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DOLK at galleri A


Sverre Schyberg Olsen's latest exhibition is a big hit in the market. One of the reasons is that he has advanced and perfectionized the technique, says the artist himself.

Linn Kongsli Lundervold:
Slemdal / MAJORSTUEN: The exhibition "Sidereal" in Galleri A has already sold for 300,000,- in the middle of the credit crunch.

Managing Director at Galleri A, Mie Mortensen, believes sales success due to the fact that the images are unique of its kind.

- There is no one who does something similar in Norway. The images are decorative, sculptural, and they inspire you. This is not the consumption of art, but an art that grows and grow on you, "says Mortensen to Ullern Newspaper Akersposten.

Chemical processes
Schyberg Olsen uses a special technique of oil on aluminum, which evokes a special chemical process.

The title of the exhibition refers to the stars influence and how they can influence people. In addition, he wants to remind about the importance of the chemical processes are both micro-and macro level.

Focused Technology
He believes the abstract impression appeals to many.

- In addition, the images are blank, and change a little with the light, and I think people like, "he said.

This is the fourth exhibition where the Slemdal-artist is using this special technique of oil on aluminum.

- But now the technique is even more advanced than in the past, "he said.

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Kristoffer Evang in KUNST FOR ALLE

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Løkkebergs daughter exhibits «vaginakjoler»

The daughter of Vibeke Løkkeberg and Terje Kristiansen set just above the New Year out photographs in Gallery A. On the images pose models in "vaginakjoler"


Exhibition of Marie Kristiansen in Gallery A in Oslo, represents, among other things, pose models in "vaginakjoler."

-- I took her in because she has a special and great way to work on. I like the dramatic she does, how she puts the pictures in their scene, "says gallerist Andreas Engelstad in Gallery A.

Censored by the head teacher:
Kristiansen made headlines in 2004 when her head teacher Emil Fedida at the Oslo Fotokunstskole, removed the pictures from her school's catalogue.

The images and imagined, among other things, a woman clothed them a burka and a naked woman with palestinaskjerf on its head and the word "Israel" written on the back - with an s-shaped as a hakekors.

-- I had expected more of the daughter to two prominent artists, "said Fedida at the time.

-- Do not fond of censorship
Kristiansens current gallerist, Andreas Engelstad, did not the care for the head teacher intervention.

-- I've never been fond of censorship, that some will be expelled because they expressed themselves, "said Engelstad.

-- Pay attention to dress. In time, you'll see enough that it is "vaginakjoler," writes Kristiansen to Dagbladet.

In a project she elaborates:

-- In my opinion, the postfeminismen based on both the men's and women's market value. But because women's sexappeal has become the primary market, select both men and women to sell the female sexuality.

Kristiansen also draws out the following quote by Naomi Wolf:

"Women bodies are portrayed as attractive packaging around an empty box; our genital are not eroticized for women, men's bodies are not eroticized for women. Other women are not eroticized bodies for women, female mastrubation is not eroticized for women. Each woman has to learn for herself from nowhere how to feel sexual, though she constantly learns how to look sexual. "

The exhibition lasts until Sunday 13. January.

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Nicolay Aamodt decorates Oro Bar & Restaurant

Nicolay Aamodt decorates Oro Bar & Restaurant
One painting is 100 x 400 cm and the other is 122 x 244 cm.

Intewiev of Aleksandra Niemczyk by Lars Elton

"kunst for alle" - Number 1, January 2006

Title: Energetic in the open landscape

With at least three solo exhibitions in front of her in 2006, the energy Alexandra Niemczyk rays provide most breathtaking. No matter how people perceive her is the result non-arguable: High exhibition activity has given both artistic and sale success for a few years in Norway. You may not believe it, but the images are as jewllery art to mention.
By Lars Elton

The clichee says that Poles are known to be workative. But Norway has enjoyed more Poles than the many strawberry pickers and handymen that has flowed to the country in recent years. When the poll about the century's Nowegian was carried out before Christmas, it was the Polish-American singer Nina Witozek that had the mission to introduce Fridtjof Nansen.
The cultural connecting lines between Poland and Norway goes a long way back. In the art arena, it is worth to mention that Edvard Munch hung with Polish friends in Berlin. Today, lives several artists of Polish origin in Norway, and now we have one more: Alexandra Niemczyk came to Norway in 2001. She is still under 30, and she keeps an impressive pace.
While Nina Witozek and others of her contemporaries came here as refugees, it was love that brought Alexandra to Norway. Husbands Tommy struck her at home in Warsaw. When she was done with education in Poland they moved together in Oslo.

Alexandra Niemczyk is a trained graphic artist with a Master's thesis in lithography from the Art Academy in Warsaw. Therefore, she announced herself into the Norwegian Grafikere when she came to Norway, and after a short time she met Herman Hebler, the artist who for many years ran the international graphic biennale in Fredrikstad. It would prove to be positive. For the first, Hebler knew Alexandras professor of Warsaw. Alexandra studied five years under Professor Grabowski, and he had set out on graphic biennale. For the second she had an important advice of Hebler, namely to start with the provinsional of Oslo, Norway.
As a result of the good advice she got exhibition space pretty quickly, plus a good response. The result is that she already has a long list of exhibitions, which in turn has been possible due to her store productivity.
As a painter Alexandra has developed a figure of speaking that hit the audience. It is characterized by clearly defined forms and strengths of colour to big, single coloured parts. In recent years, she has made some very bright paintings, but it's still a lot of dark in her photos. They are perceived not as grim for this reason.
For it is precisely here, the surface of the large, single coloured areas, at her most prominent characteristics are located. It consists of a meticulous work on the details and various structures in the paint surface, a texture wealth that comes as a pluss emphasized in relation to the commentary.

