{"id":477,"date":"2024-06-05T12:52:34","date_gmt":"2024-06-05T12:52:34","guid":{"rendered":"http:\/\/bomuldification.test\/kunst\/kenneth-blom\/"},"modified":"2025-06-26T20:42:47","modified_gmt":"2025-06-26T20:42:47","slug":"kenneth-blom","status":"publish","type":"arrangement","link":"https:\/\/bomuldsfabriken.no\/en\/arrangement\/kenneth-blom\/","title":{"rendered":"Kenneth Blom: 15. juni\u201308. sept."},"content":{"rendered":"
\"\"<\/figure>\n

Kenneth Blom
\u00d8YEBLIKK
15.06.24\u201308.09.24
Bomuldsfabriken Kunsthall, 1. etasje<\/p>\n

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

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

Kenneth Bloms (f. 1967, Roskilde, Danmark) kunstneriske praksis spenner over ulike medier; maleri, grafikk og skulptur. Hans verk karakteriseres av arkitektoniske og figurative elementer, med en gjennomg\u00e5ende fascinasjon av mennesker \u2013 mennesker som vises i den frosne tilstanden, i \u00f8yeblikket like f\u00f8r noe skjer.<\/p>\n

Blom bor og arbeider i Oslo, og har sin utdannelse fra Kunsth\u00f8gskolen i Oslo (1990-1994) og D\u00fcsseldorf Kunstakademi (1994-1995). Blom er representert ved en rekke nasjonale og internasjonale gallerier; Jason McCoy Gallery (New York), Luisa Catucci Gallery (Berlin), Gallery Birch (K\u00f8benhavn), Pekin Fine Arts (Beijing\/Hong Kong), Dropsfabrikken (Trondheim), Von Fraunberg Gallery (D\u00fcsseldorf) og Kamil Gallery (Monaco).<\/p>\n

Tekst av Henrik Langeland<\/h3>\n

Noen kunstnerskap tar det lang tid \u00e5 like. Man kan ha sett og kjent kunstverkene over flere \u00e5r, og kanskje forholdt seg til dem med likegyldighet, endog med misbilligelse, f\u00f8r man endrer oppfatning og ser noe verdifullt i dem som man tidligere ikke fattet interesse for.<\/p>\n

Andre kunstnerskap treffer med kraft og intensitet allerede ved f\u00f8rste gangs blikk. Man ser et maleri, en skulptur, en tegning eller installasjon og tenker: Dette liker jeg! Dette snakker til meg. Her vekkes jeg, her er jeg i samklang. Ikke i den forstand at man dermed har sett det som er \u00e5 se, innsett det som er \u00e5 innse, og g\u00e5r videre. Snarere slik at f\u00f8rstegangsm\u00f8tet \u00e5pner for noe mer. Noe \u00e5 utforske. Noe \u00e5 g\u00e5 p\u00e5 oppdagelsesferd i, b\u00e5de som estetikk, som emosjonalitet og som erkjennelse.<\/p>\n

For meg var m\u00f8tet med Kenneth Bloms kunst av en slik intens og umiddelbar art. Det hendte tidlig p\u00e5 2000-tallet, da det fremdeles var noen som leste papiraviser. I forbindelse med en utstilling var et av maleriene hans gjengitt i Aftenposten. Jeg husker ikke hvor utstillingen ble holdt, men maleriet sitter like sterkt i meg den dag i dag. Jeg ble st\u00e5ende med avisen foran meg \u00e5 stirre p\u00e5 det. Lenge. St\u00f8rrelsesmessig var det ikke rare greiene, avisen hadde knapt spandert et frimerkeformat p\u00e5 gjengivelsen. Ikke desto mindre ble jeg truffet av kraften i det. Maleriet skj\u00f8t seg inn i meg. Og dermed var min interesse for Kenneth Bloms mangfoldige og fascinerende kunstnerskap vekket.<\/p>\n

Siden har jeg v\u00e6rt s\u00e5 heldig \u00e5 f\u00f8lge ham gjennom 20 \u00e5r, b\u00e5de som kunstner og privatperson. Produksjonen har etter hvert blitt omfangsrik. Likevel er det med den samme glede og gl\u00f8d jeg ser frem til et nytt verk av ham, en ny utstilling, en ny oppdagelsesferd inn i Kenneths verden.<\/p>\n

