{"id":465,"date":"2024-10-01T09:40:35","date_gmt":"2024-10-01T09:40:35","guid":{"rendered":"http:\/\/bomuldification.test\/kunst\/harald-lyche\/"},"modified":"2025-07-04T09:47:56","modified_gmt":"2025-07-04T09:47:56","slug":"harald-lyche","status":"publish","type":"arrangement","link":"https:\/\/bomuldsfabriken.no\/en\/arrangement\/harald-lyche\/","title":{"rendered":"Harald Lyche: 12. okt.\u201312. jan."},"content":{"rendered":"

Harald Lyche
\nMaleriets Poetikk<\/em>
\n12.10.24\u201312.01.25
\nBomuldsfabriken Kunsthall, 1. etasje<\/p>\n

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English info<\/a><\/em><\/p>\n

Maleriets Poetikk<\/em> er Lyches hittil st\u00f8rste utstilling. Dette er en omfattende presentasjon som viser hans store kunstneriske dedikasjon og imponerende produktivitet. Tittelen p\u00e5 utstillingen antyder kunstnerens n\u00e6re forhold til litteraturens verden og underbygger hans uttalelse om at det \u00e5 uttrykke seg visuelt er som \u00e5 dikte i bilder<\/em>. Relasjonen mellom poesi og bildekunst poengteres ytterligere i dialogen mellom Lyches tegninger og forfatteren Hans Petter Blads poesi i verket Clair-obscur \/ Sort, <\/em>som vises i utstillingen.<\/p>\n

Det er fristende \u00e5 se Lyches s\u00e6regne univers som en malerisk brytning med konvensjonene man ofte kan finne i motiv- og landskapsrom. Lyches innfallsvinkel kan sammenlignes med poesiens brudd med det grammatiske regelverket. Et gjennomg\u00e5ende trekk i arbeidene er at gravitasjonens lover er opphevet \u2013 jord og himmel skifter posisjon og perspektivet mangedobles. Dette er formale grep som bekrefter opplevelsen av kunstnerens eksperimenterende og dramaturgiske frihet.<\/p>\n

Lyches veksling mellom det sf\u00e6riske og fysiske gir assosiasjoner til naturens ukjente krefter, i motsetning til en ren visualisering av m\u00f8tet mellom menneske og natur. I kunstneres visuelle repertoar skinner naturen gjennom i form av kraft og puls, og musikalitet er sentralt i landskapsscenene og selvportrettene. Her myldrer det av arter og fenomener som vekker v\u00e5r sansing til live. Komposisjonenes farger tilbyr oss eksperimenterende harmonier av levende og melodiske landskaper. Formene og strukturene repeteres og veksler p\u00e5 \u00e5 stige og falle mellom ytterpunktene, noe som er med p\u00e5 \u00e5 skape Lyches s\u00e6regne uttrykk.<\/p>\n

Tone Lyngstad Nyaas, Kurator<\/em><\/p>\n

\n\u00abMin venn Harald C. Lyche\u00bb<\/em> av Hans Petter Blad<\/em><\/summary>\n

Harald Lyche er en dypt original kunstner. Ikke bare i kraft av sine bilder og sitt talent, men ogs\u00e5 fordi han konsekvent velger \u00e5 forholde seg til en norsk malerisk virkelighet og til det norske maleriets historie. I en tid som er preget av rastl\u00f8shet og desperasjon \u2013 i jakten p\u00e5 interessante og oppsiktsvekkende inspirasjonskilder \u2013 velger han seg lokale og, internasjonalt sett, intetsigende malere som sine forbilder. Det fins ikke et snev av nostalgi eller romantikk i disse referansene (referanser leseren selv m\u00e5 lete seg fram til), som naturligvis ogs\u00e5 strekker seg utenfor landets grenser, lik r\u00f8tter i det underjordiske. Derfor m\u00e5 en sp\u00f8rre seg: Hvorfor velger kunstneren \u00e5 forholde seg slik til samtiden, da det tilsynelatende ikke er noe \u00e5 vinne p\u00e5 det, verken \u00f8konomisk eller p\u00e5 \u00e6rens mark? Sp\u00f8rsm\u00e5let er derved om kunstneren er en mann som lever i fortiden, som nekter \u00e5 ta samtiden til seg eller som \u2013 av grunner bildene ikke sier noe om \u2013 viser samtiden ryggen. Det er, etter mitt skj\u00f8nn, ikke noe fortidslengtende ved Lyches malerier eller tegninger. Snarere motsatt. Ikke bare maler og tegner han seg inn i samtiden, han fors\u00f8ker til overm\u00e5l \u00e5 lokke sine gamle malerier og tegninger med seg inn i n\u00e5tiden \u2013 eller inn i \u00f8yeblikket \u2013 ved at bildene er signerte og datert flere ganger, etter hvert som nye lag tegnes eller males inn. Derved dramatiserer pennen og penselen tidens gang, gjennom en forandring som ikke \u00f8delegger, slik elektrisk lys treffer en klassisk vase. Lyche snur ikke fortiden ryggen, han forholder seg til den med sterke f\u00f8lelser, men uten aggresjon. Hadde det v\u00e6rt uttrykt et hat mot samtiden, som hos forfatteren Thomas Bernhard, ville valget av den tidvis klassiske formen v\u00e6rt lettere \u00e5 godta. Noe slikt hat fins ikke, annet enn i forkledning \u2013 i marerittet og i de m\u00f8rke stundene flaten ikke kan skjule. Det fins ikke aggresjon, annet enn som angst og selvoppholdelse, men selv da fors\u00f8kes dette skildret med omtanke for alt som kan la seg avbilde. N\u00e5r Harald Lyche forholder seg til maleriet og det maleriske, og velger \u00e5 stille seg utenfor tids\u00e5nden, s\u00e5 er det en bevisst handling like mye som en erkjennelse av den skjebne det vil si \u00e5 v\u00e6re norsk og \u00e5 tilh\u00f8re det lokale og den lokale kunsttradisjonen.<\/p>\n

