Arild Tveito
Malstrøm
Olje på lerret
2001
Arild Tveito
Napoleons Slott
Installation view
2008
“Rodevis til venstre marsj !” Så bar det nedover Klingenberggaten og derfra inn gjennom de snevre, bakkede streder, hvor vinduene lyste med røde gardiner og halvnakne nymfer stod vinkende i portene. Under tiden kunne det være fullt hus, så herrene stod i kø utenfor. Men var der liten rørelse i geskjeften, iførte nymfene seg en lokkende ham og dro ut på ynglingefangst i “Strøket”, hvor den ville jakt begynte ved midnattstid. Mange kunder fant også disse nymfer ved at bordellene var de eneste steder hvor man kunne få kjøpt øl efter kl 12 om natten”.
Arild Tveito
Le fou de peur ou le désespéré (På kanten av stupet)
C-print
1998
Our sense of balance results from our faculty to overcome gravity. The emergence of modern abstract art is somehow related to the disturbance of this faculty around the mid-nineteenth century. It is at about this time that images of matter as a whirlpool appear, together with the reports of cases of vertigo. Both are symptoms of a disturbed order at the core of perceptual experience. In Poe’s “The Fall of the House of Usher,” the character Roderick is able to produce one of the earliest abstract paintings as a result of sensory deprivation while underground. Other Poe stories such as “MS Found in a Bottle” and “A Descent into the Maelstrom” also explore this new type of experience. Floating states where gravity seems to have been overcome become depicted frequently in paintings-as in Courbet’s Le Desespere, ou le Fou de Peur, or Seurat’s Le Cirque (1891), with its repercussions in Kafka’s story “On the Gallery.” One could also mention Degas’s La au Cirque Fernando (1867) and, later, Magritte’s Le Chateau des Pyrenees (1959). Manet was probably the first to concentrate, from 1862 onwards, on circus acrobats.
Arild Tveito
Troll (Little Man)
skulptur
2008
“And if twenty-first-century culture was invented with those works that set themselves the task of effacing their origin in favor of a multitude of simultaneous or successive enrootings? This process of obliteration is part of the condition of the wanderer, a central figure of our precarious era, who insistently is emerging at the heart of contemporary artistic creation. This figure is accompanied by a domain of forms and by an ethical mode: translation, whose modalities and cardinal role in contemporary culture this ‘Little Man’ man seeks to enumerate.” They call you ‘Little Man’, ‘Common Man’; they say a new era has begun, the ‘Era of the Common Man’. It isn’t you who says so, Little Man. It is they, the Vice Presidents of great nations, promoted labor leaders, repentant sons of bourgeois families, statesmen and philosophers. They give you your future but don’t ask about your past.
Ukjent fotograf
Fantoft stavkirke
fotografi
Produksjonsår ukjent
Kirken ble opprinnelig bygget omkring år 1150 og sto i Fortun i Sogn. Konsul Fredrik G. Gade kjøpte middelalderdelen av kirken og flyttet den deretter i deler og gjenoppbygget den på Fantoft i 1883. Arbeidet ble ledet av konservator Anders Lorange. Han overvåket arbeidet da kirken ble tatt ned og ført med båt til Bergen. Det ble brukt tømmermenn fra Sogn og utenom Lorange var Joakim Mathiesen arkitekt. Fortunkirken var blitt forandret en del i tidens løp og hadde fått et nytt kor av lafteverk, og den hadde et vesttårn fra 1600-tallet. Men på Fantoft ble alle senere tilføyelser utelatt og kirken ble rekonstruert slik man trodde den hadde vært opprinnelig. De delene som manglet ble laget slik en trodde de hadde vært og med andre stavkirker, spesielt Borgund stavkirke som modell. Den 6. juni 1992 brant kirken nesten ned til grunnen. Det som stod igjen var rester av skjelettet, uten noen bæreevne. Mistenkt i saken var Varg Vikernes. Det ble straks kunngjort at en ny stavkirke skulle gjenoppbygges. Senere brant også en garasje som oppbevarte delene av kirken som var blitt reddet under brannen.
Erik Harry Johannessen
Komposisjon / Komposisjon
Olje på lerret
1935
The painter Erik Harry Johannessen was a friend and patient of Willhelm Reich, who stayed in Norway for five years (1935-1940), working under the auspices of Professor Schjelderup of the Psychological Institute at the University of Oslo. He first presented the principles of his vegetotherapy in a paper called “Psychic contact and vegetative current” in August 1934 at the 13th International Congress of Psychoanalysis at Lucerne, Switzerland, and went on to develop the technique between 1935 and 1940. Vegetotherapy involves the patient physically simulating the effects of certain emotions, in the hope of triggering them. Reich argued that the ability to feel sexual love depended on a physical ability to make love with what he called “orgastic potency.” He tried to measure the male orgasm, noting that four distinct phases occurred physiologically: first, the psychosexual build-up or tension; second, the tumescence of the penis, with an accompanying charge, which Reich measured electrically; third, an electrical discharge at the moment of orgasm; and fourth, the relaxation of the penis. He believed the force that he measured was a distinct type of energy present in all life forms.
Arild Tveito
Griff
skulptur
2008
The griffin (also spelled “grifon,” “gripon,” or, most commonly, “gryphon” and referred to in Latin as gryphes) is a legendary creature with the body of a lion and the head and wings of an eagle. As the lion was traditionally considered the king of the beasts and the eagle was the king of the birds, the griffin was thought to be an especially powerful and majestic creature. Griffins are normally known for guarding treasure. In antiquity it was a symbol of divine power and a guardian of the divine. Four griffins are placed on the rooftop of the National gallery of Oslo.
Erik Harry Johannessen
Speilbilde, Døgning og sold
Fargetresnitt
1934
I oktober 1934 stilte Harry ut tresnitt i Kunstnerforbundet. De fleste snittene tok opp eksistensielle temaer som livet, døden, angsten. Holdningene som kommer til uttrykk, er preget av et darwinistisk og ateistisk livssyn. Stilen er en forenklet flatestil med grov skjæring av motivene, komposisjoner der brutte linjer og kontrastvirkninger er bærende elementer. Skjærestilen var inspirert av Munchs tresnitt.
