skur, hestemøkk, innhegninger, kårbolig, gamperæver, biler, parasoller, stubber, blomster og krukker, plastmøbler, stein, hest og åkerlandskaper. I sistnevnte, blir malingen i disse bemerkelsesverdige bildene ned i marken, til både muld, gjørme, vann og klimatiske skiftninger, nesten helt faktisk. I andre bilder finner vi abstraherte gårdsdetaljer, der det eneste motivet kan være en liten gul markblomst, som blir til et fullkomment stilisert maleri, med all mening i verden. Andre ganger bare noen steiner og knauser, kanskje en trillebår, eller en plutselig scenisk komposisjon med felte trær og en grønn kano i skauen.
Samtlige medlemmer i gruppen er også dokumentert, enten de er abstrakte eller i regnjakker utpå åkeren, i slutten av november, når elva flommer, eller stående vendt mot hverandre med hvert sitt staffeli, lik en duell-scene fra Det Ville Vesten. Innhengninger og gjerder går igjen, med spirende vårbjørk i klassisk ynde, dog i en bemerkelsesverdig ekspresjonistisk og rastløs ånd. Abstrakte natur-komposisjoner og hester så vidt synlige i oljemaling. Alltid oljemaling, denne uregjerlige og materielle substansen ingen riktig blir klok på, men som man får så mye igjen for å stikke huet inn i.
Medlemmene har gjort denne reisen, dels som en øvelse, men like mye for å kalibrere blikkene i kunstens tjeneste, for et nytt og friere maleriterritorium, uhildet av dagens standard. Og det vi faktisk fant når vi endelig drog alle arbeidene frem fra låvens mørke kriker og kroker, der de eldste hadde vært i nesten to år, var at disse, nå gjenforent med dagslysets varmende stråling, faktisk ganske naturlig og av seg selv utfyller, og komplementerer hverandre, særdeles godt. Om lag seksti bilder er rammet inn med lokalt listverk, men hvor mange som ender opp på galleriveggen er enda uvisst.
I utstillingen presenteres arbeidene slik vi har for vane; uten å oppgi hvem som har malt hva.
-& Co. 13. mai 2021
Kaos i stort och smått fant sin naturlige plass hjemme hos Halvard og Hilde på Homstvedt gård sine vakre linoleumsmalte vegger.
]]>
Søttet av Kulturrådet.
Dagens väder över Habsburgerriket. Olje, bivoks og papir på lerret og seil. Ca 480 x 270 cm. Innstallert i bankhvelvet på Kunstbanken i Hamar.
Et utgangspunkt for arbeidene på Kunstbanken i Hamar skulle kunne være min fars barndom i Sudetenland, som før den første verdenskrig inngikk i dobbeltmonarkien Østerrike-Ungern. Her levde mange forskjellige folk, språk og relegioner i det samme landet, og her levde min far sine første ti år. Med nasjonalismens fremvekst oppsto plutselig en iver etter å være imot “de andre”.
https://kunstbanken.no/vare-utstillinger/verden-som-den-foles-seks-malere/
Dagens väder över Habsburgerriket. Olje, bivoks og papir på lerret og seil. Ca 480 x 270 cm. Fra ateljén.
Som i ett slag. Olje, bivoks, seil og sjökart på plate. 27 x 24 cm.
Den exakta ungefärligheten. Olje og bivoks på lerret. 230 x 200 cm.
]]> Mutasjon i januar (heftig snøfall blander seg som sement)
Utstillingen Wall of Thuja består av oljemalerier jeg har utført i hagen hjemme i Drammen under året som gått. Fra vårens og sommerens blomstringstid da oljemalingen fløt som smør, via en regnfull høst når Østland ble til Vestland, videre inn i et merkelig blomstrende november og enda mer regn, for så å overgå i et solfylt januar med rimfrost på paletten.
Maleriene er direkte eksponert av årstider, vær, temperatur, og hvordan alt dette, og mye annet, har påvirket mitt dagshumør. De dokumenterer villahagens vekster og geografi, iblant presist men like ofte ukontrollert på grunn av omstendighetene. Turene har gått til de ytre strøk, blant peoner, fenrikshjerter og bringebærriset tett opp til naboen Liv, og videre inn mot dunkle nitrogenrike kompostbingene bak drivhuset.