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Lyche var som barn omgitt av malerier, siden b\u00e5de hans mor og hans besteforeldre var ivrige samlere og venner av en rekke av datidens kjente kunstnere. Moren hadde utdannelse som grafiker fra Wien, og som barn hjalp Harald Lyche henne ved grafikkpressen i kjelleren, og tegnet sine f\u00f8rste tegninger mens hun jobbet ved siden av ham. Fra et slikt utkikkssted s\u00e5 han opp p\u00e5 det norske maleriets historie, slik den var synlig p\u00e5 veggene hjemme hos foreldrene og besteforeldrene; Kai Fjell, Weidemann, Arne Ekeland, Ludvig Karsten og Edvard Munch. Slik var det en logikk i at Lyche, etter \u00e5 ha v\u00e6rt innom universitetet og p\u00e5begynte litteraturstudier der, bestemte seg for \u00e5 bli maler. Etter noen \u00e5r med private studier, gikk han p\u00e5 Kunstakademiet \u2013 f\u00f8rst i Trondheim, s\u00e5 p\u00e5 akademiet i Oslo. Hele tiden med vissheten om \u00e5 v\u00e6re en norsk maler i den spesielle betydningen det kan ha, ved at den ideelle norske kunstner st\u00e5r p\u00e5 egne ben, i det s\u00e6regne og eksentriske utenfor fellesskapet, og arbeider med troen p\u00e5 at selv det radikale har mange uttrykksformer og at det er i historien \u2013 i g\u00e5rsdagens muld \u2013 at de virkelige forandringene finner sted.<\/p>\n

