Kari Anne Helleberg Bahri
(Norway , b. 1975)

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri (挪威, b.1975),畢業於挪威奧斯陸國家藝術學院服裝設計(National Academy of the Arts, Oslo),自小在充滿創造力的環境長大,跳脫典型挪威式極簡風格,承續北歐憂鬱冷冽的氣質,融合服裝工藝,利用舊衣、碎布、殘片織品,混亂中透過解構、縫合、再造,賦予作品新意象,以中性色彩的織品藝術(Textile Art) 探討當下社會集體的限制、期待、秩序、孤立議題,形成個人獨特風格。曾於挪威Kunstmuseet NordTrøndelag、Danubiana Meulensteen Art Museum等美術館、及丹麥Socle Du Monde雙年展展出,作品由Kongsberg Municipality,Den Norske Husflidforening等機構永久收藏。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri童年因家境不富裕,裁縫師的母親常以舊衣物等易取得的布料材質進行設計,化腐朽為神奇,深深影響巴赫里Bahri對於織品興趣,驟逝的父親令她陷入孤立沈默、自我懷疑、感覺身體被牢籠所困,而唯有透過將碎片舊布、織補縫合再創造的過程,才找到可以發聲的方式。母親對她是媒材的啟發,而父親意象則反覆出現在她的創作內容中。她曾表示:「我運用衣服和布料做為溝通的語言,解放它們包裝身體的功能。」織布,有溫度的材質,衣物作為遮蔽身體的物件,與個人肌膚有著最親密的接觸,一旦新衣穿過之後,就不再是全新狀態,個人的心智狀態與情緒,都會在衣物上留下時間痕跡,它是自我私密的對話,同時也是個人對外標誌著自我於社會中的形象。

巴赫里Bahri善用手工縫製方式,與收集來的織布長時間相處,發掘纖维的細節,通過天然的棉、麻、毛料材質,選擇白色、或中性色彩呈現,認為藝術通常呈現生命中較沈重的層面,使用中性色彩可以不被愉悅或悲傷的情緒干擾影響,可以解放禁錮的身體,跳脫自我設限的困境,進而創造獨一無二的生命故事。以織線為畫筆,創作探討當下社會群體的限制(Limitations)、秩序(Restrictions)、期待(Expectations)、孤立(Isolation) 等議題,藉由現成物的混亂、被拋棄、瑕疵、腐朽、不完美的重新詮釋再造,提供觀者跳脫自我圈圈,立於客觀位置反思記憶經驗,從這樣的位置激發「過去我是誰」、「未來我是誰」、「我可以成為誰」的自我對話、思辨認知和妥協的過程。

二十世紀的織品藝術(Textile Art),藝術家運用纖維的韌性及織物連結身體的親密感,表現自身的立場,並與傳統的編織工藝做出區隔。德裔美國藝術家安妮・亞伯斯Anni Albers, 是第一位打破藝術與工藝界線的藝術家,她利用織品纖維的特性讓天然材料、合成線、金屬塑料融入掛毯作品,研究畫面的幾何佈局與畫面平衡,美國藝術家茱蒂絲・史考特Judith Scott以織品纏繞包裹作品聞名,創造一系列的日常生活的物件,鑰匙、塑膠管或購物車,線性圍繞狀態暗示著儀式與遊戲的過程。當代日本藝術家塩田千春 (Shiota Chiharu),以毛線及現成物組成的裝置藝術,帶領觀眾體驗人生的旅途,並將死亡的恐懼完整記錄下來。卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri的作品,則有別於將編織作為個人生命的經驗再現,以舊布痕跡、手工縫線、縫合時間碎片,對抗社會共同體價值觀對單一個體影響,有著更為深刻細膩的詮釋。

作品 Circus (2017) 記憶中父親工作的既是小丑裝,也是馬戲團帳篷,勾起人前歡樂人後悲苦、笑中帶淚的共感經驗。作品Inception (2016)選用舊麻布袋縫線縫製而成,暗喻著懷胎過程的辛苦與新生的喜悅。作品Sleep tight (2014)將衣物束縛在盒中,一方面呈現身體受包裹的安全感,一方面也形成限制身體的無形框架。作品 General People (2013)則用各式不同的襯衫及外套組合的群體,表現社會集體的心理狀態,看似可愛的造型背後隱含質疑的反差。大型集合裝置Garment Bags (2016),由80件衣架衣袋組合,向著同一個方向整齊排列。人們對於什麼時期應該做什麼事有著共同的觀點,進而觸發某種期待亦是限制,表現其實人都害怕被孤立,也為符合社會期待而遵守秩序。

卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri使用織品Textile art 作為說故事的媒介,表面上操作著破布、織品、織線、碎片等混亂的元素,實則深入解剖衣物痕跡感受的記憶溫度,與深刻的內心世界所隱藏的心理狀態,透過創作呈現喜怒哀樂情緒的人性微縮,她的藝術是批判性的和解,同時也是對於靈魂深處的關懷。


Solo Exhibitions

2022 “Re fleksjon” Siloen, Drammen, NO 2020 “Overcover – Undercover”The Nordic House in the Faroe Islands, Torshavn, FAROE ISLANDS
2019 Anniversary exhibitor, Buskerud,Østlandsutstillingen (annual exhibition of the eastern region)
40 years anniversaryKongsberg Kunstforening, NORWAY
2018 “Jeg kler meg/ergo er jeg?” Group show+ solo show going on tourKunstvisitten, Akershus Kunstsenter, Lillestrøm, NORWAY
2017 “Uncontaminated 2017” Art and Fashion Festival, Mellomstasjonen/The National Museum,Oslo, NORWAY
2016 “Constraint where placed on the circulation of clothing” Oppland Kunstsenter, Lillehammer, NORWAY
2016 “Inside – Extra” Buskerud Kunstsenter, Drammen, NORWAY
2016 “Surgo”Kunstparken, Risør, NORWAY
2015 “Close(d)”Bærum Kunsthall, projectroom, Fornebu, NORWAY
2015 “Modify”Kongsberg Kunstforening, NORWAY
2015 “Needless” Trafo Kunsthall, projectroom, Asker, NORWAY
2015 “Procrustesbed” Det Gule Huset, Nesbru, NORWAY
2014 “Caught in the web” Ram Galleri, Oslo, NORWAY
2014 Kunstløa, Nome county, NORWAY
2013 “Uncustomized” Kunstmuseet Nord Trøndelag,NORWAY
2012 “Living in a box”display cases in the city Sandvika,Bærum,NORWAY
2011 display cases at Oslo Bussterminal, Oslo,NORWAY
2011 “You are never fully dressed without a smile”Galleri Blakstad, Asker,NORWAY

Group Exhibitions

2022 “Sørlandsutstillingen 2022. Bølgenkulturhus, Lindtvedske Hus, and Ibsenhuset, NO
2021 «Welcome back my friends to the show that never ends» curatorTijs Visser 8th«Socle du Monde» Herning, DK
2021 “stipendiatutsstilling” Kunstparken Risør,NO
2020.”Summer Exhibition” Royal Society og Sculptors Dora House, London, UK
2019 «Sommerutstilling 2019 » Buskerud Artcenter, Drammen, NO
2017 «Uncontaminated 2017» art & fashion festival Mellomstasjonen
2017 «Telemarksutstillingen» Ibsenhuset,Skien & Kragerø, NO
2017 «Sommerutstilling 2017» Buskerud Artcenter, Drammen, NO
2015,17, 20 «Stipendutstilling» Buskerud Bildende kunstnere Buskerud Artcenter, Drammen, NO
2014 «The wearable art show» regi, Kreutzberg pavillon, Berlin Knipsu, Bergen, NO
2014 «Stipendutstillingen» Agder Artcenter, Kristiansand;NO
2014 «Det potensielle rommet» former Dikemark Hospital, Asker, NO
2014 «In a lonely place» Art Museum KUBE, Ålesund,NO 2014 «Østlandsutstillingen 2014» (annual exhibition of the eastern region) Kunstbanken Hedmark, Buskerud Artcenter & ØKS, NO
2014 «NOoSPHERE Arts’3rd Anniversary Show & Benefit Auction» NOoSPHERE Arts, New York City, USA
2013 «The Spring Exhibition 2013» Kunsthal Charlottenborg, Copenhagen, DK
2013 «Craft 2013” The Nasjonal Museum of Art, Architecture & Design , NO
2013 «Byrom og andre rom» Bærum Art Union, sandvika, NO
2013 «A house full of friends» NOoSPHERE Arts, New York City, USA
2013 «Huntenkunst 13» SSP–Hall, Ulft, NL
2012 «International juried show» Galleri Ramfjord, Oslo,NO & NOoSPHERE Arts, New York City, USA
2012 «Lost Garden» BKiB in collaboration with HOK Henie — Onstad Art Center, Høvik, NO
2011 «The Norwegian sculpture Biennal 2011» The Vigeland–Museum, Oslo, NO 2011 “Craft 2011” The National Museum of art, architecture & design Oslo, NO
2011, 2012,2013, 2015,2016, 2019 «Novemberutstillingen»Lychepaviljongen,Drammens Museum, NO
2010 «Essens, Theme–Exhibition 2010» NK Art Museum KUBE, Ålesund & Kunstbanken, Hamar, NO 2010 «Østlandsutstillingen 2010» (annual exhibition of the eastern region) Peder Balke senter, Øvre Toten, NO & Østfold Kunstsenter , NO
2007 «Paperwork» DTK–project Gallery, Høvik, NO
2006 «..med hjerte for husflid», husfliden 115 år Oslo Town Hall Gallery, NO
2006 «Jubileumsutstilling» The Drawing Center of Norway, Oslo, NO

