{"id":6855,"date":"2025-11-11T05:51:36","date_gmt":"2025-11-11T05:51:36","guid":{"rendered":"https:\/\/www.afmuseet.no\/en\/?post_type=exhibition&p=6855"},"modified":"2026-02-20T13:40:00","modified_gmt":"2026-02-20T13:40:00","slug":"grammars-of-light","status":"publish","type":"exhibition","link":"https:\/\/www.afmuseet.no\/en\/exhibitions\/grammars-of-light\/","title":{"rendered":"Grammars of Light"},"content":{"rendered":"\n
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Exhibition<\/span>\n\n

Grammars of Light<\/h1>\n\n06. Feb. 2026 – 10. May. 2026<\/span>\n\n
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Cerith Wyn Evans, Ann Lislegaard, P. Staff <\/p><\/div><\/div><\/div>\n\n\n\n

Grammars of Light<\/em> brings together the work of three contemporary artists\u2014Cerith Wyn Evans, Ann Lislegaard, and P. Staff\u2014who explore the potential of light as an artistic medium. Their immersive environments, architecturally scaled video projections, and luminous sculptures\u2014fashioned from repurposed consumer, medical, and industrial lighting\u2014transform the museum\u2019s galleries and stimulate the senses. Perception is impacted in unexpected ways, and essential questions are raised about how we see the world as a thinking, feeling body.  <\/p>\n\n\n\n

The representation of natural light through illusion, particularly in painting, has been an enduring concern for the visual arts. Yet it was only with the advent of mass-produced artificial lighting in the early twentieth century that artists began using it as an artistic medium. These early experiments within Constructivism and the Bauhaus gave way to more intensive experimentation in the 1960s and 1970s, in which artificial light became a defining feature of Minimalism and Post-Minimalism. While Evans, Lislegaard and Staff are informed by these traditions, they create associations that extend beyond the strict seriality and phenomenology of minimalism. Their works explore the expressive potential of this medium.  <\/p>\n\n\n\n

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Cerith Wyn Evans, StarStarStar\/Steer (Transphoton)<\/em>, 2019. Exhibition view, Grammars of Light<\/em>. \u00a9 Astrup Fearnley Museet, 2025. Photo: Christian \u00d8en.<\/figcaption><\/figure>\n\n\n\n

Many\u202fof the works\u202fdynamically\u202frespond\u202fto the surrounding architecture:\u202flight columns\u202fare\u202fduplicated in the museum\u2019s glass ceiling,\u202fvideo\u202finstallations\u202fhave been\u202fscaled\u202fto\u202fthe galleries\u202fthat\u202fthey\u2019re\u202fpresented in,\u202fand holographic fans form\u202fa corridor of intense luminosity,\u202fflashing\u202fpoetic texts.\u202fInstead of\u202fillustrating a\u202fprinciple\u202for\u202fproviding\u202fsimple answers,\u202fwe are\u202fpulled\u202finto\u202faffecting\u202fscenarios that\u202fopen space for the unknown and blur\u202fthe\u202fdistinctions between interior and exterior.\u202f <\/p>\n\n\n\n

Curated by Owen Martin\u202f <\/p>\n\n\n\n

Grammars of Light<\/em> is organized in parallel with Henie Onstad’s exhibition with Ann Lislegaard: ANIMOID<\/em> <\/a> (9 January 2026 – 19 April 2026). A joint public program will provide visitors with an opportunity to engage with the artist’s practice in depth across two institutions.<\/p>\n\n\n\n

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reviews:<\/h3>\n\n