Alexandras motives are simple in a positive way. She let into an abstract expression when she moved to Norway. In the beginning, she worked only with color and texture. The shape was almost an excuse to be able to work with the picturesque issues. But since she is a trained graphic artist had gradually forms a stronger place, and she uses them now as a graphic signals. the abstracts based on landscapes, often with a long central building in the picture.
Alexandra Niemczyk is a real citygirl. She was born and raised in Poland's capital Warsaw, so to come to Oslo and Norway were exotic. She thinks it's sooo beautiful here, and says that the Norwegian landscape has inspired her enormously.
But for a Norwegian this are not the imaginary images on the Norwegian landscape. There are large surfaces and long building bodies and visual signals that brings our thoughts south to the large fiels areas in central Europe - or Spain, for that matter.
At the same time, we will not take from her that the inspiration from the Norwegian landscape has a certain success. There are several things that remind us of it: A single horse which crums the neck against the wind, and the number of blue that brings thoughts to the many small lakes and rivers that spices the Norwegian landscape. Not to speak of the things that appeared in the paintings in the past year, a lot of white that can be interpreted as a large, snow-covered surfaces between the horses and houses.

There is something paradoxical in this motif. That a citygirl that Alexandra has the farm and farmlandscape as its foremost motif. But when it is the graphic signals and forms that are most important to the artist, it should perhaps given a certain weight that interpretation to a greater extent, sitting in the viewer's head than in the artist.
While she says that she uses simple symbols that are universal and are universally understood.
In any case, it is the technique and the clear compositions that fascinates by Alexandras paintings. While it may look like this, she did not work with scraping techniques. On the contrary, she is built around work together to achieve exactly the effect she is looking for. The result is an unusually rich surface with interesting textures and a great deal of variety. She often uses the cold colors at the bottom to highlight the hot colors, she put in place. And she can leave parts of the underlying teams to get the lie open, as a coloured islands in a large area.
That she also uses the fairly large field to exposing the canvas reveals not only that she uses finely-meshed canvas (which she sectors ranging up yourself). It also reveals a sense for material contrasts and deliberate use of the technical features of the composition.

Alexandra spend a long time to build the images - both actually layers on layers, and more indirectly in terms of composition. And she thinks a lot under way.
But when she spend a long time to think and build up the images, how can she be as productive at the same time? It is she the only female have to be. This year, she has planned at least three solo exhibitions: In Horten kunstforening in March; in Hamar kunstforening in april, and in October in what has become her permanent gallery connection, the relatively newly established, but already well renowned Gallery A in Oslo. Up to 15. January, she was also at a group exhibitions in the same gallery, the side gallery, A minor.
The answer to the question is hard work. After that she moved to Canada she worked part time in the gallery to have an income. But as awareness increased, and sales improved, she could end with all unauthorized persons and concentrate on the painting. Today, roughly four years later, she can live on the arts.
Where she used to be depressed by simply working alone, she has now entered into an atelier situation with other artists around them. At her thrive on studio is revealed by the large workcapacity:
-- I have my other "studietid". I am educated to nothing - else. Therefore, I have no choice but to be successful in what I do. My husband is studying architecture, and me myself, I work from nine to nine, sometimes seven days a week. I have so much energy, and if you have the energy, opportunities and the deadline, you will be motivated. One picture brings new images to me. This is my life, and I love it, "she says about the matter.

Since Alexandra has her background as a graphic with long experience in lithography, she uses the technique in his effort to build up the paintings. She says that many artists would do well to work with colour because the process can not be reverse:
-- When you press a single color, you can not go back. The layers are added on top of each other. "It means you have to decide for color and shape before you hit, and you have to take into account the teams. You can not take away something else later. It will make you think consistency and structure, and plan things, "she says.
It is the same Alexandra make to the paintings. The underlying teams to look forward through it we can discuss about are Norwegian or Polish landscape. In a sense, is the painting method as a metaphor, where it that she lets the underlying layers appear forward is that to allow multiple dimensions.
-- We bear with us all the things we've been experiencing. The Polish landscape is, of course, with me, but I can madama a force in the Norwegian landscape. When you say that there is no horizons in my paintings, I understand that. But they are there. There, you have one, and where. But they are violated by vertical elements, and really they are only an excuse to put the color right there. And there. Or there, "she says, pointing to paintings that are around in the studio.
-- The real beauty of it all, when I'm done with all the teams, is that the last layer, the conclusion will be that art jewllery. In the last parts are as straw the cake. But not for that, there is much good at, she believes.

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Many paintings in one, Aamodt with new paintings

I use several collages to get the feeling of more then one painting in one says Nicolay Aamodt which is showing new paintings in "his" gallery.

Erik Bjørnskau
Aftenposten 21st October 2005

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on the search for talents, Vestkanten

The idea of starting a gallery was founded under studies and work in London.

Interview with Nicolay Aamodt, Aftenposten 20.03.05

Nicolay Aamodt had a very positive interview in Aftenposten on Sunday before easter were it was written:

"there is no doubt about it that Aaamodt is on his way on becoming one of the most marked artist in Norway"

Bjørn Brøymer

Big sale to Fokus Bank

Fokus Banks' new head offices in Oslo buys young artists from Gallery A. They have bought works from Aamodt, Niemczyk, Johannessen, Ramberg og Espen Eiborg

Norwegian English