{"id":474,"date":"2024-06-12T14:04:53","date_gmt":"2024-06-12T14:04:53","guid":{"rendered":"http:\/\/bomuldification.test\/kunst\/line-bergseth\/"},"modified":"2025-06-26T20:42:47","modified_gmt":"2025-06-26T20:42:47","slug":"line-bergseth","status":"publish","type":"arrangement","link":"https:\/\/bomuldsfabriken.no\/en\/arrangement\/line-bergseth\/","title":{"rendered":"Line Bergseth: 29. jun.\u201306. okt."},"content":{"rendered":"
\"\"<\/figure>\n

Line Bergseth
Granuleringer<\/em>
29.06.24\u201306.10.24
Bomuldsfabriken Kunsthall, 3. etasje<\/p>\n

\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n

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

Line Bergseths (f. 1965) kunstneriske praksis spenner over ulike medier som maleri, installasjon og foto. Siden 1990-tallet har Bergseth arbeidet med planter som tema. Hennes dype interesse for naturen fikk henne til \u00e5 flytte fra storbyen og tilbake til nabolaget som betydde s\u00e5 mye for henne da hun vokste opp. I en tidligere landhandel i Bj\u00f8rkebekk, p\u00e5 grensen mellom Sverige og Norge, arbeider hun med oljemalerier og akvareller. I Line Bergseths separatutstilling \u2013 Granuleringer<\/em> \u2013 ser vi malerier med akvarell, l\u00f8srevet fra kontroll, legger til rette for de kjemiske prosessene som oppst\u00e5r i m\u00f8tet mellom pigmentene og vannet p\u00e5 papiret.<\/p>\n

Bergseth har sin utdannelse fra Statens Kunstakademi (KHIO), Statens H\u00e5ndverks- og Kunstindustriskole (SHKS), Det Kongelige Danske Kunstakademi, K\u00f8benhavn og H\u00f8gskolen i \u00d8stfold, Halden. Arbeidene hennes er representert i ulike samlinger i Sverige og Norge, blant annet Moderna Museet, Norsk Hydro og Nordiska Akvarellmuseet.<\/p>\n

Granuleringer<\/em> av Ingun B\u00f8hn<\/h3>\n

V\u00e4kstriket t\u00e4cker hele jordens yta,
bereder v\u00e5ra sinnen en ofantlig njutning
och g\u00f6r sommaren ljuvlig<\/em><\/p>\n

Med dette poetiske sitatet av botanikeren Carl von Linn\u00e9 kan man sl\u00e5 an tonen for Line Bergseths arbeider. \u00abNaturen har alltid v\u00e6rt menneskets referanseramme. Dette gjelder i s\u00e6rdeleshet bildekunsten; et hvert bilde \u2013 hvor enn abstrakt minimalistisk eller konseptuelt det m\u00e5tte v\u00e6re \u2013 m\u00e5 forholde seg til den verden som omgir det \u2013 til naturen. Derfor er naturen viktig for kunsten. Og omvendt er kunsten viktig for at mennesket overhode kan se natur \u2013 erkjenne dens betydning og verdi.\u00bb Disse linjene st\u00e5r skrevet i katalogen til utstillingen, Blomster og verdenssyn<\/em>, som ble vist i Statens museum for kunst i K\u00f8benhavn, 2013.<\/p>\n

Line Bergseth er en av dem, en kunstner som hengir seg til botanikken. En blomsterverden, som hun selvsagt ikke er alene om \u00e5 dyrke. Hun st\u00e5r i en lang og omfangsrik tradisjon. Avbildning av blomster og planter har eksistert like lenge som bildekunsten selv.<\/p>\n

Formelen for organisk vekst, finner man i den dekorative akantusranken, som er blitt brukt som ornamentalt motiv \u2013 p\u00e5 antikke s\u00f8yler ved Middelhavet og som forelegg for norsk rosemaling. I Botticelli sitt ber\u00f8mte maleri Primavera<\/em> fra 1470-tallet, kan vi finne flere hundre blomster og planter, som kan identifiseres; en eventyrlig vakker, v\u00e5rlig allegori. De flamske malerne p\u00e5 1600-tallet ble meget ettertraktet for sine forf\u00f8rende stilleben, fylt til randen av svulmede roser. Den f\u00f8rste norske floraen, Flora Norvegica<\/em>, et pionerverk av biskop Johan Ernst Gunnerus, ble trykket i 1766.<\/p>\n

\u2013 Et megasprang er det, inn i det tyvende \u00e5rhundrets modernisme \u2013 til kunstneren Paul Klee \u2013 som laget utallige bilder fra sin \u00abmagiske\u00bb hage. Han gikk helt annerledes til verks, hans verden er eksotisk, fabulerende og leken.<\/p>\n

