{"id":1402,"date":"2025-12-11T12:30:43","date_gmt":"2025-12-11T12:30:43","guid":{"rendered":"https:\/\/bomuldsfabriken.staging.frameworks.no\/?post_type=utstilling&p=1402"},"modified":"2026-06-30T12:47:07","modified_gmt":"2026-06-30T12:47:07","slug":"olav-ringdal","status":"publish","type":"utstilling","link":"https:\/\/bomuldsfabriken.no\/en\/utstilling\/olav-ringdal\/","title":{"rendered":"Olav Ringdal: Hendelser under ras"},"content":{"rendered":"

Olav Ringdal viser sin separautstilling Hendelser under ras<\/em> i perioden 2. mai til 2. august.<\/p>\n\n\n\n

Olav Ringdal<\/strong> (f. 12. april, 1961) er en norsk samtidskunstner med base i Oslo, utdannet ved Kunstakademiet i Trondheim og Rijksakademie van Beeldende Kunsten i Amsterdam. Han arbeider tverrfaglig med tegning, maleri, skulptur og installasjon, og er kjent for et uttrykk hvor form, materiale og kontraster skaper et energisk og uttrykksfullt visuelt spr\u00e5k. Ringdal har hatt en rekke separatutstillinger i b\u00e5de Norge og internasjonalt, blant annet ved Henie Onstad Kunstsenter og Trafo Kunsthall. Verkene hans er innkj\u00f8pt av betydelige offentlige samlinger, inkludert Nasjonalmuseet og Henie Onstad Kunstsenter. Gjennom fire ti\u00e5r har han utfordret grenser mellom tradisjonelle medier og form, og hans praksis preges av en dypt rotfestet materialforst\u00e5else og konseptuell utforskning.<\/p>\n\n\n\n

Foto: Katinka Goldberg<\/p>\n\n\n\r\n

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\r\n Les om Ringdal<\/summary>\r\n

MELLOM KONSTRUKSJON OG SAMMENBRUDD<\/strong><\/p>\n

Med sitt sterke n\u00e6rv\u00e6r og sin personlige form oppleves Olav Ringdals kunst som konfronterende.<\/em><\/strong><\/p>\n

Ringdal var elev av Kunstakademiet i Trondheim 1982 \u2013 88. Undervisningen dyrket frem den individuelle stemmen, fremfor \u00e5 l\u00e6re studenter opp i en bestemt metode, en teknikk, et h\u00e5ndverk eller et formspr\u00e5k ut fra konvensjonelle inndelinger i medier og sjangre. Alt var lov bare det fremsto som selvstendig og kreativt. Blant l\u00e6rerne gjorde seg gjeldende abstraksjon og postkonseptuell minimalisme med material og formunders\u00f8kelse i fokus. Tiden var ogs\u00e5 preget av kritisk refleksjon over den n\u00e6re kunsthistorien. Den unge scenen var preget av postmodernismens vitalisering av maleriet. P\u00e5 samme m\u00e5te som perioden \u00e5pnet seg for ulike uttrykk og teknikker, gjerne i form av hybrider mellom dem, kom det individuelle bidrag i fokus. Denne generasjonserfaringen utgj\u00f8r en plattform Ringdal har arbeidet videre ut fra.<\/p>\n

Objektene han former f\u00e5r sin mening forankret i konkrete materialegenskaper knyttet til elastitet, styrke, tyngde. De har utstrekning i rommet og overflateegenskaper knyttet til fraktur og farge. De f\u00e5r ogs\u00e5 et symbolsk innhold gjennom hvordan materialene inng\u00e5r i tekniske, sosiale og kulturelle sammenhenger.<\/p>\n

Gjennom Ringdals Instagram konto kan vi f\u00f8lge hans arbeidsprosess. Ringdals objekter b\u00e6rer spor av handlinger. Materialer som fyller gulvet b\u00f8yes og dras, vikles, bankes, brettes, strammes, spennes og knyttes til baller og sekker. Kunstnerens spj\u00e6rer, river, velter og l\u00f8ser opp objektene. P\u00e5 veggene er lerreter og tegninger der kunstneren har malt og tegnet abstraherte former med heftige bevegelser vekslende med fastere geometriske figurer og samlede organiske former. Det er et intimt forhold mellom hva som foreg\u00e5r i rommet og p\u00e5 veggen. Egenskaper vi kan knytte til tegning, maleri og skulptur samles i hybride objekter og installasjoner. N\u00e5r vi opplever Ringdals kunst p\u00e5 utstilling har prosessen stanset opp og vi blir presentert for verk som fremtrer som avklarte og gjennomarbeidede. Vi p\u00e5virkes psykisk og fysisk gjennom samhandling og relasjonell interaksjon med materialer, form og plassering av verkene i utstillingen.<\/p>\n

