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Fallow Land

Painting and prints

21.05 - 21.08.2022

Curated by Malin Barth

​​​Opening Saturday May 21st, door opens 12:00


14:00 - Exhibiting artist Patrick Huse will be in conversation with Øyvind Storm Bjerke og Åsmund Thorkildsen. The language of the landscape as a nature in itself will be starting point of the conversation.

Øyvind Storm Bjerke is a professor of art history at UIO, art critic in Klassekampen, long-time lecturer, author, researcher in the field. He was museum director at the Norwegian Museum of Photography - Preus Photo Museum in Horten in 1997–2002, associate professor at Henie Onstad Kunstsenter in 1989–1997, curator of Trondhjem Art Association/Trøndelag Art Gallery in 1984–1989.

Åsmund Thorkildsen is a Norwegian museum director, curator and writer. He was intendant at Kunstnernes Hus in 1988–1999. He was director of the Astrup Fearnley Museum of Modern Art in 1999–2001. He became director of the Drammen Museum of Art and Culture in 2001.


Fallow Land

Patrick Huse



In competition with nature analogously, with its growth laws, the painter creates his works according to his own laws as another nature, fills what has been seen and experienced with their own performances and experiences, and deepens his insights to an independent worldview, to an independent interpretation of the world which also includes and make visible the not visible, the reality that lies in and behind the things."
                                                    Quote:: Hans Albert Peters, Art historian, former director of Baden Baden

                                                    Kunsthalle and Düsseldorf Art Museum - RIFT 1998, p77.

Fallow land is a piece of land that is left to recover its required fertility .


Or metaphorically speaking:


Is it an attitude, a place, an utopian dream or a social topic? Is it a borderline between reality and abstraction? Can it be an artistic quest for affiliation? May be it has nothing to do with landscape at all, merely about surviving in a «Fallow land» in the sense of creating a room for a personal and individual expression or development?


Complexity of culture is represented in a physical, mentally and social landscapes.

Landscape and culture is not a homogeneous relationship and there is no unambiguously definition of landscape. Both landscape and culture have large internal differences where understanding is individually dependent. History, memory and meaning will always be embodied both in landscape and culture.

The landscape itself, both the cultivated and the uncultivated, are all the time constantly changing together with our own inherent experience and understanding. In relationship to human life course the landscape mainly appears as seemingly stable forms. The reality is that the landscape is in an endless change and aging process.

"Nature as Construction.

Patrick Huse’s projects raises many basically simple questions, among them what, precisely nature Is; how the term is used in a variety of contexts; and how it relates to «landscape». Strictly Speaking, natura means birth, and the Romans used it with regard to all that came into being of itself, as against everything that was the result of human intervention; natura, non manu. Thus nature was looked upon as the raw material of reality, or it could stand for that which was extraneous to human kind, beyond the limits of the human spirit and, above all, of what man created. Consequently nature also became the antithesis of civilisation or culture, basically neaning something cultivated. Nature, then, denoted untreated, unelaborated raw material, and thus, too, the opposite of civilisation.

From this follow differing views on the relationship between nature and art. The classical perception was that the role of art was a dual one, in that it partly imitated nature and partly rose above it -to some kind of spiritual height or form of freedom. We recall immanuel Kant’s classical ideal of equilibrium, «We admire art when it shows us nature, and nature when it shows us art». It is not without reason that Kant is also remembered for his rigorous philosophy of ethics, and if we consider the concept «Nature and Morality», we find that in questions concerning the latter - wether the subject is the legal system or personal conduct - there is a tendency for nature to signify the opposite of morality, and thus something one should preferably overcome. Consequently, an ethic is often seen as someting coersive, something suggesting external pressure in the form of commands and interdictions, wether the moral code stems from a god or from a human authority."

                                                      Quote: Gunnar Sørensen, Art historian, former director Munchmuseum, Norway.


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(Image: "Light in Grey", detail)






Video I: Revisiting Nature; Fragments of Time




Video II: Perpetual Motion

21.05 - 21.08.2022

Opening Saturday May 21st, door opens 12:00

(Image: Impentum of* Epirrita autumnata)




IIA KO (Nataliia Korotkova)
"Touching the Reflection"


07.56 min loop

Field recordings, voice, fishing bells, wind bells

21.05 - 21.08.2022

Curated by Emilie Wright and Julie Lillelien Porter


Space is directly involved in the formation of relations between people, capable of possessing an invisible structure, functioning regardless of human presence. Space that is a passage forms as a space, able to create a loop of contemplation and to merge landscape and body. Nature embodies many intertwining sounds, free in their form, passing from one sound to another, touching and reflecting the environment through itself. It seems to move outside the everyday life in which it exists, and we seem to slide inside this sound.

IIA KO (Nataliia Korotkova) is an interdisciplinary artist and researcher based in Oslo. One of the most important aspects of her artistic practice is an exploration of the environment. For her research, Korotkova turns to the ethnography of the place through the archaism of the locality, texts, and the memory of generations. Immersion in folklore and anthropology of movement allows her to find spaces for rethinking artistic performative methods in the context of the collective memory of a space.


Korotkova manifests her research projects through experimental para-archives, audio-visual narrations, sound and performance, accompanied by artistic books, graphics and diverse forms of essays. She graduated from The Oslo National Academy in 2019, and is part of the artistic research project DUNKE-DUNK related to the reconstruction of being in the north of Norway, which forms a method of (re)reading, opening up a space for interdisciplinary cooperation and meetings with the region, history and art communities between the countries of the Barents region. The research received sponsorship from The Norwegian Barents Secretariat in 2020. In 2022, Nataliia received a Japanese government scholarship for: (Un)mute performance: Developing an artistic methodology for ontological instruments based on the history of sound art in Japan (1980-2000).


Photo: IIA KO