Drawings

Education contra experience

Education contra experience

  • : Ink on paper. 30 x 20 cm. 2013
Black Hole

Black Hole

  • : Pencil on paper. 42 x 30 cm. 2013
The Emulation

The Emulation

  • : Pencil on paper. 30 x 20 cm. 2011
If Only

If Only

  • : Pencil on paper. 30 x 20 cm. 2012
Dove

Dove

  • : Pencil on paper. 20 x 15 cm. 2010
The Flag of the Mad Mother

The Flag of the Mad Mother

  • : Pencil on paper. 170 x 120 cm. 2009
Far From Understand

Far From Understand

  • : Pencil on paper. 70 x 50 cm. 2011
Hallow

Hallow

  • : Pencil on paper. 20 x 15 cm. 2010
Mother & Child

Mother & Child

  • : Pencil on paper. 42 x 30 cm. 2006
Knife & Owl

Knife & Owl

  • : Pencil on paper. 42 x 30 cm. 2006
Psychology today

Psychology today

  • : Charcoal on paper. 107 x 75 cm. 2013
Where the fuck

Where the fuck

  • : Charcoal on paper. 107 x 75 cm. 2013
Symphony for improvisers

Symphony for improvisers

  • : Charcoal on paper. 107 x 75 cm. 2013
Mask

Mask

  • : Pencil on paper. 30 x 20 cm. 2010
Shufflehead

Shufflehead

  • : Pencil on paper. 30 x 20 cm. 2010
Arm

Arm

  • : Pencil on paper. 42 x 30 cm. 2008
Donkey

Donkey

  • : Pencil on paper. 42 x 30 cm. 2011
The Fiest

The Fiest

  • : Pencil on paper. 70 x 50 cm. 2008
La Resistance

La Resistance

  • : Pencil on paper. 70 x 50 cm. 2008
Carrbian Affair

Carrbian Affair

  • : Pencil on paper. 70 x 50 cm. 2008
Arctic Monkey

Arctic Monkey

  • : Pencil on paper. 70 x 50 cm. 2008
Felix Culpa – A Handmade MAssacre

Felix Culpa – A Handmade MAssacre

  • : Pencil on paper. 180 x 120 cm. 2006
Felix Culpa – A Handmade Massacre – Detail

Felix Culpa – A Handmade Massacre – Detail

  • : Pencil on paper. 180 x 120 cm. 2006
Kukanka – Detail

Kukanka – Detail

  • : Pencil on paper. 200 x 120cm. 2010
Kiss

Kiss

  • : Pencil on paper. 100 x 80 cm. 2008
Manual

Manual

  • : Pencil on paper. 42 x 30 cm. 2012
Nietzsche

Nietzsche

  • : Pencil on paper. 42 x 30 cm. 2011
Thomas Mann

Thomas Mann

  • : Pencil on paper. 42 x 30 cm. 2011
Hannah Arendt

Hannah Arendt

  • : Pencil on paper. 42 x 30 cm. 2011
Visionary Times

Visionary Times

  • : Pencil on paper. 42 x 30 cm. 2010
Poetic Times

Poetic Times

  • : Pencil on paper. 42 x 30 cm. 2010
Divided Tiems

Divided Tiems

  • : Pencil on paper. 42 x 30 cm. 2010
Strong Times

Strong Times

  • : Pencil on paper. 42 x 30 cm. 2009
Surviving Times

Surviving Times

  • : Pencil on paper. 42 x 30 cm. 2010
Resurrecting Times

Resurrecting Times

  • : Pencil on paper. 42 x 30 cm. 2009
Fertility Times

Fertility Times

  • : Pencil on paper. 42 x 30 cm. 2009
Bloody Times

Bloody Times

  • : Pencil on paper. 42 x 30 cm. 2009
Painted Times

Painted Times

  • : Pencil on paper. 32 x 30 cm. 2010
Spiritual Times

Spiritual Times

  • : Pencil on paper. 42 x 30 cm. 2010
Conceptual Times

Conceptual Times

  • : Pencil on paper. 42 x 30 cm. 2010
Treasure

Treasure

  • : Pencil on paper. 20 x 15 cm. 2009
Girl in hat

Girl in hat

  • : Pencil on paper. 20 x 15 cm. 2008
Girl & Elephant

Girl & Elephant

  • : Pencil on paper. 20 x 15 cm. 2008
Cod

Cod

  • : Pencil on paper. 20 x 15 cm. 2010

Paintings

Guards

Guards

  • : Oil on canvas. 50 x 60 cm. 2014
Untitled (Flowers)