Den retrospektive utstillingen i Bomuldsfabriken er bygd opp som en dialog mellom de ulike fasetter av hans produksjon. Hans f\u00f8rste originale arbeider tok utgangspunkt i en dyne arvet etter bestemor. Den ble presset inn i en ramme og bemalt med kraftige str\u00f8k. De neste \u00e5rene tok han for seg et motiv med am\u00f8beaktige former i slekt med biter i et puslespill. Bitene griper over i hverandre innenfor en bildestruktur rektangul\u00e6r ramme eller klatrer omkring en ramme, p\u00e5 et bilde eller utover i rommet. Et hyppig motiv er sekker\/baller malt i r\u00f8dlige og rosa sjatteringer som veksler mellom \u00e5 bli spredt utover gulvet, stablet p\u00e5 hverandre, presset inn i en nisje, hvile p\u00e5 stativ eller f\u00f8yd sammen til en rutestruktur av bl\u00f8te former over et skjelett. Lerret strammes til rammene b\u00f8yes og bukter og vrir seg p\u00e5 veggen ut i rommet; eller et lerret knyttes til en ball der det l\u00f8per radi\u00e6re str\u00e5ler ut fra ballens midte ut til rammekantene. Andre ganger blir organiske former spent fast i et geometrisk og kantet rammeverk. De seinere \u00e5r har natur i form av fjellsider, elveleier, tr\u00e6r, greiner, \u00e5rer og r\u00f8r f\u00e5tt en prominent plass sammen med arbeider inspirert av hunden Zelda og kunstnerens selvportrett. Vi finner ogs\u00e5 i senere verk popul\u00e6rkulturelle referanser som Pippi Langstr\u00f8mpe og Troll.<\/p>\n

Ringdals kunst har som fellesnevner organisk versus geometrisk form, konstruksjon versus sammenbrudd og kaos versus kosmos. Det er en formverden som er grunnleggende tvetydig. Det \u00e5pner for et mangfold av subjektive assosiasjoner og tolkninger hos den som m\u00f8ter verket. Formene er ikke redusert til representasjoner eller imitasjoner av noe, men de har et overskudd av symbolsk mening som gj\u00f8r dem til generatorer for ulike og gjerne motstridende fortolkninger. Det er en dynamikk her, som har munnet ut i objekter som p\u00e5 samme tid kan oppleves som fylt av liv og glede, men ogs\u00e5 gi en opplevelse av det ubehagelige og vonde i sine assosiasjoner til innvoller, s\u00e5r, rifter, r\u00f8r og tr\u00e5der som kveiler seg sammen, tr\u00e6r og r\u00f8tter som er falt over ende og natur i oppr\u00f8r og forfall.<\/p>\n

Utstillingen oppleves som en intervensjon i galleriet der presentasjonen av verkene skaper et utstillingslandskap. Det er kunst som b\u00e6rer et uttrykk som viser oss et verdensbilde skapt i kunstnerens vilje og intensjon. Det skiller arbeidene fra den nye materialismen som ofte er inspirert av vitalistiske og animistiske forestillinger der materialene er ladet med egen iboende virkekraft uavhengig av b\u00e5de kunstnerens intensjoner og betrakterens forestillinger. Betrakteren inntar en rolle som fortolker ut fra sin relasjon til objektet og samhandling med det. Ringdals kunst er en \u00f8velse i aspekt \u2013 syn; Aspekter som knyttes til bevegelse i rommet, f\u00f8lelse, ideer, stemninger, assosiasjoner hos den enkelte tilskuer.<\/p>\n

\u00d8ivind Storm Bjerke<\/p>\n<\/div>\r\n <\/details>\r\n <\/div> \r\n <\/div>\r\n\n\n\n

Olav Ringdal presents his solo exhibition Hendelser under ras<\/em> (Events During a Landslide<\/em>) from 2 May to 2 August.<\/p>\n\n\n\n

Olav Ringdal<\/strong> (b. 1961) is a graduate of the Trondheim Academy of Fine Arts (1982-87) and the Rijksakademie van Beeldende Kunsten in Amsterdam (1987-89). Ringdal had his first solo exhibition in Trondheim in 1990, and has since had a number of solo exhibitions, including at Henie Onstad, Galleri F15, Buer in Oslo and Trafo Kunsthall. He has been purchased by, among others, Trondheim Art Museum, Henie Onstad Kunstsenter, Kube in \u00c5lesund, the Norwegian Council for Arts and Culture and the National Museum. The exhibition Hendelser under ras<\/em> at Bomuldsfabriken Kunsthall is one of the most comprehensive surveys of the artist’s work. The retrospective exhibition spans Ringdal’s work from the 1980s through newly produced pieces, encompassing painting, drawing, sculpture, and installations. His expression through various media is often expressive, contrasting elements perceived as violent with those perceived as vulnerable.<\/p>\n\n\n\r\n

