The longing for a certain place or a specific landscape has manifested itself as an underlying theme in a number of contemporary art projects during recent years. This tendency has been particularly dominant within photographic art. This article discusses photography based site-specific art through a closer reading of a chosen example, Oddleiv Apneseths photographic diary Jølster 2008. The author approaches Apneseths project through three concepts which maintain a central position in the photographers work: Time, place and history.
One particular location motivated and inspired the artist Nikolai Astrup: through his landscape paintings we see Jølster mirrored in several ways. A tendency in his work is the repetition of certain motives, like the series on his childhoods garden at the vicarage. Using these series, the article approaches the concept of location with references to philosophical reflections as new perspectives for discussing Astrups awareness of location.
In 1987, the Norwegian photographers Johan Sandborg, Jens Hauge, Siggen Stinessen and Per Berntsen toured Norway. The final product of this adventure was the collaborative project, Norwegian Landscape 1987, consisting of 43 colour photographs and a montage of postcards. The author discusses the way in which the travel is reflected in the photographers work. The text also discusses different aspects of the social situation of car driving related to this project. Norsk Landskap 1987 plays to a lesser degree on expedition rhetoric, but rather that of touring with a band. In effect, the works share a casual attitude connected with many contemporary relational art-projects.
The colossal sculpture Angel of the North by Antony Gormley conjures up an inseparable idea of the art work belonging to the landscape, or vice versa the landscape belonging to the art work. Before the sculptures installation, however, the site on which it stands was an anonymous wasteland. This article will focus on the location of Angel of the North on a post-industrial site and its relationship to the surrounding landscape, and on the impact it has made on the local community and on Britain as a whole.
The concept of landscape plays an important part in the construction of Norwegian identity, both historically and today. By drawing attention to contemporaryNorwegian women artists re- working of landscape painting, this article focuses on gender and sexual differences as they are involved in the aesthetics of landscape. The author suggests that the work of the artists Mari Slaattelid and A K Dolven can be read as deconstructive practices exploring the meaning of femininity within the discursive spaces of landscape.