Kunsthall 3,14 is proud to present the exhibitions; Ruškkodit with Britta Marakatt-Labba (SE), Hilde Hauan Johnsen (NO), Kiyoshi Yamamoto (BT/JP), Marie Skeie (NO).

06.11.2020 - 21.02.2021 [Exhibition ended 07.02.2021 due to Covid-19 government restrictions]

Curated by Malin Barth

“What is light, color, and pattern?” How is it experienced, explored, and exploited? The scientist is interested in the physical properties of light, color, and pattern, the artist in an aesthetic and political appreciation of the visual world. Through the sense of sight is a primary tool for perceiving the world and communicating within it. Light from the Sun warms the Earth, drives global weather patterns, and initiates the life-sustaining process of photosynthesis. On the grandest scale, light’s interactions with matter have helped shape the structure of our existence. Indeed, light, color, and patterns provide a window on the universe, from cosmological to atomic scales, or identity and our geopolitical dramas.

The title of the exhibition, Ruškkodit, is Sami. Ruški means the time when nature changes color from summer to autumn and the verb Ruškkodit describes the process of fading color. The colors change from green to yellow then red and to brown. The days get shorter and the temperature drops. Signal is sent out to withdraw the colors to the stem and roots and get ready for low light and a lot of cold. The works in this exhibition give and take color between people and nature. They store colors, stories, and knowledge in the interior of the fiber.
Britta Marakatt-Labba exhibits the five images: Cosmos; Seasons; Shadows; Circle; and Drill Holes I, Hilde Hauan Johnsen presents the large scale works Color Prism from Nature I - Norway/Russia & Palestine/Israel;  Color Prism from Nature II - The Blurred Border between Land and Sea; as well as the video work Ripples over Bare Toes, Kiyoshi Yamamoto features the large scale installation Can a Tent Be a Poem?, and Marie Skeie will introduce Hypericum; and Notes from unsettled fields – our ruins lie ahead, behind is the willows.

The exhibition Ruškkodit has an extended side program called 'Absent Presence' curated by Motaz al Habbash.
Program >>>

> Interview:

Kiyoshi Yamamoto in conversation with Johnny Herbert >>>

>>> Ruškkodit




Sasha Pirogova & Marina Fridman

2017 | video | 4K/HD | 2.39:1 | Stereo sound | 10’

06.11.2020 - 21.02.2021 [Exhibition ended 07.02.2021 due to Covid-19 government restrictions]

Curated by Malin Barth

“In the video Garden the authors refer to the eternal questions of the universe. The story of life and death is re-interpreted here as a concept of light and darkness, where there is no opposition between them. In fact, absolute darkness does not exist. There is simply a lack of light. As a source of light, a human can and should always fill this lack. This change is the very essence of life. In other words when a person—at their best—appears, life always starts blooming. In the Garden we witness this process.

The title of the work refers to a garden that eternally blooms, transitioning from darkness to light. This becomes possible when darkness ends. At the same time, light is a source of a human’s heart. One which never ends. This light has various names; hope, happiness, love.  
A viewer of the Garden goes through a path in which love is celebrated as love is the basis of life. Garden is a symbol of hope, the eternal celebration of life and the absoluteness of blooming.

This theme continues in the next video, Timeless, which is itself an extension of the Garden. The only thing time is not able to control is LOVE. Love has no past! The new work is a hymn to this powerful feeling.” Marina Fridman

>>> Garden




"Harmonious Madness"

06.11.2020 - 21.02.2021 [Exhibition ended 07.02.2021 due to Covid-19 government restrictions]

Curated by Julie Lillelien Porter

Harmonious Madness is a sound piece extension from Nel’s living exhibition, Apple Puma, in Bergen Kjøtt during spring in 2018. Apple Puma was a living,  staged installation that provided a temporary home to 28 canary songbirds whose true colour is dull, but whose ‘neutral’ colour is a shade of yellow achieved through dietary additives. This practice, in the parlance of avian breeding, is known as ‘colour feeding.’

Nel observed and recorded the songbird vocals that unfolded over the weeks of the exhibition, fascinated by their instinctive, territorial and sexual vocal signalling to each other during the seasonal change.

>>> parabol


Vaagsallmennigen 12, 5014 Bergen, Norway