Den vanligste hekkveksten rundt omkring i vårt villastrøk er tujaen. Sypressveksten troner overalt og danner tette murer til hemmelighetsfulle verdener der bakenfor. Iblant høres lyder av små og store mennesker, men vi ser aldri noen. Om sommeren kjenner man duften av noe kjøttaktig og ser røyken stige. Men for det meste en massiv stillhet. Jo mørkere årstid desto tydeligere fremtrer disse evig grønne figurene, hvilket har fått mine malereiser å alt oftere ende opp der til tonene av Verona grönjord og Cyprisk Umbra.
I Italien rammes døden inn med sypresser. De høye figurene står tett sammen og vokter kirkegårdene. Der som her vet jeg ikke om det er noe utenfor som skal hindres i å slippe inn, eller om det er det som er innenfor som ikke skal slippe ut? Hva vet man egentlig? Det kan jo like gjerne være vi som er murt inne.
Mutasjon i januar (Flesh tint i snøfall)
Mutasjon i januar (morgensol i marka og Eriksens tujaer i skygge)
Kohort i desember (kraftig regn, alt flyter)
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Installation in Nilsastova, a parallel exhibition to Between Thuja and Lilac at Skredhaugen Museum in Lofthus, summer 2020. Paintings made in my studio out of memory and impressions from the plen-air painting-travels to Skredhaugen, winter and spring 2020 (during the project Between Thuja and Lilac). The project and exhibition is part 1 in a three part dialouge exhibition, intialized and curated by the artist Lars Korff Lofthus and co-produced by Hardanger and Voss Museum. The project is also supported by Billedkunstnernes Vederlagsfond.
Hardanger Machina (epler, geitar og fallvind) #1 and #2. Oil and beeswax on canvas. 250×200 cm each.
]]>Suported by BKV, Billedkunstnernes Vederlagsfond.
Karantene (valmue, peoner og iris før regnet). 30x40cm. Oil on canvas. 2020.
Karantene (rogner, kompostbingen og prydgress i tungt regn). 34×27. Oil on canvas. 2020.
The premises for the exhibition were a dialogue between my works and works from the museum’s art collection, consisting of Norwegian plen-air painting from the last century. The project and exhibition is part 1 in a three part dialouge exhibition, intialized and curated by the artist Lars Korff Lofthus and co-produced by Hardanger and Voss Museum. The project is also supported by Billedkunstnernes Vederlagsfond.
https://skredhaugen.no/arkiv/Henrik Sørensen 1951 and Patrik Entian 2020.
Karantene (fenrikshjerter og storkenebb mellom valmue og peon, Drammen). Oil on canvas. 27x34cm. 2020.
Paintings made in my garden in Drammen during corona- lockdown, June 2020.
Patrik Entian 2020 and Henrik Sørensen (unknown year probably around 1950)
Tujaen ved Grevehuset i februaregn. 70x111cm. Oil on canvas. 2020.
Paintings made at Skredhaugen Museum winter and spring 2020.
Harald Khile 1950 and Patrik Entian 2020.
Exhibition view from Skredhaugen Museum in Lofthus, summer 2020.
Karantene (peoner og valmue etter regnet). Oil on canvas. 27 x 34 cm. 2020.
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While reading and exploring family documents, and photographs from my fathers origin, the not any longer existing Sudetenland, I find myself doing small paintings with collage stuff in it, big clouds and trying to measure them. Some kind of scanning of the not anymore existing. For me, never been, but definetely exists.
From left above: Fields, Farmor Rosa, Farfar Wilhelm, Arv och agrikultur sett från ovan.
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Ett tvådelat verk som består av målningarna Erik XIV:s pantalonger och Erik XIV:s tapet och blev utställt under Novemberutstillningen på Drammen museum 2019. Verket blev utsett till “Årets mest markante verk”.
S. van der Meulen: Erik XIV, 1561.
Till verket följde även texten:
Målningen Erik XIV:s pantalonger är en pastisch av Steven van der Meulens målning av Erik XIV från 1561. Den är helt lik originalet förutom att bakgrunden, scenen och podiet som kungen vilar sin vänster hand på är draperat i kamouflage, hämtat från dagens mode. Motivet är dessutom beskuret så att enbart underkroppen på Erik visas. Stolt visar han fram sista modet anno 1561, röd puffkjol med guldbrokad och rosa pantalånger. En långsamt fram-mejslad målning lager på lager som visar upp rikedom och prakt mot en fond av dolda avsikter. Som pendang står målningen Erik XIV:s tapet. En vägg av gran. Materien och det kollektiva råämnet, Nordisk skog. Ett inpräntat mönster uppenbaras. Ett porträtt av kungens rike som det avslöjas när det avbildas raskt, i en målar-akt. Ogenomträngligt.
