Artists
Bio
Ane Graff (b. 1974, Bodø) lives and works in Oslo, Norway. She graduated from Bergen National Academy of the Arts in 2004 and currently holds a position of PhD Research Fellow at the Oslo Academy of Fine Art.
Ane Graff
Selected Works
Artwork: The Goblets (Generalised Anxiety Disorder, Major Depressive Disorder, Inflammation-Associated Anorexia, Post-Traumatic Stress Disorder, Chronic Fatigue/Myalgic Encephalomyelitis, Dementia, and Obsessive-Compulsive Disorder) (2022)
Artwork: The Goblets (Generalised Anxiety Disorder, Major Depressive Disorder, Inflammation-Associated Anorexia, Post-Traumatic Stress Disorder, Chronic Fatigue/Myalgic Encephalomyelitis, Dementia, and Obsessive-Compulsive Disorder) (2022)
Artwork: Patches of Standing Water (2021)
Glass goblet containing:
Clonazepam from Klonopin oral tablets anti-anxiety medication. Corn Syrup, sugar, sorbitol, modified corn starch, E129 Allura Red, sodium benzoate, and potassium sorbate from Wilton Icing Color in Red. Aluminium zirconium tetrachlorohydrex gly, cyclopentasiloxane, phthalates, BHT, tocopheryl acetate, alpha-isomethyl ionone, benzyl alcohol, benzyl salicylate, butylphenyl methylpropional, cinnamyl alcohol, citronellol, coumarin, and hexyl cinnamal from Dove Invisible Dry Antiperspirant
Deodorant Stick. Talc, silica, dimethicone, cetyl dimethicone, titanium dioxide/CI 77891 from Clairol Root Touch-Up – Just The Red Shades. Ammonia, arsenic, benzene, butane, cadmium, carbon monoxide, formaldehyde, hexamine, lead, naphthalene, methanol, nicotine, tar, toluene, lead, silica dust, polycyclic aromatic hydrocarbons, sugars (sucrose and/or invert sugar and/or high fructose corn syrup), natural and artificial flavouring from Marlboro Red Label 100’s cigarettes. Polycyclic organic hydrocarbons, organophosphate flame-retardants, phthalates, benzothiazoles, musk compounds, plasticisers, lead, nickel, cadmium, arsenic, magnetite, and silica dust from road and tunnel dust collected in Nordbytunnelen, Oslo, Norway. Urea from Garden Direct Urea (46% N).
130 x 30 x 30 cm
Unique work
Glass goblet containing:
Albuterol sulphate from Proventil oral asthma medication. Radioactive cesium-137 in lichen from Børgefjell, Norway, originating from the Chernobyl disaster April 26th 1986 in the Ukrainian SSR. E1520 propylene glycol, E129 Allura Red, E415 xanthan gum, ethyl alcohol, hydrogenated soya bean oil, E133 Brilliant Blue, natural and artificial flavour enhancers from LorAnn Red Velvet Bakery Emulsion. Cadmium, copper, zinc, carbofuran, and lindane from Hexaplex trunculus collected in Bizerta lagoon, Tunisia. Sugar, corn syrup, hydrogenated palm kernel oil, modified corn starch, E171 titanium dioxide, E129 Allura Red, E102 Tartrazine, E110 Sunset Yellow, E331 sodium citrate, and artificial flavouring from Skittles Wild Berry Candy.
Caffeine, sugar, hydrogenated coconut oil, corn syrup solids, dipotassium phosphate, mono- and diglycerides, sodium silicoaluminate, artificial flavouring, modified whey, dry sweet whey, fillers, caffeol, polyphenols, phytoestrogens, diterpenes, acrylamide, pesticide-, herbicide- and insecticide residue from Folgers Cappuccino Instant Coffee.
Polycyclic organic hydrocarbons, organophosphate flame-retardants, phthalates, benzothiazoles, musk compounds, plasticisers, lead, nickel, cadmium, arsenic, magnetite, and silica dust from road and tunnel dust collected in Nordbytunnelen, Oslo, Norway. Urea from Garden Direct Urea (46% N).