Awards

2021 Stikk -Norwegian Crafts, UDs travel grant
2021 Art Councils diverse grant  
2020 Stipendutstilling 2020  Buskerud Kunstsenter  Grant sponsored by The Relief Found for Visual Artists
2018  Government Grants, 10 years work grant for established Artists
2018  Art Councils Projectgrant
2017 Stipendutstilling 2017  Buskerud Kunstsenter   Grant sponsored by The Relief Found for Visual Artists
2016 Art Councils diverse grant,  The Association of Norwegian Visual Artists
2015 Art Councils exhibition grant
2015 Stipendutstilling 2015  Buskerud Kunstsenter   Grant sponsored by The Relief Found for Visual Artists 
2015 1 year specializationgrant, Norwegian Association for Applied Art
2014 Risør county art grant 
2014 Travelgrant,  Norwegian Association for Applied Art
2014 Art Councils diverse grant  
2013 Office for Contemporary Art, International Support
2013  Kanalstipendet, Nome county
2012 Travelgrant, New York International juried show, Galleri Ramfjord
2012  award – most significant piece at Novemberutstillingen 2012,Drammens Museum
2011-13  Government grants for young, newly establ. artists , Norway, 3 years (NK)

Collection

Buskerud Kunstsenter
Den Norske Husflidforening

Trailer:「縫合 Sew up」- 卡里.安妮.赫勒伯格.巴赫里Kari Anne Helleberg Bahri 亞洲首個展 雙館呈現
Dialogue: Elsa Wang v.s. Kari Anne Helleberg Bahri

Clothes are something everyone has a relationship with and which is intimately connected to our bodies. Textiles have different degrees of softness, but they must be comfortable and characterized by being mobile and adapting to the body they surround. In Kari Anne Helleberg Bahri’s sculptural clothing objects, the clothes have stiffened and the bodies are absent, but they have often left a clear imprint. Bulging shirts and jackets recur in several works, placed close together either directly on the floor, mounted on a pedestal or on the wall. The repetitive shapes are typically kept in light colors of beige and white, and even though they are objects we easily recognize from everyday life, they give a feeling of unheimlichkeit. “Das Unheimlich” is an expression the psychoanalyst Sigmund Freud used to explain a disturbing feeling of unease at things that otherwise feel familiar and homely, and this can be said for much of Bahri’s art and which is also reflected in the themes she deals with.

Mental health is a subject that Bahri has worked on consistently for many years. Through “clotheslike” objects, prosthetic sculptures and textile installations, she processes everything from serious mental disorders to cultural societal structures that shape the way we behave. Bahri is concerned with how interpersonal relationships, norms and rules limit and shape us. In this work, she describes restrictions as a triggering factor for her artistic practice. Physical limitations are actualized through items of clothing that prevent mobility and constructed prosthetic-like objects. The restrictions in the objects can also mirror psychological restrictions – implemented either by oneself or by the society around one. Through her sculpture practice, Bahri investigates cases where the social environment, fellow human beings and society’s norms limit or paralyze individuals, it is about being different versus following norms.

In connection with the exhibition “I dress /ergo am I?” at Akershus Art Center in 2018, one could read “Bahri’s clothesobjects describe thoughts and feelings that a person can have in various situations, such as pondering identity, existence, finding one’s place, uncertainty, pressure and chaos, but also optimism, humor and finding ones place. The highlights are not given space in this room, Bahri rather highlights the more tired, everyday and tragicomic that life after all primarily consists of. The objects visualize components of a person’s life, unpolished and personal”. Based on the human situations Bahri works with, she creates works of art that are clothing-like in form or material.