Erik XIV:s pantalonger. Olja och bivax på duk. 135×200 cm.
Ole och Linus framfør Erik XIV:s pantalonger och tapet på Drammen museum 2019.
]]>With the exhibition Munch, Wirkola -& Co. at Haugar Vestfold Kunstmuseum in Tønsberg, the -& Co. artists place themselves into the inheritance order after Munch, but from now on together with the new member of the group, artist Jens Hamran (b. 1963). The title of their show also refers to the norwegian ski jumper Bjørn Wirkola signifying the prospect of and the difficulties associated with embarking on a task where one’s immediate predecessor has accomplished an unusually good job, the norwegians saying “to jump after Wirkola”. With this in mind they have been painting on the same spots wich were Munch´s iconic motifs from Åsgårdstrand are based and then kept them for drying under Munch´s studio.
The big painting Melancholy Beach contains of 24 paintings, made direct on the stony beach where Munch probably painted his Melancoly paintings, sewed together to one piece.
-& Co. is trying to paint in total dark on the beach where they think Munch painted the Moonlight paintings. Unfortunately the full moon was behind clouds this particular night.
During the field work they have used the same formats and colours as Munch did, but also written themselves in to the motifs, like in work Melancholy Beach a series of paintings, made rolled out on the same stone beach where Munch painted his Melancholy, then sewed together in a big scale consisting of 24 paintings. Other works in the show are House with Red Virginia Creeper and Moonlight, made in November and December 2017 and then in August and September 2018.
The group show Munch´s House was initiated by Haugar after they overtook the operation of Edvard Munch´s former summer house and studio in Åsgårdstrand. The show opened the 6th October and will run until 31st December 2018. Invited artists are Mai Bente Bonnevie, Tracey Emin, Behzad Farazollahi, Marit Følstad, Espen Gleditsch, Crispin Gurholt, Bjørn Erik Haugen, Olav Christopher Jenssen, Lars Lerin, Kristian Skylstad, Kari Steihaug, Anne Lise Stenseth, Anne Trædge, Marte Aas and -& Co.
-& Co. is a collaboration between Aleksi Wildhagen, Jens Hamran and Patrik Entian. See more projects here: http://ogco.no/
-& Co. in action at Melancholy Beach.
-& Co. running in front of Munchs studio with their own version of The Girls On The Bridge. During the project they used Munchs studio to dry their paintings under the house.
Public commission at Damsgård children school in Bergen. Silicate painting on the drill-halls 16 metre long concrete wall, portraying the scenery of the local surroundings as the recent abandoned shipbuilding industry, the story of the passenger ferries between Damsgård and Bergen before the bridge came among other ships that comes sailing by.
Opposite side of the concrete drill-hall wall lies the schools library. Here continous the silicate paintings depicting some of the old shipyards now almost all gone cranes, dandelions coming back, texts from old Damsgård postcards, a photograph depicting the same spot from 1869, a grass and dandelion meadow, wich a few years becomes the big shipyard, taken by famous documentary photographer Knud Knudsen.
A book by Arne Jacobsen describing the history of the passenger ferries in different versions developed and produced by book and paper consevator Pedro Vasques at Bergen University. For example an extra big book, extra small book, japanese binding, a book to pull out as an accordion, a wrong way round book, a book where the pages falls out, and so on.
Example of old postcard that continous as texts on the walls in the library.
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The exhibition at Kunstnerforbundet in Oslo (April – May) shows paintings done indoors for the first time in the -& Co. history, three videofilms made in collaboration with Sanjey Sureshkumar, and an office desk for artist call to the -& Co curated gallery Borgen Museum in Hvittingfoss (during summer 2018). During January to March 2018, -& Co. worked in my studio in Drammen, with no money, we took wathever the studio interior could offer and painted whatever came up in our minds. Soon the works developed in two different directions where Aleksi dug deep in to the abstract world sprung out from the direct process, while I proceeded into depicting the studio and my studio mate. Due to the economic circumstances the paintings were either sewn and fitted with eyelets or glued on to found wooden boards instead of the wooden stretchers we could not afford.
