NORWAY /
INSIDE LOOKING OUT

CURATED BY TONJE KJELLEVOLD

Artist Kiyoshi Yamamoto’s spacious studio overlooks Nøstebukten, a part of Pudde Fjord in central Bergen, on Norway’s west coast. In the digital collection “Inside Looking Out”, Yamamoto’s studio is transformed into a makerspace, featuring five Norway-based artists and makers: Kiyoshi Yamamoto, Karen Klim, Sisse Lee, Ramona Salo and Nathalie Fuica Sanchez. The exhibition also features an new ambient sound composition by composer and musician Jens Peter Jongepier. The exhibition takes a closer look at the five makers’ artistic practices in relation to restriction, isolation, and solitude – feelings and phenomena that are emblematic of a maker’s working life that quickly became commonplace during the pandemic. 

When the pandemic hit, we were all forced to watch from our windows as the world slowed and quieted. With dwindling exhibition opportunities and quickly emptying calendars, many makers returned once again to the studio, only to find that the materials they rely on could not be produced or transported, or that their access to essential equipment had been removed. Stillness and solitude can be challenging, but for the makers in this exhibition, the slower pace unmasked some unexpected opportunities. By revisiting and reconfiguring older works, new works could emerge without the need for added resources. In the midst of a crisis, these makers directed their attention inward, finding new ways of creating and connecting. 

Read more

Karen Klim devoted herself to working with small and simple forms that she could easily handle alone in her glass studio at Frysja in Oslo where she has worked since 1978. Watching the water and the surrounding nature at Frysja change through the seasons is a constant and inexhaustible inspiration for Klim. In the collection “Inside Looking Out”, Klim presents a handful of newer glass works, some of which were created during the pandemic. Sisse Lee’s practice consists of an idea-based approach to the vessel. Working with themes such as archaeology and fetish objects, Lee is able to explore the ceramic vessel as a culturally significant object bridging the functional and the artistic. In the collection “Inside Looking Out”, Lee has revisited objects created in 2018. The white, high gloss ceramic vases were once part of a large installation that Lee has decided to pick apart, creating new, smaller installations from the old. Ramona Salo’s artistic practice spans fashion, costume design, storytelling, and performance. Drawing inspiration from her upbringing in Sápmi and Northern Norway, Salo incorporates storytelling and visual cues from the landscape into her pieces. During the pandemic, Salo started working with headpieces, making a purple wool balaclava to go with a sweater she had made pre-covid. The balaclava, although not necessarily medically efficient as a face mask, is perfect protection in the cold arctic winter. Nathalie Fuica Sanchez’spractice spans ceramics, textile, sculpture, and ready-mades. In the collection “Inside Looking Out”, Sanchez presents a wall tapestry entitled “A Blessing and a Curse”. The duvet-like piece is inspired by weighted blankets, often used to soothe anxious and restless sleepers, a connotation which lends a sense of intimacy and privacy to the piece. Simultaneously, the tapestry’s pattern (made by embroidering around Styrofoam pellets) shows a structured and grand looking portal – a passage into something new, something unknown. 

Read less

ENTER THE VIRTUAL EXHIBITION

For the best experience we recommend using Safari or Chrome on a desktop or laptop computer.

MEET THE CURATOR IN THE VIRTUAL GUIDED TOUR

KIYOSHI YAMAMOTO /
BROKEN HEARTS II

“Broken Hearts are for assholes.” This is the title of a new series of glassblowing sculptures developed at S12 Center for Contemporary Glass in Bergen municipality in Norway.

I hated the glass. This feeling comes from a traumatic accident in my youth. From there, I got so fascinated with the material and possibilities. That was the start of a research residency at the S12 workshop. The research took me to continue to search for a harmonious relationship with glass. But also to learn values, conditions, and possibilities. Can glass be a tool for healing? And does when color becomes a collaborator? The answer is a colorful assembly of love, fear, and discovery.

There are two definitions of the term “art therapy”. The British Association of Art defines art therapy as a form of psychotherapy that uses art media as its primary modes of expression and communication. In this project, glass has the function as both a healing material and therapy—the immediate access to a complete workshop. The safety of a professional environment gives power and encouragement.

The project focuses on color study, the understanding, and experimenting of glass-color in composition and relation with form and shapes. Mapping the use of glass in the field of Art. It is a direct relation to art-making, craftsmanship, production, and design.

€ 860 ex. VAT
UNIQUE PIECE

Full dimensions (cm)22x12x27
Weight (kg)1
MaterialBlown GlasshorsehairMetal

KIYOSHI YAMAMOTO /
BROKEN HEARTS

€ 600 ex. VAT
UNIQUE PIECE

Full dimensions (cm)14x14x27
Weight (kg)0.4
MaterialBlown GlassMetal

KIYOSHI YAMAMOTO /
BROKEN PLATE

In this project, glass has the function as both a healing material and therapy—the immediate access to a complete workshop. The safety of a professional environment gives power and encouragement. The project focuses on color study, the understanding, and experimenting of glass-color in composition and relation with form and shapes. Mapping the use of glass in the field of Art. It is a direct relation to art-making, craftsmanship, production, and design.