Untitled (Flowers)

  • : Oil on canvas. 60 x 50 cm. 2014
Untitled (Candles)

Untitled (Candles)

  • : Oil on canvas. 70 x 50 cm. 2013
Portrait

Portrait

  • : Oil on canvas. 70 x 50 cm. 2014
Untitled (Brush)

Untitled (Brush)

  • : Oil on canvas. 50 x 40 cm. 2014
Mythos

Mythos

  • : Oil on canvas. 40 x 50 cm. 2013
Untitled (Monet)

Untitled (Monet)

  • : Pencil on paper. 50 x 40 cm. 2014
Untitled

Untitled

  • : Oil on canvas. 50 x 40 cm. 2014
Classic 03

Classic 03

  • : Oil on canvas. 60 x 50 cm. 2014
Classic 02

Classic 02

  • : Oil on canvas. 60 x 50 cm. 2014
Classic 01

Classic 01

  • : Oil on canvas. 60 x 50 cm. 2014
Untitled

Untitled

  • : Oil on canvas. 60 x 50 cm. 2014
Untitled (Dark Side)

Untitled (Dark Side)

  • : Oil on canvas. 50 x 40 cm. 2014
A Piece of the Moon

A Piece of the Moon

  • : Oil on canvas. 40 x 50 cm. 2014
Untitled (Hands)

Untitled (Hands)

  • : Oil on canvas. 40 x 50 cm. 2014
Untitled (Paradise)

Untitled (Paradise)

  • : Oil on canvas. 40 x 50 cm. 2014
Untitled

Untitled

  • : (Horse) Oil on canvas. 40 x 50 cm. 2013
North

North

  • : Oil on canvas. 30 x 40 cm. 2014
West

West

  • : Oil on canvas. 40 x 30 cm. 2014
East

East

  • : Oil on canvas. 40 x 30 cm. 2014

Videos

promotion video

 

 

Slideshow Johnny

Alternating between beat poetry, comedy and with a surreal, dark and poetic sensibility, ‘Slideshow Johnny’ is a portrait of an experimental outsider artist, dedicated to the bone, highly influenced by personal issues. The video consists of six acts diverse in tone and subject matter. There is a hilarity, naïveté and insecurity depicted through the character of Johnny that explores the fragility of individual artistic expression alongside the scrutiny and hasty critique of the mainstream. Skauen pushes that fragility to its limits and invites the audience to engage with those aspects of artistic practice and opinion making. At the forefront of the work is fear of mediocrity and the notion of legitimacy and critique, the audience is a vital part of the act, their laughter, clapping, cheering, or bemusement as well as other ambient sounds is heard throughout the work.

The ludicrous nature of aesthetic impulse and its appreciation is made most apparent in the first video “Why Is”, with a question such as “Why is upside down interesting?” Johnny reflects on passing trends and conventions. In the next vignette, he is indeed upside down as he performs, pushing himself to physical limits whilst balancing out instances of the pathetic with language and, as an aftereffect, creates an apparent mirror of his own unconscious. Another chapter “5 Up for a Panic” relates the interior workings of Johnny, and pushes his identity as tortured artist followed by “Waterproof” a short sketch where Johnny is burying his head in a water bucket whilst playing the guitar, muting “the words that tell the truth”. In the last chapter ‘Q&A, Johnny has transcended these endeavours to become a spiritual medium through which people can ask the vital questions.

Skauens portrait of Johnny alternates between extreme self-confidence and doubt, represented in the plastering of posters to announce the show, random chairs and oversized screens, with a theatrical yet budget installation, Skauen proposes a fine line between the pathetic, and the super star, and the fickle nature of the audience.

