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Marhaug has taken part in numerous group exhibitions, localy, national and international. She has also produced solo shows since 1990, both in Norway and in other European coutries.
Documentation from the exhibition Confession with Anne Helen Mydland, Morten Kvamme, Tove Tømmerberg Audience in front of Marhaug's wallpaper work Salon Akademii in Warszawa October 2010 |
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LÅNT LANDSKAP ( BORROWED LANDSCAPE)
Trio exhibition with Traci Kelly and Nisa Ojalvo. Kunstgarasjen, Bergen, Norway 16th of February - 18th of March 2018 http://www.kunstgarasjen.no/apningstider/ http://www.kellymarhaugojalvo.com/ 
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SMAK AV BOK (TASTE OF BOOK)
Visningsrommet USF, 10 artists' exhibition Bergen 18th - 29th of August -16 Artist organized project and exhibition that will tour Stormen, Bodø in November -16 and Sogn og Fjordane kunstmuseum i -17. Eight of the artist on the picture to the left: Imi Maufe, Randi A. Strand, Anja Ulset, Sarah Jost, Kurt Johannessen, Rita Marhaug and Elisabeth Alsos Strand. www.codexpolaris.com 
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FØL TANKEN, TENK FØLELSEN
Norske grafikeres galleri (Norwegian Printmakers' Gallery) solo show, Oslo, 7th - 29th of May -16. http://www.norske-grafikere.no/utstilling 
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FØL TANKEN, TENK FØLELSEN
Haugesund kunstforening, solo show, March 18th 2016 untill 24th of April -16 The image to the left (in left photo) was purchased by the colection of Haugesund Billedgalleri. |
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BATTLE #21: TRUE SOLVANG VEVATNE VS. RITA MARHAUG PINK CUBE (Oslo) 22 – 31 January 2016 Saturday – Sunday 2 – 6PM and by appointment Exhibition opening with performance Friday January 22, 8PM At PINK CUBE Rita Marhaug's works will communicate with the bodily pink walls and consist of three main elements: Black Persian fur (from new-born lambs of Karkul sheep), photographic prints displaying the relationship between humans and dogs in contrast to other animals and a performance exploring these elements further. The performance will take place at the opening and includes another material interacting with the space, continuing her Norwegian Liquidseries. The series investigate the (female) body in relation to the fluids that drive the Norwegian economy. Coming from the same industry as the motif in Vevatne's floor piece (described below) and leaving traces on the floor, this substance can potentially start a dialogue between the works. Apart from this liquid Marhaug's starting point for the exhibition has been the concepts of predator and prey and it's variations: The lamb as image of sacrifice and at the same time saviour in our culture, as a clear contrast to the relationship between man and its best friend; the dog. In her photographic series titled PREDATOR the presence of mink fur continues Marhaugs use of skin, fur and textiles in previous performances, questioning the borders between our bodies and their surroundings as well as our ability for bodily communication. Rita Marhaug (1965) lives in Bergen. She holds a MA in Fine Art from Bergen Academy of Art and Design, KHIB (1989) and a BA in Art History from the University of Bergen, UiB (1996). Until July 2013 she was engaged as professor at KHIB, Depatment of Fine Art. Important tools of expression are printmaking, drawings, photography, artist books, video and performance. Marhaug’s approach to performance is through the everyday language of the body and it's physical dimensions. Recently a stronger interest in allegorical methods and strategies has developed from her work on fur and animals, as material and motives. Since the early 90's Marhaug has participated in a great number of solo- and group exhibitions and performance festivals in Norway and internationally. At PINK CUBE True Solvang Vevatne will show two pieces. All ways (2016) is a sculpture made from knitted variations of the road sign ”danger of accident” which show different kinds of car crashes. The knitted road signs are sewn together to form a chaotic and dysfunctional highway displayed on a structure of wooden boxes – in some way a hybrid of typical kids-carpets and toy-raceways with dystopic undertones. The use of soft threads, revealing the work's handmade quality, meets the hard, wooden base of the sculpture and it's car motifs that drive us in another direction. Vevatne's second piece, Vacancy (2015), consists of a photograph, and a small everyday-object taken out from the installation shown on the photograph. As in Marhaug's works, bodily surface as well as the repetition and move from two- to three-dimensional is strongly present: The walls of the documented room and the objects in it are covered with cowhide from Norwegian Red Cattle – a breed that is bred for its profitability. One of the references in the title is the vacant farms in the outskirts of Norway – Vevatne's choice of including this work thus continues the dialogue on Marhaug's topics, while the similarity in expression (the fur) perhaps adds a little confusion to the battle. Contact: post@pinkcube.no / + 47 45 22 07 97 WWW: pinkcube.no |