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\u00abSvart\u00bb er et godt eksempel p\u00e5 Harald Lyches stil og tenkem\u00e5te. Serien med tegninger, slik den her er synliggjort, best\u00e5r av en n\u00e6r komplett skisseblokk. Den stammer fra et opphold i Paris, under det som m\u00e5 \u2013 etter bildene \u00e5 d\u00f8mme \u2013 ha v\u00e6rt en vanskelig periode. Likevel danner tegningene n\u00e6rmest en virtuos katalog over pennetegningens muligheter, b\u00e5de hva f\u00f8lelsesmessig innhold og teknisk utf\u00f8relse ang\u00e5r. Fra enkle abstraksjoner, henkastede n\u00e6rbilder og n\u00e6r sagt tilfeldige visuelle detaljer; som sett fra vinduet, som liggende p\u00e5 bordet, som noe forkastet av virkeligheten, men begj\u00e6ret av kunsten. Via det sirlige, elegante stilleben og landskap, til presise kunsthistoriske studier \u2013 og videre \u2013 til notater til kommende verk (verk kanskje aldri utf\u00f8rt, og derved bare eksistente som ideer, slik de er antydet her. Verk vi er n\u00f8dt til \u00e5 forestille oss). Skrevne tanker om form og komposisjon, som gjennom kunstnerens h\u00e5ndskrift blir tegning mer enn bokstaver og ord. Videre, til visjoner og mareritt (som besvergelser, som for \u00e5 holde synene og visjonene i sjakk), til komplekse fusjoner av alle disse tenkem\u00e5tene, stilniv\u00e5ene og referansesystemene i en og samme tegning (som en serie med forvirrede, skrikende mennesker som fors\u00f8ker \u00e5 fortelle en autoritet om noe grusomt som har utspilt seg foran \u00f8ynene p\u00e5 dem, noe uforklarlig). De mest komplekse av disse tegningene, som likevel er n\u00e6rt beslektet med alle andre tegninger i skisseblokken \u2013 selv de enkleste \u2013 blir tidl\u00f8se nedtegnelser over f\u00f8lelser, tenkem\u00e5ter, verdensanskuelser og kunsthistoriske referanser. Sett \u2013 som i bevegelse \u2013 som fra noe utenforliggende, fra noe ikke-dennesidig, med et blikk gitt en visuell frihet som minner om Giottos og den tidligere renessansens maleriske frihet, ved at perspektivet er brutt og mangetydig og at de gjenkjennelige objektenes st\u00f8rrelse er underlagt tegningens og abstraksjonenes lover heller enn en innbyrdes logikk. Ved at hver eneste snirklete linje synes \u00e5 tilh\u00f8re en serie med gjenkjenneligheter; b\u00e5de \u00f8yenbryn, vinge p\u00e5 en fugl og delere av en \u00e5srygg. Eller, hvordan signaturen \u2013 eller signaturene, siden enkelte verk er signert mer enn en gang \u2013 f\u00e5r stadig nye funksjoner, alt etter hvor de er plassert p\u00e5 arket, som alltid er og forblir noe mer enn det rent formelle \u2013 det \u00e5 sette sitt navn p\u00e5 et stykke papir. \u00abSvart\u00bb kan i sin kompleksitet (og uten \u00e5 stille maleriene i skyggen) ses p\u00e5 som en skravert roman eller et omfattende visuelt dikt, og en kan v\u00e6re fristet til \u00e5 si, med Tomas Transtr\u00f6mer, at \u2013 det \u00e4r en natt med str\u00e5lande sol<\/em>.<\/p>\n

Hans Petter Blad, Forfatter, dramatiker og regiss\u00f8r<\/em><\/p>\n<\/details>\n

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English<\/h2>\n

Maleriets Poetikk<\/em> (trans. The Poetry of Painting) is Lyche\u2019s largest exhibition to date. This is a comprehensive presentation that shows his great artistic dedication and impressive productivity. The title of the exhibition suggests the artist\u2019s close relationship with the world of literature and substantiates his statement that expressing oneself visually is like composing in pictures. The relationship between poetry and visual art is further emphasized in the dialogue between Lyche\u2019s drawings and the author Hans Petter Blad\u2019s poetry in the work Clair-obscur \/ Black<\/em>, which is shown in the exhibition.<\/p>\n

It is tempting to see Lyche\u2019s peculiar universe as a picturesque break with the conventions that can often be found in motif and landscape spaces. Lyche\u2019s approach can be compared to poetry\u2019s break with the grammatical rules. A consistent feature of the works is that the laws of gravity are suspended \u2013 earth and sky change position and the perspective multiplies. These are formal touches that confirm the experience of the artist\u2019s experimental and dramaturgical freedom.<\/p>\n

Lyche\u2019s alternation between the spherical and the physical gives associations to the unknown forces of nature, as opposed to a basic visualization of the meeting between man and nature. In the artists\u2019 visual repertoire, nature shines through in the form of power and pulse, and musicality is central to the landscape scenes and self-portraits. Here it teems with species and phenomena that bring our senses to life. The colors of the compositions offer us experimental harmonies of vivid and melodic landscapes. The shapes and structures are repeated and alternate among rising and falling between the extremes, which helps to create Lyche\u2019s distinctive expression.<\/p>\n

Tone Lyngstad Nyaas, Curator<\/em><\/p>\n

\n\u00abMy friend Harald C. Lyche\u00bb<\/em> by Hans Petter Blad <\/em><\/summary>\n

