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HVORDAN LAGE EN HAGE

Utdrag fra pressetekst (Hanne Beate Ueland)

De tre kunstnerne Liv Tandrevold Eriksen, Maren Dagny Juell og Ingrid Toogood har lenge vært opptatt av Frida Hansens kunst og hennes historie. Selv om en rekke utstillinger de siste årene som har fokusert på vevkunst, kvinnesak, politikk og håndverk, er det få som har viet Frida Hansen oppmerksomhet. Dette kan skyldes hennes motivkrets og art nouveau-tilknytning, men kan også ha sammenheng med at hun først og fremst er skrevet inn i historien som Gerhard Munthes vever.

Frida Hansen var en foregangskvinne som banet vei for andre kvinnelige kunstnere som kom etter henne, eksempelvis Hannah Ryggen. Tandrevold Eriksen, Juell og Toogood har latt seg inspirere av hennes utrettelige innsats for å videreutvikle vevkunsten, både gjennom eget kunstnerisk arbeid og omfattende utstillingsvirksomhet, men også hvordan hun sysselsatte mange kvinner i sitt billedveveri.

Med Frida Hansens kunstnerskap som inspirasjon har de tre kunstnere gått dypere inn i sine egne fagfelt og utviklet teknikker og ideer. Deres forskjellige utgangspunkt og dermed innfallsvinkel til Frida Hansen har gitt en åpen, leken og individuell prosess som gjenspeiles i en utstilling hvor felles inspirasjon har gitt ulike kunstneriske resultater.

Liv Tandrevold Eriksen arbeider med tegningen som medium og utforsker de historiefortellende egenskapene og de formale grepene som ligger i tegnemediet. Hun er opptatt av skillet mellom figurasjon og abstraksjon, mellom tegning og maleri. Hennes interesse for Frida Hansen handler om prosessen Hansen gikk gjennom før hun ferdigstilte en vevnad. Hun malte små akvareller og store kartonger som fungerte som et mønster for vevnadene. Til denne utstillingen har Tandrevold Eriksen laget arbeider som fokuserer på en liknende prosess: det handler om når et motiv går fra et materiale til et annet. Hun arbeider med abstraherte utsnitt fra Frida Hansens vevnader seg beveger seg mellom tegning, maleri og skulptur. Hierarkiene utviskes og det oppstår en egen dynamikk i overgangene.

Utstillingen en initiert av Liv Tandrevold Eriksen, Maren Dagny Juell ag Ingrid Toogood og kuratert i samarbeid med Hanne Beate Ueland. Utstillingen er sjenerøst støttet av Statens utstillingsstipend, Verdelagsfondet, Kulturrådet og Fond For Lyd og Bilde.

 

English

HOW TO CREATE A GARDEN?

FRIDA HANSEN AND CONTEMPORARY ART

MAREN DAGNY JUELL

LIV TANDREVOLD ERIKSEN

INGRID TOOGOOD

Throughout much of their artistic careers, Liv Tandrevold Eriksen, Maren Dagny Juell and Ingrid Toogood have been interested in Frida Hansen’s life and artistic practice. Even though several exhibitions in recent years have focused on weaving, women’s rights, politics and craft, few of them have paid much attention to Hansen. This could be due to her circle of motifs and her Art Nouveau style, but it could also be because many people know of her primarily as the weaver of Gerhard Munthe’s designs.

Hansen blazed a trail for other women artists to follow, one prime example being Hannah Ryggen. Tandrevold Eriksen, Juell and Toogood are inspired by Hansen’s tireless effort to develop the art of weaving through her own artworks and extensive exhibitionary activities, but also her efforts to set up a weaving studio where she trained many women, thus providing them with livelihoods.

With Hansen’s artistic practice as inspiration, the three contemporary artists have dug deeper into their own field of art and developed techniques and ideas. Their different approaches to Hansen’s life and work result in playful and individualistic processes of artistic creation: from a common source of inspiration, they present us with remarkably different artistic results.

INGRID TOOGOOD’s installation is entitled Sølvdråper på flytende bunn (Silver Drops on a Floating Ground). The work consists of four paintings and a perforated mirror. The vertical formats are inspired by those of Hansen’s transparent portières. Toogood’s work came about through her effort to translate Hansen’s transparent weaving technique into painting. She has been inspired by motifs of phenomena that are eternal yet floating, for example the starry sky, water and reflections in water. In some places we find direct references to Hansen’s works. We recognize, for instance, the circular shapes in Summer Night’s Dream, and the cut-out shapes in the perforated mirror have a clear relation to the Dandelions tapestry. Hansen’s ornamentation and selected motifs are starting points for exploring the relation between the mirror and the painted surfaces.

MAREN DAGNY JUELL approaches Hansen’s legacy through her interest in handcrafting processes. With the idea of diligent female weavers as a reference point, she explores the subculture of ‘survivalists’. It is primarily men who are attracted to such ideas. For them, it is about becoming self-sufficient and involves learning ancient techniques and crafts. In the film Tutorial # 6: It’s our ability to create stylish meals that separates us from the animals (Bear Grylls), we meet a group of men who get together to do a handicraft. The film is inspired by instruction videos commonly used in survivalist groups – films geared towards passing on knowledge about crafts. The masculine environment in the film can be seen in relation to the feminine environment in Frida Hansen’s weaving studio, at the same time as it reflects textile handiwork as a necessity for survival and art as an existential practice.

LIV TANDREVOLD ERIKSEN explores the narrative and formal qualities of drawing. She focuses on the boundaries between figuration and abstraction and between drawing and painting. Her interest in Frida Hansen’s practice pertains to the processes leading to a finished work: Hansen painted small watercolours and large cartoons that functioned as weaving patterns. For this exhibition, Tandrevold Eriksen has made works that also involve a process of transferring a motif from one material to another. She works with abstracted segments of Hansen’s weavings and alternates between drawing, painting and sculpture. The hierarchy of artistic media breaks down and a unique dynamic emerges in the transferal.

The three artists expand the exhibition concept by inviting other artists to participate in a performance program in late August. The participating artists are Ane Graff, Roderik Hietbrink, Jonathan Baldock and Florence Peak, Marte Ramm Fortun and Kasper Bosmanns.

The exhibition is initiated by Liv Tandrevold Eriksen, Maren Dagny Juell and Ingrid Toogood and curated through collaboration with Hanne Beate Ueland. It is generously supported by Statens utstillingsstipend, Verdelagsfondet, Arts Council Norway and Fond for Lyd og Bilde.