At Gardermoen there are five large, colorful vase-like sculptures, created by the renowned Norwegian ceramist Elisabeth von Krogh. This is an installation most of us have seen, as it is conspicuously located in the arrivals hall at our own main airport. VON KROGH AT OSL: You have probably seen Elisabeth von Krogh’s art at Norway’s main airport. This work is currently located upon arrival inland at Gardermoen. Photo: Avinor And if you know this one, you basically have a pretty good picture of von Krogh’s project. For half a century, she has revolved around, and investigated, the vase and the jar as form and phenomenon – and the relationship between space and surface. This fortunate public placement of one of her strongest works has helped make her an artist that many relate to. COMPREHENSIVE EXHIBITION: Haugar Museum in Tønsberg presents the great ceramist Elisabeth Von Krogh. Photo: Øystein Thorvaldsen It is wonderful to come in from the sour winter darkness outside the Haugar Art Museum and indulge yourself in von Krogh’s life-affirming, colorful world of form. When I walk among the various sculptures, I don’t think it’s any wonder that she is often described as one of our foremost postmodernists. With clear, unbroken colours, large patterns and strong contrasts, one can easily get associations with the Italian design group Memphis. Elisabeth von Krogh also began as a designer, at least as an artisan. At first she created beautiful applied art objects. But quite quickly she removed herself from the function, and her various vases and jars were gradually transformed into sculptures. FAITH TO THE VASE FORM: Von Krogh abandoned the utility function, but the sculptures still had the shape of the vase. Photo: Øystein Thorvaldsen As I wander among the large jar sculptures, I ponder what gives these works their unique excitement. I wonder if it’s about the break between the ancient and the new. Here she creates stylized, postmodern versions of the ancient amphorae. As a rule, without the slender handles, but with the soft curve that makes us talk about them in bodily terms and use words like the vase’s “neck” or “shoulders”. Optically confusing I stop at a vase that is almost as tall as myself. It has a black and gray striped exterior, and shiny yellow interior. The perspective is slightly distorted so that it looks like we see the vase itself from the side, while the opening is from above. Here she brings together something sculptural and something graphic in an effective way. VASE CONSIDERATIONS: Von Krogh always creates with precision and accuracy. As I stand admiring this tight, beautiful design with its springy curves, I am struck by the extent to which Elisabeth von Krogh insists on the surface. Even when the sculpture has blisters, or small polyps emerging, these forms are unbroken surfaces in their own right, on the outside of the form, and do not become part of the vase body. She makes little use of the techniques that ceramicists often use, such as scratching, scratching, scraping, scraping, poking, poking, pressing, pushing and digging. I wonder what would have happened if a master of form like von Krogh had used such means. Would it go out of shape? Or would it just give an even more vivid and varied expression? I don’t think she should do that. It was just a thought I had. Maybe she would lose more than she would win? Because this whole game between space and surface, line and volume is the very core of her project, so it could easily be something completely different. And von Krogh’s strength is that she clearly shows who she is as an artist. Photo: Øystein Thorvaldsen In a jar installation with two black and white checkered vases with lime green insides, a shiny yellow one with white insides, we see how she, with a black outline, creates the illusion that the entire installation is a drawn surface, and not objects in the room. It may even look a bit like a screen animation. ILLUSION PLAY: Here we see how she plays with 3D and 2D. The yellow has black outlines which creates confusion. It looks drawn. Photo: Øystein Thorvaldsen The optically slightly confusing is a characteristic of Elisabeth von Krogh’s sculptures. She often creates based on the turntable with a symmetrical central axis, but can then shift the elements or distort the perspective to create effective, visual effects. When she places dots or lines on her vases, it is never intended as decoration or embellishment; it is pure form research. She explores what the lines and patterns do to the experience of form. SHARP VASES: In the yellow vase in the foreground, which has some testicle-like balls at the bottom, we see how the dots in the surface affect the shape. In several of the jars, including the green one at the back, we see that she evokes a feeling of relief. Here there is a consistent course of curves and a focus on wholeness and unity. Photo: Øystein Thorvaldsen Highlight as much as look back The exhibition has been given the title “Retrospective – prospective”, which suggests that this is not only a look back, but also something that points forward. In one of the halls, a giant yellow shelf takes up most of the space. Along the walls there are also yellow plates that look like misplaced residual materials from the shelves. The idea is perhaps to put vases and jars into a kind of oversized kitchen interior, in order to point to their original function. For me, only this scenography becomes a point of irritation. SHELF FOR OBSTACLES: Here she has some fun, slightly cartoonish and cactus-like vases. Unfortunately, the shelf steals all the attention here. Photo: Øystein Thorvaldsen Apart from this, it is a very stylish and professionally curated exhibition, which highlights this wonderful artistry in an excellent way. Elisabeth Von Krogh is an exceptionally sharp designer. Her style expression is mature, and the shapes are characterized by resilience and power. You can see that she is conscious down to every little detail. She combines a clear idea of form with a warmth and a presence in the expression. I think it was a great enrichment to experience artistry in its full breadth! news reviewer Photo: Øystein Thorvaldsen Title: “Retrospective/prospective” Artist: Elisabeth Von Krogh Place: Haugar Kunstmuseum Curator: Ida Bringedal Exhibition design: Anette Lorang Date: 27 January – 20 May 2024 Estimated time: 30-60 minutes
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“Elisabeth von Krogh – Retrospective/prospective” at Haugar Kunstmuseum – Reviews and recommendations