130 x 30 x 30 cm
Glass vessel containing Dagens Næringsliv (Norwegian financial newspaper), Grandma’s
White Dirt of Georgia Kaolin Clay Chunks, The Proud Rooster Free Range Eggs, mud and
water from Maridalsvannet (the main drinking water supply for Oslo), multiple species of
algae and Cyanobacteria, Cacas Sky Cerise Icing colour , Genuine Indigo Blue In Pieces
(Idigofera Tinctoria), Logwood Extract powder (a spiny, tropical American tree, largely
found in the Yucatan Peninsula of Mexico. The extract is a purple-red dye derived from
processing the darkest heartwood).
27 x 10 x 44 cm
Unique work
130 x 60 x 60 cm
Unique work
Anievas and Kerem Nisancioglu (Pluto Press, 2015), and The Betty Crocker Big Book
of Cupcakes, Betty Crocker (Wiley, 2011), steel wire mesh, potassium aluminium sulphate,
Solgar Naturally Sourced Vitamin K MK-7 from Natto extract, road dust from the Opera
tunnel in Oslo, Yerba Prima activated coconut charcoal, powdered Cephalon Provigil
(narcolepsy medication and cognitive enhancer), Titanium dioxide (food-grade pigment),
Taylor of Old Bond Street Talc Powder, Urban Decay Moondust Eyeshadow in Blackout.
50 x 50 x 115 cm
Unique work
In the collection of Stavanger Kunstmuseum
made from paraffin wax (hydrocarbons, fats and oils from petroleum production processes),
Swanson Ultra Albion Chelated Manganese capsules, rust pigments (from scrap
metal), Mica Powder Skin Safe in Sparkle, glacial grey ochre (glacial till clay deposits
made from the wasting ice sheet floating on ponded brackish water from ca. 19,000 years
ago (coastal Washington)), blue ochre industrial waste vivianite (made as a purification
upcycled pigment from automobile industrial waste from Taiwan), and tea tree, eucalyptus
and cedar wood essential oils with anti-inflammatory and anti-bacterial properties.
150 x 130 x 250 cm
Unique work
In the collection of the National Museum of Norway
production derivative), Royal Raspberry flavour Jelly Made with Halal beef gelatin,
MAC Glaze Lipstick in All Fired Up, Crest Complete Cinnamon Rush toothpaste, Cochineal
Lake pigment (made from the dried, pulverised bodies of the cochineal female scale insects.
The beetle was native to the New World, and used by the Aztecs for dyeing and painting,
brought to Europe in the 16th century following the Spanish conquest (from Canary
Islands, Spain), Kappa carrageenan (from red edible seaweed used in the food industry for
its gelling properties), and PME pink edible lustre spray icing colouring.
50 x 50 x 155 cm
Unique work
In the collection of Stavanger Kunstmuseum
The Goblets (Memory Disorders)
plaster, epoxy resin.
'States of Inflammation' part of 'Weather Report: Forecasting Future', Installation view, 2020, Kiasma, Helsinki
Photo: Pirje Mykännen/ KIASMA
Pink coloured glass structure with:
The Goblets (Memory Disorders)
plaster, epoxy resin.
'States of Inflammation' part of 'Weather Report: Forecasting Future', Installation view, 2020, Kiasma, Helsinki
Photo: Pirje Mykännen/ KIASMA
The Goblets (Generalized Anxiety Disorder)
plaster, epoxy resin.
'States of Inflammation' part of 'Weather Report: Forecasting Future', Installation view, 2020, Kiasma, Helsinki
Photo: Pirje Mykännen/ KIASMA
Photo: Pirje Mykännen/Kiasma
Photo: Pirje Mykännen/ KIASMA
Photo: Pirje Mykännen/ KIASMA
Steel and aluminum structure with woven copper/steel/textile bands
Glass plates with sculptural elements consisting of:
Aluminum, copper, iron, bismuth, indium, alunite, quartz, fulgurite, glass, alum, coral plaster, plant material, pigments, fiber optics, epoxy, nylon, polymer.
