Stian Ådlandsvik

Correspondence, 2015
Graphite on paper
40 × 31 cm (15.7 × 12.2 in)
Stian Adlandsvik Copenhagen, Denmark

Correspondence, 2015
Graphite on paper
40 × 31 cm (15.7 × 12.2 in)
Stian Adlandsvik   Vienna, Austria

Correspondence, 2015
Graphite on paper
40 × 31 cm (15.7 × 12.2 in)
Stian Adlandsvik   San Francisco, USA

One way out of the maze #6, 2014
Acrylic on canvas
52 × 42 cm (20.4 × 16.5 in)
Stian Adlandsvik   Oslo, Norway

One way out of the maze #7, 2014
Acrylic on canvas
52 × 42 cm (20.4 × 16.5 in)
Stian Adlandsvik   Oslo, Norway

Such a panic, such an inexplicable shock was produced #1, 2016
Watercut concrete and glossy pink Kurt Geiger high heeled shoe
Size Varies
Stian Adlandsvik   Oslo, Norway

MP620, 2017

MP620 (2017)
Acrylic, electric components and machine parts on canvas
120 x 80 cm
Stian Adlandsvik

HSTND-2341-B, 2017

HSTND-2341-B (2017)
Acrylic, electric components and machine parts on canvas
120 x 80 cm
Stian Adlandsvik  

PX830FWD, 2017

PX830FWD (2017)
Acrylic, electric components and machine parts on canvas
120 x 80 cm
Stian Adlandsvik

PX720WD, 2017

PX720WD (2017)
Acrylic, electric components and machine parts on canvas
120 x 80 cm
Stian Adlandsvik

Sold

Bruised features (2017)
Partially flattened I-beam
171 × 31 × 15.2 cm
Stian Adlandsvik

Sold

Bruised features (2017)
Partially flattened I-beam
187 × 34 × 10.9 cm
Stian Adlandsvik

Portrait of Leibniz, after Pierre Savart, 2017

Portrait of Leibniz, after Pierre Savart (2017)
Cape of Leibniz interpreted as a car-cover by a tailor in Leipzig (DE), incised to replicate a car-cover in Oslo, frame, ink-jet print mounted on aluminium
Diptych 180 x 150 cm
Stian Adlandsvik

Portrait of Leibniz

Portrait of Leibniz, after Pierre Savart (2017)
Cape of Leibniz interpreted as a car-cover by a tailor in Leipzig (DE), incised to replicate a car-cover in Oslo, frame, ink-jet print mounted on aluminium
Diptych 80 x 120 cm
Stian Adlandsvik

algebra of the sky (2017)

algebra of the sky (2017)
Concrete, duck-feather pillow, sneakers, eucrite
70 x 199 x 27 cm
Stian Adlandsvik

algebra of the sky (2017)

algebra of the sky (2017)
detail
Stian Adlandsvik

algebra of the sky (2017)

algebra of the sky (2017)
detail
Stian Adlandsvik

Born in 1981, Bergen, Norway
Lives and works in Oslo, Norway

Education

2003 – 2006
– National Academy of Fine Arts, Oslo

2005
– Hochschule für bildende Künste, Hamburg (Prof. Eran Schaerf)

2001 – 2003
– Rogaland School of Art, Stavanger

Solo Exhibitions

2015
– Société Anonyme, Galleri K, Oslo

2014
– Breaking out of prison with a safety pin, Galleri Gann, Sandnes (NO)

2012
– Abstract simplicity of need, Entree, Bergen (NO)
– Greasy Lace, Waxy Pith, Brussels
– Take these hands, MK gallery, Milton Keynes, (UK)
– The cyclical behaviour of equlibrium, Østfold Kunstnersenter, Fredrikstad (NO)

2011
– Echo, Künstlerhaus Bethanien, Berlin

2010
– Hell is Chrome, Gallery Erik Steen, Oslo

2008
– Vehiculare, Gallery Erik Steen, Oslo

2007
– Stream Day, Young Artists Society, Oslo

2006
–  …and then it suddenly inverted, Galleri Gann, Sandnes, (NO)
–  In, Reversed, Out, Avav123, Hamburg 

2005
– It´s Not Unlike Being on the Top of a Snowcovered Mountain, Galleri 21:25, Oslo

2004
– Dieluxe Emergency Equipment, Galleri 21:24, Oslo

Collaborative solo exhibitions with Lutz-Rainer Müller

2015
– Unholy Matrimony, FLACC, Genk (BE)