Line Bergseth har v\u00e6rt en flittig utstiller. Blomster har dominert eller v\u00e6rt ener\u00e5dende som motiv. Hun har tidligere laget en serie kalt Arctic Flora<\/em>, fra Ny \u00c5lesund. En rekke iakttagelser av planter i akvarell fra det harde klimaet p\u00e5 Svalbard. Planter, som er b\u00e5de robuste og \u00f8mt\u00e5lige, og som overlever i arktiske omgivelser. Disse akvarellene er treffsikre, men myke i utf\u00f8relsen. Man ser<\/em> s\u00e5 og si kunstnerens innlevelse i forhold til vekstenes s\u00e5rbarhet, sammen med den tilstedev\u00e6relse og konsentrasjon, som akvarell krever. Et lite natureventyr fra Polare str\u00f8k. \u2013 Det er noen “lys\u00e5r” til Georgia O’Keffe sine sensuelle kjempeblomster eller Anselm Kiefer sine monumentale naturinstallasjoner, men Line Bergseth sine sm\u00e5 akvareller viser det helt intime n\u00e6rv\u00e6rende livet. \u00ab\u00c5 omsette natur, blomster og planter til bilder, er en tolkningsprosess, s\u00e5 som det ogs\u00e5 er en tolkningsprosess \u00e5 se natur i bilder.\u00bb<\/p>\n

Historiens f\u00f8rste botaniske gjengivelser var viktige nok, de skulle registrere og vise medisinplanter og fortelle om deres bruk. En misvisende illustrasjon kunne f\u00e5 fatale f\u00f8lger! Mange planter ble importert til Europa p\u00e5 den tiden da vitenskapelige ekspedisjoner seilte p\u00e5 alle hav \u2013 alltid med en botanisk tegner ombord. Georg Ehret var Carl von Linn\u00e9 sin foretrukne illustrat\u00f8r og helt avgj\u00f8rende for hans vitenskapelige arbeide. Linn\u00e9 var s\u00e5 begeistret for disse blomsterbildene at han tapetserte soverommet sitt med dem. Han sovnet i sin egen blomstereng, s\u00e5 og si.<\/p>\n

M\u00e5ten man gjengir naturen p\u00e5 har naturligvis tilknytning til historien, til den kulturen og tidsbildet man lever i. Redout\u00e9 og hans flamske malerkolleger \u2013 deres bugnende fruktfat og buketter representerte barokkens idealer. Botanisk korrekte tegninger var viktige p\u00e5 1700-tallet, et vesentlig bidrag i opplysningstidens \u00e5nd. Derfra kan vi f\u00f8lge naturgjengivelser gjennom alle kunsthistoriens \u00abismer\u00bb frem til i dag.<\/p>\n

Line Bergseth har, som mange malere, begynt med det intime studiet av enkelte planter. Hun har tidligere eksperimentert med \u00e5 overf\u00f8re pressede kronblader til lerret, og p\u00e5 den m\u00e5ten oppn\u00e5dd en skj\u00f8r kvalitet og virkning som kan minne om akvarell. Det er n\u00e6rliggende \u00e5 forst\u00e5 de utstilte bildene som vises her p\u00e5 Bomuldsfabriken, som en utvikling fra dette stadiet. Kunstneren lar det naturalistiske bildet utvikles og oppl\u00f8ses mot det abstrakte, s\u00e5 akvarellens s\u00e6regenhet, vann og pigment \u2013 pluss tilfeldighetene som oppst\u00e5r \u2013 fullstendig dominere et minimalistisk uttrykk.<\/p>\n

Ingun B\u00f8hn<\/em><\/p>\n

Kilder: Carl von Linn\u00e9, Om undran inf\u00f6r naturen, Bokf\u00f6rlaget, Natur och Kultur, 2005. \u00d8vrige sitater er fra artikkel i katalogen til utstillingen: Blomster og Verdenssyn, av Eva de la Fuente Pedersen og Hanne Kolind Poulsen, Statens Museum for Kunst, K\u00f8benhavn, 2013.<\/em><\/p>\n

English<\/h2>\n

Line Bergseth’s (b. 1965) artistic practice spans various media such as painting, installation and photography. Since the 1990s, Bergseth has worked with plants as a theme. Her deep interest in nature led her to move from the big city and back to the neighborhood that meant so much to her growing up. In a former general store in Bj\u00f8rkebekk, on the border between Sweden and Norway, she works with oil paintings and watercolours. In Line Bergseth’s solo exhibition \u2013 Granulations<\/em> \u2013 we see paintings with watercolour, detached from control, facilitate the chemical processes that occur in the meeting between the pigments and the water on the paper.<\/p>\n

Bergseth has her education from the Norwegian Academy of Fine Arts (KHIO), the Norwegian School of Handicrafts and Art Industry (SHKS), the Royal Danish Academy of Fine Arts, Copenhagen and \u00d8stfold University College, Halden. Her work is represented in various collections in Sweden and Norway, including Moderna Museet, Norsk Hydro and Nordiska Akvarellmuseet.<\/p>\n

Granulations<\/em> by Ingun B\u00f8hn<\/h3>\n

The vegetation covers the entire surface of the earth,
prepares our minds an immense pleasure
and make the summer lovely<\/em><\/p>\n

