Exhibitions

Agder Kunstsenter 2019

Bitten


Mamma sa, ikke lenge før hun døde, at det var så dumt at de hadde begynt å kalle meg Bitten. Det var kanskje det. Bitten ble iallfall navnet mitt til opp i tenåra. For noen er jeg vel ennå Bitten. Nå er Mamma død, Pappa er død, og Bitten  —  Nei, han er ikke død. 
Jeg er Bitten.

Froland 1960: Jeg krabber naken på golvet. På det glatte, brune linoleumet. På filleryene. Sykehus. De lysegrønne frakkene. De rosa fingrene uten negler. Øyet som stirrer. Stort og rødt. Et ørneøye. Ørnerovet.  Barnerovet. Utedoen. Det nye vannklosettet i den mørke, kalde kjelleren. Vasketøyet. Klesrulla. Tøyet som presses mellom gummivalsene. Den flatklemte rotta med tarmene tytende ut av magen. Blodet fra den lille munnen, på de to gulhvite fortennene. Lukten av flatklemt, hvitt undertøy, hvite laken. Den røde mannen. Badeplassen. Kuttet under foten, blodet strømmende ut i det klare vannet. Fregnene. De flisete neglene. Pisselukta.
Huset i Froland eksisterer ikke mer. Det lille dalsøkket det lå i, ble fylt igjen for å gi plass til vei, butikker, parkeringsplasser

Oslo 2018: Et kjøkken på Tøyen, høyt over byen. Det er natt og mørkt ute.Jeg står i døråpningen. Den nakne kroppen danner en silhuett mot et gult lys i rommet bak meg, jeg er ramma inn av dørkarmen. Speilbildet mitt i vinduet er blanda med byens glitrende lys, mørke åsrygger, lette stillestående skyer på den mørke himmelen.
Jeg holder mobilen på strak arm foran meg og knipser speilbildet. Forandrer stilling og knipser igen. Dette gjentar jeg hver natt i dager, uker, måneder. Legger bildene ut på Instagram.
Sorte statuer i gule rektangler.
Et kamera er en grav.
Instagram er en gravplass.
Jeg stiller meg i positur, prøver meg på noe klovneaktig, noe lettere.








Oppland Art Center 2019

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen



Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

The Weight of a dead Rottweiler
Wool, clay, plastic.





Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen






Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Mantel for Maren 

The Night

 200x260x19 cm. 2017






In 2013, my mother was sent to a nursing home after a fall in her social security apartment. I stayed in this apartment for a few days while I visited her. In a small chest of drawers beside her favorite chair I found knitting needles and yarn. She herself had not knitted in years. I learned to knit as five to six years old, probably from Mom, something I only vaguely remember. Mom told, however, that she once looked into my room in the middle of the night and saw me still awake. I was sitting in my bed with huge, shining eyes, knitting on my project, which at that time was a teddy bear. Think it was yellow or brown.
   Knit interest went fairly quickly over, but now, as I sat in her apartment and she was lying in the nursing home and did not know where she was, I took up the knitting needles. 
  





Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Mantel for Maren 

The Eye
Knit work: Wool, cotton. 120x240x17 cm. 2016-2017





Studio Blikket 2018

Steinkjer

Catalog: Thy Kingdom Come


Interview:

Works on paper.
























Berlin, September 2017
prinz-georg // raum für kunst 



Catalog:








Ogar Grafe/Tore Magne Gundersen. Installation. Mix media.







TMG. Mantel for Ingeborg Tomine

Ogar Grafe. Performance:

https://www.youtube.com/watch?v=t7nmYuJmzuI&feature=youtu.be

TMG




TMG












TMG










TMG/Grafe







Grafe








TMG


Grafe






Grafe








TMG/Grafe








TMG











Grafe








Sound of Mu, Oslo, 2013

Abastomagu

(With Anne Bang-Steinsvik)



Eye-catcher. Clay, acrylic paint. 
10x13x6,5cm


   
Pet. Clay, acrylic paint. 
15x12x8cm

 
Monster. Acrylic on canvas, wool. 28x37



Supercreep. 
Acrylic on canvas, wool. 80x100cm
              
      Sleeper. 
                  Acrylic on canvas, wool, cotton. 80x100cm


                 
 White Flag. 
Acrylic paint, wood, wool, clay. 35x39cm

Black Flag.  
Acrylic paint, wool, wood, clay. 35x50cm  







  







prinz-georg // raum für kunst, Berlin 2012

Group exhibition: «Material matters»