Two of the three video films are set outdoors. One in a gravel pit in Skien and one where -& Co. returns to the Best petrol station in Hvittingfoss. The third film is made in the studio while the artists are painting. The films portrays two middle aged men in safe surroundings in an uncertain world, Gubbjävlar (Old man shit?). See the videofilms further down.
Art critics:
http://www.kunstkritikk.no/kritikk/overflodige-menn/
https://www.klassekampen.no/article/20180411/PLUSS/180419959
-& Co. is a collaboration between Aleksi Wildhagen and Patrik Entian http://ogco.no/
The show at Kunstnerforbundet:
Supported and invited by Møre and Romsdal Art Center, to realize their recurring project-week, -& Co. set off for the valley of Surnadal in late August 2017. Inspired by Hokusai´s 36 views of sacred Mount Fuji produced 1830-1832, -& Co. set the goal of painting the local mountain Knyken. Seen from everywhere in the valley it also has a special significance in the lives of the people of Surnadal.
For five days -& Co. painted 36 views of Knyken from five different spots. Frequently -& Co. supplied Møre and Romsdal Art Center with mobile pics from their plen-air work simultaneously projected in the gallery. The audience could also use a hotline telephone for a chat directly in the field with -& Co.
On the sixth day Jon Arne Mogstad and Martinius Grimsmo arranged a show with all, still wet, 36 views of Mount Knyken at their Artist in residence, Surnadal Billag in Surnadaløra.
-& Co. would like to thank Kristin Mandt Heim and Milosz Janicki at Møre and Romsdal Art Center, Jon Arne and Martinius at Surnadal Billag AiR for all support and discussions around the project and for letting us stay in the AiR appartement and to use the AiR facilities, and to current AiR artist at the Billag; Thea Meinert. -& Co. would also like to direct their gratitude to all the lovely Surnadal people for your shared stories, interesting conversations and help with finding new views of Knyken and that so many of you showed up at the last day show in Surnadal Billag.
http://www.mrkunst.no/utstillinger/prosjektuke-knyken–co-patrik-entian–aleksi-wildhagen
https://www.surnadalbillag.com/
-&Co.is a collaboration between Aleksi Wildhagen and Patrik Entian http://ogco.no/
Day 1. 26. August 2017. View from Syltøran sports park.
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The painters -& Co. was presented at gallery LNM in Oslo in may-june 2017. The exhibition contains of paintings made during the winter and spring 2017, at Terje and Berith´s farm Borgen in Hvittingfoss.
During the work progress the artists formulated a simple obstruction; through conversation they agreed on two colours in addition to white. The choice of colours were kept for a week or so, before it was replaced by a new choice. The formats were decided by weather, mood and the level of ambition each day invited to, in addition to the time available before they had to return to their individual homes.
-& Co. also had their release of the new book El Rancho -& Co. at the opening of The painters -& Co. (see page El Rancho -& Co.)
Check out this article in Kunst magazine from our working progress in January 2017 at Borgen farm. https://magasinetkunst.no/2017/03/21/malerisk-feltarbeid/
-& Co. is a collaboration between Aleksi Wildhagen and Patrik Entian http://ogco.no/
The artist talk at Gallery LNM during the show. May 2017:
New paintings installed in a new housing and services for people with substance abuse problems, built and run by Trondheim municipality.
The commission Et sted å sveve uten å falle contains of twenty oil paintings on 2mm aluminium plates, in the corridors at four floors, outside the apartments.
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Hølen ( 59°32′26,603″N 10°44′18,222″Ø) is a special place that used to be the smallest town in Norway, with 199 inhabitants. In area it is also the smallest municipality that has ever existed in Norway – just 0.12 km². It was merged with the rural municipality Vestby on July 1, 1943 – and lost its status as a town to the grievance of its proud inhabitants.
Today 697 people live in Hølen. They fought a battle to have a school after the old school was closed in 2009 due to lack of maintenance of the building.
After 7 years of going to Vestby by bus, 196 local children could walk, most of them for the first time, a few hundrerd meters to their very own school from the 4th of january 2016.
The commissioned artproject by Ellen Røed and Patrik Entian in collaboration was based on research into the local mythologies and constitutes an attempt to revitalize and add to some of these stories in a visual and playful manner.
