Mari Norddahl (b. 1990) works with soft objects through performance, sculpture and installation. Her interest lies in shapes and themes that follow an organic aesthetic and have a similarity to the corporal, on how we perceive the object in relation to the body - with an emphasis on the object's existence as an autonomous entity. She seeks to understand the thing's perception of the world, if it has its own awareness, or if such a concept merely a projection.

Lives and works in Bergen, Norway

Contact: mari.norddahl@gmail.com
Instagram: @marinorddahl
Tumblr: theseareafewthingsilike





EDUCATION


2015 - 2017    Faculty for Art, Music and Design, UiB, Master in Fine Arts
2012 - 2015    Bergen Academy of Art and Design, Bachelor in Fine Arts
2014                Glasgow School of Art, Sculpture and Environmental Art
2010 - 2012    Kunstskolen i Bergen (Bergen Art School)



SOLO AND DUO EXHIBITIONS


2022 Slowly, the thing becomes itself, BLOKK, Bergen (upcoming)
2022 Nye Bokboden, Bergen (upcoming)
2021 The Long Things, Sommaljom, Ørsta
2019 Snakes, Seals and Stones, Visningsrommet USF, Bergen 
2018 Will you remember this? Galleri Kronborg, Bergen
2015 The Creation of Pink Energy, Galleri Fisk, Bergen (with Renate Synnes Handal)
2014 HUDA, Galleri Blunk, Trondheim

GROUP EXHIBITIONS


2022 BLOKK 10 år at Visningsrommet USF, Bergen
2021 BKFH Salong, Hordaland Kunstsenter, Bergen
2020 Recordare, Volda Kyrkje
2020 Tidsreisende, Arendal Kunstforening
2020 Vinter Kunstmarked, Artfolk/Kiosken, Bergen
2019 No night for this day, SÍM Galleri, Reykjavik, Iceland
2019 Summer exhibition, KD Gallery, Bergen
2019 Julekunstmarked, Artfolk/CM7, Bergen
2018 No Island II, Vadsø Kunstforening, Norway
2018 No Island, Artists' Union Gallery, Arkhangelsk, Russia
2017 Søndre Green AiR-presentation, Buskerud Kunstsenter, Drammen
2017 LEKAM, HardingArt, Utne
2017 triage, MFA Graduate exhibition, Bergen Kunsthall
2016 Munkehagen, Stavanger, Norway
2016 Skylle, Samle, Kverne, Slipe, Velsvik, Norway
2016 Bokboden Sculpture Park, Bergen,
2016 RIFT, Bergen Kjøtt
2015 Clay-Sculpture-And-Bread-Community, Agalaus, Voss
2015 Om tiden vil, og været tillater, BFA Graduate exhibition, Kunst og designhøgskolen i Bergen
2015 Munkehagen, Stavanger, Norway
2014 Dynamiske Konstanter, Gamle Arne Fabrikker, Ytre-Arna
2014 THE WEARABLE ART SHOW, Kreuzberg Pavillion/Knipsu, Bergen
2014 Clay-Sculpture-And-Bread-Community, Galleri Bokboden, Bergen,
2014 Behind these walls lies the entire earth, Skostredet, Bergen
2014 Filthy Swans, The Whisky Bond, Glasgow, Scotland


PERFORMANCES


2022 Together Elsewhere, online streaming (upcoming)
2020 Fluctuation, PAB Open Session, Oseana Kunst og kulturhus
2020 Unplanned, PAB/PAO Performance Camp, Finse, Norway
2020 A Long Thing, On The Way, nomadic performance actions across Northern Ireland (Newry, L.Derry)
2019 PAB Open Session, Among The Trees, Blåmansvannet, Bergen
2019 Det ugyldne snitt, The Storyspace/Historierommet, USF Verftet, Bergen
2019 PAB Open Session, Spring Equinox, Mon Plaisir, Bergen
2018 Carrot, PAB Lokal/Familiedag på USF, Bergen
2018 Wavy Lines, Soft Snakes, No Island, Vadsø Kunstforening
2018 PAB Open Session: Transportation, Nygårdsparken, Bergen
2018 Take a Limb, workshop/performance, CS55, Bergen
2018 THROUGH SHAPELESS SOUNDS AND BODIES, B-Open 2018, Bergen
2017 PAB Open Session, Bokboden, Bergen
2017 Ruler, Creator, Destroyer, PAB OPEN Performance Festival, Bergen
2017 Body as Sculpture, LEKAM, HardingArt, Utne
2016 Carrot, KHiB Open Academy 2016
2016 The Mirror Stage, HOT BLEND/Prøverommet, USF Verftet, Bergen
2016 Hanging Piece II, After School Special, Landmark, Bergen
2016 Hanging Piece I, SuperMatrixXXX, Hulen, Bergen
2015 I will interact with something very large or very heavy, PAB OPEN, Bergen Old County Jail
2015 Do I really owe you any explanations?, Landmark, Bergen
2015 HUDA, performance, Cirka Magazine Launch, Oslo
2014 HUDA, performance, Galleri Bokboden, Bergen


