You searched for “”, and got 423 results
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…
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…
apr. 2018|Article
on. off lamp off. on. These are the words found on a piece of cardboard in Water Yam, George Brecht’s 1963 box collection of so-called event scores (...)…
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 …
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. …
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 …
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…
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…
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…
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…
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…
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 …
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…
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.…
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.…
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 …
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…
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…
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…
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 - …
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…
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 …
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…
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…
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.…
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.…
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…
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…
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…
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…
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…
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.…
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?»…
jan. 2020|Interview
Mari Slaattelid wants to paint – not the way she is, but the way she needs to be for the picture’s sake. This summer, her work can be seen at Bergen Kunsthall.…
feb. 2020|Article
Nokon likar å stryke ut, leggje flater, plotte inn og markere med brei kost, feitt og flødig, tynne ut, byggje opp. Til denne typen maleri trengs eit underlag, papir, plast, metall, kva som helst.…
mar. 2020|Article
Some people enjoy the paint itself, creating surfaces, plotting things in or marking them out with a broad brush, thick and fluid, thinning stuff out, building it up. For this kind of painting you need a substrate – paper, plastic, metal, anything will do…
mai 2020|Review
Efter att Mari Slaattelid de sista tjugo åren befäst sin ställning som en målare man omöjligt kan ignorera, med Festspillutstillingen på Bergen Kunsthall i somras och en oerhört bra utställning på Galleri Standard för ett par år sedan, intar hon nu de båd…
des. 2020|Conversation
En samtale med Mari Slaattelid om Blåmann av Jens Bjørneboe…
des. 2020|Lecture
Til ein student…
des. 2020|Conversation
Om Stempel, Kunstnernes Hus, Oslo, 2020…
des. 2020|Conversation
On Templates, Kunstnernes Hus, Oslo, 2020…
des. 2020|Text
…
jan. 2022|Text
…
jan. 2022|Text
…
apr. 2022|Review
Mari Slaattelids malerier på Kristiansand Kunsthall slipper utsiden inn.…
apr. 2022|Review
Kristiansand Kunsthall åpnet kunståret 2022 med Mari Slaattelids nye serie «Blason». Maleriske våpenskjold, en drømmende fargepalett og den fremmedgjørende tittelen gjør dette til en slagferdig utstilling. …
jun. 2023|Review
Utstillinga til Mari Slaattelid i Rosendal set deg på sporet av eksistensielle val som kan tvinge seg fram. I møte med endringar, veit du kven du er og kor du kjem frå?…
feb. 2024|Press release
It will sort itself out. It will. Even though its starting point appears to be an accident. Holes. There are all these holes dispersed across Mari Slaattelid’s paintings. Idly cut out with a scissor, these coin-sized holes came into being before any brush…