3.5 x 2.5 x 1.3 m
Unique work
Photo: Øystein Thorvaldsen
Steel and aluminum structure with woven copper/steel/textile bands
Glass plates with sculptural elements consisting of:
Aluminum, copper, iron, bismuth, indium, alunite, quartz, fulgurite, glass, alum, coral plaster, plant material, pigments, fiber optics, epoxy, nylon, polymer.
3.5 x 2.5 x 1.3 m
Unique work
Shelf 1:
Copper, iron and potassium alum sulfate growths on deep sea coral, fiber optics tubes in epoxy with patinated copper and plant pigments.
Photo: Øystein Thorvaldsen
Steel and aluminum structure with woven copper/steel/textile bands
Glass plates with sculptural elements consisting of:
Aluminum, copper, iron, bismuth, indium, alunite, quartz, fulgurite, glass, alum, coral plaster, plant material, pigments, fiber optics, epoxy, nylon, polymer.
3.5 x 2.5 x 1.3 m
Unique work
Photo: Øystein Thorvaldsen
21 x 48.5 x 62.5 cm
Unique work
AG19-01
Exhibition history: Elizabeth Dee Gallery New York, curated by ENTRÉE’s Randi Grov Berger, 2017 Second Triennial of Beetsterzwaag, Holland, curated by Niekolaas Lekkerkerk & Julia Geerlings, 2018
Mattering Waves
The sculptures in the exhibition “Mattering Waves” deal with issues of touch and identity between materials, and between materials and the human body.
Here, the sculptural work combines diverse components in a series of mutually affecting, reactive processes in which the materials change through – and with – each other. This can be seen in, example given, the sculpture Mattering Waves (1), where copper and alum salt growths has grown onto- and integrated throughout- a base of fired minerals and clay, mixed plant material, copper powder and synthetic pigments.
Western culture’s tradition of categorization is inextricably interwoven with our culture and language. Thus, it informs us more about human cultural and linguistic practices, than of the material in itself. Naming material, and choosing a system for categorization, are practices open to change. Our physical reality can be named and categorized differently, and through feminist science studies thinkers, is being seen as a series of entanglements and phenomena (Karen Barad) or assemblages (Jane Bennett).
Inspired by Donna Haraway’s statement that she herself is “a creature of the mud” – the works in “Mattering Waves” connect the human body to material world. The human body is highly material, being constantly “touched” and affected by other materials: it is an inextricable part of the mineral and metal world, as metals are being pumped through veins and minerals build bones. In Mattering Waves (3), human DNA has been added to a mixture of liquid polymer, soil and dust in a glass vessel. After a while the liquid mixture started to react and “boil”, i.e. grow/expand, inside within the glass, taking on a different form, structure and identity. In Graff’s works growth is no longer a linear phenomenon, but instead a series of entangled interactions – a coming into existence through complex connectivity. The consequences of identity and growth are rendered unknowable, and touch between materials and humans is materialized.
Photo: Paula Aubrey
21 x 48.5 x 62.5 cm
Photo: Paula Aubrey
44 x 53 x 66 cm
Photo: Paula Aubrey
Variable dimensions
Unique work
Exhibition History: Your Groundwater, Sørlandets Kunstmuseum 2013
Each work 200 x 100 x 45 cm
Unique work
AG19-02
Exhibition history: You Are My Marble, Vigelandsmuseet 2012
Photo: Øystein Thorvaldsen/ Vigelandsmuseet
Gallery Exhibitions
CV
Born 1974, Bodø, Norway. Lives and works in Oslo, Norway.