RESIDENCIES / PROJECTS


2021 Leveld Kunstnartun, Ål i Hallingdal, Norway
2021 Kunstmøter i Barnehagene: “Venner”
2019 SÍM Residency, Reykjavik, Iceland
2018 Artist in Residence, Gjesteatelieret i Vadsø/Vadsø Guest studio, Finnmark, Norway
2017 Soft Galleri/Norwegian Textile Artists’ Artist in Residence at Søndre Green Gård, Krødsherad, Norway



GRANTS


2022 Project support, Bergen Kommune 
2020 Culture Grant, Bergen Kommune
2019 International travel grant, Bergen Kommune
2019 Work grant, Billedkunstnernes Vederlagsfond
2018 Support for shipping, Norwegian Crafts (No Island, Arkhangelsk)
2018 Travel grant, Norske Kunsthåndverkere (No Island, Arkhangelsk)
2018 Exhibition grant, Bergen Kommune (Snakes, Seals and Stones)
2017 Establishing grant, Bergen Kommune
2017 Diversestipend for nyutdannede, the Norwegian Art Council
2012 Trafo.no, project grant

PUBLICATIONS


2020 Wavy Lines 
2019 Thinking About Objects
2017 The actual versus the potential: the consciousness of toys, things, nothings and beings (MFA Thesis)





Mark

Dei Lange Tinga / The Long Things


Site-spesific sculpture exhibition for the festival Sommarljom in Ørsta, 27.-29. july 2021

Water-repellant polyester, reflective fabric, polyester filling.

With lengths varying from 20 cm to 6,5 metres, the sculptures were placed in trees and in the grass in the steep hayfield of an old farm, which served as the festival site.





Venner - Kunstmøter i Barnehagen 2021


Project in collaboration with Klosteret Barnehage, by initiative of Bergen Kommune. The aim was to create interactive, physical encounters between children and sculpture. 

The project was divided into three parts:

Meeting and playing with 5 large soft sculptures, where after an initial introduction, the children were free to approach the sculptures on their own terms. I often use the word "friend" about the sculptures I make, and and continued this when I introduced the sculptures to the children. Which sculptures are friends with each other? What properties do they have in terms of shape and color? We talked about what the shapes reminded them of, and what they could be, and the children gave them names and personalities.




In part two the children were introduced to 20 smaller sculpures, all in the same shape but made in different fabrics.  The sculptures were round with two «arms». I introduced the sculptures to the children in small groups. The sculptures have been allowed to stay in the kindergarten on a permanent basis, so that the children could use them in their everyday play time. The aim was that these objects would take on an infinite number of roles through play and interaction, and become living art objects.





In part 3, the children got to create their own soft sculpture friends. I made objects in white cotton which children could paint and decorate according to their own wishes. The objects were the same size and shape as the ones in part 2. The children used watercolors, markers and sequins to create their expression. The sculptures were hung in the window of the kindergarten as an exhibition for the entire kindergarden and for the parents to see. Afterwards the soft sculptures went home to their respective maker. 


Recordare (Tida opnar seg)


Seven cotton sculptures with embroidered letters.

A combination of text and objects made for ‘Recordare’, an art exhibition and concert in Volda Kyrkje 12. november 2020. The church as a historic building and institution
accommodates time, rituals and is a place to visit during the great rites of life.

The embroidered texts are about time, human relationships and memories, and their form serve as an object for contemplation for the audience along the church pews. As a series they are visually more muted than my previous sculptures, as they were made to respond to the particular interior of the church.





When you hear it, it speaks slowly, telling you it's okay


SÍM Residency, Reykjavík, Iceland

2019

This project picks up the thread from previous projects conceived in Finnmark and Bergen, working with objects in landscapes, as a performative action, and as a research project.

In recent years I have traveled closely with my sculptures, often carrying them in my arms instead of stuffing them in a suitcase. This means being forced to consider them every step of the way. Time spent with the objects is important, as well as bringing them out of the ‘comfort’ of the white cube.

I arrived in Iceland wanting to create new objects. We could explore new landscapes together and share new experiences while getting to know each other better. But unexpected feelings arose. Visiting my mother's home country alone and for the first time in many years, I found myself lodged in-between being a tourist, an artist and my identity as part Icelandic. I could understand the language, but not form sentences of my own. I blended in with masses of tourists, hurrying through to the next awe-inspiring site. As a performance artist I am used to drawing attention to myself, but this time I felt odd, displaced as I carried my brightly coloured friends from the city scape to the mossy landscapes.

As I worked with the objects, visiting sites, hiking, or simply just by holding them in my hands, I felt as though I slowly landed. We watched the sunset one evening when I thought about the uncertainty of finally arriving somewhere you have dreamed of for so long, and how we needed to embrace this uncertainty instead of fearing to be ignorant.

In a time of confusion it is good to have a friend, after all.





Writing one scentence a day, in response to a daily forecast from the astrology-app Co-Star 




Presentation of the work in No Night for this Day
SÍM Galleri, Reykjavik, Iceland, July 2019