2013
– Silk & Sour, MELK, Oslo

2012
– Stadt mit Vollausstattung, Dortmunder Kunstverein, Dortmund (with Pepper + Woll)

2011
– Hinterland/Bakomland, Public performance, Kunsthall Oslo, Oslo 

2010
– Still life with modern guilt, MOT international, London 
– You Only tell me you love me when you´re drunk, Hordaland Arts Centre, Bergenn 
– Still life with hyena, lotus and cave, W17/Kunstnernes hus, Oslo

2008
–  If it won’t fly, try using it as a reducing machine, simultaneously at Galerie HfbK, Elektrohaus, Trottoir and St.Pauli Kunstverein, all in Hamburg 

2006
– sketches for the meantime, Fotogalleriet, Oslo 
– HAMC jubilee, The National Museum, Oslo (with Frode Markhus)

Group Exhibitions

2014
– PIEROGI XX: Twentieth Anniversary Exhibition, Pierogi, New York
– New Arrangements, Galleria Rajatila, Tampere (FI)
– Restate, Art:I:Curate, Londo

2013
– Örebro open art, Örebro (SE)
– Galleri K, Oslo

2012
– Not even light can escape, A und V, Leipzig
– So near the garden but still miles away, 1/9Unosunove, Rome
– Diamonds are forever, Galleri Erik Steen, Oslo
– Grounded, bb15, Linz
–  Lost in translation, ONO, Oslo

2011
– Reminds me tomorrow, Skalitzer140, Berlin
– Precarious Interchange, Waxy Pith, Brussels
– Unfolding: Processes, Grimmuseum, Berlin
– Acting on a tip, Grünerløkka Kunsthall, Oslo
–  Their work is fabulous, Galleri Erik Steen, Oslo

2010
– Babelsk, Bergen Art Museum, Bergen
– Reflected in a drop of oil, Galleri Niklas Belenius, Stockholm
– The drawing biennale, Moss (NO)
– Kongsvinger Fortress, Kongsvinger (NO)
– Kunstnerforbundet, Oslo
– Unfinished Business, Waterside Project Space, London

2009
–  Tempo Skien, Telemarks Kunstnersenter (NO)
– Galleri Erik Steen, Oslo
– Dark matter, Peder Balke Center, Toten (NO)
– Barentz Triennale, Oslo, Tromsø, Rovaniemi, Helsinki, Murmansk, Moscow
– SnowballEditions2008, Lautom Contemporary, Oslo

2008
– New works, Galleri Erik Steen, Oslo
– Platform China, Beijing
– SnowballEditions2008, Torpedo, Oslo
– Lights On, Astrup Fearnley Museum of Moderen Art, Oslo

2007
– New works, Galleri Erik Steen, Oslo
– Be One, Get Three, Cluster Galerie, Berlin
– Obergeschoss Dritter Finger Rechts, Ballhaus Ost, Berlin
– Architecture, Gallery KiT, Trondheim
– Play, Gallery Erik Steen, Oslo

2006
– Take Off, Galleri Brandstrup, Oslo
– Kunstakademiets avgangsutstilling, Stenersenmuseet, Oslo

2005
–  Velkommen, Galleri Seilduken, Oslo

2004
– Sur-re-al, Galleri Seilduken, Oslo
– Vestlandet i verden, Vestlandsutstillingen (touring exhibition)

2003
–  Ung2003, Galleri F15, Moss

Residencies

2013
– FLACC, Genk (BE)

2012
– Amsterdams Grafisch Atelier, Amsterdam

2011
– Künstlerhaus Bethanien, Berlin (Office for Contemporary Art Norway)

2010
– W17, Oslo
– Air Bergen, Bergen (NO)

2008
– Platform China, Beijing (Office for Contemporary Art Norway)

Collections

KLP, Bergen (NO)

Nomas Fundation, Rome (IT)

Bergen Art Museum, Bergen (NO)

Wintershall, Stavanger (NO)

Astrup Fearnley Foundation, Oslo (NO)

Private Collections

Public commissions with Lutz-Rainer Müller

2016
– Ullerntunet Care center, Oslo (NO)
– Red Cross resource centre Mortensrud, Oslo (NO)

2015
– Granstangen middle school, Oslo (NO) 
– University of Tromsø /Norwegian Arctic university, Tromsø (NO)

