Upcoming


Trond Lossius
Jeremy Welsh
The Atmospherics
River deep, mountain high


Exhibitions 
— 2018


Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic
Reenactment/Process
Reprise/Response


Eivind Egeland
Father of Evil

Marysia Lewandowska
Rehearsing the Museum


Anton Vidokle
Immortality for All: a film trilogy on
Russian Cosmism

Curated by
Ingrid Haug Erstad

Johanna Billing
Pulheim Jam Session,
I’m Gonna Live Anyhow Until I die,
I’m Lost Without Your Rhythm, This is How We Walk on the Moon,
Magical World


Jenine Marsh
Kneading Wheel, 
Coins and Tokens

Jenine Marsh
Sofia Eliassen
Lasse Årikstad
Johanna Lettmayer
Lewis & Taggar
Jon Benjamin Tallerås
Orientering 
—  a group show in public space


Jon Rafman
Dream Journal
2016-2017


Goutam Ghosh &
Jason Havneraas
PAARA

Ian Giles
After BUTT

Films by Yafei Qi
Wearing The Fog, 
I Wonder Why, 
Life Tells Lies

Exhibitions
— 2017

Daniel Gustav Cramer
Five Days

Kamilla Langeland
Sjur Eide Aas
The Thinker, Flower Pot and Mush

Danilo Correale
Equivalent Unit
Reverie: On the Liberation from Work


Valentin Manz
Useful Junk

Jeannine Han
Dan Riley
Time Flies When Slipping Counter-Clockwise

Pedro Gómez-Egaña
Pleasure

Ane Graff
Mattering Waves


Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger


Exhibitions
— 2016


ALBUM
Eline Mugaas
Elise Storsveen
How to Feel Like a Woman

DKUK (Daniel Kelly)
Presents: Jóhanna Ellen
Digital Retreat Dot Com

Cato Løland
Folded Lines, Battles and Events

Harald Beharie
Louis Schou-Hansen
(S)kjønn safari 2.0

Lynda Benglis
On Screen
Bergen Assembly

Linn Pedersen
Bjørn Mortensen
Terence Koh
NADA New York

Ida Nissen
Kamilla Langeland
Marthe Elise Stramrud
Christian Tunge
Eivind Egeland
Fading Forms

Anders Holen
Stimulus

Sinta Werner
Vanishing Lines

Exhibitions
— 2015


Bjørn Mortensen
Pouches and Pockets
/ Compositories in Color


Linn Pedersen
Plain Air

Øystein Klakegg
Entrée # 55

Leander Djønne
Petroglyphs of the Indebted Man

Lewis & Taggart
Black Holes and other painted objects


Azar Alsharif
Bjørn Mortensen
Steinar Haga Kristensen
Lewis & Taggart
Vilde Salhus Røed
Heidi Bjørgan
NADA New York

Linda Sormin
Heidi Bjørgan
Collision

Steinar Haga Kristensen
The Fundamental Part of Any Act

Exhibitions
—2014


Tora Endestad Bjørkheim
Bjørn-Henrik Lybeck


Mathijs van Geest
The passenger eclipsed the object that I could have seen otherwise

Marit Følstad
Sense of Doubt

Oliver Laric
Yuanmingyuan3D

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

Exhibitions
— 2013


André Tehrani
Lost Allusions


Pedro Gómez-Egaña
Object to be Destroyed


Flag New York City

Christian von Borries
I’m M
Institute of Political Hallucinations
Bergen Assembly

Dillan Marsh
June Twenty-First

Vilde Salhus Røed
For the Sake of Colour


Azar Alsharif
The distant things seem close (…) the close remote (…) the air is loaded


Magnhild Øen Nordahl
Omar Johnsen
Trialog

Lars Korff Lofthus
New Work

Exhibitions
— 2012


Anngjerd Rustan
The Dust Will Roll Together

Cato Løland
Oliver Pietsch
Love is Old, Love is New

Stian Ådlandsvik
Abstract Simplicity of Need

Sinta Werner
Something that stands for Something / Double Described Tautologies

Kjersti Vetterstad
Lethargia

Anna Lundh
Grey Zone

Arne Rygg
Borghild Rudjord Unneland
Lisa Him-Jensen
Cato Løland
Lewis & Taggart
Klara Sofie Ludvigsen
Magnhild Øen Nordahl
Mathijs van Geest
Andrea Spreafico
Flag Bergen

Exhibitions
— 2011


Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland
U.T.

Ethan Hayes-Chute
Make/Shifted Cabin

Ebba Bohlin
Per-Oskar Leu
Kaia Hugin
Pica Pica

Gabriel Kvendseth
First We Take Mannahatta

Roger von Reybekiel
Do Everything Fantastic

Exhibitions
— 2010



Michael Johansson
27m3

Tone Wolff Kalstad
This Color Is Everywhere


Knud Young Lunde
Road Show Event Plan


Alison Carey
Ivan Twohig
Benjamin Gaulon
On The In-Between


Mercedes Mühleisen Øyvind Aspen
Birk Bjørlo
Damir Avdagic
Annette Stav Johanssen
If Everything Else Fails...

