Group exhibition

to make the stone stony

  • allison katz
  • anders holen
  • johanne hestvold
  • tyra tingleff
  • vivian greven

“And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects "unfamiliar," to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object: the object is not important...“

- Victor Shklovsky, from his text "Art as Technique", 1917


Galleri Golsa is proud to present the group exhibition To Make The Stone Stony with artists Tyra Tingleff, Johanne Hestvold, Anders Holen, Vivan Greven and Allison Katz. According to Shklovsky, the purpose of art is ‘defamiliarization’– to make (something) unfamiliar or strange. The exhibition comprise drawing, painting, ceramics and sculpture. The different works all express an interest in exploring traditional materials and practices. The result however, is complex and distinct expressions that challenge the viewer and share a common aim; to make the known appear unknown. 

In their work, these artists invite us to liberate our perception from automatization, to make visible what is strange in our familiar surroundings. Rather than our understanding coming together with the meaning of objects, the effect of these works is a special observation in the beholder; a seeing, rather than recognition. They invite us to wake up, look and try to piece together. See something we already know, like for the first time. Deform the usual, and generate a new vision in us. They tear down the veil of familiarity, to make us question and restructure our normal perception of ‘reality’. They make the stone stony.

Tekst by Nora Fremmerlid


  • Allison Katz (b. 1980, Montreal, Canada). Lives and works in London, UK.

    The glazed ceramic plates of Allison Katz bring together opposing expressions, and let them coexist on the same surface. Katz has swapped the more controlled process of painting for the unpredictable results of the burning oven. The content of a rectangular artwork is forced into a tondo, transforming the usually open surface of the canvas into an enclosed, sealed plaque. The circle as a symbolic shape embodies a history of associations, spanning the cosmos, early technology, coins and medals, as much as it references the functional and domestic surface of nourishment. Katz constructs a mythical presence, referencing the past (including her own painting archive) and suggesting a future, thus abolishing chronology all together.  

    Katz has a MFA from Columbia University in New York, USA, and a BFA from Concordia University in Montreal, Canada. Selected solo exhibitions include: Muse with a short fuse, Antenna Space, Shanghai, China. Period, Gio Marconi, Milan, Italy. Diary w/o Dates, Oakville Galleries, Oakville, Canada; MIT List Visual Arts Center, Boston, US. Fig-Futures, Grundy Art Gallery, Blackpool, UK. 

  • Anders Holen (b. 1986, Skien, Norway). Lives and works in Oslo, Norway 

    Anders Holen’s sculptures are complex creatures, evoking poetic and enigmatic narratives. Casts of gaping mouths held open by a dentist tool forcing the lips apart, are characterized by their brutal expression in contrast with the delicate and fragile material and its fine, glazed surface. The fragmented, assembled bodily parts and the emphasis on the material, puts Holen’s work in a modern practice of abstraction, while still pointing towards a more classical tradition. By exploring elements such as the it and the self in different compositions, his work erases the distinction between the subject and the object.

    Holen has a BFA from The National Academy of Arts in Oslo, Norway, and attended Einar Granum Kunstfagskole in Oslo, Norway. Selected solo- and group exhibitions include: Sun and Spring in January, Astrup Fearnley Museum of Contemporary Art, Oslo. Peder Balke Senteret, Kapp, Norway. Agent, Giorgio Galotti, Torino, Italy. 

  • Johanne Hestvold (b. 1988, Bergen, Norway). Lives and works in Oslo, Norway.

    Johanne Hestvold’s sculptures raises issues related to the limits between representation and abstraction. Her sculptural expression can be understood as a further development of the minimalistic tradition in art history. Her work becomes collages of visual information compressed into minimalistic objects, pointing in different directions. Finding their model in ordinary, everyday objects, the sculptures tell stories of recognition and confusion.  

    Hestvold has an MA from Malmö Art Academy, and has a BA from Bergen Academy of Art and Design. Hestvold studied sculpture through the sculpture department at Kuvataideakademia Helsinki, Finland, and have an education background in Literature studies at the Universty in Bergen, Norway. Selected solo- and group exhibitions include: Disse koppene har ikke mistet sjelen, Kunstnerforbundet, Oslo. Eyeye, Cinnamon, Rotterdam. Museet/The Museum/المتحف, Malmö Konstmuseum. Mitt Landskap, Nordnorsk Kunstnersenter, Svolvær, Norway. NN-A NN-A NN-A, Astrup Fearnley Museum, Oslo. Høstutstillingen, Kunstnernes Hus, Oslo. 