2014
– Bergen University College, Bergen (NO)
– Stein mit Vollausstattung, Dortmund City Centre (DE) (with Pepper + Woll)

2013
– Hadeland High School, Gran (NO)

Casual Patterns In Disarray

Ludwig Seyfarth and Dorothee Albrecht

BRUISED FEATURES | STIAN ÅDLANDSVIK

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On View: May. 18th – Jun. 13th 2017
Artist Reception: Thursday May. 18th 2017, 6PM – 8PM

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Portrait of Leibniz, after Pierre Savart (2017), Cape of Leibniz interpreted as a car-cover by a tailor in Leipzig (DE), incised to replicate a car-cover in Oslo, frame, ink-jet print mounted on aluminium, Diptych 210 x 160 cm and 80 x 120 cm

A thing “is never just an object, but a fossil in which a constellation of forces is petrified. Things are never just inert objects, passive items, or lifeless shucks, but consist of tensions, forces, hidden powers, all being constantly exchanged” (Steyerl 2010, A Thing Like me and you).

 

Bruised Features brings together new productions and recent iterations of Stian Ådlandsvik’s ongoing study of work and bodies. In the exhibition, objects are allowed and made to suggest several modalities of functioning, for instance by fusions that bring how they belong to a set and acquire meaning into view.

 

Walking past a covered-up car every day on the way to his studio on the post-industrial outskirts of Oslo, Ådlandsvik noticed a tear in the cover, exposing the shiny surfaces and velocity enhancing the design of the car. The things we surround ourselves with are chaste in the sharing of their biography. It consists of materials, forms, designs, work hours and the touch of the soft and calloused hands of numerous people, not divulging the connectivity to each other or to you, the end user. Enveloping themselves in a mystic purity, the stories they contain are in effect one of concealment and suppression.

 

Walking past a covered-up car every day on the way to his studio on the post-industrial outskirts of Oslo, Ådlandsvik noticed a tear in the cover, exposing the shiny surfaces and velocity enhancing the design of the car. The things we surround ourselves with are chaste in the sharing of their biography. It consists of materials, forms, designs, work hours and the touch of the soft and calloused hands of numerous people, not divulging the connectivity to each other or to you, the end user. Enveloping themselves in a mystic purity, the stories they contain are in effect one of concealment and suppression.

 

Dissection is a desire aimed at the operational limit of things.

 

White feathers from a duvet protrude from a cut splitting a low podium of concrete in two. A pair of sneakers is placed on top of the podium. A meteorite has been delicately mounted and emerges from the surface of the inner sole. The history of the meteorite is one of high speed, a quality shared by sneakers. It is a rare object, and as such, the meteorite further imbues value to the shoe, while its rugged form obliterates the function of the shoe as a shell for a soft foot.

 

In a portrait of Leibniz (an engraving from 1768, signed Pierre Savart, 52 years after the philosopher and polymath died), his likeness is presented within a square, central perspective frame engraved onto the same surface as the portrait. A piece of the fabric from Leibniz’s cloak punctures the flatness to spill over the edge of the frame, casting an engraved shadow.

 

Ådlandsvik gave this image to a tailor in the German city of Leipzig (Leibniz’s place of birth) and asked him to interpret this cloak, but fitting it to suit a car. The skill and knowledge of the tailor are directed towards the property, not the owner. The new tailored cloak is framed; a segment of the cloth is hanging out over the edge of the frame through a hole in the glass. Next to it is a photograph of a car covered by the transfigured cloak of Leibniz, the gash in the fabric as seen in Oslo is induced on the textile.

 

Fabric covers a surface, protects it and puts disparate things into relation. A folded cloth brings nodes closer to each other, establishing connections even when they seem separated by distance in space and time.

 

In Bruised Features Ådlandsvik explores the entanglement of things, how their insides and outsides, their skins and the stuff that makes machines work, hides and displays work, bodies and relations. Bruising brings a life history to the pristine. In splits and tears their insides are allowed to come forth.

 

Stian Ådlandsvik (1981) is a Norwegian artist based in Oslo. He holds a degree from the National Academy of Fine Arts in Oslo, and from the University of Fine Arts in Hamburg. Recent exhibitions include Goblin Treasure at Noplace, Oslo and Societé Anonyme at Galleri K, Oslo. His work has been acquired by several collections including the Astrup Fearnley Museum in Oslo and Nomas Foundation in Rome.

 

Text by Ragnhild Aamås

 

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