Mart
Ciara Scanlan
Matthew Nevin
An Instructional

Patrick Wagner
Nina Nowak
Samuel Seger Patricia Wagner
South of No North

Gandt
Agnes Nedregaard Midskills
Patrick Coyle
Boogey Boys Santiago Mostyn
Bergen Biennale 2010 by Ytter

Lars Korff Lofthus
West Norwegian Pavilion


Serina Erfjord
Repeat


Mattias Arvastsson
Presence No.5


Malin Lennström-Örtwall
It`s like Nothing Ever Happened

Exhibitions
— 2009


Tor Navjord
FM/AM

Ragnhild Johansen
Erased Knot Painting


Entrée Radio


Lewis and Taggart
Ledsagende lydspor


In Conversation:
Gómez-Egaña and Mathijs van Geest


In Conversation:
Andrew Amorim and Mitch Speed


In Conversation:
Ane Graff and Alex Klein


In Conversation:
Martin Clark and Daniel Kelly


Ludo Sounds with
Tori Wrånes




In Conversation:
Stine Janvin Motland, Kusum Normoyle, Mette Rasmussen, Cara Stewart



Curated by Randi Grov Berger 


Magnhild Øen Nordahl
The Frisbee Perspective


Ragnhild Aamås
Flyt


Blomgren and Skúladóttir
Extractions


Karen Skog
Mastens lyder, kaster loss


Trudi Jaeger
QUARTUS Illuminations – Atlas Littoralis






Mark

March 19th- April 16th, 2016

Anders Holen

Stimulus


The potential agency of things is a recurring topic in Anders Holen’s artistic practice. His works appear as familiar, yet strange objects that point to their creation simultaneously as they reveal their own ability to create, thus blurring the dichotomy between object and subject. The installation exhibited at Entrée alludes to a sort of utility, as if the displayed items are tools for further production.




Shiny silver and copper sculptures in the shape of eggplants, ice cream cones, artichokes, as well as cocktail glasses and ladles whose content has solidified mid splash, are displayed on glass tables and in containers. Parts have been carved away from the objects, leaving them with stamp-like protuberances on their flat, even surfaces. They might be thought of as highly complex and aestheticized potato stamps, but the seriousness of both the sculptures and their clinical display absorbs this banality, and thereby rids the exhibition of any nostalgia regarding potato printing. Instead the objects raise questions on semiotics, and whether we are witnessing the actual work, or if they are in fact agents for constructing new artworks.

The abstract symbols protruding from these objects also appear in brightly colored patterns incorporated into crude pieces of solid wood mounted on the walls. Repetition of the symbols – as if one has made the other – creates a significant relationship between the works: as an object and its referent. The sculptures are inanimate, but through their causal agency they seem to exude an inherent potential; it drew its mark on something else. The Swiss linguist Ferdinand de Saussure believed that a sign is dyadic, meaning it only consists of two parts; the form of the sign and its meaning. When looking at Holen’s work, one suspects that it holds a narrative, something to be decrypted and understood if one can just manage to place it in the right categories. Meaning eludes us and the work appears as a riddle where the objects become less familiar and more mysterious.

The symbols themselves do not appear to be decipherable. One might think of them as originals and their copies, but that does not entirely make sense either, as they have distinct physical attributes and characteristics. The natural marks in the wooden surface are as much a pattern as the artificial symbols, and in any case it seems unlikely that the glossy sculptures actually made the relief in the wooden surface, because they seem too pristine and too artificial. They can be thought of as agents, but they are also just another sign. With lots of questions and few answers, the viewer is turned into a kind of archaeologist, as if one is presented with artifacts from an excavation site. The works have inherent qualities resembling tools, but without an obvious purpose, this triggers an investigative approach among spectators, who attempt to make sense of it all.

When taking the exhibition title Stimulusinto account, these scientific connotations seem to be well-grounded. The recurring symbols found in Holen’s work actually derive from a study[1] on cognitive recognition, meticulously developed for the sole purpose of being perceived as ‘non-objects’, i.e. as completely abstract signs.

So if the meaning of the sign eludes us, what remains in Holen’s work is how it exposes our inherent need to classify and categorize signs and symbols. Instead of looking for what the artworks mean, I start to look at what they do. Thus the actual works bring to mind, not the idea on which they are based, but their inherent potential to make art themselves. 

Conceptual art has been described as when “the idea becomes a machine that makes the art.” This particular phrasing and the image it conjures fascinate me, and I think the notion of “a machine that makes the art” can also apply to Anders Holen’s work: only in this case it is in fact the artwork that becomes the machine. It exists in a semiotic chain of indexical signs with no clear start or finish, one object points to another which points to yet another. Maybe they are not mere signs, but instruments for acknowledging both the it and the self as participants.


[1] Potter, Mary C. and Judith F. Kroll, “Recognizing words, pictures, and concepts: A comparison of lexical, object, and reality decisions”, Journal of Verbal Learning and Verbal Behavior, Volume 23, Issue 1, February 1984, Pages 39-66


Text by Espen Johansen









































Entrée March 19th, photographed by Bent René Synnevåg.



Mark