THE SUBJECT

By Eirik Senje (Jan 2016):

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THE PURE HEART

By Anne Arneberg (Jan 2016):

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PAINTING ABIDES

By Mari Slaattelid (Sep 2013):

It can resemble the beautiful people who gather at exhibition openings and biennials, the roaming eyes and eye-catchers, ladies in bloom along the walls – wallflowers, as in the dancehalls sixty years ago. The passive aspect of paintings has always fascinated me. Only a few command your attention. The others don’t steal your time, but look in another direction.

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HOW TO MISSPELL A PICTURE

By Arve Rod (Jan 2011):

Written in large letters on one of the paintings in the top-lit hall at Kunstnerforbundet is the word NON-FOOD. As if stamped twice onto the upper left corner, the terse term reaches out to us as we enter the venerable exhibition space. In addition to this, the picture consists of an accumulation of semi-recognizable forms or geometric structures; stars and artists' easels lying on their sides or floating in space. For those who know Mari Slaattelid's recent work, these shapes and the other visual devices that occur in the exhibition amount to a distinctive artistic signature. Easels, flags, lace patterns, indeterminate painted blobs and repetitive, graphically flat landscapes are all features that Slaattelid uses as symbols and signs in a discussion she has been pursuing for the past two decades about the role of painting in art, about the force and meaning of images, and, quite simply, about what a picture is.

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ART IS AN EXCEPTION

By Mari Slaattelid (Jan 2010):

… in cultural production, a recalcitrant little vacuum in the great culture that surrounds it. Culture is always meaningful, whether high, low, good or not so good. Culture generates cooperation, unity. Art, on the other hand, is in itself neither good nor bad, but passes us by, or sticks with us. Paintings are difficult to grasp, despite the fact that they hang quietly on a wall. If art lacks purpose and meaning, what is this thing in the middle of the wall that demands our attention?

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AN DIESEM ORT

By Marit Paasche (Jan 2008):

The exhibition Ideelle problem (Ideal Problems) is shot through with an intense visual linguistics in which I have lost my way, for these paintings affect each other; they are interlinked like a series of doors. All you can do is follow them. Open one, pass through it, unlock the next, and so on.

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A GOOD PAINTING IS A SENSATION

By Sverre Wyller (Jan 2007):

According to Mari Slaattelid, this means two things: that a good painting is sensed first and foremost in the emotional register - and that a good painting is very rare. In saying this, she indirectly reveals her own turn of mind. The notion that a great work of art comes along only rarely approaches latent melancholy. At the same time she works precisely towards achieving that painting. In that sense she binds herself with the romantics. We are seeing the contours of purposeful endeavour.

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WHERE THE VISUAL GETS THE LAST WORD

By Bente Larsen (Jan 2006):

Mari Slaattelid is a master of colour. Even where the light is repulsed by darkness, as in Sleepless, a subtle scheme of blue-grey and green tones unfolds across the surface of the picture. Colour is fundamental to the world of Slaattelid’s pictures. So too is narrative.

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THIS IS A TEXT BY OYVIND BERG

By Oyvind Berg (Jan 2002):

The text can be habit-forming.
It is hooked on art.
The art is hung up on the wall.
It gives the impression of being harder to impress than it is.

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NAME AND NOT REDEEM

By Hans-Jakob Brun (Jan 2002):

is the title of a text by Mari Slaattelid from 1999. The phrase is also characteristic of the reflective attitude that guides her artistic activity – and of the surprising shifts and twists that typically mark our experience of her work.

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TEN EXTRA COMMANDMENTS

By Morten Sjaastad (Jan 2002):

A poetics, when it is interesting, is never general. An artist, by taking consequent leaps from one work to another (style in a broad sense), can be interpreted as subject to commands of her own making, without acknowledging them as such. Mari Slaattelid can consider these:

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TO THINK AND SEE SIMULTANEOUSLY

By John Peter Nilsson (Jan 2002):

One can choose to approach Mari Slaattelid’s art from a strictly painterly perspective. She studies all possible variations of the joint effects of colour, form and material. Her works are visual lessons in the command of painting. They can be admired for their systematic study of the function of visual perception, and something new is always to be found in them. Slaattelid’s subtle studies of colour are in a direct relation to the light in which they are seen. The forms offer series of associations, and the material raises a desire to touch the works. Briefly put, Slaattelid is the bearer of a long tradition of studying and investigating the possibilities of abstraction.