The artwork consists of a large mural painting in the entrance hall, several smaller paintings distributed in the corridors and meeting rooms, signs mounted on the facade of the building as well as a painting on the asphalt in the school yard; a sundial. (Will be more documentation from this when the ice has melted).
It takes as its point of departure a myth about a dutch ship that presumably once sailed up the 2 metre wide Hølen-river. Half the way the wind shifts and the sailors has to pull the ship the rest of the distance. Finally arrived in Hølen, the captain falls in love with a beautiful local girl. One year later the captain and his crew do the same sailing and pulling of the ship up the tiny Hølen river, to get married with the beautiful Hølen girl.
And some mobile pics from the installation of the analemic sundial in the school yard:
7 PM the 15th of May.
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Quixote, Sancho Panza -& Co. is a plen-air painting, photographic, drawing, poetic and social project made between November 2015 and May 2016 at Terje and Berit Gulbrandsens farmyard, outside Hvittingfoss. -& Co. is a collaboration between Patrik Entian and Aleksi Wildhagen. -& Co. homepage here: http://ogco.no/
The exhibition Quixote, Sancho Panza -& Co. took place at Trøndelag Center for Contemporary Art (TSSK) from May to August 2016 http://www.samtidskunst.no/events/don-quixote-sancho-panza-co-av-og-med-co/
Interview with Art Scene here: http://trondheimkunsthall.com/news/Maler-Mount-Fuji-i-Hvittingfoss
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Hvittingfoss -&Co. is a project and an exhibition at Best petrol station in Hvittingfoss. From Oktober 2014 until June 2015, -& Co. painted, made drawings, photographed and made friends with the small community Hvittingfoss and their about one thousands inhabitants, through storm, rain, sunny days and some cold tenting nights,
The 22nd August 2015, -& Co had their show inside and outside the Best petrol station, and at the same time brought out their book Hvittingfoss -&Co. as a gift to Hvittingfoss.
-& Co. is a collaboration between Aleksi Wildhagen and Patrik Entian http://ogco.no/
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The group show “Stolte setuasjoner” was inituated by the Norwegian state in connection with the Norwegian constitution celebration 1814-2014. The director of NK Dale, Arild H. Eriksen and artist Lars Korff Lofthus were orginators and curators. Besides me the show Stolte setuasjoner contained of the painters Lars Korff Lofthus, Bente Louise Aas, Ingrid Toogood and Harald Fenn.
The theme for this gathering of norwegian painters was how the image of Norway, that largely was formed by the national romantic painters at the end of the 19th century, has an affect on how we, as painters, see and depict the norwegian landscape today. The results were shown at a a norwegian exhibition tour at the Kabuso Art Hall in Hardanger (2014), at Hå Gamle Prestegård outside Stavanger (2014) and at Sogn- and Fjordane Art Museum in Førde (2015).
Up to the exhibition I spent a two months recidency at Nordisk kunstnarsenter in Dale http://www.nkdale.no/ at the west coast of Norway, where I made a large series of small oil paintings. In the spirit of the 19th century romantic painters, that came to bring forth the image of the norwegian landscape, I climbed the same mountain each day to get a new view of the mountain Blægja. As a parallell process I made big scale paintings in the studio at the Dale residency, depicting Blægja after memory.
See pdf of the catalog “Stolte setuasjoner” here: stoltesetuationer-katalog
Blægja seen from Jøtulshaugen 12th February 2014.
Blægja 17/2. Oil on canvas. 16 x 22 cm.
Blægja 17/2. Oil on canvas. 24 x 33 cm.
Blægja seen from Jøtulshaugen 11th February 2014.
Blægja seen from Jøtulshaugen 12th February 2014.
Blægja 12/2. Oil on canvas. 22 x 16 cm.
Blægja 12/2. Oil on canvas.33 x 24 cm.
Blægja seen from Jøtulshaugen 21st March 2014.
Blægja seen from Jøtulshaugen 21st March 2014.
Blægja as I remeber it February – March 2014.Drypastels, pigments, graphite and oilpaint on canvas. 200 x 139 cm.
Dalsfjorden as I remember it February – March 2014. Oilpastels on black paper. 150 x 250 cm.