With this poetic quote from the botanist Carl von Linn\u00e9, one can set the tone for Line Bergseth’s work. “Nature has always been man’s frame of reference. This applies in particular to the visual arts; every image \u2013 however abstractly minimalistic or conceptual it may be \u2013 must relate to the world that surrounds it \u2013 to nature. That is why nature is important to art. And conversely, art is important so that man can see nature at all – recognize its meaning and value.” These lines are written in the catalog for the exhibition, Flowers and world views<\/em>, which was shown in the Norwegian State Museum of Art in Copenhagen, 2013.<\/p>\n

Line Bergseth is one of them, an artist who devotes herself to botany. A world of flowers, which she is of course not the only one to cultivate. She stands in a long and comprehensive tradition. Depiction of flowers and plants has existed as long as visual art itself.<\/p>\n

The formula for organic growth can be found in the decorative acanthus vine, which has been used as an ornamental motif \u2013 on antique columns by the Mediterranean and as a template for Norwegian rose painting. In Botticelli’s famous painting Primavera from the 1470s, we can find several hundred flowers and plants, which can be identified: a fabulously beautiful, springtime allegory. The Flemish painters of the 17th century were highly sought after for their seductive still life, filled to the brim with swollen roses. The first Norwegian flora, Flora Norvegica<\/em>, a pioneering work by Bishop Johan Ernst Gunnerus, was printed in 1766. \u2013 It is a mega-leap, into twentieth-century modernism \u2013 for the artist Paul Klee \u2013 who made countless pictures from his “magical” garden. He went about things completely differently, his world is exotic, fabulous and playful.<\/p>\n

Line Bergseth has been a diligent exhibitor. Flowers have dominated or been dominant as a motif. She has previously created a series called Arctic Flora<\/em>, from Ny \u00c5lesund. A series of observations of plants in watercolor from the harsh climate of Svalbard. Plants, which are both robust and delicate, and which survive in arctic environments. These watercolors are accurate, but soft in execution. You can almost see the artist’s empathy in relation to the vulnerability of the growth, together with the presence and concentration that watercolor requires. A little nature adventure from the Polar regions. \u2013 It is some “light years” to Georgia O’Keffe’s sensual giant flowers or Anselm Kiefer’s monumental nature installations, but Line Bergseth’s small watercolors show the completely intimate present life. “Translating nature, flowers and plants into pictures is an interpretive process, just as it is also an interpretive process to see nature in pictures.”<\/p>\n

History’s first botanical reproductions were important enough, they were supposed to record and show medicinal plants and their use. A misleading illustration could have fatal consequences! Many plants were imported to Europe at the time when scientific expeditions sailed on all seas \u2013 always with a botanical draftsman on board. Georg Ehret was Carl von Linn\u00e9’s preferred illustrator and crucial for his scientific work. Linn\u00e9 was so excited by these flower images that he wallpapered his bedroom with them. He fell asleep in his own flower meadow, so to speak.<\/p>\n

The way in which you reproduce nature is naturally connected to history, to the culture and the time frame you live in. Redout\u00e9 and his Flemish painter colleagues \u2013 their abundant fruit trays and bouquets represented the ideals of the Baroque. Botanically correct drawings were important in the 18th century, a significant contribution in the spirit of the Enlightenment. From there we can follow nature reproductions through all the “isms” of art history up to the present day.<\/p>\n

Like many painters, Line Bergseth has begun with the intimate study of individual plants. She has previously experimented with transferring pressed petals to canvas, and in that way achieved a fragile quality and effect reminiscent of watercolor. It is obvious to understand the exhibited images shown here at Bomuldsfabriken, as a development from this stage. The artist allows the naturalistic image to develop and dissolve towards the abstract, so that the watercolor’s distinctiveness, water and pigment – plus the coincidences that arise – completely dominate a minimalist expression.<\/p>\n

Ingun B\u00f8hn<\/p>\n

Sources: Carl von Linn\u00e9, Om undran f\u00e6r naturen, Bokf\u00f6rlaget, Natur och Kultur, 2005. <\/em>Other quotes are from an article in the catalog for the exhibition: Flowers and Worldviews, by Eva de la Fuente Pedersen and Hanne Kolind Poulsen, Statens Museum for Kunst, Copenhagen<\/em>, 2013.<\/em><\/p>","protected":false},"featured_media":106,"template":"","meta":{"_acf_changed":true},"class_list":["post-474","arrangement","type-arrangement","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nLine Bergseth: 29. jun.\u201306. okt. - Bomuldsfabriken<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bomuldsfabriken.no\/en\/arrangement\/line-bergseth\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Line Bergseth: 29. jun.\u201306. okt. - Bomuldsfabriken\" \/>\n<meta property=\"og:description\" content=\"Line BergsethGranuleringer29.06.24\u201306.10.24Bomuldsfabriken Kunsthall, 3. etasje \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ English info Line Bergseths (f. 1965) kunstneriske praksis spenner over ulike medier som maleri, installasjon og foto. 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