WITH NONSENSE AND WIT - Three Beloved Artists from Sunnfjord

- Ludvig Eikaas (1920-2010), Kjartan Slettemark (1932-2008) og Oddvar Torsheim (1938).
This year we'll show an exhibition of works by three artists who in different ways have given us strong and remarkable works of art. They were and are clear and distinctive feature voices in the contemporary choir. They use, each in their own way, humor and satire to lure us into their world. But under all the fun and nonsense lies common sense, serious and conviction. In this exhibition, we hope to bring out this harmony, despite inequality in expression and theme.

In Ludvig Eikaas' portraits the physically recognizable is not the main thing. I see you, and whether you are a bellowing calf or an author, I make the image the way you are, not the way you look. Kjartan Slettemark went into contemporary debates with clear political and sometimes provocative messages. There are few like him, granted with images that have made people grab their ax and attack the art itself. He is an alchemist who makes art out of junk - like "Norway's Flower Valley". Oddvar Torsheim have like a seismograph drawn the tremors of our minds and of society. Perhaps we would not have noticed them, if we hadn't had someone to give them lines. A green cow that becomes the label for a popular movement...

They three of them have all made works that have become marks of a certain period in time. They also have this in common that they are and were people who take a lot of space. At times there were probably those who thought that they brought home shame. Consider that there are people, from here, who behave like this. But maybe this is precisely why they are now so beloved. For us, from here, they and their art have become part of our self image. We recognize ourselves in "Horse in the wind," we know a "Sisyphus from Sunnfjord" and we all know that one day, we might be the ones who get our head on a plate...

curator Fridtjov Urdal

Photo: Oddleiv Apneseth, Kjartan Slettemark, Oddvar Torsheim and Ludvig Eikaas, 2000.