Kenneth Blom er konsistent i sitt uttrykk. Han har gjennom \u00e5rene dyrket frem og foredlet en motivkrets, en palett og et perspektiv som har gitt ham en umiskjennelig signatur og gjort ham til en av landets mest markante billedkunstnere. Han tilh\u00f8rer en generasjon malere som tidvis har f\u00f8lt seg tilsidesatt av det r\u00e5dende kunstdogmet i deres formative \u00e5r. Det var en ganske annen estetikk som dominerte i Kenneths l\u00e6retid der hverken lerret, oljemaling eller figurasjon stod h\u00f8yt i kurs. Kenneth Blom har likevel alltid v\u00e6rt klippefast i troen p\u00e5 det klassiske maleriet. Han har alltid utvist en aktsomhet for hvem han st\u00e5r p\u00e5 skuldrene til. Samtidig har han hele tiden bevart viljen til \u00e5 strekke seg. Alltid langt, og alltid litt lenger.<\/p>\n

Utstillingen i Bomuldsfabriken Kunsthall f\u00f8yer seg inn i tematikken i Bloms kunstnerskap. Romlighet, linjer, felt og flater har alltid preget maleriene hans, enten det er landskap, arkitektur eller mennesker han lar komme til uttrykk. Kenneth maler tredimensjonalt. Verden g\u00e5r innover og utover p\u00e5 lerretene. Flaten gis liv i rom. Det ligger alltid et alvor i bildene hans. De har tyngde, b\u00e5de i form og innhold.<\/p>\n

Samtidig markerer utstillingen en videreutvikling: Ofte har Kenneths bilder hatt noe hvilende over seg, maleriene har v\u00e6rt preget av ro. Ikke ro forst\u00e5tt som harmoni, men som tilstand. I de senere \u00e5rene er kunstverkene ogs\u00e5 betegnet av dramatikk. Ikke bare er landskapene mer dramatiske, med dystre himler og urovekkende, n\u00e6rmest bl\u00f8dende horisonter. Det samme gjelder ogs\u00e5 menneskene: Der det tidligere kunstnerskapet som oftest gjenga skikkelser i ensomhet eller i taus kommunikasjon \u2012 gjerne mangel p\u00e5 s\u00e5dan \u2012 maler han n\u00e5 ogs\u00e5 mennesker som faller, mennesker som jager og jages, mennesker i kamp og i fysiske konflikter. Grunnstemningen er likevel den samme: Kenneths personer strever med \u00e5 v\u00e6re i verden. De er mennesker som f\u00f8ler uro ved \u00e5 eksistere, og som kjemper med \u00e5 forholde seg til omgivelsene, enten det er natur, arkitektur eller andre individer. Slik vi alle gj\u00f8r, i mer eller mindre grad, i en verden som blir stadig mer problematisk \u00e5 ta inn over seg. \u00c5 betrakte et Blom-maleri er f\u00f8rst og fremst \u00e5 betrakte seg selv.<\/p>\n

Henrik H. Langeland<\/em>
26. mai 2024<\/p>\n

<\/figure>\n

English<\/h2>\n

Kenneth Blom’s (b. 1967, Roskilde, Denmark) artistic practice spans various mediums; painting, graphics and sculpture. His work is characterized by architectural and figurative elements, with a consistent fascination with people \u2013 people shown in the frozen state, in the moment just before something happens.<\/p>\n

Blom lives and work in Oslo. He has his education from the Academy of Fine Arts in Oslo (1990-1994) and D\u00fcsseldorf Art Academy (1994-1995). Blom is represented by a number of national and international galleries; Jason McCoy Gallery (New York), Luisa Catucci Gallery (Berlin), Gallery Birch (Copenhagen), Pekin Fine Arts (Beijing\/Hong Kong), Dropsfabrikken (Trondheim), Von Fraunberg Gallery (D\u00fcsseldorf) and Kamil Gallery (Monaco).<\/p>\n

