{"id":6997,"date":"2026-01-23T11:51:06","date_gmt":"2026-01-23T11:51:06","guid":{"rendered":"https:\/\/www.afmuseet.no\/en\/?p=6997"},"modified":"2026-03-17T13:39:28","modified_gmt":"2026-03-17T13:39:28","slug":"new-acquisitions-to-the-astrup-fearnley-collection-in-2025","status":"publish","type":"post","link":"https:\/\/www.afmuseet.no\/en\/new-acquisitions-to-the-astrup-fearnley-collection-in-2025\/","title":{"rendered":"New acquisitions to the Astrup Fearnley Collection in 2025"},"content":{"rendered":"\n
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Magazine<\/span>\n\n

New acquisitions to the Astrup Fearnley Collection in 2025<\/h2>\n\n
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Tori\u202fWr\u00e5nes\u202f, Mothers and Child II,\u202f2025. From the Festival Exhibition 2025 at Bergen Kunsthall, Tori Wr\u00e5nes, Moon Bag. Photo: Thor Br\u00f8dreskift.<\/figcaption><\/figure>\n\n

Every\u00a0year, the Astrup Fearnley Collection is expanded through new acquisitions, and in 2025 the collection grew by a total of\u00a067\u00a0works. <\/p><\/div><\/div><\/div>\n\n\n\n

Below is a selection of some of the artists and works acquired last year. Among them, Eva Gold, Arthur Jafa, Marius Engh, and Lindokuhle Sobekwa are represented in the collection for the first time, while works from other artists further develop existing holdings. A complete list of all works acquired in 2025 is provided at the end.<\/p>\n\n\n\n

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Tori Wr\u00e5nes<\/strong> (b. 1978) combines performance, sculpture, sound, installation, video, and architectural elements in her practice. Her works frequently give rise to dreamlike, ritualistic, and surreal worlds that engage the body, voice, and spatial experience. One of the works acquired for the collection, Mothers and Child II<\/em> (2025), was included in The Festival Exhibition Moon Bag<\/em> at Bergen Kunsthall in 2025. The sculpture consists of two oversized, intertwined bodies that appear suspended or floating vertically, with dramatic, exaggerated forms suggesting a moment of tension\u2014an ascent or descent in space. Mothers and Child II<\/em> is not merely a figurative sculpture but a psycho-spatial exploration of the extremes of human relationships, using scale and surreal form to render visible emotional and physical complexity. <\/p>\n\n\n\n

Reviewing the 2025 festival exhibition, Morgenbladet<\/em> critic Espen Hauglid wrote: \u201cIf one is not uplifted by Tori Wr\u00e5nes in Bergen, one may be suffering from chronic grumpiness.\u201d<\/p>\n\n\n\n

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Eva Gold, Cowboys<\/em>, 2022. From The Last Cowboys <\/em>at Ginny on Frederick, 2022. Courtesy of the artist and Ginny on Frederick, London. Foto: Stephen James.<\/figcaption><\/figure>\n\n\n\n

Eva Gold<\/strong> (b. 1994) is a British artist based in London, known for an interdisciplinary practice encompassing sculpture, installation, drawing, video, text, and narrative works. Her practice revisits questions of storytelling, materiality, and human presence, unfolding through atmospheres that are both cinematic and conceptually charged. Gold\u2019s works often draw attention to what remains unseen, unspoken, or just beyond the threshold of perception. <\/p>\n\n\n\n

Cowboys<\/em> (2022), acquired for the collection, is a key work from The Last Cowboys<\/em> project, presented as part of her solo exhibition at Ginny on Frederick gallery, London (April\u2013May 2022). The work exemplifies several recurring concerns in her practice, including sexuality, presence and absence, narrative, and material transformation. <\/p>\n\n\n\n

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Wolfgang Tillmans\u202f, Nizza,\u202f<\/em>1986. Courtesy of the artist; David Zwirner, New York\/Hong Kong; Galerie Buchholz, Berlin\/Cologne; and Maureen Paley, London.
<\/figcaption><\/figure>\n\n\n\n

