Jorunn Veiteberg

Kim Buck is partial to using well-known jewellery motifs such as hearts, daisies, signet rings, and crosses as a point of departure, but the materials can be anything from precious metals to found objects and ready-mades. With surprising combinations, wordplay, and a touch of irony, he questions the conventions of the jewellery business as well as the way national and religious symbols are used and abused. Even Denmark’s national jewellery piece, the daisy brooch, is up for scrutiny. To a conceptual artist, raising questions and prompting reflection is of utmost importance. The questions raised by Kim Buck through his jewellery and objects touch upon values, ethics, and social status and reach far beyond the jewellery field itself, disrupting our cultural habits and understanding of the self. Text in English, Danish and Chinese.

Genuspedagogiska gärningar. Subversiv och affirmativ aktion tar avstamp i docent Anna Lena Lindbergs pionjärinsats och forskargärning som konsthistoriker. Under rubrikerna Pionjärgärningar, Genus och akademi, Konstpedagogikens möjligheter samt Kvinna och konstnär visar svenska och nordiska konsthistoriker, konstpedagoger, museiintendenter, historiker och etnologer från tre forskargenerationer vad konstpedagogiken och genusforskningen har brottats med, hur den har utvecklats och var den står idag. Bokens bidrag sätter nytt ljus på de fält som bär tydliga spår av Anna Lena Lindbergs gärning; subversiv och omvälvande, affirmativ och bejakande.

"When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child." (Felieke van der Leest). The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.

The Norwegian Torbjorn Kvasbo (b. 1953) is considered a leading figure in the field of contemporary ceramic art. He exhibits regularly in Asia, Europe and the US and achieved a unique status as an artist and pioneer, and also as a teacher with widespread influence having been actively engaged in restructuring the art schools where he taught. The art historian Jorunn Veiteberg analyses in this publication Kvasbo's works from 1977 to the present day. Most critics have described his objects as forms inspired by nature, by lava eruptions or landscapes. Veiteberg is critical of this and sees them more as bodily expressions. Kerstin Wickmann, design historian and former professor at Konstfack in Stockholm, discusses Kvasbo's twelve years as teacher in Stockholm and his influence on his students and the educational system. Torbjorn Kvasbo's work is represented in numerous international museums and private collections, such as the National Museum, Stockholm/SE, Designmuseum Danmark, Copenhagen/DK, The National Museum of Art, Architecture and Design, Oslo/NO, Auckland Institute and Museum/NZ, Museum of Modern Ceramic Art, Gifu Ceramics-Park Mino, Gifu/JP, World Ceramic Exposition/KOR, Daum Museum of Contemporary Art, Sedalia MO/US.

Ambrosia Tønnesen (1859–1948) var Norges første profesjonelle kvinnelige billedhugger. Etter utdannelse og opphold i København, Berlin og Paris, etablerte hun seg i Bergen i 1910. Hun markerte seg både i norsk kunstliv og på Salongen i Paris, hvor hun blant annet fikk en “Mention honorable” i 1903. I løpet av en seksti år lang karriere, produserte hun et betydelig antall skulpturer i ulike materialer. Statuer, byster og relieffer fra Tønnesens hånd finnes bevart mange steder i Norge, blant annet som offentlige monumenter. Boken forteller historien om et uvanlig kunstnerliv i en viktig periode for norsk kunst, og inneholder en revidert oeuvre-katalog over Tønnesens skulpturer fra 1884 til 1947. Tekst av dr. philos. Jorunn Veiteberg. Redigert av Line Daatland og Tove Haugsbø.

Ambrosia Tønnesen (1859–1948) was Norway's first professional female sculptor. After studying and living in Copenhagen, Berlin, and Paris, she established herself in Bergen in 1910. She made her mark both in Norwegian art life and at the Salon de Paris, where she received an Honourable Mention in 1903. Over the course of a career spanning sixty years, she produced a significant number of sculptures in various materials. Statues, busts, and reliefs by Tønnesen can be found preserved in many places in Norway, including as public monuments. This book tells the story of an unusual artistic life during an important period for Norwegian art, and includes a revised oeuvre catalogue of Tønnesen’s sculptures from 1884 to 1947. Text by Dr. Philos. Jorunn Veiteberg. Edited by Line Daatland and Tove Haugsbø.