  • Tyra Tingleff (b. 1984, Hønefoss, Norway). Lives and works in Berlin, Germany. 

    Through familiar techniques such as dripping, spraying, staining and scrubbing, Tyra Tingleff creates a multitude of reference points with layer upon layer of paint on her canvases. In her work, limits are blurred, as one thing becomes part of the next. Surprisingly, her paintings appear as smooth surfaces, inhabited by an inner outer space. Within the limits of the canvas, an expanding, unknown universe reveals itself. The ever restless surface of Tingleff’s paintings negate language all together, showing us that what is real, is an uncertain thing. 

    Tingleff attended The Royal Academy of Art in Copenhagen and has a MA in painting from the Royal College of Art in London. She also has a BA in fine arts from The National Academy of Arts in Bergen. Selected solo exhibition and two persons shows include: Will always be the opposite The Sunday Painter, London, UK, 2018. Solo presentation at Frame, Frieze NYC, 2018. If you could only come back, even just for one night, ChertLüdde Gallery, Berlin, DE, 2016. Closer Scrub, SALTS, Basel, CH, 2015. 

  • Vivian Greven (b. 1985, Bonn, Germany). Lives and works in Düsseldorf, Germany.

    Vivian Greven’s drawings play on the opposition between representation and abstraction. Her work evoke bodily structures, dualism and human existence in a dynamic, clear and pure manner. Through a methodical development, done by adding and subtracting parts of the final result, Greven takes us back to our touch instinct, where negative space contributes as abstract meets sensual. What is presented is not the passive bodies of classical sculpture, but active, androgynous figures in sensory union.  

    Greven has an education in fine art from Kunstakademie Düsseldorf/ Meisterschülerin and in English Studies from Bergische Universität Wuppertal in Germany. Selected solo- and group exhibitions include: Insane in the Membrane, Sammlung Philara, Düsseldorf. A m o r e, Aurel Scheibler, Berlin. Ekstase, Kunstmuseum Stuttgard. GRAZIA, Aurel Scheibler, Berlin. Eyes Wide Shut, STRABAG Kunstforum, Vienna. 

“And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects "unfamiliar," to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object: the object is not important...“

- Victor Shklovsky, from his text "Art as Technique", 1917


Galleri Golsa is proud to present the group exhibition To Make The Stone Stony with artists Tyra Tingleff, Johanne Hestvold, Anders Holen, Vivan Greven and Allison Katz. According to Shklovsky, the purpose of art is ‘defamiliarization’– to make (something) unfamiliar or strange. The exhibition comprise drawing, painting, ceramics and sculpture. The different works all express an interest in exploring traditional materials and practices. The result however, is complex and distinct expressions that challenge the viewer and share a common aim; to make the known appear unknown. 

In their work, these artists invite us to liberate our perception from automatization, to make visible what is strange in our familiar surroundings. Rather than our understanding coming together with the meaning of objects, the effect of these works is a special observation in the beholder; a seeing, rather than recognition. They invite us to wake up, look and try to piece together. See something we already know, like for the first time. Deform the usual, and generate a new vision in us. They tear down the veil of familiarity, to make us question and restructure our normal perception of ‘reality’. They make the stone stony.

Tekst by Nora Fremmerlid


  • Allison Katz (b. 1980, Montreal, Canada). Lives and works in London, UK.

    The glazed ceramic plates of Allison Katz bring together opposing expressions, and let them coexist on the same surface. Katz has swapped the more controlled process of painting for the unpredictable results of the burning oven. The content of a rectangular artwork is forced into a tondo, transforming the usually open surface of the canvas into an enclosed, sealed plaque. The circle as a symbolic shape embodies a history of associations, spanning the cosmos, early technology, coins and medals, as much as it references the functional and domestic surface of nourishment. Katz constructs a mythical presence, referencing the past (including her own painting archive) and suggesting a future, thus abolishing chronology all together.  

    Katz has a MFA from Columbia University in New York, USA, and a BFA from Concordia University in Montreal, Canada. Selected solo exhibitions include: Muse with a short fuse, Antenna Space, Shanghai, China. Period, Gio Marconi, Milan, Italy. Diary w/o Dates, Oakville Galleries, Oakville, Canada; MIT List Visual Arts Center, Boston, US. Fig-Futures, Grundy Art Gallery, Blackpool, UK. 