Wolfgang Tillmans<\/strong> (b. 1968) is widely regarded as one of the most influential contemporary photographers of his generation. His practice ranges from documentary and experimental photography to installation, abstraction, and at times moving image and sound, consistently driven by a deep engagement with how images shape perception, identity, community, and politics. <\/p>\n\n\n\n

The work Nizza<\/em> (1986), acquired for the collection, is an inkjet print on paper. The title refers to the Italian name for the city of Nice, suggesting a geographical or experiential point of reference. The work exemplifies Tillmans\u2019s early artistic interest in place, presence, and the expressive potential of photography, while also anticipating his later position, in which the boundaries between social documentation, fine art, and personal vision are dissolved\u2014always grounded in the conviction that photography is shaped not by neutrality but by intention and experience. <\/p>\n\n\n\n

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Arthur Jafa, The White Album<\/em>, 2018. Still. Courtesy of the artist and Gavin Brown’s enterprise<\/figcaption><\/figure>\n\n\n\n

Arthur Jafa<\/strong> (b. 1960) is an American filmmaker, visual artist, and cinematographer. His work constitutes a powerful investigation of race, identity, media, and cultural belonging. He is particularly known for experimental moving-image works that remix found footage, documentary material, and internet content into charged audiovisual collages. The 40-minute film The White Album<\/em> (2018) has been described as a \u201csocial critique of whiteness.\u201d Composed of both found and produced video material, the film articulates how Black culture, ideas, and labor have historically been absorbed into white culture through coercion and violence. As a video collage, The White Album<\/em> functions both as an artwork and a critical confrontation, transforming the logic of found footage and remix culture into a contested space in which whiteness, violence, and love are intertwined. Viewers are challenged not only to consider what they see, but how and why they are seeing it. <\/p>\n\n\n\n

The White Album<\/em>\u00a0(2018) is jointly owned by the National Gallery of Canada, the Hammer Museum, Los Angeles,<\/em> through the Board of Advisors Acquisition Fund, and Astrup Fearnley Museet.<\/p>\n\n\n\n

Over the years, Jafa has developed a close professional collaboration with Norwegian artist Frida Orupabo, and was instrumental in introducing her work to an international art audience in 2017. In 2019, the two artists presented a joint exhibition at Kunstnernes Hus in Oslo.  <\/p>\n\n\n\n

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Frida Orupabo, Black purse,\u202f<\/em>2024. Photo: \u00d8ystein Thorvaldsen.<\/figcaption><\/figure>\n\n\n\n

Frida Orupabo (b. 1986) examines colonial history, race, and gender through digitally assembled collages and sculptural installations. Drawing on archival photographs, ethnographic imagery, and personal collections, she fragments and reconfigures bodies to expose how Black subjects have historically been objectified and controlled. Her figures often appear divided, suspended, or bound, emphasizing both vulnerability and resistance. Orupabo\u2019s practice reveals the violence embedded within visual archives, while reclaiming the image as a site of agency and opposition. <\/p>\n\n\n\n

Four of her works have been acquired for the collection: Black purse<\/em> (2024), What\u2019s a friend<\/em> (2024), Of course everything is real<\/em> (2024), and Two Women<\/em> (2021). All were included in the exhibition On Lies, Secrets and Silence<\/em> at Astrup Fearnley Museet (February\u2013April 2025). The exhibition was described by Dagsavisen<\/em> critic Lars Elton as \u201ca compelling demonstration of artistic weight.\u201d   <\/p>\n\n\n\n

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Marius Engh, Emblemata #1<\/em>, 2025. Photo: Henrik Folles\u00f8 Egeland | Oslo Kunstforening.<\/figcaption><\/figure>\n\n\n\n

Marius Engh (b. 1974) works across a wide range of media, including sculpture, installation, photography, text, printmaking, and publications. Through a conceptual and visual language, he holds up a mirror to the present in which the past is reflected, casting shadows and inviting further inquiry. Grounded in extensive research and fieldwork, Engh activates historical materials and symbols, allowing them to emerge in new contexts. <\/p>\n\n\n\n

