Gerhardsen Gerner

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Gerhardsen Gerner is a gallery for contemporary art located at Linienstrasse 85 in Berlin-Mitte. The gallery maintains a second space in Oslo, and is operated by gallery owners Atle Gerhardsen (*1964 in Oslo) and Nicolai Gerner-Mathisen (*1979 in Oslo).

Contents

The gallery was founded by Atle Gerhardsen in Oslo in 1995, under the name c/o. Atle Gerhardsen showed works by artists such as Tony Oursler, Matthew Ritchie and Carroll Dunham for the first time in Oslo. [1] After moving to Berlin in 2000, Atle Gerhardsen opened the space in the railway arches near the Berlin Jannowitzbrücke station under the name c/o – Atle Gerhardsen in 2001. [2] In early 2009, the gallery was renamed Gerhardsen Gerner in order to include the name of Atle Gerhardsen's business partner of many years, Nicolai Gerner-Mathisen. Atle Gerhardsen and Nicolai Gerner-Mathisen opened their premises in Oslo in the newly built district Tjuvholmen on 15 May 2012. [3] [4] In Oslo the gallery has shown exhibitions with artists such as Tal R, [5] Julian Opie, [6] Georg Herold, [7] Olafur Eliasson [8] or in March 2014 the group exhibition DO NOT DISTURB with the Scandinavian artist duo Elmgreen & Dragset.

After 15 years at Jannowitzbrücke the Berlin gallery moves in February 2016 to the new premises at Linienstrasse 85.

Artists represented by Gerhardsen Gerner

Artfairs

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References

  1. Borcherdt, Gesine: Oslo ist heute spannender als New York, artnet.de, 10 November 2011
  2. Weinrautner, Ina: Raum für individuelle Ansprüche, Handelsblatt, Nr. 232, 30 November/1 December 2001, S. 47
  3. Büsing, Nicole; Klaas, Heiko: Oslo – Berlin, ArtMapp, Spring 2013, pp. 52–53
  4. Borcherdt, Gesine: Kunstszene Oslo: Leinen los!, artnet.de, 22 June 2012
  5. Sandberg, Lotte: Dansk på Tjuvholmen, OsloPlus, 20 May 2012
  6. Valla, Kristin: Den lyse materien, Aftenposten Portfolio, January 2013, pp. 70–77
  7. Røed, Kjetil: Forsvar for motsetningene, Aftenposten, 11 May 2013
  8. Hedvig Østrem, Veslemøy: Arrogante arkitekter, bortskjemte kunstnere, Aftenposten, 3 September 2012