€ 400 ex. VAT
UNIQUE PIECE

Full dimensions (cm)20x20x10
Weight (kg)500
MaterialBlown Glass

KIYOSHI YAMAMOTO /
BROKEN DISHES

€ 3200 ex. VAT
UNIQUE PIECE

Full dimensions (cm)32x22x30
Weight (kg)2
MaterialBlown GlassMetal

KIYOSHI YAMAMOTO /
PAU BRASILIES

“For years, I have collected wood material from nations that have been colonized by European powers. The motive for this tapestry comes from a painted Pau brazil tree.”

After being first discovered in 1500 by Portuguese explorers, the trees and their wood became highly coveted and traded throughout Europe for the red dye they produced. Considered a valuable commodity, it was the preferred red dye of luxury textile manufacturers. The species has been exploited by collectors, known as brasileiros. It also provides an immensely valuable, and almost indestructible, timber used to manufacture bows for stringed instruments, for construction, and to make traditional hunting tools. The extensive collection and export of the dyewood from Pau brazil trees has resulted in the loss of large areas of forest and the enslavement of local people.

The tapestry is woven by a digital jacquard technique that gives me the possibility to experiment with yarns, colours, and texture.

€ 6000 ex. VAT
UNIQUE PIECE

Full dimensions (cm)127×150
Weight (kg)1
MaterialCotton

Read the exclusive interview in Adorno Editorial

“Anyone that creates for a living faces challenges relating to restrictions – lack of funding, access to materials and equipment, the time you need to create something, and so on. The pandemic only added to this long list of restrictions, but then something interesting happened with these makers – many of them altered their making process and shifted their focus in order to keep creating something.”

– Tonje Kjellevold, curator of the Norwegian collection, “Inside Looking Out”

NATHALIE FUICA SANCHEZ /
A BLESSING AND A CURSE

In my work “A Blessing and a Curse”, I have used the duvet as a model to relate it to ideas like the domestic, the sensory, to care, to sleep, and to an empty canvas. I have made functional art pieces before, but this one is a sculpture that points to function. Function is one common element in my artistic practice, in this work mostly as a mental tool.

I collect quotes and cliches, and one quote I heard on the radio one day still echoes in my mind: “You can not leave rooms you have not been in.” I think I am influenced by the self help culture and, instead of rejecting their quotes as silly, I am carefully looking for what I can learn from them. I especially like the door as a symbol of an entrance to somewhere unknown. “A Blessing and a Curse” works as a personal reminder that encourages fearlessness. I think this reminder can be helpful for others as well, my piece is a way of sharing this.

Cotton canvas and styrofoam, machine and hand-stitched.

1500 ex. VAT
UNIQUE PIECE

Full dimensions (cm)215x190x7
Weight (kg)19
MaterialCotton

KAREN KLIM /
TORSO

Mouth-blown and sandblasted green glass vessel/vase by Karen Klim, a glass artist based in Oslo, Norway. The piece is blown and hot-shaped freely, then sandblasted.
Karen Klim has been looking to capture the organic form and a poetic quality within the piece.

€ 475 ex. VAT
UNIQUE PIECE

Full dimensions (cm)25x10x25
Weight (kg)0.5
MaterialGlass

KAREN KLIM /
ISFRONT

€ 855 ex. VAT
UNIQUE PIECE

Full dimensions (cm)28x11x28
Weight (kg)1
MaterialGlass

KAREN KLIM /
FROSTSKROG

€ 1120 ex. VAT
UNIQUE PIECE

Full dimensions (cm)29x23x29
Weight (kg)2
MaterialGlass

SISSE LEE /
CLASSIFIED HISTORICAL VASES

Based on a schematic of “The commonest types of prehistoric pottery” by the archaeologist Flinders Petrie.
A unique, hand-pinched series of 94 objects, porcelain with a transparent glaze. From this series: 7 objects available.

€ 202-335 ex. VAT
UNIQUE PIECES

Full dimensions (cm)Various
Weight (kg)0.3-2.5
MaterialPorcelain

RAMONA SALO /
I AM NOT THE GRASS IN YOUR BOOTS

“I am not the grass in your boots” is a Sami proverb about nor to be treated as inferior. About the piece: An exploration in the liminal gray zone landscape between wearable art and objects. A shoe, which was originally high street/retail and intended for short term use (as retail often is), has through art and craft tradition been transformed into a design/art object that is meant to be observed, perhaps touched carefully. The tactile element is the most important, but the shoes should not be placed on your feet. This is an exhibition piece, which can be stacked in different ways. It is a retail slipper that is decorated with hand-woven tactile threads, in different yarn qualities. Wool is attached to both the sole of the foot and under the shoe. The wool is from local sheep and is felted by hand, locally. The object is sold as a pair, and there is only one in this embodiment. The object is made of organic materials that can fringe a little over time.

€ 320 ex. VAT
UNIQUE PIECE

Full dimensions (cm)27x11x7
Weight (kg)0.4
Materialmixed Media

RAMONA SALO /
KNITTED CROPPED SWEATER

This knitted cropped sweater is made of 100% wool. It is knitted by hand in northern norway, and there is only one available in this color for now. It is in a light, mellow purple color. Wear it alone or with the matching balaclava.

The knit is in size small-medium.
Height: 40cm
Neck circumference: 40 cm
Sleeve circumference: 30 cm
Sleeve length: 52 cm

€ 425 ex. VAT
UNIQUE PIECE

Weight (kg)0.70
MaterialWool
Production Year2020

SUPPORTED BY

7 Visitors Online

Loading...

PREPARING YOUR EXPERIENCE