Mari

Slaattelid

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Mari Slaattelid, “Unlike a Symbol”

STANDARD (OSLO)

mar. 2018|Press release

STANDARD (OSLO) is proud to present a solo exhibition of new works by Mari Slaattelid. The show, entitled “Unlike a Symbol”, gathers a group of new paintings that may vary in terms of formal point of departure but repeatedly return to an interest in the b…

Rent maleri, helt enkelt

Aleksi Mannila

mar. 2018|Review

Mari Slaattelid (født 1960) er en sentral størrelse innen norsk maleri de siste tjue årene eller så. Slaattelids begavelse er av det visuelt sjenerøse slaget, og hennes billedmessig rike utstilling Unlike a symbol på Galleri Standard bør sees av et større…

Blomstene etter hennes mor

Stian Gabrielsen

mar. 2018|Review

Plutselig åpner Mari Slaattelid utstilling på Standard (Oslo). Uten at det skal være til forkleinelse for verken Slaattelid eller Standard, må man kunne påpeke at det av flere grunner ikke er en åpenbar allianse. Slaattelid, født 1960, har vært en markant…

Art is an Outsider

Arve Rød

apr. 2018|Article

2016 — Lengths of rough garden hessian almost entirely cover the long wall of Mari Slaattelid’s studio, one Saturday afternoon in mid-August. The hessian is heavy with paint, in some places diffuse, muted earth tones, in others rectangular fields of grey …

Painting as Awareness and Active Space

Eirik Senje

apr. 2018|Article

Painting is a medium full of contradictions. There’s picture, representation, materiality, colour and decoration, time, memory. Once in a while it plays out as a conflict between these elements, which balance on a knife edge between nothing and too much. …

Banana Plantations and Slaattelid’s Paintings

Vibeke Tandberg

apr. 2018|Article

In his essay on objective literature and Alain Robbe-Grillet, Roland Barthes describes the novel Jealousy as a liberation for its genre. In Barthes’ view, Robbe-Grillet transforms the novel into a purely visual experience that takes place in the world of …

Paintings are Entiteled

Mike Sperlinger

apr. 2018|Article

The British poet J.H. Prynne once gave an extraordinary lecture, as part of a symposium at the Tate in London, on Willem de Kooning’s 1963 painting Rosy-Fingered Dawn at Louse Point. Subsequently transcribed and published, the talk is a kind of verbal per…

The Subject

Eirik Senje

jan. 2016|Article

The subject of Mari Slaattelid's painted-on photographs is a light switch found in the artist's studio. A ubiquitous functional object, made to be easily recognized when fumbling about in the dark for the immutable clarity of electric light: It’s large ce…

The Pure Heart

Anne Arneberg

jun. 2016|Article

“The pure heart; on the soul’s bravery in the struggle for the purity of the heart.” The quotation, a book title, is borrowed from John Cassian’s (ca. 360–433) writings on the purity of the heart and the struggle against the eight vices. According to Cass…

Painting Abides

Mari Slaattelid

sep. 2013|Article

It can resemble the beautiful people who gather at exhibition openings and biennials, the roaming eyes and eye-catchers, ladies in bloom along the walls – wallflowers, as in the dancehalls sixty years ago. The passive aspect of paintings has always fascin…

How to Misspell a Picture

Arve Rød

jan. 2011|Article

Written in large letters on one of the paintings in the top-lit hall at Kunstnerforbundet is the word NON-FOOD. As if stamped twice onto the upper left corner, the terse term reaches out to us as we enter the venerable exhibition space. In addition to thi…

Art is an Exception

Mari Slaattelid

jan. 2010|Article

… in cultural production, a recalcitrant little vacuum in the great culture that surrounds it. Culture is always meaningful, whether high, low, good or not so good. Culture generates cooperation, unity. Art, on the other hand, is in itself neither good no…

An Diesem Ort

Marit Paasche

jan. 2008|Article

The exhibition Ideelle problem (Ideal Problems) is shot through with an intense visual linguistics in which I have lost my way, for these paintings affect each other; they are interlinked like a series of doors. All you can do is follow them. Open one, pa…

A Good Painting is a Sensation

Sverre Wyller

jan. 2007|Article

According to Mari Slaattelid, this means two things: that a good painting is sensed first and foremost in the emotional register - and that a good painting is very rare. In saying this, she indirectly reveals her own turn of mind. The notion that a great …

Where the Visual Gets the Last Word

Bente Larsen

jan. 2006|Article

Mari Slaattelid is a master of colour. Even where the light is repulsed by darkness, as in Sleepless, a subtle scheme of blue-grey and green tones unfolds across the surface of the picture. Colour is fundamental to the world of Slaattelid’s pictures. So t…

This is a Text

Øyvind Berg

jan. 2002|Article

The text can be habit-forming. It is hooked on art. The art is hung up on the wall. It gives the impression of being harder to impress than it is.…

Name and Not Redeem

Hans-Jakob Brun

jan. 2002|Article

… is the title of a text by Mari Slaattelid from 1999. The phrase is also characteristic of the reflective attitude that guides her artistic activity – and of the surprising shifts and twists that typically mark our experience of her work.…

Ten Extra Commandments

Morten Sjaastad

jan. 2002|Article

A poetics, when it is interesting, is never general. An artist, by taking consequent leaps from one work to another (style in a broad sense), can be interpreted as subject to commands of her own making, without acknowledging them as such. Mari Slaattelid …

To Think and See Simultaneously

John Peter Nilsson

jan. 2002|Article

One can choose to approach Mari Slaattelid’s art from a strictly painterly perspective. She studies all possible variations of the joint effects of colour, form and material. Her works are visual lessons in the command of painting. They can be admired for…