Three of his works have been acquired for the collection: Herm (Strange Bird)<\/em> (2025), Herm (Quadrigeminal Cistern)<\/em> (2025), and Emblemata (Crossroad) #1\u20134<\/em> (2025). All were included in the exhibition The Sign of Four<\/em>, presented at Oslo Kunstforening (August\u2013October 2025). <\/p>\n\n\n\n

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Lindokuhle Sobekwa, My Grandmother’s Kraal, Cofimvaba Eastern Cape I, II & III<\/em>, 2023. Courtesy the artist and Goodman Gallery.<\/figcaption><\/figure>\n\n\n\n

Lindokuhle Sobekwa (b. 1995) is a South African documentary photographer whose work explores family, loss, and the enduring aftereffects of apartheid through deeply personal narratives. Drawing on his own experiences, Sobekwa uses photography as a process of searching and remembrance, often combining documentary images with handwritten notes, text fragments, and archival photographs. His projects revolve around absence, addiction, and unresolved trauma. Rather than offering definitive conclusions, his works resonate with an unresolved uncertainty. The images are quiet yet emotionally charged, expanding the field of social documentary into an intimate and ethical practice that acknowledges both the power of photography and its limitations when confronted with grief and history. <\/p>\n\n\n\n

Five of his works have been acquired for the collection: Smoking Break, Thokoza Johannesburg I & II<\/em> (2022); Promised Land, Thokoza Johannesburg I & II<\/em> (2022); My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape (I)<\/em> (2023); My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape (II)<\/em> (2023); and My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape (III)<\/em> (2023). <\/p>\n\n\n\n

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New acquisitions to the Astrup Fearnley Collection in<\/strong> 2025:<\/strong><\/p>\n\n\n\n

\u202fSuleman Aqeel Khilji<\/strong>\u202f <\/p>\n\n\n\n

Back & forth,\u202f<\/em>2024\u202f<\/em>\u202f 
Oil and pigments on linen\u202f 
217 x 360 cm\u202f <\/p>\n\n\n\n

Remains of the day III,\u202f<\/em>2024 
Pigments, oil, and patina on found book cover mounted on panel\u202f 
21 x 31 cm\u202f <\/p>\n\n\n\n

Remains of the day II,\u202f<\/em>2024\u202f<\/em>\u202f 
Pigments, oil, and patina on found book cover mounted on panel\u202f 
19 x 26 cm\u202f <\/p>\n\n\n\n

Remains of the day I,\u202f<\/em>2024 
Pigments, oil, and patina on found book cover mounted on panel\u202f 
22 x 35 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Frida Orupabo<\/strong>\u202f <\/p>\n\n\n\n

Black purse,\u202f<\/em>2024\u202f<\/em>\u202f 
Collage, paper, and paper clip mounted on aluminum\u202f 
93 x 123 x 2 cm\u202f <\/p>\n\n\n\n

What\u2019s a friend,\u202f<\/em>2024\u202f<\/em>\u202f 
Collage, paper, and paper clip mounted on aluminum\u202f 
177 x 88 x 2 cm\u202f <\/p>\n\n\n\n

Of course everything is real,\u202f<\/em>2024 
Metal 
Dimensions variable\u202f <\/p>\n\n\n\n

Two Women,\u202f<\/em>2021 
12 movable individual objects overall dimensions 
129 x 215 x 15 cm <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Diamond Stingily<\/strong>\u202f <\/p>\n\n\n\n

Bulwark (I),\u202f<\/em>2025 
Cast iron and paper cups 
185 x 300 cm\u202f <\/p>\n\n\n\n

diamond (I),\u202f<\/em>2025 
Plywood\u202f 
180 x 120 x 40 cm\u202f <\/p>\n\n\n\n

Repass of Sandra\u2019s,\u202f<\/em>2022 
Glossy C-print 
26 x 35 cm\u202f <\/p>\n\n\n\n

not yet titled,\u202f<\/em>2023\u202f<\/em> 
Glossy C-print\u202f 
26 x 35 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Merlin James<\/strong>\u202f <\/p>\n\n\n\n

Near,\u202f<\/em>2024\u202f<\/em>\u202f 
Acrylic on canvas\u202f 
41 x 51 cm\u202f <\/p>\n\n\n\n

