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<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nWe are pleased to present Idun Baltzersen\u2019s first solo exhibition at the gallery: Domestication. Idun Baltzersen was born 1987 in Trondheim, Norway. She is educated at Bergen Academy of Art and Design, Norway and University of Arts, Crafts and Design, Stockholm, Sweden. Since finishing her degree in 2014, she lives and works in Stockholm. She works cross-boundary, monumental and spatial with drawing and printmaking in various forms \u2013 on paper, textile and wood.<\/p>\n
The exhibition Domestication mainly presents her woodcut works. Large plywood boards are processed with knives and chisel, to be used as originals. The images are printed by hand on different types of fabrics on the studio floor, which makes each print unique. After this the fabrics are cut and reassembled into large textile collages. These works are presented together with the woodblocks, which have also been painted to evoke the right expression. Some recent woodblocks have been cut into parts to resurrect as three-dimensional collages (sculptures). Idun describes the physical resistance as an essential part of the working process.<\/p>\n
Working with woodcuts is actually a quite agonizing process. My back gets crooked, I get splinters in my fingers, it is hard. But unlike when I draw on paper, it\u2019s the technique that controls me, and thus the result becomes a dialogue with the material. I think that\u2019s a good power balance.<\/p>\n
The title of the exhibition, Domestication, a concept initially used to tame and cultivate animals and nature, can also describe external and internal demands to conform to prevailing social norms. The works in the exhibition raise questions about self-discipline, submission and control over one\u2019s own body. Idun Baltzersen\u2019s imagery mostly depicts girls and women. She is interested in female heroes, martyrs and how women are represented historically, in art and in popular culture, but is also inspired by her own life experiences and current discussions.<\/p>\n
I often think about my teenage years, how you as a woman suddenly go from being a child to an object for the male gaze, and the discomfort that follows. I look at body language and depict teens with hoddies, converse and insecure postures. They look away, into their own world. They are their own protagonists, all main characters in their own errant bodies, and each other\u2019s antagonists, alone together. I give them authority and let them become monumental so that the viewer feels small.<\/p>\n
By shifting the positions, she gives strength to the observed. It is a manifestation of teenage anxiety, melancholy and the right to be yourself \u2013 a reminder of the possibility to overcome anything that might come in one\u2019s way.<\/p>\n
Idun Baltzersen has attracted a lot of attention even though this is her first solo exhibition in the gallery. In 2014 she received The Anna-Lisa Thomson grant and an exhibition at Uppsala Art Museum, Sweden. The following year she was one of the recipients of the Fredrik Roos grant who exhibited at Moderna Museet in Malm\u00f6, Sweden. In 2016 she received the Bernadotte grant from the Royal Academy of Fine Arts, which involved a studio and exhibition in the academy building. The collaboration with Galleri Magnus Karlsson began with a group exhibition at Hellvi K\u00e4nnungs, Gotland, Sweden in the summer of 2016, and continued with a renowned solo presentation at Market Art Fair 2017.<\/p>\n
SVENSKA:
\nVi har gl\u00e4djen att presentera Idun Baltzersens f\u00f6rsta separatutst\u00e4llning p\u00e5 galleriet: Domestication. Idun Baltzersen \u00e4r f\u00f6dd 1987 i Trondheim, Norge. Hon \u00e4r utbildad p\u00e5 Konsth\u00f6gskolan i Bergen och Konstfack i Stockholm. Sedan sin examen 2014 bor och arbetar hon i Stockholm. Hon arbetar gr\u00e4ns\u00f6verskridande, monumentalt och rumsligt med teckning och grafik i olika former \u2013 p\u00e5 papper, tyg och tr\u00e4.<\/p>\n
I utst\u00e4llningen Domestication presenteras huvudsakligen hennes arbete med tr\u00e4snitt. Stora plywoodskivor bearbetas med kniv och st\u00e4mj\u00e4rn f\u00f6r att sedan anv\u00e4ndas som original. Bilderna trycks f\u00f6r hand p\u00e5 olika typer av textil p\u00e5 atelj\u00e9golvet vilket inneb\u00e4r att alla tryck blir unika. De tryckta tygerna klipps sedan s\u00f6nder och sammanfogas p\u00e5 nytt i stora textila collage. I presentationen visas de tillsammans med tr\u00e4skivorna som ocks\u00e5 bem\u00e5las f\u00f6r att f\u00e5 r\u00e4tt uttryck. I n\u00e5gra nya arbeten har de ocks\u00e5 s\u00e5gats i delar f\u00f6r att \u00e5teruppst\u00e5 som tredimensionella collage (skulpturer). Idun beskriver det fysiska arbetet och motst\u00e5ndet som en viktigt del av processen.<\/p>\n
