{"id":7216,"date":"2024-08-07T10:17:07","date_gmt":"2024-08-07T08:17:07","guid":{"rendered":"https:\/\/www.baroniet.no\/festivalutstillingar\/"},"modified":"2024-08-07T19:45:08","modified_gmt":"2024-08-07T17:45:08","slug":"festival-art-exhibitions","status":"publish","type":"page","link":"https:\/\/www.baroniet.no\/en\/festival-art-exhibitions\/","title":{"rendered":"Festival art exhibitions"},"content":{"rendered":"
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\"Marianne<\/p>\n<\/div>\n

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Marianne Bratteli (1951\u2013 )<\/strong><\/p>\n

Bratteli grew up in a political home \u2013 her father, Trygve Bratteli (1910\u20131983) \u2013 was one of the leading ministers after the war and later became prime minister. He was involved in building up Norway\u2019s post-war welfare state. During the war, he was held in German captivity and was near death when the war ended in 1945. This dark shadow from the war marked the home Marianne Bratteli grew up in. She knew something terrible had happened, but no one talked about it \u2013 until her father wrote about it in 1980.<\/p>\n

Her art is characterized by this. For childhood plays a significant role in her images, a childhood that materially speaking was bright but at the same time thus marked by shadows from a war that had ended long before she herself was born. She started as an abstract painter, but it set limits for her need to express herself. This meant that she also began working figuratively early on. In this way, her art vibrates between abstract images showing a fine sensitivity for colors and shapes and an expressive-na\u00efve style with motifs from both childhood and social space surrounding us. In these latter ones, she often places angular figures in the foreground – figures of women from princesses to commoners, and adult men with hats and canes reminiscent of father figures. In collages on the other hand, she often addresses existential problems that are not so easily expressed through paintings and graphics. The woodcuts are simpler both formally and iconographically but still revolve around the same themes.<\/p>\n

Marianne Bratteli has had several major exhibitions during her career; last at Munch Museum in 2023. Her exhibitions have received very good reviews\u2014naturally because she is among our foremost artists.<\/p>\n<\/div>\n<\/div><\/div><\/div>\n

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Digital exhibition in Riddarsalen by H\u00e5kon Bleken\u2019s Korsvei from 1975\u201376<\/strong><\/p>\n

H\u00e5kon Bleken was commissioned by Gerhard Schwenzer, Catholic bishop of Trondheim, to create a Stations of the Cross for St. Olav\u2019s Catholic Church in the city. The bishop specifically wanted Bleken to paint these 14 images of Jesus\u2019 journey on Good Friday from Jerusalem to Golgotha \u2013 the Via Dolorosa \u2013 in a specific technique. The bishop was thinking of the collage technique with pasted media images because Schwenzer had previously seen some of these collages by Bleken.<\/p>\n

To avoid the correspondence being too striking, Bleken had some assistants paste images \u2013 mostly from contemporary newspapers \u2013 onto the canvases. These include photos from the Vietnam War, Franco\u2019s and Pinochet\u2019s terror regimes, street battles and demonstrations, executions, executioners and their victims, as well as a few images from the Holocaust.<\/p>\n

On top of these media images, Bleken painted the 14 stations of the cross from Jesus being condemned to death in Jerusalem to his burial, although Bleken also added a fifteenth image \u2013 the resurrection of Jesus.<\/p>\n

The stations are: Jesus is condemned by Pontius Pilate \u2013 he receives the cross \u2013 Jesus falls for the first time \u2013 meets his mother \u2013 Simon of Cyrene helps him carry the cross \u2013 Veronica wipes the sweat from his face \u2013 he falls for the second time \u2013 speaks to the daughters of Jerusalem \u2013 falls for the third time \u2013 is stripped \u2013 nailed to the cross \u2013 dies on the cross \u2013 is taken down from the cross \u2013 and is buried.<\/p>\n

Bleken paints with glaze colors that make the media images in the background more or less clear. Not all scenes are equally clear, but they can still be easily interpreted in the context they are in. The Stations of the Cross are primarily meditation images, which hang in all Catholic churches around the world. They are used primarily every Friday during Lent, where one moves from image to image and immerses oneself in Jesus\u2019 painful journey towards a gruesome death. What Bleken does in these images is to shift the perspective from Jesus\u2019 suffering to the relationship between His suffering and the world\u2019s continuous atrocities. This is how the images become question marks that every Christian must consider. In Franz Liszt\u2019s late work Via Crucis, we get his version of Jesus\u2019 Way of the Cross, which can be illustrated with Bleken\u2019s images. That is why they hang here \u2013 in addition, Bleken\u2019s Way of the Cross also fits well with Johann Sebastian Bach\u2019s St. John Passion.<\/p>\n

Gunnar Danbolt<\/p>\n<\/div>\n

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\"H\u00e5kon

H\u00e5kon Bleken<\/p><\/div>\n<\/div>\n<\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-7216","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nFestival art exhibitions < Baroniet Rosendal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.baroniet.no\/en\/festival-art-exhibitions\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Festival art exhibitions < Baroniet Rosendal\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.baroniet.no\/en\/festival-art-exhibitions\/\" \/>\n<meta property=\"og:site_name\" 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