Marius Moldvær

for that which is between the earth, GAFFA May 28th – July 20th, Sydney

For that which is between the earth is an ongoing exhibition that will develop at Gaffa in three different stages over the course of the next two months.

Instalment I: May 28th – June 8th

Instalment II: June 11th – July 6th

Instalment III: July 9th – July 20th

81 Clarence Street, Sydney, NSW 2000, (+61) 02 9283 4273
Mon-Fri: 10-6pm, Sat: 11-5pm, Sun+Holidays: Closed

Journal of a place I’ve never been (the score is not the music)

I have had in mind an exhibition about Sydney since I moved here one year ago.

This far-reaching, chimerical endeavour, far from aspiring to become a comprehensive and exhaustive portrait of the city, originated from an urge to become familiar with its history, its surroundings and its distinctive traits, and the intention to adopt art and exhibition-making as instruments of my exploration.

Along my wanderings through the streets of Sydney and my research through its archives and landmarks, For that which is between the earth came into play as an additional tool of research, and as it turned out, a very constructive one.

Rather than intervening physically in a specific locale, For that which is between the earth set out to investigate its metaphysical existence, that is a portrait of Sydney as we know it, or I should better say, imagine it, through an accumulation of different sources and narratives, the historical, as well as the fictional ones.

Because of its active intervention in a particular environment and its response to it, albeit metaphysical (the study and observations are based on secondary sources), the project thus became a site-specific one, inasmuch as it turned into a cognitive tool functional to an exploration of the city, no less than a historical treatise, a topographical record or even, on a different scale, a photograph or a novel.

In doing so, it also concurrently exposed the research to its own limits, that is the limits of knowledge itself, and with them, the fallacies of our interpretative and communicative systems, from language to art, history and cartography.

Within this interpretative frame, words, as well as images or maps, fail us, since not only any metaphysical quest, but even a perfect dovetailing of signified with signifiers, or objects with words, is doomed to remain unfulfilled, while we keep trying and construct refined realities through an accumulation of traces, images and fictions, disseminated by ourselves and by others through time and space.

In line with this conceptual interpretation, the myth of Borges’ travel to Australia, as well as the invention of his response to that travel, recollections of a place of Proustian taste, literary forgeries or narrated memories, are all phagocytized in an exhibition that is first and foremost about Sydney and the exploration of unfamiliar places.

In a world and a time of media bombardment and bulimia of information, Marius feeds on memories and impressions of a place, and makes them his own, manipulating them and telling us of a world he has only ever visited through someone else’s eyes.

For that which is between the earth is to be considered a choral vision of a place, an imagined city, constructed by a collective vision and through an accumulation of multiple traces.

Such a vision is inherently an approximation of Sydney, a distorted mirror acknowledging the inevitability of imprecision and accepting such distortion as an essential fallacy of human knowledge.

It is also an attempt to explore the artistic tool in a broader way, trying to disengage it from the wall, so to speak, and making it functional to an exploration of a place, and with it, of a history.

Beyond being an exhibition, For that which is between the earth aims at becoming a methodological example, most likely an imperfect one, to go beyond art as mere representation and display, and to use it instead as a way of progressing somewhat forward.

Luisa Tresca

DEG HER MEG, Galleri Vinjum, Aurland May 9th – January 1st

Helabrotet 2
5745 Aurland
–right between Bergen and Oslo on the E16–


Heimat: A german word with no equivalent translation to english—or any other language—which meanning points toward a human beings connection to a social unit, a home, or a homeland.

Hiraet: A Welsh word with no equivalent translation to english—or any other language—which meanning points toward a longing for a home, a nostalgia, a going back to where one believes one comes from.

The exhibition HEIMAT/HIRAETH at KABUSO 7th of February – 1st March 2015 is an exploration into the concept, or rather idea of home, taking as its starting point both the idea of home-place as a physical landscape, and the two untranslatable words Heimat and Hiraeth which points toward the more emotional, historical, and cultural understanding of home. Between the physical home-place and the two untranslatable terms, Marius Moldvaer wishes´s to discuss how one can recognize oneself in a landscape, how one can feel a belonging to a physical piece of land, long to go back there, and, at the same one can understand home as something altogether intangible, without borders, and a physical body as such. This twofold understanding of home is what Marius Moldvaer wants to bring together in the exhibition HEIMAT/HIRAETH, as he believes that an understanding of home solely as a physical landscape, or a intangible feeling will only provide half an answer; it is through an understanding of home as both a landscape and an intangible feeling that we can begin to explore what the idea and significance of home actually is.