Annette Kierulf (f. 1964) og Caroline Kierulf (f. 1968) har siden midten av 1990-tallet bidratt til å revitalisere tresnittet som et medium for kritisk refleksjon. Tresnittet var det første massemediet i Europa. Det ble brukt til å spre nyheter og satire i form av flygeblad og plakater. Søstrene Kierulf låner fra denne upretensiøse siden ved tresnittet, sammen med referanser til dets mangfoldige historie som kunstmedium. Landskapsmotiv er det dominerende i Annette Kierulfs kunst, og det har ledet henne til spørsmålet: «Hvordan kan en feministisk nylesning av landskapsmotivet ta form?» Caroline Kierulf har undersøkt forestillinger om kjønn med utgangspunkt i ukemagasinet Alle Kvinners Blad fra 1940- og 50-tallet. Hun har spurt seg: «Kan vi speile oss i ting fra fortiden slik at vi kan se vår egen virkelighet tydeligere?» Begge er opptatt av de mekanismene som former oss som mennesker, enten de er ideologiske, økonomiske eller kulturelle. Boken Å skape en verden gis ut i forbindelse med en større utstilling med samme tittel på KODE Kunstmuseer og komponisthjem høsten 2022. Boken gir en fyldig presentasjon av de utstilte verkene og dokumenterer Kierulf-søstrenes tidligere fellesutstillinger. Kunstner Lotte Konow Lund og kunsthistorikerne Jorunn Veiteberg og Patricia Berman bidrar med lengre essay om de to kunstnerne og deres langvarige samarbeid. Boken er utgitt med støtte fra Fritt ord.

Nina Malterud har gjennom snart femti år vært en av Norges fremste keramikere. Hun er en aktiv og aktuell kunstner, og en pionér i historien om det nye kunsthåndverket på 1970-tallet. Hun har utført utsmykkinger, bygget store, skulpturale krukker for hånd, og laget kopper og fat. Når hun i dag lager ovale, runde eller rektangulære former, kan de leses både som fat, brikker eller fliser og som bilder eller objekter. Hun utforsker materialets muligheter og bruker glasurer i lag på lag på en fri og udogmatisk måte. Sporene etter prosessen er en vesentlig del av det visuelle språket.

Sidan ho var tenåring har kunsthistorikar og forfattar Jorunn Veiteberg vore ein pasjonert brukar og samlar av smykke. Samlinga hennar dekkjer nesten femti år, inneheld 550 gjenstandar og inkluderer verk av 210 smykkekunstnarar frå 30 ulike land. Nokre av smykka er masseproduserte, andre er unik kunst. Konvensjonelle former lever side om side med eksperimentelle objekt, og humor og politikk finst i rikt mon. Boka tar for seg kvifor Veiteberg blei samlar, og kva som gjer smykke så fasinerande som samleobjekt og kunstnarleg medium. Det er ei personleg historie, men boka er også eit bidrag til nyare kunsthandverkshistorie. Fotograf Guri Dahl har stått for fotografering og fotomontasje av samlinga.

Comprehensive monograph on this internationally-renowned metal artist, featuring work from across nearly 50 years. Explore the most precisely and stringently crafted metal art of Pal Vigeland. Photography by Guri Dahl offers many close-ups to zoom in on the production process. Pal Vigeland has worked as a metal artist for nearly 50 years. Everything he has ever made, from jewellery and plates to public commissions and sculptures, has always been characterised by precision and stringency. This book shows the continuities between Vigeland's earliest years and the present, while also exploring many of the surprising changes that have taken place along the way. The intricate production methods that underlie Pal Vigeland's latest works in tin are difficult to comprehend when standing in front of the finished pieces. Consequently, one major contribution to this book are Guri Dahl's photographs of the artist at work. Her many close-ups allow us to zoom in on the constructive processes and appreciate how exacting and time-consuming they really are. Text in English and Norwegian.

Since her debut in 1995, the Danish ceramist Gitte Jungersen (b. 1967) has gained much attention for her innovative work with ceramic glazes. She experiments with extremely active glazes that melt and run during firing, and form individual masses and cracks in a way that is reminiscent of geological processes. After cooling, the works appear as congealed traces, balancing on the edge between chaos and control. Whether we can expect an imminent dissolution, or a new narrative is taking shape is open to question. The objects give rise to a feeling of something uncontrollable and catastrophic, yet at the same time her ceramics have a sensually enticing feel to them as well as great visual appeal. For the first time, an overview is being presented of Gitte Jungersen's work from 1995 to 2017, with comprehensive illustrated documentation of around sixty pieces.

Caroline Broadhead (b. 1950) is a highly versatile artist who started in jewellery in the late 1970s. Since then she has extended her practice from "wearable objects" and textile works to dance collaborations and installations in historic buildings. Broadhead's work is concerned with the boundaries of an individual and the interface of inside and outside, public and private, including a sense of territory and personal space, presence and absence and a balance between substance and image. It has explored outer extents of the body as seen through light, shadows, reflections and movement. Published to accompany the Exhibition at CODA Museum Apeldoorn (NL), 4 February - 15 April 2018 and the Exhibition at Lethaby Gallery, Central Saint Martins, London, 11 January - 2 February 2019.

Mari Ishikawa sees a parallel world off the beaten track of everyday living that she wants to make visible with her art. Such counter-worlds are discovered in photographs with long exposures, which are taken up in art jewellery. Together these pairings result in an overall picture that is almost mystical. Silver casts taken from nature are reborn as jewellery in combination with diamonds, pieces of charcoal, or paper. Thus Mari Ishikawa interrupts for a brief moment the flow of transience; a precious object is created that has been wrenched from the cycle of life and death to stand for itself and for the moment.