Enclosure & Trees,\u202f<\/em>2003 – 2009\u202f<\/em> 
Acrylic on canvas\u202f 
46 x 63 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Hanne Borchgrevink\u202f<\/strong>\u202f <\/p>\n\n\n\n

Husflate, r\u00f8d,\u202f<\/em>2025\u202f<\/em>\u202f 
Acrylic on canvas\u202f 
120 x 120 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Gerda Scheepers<\/strong>\u202f <\/p>\n\n\n\n

ROOF (III),\u202f<\/em>2024\u202f<\/em> 
Acrylic roof paint and acrylic ink on canvas\u202f 
300 x 220 x 5 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Isabella Ducrot<\/strong>\u202f <\/p>\n\n\n\n

The Visited Land IV,\u202f<\/em>2025\u202f<\/em>\u202f 
Pigments, meteorite\u202fpigment\u202fand collage on Japan paper\u202f 
245 x 394 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Franco Fontana<\/strong>\u202f <\/p>\n\n\n\n

Ibiza,\u202f<\/em>1972\u202f<\/em>\u202f 
Chromogenic print on Kodak paper\u202f 
22 x 34 cm\u202f <\/p>\n\n\n\n

Adriatico,\u202f<\/em>1975\u202f<\/em> 
Chromogenic print on Kodak paper\u202f 
17 x 26 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Luigi\u202fGhirri<\/strong>\u202f <\/p>\n\n\n\n

Harlem,\u202f<\/em>1973 
Chromogenic print 
19 x 29 cm\u202f <\/p>\n\n\n\n

Venezia,\u202f<\/em>1978\u202f<\/em> 
Chromogenic print on glossy paper 
30 x 20 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Matthew Barney<\/strong>\u202f <\/p>\n\n\n\n

Wall Rack: sanguine,\u202f<\/em>2024\u202f<\/em> 
Ceramic and two synthetic dyed NFL jerseys\u202f 
105 x 79 x 36 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Virginia Chihota<\/strong>\u202f <\/p>\n\n\n\n

Munoonei\u202fkana\u202fmakanditarisa\u202fnhai\u202fMwari? <\/em>What do you see when you look at me\u202fohh\u202fGod?,\u202f<\/em>2025\u202f<\/em>\u202f 
Serigraphy,\u202findian\u202fink and fabric ink on canvas 
240 x 300 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Ser Serpas<\/strong>\u202f <\/p>\n\n\n\n

Untitled,\u202f<\/em>2025\u202f<\/em>\u202f 
Oil on canvas\u202f 
287 x 244 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Moyra Davey<\/strong>\u202f <\/p>\n\n\n\n

Interest,\u202f<\/em>1989 \u2013 2012 
C-print 
72 x 101 cm\u202f <\/p>\n\n\n\n

Purse Strings,\u202f<\/em>1989 – 2012\u202f<\/em>\u202f 
C-print\u202f 
72 x 101 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Kristin\u202fNordh\u00f8y<\/strong>\u202f <\/p>\n\n\n\n

Inverted Drawing No. III,\u202f<\/em>2025\u202f<\/em> 
Charcoal on paper 
102 x 92 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Tori\u202fWr\u00e5nes<\/strong>\u202f <\/p>\n\n\n\n

Mothers and Child II,\u202f<\/em>2025 
Bronze, aluminium reinforcement, textile, plastic, leather, foam 
420 x 220 x 260 cm\u202f <\/p>\n\n\n\n

Mussles\u202f4,\u202f<\/em>2025\u202f<\/em> 
Steel frames,\u202fcement\u202fand mussels\u202f <\/p>\n\n\n\n

Mussles\u202f5,\u202f<\/em>2025 
Steel frames,\u202fcement\u202fand mussels\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Marius Engh<\/strong>\u202f <\/p>\n\n\n\n

Herm (Strange Bird),\u202f<\/em>2025\u202f<\/em> 
Pine plywood, acrylic paint, glass box, shoes, silver-plated cast of postage stamp motif\u202f 
190 x 59 x 40 cm\u202f <\/p>\n\n\n\n

