“For me, painting is absolutely necessary,” said Håkon Bleken to news when he recently turned 95. “It’s like a force into my day.” Although Bleken is really getting old, there is no indication that he intends to give up. On the contrary. This year alone, he plans to hold a total of ten exhibitions. One of the more extensive is the one now on display at the arts and culture center Bodøgaard in the newly opened European capital of culture. The exhibition gives us an insight into a wide range of Bleken’s various works: There are paintings, pastels, charcoal drawings, collages and graphic works. The oldest works are from the 1970s, and the most recent is dated 2024. Loved by the people Håkon Bleken has not only been praised by critics over several generations, he is also an exceptionally popular artist. And it was clear to see Bodøgaard. There were so many people that it was difficult to move through the room, and at times quite demanding to get a proper look at the pictures. And as I walked, and tried to stand on tiptoe a bit, and look over a shoulder, or sneak past a group of audience members, I tried to get clear to myself what Bleken’s greatness and appeal consists of. What fascinates me, at least, is that he has not stagnated. He is an artist who is constantly developing, but who at the same time sticks to a consistent and individualized style. He created several of his strongest works as an old man. STINN BRAKKE: It was packed at Bodøgaard gallery during the opening of the Håkon Bleken exhibition on Saturday. Photo: DAVID ENGMO/Bodø2024 Photo: David Engmo/Bodø2024 Image of death For example, I remember a series of self-portraits that were exhibited at Brandstrup in 2020. These were created over a few years and revolved in an exceptionally strong and honest way around old age and bodily decay . At Bodøgaard I find an undated self-portrait that may belong to this group of works. At least it has much of the same merciless power and grim reminder of death that resides in an ancient face. With expert brushstrokes, he outlines how the skull seems to emerge from behind the fragile skin and becomes visible through sunken cheeks and dark eye sockets. SOVEREIGN: I think this is Bleken at its very best. Here we get a sense of the costs of aging. All the pains, all the discomforts and inconveniences that come with getting old. It is a strong form, but also a very poignant expression. Photo: Bodøgaard In my review at the time, I highlighted the French Renaissance poet Montaigne, who claims that throughout life one must practice dying – just as in ancient Greece one could carry a skeleton across the room during a drinking party, so that even in times of joy remember the ephemerality of life. When I stand in front of the old-age self-portrait in the exhibition at Bodøgaard, I get the same shuddering feeling of aging’s deep loneliness and naked horror. Through the colors and shapes in the lower part of the composition, he creates a completely sensual feeling of bodily pain. It’s really masterfully done. “INGUNN” ØDELA: Håkon Bleken was scheduled to be present at the opening of the exhibition in Bodø, but the trip was canceled due to the storm that ravaged the Norwegian coast last week. Photo: Stian Lysberg Solum / NTB There are few who have created so many masterly self-portraits, but this is not so successful, I think. In particular, I question the shrill yellow stripes on each side, which steal a lot of focus from the face. I also think that some problems arise in the depiction of the face itself. Here there are several places where the different denominations do not explain the form, but remain outside the form as if he has paint stains on his face. I also wonder about the shape at the front. Is it a female figure, or a Coke bottle? But if you hold over the yellow stripes, you can live better with the small figure in the foreground being there, even if it’s not so good to say what it is. Photo: BYRAA More uneven in his older days? Bleken is exceptionally competent both as a designer and as a colourist. At his best, he is simply superb. But no one can be at their best all the time, not even Håkon Bleken. In the exhibition we see both how good he can be, but also how weak works he increasingly frequently allows to pass. I don’t think the somewhat dissolute, expressive style he has cultivated in recent years suits him very well. For example, I was not so enthusiastic about his illustrations for Dante’s Inferno in 2022. These images are richly represented in the exhibition. I am glad to see that the exhibition also includes the few really good prints included in this series. NEW STYLE: This is an image from the Dante’s Inferno series that shows the slightly shapeless, expressive expression that Bleken has played with in recent years. I like him better when he is tighter in shape, as in the red prints in the next picture. Photo: Galleri Brandstrup Here we see how he unfolds his masterful strength of form. In this semi-abstract expression, Vergil and Dante are standing on the bank of a river consisting of glowing lava. Photo: Kunstverket Galleri I also like this fierce image, which shows a dragon-like mythical animal that extends its long tongue at the two walkers. Photo: Kunstverket Gallery Unclear frame I have been a little afraid of having to conclude that Bleken has now put its heyday behind it. But luckily I find in the exhibition several more recent works that represent Bleken at its very best. Among other things, I think his new, large woodcut made especially for the exhibition is really strong. STRAIGHT FROM THE PRINT: This brand new print has been created especially for the exhibition and is printed on the gallery’s own printing press, “The Free Press”, which is available for use by all. This is a fantastic work by Bleken, which shows what a competent visual artist he is. Photo: Bodøgaard Here there is a clear visual hierarchy with the bird and the person being black shapes in the foreground, while the background is characterized by grey-white, paler tones and softer shapes. Nevertheless, the whole composition is quite restless, which emphasizes the experience that he is not depicting the bird, but the sharp bird’s cry. But I’m struggling to make it completely clear to me what kind of exhibition this is. There is no comprehensive retrospective that shows the lines of development in artistry. Nor is it a presentation of a specific phase or group of works, or an exhibition that invites us into Bleken’s world through a theme. Here, one would probably win a lot with a somewhat clearer framework. But as I wander around in the sea of people at Bodøgaard, I hear how the audience talk to each other about what a wonderful visual artist Bleken is. And they are absolutely right about that. NARRATOR: Bleken’s pictures have fascinated and excited for decades. Portrait interview with Ole Torp from 2018. news reviewer Title: “Håkon Bleken” Artist: Håkon Bleken Curator: Harald Bodøgaard Place: Bodøgaard Time: 3 February – 24 March 2024 Estimated time: 60 – 90 minutes
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Håkon Bleken at Bodøgaard, Bodø – Reviews and recommendations
