MAGNHILD
ØEN
NORDAHL

Riegelbau_magnhild

Occupational Knots,
Photo: Jean-Baptiste Béranger
2014

The knot is infinitely far away
.
Plaster, styrofoam, painted pine, cotton rope. Dimensions of blue structure: 187x83x67 cm. Photo: Jean-Baptiste Béranger

We think of the string as having no thickness.

Synthetic rope, spruce wood. Dimensions of box: 33x19x75 cm.

Looking at axis from all different vantage points.
Led-fraimed glass, painted pine. Dimensions of pink frame: 33,5x31x3 cm


Alternating out here.
Synthetic rope. 400 cm x 1,8 cm

Twist Untwist Unpoke Poke Slide.

Spray painted steel tubes, synthetic rope, cotton rope, painted spruce wood. Dimensions of grey box: 56x21x21 cm

Trivial, Nontrivial, Impossible.

Aluminium, acrylic tubes, pear tree wood, steel, synthetic rope, cotton rope, pigmented concrete, carved linden, pine. Dimensions: 170x62x111 cm

Detail from Trivial, Nontrivial, Impossible.
Sandblasted steel.

Detail from Trivial, Nontrivial, Impossible.
Cotton rope and pigmented concrete

Detail from Trivial, Nontrivial, Impossible.
Carved linden, painted pine, synthetic rope

Fanzine Pb?Ni?He? Published in the occation of the exhibition.

Read a text about Occupational Knots written by Stefanie Hessler
Read an interview with Heather Jones about Occupational Knots

Exhibition text from the exhibition Soft Measures at WIELS project space, Brussels:
The series of sculptural works entitled Occupational Knots (2014) by Norwegian artist Magnhild Øen Nordahl is based on the naval handbook The Ashley Book of Knots, an encyclopedic record of knots first published in 1944. One of its chapters lists a variety of occupations and which knots are useful for whom, and the sculpture shown at WIELS is based on the Artists' selection of knots and is meant as a help to tie down the easel when sketching in the wind. The titles of the works derive from Mathematical Knot Theory, a theory created in the 19th century as an attempt to classify all substances in the world according to a comprehensive tabulation of knots. Motivated by both epistemological and tactile interests, Øen Nordahl uses her sculptural practice to examine relations between particulars and universals, between form and function and how a systematized investigation of material properties produces knowledge.

Shown at Galleri Mejan and Konstakademin, Stockholm, WIELS project space, Brussels, Stiftelsen 3.14, Bergen, Stavanger Kunsthall, Stavanger and Skånes Konstforening, Skåne.



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