8.3.11
Jeg bygger. Den ene biten føyer seg til den andre, slik er fremgangsmåten alltid. Løsningen ligger ikke gjemt et eller annet sted som et kamuflert mirakel, strukturer skal ikke avdekkes, de skal oppstå av seg selv. Fra null skal det tilføres en brøkdel, det første element skal trekke til seg det neste, og det neste, til verket er funksjonsdyktig. Materialenes ubetydelighet og beskjedne identitet hindrer dem ikke i å utfolde uant potensiale når de står på samme scene og utgjør en visuell helhet, en komposisjon hvor hver enkelt del er betydningsfull og uunnværlig. Ved å bytte om på plassene oppstår usette kombinasjoner, rene oppdagelser som kan sammenliknes med nye trekk i sjakkspill. Undring og glede, som når nye formler blir avdekket for matematikere. Formler som overbeviser i dristighet og enkel skjønnhet.
TROND BORGEN art critic at Stavanger Aftenblad 22. Feb. 2011
GALLERI GANN, SANDNES 20 FEB. - 3. APRIL 2011 (CLICK TO READ)
10.6.10
20.4.10
THE NORWEGIAN DRAWING BIENNIAL 2010 Moss, Norway
In Kjell Varvin’s installations, drawings and sculptures, geometry and anarchy combine to take on an astonishing life of their own: the compositions grow out of the wall, or into it, it’s hard to tell. The components, some two-dimensional drawings and some built in three dimensions, consist mostly of clear, straight lines. But this alone is no guarantee of stability. Varvin loves to push architectural structure and logic to absurd lenghths. In spite of his evident respect for and affinity with the heroes of constructive and concrete abstraction, he makes them quake on their pedestals. Instead of the unapproachable aura of the classics, his constructions always come across a little like amateur experiments that anyone could try out for themselves in the garden shed. This gives them a positively democratic and slightly self-ironic tone. His “drawinstalls” are thus not so close to the great purists of modernism as to the balancing act with everyday objects in Fischli & Weiss’s Quiet Afternoon (1984). In both cases, viewers involuntarily hold their breaths: one move too many and the planned order dissolves into a chaos of worthless material.
Susanne Altmann, curator of “Lines On The Move”, The Drawing Biennial of Norway 2010
22.11.09
11.10.09
participating at VALSE WAND exhibition at VOORKAMER in Lier, Belgium October 3. 2009 with installation: NO MEASURE-NO LIMIT covering 3 walls in a small room on ground floor
26.3.09
2.8.08
3.1.08
12.1.07
TEGNERFORBUNDET GALLERI, OSLO 2007
Installation No 2 in the series of: UNSTABLE VARIABLES that has been changed several times during my show at the Tegnerforbundet Galleri in Oslo 4. JAN. -6 FEB. 2007
31.5.03
91% ECLIPSE 31.05.03, 05.40 AM I was there when Oslo had a total eclipse on the 30. June 1954
There are people who make art and others that comment on their work. The commentator has other interests and different ways of expressing them than the artist. The artist expresses through the visible and tangible work, the commenter through abstract play of words with their subjective understanding of the art work. Analysing a work of art with words and academic logic may start series of literature engaging whole societies of scholars who enjoy each other’s capacity for examining and describing the implications of the work of art in the absence of the work itself and its creator. There rises a whole industry of words and their interpretation, and finally the work of art belongs to them in the sense that they have produced the base and the environment from where the work of art has to be understood. Without this setting of convincing words and explaining logic the work of art itself is nothing. In modern language a comment on a work of art is in itself a product of art.
9.6.01
9.6.98
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