Education
2015-20
The Norwegian Artistic Research Fellowship Programme (advisers Maria Lind, Jan
Verwoert & Ane Hjort Guttu), the Academy of Fine Art, Oslo National Academy of the Arts, NO
2000-04
Bergen Academy of the Arts (Prof. Jeannette Christensen), KHIB, Bergen, NO
1999-00
Strykejernet Art School (Teachers Matias Faldbakken / Vilde von Krogh), Oslo, NO
Solo Exhibitions (from 2009)
2023
Molecular Dramas, OSL contemporary, Oslo, NO
2022
2022
2022
2022
Ane Graff: The Wound In Its Entanglements, Kunstinstituut Melly, Rotterdam, NL
2020
There Are Others Here With Me, OSL contemporary, Oslo, NO
2019
The Goblets, 1857, Oslo, NO
2017
Mattering Waves, Entreé NY, Elizabeth Dee Gallery, NY, USA
2015
The Hungry Eye, Kunstnerforbundet/ The Artists’ Association, Oslo, NO
2013
Your Groundwater, Sørlandet Art Museum, Kristiansand, NO
2012
Graff-Løw-Sandbeck, The Vigeland Museum, Oslo, NO
2011
Graff-Hol-Lyche: Whiteout, The Arts Festival of North-Norway, Harstad, NO
The Aforementioned Lack of Clarity, Landings Project Space, Vestfossen, NO
2010
Patches of Standing Water, Platform China Contemporary Art Institute, Beijing, CH
2009
Sliding, Künstlerhaus Bethanien, Berlin, DE
Selected Group Exhibitions (from 2009)
2022
Experiences of Oil, curator Anne Sfezer-Karlsen, Stavanger Kunstmuseum, Stavanger, NO Subterranean, curators Isakova/Kyander, Amos Rex, Helsinki, FI
2021
2021
Liverpool Biennial 2021, curated by Manuela Moscoso, Liverpool, UK
Liquid Life, curated by Marta Kirszenbaumat, at Kistefos Museum, Jevnaker, NO.
2020
7 X 7, organizers Michael Connor & Hanne Mugaas, Rhizome and Kunsthall Stavanger, NO
Weather Report –Forecasting Future, curators Leevi Haapala & Piia Oksanen, KIASMA, Helsinki, FI
THERE IS NO PLACE LIKE HOME, OSL contemporary, Oslo, Norway
2019
Art Encounters Biennial 2019, curators Maria Lind & Anca Rujoiu, Timisoara, ROU
Weather Report –Forecasting Future, curators Leevi Haapala & Piia Oksanen/ KIASMA,
the Nordic Pavilion at the 58th Venice Biennale 2019, IT
The Trouble Is Staying, curator Inês Geraldes Cardoso, Meet Factory, Prague, CZ
Tempo Tempo Tempo, curator Rhea Dall, Kistefos-Museet, Kistefos, NO
Selflessness, curator Steffen Håndlykken/1857, Kunstnernes Hus, NO
The Future Stands Still but We Move in Infinite Space, curator Randi Grov Berger/ Entrée, Oslo, NO
Earth-Body, curator Jonatan Habib Engqvist & Gabriel Mestre, Museo de Geologica, Mexico City, MEX
The Micro Challenge, Vitenskapsfestivalen, Trondheim Kunstmuseum Gråmølna, Trondheim, NO
2018
Art & Science (NATURvitenskap), curator Randi Thommessen, Trondheim Kunstmuseum, NO
Almende -Second Triennial of Beetsterzwaag, curators Niekolaas Lekkerkerk & Julia Geerlings, NL
Frail Mighty, curator Prosjektrom Normanns, Kunsthall Stavanger, Stavanger, NO
Soon Enough: Art in Action, curator Maria Lind, Tensta Konsthall, Spånga, SE
2017
Pluss Pluss, curator Helle Siljeholm, Black Box Teater, Oslo, NOR
Skulpturbiennalen, Vigeland-museet, curator Steffen Håndlykken, Oslo, NO
