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Gerhardsen Gerner is pleased to announce a group show with a selection of works by the artists represented by our galleries in Oslo and Berlin.

Per Inge Bjørlo driven to artistic creation. He can't help it, it simply flows from him. Many of his key works have dealt with the dynamics of the "inside" and the "outside", and have titles such as "Inner Space", "Fear", "Reclining" or "Hope". Herold's technique of setting traps is perhaps inconceivable without the "art punk" once cultivated jointly with Albert and Markus Oehlen, Werner Büttner and Martin Kippenberger nor without Duchamp's linguistic compositions including sexuality as a metaphor. Markus Oehlen is another important representatives of the Neue Wilden movement, which was especially active in Germany during the 1980s. The artists used a punk attitude that stood in opposition to Minimalism. Oehlen has continuously developed his work and, in parallel with painting, also works on sculptures and musical projects.

Through his practice Julian Opie has developed a concise and reductive formal language. Drawing from influences as diverse as billboard signs, sculpture, 17th & 18th Century portraiture, popular comics and classical Japanese woodblock prints, Opie implements computer technology by cutting out the outlines and coloured shapes. The oeuvre of Thomas Ruff belongs to a tradition of German photographers directly indebted to the conceptual aesthetics and teachings of Bernd and Hilla Becher, whose unique artistic approach turned to the original New Objectivity project and adapted it to the eighties. For over twenty years Andreas Slominski has developed an eclectic and subtly interrelated corpus, which repeatedly defies recognition, alternately drawing upon everyday objects or experiences and escaping into a quixotic realm of personal motifs, and oscillating between found objects and handcraft.

The Italian-born sculptor, painter and installation artist Monica Bonvicini deals with sex, power and control, though there is a lot of humour and ambiguity in her work too. Jim Lambie's approach to art making is informed by a few fundamental ideas. A rock musician before he became a visual artist, he uses color in a way that is deeply rooted in color theory and specifically relates to the concept of synesthesia, an analogous experience between music and the color spectrum in which the stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. For more than a decade Jonathan Meese has provoked, seduced and irritated art audiences in Europe with raucous, libido-driven performances and dense, dissonant installations, packed with all sorts of detritus, fragmented photo imagery, graffiti-scarred painted surfaces and the like. All of his projects relay a sense of urgency—anarchical abandon with a dose of absurdist humour—the only unifying theme being art itself and the creative process. 

Paloma Varga Weisz' sculptures play with the wondrous, which our modern longings gladly seek in the long forgotten and distant past. Through painting they aimed to study nature with great attention and took the solemnity, directness and authenticity of medieval art as a model for their works. Drawing is an important aspect of Dirk Stewen’s practice. For him drawings are an image of the mind, a reflection of internal life. Visual ideas can be caught in mid-flight. The process of watercolor painting demands boundless trust in what will be.