Leonhard Rickhard is an outstanding representative of Norwegian contemporary art. Owing to his unique vision and narrative techniques, he has revitalised painting as a means of artistic expression. In his conceptual paintings he portrays a fragmented and often enigmatic reality, inviting the viewer to discover and reconstruct his pictorial narrative. Rickhard's universe of motifs and figures can be traced back to the 1970s: birch forests, building sites and heaps of machinery are combined with finely detailed depictions of machine parts and fragments of models. His narrative picture sequences are often populated by melancholy and contemplative human figures. Rickhard has constantly questioned, challenged and recontextualised this pictorial universe. His artistic works occupy a unique position in Norwegian art, precisely because of their uncompromising reworking of recurring motifs. His paintings appear as solid and monumental constructions, which at the same time reveal a fundamental complexity, restlessness and vulnerability. The combination of conceptual strategies and formal aspects is one of the most significant strengths of his artistic oeuvre in the variegated field of contemporary art. Text in English, German & Norwegian.

A key, a safety pin, a balloon, a propeller, a voltmeter - these unexpected objects in art jewellery rewrite the world of the Norwegian "jewellery engineer" Sigurd Bronger. He carries over his fascination for machines and instruments in humorously constructed jewellery pieces, and transforms natural materials and everyday objects into meticulously executed, complex and ingenious constructions. In his Oslo "Laboratorium Mechanum", Bronger works on his witty "carrying devices" - brooches, pendants, and rings with balloons, sponges, eggs, even his mother's gallstones, or with medical equipment, which have a greater positive effect on the mind than on the physical well-being. An established feature of his work, which symbolically marks the entrance into Bronger's world, is the key. This current publication offers such a key; a review of over thirty years of his creative work: from Bronger's experiments with materials and constructions in the struggle with the avant-garde Dutch art jewellery to his attempts in fathoming out states of expansion and emptiness in jewellery. He revolutionised contemporary creative jewellery work in such a way, not just in Norway, where to this day he still finds new forms of expression at the interface of jewellery, art, design and engineering. With works from the 1980s to the present day, this book will carry you off into the humorous world of the decorative engineering art of Sigurd Bronger, one of the most significant Norwegian jewellery artists today. Text in English, German & Norwegian.

I over ti år har kunstneren Kari Steihaug samlet uferdige strikketøy. Hun har fått dem fra venner og kjente, fra fremmede og fra loppemarkeder. Steihaug har også samlet de rørende og morsomme historiene om det som en gang skulle bli noe fint. De ufullendte strikketøyene er bærere av ambisjoner, sorger og gleder, håp og drømmer. Historiene forteller bl.a. om en kjæreste som gjorde det slutt før den andre sokken ble ferdig, om barn som vokste fortere enn strikketøyet og om kompliserte prosjekter langt over strikkernes ferdigheter. Dette er en bok om kunst og om håndarbeid, men kanskje mest handler den om å være menneske.

Ambrosia Tønnesen (1895-1948) var ein uvanleg person med eit tilsvarande uvanleg yrke. "Stenhugger i det Fine" stod det på visittkortet hennar. Å hogga skulpturar i marmor var ikkje rekna som passande arbeid for ei kvinne av borgarskapet på 1800-talet, likevel braut Ambrosia opp frå ei sikker stilling som lærarinne i Norge for å leva som kunstnar i København, Berlin og Paris. Ambrosia Tønnesen fekk mange oppdrag, utstilte jamleg på Salongen og blei den første kvinnelege bildehoggaren i Norge, som kunne leva av kunsten. Jorunn Veiteberg drøfter korleis ei kvinne med Ambrosia Tønnesen sin bakgrunn kunne oppnå ein slik posisjon. Kva fekk henne til å bryta med konvensjonane som galdt for hennar kjønn og klasse? Gjennom eit breitt kulturhistorisk perspektiv gir boka svar som gjer den aktuell for alle som er opptatt av kvinner sin situasjon og vilkåra for kunstskaping på slutten av 1800-talet.

Boka oppsummerer kunstnaren Britt Smelvær si verksemd når ho i 2005 fyller 60 år. Ho vaks opp i industribygda Årdal, men etter utdanning innan veving, flytta ho til København. Ho har likevel halde god kontakt med norsk kunstliv - både gjennom mange utsmykkingsoppdrag og ein periode som professor ved Kunsthøgskolen i Bergen. Boka viser at Smelvær sin trong til utforsking og utprøving har vore svært stor. Ho har såleis gitt bidrag til å utvide omgrepet tekstilkunst. Boka er et praktverk, rikt illustrert med over 150 bilete. Alle tekstar er omsette til engelsk.