Det \u00e4r egentligen en ganska pl\u00e5gsam process med tr\u00e4snitt. Jag blir sned i ryggen, f\u00e5r flisor i fingrarna, det \u00e4r sv\u00e5rt. Men i motsats till n\u00e4r jag tecknar p\u00e5 papper \u00e4r det tekniken som kontrollerar mig, och d\u00e4rmed blir resultatet en dialog med materialet. Det tycker jag \u00e4r en fin maktbalans.<\/p>\n
Utst\u00e4llningens titel, Domestication, brukar oftast anv\u00e4ndas som ett begrepp f\u00f6r att t\u00e4mja och kultivera djur och natur, men kan ocks\u00e5 beskriva yttre och inre krav p\u00e5 anpassning till r\u00e5dande normer i samh\u00e4llet. Verken i utst\u00e4llningen st\u00e4ller fr\u00e5gor kring sj\u00e4lvdisciplin, underkastelse och kontroll \u00f6ver sin egen kropp. Idun Baltzersens bildv\u00e4rld befolkas huvudsakligen av flickor och kvinnor. Hon \u00e4r intresserad av kvinnliga hj\u00e4ltar, martyrer och hur kvinnor representeras historiskt, i konsten och i popul\u00e4rkulturen, men inspireras ocks\u00e5 av erfarenheter fr\u00e5n sitt eget liv och samtida diskussioner.<\/p>\n
Jag t\u00e4nker mycket p\u00e5 ton\u00e5rstiden, hur man som kvinna pl\u00f6tsligt g\u00e5r fr\u00e5n att vara ett barn till ett objekt f\u00f6r den manliga blicken, och obehaget i detta. Jag tittar mycket p\u00e5 kroppsspr\u00e5k och avbildar ton\u00e5ringar med hoddies, converse och os\u00e4ker h\u00e5llning. De ser bort\u00e5t, in i sin egen v\u00e4rld. De \u00e4r sina egna protagonister, alla huvudpersoner i sina egna vilsekomna kroppar, och varandras antagonister, ensamma tillsammans. Jag ger dem auktoritet och l\u00e5ter dem bli monumentala s\u00e5 att betraktaren ska k\u00e4nna sig liten.<\/p>\n
Genom att skifta positionerna l\u00e5ter hon den betraktade ta plats. Det \u00e4r en manifestation av ton\u00e5rs\u00e5ngest, melankoli och r\u00e4tten att vara sig sj\u00e4lv. H\u00e4r finns en p\u00e5minnelse om m\u00f6jligheten att \u00f6vervinna allt som st\u00e5r i ens v\u00e4g.<\/p>\n
Idun Baltzersen har uppm\u00e4rksammats mycket redan trots att detta \u00e4r hennes f\u00f6rsta separatutst\u00e4llning p\u00e5 galleriet. 2014 fick hon Anna-Lisa Thomsons stipendium och en utst\u00e4llning p\u00e5 Uppsala Konstmuseum. 2015 var hon en av Fredrik Roos-stipendiaterna som visades p\u00e5 Moderna Museet i Malm\u00f6. 2016 erh\u00f6ll hon Bernadotte-stipendiet fr\u00e5n Konstakademien som innebar en atelj\u00e9 och utst\u00e4llning i akademiens salar. Samarbetet med Galleri Magnus Karlsson inleddes med en grupputst\u00e4llning p\u00e5 Hellvi K\u00e4nnungs Gotland sommaren 2016 och fortsatte med en uppm\u00e4rksammad solopresentation p\u00e5 Market Art Fair 2017.<\/p>\n
<\/p>\n
More info & pictures of all the works at Galleri Magnus Karlssons website<\/a><\/p>\n <\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Domestication Galleri Magnus Karlsson 21.4\u201419.5 2018 Read a review by Leif Mattsson in Omkonst.com (In Swedish only) Read a review by Clemens Poellinger in SvD (in Swedish only) Read a review by Millou Allerholm in DN (Swedish) Read a review by Andreas Mangione in Kunstkritikk (swedish) We are pleased to present Idun Baltzersen\u2019s first […]<\/p>\n","protected":false},"author":1,"featured_media":836,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[6,5],"tags":[],"class_list":["post-516","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-installation-view","category-woodcut"],"jetpack_featured_media_url":"https:\/\/idunbaltzersen.com\/wp-content\/uploads\/2018\/05\/lar3.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/posts\/516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=516"}],"version-history":[{"count":17,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/posts\/516\/revisions"}],"predecessor-version":[{"id":1287,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/posts\/516\/revisions\/1287"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=\/wp\/v2\/media\/836"}],"wp:attachment":[{"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idunbaltzersen.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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