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( U N ) F A M I L I A R
With colleges Robert Alda, Gillian Carson and Karen Kipphoff at M K Ciurlionis National Art Museum 6th August – 6th September -15. Negotiating familiar and unfamiliar obstacles of everyday life, often requires the individual to examine, dismantle, rebuild and at times reinvent the familiar, to regain familiarity. Observation of the self in familiar surroundings are subject to examination, and attempts at making sense of the world in a wider perspective manifest in artistic practice. While the resulting two and three dimensional artistic works, speak of individual experience in personal language, they can be seen to contain a more general expression of wonder and bewilderment, shock and awe in this age of estranged, hot and cold, dirty and clean living. Self-curated by the artists with assistance from Director Egle Komkaite Baltusnikiene. Marhaug has continued her work with a large “skin-like “fabric first tried out in Berlin September -13. The scale of the beige fabric is now about 200 m2. Another material introduced during the winter has been furs. Marhaug has earlier worked with soft sculptures made from leather, originally from old furniture. For Kaunas she has produced 3 soft fur sculptures. Still spending energy, end joy in drawing parallel to her wide art praxis, another connected series of work will be live drawings from objects and props used in her performance situations. http://www.ciurlionis.lt/en Photos right: "Second Skin for M K Ciurlionis National Art Museum", detail (at left side Karen Kipphoffs News and Sweets 2011 installatalation). "Weekly repport", 7 fremed drawings (and flowers) "Second Skin for M K Ciurlionis National Art Museum" (at left side Karen Kipphoffs News and Sweets 2011 installatalation). Under: "Second Skin for M K Ciurlionis National Art Museum" with " Studio Repport" 9 framed drawings installed in 2 parts. Documentation by Rita Marhaug 
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POP UP ART
Group exhibition. At Frantz : Navle (Strandgaten 205, Bergen) 11-13. October -13. Exactly one year after odds exhibition in Odda, Hardanger, the text compilation and catalogue was presented. In addition, the Pop-Up Art show present new works from some of the Odds artists. Marhaug participated with the insallation Pop up Skin http://www.odds-project.com/ 
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GLOBAL PRINT 2013
International print exhibition in Douro, Portugal The group exhibition opened 31st of August 2013. Marhaugs contribution was an image group of 3 x 3 prints/drawings on paper Curator Nuno Canelas http://www.douro-gravura.org/edpt.pdf |
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LIQUID BODIES. SOLID MINDS
Rom 8, Bergen Academy of Art and Design, Norway 22.5-2.6 -13 Duo exhibition with college Traci Kelly from Nottingham, UK Documentation by Bjarte Bjørkum and Emilie Marhaug 
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FROM WHERE I STAND I CAN SEE YOU
Bonnington Gallery, Nottingham on Trent University 8.1-8.2 -13 Duo exhibition with college Traci Kelly from Nottingham, UK. The exhibition brought together two artists that investigate their own subjectivity in relation to socio-political economies and corporeal boundaries. Through differing approaches each artist created a shared language through mired and inky surfaces on skin and paper. By exhibiting solo works together Kelly and Marhaug was grappling to hold each other in view and create the context to embark on a collaborative project continnued during Kelly's stay in Bergen , spring-13. http://www.boningtongallery.co.uk/exhibitions/from-where-i-stand-i-can-see-you All documentation by Julian Hughes 
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FELLESNEVNER FOTO
Leidangsgalleriet, Stiklestad Nasjonale Kultursenter, Norway May-July 2012 Exhibition together with Torhild Aukan and Hermann Isaksen Curator Inger Lillesand http://www.nils-aas-kunstverksted.no/index.php/utstillinger/utstilling_snk/fellesnevner_foto 
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ODDS
