Tegnebiennalen Human Touch, 8.11- 15. 12.2019, Kunstnernes Hus, Oslo, Norway
Carving in marble D:50cm, and chalk drawing on two canvas 130cm x 180cm
Photo: Vegard Kleven
Tegnebiennalen Human Touch, 8.11- 15. 12.2019, Kunstnernes Hus, Oslo, Norway
Carving in marble D:50cm, and chalk drawing on two canvas 130cm x 180cm
Photo: Vegard Kleven
Tegnebiennalen Human Touch, 8.11- 15. 12.2019, Kunstnernes Hus, Oslo, Norway
Carving in marble D:50cm, and chalk drawing on two canvas 130cm x 180cm
Photo: Vegard Kleven
Tegnebiennalen Human Touch, 8.11- 15. 12.2019, Kunstnernes Hus, Oslo, Norway
Carving in marble D:50cm, and chalk drawing on two canvas 130cm x 180cm
Photo: Vegard Kleven
Contemporary Norwegian Artist
The Transience of Man
Kunstbanken, Hamar 2022
Solo exhibition 5.11. – 30.12.2022.
The Transcience of Man puts cultural heritage and research from the Mjøs area in a new context. The exhibition was made with a context-sensitive approach and consisted of a large-scale temporary drawing installation right on the wall, readymades, water samples from Mjøsa, drawing by scratching in a photo on aluminum plates and in the paintwork of a car wreck, see appendix. The works process our conflicting thoughts about nature, and pit realism and idealism against each other.
Chalk drawing on black painted wall 4m x 8m + 4m + 8m
Chalk drawing on black painted wall 4m x 8m + 4m + 8m
Chalk drawing on black painted wall 4m x 8m + 4m + 8m
Supported by:
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Photo: Kunstbanken / Tobias Nordvik
In my artistry, I have created a set of dogmas (rules) as a premise for my own work. Following them creates a logic and thematic connection with expressive and conceptual further development. The material was developed through research and fieldwork at Mjøsa, and by collaboration between researchers at NTNU Gjøvik with 'Oppdrag Mjøsa' and conservators at Anno Domkirkeodden and archaeologists from Innlandet County. By using our cultural heritage as readymades, the public gained a closer knowledge of local history, and saw parts from Kongens brøng from Åker gård from the year 1040, an anchor from one of the steamships that sailed on Mjøsa in the 19th century on loan from Domkirkeodden Anno Museum and photograph printed on aluminum plates from the Digitalt Museum, as well as parts of car wrecks from Grønvolds Bildemontering in a new context.
My focus revolves around the paradox that we try to preserve the earth at the same time as we destroy it.
Our shared cultural heritage is also perishable. When archaeologists excavate objects of cultural historical value, they also expose them to oxygen so that they shorten the life of the objects. This despite ambitions for conservation in order to develop an understanding of our own past and present.
Assignment Mjøsa is a research project that will be a tool to facilitate value creation, better water quality, drinking water quality and food quality and to maintain the environmental values in Mjøsa. The background for the research project is, among other things, the rich cultural history of Mjøsa. The lake has been an important traffic route for thousands of years, and we know that at the bottom of Mjøsa there are car wrecks, ammunition and perhaps even traces of Viking ships. Mjøsa is also one of the most biologically diverse freshwater lakes in Norway with 20 registered fish species, as well as the fact that the lake is a source of drinking water for 100,000 people. Today, the environmental conditions in Mjøsa are good, but this may change in the future.
Ankeret og brønnstokken
Text by Anne Kathrine Bakstad
Aaron Robin Ødemoringen og de andre elevene ved medieproduksjonslinja på Hamar katedralskole bidro i dag til å visualisere et av mange nivåer av forgjengelighet i Ingeborg Annie Lindahl sin utstilling i Kunstbanken. Hennes store veggarbeid vil ikke bestå i sin opprinnelige form, men endres i takt med at publikum setter sine spor. Flyktigheten forsterkes ved at kritt brukes som redskap.
Aaron Robin Ødemoringen og de andre elevene ved medieproduksjonslinja på Hamar katedralskole bidro i dag til å visualisere et av mange nivåer av forgjengelighet i Ingeborg Annie Lindahl sin utstilling i Kunstbanken. Hennes store veggarbeid vil ikke bestå i sin opprinnelige form, men endres i takt med at publikum setter sine spor. Flyktigheten forsterkes ved at kritt brukes som redskap.
Photo: Kunstbanken / Tobias Nordvik
My artistic goal is to provoke a critical position where one is able to reflect on one's own existence, and questions about how humans affect the world, from the individual to the global level - which continue to linger in the back of the mind long after the viewer has left the exhibition. I have approached this by letting the public continue the main work's creation process during the exhibition period, by encouraging children and young people to draw what they think is at the bottom of Mjøsa in my drawing. The idea comes from video from the submarine Hugin to NTNU from the bottom of Mjøsa, where visibility is very poor. The idea was that the children will stick to the chalk drawing as they draw more, and thus get closer to what it is like in the mud at the bottom.