6 Episodes

Slideshow Johnny

Alternating between beat poetry, comedy and with a surreal, dark and poetic sensibility, ‘Slideshow Johnny’ is a portrait of an experimental outsider artist, dedicated to the bone, highly influenced by personal issues. The video consists of six acts diverse in tone and subject matter. There is a hilarity, naïveté and insecurity depicted through the character of Johnny that explores the fragility of individual artistic expression alongside the scrutiny and hasty critique of the mainstream. Skauen pushes that fragility to its limits and invites the audience to engage with those aspects of artistic practice and opinion making. At the forefront of the work is fear of mediocrity and the notion of legitimacy and critique, the audience is a vital part of the act, their laughter, clapping, cheering, or bemusement as well as other ambient sounds is heard throughout the work.

The ludicrous nature of aesthetic impulse and its appreciation is made most apparent in the first video “Why Is”, with a question such as “Why is upside down interesting?” Johnny reflects on passing trends and conventions. In the next vignette, he is indeed upside down as he performs, pushing himself to physical limits whilst balancing out instances of the pathetic with language and, as an aftereffect, creates an apparent mirror of his own unconscious. Another chapter “5 Up for a Panic” relates the interior workings of Johnny, and pushes his identity as tortured artist followed by “Waterproof” a short sketch where Johnny is burying his head in a water bucket whilst playing the guitar, muting “the words that tell the truth”. In the last chapter ‘Q&A, Johnny has transcended these endeavours to become a spiritual medium through which people can ask the vital questions.

Skauens portrait of Johnny alternates between extreme self-confidence and doubt, represented in the plastering of posters to announce the show, random chairs and oversized screens, with a theatrical yet budget installation, Skauen proposes a fine line between the pathetic, and the super star, and the fickle nature of the audience.

Magic Number

Mother

My First Poem

Phone Home

Early Tapes

Don´t Let Me Down

The Blind Spot

 

 

THE BLIND SPOT (2011)
19 MIN.
This filmic essay consists of an accumulation of found images in swift and slow succession. The artist used random terms on internet search tools resulting in an array of reproductions that span from snapshots of daily life to reproductions of paintings. Skauen creates a narrative from these images, building a story by placing them into a new context and dialogue with each other. In contrast to cineastic experience and traditional video works, the film includes no moving images. Solely made out of unedited single still photos in low-resolution Skauen creates narrative and a dynamic flow by horizontal panning, fast cuts and the zooming or rotating of images. The alternation between abstract and figurative sequences is tailored to the story, accompanied by noises of cars, guns shots and sirens as well as self-composed sound.

Special effects such as the insertion of neon letters and the overall excessive and kitschy qualities of the work establish a connection to the trash film aesthetic of the 50s and 60s. An extensive range of traditional film genres is displayed throughout the story, including comedy, thriller, horror and drama. Divided into seven chapters, the artist narrates with a captivating and striking voice the life of the blind prostitute Theresa. As the obsessive approach of the protaganists mounts, the peculiarity of the film increases. The viewer is confronted with a sequence of events and detail that play with levels of emotion, bathos and the bizarre. Skauens technique of elevating still images into motion pictures serves to depict and highlight the clash between absurdity and reality that is central to his work. At the end of The Blind Spot, the key player is a smoking pipe displayed with an ironic reference to René Magritte.

The title of the video work is paradigmatic: A blind spot is an obscuration of the visual field, in which the brain obstructs information passing from one eye to the other. With this work, Skauen analyses not only the perception of our daily life, but besides this, he illustrates the exchangeability, currency and potency of images of our everyday culture, which belong to our own collective consciousness.