Marken frelste han.
Knut Hamsun, Markens Grøde

How far we all come. How far away we all come away from ourselves. So far, so much between, you can never go home again. You can go home, it´s good to go home, but you never really get all the way home again in your life. And what´s it all for? All I tried to be, all I ever wanted and went away for, what´s it all for?
James Agee, A death in the Family.

Marius Moldvær (b. 1985) holds a Bachelor degree in Photography from Bergen Academy of Art and Design, and a Master´s degree in Critical Theory and Creative Research from the Pacific Northwest College of Art Portland, OR. Moldvaer´s visual undertakings are conducted in the intersection between nature and culture, where his works become an interpretation of landscape; how it appears as a physical body, how it is shaped by human interaction, and finally, how it is constructed culturally and mentally.

opens on the 7th of February 13:30 at Kunsthuset KABUSO (Hardangerfjordvegen 626, 5610 Øystese). From Bergen you can take bus no. 925 toward Øystese from Bergen Busstasjon 11:50, buses back to Bergen from Øystese departs at 15:35 and 17:25.





My essay “The Shape of Things to Come” introduces the theme of The Plantation Journal NO.3 entitled “Sculptural photography. More information, and, the journal itself are found here:

The Plantation

“The tittle for this volume of The Plantation is “Sculptural Landscape,” and when you sculpt, you manipulate a material, manipulate it to something recognizable to your own eye, and to the world around the material at hand. And as you sculpt clay, stone, and metal these artists sculpt the landscape through the medium of photography. “
Excerpt from the essay “The Shape of Things to Come”


Part of Vestlandsutstillingen 2015 with the new work A Place of Sun and Magnetism

“All must align for something to happen and appear, destruction and change to further manifest. Planets, people, spaces, and not to forgo, history. We align ourselves with one or more of these forces at multiple points in life, both to orient, and navigate. Alignment is thought to be a state of equilibrium. That which we seek in our everyday life, or that which we escape our lives to achieve. In many ways Land-Art—or Environmental-art—seeks to disrupt this equilibrium, misaligning the spaces so we yet again stand as strange explorer confronted with an expanse of the unknown.”

Opens at Sogn and Fjordane Kunstmuseum, Førde, on January 24th


10.april – 3.mai // KUNSTMUSEET KUBE, ÅLESUND
12.juni-5.juli // KUNSTHALL STAVANGER


ATTENDING CLUI Wendover Residence Program 22.06-13.07 2014



In this thesis, I investigate the life and death of Christopher McCandless, who ventured into the Alaskan wilderness in 1992 and died.  McCandless’s story became the subject of Jon Krakauer’s 1996 novel Into the Wild and Sean Penn’s 2007 feature film of the same name.  A deeper inquiry demands that we take into account the reverberations of McCandless’s journey in the lives of those who undertake to recreate the original sequence of events that lead to McCandless’s death. Using the followers’ re-creations, I direct my argument towards a framework that is constructed holistically around McCandless’s actions.  This preliminary stance leads to a two-folded analysis:  First, I leverage the terms wilderness, escapism, belonging, and home to better understand an individual’s relationship to identity formation in the US and the West; second, I assert the actions of McCandless and his followers raise essential philosophical questions concerning the ideas of being, place, and home.




Walking stick, Fujufilm Instax, duration 12 hours, 2013

Walking stick, Fujufilm Instax, duration 12 hours, 2013

Walking stick (detail), wood, duration12 hours, 2013.

Walking stick (detail), wood, duration12 hours, 2013.

Walking stick (installation view), wood, duration12 hours, 2013.

Walking stick (installation view), wood, duration12 hours, 2013.

Walking stick (text detail), duration12 hours, 2013.

Walking stick (text detail), duration12 hours, 2013.