Harald Lyche is a deeply original artist. Not only because of his pictures and his talent, but also because he consistently chooses to relate to a Norwegian pictorial reality and to the history of Norwegian painting. In an age characterized by restlessness and desperation \u2013 in search of interesting and sensational sources of inspiration \u2013 he chooses local and, internationally, bland painters as his role models. There is not a hint of nostalgia or romance in these references (references the viewer has to find himself), which naturally also extend beyond the country\u2019s borders, like roots. Therefore, one has to ask: Why does the artist choose to relate to the contemporary in this way, when there is apparently nothing to be gained from it, neither financially nor in terms of honor? The question is therefore whether the artist is a man who lives in the past, who refuses to embrace the present or who \u2013 for reasons the art does not reveal \u2013 turns his back on the present. There is, in my opinion, nothing nostalgic about Lyche\u2019s paintings or drawings. Rather the opposite. Not only does he paint and draw into the present, but he also tries to the utmost to lure his old paintings and drawings into the present \u2013 or into the present \u2013 by having the pictures signed and dated several times, as new layers are drawn or painted in. Thereby, the pen and brush dramatize the passage of time, through a change that does not destroy, like electric light hitting a classic vase. Lyche does not turn his back on the past. He relates to it with strong feelings, but without aggression. If there had been an expression of hatred towards the contemporary, as in the case of the writer Thomas Bernhard, the choice of the occasionally classical form would have been easier to accept. Such hatred does not exist, except in disguise \u2013 in the mare the surface cannot hide. There is no aggression, other than as anxiety and self-preservation, but even then, this is portrayed with consideration for everything that can be depicted. When Harald Lyche relates to painting and the picturesque, and chooses to stand outside the zeitgeist, it is a conscious act as much as an acknowledgment of the destiny that is to be Norwegian and to belong to the local and the local art tradition.<\/p>\n

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Lyche was surrounded by paintings as a child, as both his mother and his grandparents were keen collectors and friends of several of the famous artists of the time. His mother was trained as a graphic artist in Vienna, and as a child Harald Lyche helped her at the graphic press in the basement where he made his first drawings while she worked beside him. From such a vantage point, he looked up at the history of Norwegian painting, as it was visible on the walls at his parents\u2019 and grandparents\u2019 homes; Kai Fjell, Weidemann, Arne Ekeland, Ludvig Karsten and Edvard Munch. Thus, there was a logic in Lyche, after starting at the university and literature studies, deciding to become a painter. After a few years of private studies, he attended the Academy of Fine Arts \u2013 first in Trondheim, then at the academy in Oslo. All the while with the certainty of being a Norwegian painter in the meaning it can have \u2013 the ideal Norwegian artist stands on his own two feet, in the peculiar and eccentric outside the community, and works with the belief that even the radical has many forms of expression and that it is in history \u2013 in the muck of yesterday \u2013 that the real changes take place.<\/p>\n

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\u00abBlack\u00bb is a good example of Harald Lyche\u2019s style and way of thinking. The series of drawings, as shown here, consists of an almost complete sketching book. It originates from a stay in Paris, during what must \u2013 judging by the works \u2013 have been a difficult period. Nevertheless, the drawings almost form a virtuoso catalog of the possibilities of pen drawing, both in terms of emotional content and technical execution. From simple abstractions, casual close-ups and almost random visual details; as seen from the window, as lying on the table, as something rejected by reality, but desired by art. Via the graceful, elegant still life and landscape, to precise art historical studies \u2013 and beyond \u2013 to notes for future works (works perhaps never executed, and thus only existing as ideas, as they are suggested here. Works we must imagine). Written thoughts about form and composition, which through the artist\u2019s handwriting become drawing more than letters and words. Further, to visions and nightmares (as incantations, as if to keep the visions and visions at bay), to complex fusions of all these modes of thought, levels of style and systems of reference in one and the same drawing (as a series of confused, screaming people trying to tell an authority about something horrible that has unfolded before their eyes, something inexplicable). The most complex of these drawings, which are nevertheless closely related to all other drawings in the sketchbook \u2013 even the simplest ones \u2013 become timeless records of feelings, ways of thinking, worldviews and art historical references. Seen \u2013 as if in motion \u2013 as if from something outside, from something not here, with a look given a visual freedom reminiscent of Giotto\u2019s and the painterly freedom of the earlier Renaissance, in that the perspective is broken and ambiguous and that the size of the recognizable objects is subordinated the laws of drawing and abstraction rather than a mutual logic. In that each and every sinuous line seems to belong to a series of recognizability; eyebrows, wing of a bird and parts of a ridge. Or, how the signature \u2013 or signatures, since some works are signed more than once \u2013 constantly acquires new functions, depending on where they are placed on the sheet, which always is and remains something more than the purely formal \u2013 putting one\u2019s name on a piece of paper. \u00abBlack\u00bb in its complexity (and without putting the paintings in the corner) can be seen as a shaded novel or an extensive visual poem, and one might be tempted to say, with Tomas Transtr\u00f6mer, that it\u2019s a night with brilliant sun<\/em>.<\/p>\n

Hans Petter Blad, Writer, Playwright and Director<\/em><\/p>\n<\/details>\n

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