Laura Bartlett

My Land

Stunt Sun

Kukanka

 

Filmed drawing, 10 min, 2010

Martin Skauen’s production is tuned to a darker scale. He works with pencil drawings in large formats. These describe a world out of kilter, immensely grotesque and flamboyant, yet not without humour. The style of drawing is captivatingly detailed. Scenes of raving decadence can remind us of Hieronymus Bosch’s intricate visions of Hell, with bodies enduring torment and enslaved to pleasure, as summed up in The Garden of Earthly Delights (1505-10). Skauen deploys an unusual technique when he films the drawings with a moving hand-held camera. The camera dwells on specific areas, creating the illusion of movement and an infinite yet claustrophobic room. Skauen gives voice to absurd worlds anchored in the unconscious, and throughout his works he conveys a conjuring forth of prehistoric forces, shamanism, violence and sexuality found in the world’s earliest inhabitants as well as in so-called modern human beings. Speculative sadism and an inclination towards ritual group-behaviour follow civilization like a shadow. The Polar Bear Split (2006), his work from Imagine the Universe Burst into Song, focuses on worship and fanaticism in religion, sexuality and youth culture. The camera pans mechanical and hybrid characters engrossed in an ongoing drama that follows its own inherent logic. An electrical circuit seems to load over violent and ecstatic scenes. A religious worship, in the form of a group stretching its hands in the air, is attended by hallelujahs and clapping hands.
The pendulation between ecstasy and drunkenness, violence and uproar, shares an affinity with Dan Graham’s famous Rock My Religion (1982-84). Through ecstatic experience, Graham binds together Puritan religious movements, e.g. the Shakers, with rock music and youth culture development since the 1950s. The film shows religious sects’ method of rhythmically reciting Bible texts, speaking in tongues, removing clothes and shaking and rolling on the ground in collective attempts to expel Satan. These recordings are cross-clipped with rock concert scenes in which ecstatic frenzy is achieved by similar means. Shake, rattle and roll.

Line Ulekleiv

Felix Culpa – A Handmade Massacre

 

Filmes drawing, 5 min. 2007

Using an iconology whose origin can be traced both to the visionary compositions of the Flemish Renaissance and Hieronymus Bosch and the illustrations of the libertarian literature and contemporary sadomasochistic comics, Martin Skauen organizes groups of figures which combine the apocalyptic nightmare with subversive sarcasm, orgiastic eroticism with unsettling violence, primal impulses with contemporary instability. Although they are easily recognisable, his figures evoke a diverse and multifaceted system of references; hybrid, lustful and week, tortured and destructive, without any of the recognisable behavioural stereotypes of sex or age, potentially different versions of the same character, they generate the poetics of de Sade: “There is no better way to know death than to link it with some licentious image”.

In the video Felix Culpa, A handmade Massacre (2007), Skauen`s shapes create a mound of bodies, object and animals that are connected to each other through sexual or aggressive actions; while between them there are ropes, weapons, human parts and liquids. The bodies remain hovering without the existence of other spatial elements. the scene of massacre, the birth of a baby, bodies which hover vandalizing one another, the breast feeding of a pig by man, the gouging out anothers eye. A woman masturbates while another naked woman touches her vulva on a wooden cross. A feathered creature eats a womans innards while a different one attacks anothers eye. Bodies of babies massacre other bodies and participate in sexual acts.
However, Skauens chaotic painted complex is recognized and gains narrative unity through its cinematographic renegotiation. By diverting from the clear structure of the painted work, Skauen films his work, navigates its fragmentary episodes, combines the movement of the camera with audio units, organising new levels and suggesting a narrative flow in the action. Through the production of his innovative images a radical metaphor of the current condition – against a primal, unconscious, disordered world is becoming apparent. Mental chaos signifies political disruption.

Giannis Arvanitis

The Polarbear Split – A Handmade Musical

 

 

