participating in 7 shows this year + launching a new book!
Nicolaisen's oeuvre can be described as an uninterrupted, unfiltered stream of consciousness that resonates from his adequate viewpoint as an artist, musician and fellowman
Tidens Krav 2012
Prosjektrom Normanns Tegneklubben - Tegneklubben setter streken - men hva vil arket?
Plum Trim, Nesodden - Civil Kurage
Hvitsten Salong, Hvitsten
Harpefoss Hotell, Østlandsutstillingen 30 år
Sørlandets Kunstmuseum, Tegneklubben - Ser du tegninga
Atelier de Gúelll, Barcelona - Can Serrat 30 Anys
Galleri Golsa, Oslo - GIFC2019
The publication No More Jokes released on Kerber Verlag
Terje Nicolaisens kunst er som en uavbrutt ufiltrert bevisshetsstrøm som ressonerer utifra hans adekvate ståsted som kunstner, musiker og medmenneske. Hans bidrag til denne verden finner sin plass på papir, på bånd, i materie, eller i Terjes persona – hvorpå grenser mellom sjangere, institusjoner og medier blir bedagelig, men konsekvent utfordret. Han kan være en formidler av det lett absurde, såvel som det dypt romantiske, ikke desto mindre er han et brilliant eksempel på menneskets vekslende tankegods og følelser i nåtidens kulturelle tilstand. Det kan til tider virke som om kjernen av Nicolaisens produksjon ligger i den performative handlingen i det å være til.
Tidens Krav (2012)
Nicolaisen's oeuvre can be described as an uninterrupted, unfiltered stream of consciousness that resonates from his adequate viewpoint as an artist, musician and fellowman. His contribution to this world finds its place on paper, on tape, in matter, or in Terjes persona – whereupon the boundaries between genres, institutions, and media are leisurely, but consistently challenged. He can be a conveyor of the easily absurd, as well as the deeply romantic, nontheless, he is a brilliant example of man's changing ideas and feelings in the contemporary cultural condition. At times it may seem as if the core of Nicolaisens production lies in the performative action of being.
His idea of work just flowing out, and becoming what it becomes when it finds its place in this world, has through the album "Terje Nicolaisen" been challenged, transformed, filtered and polished by a group of competent musicians. His working method and excecution is quite similar to previous works – like a swift and precise croquies – only this time, fixated and beautifully framed. For those who find the need to classify or place this record in some kind of box or genre, must firstly consider this record's premises. Tidens Krav believe that this record goes beyond genre and classification, it doesn't fall in between two chairs – music or art – it places one foot on each, and stands there, steadily.
- Tidens Krav (2012)
Interview with Østlandsutstillingen
Hvordan oppdaget du at du ville bli kunstner?
Jeg visste ikke at denne verden fantes før jeg var 20 år. Jeg hadde en venn som gikk på på Strykejernet Kunstskole og jeg besøkte ham der. Jeg fikk en umiddelbar visshet om at jeg hadde kommet til riktig verden og bestemte meg for å bli.
Hvor henter du inspirasjon fra i dag?
Å søke å finne mening og betydning i alle slags fenomener, absurde relasjoner og tankesystemer, med feiltolkninger, undersøkelser og irrasjonalitet.
Har du deltatt på Østlandsutstillingen tidligere og hva betyr det for deg å stille ut på jubileumsutstillingen i år?
Jeg deltar for første gang og det er stor stas å få lov å delta.
Kan du fortelle litt om arbeidet du stiller ut?
Arbeidet er en liten del av en lang og uoversiktlig rekke assosiasjoner jeg gjorde meg i forbindelse med at jeg ville forsøke å vise hvordan kunsten oppstår på atelieret, hvor bildene kommer fra, så og si. The White Squaw (triptych) er en serie funnede platecovere som jeg har malt på. Jeg arbeidet med å utvikle en større utstilling hvor en av referansene var Andy Warhol. Jeg var fascinert av et foto av hans mor, Julia Warhola, og hvordan kunstneren lignet sin mor i mange av selvportrettene han laget. Under dette arbeidet ble jeg totalt fascinert av dette portrettet av Skeeter Davies som minnet meg om veldig bra kunstner som jeg kjenner. Gitt den popkunstneriske konteksten var det helt naturlig å presentere tre album ved siden av hverandre.
Hva er ditt neste store kunstneriske prosjekt?
Jeg arbeider for tiden med å undersøke det psykologiske fenomenet apofeni, for å se om jeg kan utvikle en slags metode basert på feillesninger av historiske kunstverk
Hvordan ser du for deg at Østlandsutstillingen kan/bør utvikle seg de neste 40 årene?