The clothes we wear constitute a boundary between the private and the public, “(…) between the individual and an external world. Despite the thin, fragile nature of the textiles, they constitute a significant boundary and protection” (Bahri). This boundary between the inner and the exterior can be seen, among other things, in the way Bahri treats the textile itself, with large coarse stitches, she sews shirt sleeves to the body of the shirt, she sews several garments together into unrecognizable sculptures, assembles and transforms cloth into strange mutations.

The textile sculptures can be attached to hard steel structures or exhibited in glass vitrines to create or cross boundaries between internal and external structures to an even greater extent. Thoughts quickly turn to Louise Bourgeois and her series of cell installations. Where Bourgeois used her own personal background to create complex psychological installations that dealt with relationships between the psyche, women’s work, bodies and living conditions, Bahri has a more sociological approach to these subjects. By putting the safe and the disturbing into play through various forms of boundary situations, Bahri creates art that challenges and opens up for reflection on elementary human experiences.

Kari Anne Helleberg Bahri (born 1975) has an education from Oslo Academy of the Arts, Department of Clothing and Costume. She has also studied aesthetics at the University of Oslo and art at the Interdisciplinary Art Institute (Bærum). Recent exhibitions include “I dress /ergo am I?” at Akershus Art Center and part of the Kunstvisitten tour (2018), “Uncontaminated” 2017 – art and fashion festival at Mellomstasjonen, National Museum in Oslo (2017), “Constraint were placed on the circulation of clothing” at Oppland Arts Center (2016), “Inside – Extra” at Buskerud Kunstsenter (2016), “Close(d)” at Bærum Kunsthall (2015) and “Needless” at Trafo Kunsthall (2015). Bahri lives and works in Kongsberg, Norway.

作者:Marte Danielsen Jølbo

Marte Danielsen Jølbo (b. 1984 in Stavanger, Norway) is a curator, writer, editor and art mediator. Since 2012, she has run the project room and publisher Another Space – project room for art and architecture together with architect Nicola Markhus, and she is co-founder and editor of Contemporary Art Stavanger (CAS). Jølbo has been the curator of a number of exhibitions and interdisciplinary projects, and has written and edited several art essays and publications. In 2012, Jølbo received Stavanger municipality’s art curator grant, and she has recently participated in the curatorial programs Curatorial Program for Research: Mexico, OCA’s curator residency at ISCP in New York and KORO’s Curatorial practice + the public space. Jølbo has a master’s degree in Modern culture and cultural communication from the University of Copenhagen and a bachelor`s degree in literary studies. She has recently been appointed curator at KORO in Oslo.

Tactile narratives

by Gunhild Horgmo

In recent decades, we have witnessed a flourishing of textile art. The traditional art form has also been the subject of increased interest in Norway. This tendency has arisen as a contrast to the conceptual approach that has characterized art from the 80s. Textile art has often been considered something feminine, because the material is so closely linked to needlework and clothing. In Kari Anne Helleberg Bahri’s works, however, the soft material is used as a medium in an idea-based way of thinking, and expands the framework of understanding for the art form. Instead of soft lines and smooth surfaces, the expression is rustic and characterized by an anti-aesthetic. The material is found and collected, then processed into new textile objects. For the artist, clothing and textiles close to the body represent the human being, and in the process she creates clothing objects that become narrative carriers of human history. The bright, light materials are contrasted with coarse fabrics sewn together with a strong needle. The patches and stitches in the fabrics become visible signs of life lived. It is about immobility and restrictions for the individual, and moving away from the template we must adapt to. About the fear of falling and falling out from the society ( if you exe: loose your job, you can`t provide for yourself and so on ). In this exhibition, the textile objects are framed in large wooden structures. As separate tableaus, they tell about important events in human life. As a whole, the installation is a visual composition that takes you on a journey from birth to death. Through the shape of the textile sculptures and the tactility of the material, the works say something about who you were, who you are and who you can choose to become.

作者:Gunhild Horgmo

Horgmo has a bachelor’s degree in art history from the University of Oslo and freelances as an art critic and writer. She has published in, among others, KUNST, Billedkunst, Kunstforum, Kunsthåndverk (the main artmagazines in Norway) and scenekunst.no, contributed to the book about Seljord og sogene, and was a regular art critic in Telemarksavisa from 2010 and more.

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