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  Maleriet tørker aldri.....  
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Astrup Fearnley Samlingen begynte å vokse frem på 1960-tallet i en periode hvor det fant sted store omveltninger i kunsten. Det skjedde nærmest en eksplosjon av nyvinninger innen skulptur, installasjon, grafikk, fotografi, og ikke minst kombinasjoner av ulike teknikker og sjangere.
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The Astrup Fearnley Collection was started during the 1960's, in a period of great transition within the artworld. There was an explosion of innovation in sculpture, installation, graphic art, photography and, not least, works constructed through a synthesis of various techniques and genres. The preeminence of painting began to crumble. Yet...
  Det abstrakte maleriet ...  
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De forsøkene norske kunstnere gjorde inn i abstraksjonen gjennom surrealismen møtte liten forståelse hos kritikerne, som fant liten kunstnerisk verdi i bildene. De ble enten avvist som alt for subjektive og navlebeskuende, eller de ble sett som upersonlige variasjoner over surrealistiske forbilder, som kunne avfeies som i beste fall rent dekorative arbeider.
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In 1931, the Belgian artist Georges Vantongerloo established the artists’ association Abstraction-Création in Paris, collaborating with, among others, Auguste Herbin and Theo van Doesburg. The association was founded to promote pure abstract art, and represented a counterpart to Breton’s surrealism. The group’s interest for a constructive and geometric form of abstraction was continued after the war by the Salon des Réalités Nouvelles, an artists’ association that also established an art exhibition of the same name in 1946. Some of its most central artists were Jean Dewasne, Jean Deyrolle, Auguste Herbin and Serge Poliakoff. The group’s first exhibition had the subtitle “Art abstrait, concret, constructivisme, non-figuratif”, thus demonstrating that the central interest of these artists was the constructive design of the image itself. They all ended up in the stable of Galerie Denis René, joined by among others Richard Mortensen and the Danish sculptor Robert Jacobsen in the late 1940s. This form of geometric abstract art is often referred to as “concrete art”, a term that is firmly established in Denmark and Sweden, but not as common in a Norwegian context.
  Elmgreen & Dragset - Bi...  
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Blant annet ved Serpentine Gallery, Tate Modern and V&A i London, Museum Boijmans Van Beuningen i Rotterdam, ZKM i Karlsruhe Kunsthalle Zürich. I 2009 representerte de Danmark og Norge på Veneziabiennalen med en omfattende utstilling som fant sted både i den danske og den nordiske paviljongen, og i 2012 stilte de ut på Liverpoolbiennalen.
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Michael Elmgreen (Denmark) and Ingar Dragset (Norway) have been working together since 1995. They live and work in London and Berlin. They have become known through their solo exhibitions and projects at prestigious institutions and museums worldwide, including the Serpentine Gallery and Tate Modern in London, the Museum Boijmans Van Beuningen in Rotterdam, ZKM, Karlsruhe, and Kunsthalle Zurich. In 2009 they represented Denmark and Norway at the Venice Biennale, with a comprehensive exhibition that took place in both the Danish and Nordic Pavilions, and in 2012 they participated in the Liverpool Biennial. In Autumn 2013, the artists received great acclaim for their ambitious exhibition 'Tomorrow' at The Victoria & Albert Museum in London, for which they transformed parts of the Museum into the apartment of a fictional architect.
  Om abstraksjon og mater...  
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I et intervju foretatt i forbindelse med hennes deltakelse i Art Basel Miami i 2014 forteller hun at utgangspunktet for hennes arbeider er motstanden og balansen mellom materialer, form, farge, rom og innhold. Hun arbeidet opprinnelig med en lang rekke forgjengelige materialer i stedsspesifikke installasjoner før hun fant frem til sin foretrukne form som er å veve med nylontråder.[5]
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Young contemporary artists working with textiles are to a greater extent detached from a feministic tradition and from the links to crafts and folk art. Aurora Passero describes an intimacy to, and an interest in materials and materiality as a point of departure for her own practice. In an interview made in connection with her participation in the Art Basel Miami in 2014, she explains that the basis for her work is the resistance and balance between materials, form, colour, room and content. She worked initially with a wide range of perishable materials in site-specific installations before finding her preferred form, the weaving of nylon threads.[5] The synthetically made material is first and foremost associated with industrial processes and is far removed from a conventional textile tradition. In the citation from The Autumn Exhibition jury, is mentioned a new interest in materiality. Implicit in the artistic assessment of Passero’s work is an understanding of the art direction that had been dominant in the years leading up to the award. The jury has obviously in mind the post conceptual art, where materiality and crafts are subordinate to the idea behind the work, which also governs the execution or presentation. There are fundamental differences between the strategies of an artist like Gardar Eide Einarsson and Aurora Passero, but both work with abstraction. In the case of Einarsson, references to the abstract painting’s foremost exponents can be motivated out of an interest for the modernist flat painting as a political project.[6] Such was the case with the Astrup Fearnley Museet’s 2010 exhibition
  Ivan Galuzin - Astrup F...  
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som fant sted på Unge Kunstneres Samfund (UKS) i februar-mars 2014. Utstillingens verk vekslet mellom både det figurative og det abstrakte, og fremviste verk som kombinerte Galuzins særegne kunstneriske interessefelt med det abstrakte maleriets historie i en oppsiktsvekkende dialog.
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looked like monochrome paintings, but the pungent smell of chemicals warned of something far more dangerous. The canvases had been covered with a layer of industrial two-component paint that created plastic-like and monochrome surfaces in pink, yellow and black. The intense stink of chemicals from the two-component paint triggered strong somatic reactions amongst viewers, plus a sense of decay that soon manifested itself in the paintings’ surfaces: they slowly but surely fractured and started flaking off like dead skin, like a painterly equivalent to the body’s inevitable decay. The works can be read in the context of the history of monochrome painting, which includes works which the Russian Suprematist Aleksander Rodchenko made in 1921. After making these works, Rodchenko declared that ‘It’s all over’. One consequence of the monochrome was to proclaim that painting had reached its end or
  Introduksjon - Astrup F...  
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Ed Ruscha hentet inspirasjon fra underholdningsindustrien, men også fra hverdagslige motiver som bensinstasjoner og urbane landskaper, og ble etter hvert vestkystens ledende utøver av popkunst. Sammen med Robert Irwin fant den minimalistiske pioneren Larry Bell opp en ny form for skulpturpraksis kalt for
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In the overall narrative there are artists who suggest and define L.A. by emphasising the specific light of California, while others relate to the entertainment industry. Some use the figure to suggest the behaviour of certain groups of people or social classes, the psychology of human existence and social issues, revealing symbolic and phantasmagorical visions, while others evoke the artificiality of Hollywood and images and narratives around the L.A. mythologies. Others address aesthetics, gender and identity, illusions and personal stories of friendship. The Afro-American community appears in naïve-style paintings of family members, sports and politics, or in references to the current manifestations of racism. There are images of empty houses, vandalism and violence, of sci-fi-inspired apocalyptic visions. There are concerns with systems and controls related to our everyday life, manipulated through fashion, cars, highways and colours. There are gender issues and homoeroticism; 3D still-lives, plants and lamps, middle-class interiors; landscapes, heatwaves, snakes and the struggle for survival; bedsheets, dirty mattresses collected from the streets; body parts, pain, teenagers’ faces; doors creating limits, frontiers, private and public spaces.