Det kan bli en stor og viktig platform for visning av samtidskunst der hvor folk bor. Jeg tror på fri innsendelse og kunstnerisk kuratering. Det er veldig bra at juryen har definert en målsetting og et fokusområde for hva de ser etter og er interessert i, før den frie innsendelsen utlyses.
Anne Silje Kolseth
___________________
How did you discover that you wanted to become an artist?
I didn't know this world existed until I was 20 years old. I had a friend who went to the Iron Arts School and I visited him there. I had an immediate knowledge that I had come to the right world and decided to stay.
Where do you draw inspiration from today?
To seek meaning and meaning in all kinds of phenomena, absurd relationships and thought systems, with misinterpretations, investigations and irrationality.
Have you attended the East Country Exhibition before and what does it mean for you to exhibit at the anniversary exhibition this year?
I am attending for the first time and it is great to be allowed to participate.
Can you tell us a little about the work you are exhibiting?
The work is a small part of a long and unsolved series of associations, that I made in a connection where I wanted to try to show how the art occurs in the studio, where the images come from, so to speak. The White Squaw (triptych) is a series of found record covers that I painted on. I worked on developing a larger exhibition where one of the references was Andy Warhol. I was fascinated by a photo of his mother, Julia Warhola, and how the artist resembled his mother in many of the self-portraits he made. During this work I was totally fascinated by this portrait by Skeeter Davies who reminded me of a very good artist that I know. Given the pop-art context, it was natural to present three albums side by side.
What is your next major artistic project?
I am currently working to investigate the psychological phenomenon of apophenia, to see if I can develop some kind of method based on the misreadings of historical artwork
How do you envision that the East Country exhibition can / should evolve over the next 40 years?
It can be a great and important platform for displaying contemporary art where people live. I believe in free submission and artistic curation. It is very good that the jury has defined a goal and a focus area for what they are looking for and interested in before the free submission is announced.
Anne Silje Kolseth
Press release NO MORE JOKES:
No More Jokes (KERBER) presents a large collection of drawings and paintings by Terje Nicolaisen, which spans over a period of more than 20 years. Here, emphasis is placed on a personal, strong and visually interesting vein with a free and spontaneous expression.
Nicolaisen has a rich and diverse creative activity behind him, with conceptual works that deals with everything from institutional criticism, proposals for public projects, installations, performance and music, often conveyed with a humorous twist.
The book No More Jokes emphasizes another and more sincere vein in Nicolaisens art, where his distinctive portraits of known and fictional characters make up the main source. Through moods, color usage, lines and picturesque qualities we meet Nicolaisens strong talent for form, color and figurative richness. No More Jokes contains a biographical text about Nicolaisens artistry of art historian Tina Rigby Hansen, as well as an analysis of the artist's portrait work by art critic Kjetil Røed.
The book was edited by critic, curator and editor Johanne Nordby Wernø, and the design is by Ulf Carlsson. The book is published by Kerber Verlag (Berlin) and is the first internationally published book about Terje Nicolaisen's art.
Terje Nicolaisen (1964) lives and works in Oslo. He has been purchased by, among others, the National Museum, the Munch Museum and KODE Bergen Art Museum and has had solo exhibitions at Henie Onstad Art Center, Galleri Riis and Kunsthall Oslo. Johanne Nordby Wernø (1980) is a critic, curator and editor residing in Oslo. She has published texts in Norwegian and international press since 2000. In the years 2013 to 2016 she was head of the Young Artists' Society (UKS). She also has worked for the Norwegian Consulate General in New York and in editorial positions for the journal Kunstkritikk.
Tina Rigby Hanssen (1971) is an art historian, writer and curator. She has a doctorate in art history from the University in Oslo and a curatorial study from Konstfack in Stockholm. Currently, she is an academic advisor on contemporary art with Norwegian Encyclopedia. She has published articles on art and sound art in eg. International Journal of Performance Art and Digital Media, The Soundtrack and for Soundeffects.
Kjetil Røed (1973) is a critic and writes about art, film and literature in a number of magazines and newspapers. He has been art critic for Aftenposten (2010 - 2017) and currently writes for Vårt Land. Røed is the editor of the trade journal Visual art and publishes two books in 2019; Working Through The Past (Skira Forlag 2019) and Art and Life: an instruction manual (Flamme Forlag 2019)
Publisher: Michelle Jelting
presse@kerberverlag.com
+49 (0) 521 95 008 15
Editor: Johanne Nordby Wernø