  • Anders Holen (b. 1986, Skien, Norway). Lives and works in Oslo, Norway 

    Anders Holen’s sculptures are complex creatures, evoking poetic and enigmatic narratives. Casts of gaping mouths held open by a dentist tool forcing the lips apart, are characterized by their brutal expression in contrast with the delicate and fragile material and its fine, glazed surface. The fragmented, assembled bodily parts and the emphasis on the material, puts Holen’s work in a modern practice of abstraction, while still pointing towards a more classical tradition. By exploring elements such as the it and the self in different compositions, his work erases the distinction between the subject and the object.

    Holen has a BFA from The National Academy of Arts in Oslo, Norway, and attended Einar Granum Kunstfagskole in Oslo, Norway. Selected solo- and group exhibitions include: Sun and Spring in January, Astrup Fearnley Museum of Contemporary Art, Oslo. Peder Balke Senteret, Kapp, Norway. Agent, Giorgio Galotti, Torino, Italy. 

  • Johanne Hestvold (b. 1988, Bergen, Norway). Lives and works in Oslo, Norway.

    Johanne Hestvold’s sculptures raises issues related to the limits between representation and abstraction. Her sculptural expression can be understood as a further development of the minimalistic tradition in art history. Her work becomes collages of visual information compressed into minimalistic objects, pointing in different directions. Finding their model in ordinary, everyday objects, the sculptures tell stories of recognition and confusion.  

    Hestvold has an MA from Malmö Art Academy, and has a BA from Bergen Academy of Art and Design. Hestvold studied sculpture through the sculpture department at Kuvataideakademia Helsinki, Finland, and have an education background in Literature studies at the Universty in Bergen, Norway. Selected solo- and group exhibitions include: Disse koppene har ikke mistet sjelen, Kunstnerforbundet, Oslo. Eyeye, Cinnamon, Rotterdam. Museet/The Museum/المتحف, Malmö Konstmuseum. Mitt Landskap, Nordnorsk Kunstnersenter, Svolvær, Norway. NN-A NN-A NN-A, Astrup Fearnley Museum, Oslo. Høstutstillingen, Kunstnernes Hus, Oslo. 

  • Tyra Tingleff (b. 1984, Hønefoss, Norway). Lives and works in Berlin, Germany. 

    Through familiar techniques such as dripping, spraying, staining and scrubbing, Tyra Tingleff creates a multitude of reference points with layer upon layer of paint on her canvases. In her work, limits are blurred, as one thing becomes part of the next. Surprisingly, her paintings appear as smooth surfaces, inhabited by an inner outer space. Within the limits of the canvas, an expanding, unknown universe reveals itself. The ever restless surface of Tingleff’s paintings negate language all together, showing us that what is real, is an uncertain thing. 

    Tingleff attended The Royal Academy of Art in Copenhagen and has a MA in painting from the Royal College of Art in London. She also has a BA in fine arts from The National Academy of Arts in Bergen. Selected solo exhibition and two persons shows include: Will always be the opposite The Sunday Painter, London, UK, 2018. Solo presentation at Frame, Frieze NYC, 2018. If you could only come back, even just for one night, ChertLüdde Gallery, Berlin, DE, 2016. Closer Scrub, SALTS, Basel, CH, 2015. 

  • Vivian Greven (b. 1985, Bonn, Germany). Lives and works in Düsseldorf, Germany.

    Vivian Greven’s drawings play on the opposition between representation and abstraction. Her work evoke bodily structures, dualism and human existence in a dynamic, clear and pure manner. Through a methodical development, done by adding and subtracting parts of the final result, Greven takes us back to our touch instinct, where negative space contributes as abstract meets sensual. What is presented is not the passive bodies of classical sculpture, but active, androgynous figures in sensory union.  

    Greven has an education in fine art from Kunstakademie Düsseldorf/ Meisterschülerin and in English Studies from Bergische Universität Wuppertal in Germany. Selected solo- and group exhibitions include: Insane in the Membrane, Sammlung Philara, Düsseldorf. A m o r e, Aurel Scheibler, Berlin. Ekstase, Kunstmuseum Stuttgard. GRAZIA, Aurel Scheibler, Berlin. Eyes Wide Shut, STRABAG Kunstforum, Vienna. 

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