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A selection of large-sized paintings made during the research project Looking for Painting (2007-2011) in the Norwegian Artistic Research Programme. http://artistic-research.no/?lang=en
The paintings are based on webcam images from a webcamera standing in Atka Bay (now taken down) run by researchers at the Neumayer Station in Antarctica http://www.awi.de/en/expedition/stations/neumayer-station-iii.html
They were made as form of indoor plen-air painting from the studio at Bergen Art Academy (2007-11), and continued after this in the studio at Flaggfabrikken in Bergen (2012-13) just up to the show Looking south – Looking for Painting at Trondheim Art Museum in February 2013.
The motives circle around clear sunrises-sunsets, night-day, horizons, fog, white-out snowstorms and distorted webcam images. The project deals with problems as distance, precense, time, velocity and how to materialize this in painting.
In the latter works (2012-13) the webcam motives gets more and more mixed with motives based on the sky seen through my skylight in my studio at Flaggfabrikken. Inspired of sky studies by romantic painters, weather research and a need to lift my view from the computer screen and to my real surroundings.
See catalog for the exhibition Looking South – Looking for Painting at Trondheim Art Museum on pdf here: tkm-entian-2 and the Art Museums webpage for the exhibition here: http://trondheimkunstmuseum.no/en/events/patrik-entian-2/
All paintings below has the size 111 x 245 cm (same format as the webcam image).
00.55 31.03 2009. Pigment, rabbitskin glue, dry pastels and graphite on mdf-board.
01.55 15.03 2008. Oilpaint and beeswax on mdf-board.
7.55AM June 13th 2009. Oil and beeswax on mdf-board.
5.55AM June 13th 2009. Oil and beeswax on mdf-board.
07.55 11.06 2008. Oil on mdf-board.
05.55 26.03 2009. Oil on acrylic glass.
15.05 03.08 2011. Oil on acrylic glass.
Noise 1 ( A sudden memory of Ulla Sjöblom). Pigments, rabbitskin glue and oil pastels on mdf-board.
Noise 2 ( A sudden memory of Lars Forssell). Pigments, rabbitskin glue and oil pastels on mdf-board.
23.05 03.08 2011. Oil on acrylic glass.
21.50 09.08 2011. Pigments, graphite powder and graphite pencil on mdf-board.
02.35 13.08 2011. Oil on acrylic glass.
0.55 31.03 2009. Pigments, graphite powder and graphite pencil on mdf-board.
20.55 03.04 2011. Pigments, graphite powder and graphite pencil on mdf-board.
22nd December 2012 at 10.15 – light chases dark. Begen – Antarctica. Oil on acrylic glass.
26th Dec 2012 around noon – sunlight through the clouds blinds camera. Oil and beeswax on mdf-board.
May 3rd 2011, 10.25 – morning sun breaks the fog. Oil and beeswax on mdf-board.
Black Horizon. Oil and beeswax on mdf-board.
11th June 2011 at 16.55 – sloping horizon, very cold moonlit night. Oil and beeswax on mdf-board.
12th June 2011 at 17.35 – sloping horizon, very clear. Oil and beeswax on mdf-board.
29th Dec 2012. Bergen – Antarctica. Around noon, gloomy. Oil on acrylic glass.
March 23rd 2010. High horizon, crystal clear afternoon at 17.55. Webcamera tilting downwards. Oil and beeswax on mdf-board.
March 25th 2010. Overcast but clear. High horizon. Oil and beeswax on mdf-board.
23.15 03.08 2011. Oil on acrylic glass.
11th October 2012 – 4th Jan 2013, Designing – Disbanding (part 1 in diptych). Oil on acrylic glass.
11th October 2012 – 4th Jan 2013, Designing – Disbanding (part 2 in diptych). Oil on acrylic glass.
For further reading see the critical reflection text Looking for Painting by Patrik Entian here (only avaible in swedish): http://halvekongeriket.org/wp/wp-content/uploads/2011/09/Entian-Kritisk-refleksjon.
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For that reason we set off to find the source of the energy company needs, the Water, and ended up on Spains highest mountain, the Mount Teide.
Equipped with pick, shovel and measuring tape and dressed up in Skagerak Energi 1940s coveralls and work helmets, we went out on a pseudo-exploration in the pine forests and at the moon like water-less landscape, at two and three thousand meters of altitude on Spains proud and highest mountain. Where is the water source? Exactly?