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CARNEGIE AWARD 2000, JURY'S COMMENT

By Carnegie Art Award Jury (Jan 1999):

Mari Slaattelid receives the Carnegie Award of 500,000 Swedish crowns for two works with a visual beauty that spans the entire history of painting, from the marking of body with paint to the late modernist monochrome. Slaattelid's artistic strength is demonstrated through her having gathered this tremendous stretch in one idea and thus giving it contemporary form.

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RATIONAL, NATURAL EPISODES OF PAINTING - MARI SLAATTELID`S TEMPLATES

By Morten Sjaastad (Jan 1999):

1. In a series of Templates or Stampings from 1996 (I stick to the former, less literal translation of ’stempel’) in each picture the same landscape photograph has been painted off from a projection, leaving the land silhouetted on a bright neutral ground [1]. The horizon line is a figurative clue, suggesting a field between two groups of trees. But whatever the photograph may show the paintings refer to no definate place. A spectator may be puzzled by these pictures, for their visual intererest is on a first pass quite modest and in key with the low specificity of the landscape, yet to a patient observer the repeated tracings of a dull horizon appear (I claim) subtle and profound. Can criticism help us to understand this, and hence to a fuller perception of the paintings?

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PAINTING`S DISTRACTION

By Jorgen Lund (Jan 1999):

A photographic landscape silhouette is sharply delineated in a number of Mari Slaattelid’s images, often seeming to have been stamped with blacking or photo emulsion on metal plates. The black and white nubs of the silhouette are typically photographic - the result of technical efforts and disruptions in the direct connection between reality and image. The reality character of the photograph institutes a horizon in the picture - not only a visual horizon, but the actual horizon. The horizon’s visual weight is a prime element in the painting. It may be overpainted by a thin membrane of paint or by compact strokes, appear positive or negative, rendered lovingly or drafted indifferently.

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COVERT ACTS

By Cecilie Loveid (Jan 1999):

I looked at many paintings. Some firsthand, and some as slides. We were to find a suitable image for the book jacket of the play Austria. Which is about the meeting between Ludvig Wittgenstein and Agnes, a fictitious character with background in the philosopher’s experiences in Norway, as described by both Ibsen and myself. In Norwegian weather. The Norwegian landscape.

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WHAT YOU TOUCH IS WHAT YOU SEE

By Mari Slaattelid (Jan 1999):

4 x 4 paintings on square plexiglass panels come into existence as they are received and handed on. The handprints along the edges, front and back, both constitute the pictures and form frames. A frame is to be handled. As opposed to a painting, which is not to be touched, a frame is the ornamental elaboration of a painting's materiality. From within, the empty image points at the frame and assigns it a dual role - tactile and optical.

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PAINTING AND THE MIRROR OF NATURE

By Asmund Thorkildsen (Jan 1997):

"We must get the visual, and in particular the mirroring metaphors out of our speech altogether."

– Richard Rorty in Philosophy and the Mirror of Nature, 1979.

Why is it that we look towards philosophy to an ever increasing degree when we discuss the visual arts? Isn’t theory something else, something essentially different than art itself? And isn’t this navigation towards philosophical problematics at least off course when discussing a painter like Mari Slaattelid, an artist with a classical talent for painting?

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CONCERNING THE EARTHLY IN ART

By Mari Slaattelid (Jan 1997):

"As a child, I used to copy entire books or passages from books to send to my girlfriend. I could have sent her books, but instead I sent her copies, written by hand, of books that I liked. Had I sent her books, I would have been sending her literature. This could not have been my intention. My intention was rather to say that I liked her, by sending her copies of books or passages from books that I enjoyed, copied in my own handwriting. By sending her these copies, I sent her something literal."

– Emmanuel Hocquard (from Ma vie privée)

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