Filmed drawing, 6 min. 2006

Martin Skauen’s production is tuned to a darker scale. He works with pencil drawings in large formats. These describe a world out of kilter, immensely grotesque and flamboyant, yet not without humour. The style of drawing is captivatingly detailed. Scenes of raving decadence can remind us of Hieronymus Bosch’s intricate visions of Hell, with bodies enduring torment and enslaved to pleasure, as summed up in The Garden of Earthly Delights (1505-10). Skauen deploys an unusual technique when he films the drawings with a moving hand-held camera. The camera dwells on specific areas, creating the illusion of movement and an infinite yet claustrophobic room. Skauen gives voice to absurd worlds anchored in the unconscious, and throughout his works he conveys a conjuring forth of prehistoric forces, shamanism, violence and sexuality found in the world’s earliest inhabitants as well as in so-called modern human beings. Speculative sadism and an inclination towards ritual group-behaviour follow civilization like a shadow. The Polar Bear Split (2006), his work from Imagine the Universe Burst into Song, focuses on worship and fanaticism in religion, sexuality and youth culture. The camera pans mechanical and hybrid characters engrossed in an ongoing drama that follows its own inherent logic. An electrical circuit seems to load over violent and ecstatic scenes. A religious worship, in the form of a group stretching its hands in the air, is attended by hallelujahs and clapping hands.
The pendulation between ecstasy and drunkenness, violence and uproar, shares an affinity with Dan Graham’s famous Rock My Religion (1982-84). Through ecstatic experience, Graham binds together Puritan religious movements, e.g. the Shakers, with rock music and youth culture development since the 1950s. The film shows religious sects’ method of rhythmically reciting Bible texts, speaking in tongues, removing clothes and shaking and rolling on the ground in collective attempts to expel Satan. These recordings are cross-clipped with rock concert scenes in which ecstatic frenzy is achieved by similar means. Shake, rattle and roll.

Line Ulekleiv

Metaphoria

Performance 2013

Street Fighter – Installation view

 

 

11 garbage containers, 11 voices, 11 speakers
One speaker in each container.
Soundtrack from the aracde game; Street Fighter II, 1991.
Performed in acapella, no instruments

Bio

Curiculum Vitae 

Martin Skauen
1975
Fredrikstad, Norway
Lives and works in Berlin

Education  

1998-2002  National Academy of Fine Arts, Oslo, Norway
1996-1998  Mølla Artschool, Moss, Norway

Residency 

Kunstlerhaus Bethanien, Berlin, 2007 – 2008

 

Exhibitions

2014

Dina4 Projekte, Protect Me From what I Am
Group show, Munich, DE, May 21 – Jun29, 2014

2013

Central House of Artists (CHA), VIDEONALE 14 on Tour
Curated by Tasia Langenbach & Jennifer Gassmann, Moscow, 18 – 24 Sept. 2013
Impakt Festival, Slideshow Johnny
Main programme & the event programme, Utrecht, Holland Oct 30 – Nov 3, 2013
New Orleans Film Festival, Slideshow Johnny
Impakt Abroad, Cinema Reset, Press Street, Oct 10 – 17. 2013
Norrtalje Konsthall, Nordic Drawing
Groups show,  Norrtalje, Sweeden, Nov 2 – Dec 12, 2013
Tidens Krav, Hi Mom I`m Coming Back to the Womb
Group show, Oslo, 13- 29 Sept. 2013
Museum On the Seam, Flesh & Blood
Group Show, curated by Raphie Etgar, Jerusalem, Israel, Feb – Sept. 2013
Thalie Art Foundation, Found in Translation, Chapter M
Group show curated by Emmanuel Lambion for the Muse Programme
Thalie Art Foundation – Nathalie Guiot and Severin Lahache, Brussels, April 8 – 21, 2013
Kunstmuseum Bonn, Videonale 14, Festival for Contemporary Video Art
Group show, Feb.15 – April 7, 2013, Bonn, Germany
Babylon Kino, Videoart at Midnight, Slideshow Johnny
Solo presentation, Babylon Kino Mitte, Berlin, Germany, March 8, 2013
UKS, (Young Artist Society), Possessions
Group show curated by the project FRANK, Oslo, NO, March 8 – April 14, 2013
Spriten Kunsthall, Tegning Nå
Group show, Skien, Norway, July 12 – Aug 18, 2013
Kunsthall Grenland, Slideshow Johnny
Solo Presentation, Porsgrunn, Norway, July 12 – Aug 18, 2013
CHERT, Role Models
Solo presentation, Performance by Slideshow Johnny, Berlin, July 13, 2013

 