Herm (Quadrigeminal Cistern),\u202f<\/em>2025 
Glass sheets, water tap, drain,\u202fcast\u202fand patinated bronze,\u202fcnc-carved\u202fmdf,\u202faluminum\u202frods, spray paint, silver-plated cast of postage stamp motif 
185 x 40 x 50 cm\u202f <\/p>\n\n\n\n

Emblemata\u202f(Crossroad) # 1-4,\u202f<\/em>2025\u202f<\/em> 
Relief, cast tin 
40 x 40 x 1 cm <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Arthur Jafa<\/strong>\u202f <\/p>\n\n\n\n

White Album,\u202f<\/em>2018\u202f<\/em> 
Video (color, sound)\u202f 
29:55\u202f min<\/p>\n\n\n\n

— <\/p>\n\n\n\n

Josiane M.H.\u202fPozi<\/strong>\u202f <\/p>\n\n\n\n

me in bed 3,\u202f<\/em>2025\u202f<\/em>\u202f 
Soft pastel, oil paint, acrylic paint,\u202fgraphite\u202fand felt-tip pen on paper\u202f 
42 x 30 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Vegard Vindenes<\/strong>\u202f <\/p>\n\n\n\n

Front LXV,\u202f<\/em>2023 
Acrylic on MDF\u202f 
80 x 64 x 2 cm\u202f <\/p>\n\n\n\n

Front LXVIII,\u202f<\/em>2025\u202f<\/em> 
Acrylic on MDF\u202f 
52 x 62 x 2 cm\u202f <\/p>\n\n\n\n

Front XIV,\u202f<\/em>2012\u202f<\/em>\u202f 
Acrylic on MDF\u202f 
70 x 60 x 2 cm\u202f <\/p>\n\n\n\n

Front XXIX,\u202f<\/em>2016\u202f<\/em>\u202f 
Acrylic on MDF\u202f 
68 x 64 x 2 cm\u202f <\/p>\n\n\n\n

Front XXX,\u202f<\/em>2016\u202f<\/em>\u202f 
Acrylic on MDF\u202f 
74 x 64 x 2 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Christopher Williams<\/strong>\u202f <\/p>\n\n\n\n

Mustafa Kinte (Gambia)\u202f<\/em>\u202f 
Camera: Makina 67 506347\u202f<\/em>\u202f 
Plaubel\u202fFeinmechanik\u202fund Optik GmbH\u202f<\/em>\u202f 
Borsigallee 37\u202f<\/em>\u202f 
60388 Frankfurt am Main, Germany\u202f<\/em>\u202f 
Shirt: Van Laack Shirt Kent 64\u202f<\/em>\u202f 
41061\u202fM\u00f6nchengladbach, Germany\u202f<\/em>\u202f 
Dirk Schaper Studio, Berlin\u202f<\/em>\u202f 
July 20, 2007,\u202f<\/em>2008 
Gelatin\u202fsilver print\u202f 
51 x 41 cm\u202f\u202f <\/p>\n\n\n\n

Model #105M – R59C\u202f<\/em>\u202f 
Keystone Shower Door\u202f<\/em>\u202f 
57.4 \u00d7 59 \u030b Chrome\/Raindrop\u202f<\/em>\u202f 
SKU #109149\u202f<\/em>\u202f 
#96235. <\/em>970 – 084 – 000\u202f<\/em>\u202f 
(Meiko)\u202f<\/em>\u202f 
Vancouver, B.C.\u202f<\/em>\u202f 
April 6, 2005 (No. 2),\u202f<\/em>2005\u202f<\/em> 
Gelatin\u202fsilver print\u202f 
41 x 51 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Wolfgang Tillmans<\/strong>\u202f <\/p>\n\n\n\n

Nizza,\u202f<\/em>1986 
Chromogenic print mounted on\u202fDibond\u202fin artist\u2019s frame\u202f 
206 x 145 x 6 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Miriam Cahn<\/strong>\u202f <\/p>\n\n\n\n

gezeichnet, 2022 + 15.1.24,\u202f<\/em>2022 – 2024\u202f<\/em>\u202f 
Oil on canvas 
121 x 76 x 2 cm <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Eva Helene Pade<\/strong>\u202f <\/p>\n\n\n\n