Myths of the Marble, curators Milena Høgsberg & Alex Klein, Henie Onstad Kunstsenter, NO
Myths of the Marble, curators Milena Høgsberg & Alex Klein, ICA Philadelphia, Philadelphia, USA
2016
The 11th Gwangju Biennale “The Eight Climate (What Does Art Do?)”, curator Maria Lind, Gwangju, KR
Form Matters, Matter Forms, A Palazzo Gallery, Brescia, IT
Electron Sea, presentation at Independent Brussels curated by 1857, Brussels, BE
Treasures, curator Knut Ljøgodt, Northern Norway Art Museum, Tromsø, NO
2015
2015 Triennial: Surround Audience, curators Lauren Cornell & Ryan Trecartin, New Museum, NY
Kuppelkupp, Frida Hansen: Art Nouveau in Full Bloom, curator Hanne Ueland,
Stavanger Art Museum, NO
Distant Moods in a Blue Evening, curator Inga Stêimane, Cesis Art Festival, Riga, LV
2013
Momentum 2013 - 7th Nordic Biennale of Contemporary Art, curators Ekroth/Hammer, Moss, NO
2012
If you want it you can get it for the rest of your life, curator Erlend Hammer, ISCP, NY, USA
Lot, curators N/V Projects, Cul de Sac Gallery, London, GB
Berlin. Status, curators Christoph Tannert/ Svein Drühl, Künstlerhaus Bethanien, Berlin, DE
Higher Ground, curator Lise Dahl, Northern Norway Art museum, Tromsø, NO
2011
Morgenrøde, curator Naoshi Ôkura, KOBE Biennale 2011, Kobe, J
Half Square- Half Crazy, curators Marco Bruzzone/Andreas Grulli, VIAFARINI, Milano, IT
Captain Pamphile, curator Gunter Reski, Sammlung Falkenberg Hamburg, DE
2010
The Drawing Biennale 2010, curators Schröder/ Altmann, Momentumhallen, Moss, NO
2009 Life Forms, curator Sara Arrhenius, Bonniers Konsthall, Stockholm, SE
Lob der Kritik, curator Andreas Schlaegel, Fruehsorge Galerie, Berlin, DE
Selected Press Bibliography (from 2009)
2018
Martine Hoff Jensen, "Kunstner Ane Graff blir Norges eneste representant på Veneziabiennalen i
2019", D2
Milou Allerholm, ‘Konsten som griper in i akuta miljöfrågor’, DN.se, 22.02.18
Karsten Thurfjell, ‘Tensta konsthall firer 20 år med framtidsspaningar’, sverigesradio.se, 12.02.18
Karsten Thurfjel, Radiointervju, ‘Metallexperiment, indiska gatsopare och digitala bergatroll’, 2:24 min, sverigesradio.se, 12.02.18
2017
Emma Carr, ‘Must-See Art Guide: Philadelphia’, artnet.com, 27.07.17
Nikita Mathias, ‘Utenfor rekkevidde’, Kunstkritikk.no, 13.06.17
Victoria & Andreas, ‘Performance night at the museum’, viserpaakunst.com, 09.06.17
Maria Lind, ’Molecular Dramas’, ArtReview, May 2017
Stian Gabrielsen, ‘Arnesteder for ambisjon’, Kunstkritikk.no, 31.03.17
Ben Eastham, ‘Myths of the Marble’, art-agenda.com, 30.03.17
Emil L. Mohr, ‘Ane skaper bølger i Harlem’, Avisa Nordland, 13.03.17
Ane Graff & Alex Klein, In Conversation, Entrée Radio, 04.03.17
Pernille Albrethsen, ‘In Front of the Marble Screen’, Kunstkritikk.no, 22.02.17
Øivind Storm Bjerke, ‘Virkelighet og uvirkelighet’, Klassekampen, 08.02.17
Morten Andenæs, ‘Myths of the Marble’, Objektiv, 07.02.17
Kjetil Røed, ‘Sjeldent nyansert om digitalisering’, Aftenposten, 03.02.17
https://leipglo.com/2017/01/17...