2012

Art Statements, Slideshow Johnny
Solo show, Laura Bartlett Gallery, Art Basel 43. Basel, Switzerland. 14 -17. June 2012
Oslo S, Tegneklubben (The Drawing Club)
Public project commissioned by Kunsthall Oslo, June 21 – Aug 15, 2012
OSL Contemporary, Slideshow Johnny
Solo show, Oslo, Norway, Oct.11 – nov.12, 2012
Bergen Kunstmuseum, Desire
Group show, Bergen, Nor, June 14 – Sept 16, 2012
Galleri Maria Veie, Apocalyptic Bliss
Group show, Oslo, Norway, April 3 – 29, 2012
Kunstlerhaus Bethanien, Berlin Status
Group show, Berlin, April 12 – May 6, 2012

 

2011

Laura Bartlett Gallery, The Blind Spot
Solo show, London,UK, 25.11 2011- 14 .01. 2012
Luis Adelantado, An Imaginary Party
Groupshow, Valencia, Spain, june-July 2011
MONA, Museum of Old and New Art
Group show, Tazmania, Aus., Feb 2011
Mihai Nicodim Gallery
Group show, Los Angeles, CA, Feb-Mar. 2011
Sammlung Falkenberg, Captain Pamphile
Group show. Hamburg, Jan-Feb 2011
Soho House Miami, Collection
Group show, Miami, USA, May 2011
ZAK Galleria, Tracable
Group show, Siena, Italy, Jan-Feb 2011

 

2010

Galleri MGM, Bold Peek Point
Solo show, Oslo, Norway, Oct. 2010
Kunsthall Walkreiburg, Pamphile Show
Group show, Curated by Günter Reski, Walkreiburg,Germany, Sept. 2010.
Luis Adelantado
Group show, Valencia, Spain, Sept 2010
Soho House Berlin (Collection)
Group hsow, Berlin, Open from May 2010.
Forgotten Bar, The Show
Group show, Berlin, Germany, May, 2010
Grimmusem
Tegne klubben, Berlin, Germany, Nov. 2010
Tegnebiennalen, (The Drawing Biennale)
Curated by Susanne Altmann & Stefan Schröder, Moss, Norway, May 1 – June 13, 2010
The Stenersen Museum, Norwegian Surrealism 1930-2010
Group show, Oslo, Norway, Feb 14 – May 9, 2010
Kunstnernes Hus, Høstutstillingen
Group show, Oslo, Norway, Sept-Oct 2010

 

2009

3rd Moscow Biennale, Against Exclusion
Curated by Jean-Hubert Martin, Moscow, Russia, Sept-Oct 2009
Galleri MGM , New Works
Group show, Oslo, Norway, Sept-Oct 2009
Internasjonalen 2nd Floor, Times (Fictional Covers)
Solo show, Oslo, Norway, Sept-Nov. 2009
Øks (Østfold Kunstnersenter)
Solo show, Fredrikstad, Norway, Sept-Oct 2009
Vestfossen Kunstlaboratorium, Nachspiel/Vorspiel
Group show, Vestfossen, Norway, May-Oct. 2009
Mihai Nicodim Gallery, Servants Swept the Sand Smooth
Solo show, L.A., California, March-April 2009
Jet, Pamphile-Show
Group show, Berlin, Germany, June-July, 2009
Laura Bartlett Gallery
Solo show, London,UK, Jan-March 2009
Mihai Nicodim Gallery, The Punishment of Luxury & Lust
Group show, L.A., California, Jan-Feb, 2009
Vice, Resisting Times
Group show, Berlin, July 2009
Peder Balke Senteret, Dark Matters
Group show, Toten, Norway, August 2009

 

2008

Galleri MGM, There`s Plenty of Gold, I`ve Been Told
Soloshow, Oslo, Norway, Jan-feb 2008
Kunstlerhaus Bethanien
Soloshow, Berlin, Sept-Oct 2008
Norske Bilder 2008
Oslo Råhus (Town Hall), Oct 2008
Astrup Fearnley, Museum, Lights On
Groupshow, Oslo, Norway, Jan – Mar 2008
Tang Contemporary Art Center
Groupshow,Curated by Carol LU, Beijing, CHI, May – August 2008
Gothenburg Kunsthall, Tomorrow Always Belongs to Us
Groupshow, Gothenburg, Sweden, June-Sept 2008
Sørlandets Kunstmuseum, Hardcore
Groupshow, Kristiansand, Norway, June – August 2008
Tegnebiennalen, (The Drawing Biennial)
Kunstnernes hus, Oslo, Norway, April – May 2008
Tegneforbundet, Tegneklubben
Groupshow, Oslo, Norway, March 2008
Lydgalleriet, Holiday in Arcadia
Groupshow, Nov. 2009