Opl\u00f8st\u202f(Dissolved),\u202f<\/em>2025\u202f<\/em>\u202f 
Oil on canvas\u202f 
40 x 30 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Lindokuhle\u202fSobekwa<\/strong>\u202f <\/p>\n\n\n\n

Smoking Break,\u202fThokoza\u202fJohannesburg I & II,\u202f<\/em>2022\u202f<\/em>\u202f 
Inkjet print on Baryta\u202f 
50 x 40 cm\u202f& 40 x 50 cm\u202f <\/p>\n\n\n\n

Promised land\u202fThokoza\u202fJohannesburg I & II,\u202f<\/em>2022\u202f<\/em>\u202f 
Inkjet print on Baryta\u202f 
100 x 80 cm\u202f& 100 x 80 cm\u202f <\/p>\n\n\n\n

My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape I,\u202f<\/em>2023\u202f<\/em>\u202f 
Inkjet print on Baryta\u202f 
40 x 50 cm\u202f <\/p>\n\n\n\n

My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape II,\u202f<\/em>2023\u202f<\/em>\u202f 
Inkjet print on Baryta\u202f 
80 x 100 cm\u202f <\/p>\n\n\n\n

My Grandmother\u2019s Kraal, Cofimvaba Eastern Cape III,\u202f<\/em>2023\u202f<\/em>\u202f 
Inkjet print on Baryta\u202f 
40 x 50 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Eva Gold<\/strong>\u202f <\/p>\n\n\n\n

Cowboys,\u202f<\/em>2022\u202f<\/em>\u202f 
Rubber roofing membrane\u202f 
Dimensions variable\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Albert\u202fOehlen<\/strong>\u202f <\/p>\n\n\n\n

B\u00fcgel,\u202f<\/em>2005\u202f<\/em>\u202f 
Oil and acrylic on canvas\u202f 
180 x 230 cm\u202f <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Eline Mugaas<\/strong> <\/p>\n\n\n\n

Green Tiles<\/em>, 1998 
Archival inkjet print
40.0 x 60.0 cm <\/p>\n\n\n\n

Cherries<\/em>, 1995 
Archival inkjet print
40.0 x 60.0 cm <\/p>\n\n\n\n

Underwear<\/em>, 1996 
Archival inkjet print
60.0 x 40.0 cm <\/p>\n\n\n\n

Oranges<\/em>, 1994  
Archival inkjet print 
60.0 x 40.0 cm <\/p>\n\n\n\n

Chloe in the Hallway<\/em>, 1995 
Archival inkjet print
45.0 x 60.0 cm <\/p>\n\n\n\n

Peaches<\/em>, 2019  
Archival inkjet print
60.0 x 45.0 cm <\/p>\n\n\n\n

Matching Pants<\/em>, 1995   
Archival inkjet print 
40 x 60 cm  <\/p>\n\n\n\n

G. behind curtains<\/em>, 1996 
Archival inkjet print 
40 x 60  <\/p>\n\n\n\n

Abandoned shoes<\/em>, 1997  
Archival inkjet print 
40 x 60 cm <\/p>\n\n\n\n

Car hood<\/em>, 1997                
Archival inkjet print
40 x 60 cm <\/p>\n\n\n\n

Yellow Curtain<\/em>, 1997     
Archival inkjet print
40 x 60 cm <\/p>\n\n\n\n

Towel in the Sand<\/em>, 1996 
Archival inkjet print 
40 x 60 cm <\/p>\n\n\n\n

Touching the Setting Sun<\/em>, 2014 
Archival inkjet print
111 x 149 cm <\/p>\n\n\n\n

— <\/p>\n\n\n\n

Per Inge Bj\u00f8rlo<\/strong> <\/p>\n\n\n\n

Vekta av lunge og kr\u00e5kelyd: Tankerekke<\/em> (1-9), 2011 
Pencil on paper 
23.0 x 23.0 x 1.0 cm <\/p>\n\n\n\n

Vekta av lunge og kr\u00e5kelyd<\/em>, 2011-17  
Stainless steel, wax, textile, glass, mirror, electric light   
Dimensions variable <\/p>\n","protected":false},"excerpt":{"rendered":"

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