Carnegie Award 2000, Jury’s Comment

Carnegie Art Award Jury

jan. 1999|Press release

Mari Slaattelid receives the Carnegie Award of 500,000 Swedish crowns for two works with a visual beauty that spans the entire history of painting, from the marking of body with paint to the late modernist monochrome. Slaattelid’s artistic strength is dem…

Rational, Natural Episodes of Painting – Mari Slaattelid’s Templates

Morten Sjaastad

jan. 1999|Article

1. — In a series of Templates or Stampings from 1996 (I stick to the former, less literal translation of ‘stempel’) in each picture the same landscape photograph has been painted off from a projection, leaving the land silhouetted on a bright neutral grou…

Painting’s Distraction

Jørgen Lund

jan. 1999|Article

A photographic landscape silhouette is sharply delineated in a number of Mari Slaattelid’s images, often seeming to have been stamped with blacking or photo emulsion on metal plates. The black and white nubs of the silhouette are typically photographic - …

Covert Acts

Cecilie Løveid

jan. 1999|Article

I looked at many paintings. Some firsthand, and some as slides. We were to find a suitable image for the book jacket of the play Austria. Which is about the meeting between Ludvig Wittgenstein and Agnes, a fictitious character with background in the philo…

What You Touch Is What You See

Mari Slaattelid

jan. 1999|Article

4 x 4 paintings on square plexiglass panels come into existence as they are received and handed on. The handprints along the edges, front and back, both constitute the pictures and form frames. A frame is to be handled. As opposed to a painting, which is …

Painting and The Mirror of Nature

Åsmund Thorkildsen

jan. 1997|Article

“We must get the visual, and in particular the mirroring metaphors out of our speech altogether.” – Richard Rorty in Philosophy and the Mirror of Nature, 1979…

Concerning the Earthly in Art

Mari Slaattelid

jan. 1997|Article

“As a child, I used to copy entire books or passages from books to send to my girlfriend. I could have sent her books, but instead I sent her copies, written by hand, of books that I liked. Had I sent her books, I would have been sending her literature. T…

Midt i det maleriske

Erlend Hammer

mai 2019|Interview

Mari Slaattelid ønsker å male, ikke slik hun er, men slik hun må være for bildets skyld. Torsdag åpner hennes Festspillutstilling i Bergen Kunsthall.…

Ein forsvarar av måleriet

Eskil Skjeldal

jun. 2019|Interview

Festspelkunstnar Mari Slaattelid meiner at kunst ikkje treng gni inn det du visste frå før. Og einsemda på atelieret vert ho meir og meir glad i.…

Kystverket, Bergen International Festival Exhibition 2019

Bergen Kunsthall

jun. 2019|Press release

The Bergen International Festival Exhibition is one of Norway’s most important exhibitions of contemporary art, and is considered the most prestigious exhibition commission for a Norwegian artist in his or her home country. The Festival Exhibition has bee…

Cy Twombly og maleriet som ein lat tanke

Mari Slaattelid

jun. 2019|Lecture

"Ein kan ikkje stå der med ein pensel heile tida", skal Cy Twombly ha sagt. Han kunne ta fri frå malearbeidet i halvår om gongen, sikkert fordi han hadde råd til å la vere, men eg vil tru, òg i desperasjon over kva han skulle finne på. Det vanlegaste male…

You Are Here

Mari Slaattelid

jun. 2019|Article

You can stand behind it, in the lee of the lantern with its tiny opening, a blind spot that resembles an eye. Standing behind this green, sweeping gaze, turned towards the fjord, you can paint a coastal landscape. You can paint a lantern, the one with the…

The painter, the shark and the speedboat

Aleksi Mannila

jun. 2019|Article

On several occasions recently I have spent time with the pictures of Mari Slaattelid; sometimes with the artist in her studio, sometimes alone while she took a break. I have seen finished and unfinished pictures, pictures just begun and pictures almost do…

Coastal Work/ Art Work

Steinar Sekkingstad

jun. 2019|Article

In Mari Slaattelid’s series Kystverket (2018-19) a number of variations on the same familiar scene are repeated in a large group of new paintings. The motif shows a landscape with a horizon line that divides the painting approximately at the middle and fo…

Ekspressiv refleksjon

Kåre Bulie

jun. 2019|Review

Festspillutstiller Mari Slaattelids bilder står i kontrast til kunst «som skal belære og oppdra». Hun argumenterer godt for at maleriet i seg selv kan romme det meste.…

Mari Slaattelid viser vei

Lars Elton

jun. 2019|Review

Årets festspillutstilling med Mari Slaattelid oppfyller alle de kriteriene som forventes av en god kunstutstilling. Det inkluderer også de problematiske sidene i kampen om maleriets relevans.…

Maleriet som religion

Lars Elton

jun. 2016|Review

Mari Slaattelid viser seg fra sin beste side i sin første utstilling i Galleri K på tre år. Den er sjeldent fargesterk til henne å være, men inspirasjonen fra Malevitsj’ sorte kvadrat er fortsatt med. Der finnes det en religiøs dimensjon.…

Lykkelig malt

Finn Skårderud

jun. 2019|Interview

Denne gangen har jeg forsøkt å lage henvendte malerier, sier Mari Slaattelid, med hemningsløs bruk av virkemidler. Jeg vil at møtet med bildet skal være minneverdig, at det skal vare lenge.…

Farge og forvansking

Nora Joung

aug. 2019|Conversation

Jeg så maleriet Lanterne 3 for første gang da det fremdeles befant seg i Mari Slaattelids studio på Kunstnernes Hus i Oslo. Da det ble plukket fram og viklet ut av innpakningen under et besøk, løp det ilinger gjennom sanse- og begrepsapparetet mitt: «Hæ?»…

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