 

2007

1st  Athens Biennial 2007, Destroy Athens
September 2007
Frankfurter Kunstverein, Whenever it starts it is the right time
Group show, Curated by Chus Martinez, Frankfurt am Main, March 2007
Galleri F-15, AniMotion
Group show, Curated by Elisabeth Byre, Moss, Norway, September 2007
Galleri F-15, Living with Contemporary Art
Group show, Curated by Ole Slyngstadli, July, 2007
UKS, (Young Artist Society), Future Primitive
Group show, Curated by Helga Marie Nordby, Oslo, April 2007
Galleri 54, The Drawing Club
Grou pshow, Gothenburg, Sweden, May 2007
Skånes konstforening, The Drawing Club
Group show, Malmø, Sweden, Oct. 2007

 

2006    

Laura Bartlett Gallery, Imagine the Universe Burst Into Song
Group show, Curated By Helga Nordy and Ida Kierulf, London, UK
Galleri F-15, Aneversity
Group show, Moss, Norway
Momentum Festival of Contemporary Art
Festival Progam, Groupshow, Curated by Helga Norby and Ida Kierulf, Moss, Norway
Galeria Arsenal
Group show, Curated by Sylvia Koshanska , Bialystok, Polen
Museum for Modern Art

Norwegian video, Gdansk, Polen

 

2005  

Torpedo Bookshop
Group show, Oslo, Norway, 2005
Diesel New Art
Group show, Kopenhagen, Stockholm, Oslo, 2005
Laura Bartlett Gallery
, Observatorium
Groupshow, London, UK, 2005
Kunstnernes Hus, Høstutstillingen, (The Fall Exhibition),
Groupshow, ,Oslo , 2005
Galleri 21, Dirty Work(s)
Solo show Malmø, Sweden, 2005,
Galleri Seilduken, Suicide Sue,
Group show, Oslo, Norway
Cathleen Cullen Fine Arts, Astra Castra,
Group show, New York, USA, 2005
Bergen Kunsthall
, Tegneklubben (The Drawing Club),
Group show, Bergen,Norway, 2005
Vincent-lunge.com, It All Fuckin` fits, Webgallery

 

2004   

Studio 100
Group show, Oslo, Norway
Vekerø Sculpturegarden
Group show, Oslo, Norway
Nordic Art Info, American Elk,
Solo show, Oslo, Norway, 2004
Town Hall, Rathaus,
Group show, Oslo, Norway

 

2003  

Diip-project, Waterrats,
Collaberation, Venice, Italy, 2003
Gallery F-15, Waterrats,
Collaberation, Moss, Norway, 2003

 

2002  

The Stenersen Museum, Avgangsutstillingen
Oslo, Norway, 2002
Kunstnernes Hus, Bootstrappers,
Group show, Oslo, Norway

 

2001 

Rolf Hoff`s Collection, Summary,
Kreditkassens main office, Oslo, Norway
Subcomandante, Blue Room,
Soloshow, Oslo, Norway

 

2000   

Ocular Lab, Norwegian Walking
Group show, Melbourne, Australia
VCA, Postprfessionalism
Group show, Melbourne, Ausralia
Gallery 21:26, No Excuse
Group show, Oslo, Norway
Gallery 21:25, Raw Force
Group show, Oslo, Norway

 

Collections 

The National Museum of Art, Architecture and Design, Oslo
Museum of Old and New Art, MONA, Tasmania
Blake Byrne Collection, Los Angeles
Soho House Berlin, Miami, Babington
Rolf Hoff Collection

 

Publications (selected)