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\r\n Read about Olav Ringdal<\/summary>\r\n

BETWEEN CONSTRUCTION AND COLLAPSE<\/p>\n

Olav Ringdal’s art confronts viewers with its strong presence and personal form.<\/em><\/strong><\/p>\n

Ringdal studied at the Trondheim Academy of Fine Arts from 1982 to 1987. The teaching fostered the individual voice rather than teaching students a specific method, technique, craft, or form based on conventional divisions of media and genres. Anything was allowed as long as it appeared independent and creative. Among the teachers, abstraction and post-conceptual minimalism were prevalent, with a focus on material and form research. The time was also characterised by critical reflection on recent art history. The young scene was characterised by postmodernism’s revitalisation of painting. In the same way that the period opened up to different expressions and techniques, often in hybrid form, the individual contribution came into focus. This generational experience has served as a platform for Ringdal to continue working.<\/p>\n

The objects Ringdal shapes derive meaning from material properties such as elasticity, strength, and weight. They have spatial extension and surfaces linked to fracture and colour. They acquire symbolic meaning as Ringdal incorporates materials into technical, social, and cultural contexts.<\/p>\n

On Instagram, we follow Ringdal’s process. His objects show traces of actions. Materials fill the floor as he bends, pulls, wraps, knocks, folds, tightens, buckles, and ties them into balls and sacks. He trusses, tears, overturns, and dissolves his objects. Canvases and drawings line the walls, painted with abstract forms. Vigorous gestures alternate with geometric figures and organic forms. An intimate relationship connects what happens in the room with what happens on the wall. Qualities of drawing, painting, and sculpture converge in hybrid objects and installations. When we see Ringdal’s art in an exhibition, the process stops. We encounter works that are clarified and thoroughly developed. Both mentally and physically, the materials, forms, and placement in the exhibition affect us.<\/p>\n

The retrospective exhibition at Bomuldsfabriken is structured as a dialogue between the different facets of his production. His first original works were based on a quilt inherited from his grandmother. It was pressed into a frame and painted with strong strokes. In the following years, he explored a motif of amoeba-like shapes, reminiscent of puzzle pieces. The pieces interlock within a picture structure rectangular frame or climb around a frame, on a picture or out into the room. A frequent motif is sacks\/balls painted in reddish and pink shades that alternate between being spread out on the floor, stacked on top of each other, pressed into a niche, resting on a stand or joined together to form a grid structure of soft shapes over a skeleton. The canvas is stretched until the frames bend, curve, and twist on the wall out into the room, or a canvas is attached to a ball where radial rays run out from the centre of the ball to the edges of the frame. At other times, organic forms are constrained within a geometric, angular framework. In recent years, nature, in the form of mountainsides, riverbeds, trees, branches, veins, and pipes, has been given a prominent place alongside works inspired by the dog Zelda and the artist’s self-portrait. We also find popular cultural references such as Pippi Longstocking and Troll in later works.<\/p>\n

Ringdal’s art shares common denominators: organic versus geometric, construction versus collapse, chaos versus cosmos. It creates a world of fundamentally ambiguous forms. This ambiguity lets each viewer discover many personal connections and interpretations. The forms are more than representations of objects; they teem with symbolic meaning. This generates different, often opposing, responses. An energy pulse throughout. Objects can brim with life and joy or evoke something unsettling or painful\u2014entrails, wounds, tears, pipes and wires coiling, toppled trees and roots, nature rebelling and decaying.<\/p>\n

The exhibition is an intentional change to the gallery space. The arrangement of the works forms a physical and visual environment in the gallery. The art expresses a particular perspective, shaped by what the artist wants and intends. This makes the works different from the new materialism, which often draws on ideas that materials possess power, life, or spirit on their own, unrelated to what the artist or viewer believes. The viewer’s interpretation depends on how they relate to and engage with the object. Ringdal’s art invites viewers to notice different aspects\u2014such as physical movement, emotions, ideas, moods, and personal associations\u2014that emerge as they move through the space.<\/p>\n

\u00d8ivind Storm Bjerke<\/p>\n

Foto: Katinka Goldberg<\/p>\n<\/div>\r\n <\/details>\r\n <\/div> \r\n <\/div>\r\n\n\n\n

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