My contribution was "Rastergeist", a wall installation consisting of two - and three - dimensional objects. The latter in air drying clay. Some images are scanned and printed polaroid. The rest is made by scanning etchings I made a few years earlier. They were enlarged up to such a degree that they became abstract images and then printed. Figures painted with gouache were added. Finally, they were mounted on cardboard. The result was human or human-like figures in a sort of desolate "lunar landscape".


Rastergeist. Ca 3x1,7m



Rastergeist. Each picture: 38,5x11cm



















Christiansands Art society 2008


Tore Magne Gundersen is a an artist who works in a variety of techniques. The exhibition in the Art Society consists of acrylic paintings on canvas. Gundersen has since the 1980s worked within a neo-expressionist tradition. A characteristic feature of neo-impressionism is simple "naïve" figurations, bold brushstrokes and bright colors. Gundersen has stuck to his expressive painting and storytelling. Such continuity helps to give the images a sincerity that is distant from the well-known postmodern irony. The fact that the artist always base his works on personal experiences and emotional states also helps to reinforce an authentic presence in this oeuvre. The often enigmatic and ambiguous images has elements of absurd humor and insists paradoxically to be taken seriously. Another characteristic of Gundersens images is a muted palette where at times cartoony characters recur  and act in different roles. Gundersen frequently uses experiences from his own childhood and youth. It's as if he's playing roles in the play of his own life. Instead of building up a classic narrative structure he works in a more open and poetic way. The images are personal without being private. They are perceived as generous, as an invitation to fantasize on your own.



Aage Langhelle, curator




                                        All paintings: acrylic on canvas. 140x120cm

The Sausage Man




The Marsh




Overall. 100x80cm



Radio.100x80cm





 
Toya







Thora G.





The Blood Test



















Sound of Mu, Oslo 2007


Zoloft. Acrylic on canvas. 70x55cm



Coot. Acrylic on canvas. 22x55c


Cosmic Buttons, Acrylic on canvas. 55x55cm


Lose Laces. Acrylic on canvas. 55x55cm




Pilot. Acrylic on canvas. 55x55cm








The Prodigal Son. Ink. 31x23cm



Death Pond. Ink. 31x23cm



Bon Voyage. Ink. 31x23cm










The Drawing Association, Oslo 2004


Ink on Paper

Crime Scene 1. 50x50cm


Crime Scene 2. 50x50cm

Crime Scene 3. 50x50cm



Crime Scene 4.  40x50cm
Crime Scene 6. 40x40cm


Crime Scene 7. 40x40cm


Crime Scene 8. 40x40cm
















Norwegian Printmakers Gallery,  Oslo 2001





Pretending a Shoe.  Drypoint. 40x40cm





To a Cruel Communion.  Drypoint. 50x50cm





Ulf's underpants.  Drypointl. 40x40cm





Skies Never Lie.  Drypoint. 40x40cm





The Bleeding Plank.  Drypoint. 40x40cm






Leonardo.  Drypoint. 40x40cm






Like a Closed Sorcery Bok.  Drypoint. 50x50cm






Thoughtless to Her Beloved.  Drypoint 50x50cm





Drone Kiss.  Drypoint. 50x50cm




She Waits In the House With Knitting Needles. Drypoint. 50x50cm






Like Heavy Honey From the Hive. Drypoint. 50x50cm

















Galleri GO, Stettin, Polen 1998






The exhibition consisted of a series of images, each 20x22cm. The images are based on a series of polaroid taken Easter 1983 in the kitchen of my apartment. They were then put together and called "Gloomy Sunday" (pictured above).
For the exhibition in Stettin I scanned these and other polaroid, enlarged them and mounted them on cardboard. This series I called "Kunststykket."



























UKS, Oslo 1990

The Forefathers

Installation

(The Throne). Wood. H: about 250cm.






Detail. Wood.




Wood. 50x50x50cm.



The Forefathers. Detail. Wood. 




The Forefathers. Detail. Wood. H: 260 cm