Vitamin D2, Phaidon, 2013
Art Berlin Scene, Becker Joest Volk Verlag GBR, 2013
Art Basel 43, Art Statements, Exhibition Catalogue, 2012
The Spirit that returns, Line Ulekleiv, Umelec Magazine, 2010
Against Exclusion, 3rd Moscow Biennale, Catalogue 2009.
Banality, Succour Magazine, Nov. 2009
Truce Magazine, Issue 5, Jan. 2009
Fukt, Magazine for Contemporary Drawing, 2008
The Artist as Theatricalist of Cruelty, Cristoph Tannert, BE Magazine, 2008
Vice Magazine, The No Photo Issue, Dec 2008
A Good Idea, Catalogue, Gøteborg Kunsthall 2008
Lights On, Catalogue, Astrup Fearnley Museum, 2008
Mousse Magazine, Special Guest, issue 13, 2008
As Soon As This Body… , Artist Book, Cederteg Publishing
The Meaning of Sex, Wencke Mühleisen, Christel Sverre, Pax forlag, 2007
Destroy Athens, Catalogue, Athens Biennial, 2007
AniMotion, Catalogue, Galleri F-15, 2007
Future Primitive, Fanzine, Catalogue UKS, 2007
Whenever It Starts It Is The Right Time, Catalogue, Revolver Verlag 2007
Unravelling Demons, Catalogue, 2007
Drawings, Utflukt, www.utflukt.no, 2006
Fanzine, soyfriends, www.soyfriends.com, 2006
Contributing in issue # 4 of Truce Magazine, 2005

 

Biography (selected)

Fortellerglede, Silje Hermansen, Kunstforum, Sept. 2009

Holly Myers, Los Angeles Times, April 3, 2009
Back to Classic Surrealism, Susanna Bianchini, Art e Critica, Issue 58, 2009
1st Athens Biennial, Diana Baldon, Artforum, 2008
Tegnebiennalen 2008, Mange infallsvinkler, Mona Pahle Bjerke, Klassekampen, 2008
There`s Plenty of Gold, Golden Years, Tommy Olsson, Billedkunst, 2008
Bak det ekstreme, Erik Bjørnskau, Aftenposten, 2008
Bortkomne på hjemmebane, Morgenbladet, januar 2008
Gutteklubben Grell, Tommy Olsson, Morgenbladet, March 2008
Animotion, Debutantfest i det utvidete felt, Ruth Hege Halstensen , Kunstkritikk.no, Sept. 9, 2007
Future Primitive, I det tomme rom, Tommy Olsson, Morgenbladet May 11, 2007
Future Primitive, Fausts Dilemma, Marit Paache, Kunstkritikk.no, May 4, 2007
Universal Talent – Nordic Art, Jason Jules, Dazed and Confused magazine, June 2006
Imagine The Universe Bursts into Song, Martin Herbert, Time Out, May 24, 2006
Imagine The Universe Bursts into Song, Jessica Lack, The Guide, May 20, 2006

 

Grants and Prizes 

3 year working grant 2012-2014.
1 year working grant 2010 (BKH)
1 year working grant 2009+2011 (Verderlagsfondet)
1 year working grant 2008 (Statens arbeidstipend for yngre kunstnere)
2 year working grant 2006-2007 (Statens arbeidstipend for yngre kunstnere)
Utstillingsstøtte, kulturrådet 2007,2008
Prosjektstøtte (verderlagsfondet) 2009,2011
OCA grant, Kunstlerhaus Bethanien,2008OCA support 2004,2005,2007
Ingrid Langaards fond 2004,2007,2010
First prize, Diesel New Art Awards, Category: Action/Draw.

 

Other 

Member of Tegneklubben (www.tegneklubben.org)
Contributing weekly for bpigs.com
Nomination commite, UKS, 2004-2006 (www.uks.no)
Guest teacher, Academy for Fine Arts, Oslo, Norway, 2009
Initiator and curator ,w/ Elna Hagemann of the gallery; subcomandante, 2001-2004, Oslo, Norway.

 

 

Contact

Martin Skauen
subc99@yahoo.com
Laura Bartlett Gallery
4 HERALD STREET
London E2 6JT
UK
+44 (0)203 4870 507
info@laurabartlettgallery.com
www.laurabartlettgallery.com
OSL contemporary
Haxthausens gate 3
N-0263 Oslo
Norway
+47 23 27 06 76
info@oslcontemporary.com
www.oslcontemporary.com