Group exhibition/event in Odda. 11-14th of October 2012 Marhaug's contribution Norwegain Liquid 23 framed photos, all documentation from performance in Lofoten July-12. Curators and organizers: Postmomart (Jane Sverdrupsen, Kristina Daukintyte Aas, Daniela Ramos Arias and Ingeborg Annie Lindahl). |
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TRAINING NATURE
Group exhibition at PrintRoom, London Marhaug showed the portfolio Hemoglobin, 9 (mono) prints, stained with laquer. June and July 2012. The photograph creates a nearness to the viewer through its convincing representation of what is photographed. The technology of colour photography has perfected this simulation of the real or the seen far beyond what the eye itself is capable of. Meanwhile, technological perfection bears an intrinsic ambivalence: The nearness can, in its turn, create a distance to the viewer. Curator Victoria Browne 
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CONFESSION
Rom 8 Bergen, Norway April 2011 With Anne Helen Mydland, Morten Kvamme, Tove Tømmerberg Pictures: Street view Rom 8. Detail from coin work, HARD WORK. (60 kilos of one kroner coins partly mounted on wall partly on floor). Overview gallery space: Tove left , Anne Helen front midle, Rita back midle, Morten right and rita far right. Detail from wallpaper motive.Detail from coin work, HARD WORK. Photo: Bjarte Bjørkum 
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CONFESSION
Salon Akademii in Warszawa, Poland, October 2010 With Anne Helen Mydland, Morten Kvamme, Tove Tømmerberg Wallpaper installation in gallery space 380cm x 550cm. HARD WORK 1000 Norwegian kroner coins and 1000 zloty coins on wall and floor. Morten's installation in front of coin work. Rita mounting coins on wall. 
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UNEXPECTED MEETINGS WITH REALITY
Exhibition collaboration with Robert Alda and Gillian Carson. Showed at Radøy Kunstsenter, September 2010. Installation. Alda, Carson and Marhaug's artistic praxis includes performance or performative strategy as a central element of production. This joint exhibition was however object-based, where the body's presence was discussed. The rooms and works presented had the character of installation. Focus on the artist’s presence or footprint within the work is only one aspect, equally important is the visitor’s presence in the gallery. In this way the concept of presence can function as an introduction of understanding both the overall and individual sections of the exhibition. The tittle, Unexpected Meeting with Reality, contains many of Alda, Carson and Marhaug's common attitudes to the world, as well as their art production. The presence within the unexpected, or the unexpected within the presence, explains their artistic endeavour in simple terms. Reality is a frequently used word in everyday life, but if we investigate the meaning or meanings of it, many contradictions and problems emerge; primarily, where is the boundary between reality and fantasy, or reality and unreality? Images from Marhaug's room: Photographic wallpaper 4,5 x 3,10 m Furniture and textile Soft leather objects, various dimentions Artist book, 33 x 35 cm Photo: Rita Marhaug 
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ALLES WAS WIR SEHEN
Solo exhibition at Gallery Westwerk, Hamburg Germany February 2007 A frieze of 82 images (drawing and painting on prints) each approximately 50 x 70 cm was mounted as a band at eye level on the gallery walls. Curator Rupprecht Matthies 
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FRITID (LEISURE TIME)
Hå gamle prestegard November 2003, January 2004 Images and objects installed in the Fjøs (Byre). 
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KUNSTGARANTI
26.10. - 27.11.2000 Gallery By The Way Curator Annette Kierulf prosjektet KUNSTGARANTI tar utgangspunkt i spørsmålene: - er det det samme å sponse OL som å sponse Kulturbyen? - hvilke krav stilles til en sponsor som skal støtte et kunstnerisk prosjekt? - mens sponsorens betingelser til kunstneren som regel er klart definert i form av krav om synlig plass til firmalogo, egne invitasjoner og visninger, er kulturprodusenten gjerne tilfreds med enkleste kvantitative avtale: Penger på konto. i denne bytterelasjonen er asymmetrien påtagelig. kulturverdier blir underordnet kapitalverdier. festtalene om kulturens egenverdi blir paradoksale når den så åpenlyst behandles som middel. som kulturprodusent er det betenkelig å la kvalitative kriterier vike for kvantitativ gevinst og amputere sine muligheter som alternativ meningsprodusent. http://www.galleribtw.no/historie_rammesett.htm Photo: Oddleiv Apneseth (during mounting of exhibition) 
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