2016
Aileen Burns & Johan Lundh, ‘Advancing the Minor Institution’, Kunstkritikk.no, 12.09.16
2015
Shana Beth Mason, ’The New Museum Triennial: Surround Audience’, Kunstforum.as, 10.03.15
Anouk Kruithof ’The Only All-Female All-Art Review’, Metropolis M, 05.03.15
Edit., ’New Museum 2015 Triennial: “Surround Audience”’, moussemagazine.it, 05.03.15
Pernille Albrethsen, ’Avatarene’, Kunstkritikk.no, 03.03.15
D. Creahan, ’The New Museum Triennial: ”Surround Audience”’, artobserved.com, 03.03.15
Edit., New Museum Triennial: Surround Audience, Contemporaryartdaily.com, 01.03.15
Benjamin Sutton, The New Museum’s Triennial Surrounds Audience with Too Much Art,
Hyperallergic.com 24.02.15
Kjetil Røed, ’New Museum-triennalen: Tenker i mellomrommet’, Aftenposten, 20.02.15
Katy Diamond Hamer, ’Surround Audience: 2015 Triennial’, eyes-towards-the-dove.com
2014
Kristian Skylstad, ’Hvordan du endres, celle for celle’, Kunstkritikk.no, 22.08.14
Silje Rønneberg Hogstad, ’Utrolig skummelt. Veldig viktig’, Billedkunst nummer 5, 2014
Tommy Olsson, ’Teksten, stilen og tekstilen’, Klassekampen 09.07.14
2013
Mathew Rana, ’Current shows: Ane Graff’, Frieze.com, 15.04.13
Milena Høgsberg, ’City report: Oslo’, Frieze no. 154, 01.04.13
Caroline Woodley,”Neither-Nor: Momentum 7, the 2013 Nordic Biennale”, Afterall, 16.09.13
Line Ulekleiv, ’Hvem, hva, hvorfor –Momentum 7’, Billedkunst no. 5, 01.09.13
Mona Pahle Bjerke, ’Sterke verk i svak ramme’, NRK.no, 27.06.13
2012
Stefan Thorsson, Simplicity full of nuances’, Kunstforum.as, 07.12.12
Kjetil Røed, ’Fornem brutalitet’, Kunstkritikk.no, 04.12.12
Mona Gjessing, ’En vital vinterreise’, Klassekampen, 28.11.12
2011
Nicolai Strøm-Olsen, “Se til fortiden for å se nåtiden”, KUNSTforum, 26.07.11
2010
Johanne Norby Wernø, “Tegne-Grand Prix”, Morgenbladet, 14.05.10
Synnøve Vik, “Tegning i nye rom”, Billedkunst, 10.05.10
Arnt Fredheim, “Store øyeblikk og store uvesentligheter”, Moss avis, 18.05.10
2009
Børre Haugstad, “De nye kunststjernene”, VG, 17.11.09
Frans Josef Petersson, “Temat skymmer sikten”, Aftonbladet, 07.10.09
Sebastian Johans, “Hur skal vi överleva?”, UNT.SE, 05.10.09
Nils Forsberg, “Livsformer / Bonniers konsthall”, Expressen, 02.10.09
Anders Olofsson, “Livsformer”, Konsten.net, 26.09.09
Marte Spurkeland, “Steininger”, D2, 18.09.09
Arve Rød, “Veggmonologene”, Dagens Næringsliv, 08.06.09
Erik Bjørnskau, “Snakker til veggen”, Aftenposten, 08.06.09
Kjetil Røed, “Tegningens mulige konsekvenser”, Billedkunst 2/ 2009
Arve Rød, “Tegning og tid”, Dagens Næringsliv, 28.02.09
Collections and Comissions
2015
The National Museum of Art, Architecture and Design, Norway
KORO / the Norwegian Parliament
2014
Statoil Art Collection
KORO / Public Art Norway
2013
Sørlandet Art Museum
2011
Northern Norway Art Museum