Text by Henrik Langeland<\/h3>\n

Some artistry takes a long time to like. You may have seen and known the works of art over several years, and perhaps treated them with indifference, even with disapproval, before you change your opinion and see something valuable in them that you previously had no interest in.<\/p>\n

Other works of art strike with power and intensity already at first glance. You see a painting, a sculpture, a drawing or an installation and think: I like this! This speaks to me. Here I am awakened, here I am in harmony. Not in the sense that one has seen all what there is to see, realized what there is to realize, and moves on. Rather, so that the first meeting opens something more. Something to explore. Something to go on a journey of discovery in, both as aesthetics, as emotionality and as recognition.<\/p>\n

For me, the encounter with Kenneth Blom’s art was of such an intense and immediate nature. It happened in the early 2000s, when some people still read physical newspapers. In connection with an exhibition, one of his paintings was reproduced in Aftenposten. I don’t remember where the exhibition was held, but the painting stays with me just as strongly to this day. I stood with the newspaper in front of me and stared at it. Long. In terms of size, the newspaper had barely splurged on a stamp format on the reproduction. Nevertheless, I was struck by the power of it. The painting shot into me. And thus, my interest in Kenneth Blom’s diverse and fascinating artistry was awakened.<\/p>\n

Since then, I have been lucky enough to follow him for twenty years, both as an artist and as a private person. His production has gradually become extensive. Nevertheless, it is with the same joy and enthusiasm that I welcome a new work by him, a new exhibition, a new journey of discovery into Kenneth’s world.<\/p>\n

Kenneth Blom is consistent in his expression. Over the years, he has cultivated and refined a circle of motifs, a palette and a perspective that have given him an unmistakable signature and made him one of the country’s most prominent visual artists. He belongs to a generation of painters who have occasionally felt neglected by the prevailing art dogma in their formative years. It was a quite different aesthetic that dominated Kenneth’s apprenticeship, where neither canvas, oil paint nor figuration were highly valued. Nevertheless, Kenneth Blom has always been steadfast in his belief in classical painting. He has always shown a care for whose shoulders he stands on. At the same time, he has always maintained the will to stretch himself. Always far, and always a little longer.<\/p>\n

The exhibition in Bomuldsfabriken Kunsthall fits into the theme of Blom’s artistry. Spatiality, lines, fields and surfaces have always characterized his paintings, whether it is landscapes, architecture or people he allows to be expressed. Kenneth paints three-dimensionally. The world moves in and out on the canvases. The flat is given life in space. There is always a seriousness in his pictures. They have weight, both in form and content.<\/p>\n

At the same time, the exhibition marks a further development: Kenneth’s pictures have often had something resting about them, the paintings have been characterized by calm. Not calm understood as harmony, but as a condition. In recent years, the artworks have also been characterized by drama. Not only are the landscapes more dramatic, with gloomy skies and disturbing, almost bleeding horizons. The same also applies to people: Where the earlier artistry most often depicted figures in solitude or in silent communication – usually a lack of such – he now also paints people who fall, people who chase and are chased, people in battle and in physical conflicts. The basic mood is nevertheless the same: Kenneth’s characters struggle to be in the world. They are people who feel uneasy about existing, and who struggle to relate to their surroundings, whether it is nature, architecture or other individuals. As we all do, to a greater or lesser extent, in a world that is becoming increasingly problematic to take on. To look at a Blom painting is primarily to look at oneself.<\/p>\n

Henrik H. Langeland<\/em>
26 May 2024<\/p>","protected":false},"featured_media":112,"template":"","meta":{"_acf_changed":true},"class_list":["post-477","arrangement","type-arrangement","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nKenneth Blom: 15. juni\u201308. sept. - 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\/kenneth-blom\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kenneth Blom: 15. juni\u201308. sept. - Bomuldsfabriken\" \/>\n<meta property=\"og:description\" content=\"Kenneth Blom\u00d8YEBLIKK15.06.24\u201308.09.24Bomuldsfabriken Kunsthall, 1. etasje \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ English info Kenneth Bloms (f. 1967, Roskilde, Danmark) kunstneriske praksis spenner over ulike medier; maleri, grafikk og skulptur. 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