The seven day long session was documented with a hard working camera wired with a self-timer. The end result consists of a large scale photographic tapestry mounted in a café- and restroom in one part of the building and a large scale diptych painting, ten small paintings and a framed poem in a meeting- and seminar room, made after we got home from Tenerife. (Poem in norswedian here: teide100-pa%cc%8a-leting-etter-vannkilden)
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00.55 31.03 2009. and 05.55 26.03 2009. to the right. Kai Klahre´s paintings on wall to the left.
Diary Paintings to the right. Kai Klahre´ paintings to the right.
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A selection of small-sized paintings done 2007-2011 during my research project Looking for Painting in the Norwegian Artistic Research Programme. http://artistic-research.no/?lang=en
The paintings are based on webcam images from Atka Bay (now taken down) run by researchers at the Neumayer Station in Antarctica http://www.awi.de/en/expedition/stations/neumayer-station-iii.html and are done almost every day in one act as a kind of indoor plen-air painting that gathered appears as a form of painting diary.
The motives circle around clear sunrises-sunsets, night-day, horizons, fog, white-out snowstorms and distorted webcam images. The project deals with problems as distance, precense, time, velocity and how to materialize this in painting.
The paintings varies in material such as oil, beeswax, graphite, pigments, chalk, dry and oilpastels on wooden boards, metal plates and paper. Most comon size is 50 x 70 cm, 34 x 56 cm or smaller.
See also the critical reflection text Looking for Painting by Patrik Entian here (only avaible in swedish): http://halvekongeriket.org/wp/wp-content/uploads/2011/09/Entian-Kritisk-refleksjon.
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Public commission at the Department of Informatics at the University of Oslo. Acrylic painting on acoustic wall in the canteen and silicate paint on concrete wall outdoors.
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The work Looking for Painting – Following the webcam at the Neumayer Station, Antarctica daily from June 1st to August 10th in painting consists of 63 acrylic paintings. Each painting is 34 x 74 cm and are mounted as a wall installation at Bergen Museum as part of the group exhibition BGO1. (2010)
The paintings depict images from a webcam in the Antarctica. The camera has stopped and repeat the same monotonous image of a frozen window with a small opening revealing the snow outside.
The camera is operated by scientists at the German research-station Neumayer where it usually shows an icy landscape, the horizon and sky. At least during daytime.
Through out the summer of 2010 the webcam image froze, and instead of up-dating every ten minutes, it renderred the same picture over and over again. This was precisely during the period I collected material to paint for the museum exhibition. I had promised the curator to cover one wall with 70 diverse landscape paintings of nights, days, changing weather and distortions. As a painting diary of the summer of 2010 from Atka Bay, painted as it occurs from the webcam images that updates every ten minute.
Instead I started to paint after the same frozen image every day and prosumed it soon would start to produce the usual images of the ice-landscape behind the half fallout window. After over 70 paintings the webcam still produced the same frozen image.
During the process I used Chicken wire as a pattern while painting the window area, and acrylic paint so I could work fast in layers by layers and each painting in one day acts.
The movements in the studio became like a coreographic dance.
Each painting is different from each other.
Looking for Painting – Following the webcam at the Neumayer Station, Antarctica daily from June 1st to August 10th in painting. As part of the group show BGO1 at Bergen Museum 2010.
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Small sized studies depicting MMS-images, as seen on the mobile screen, I recieved from friends and family during the time April to June, 2010.
Oil paintings on wooden boards and metal plates. Sizes varies around 15 x 22 cm, 20 x 35 cm, 25 x 40 cm, 20 x 20 cm. The paint are omitted with using only a palette knife and each painting is made in one act without further corrections.
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The paintings are based on webcam images from Atka Bay in Antarctica, and are depictions made in Entian´s studio in Bergen, while watching the computer screen of a vast ice landscape and distortions on the camera images, mainly caused by snowstorms, fog or just the lack of light. The camera, wich now has been taken down, was ran by researchers at the german Neumayer Station: http://www.awi.de/en/expedition/stations/neumayer-station-iii.html
21st of june from 7.55 PM – 2.55 AM. Pigments, chalk, dry pastels, graphite on canvas. 200 x 250 cm
Simultaneous (Samtidig). Pigments, chalk, dry pastels, graphite on canvas. 139 x 180 cm.
Noon – Midnight. Oil and beeswax on mdf-board and pigments, chalk, dry pastels, graphite on mdf-board. Each painting 69 x 122 cm.
7.55AM and 4.55PM May 4th 2009. 5.55AM and 7.55PM June 13th 2009. (Foggy mornings). Oilpaint and beeswax on mdf-board. Each painting 59 x 122 cm
The Eveneing Frieze (Kveldsfrisen). Oilpaint and beeswax on mdf-board. 45 x 380 cm. (From the show at Gallery Langegården)
1.55AM March 15th 2008 and 1.55PM March 15th 2008. Oilpaint, beeswax, chalk and drypastels on mdf-boards. 111 x 244 cm.
Diary Paintings. Several small paintings done diectly after every 10 minute update from the webcam. Olpaint, beeswax, chalk, pigments and drypastels on mdf-boards. 34 x 56 cm each.
See review Bergens Tidende here: pa%cc%8a-grensen-mellom-jotun-og-antarktis-bergens-tidende-copy
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During 2008/09 a few buildings at Bjørgvin prison, outside Bergen, where used for many projects and art exhibitions before they were restored to prison buildings again. In November 2008 Jon Arne Mogstad, Jeremy Welsh and me arranged the workshop and exhibition Site Specific Revisited with invited professors and students from the academies of Reykjavijk and Copenhagen. With a lot help from the inmates two big houses were filled with site specific made installations, videos and paintings.
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74 portraits depicting the friends of Sound of Mu on the social network Underskog. From the 1,5 x 1,5 cm nicks on my computer screen I blew them up to 6 x 6 cm oil paintings on 22 mm thick mdf-boards, wich made them look like pixels cut out from the screen?
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Utdrag ur svenska målarkonstens historia (Excerpts From the Swedish History of Painting) at Bergen Kunsthall No 5.
A salon of landscape paintings.
All paintings are made in oil and beeswax on mdf-boards or plywood.
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Public commission at The Department of Information Science and Media Studies at the University of Bergen made by Patrik Entian and Ellen Røed http://www.ellenrøed.no
Oil paintings and interactive video works based on the earlier look of the office landscape, notes, charts around corridors and meeting rooms, the departments different research fields and also through conversations and interviews with staff, researchers and students.
Article in Bergens Tidende 7th feb 2006 BT Orderud
Our work also became a part of an ongoing research project at the department about public commission in society. Here under are some excerpts from interviews with the staff and students looking into this art commission.
Intervjuer med ansatte ved institutt for informasjons- og medievitenskap
Løse spørsmålsformuleringer:
Intervjuobjekt 1:
Han bryr seg om hvordan det ser ut der han studerer og har lagt merke til at det har skjedd endringer på instituttet. Han var overrasket i begynnelsen da det kun var Firefox-symbolet og Frankenstein som hadde kommet opp, samt noen malte vegger. Han synes utsmykkingen er kul i forhold til det sykehusgule som var tidligere, men svarer ”både og” på spørsmål om hva han synes om endringene. Han liker Firefox-symbolet, det er veldig stilig. Men synes ikke skjermene på pauserommet er særlig ”fancy”. De er litt skremmende i uttrykket, men han vedgår at det kanskje er litt av poenget.
Han har snakket med kunstnerne underveis i prosjektet, men har ikke hatt noen spesielle ønsker om hva som bør komme på veggene. Han har vært spent på hva som kommer og har forstått problemene kunstnerne har hatt i forhold til det å finne temaer som passer til fagområdene. Han synes de har tatt greie valg i forhold til problemene, men mener at man skal være spesielt interessert for å forstå alt, for eksempel delfinen og bananen i 6. etasje. Bortsett fra disse symbolene synes han at kunsten er veldig generell, og savner noe som er skikkelig ”nerdete” i og med at mange på instituttet er nerder innen sine fagfelt. Alt i alt synes han at det som har skjedd er positivt for utsmykningsnivået.
Intervjuobjekt 2:
Betyr det noe for deg hvordan det ser ut på arbeidsplassen?
Intervjuobjekt 3:
Betyr det noe for deg hvordan det ser ut her?
Ja, absolutt. Jeg har syns at det absolutt er behov for å gjøre noe her, og bildene passer veldig godt.
Er det noe du liker/ ikke liker?
Selvfølgelig er det viktig hvordan det ser ut her. Omgivelser påvirker. Jeg har kikket litt på kunsten her, har ikke sett så veldig nøye, men jeg ser relevansen av motivene. Man legger særlig merke til de store bildene i trappene. Jeg syns det er helt greit, bildene er fine. Jeg har ikke så mye peiling, men jeg syns det er koselig og fint.