Short Bio

Ragnhild Nes is a Norwegian visual artist working in painting, drawing, and sculpture. Her work unfolds through abstraction, where color, form, and light are layered with influencesfrom her surroundings, cultural encounters, myths, and art historical references. Nes explores how experience, memory, and history can be transformed into compositions that are both tactile and poetic. Writing is integral to her process: each work begins with words on the blank surface.Sometimes they are hidden beneath layers of paint, like traces of memory, while at other times they resurface in titles, colours, structures, or as stitched sentences across the canvas. In this way, language becomes inseparable from the visual, creating works where meaning emerges gradually through depth and layering. Nes has exhibited both in Norway and internationally. This marks her first exhibition in Beijing. She will also participate in a duo exhibition with the Chinese artist GOES at Wuhan。

https://ragnhildnes.com/

https://www.instagram.com/ragnhildnes_/

艺术家简介

拉格希尔・内斯（Ragnhild Nes）是挪威视觉艺术家，从事绘画、素描和雕塑创作。她将色彩、形态和光线层层叠叠，融入她所处环境、文化背景以及艺术史典故等因素通过抽象艺术的形式表达。内斯探索如何将经历、记忆与历史转化为既具有触感又富有诗意的构图。

写作是她创作过程中的重要一环：每件作品都始于空白画布上的文字。这些文字有时被层层颜料所遮掩，宛如记忆的痕迹；有时又以标题、色彩、构图或缝在画布上的语句等形式重新浮现。如此一来，语言与视觉便不可分割，造就了那些通过深度和层次逐渐展现意义的作品。

内斯的作品曾在挪威及国际多地展出。此次是她首次在北京办展，详细内容可关注她的个人社交媒体主页

https://ragnhildnes.com/Instagram：https://www.instagram.com/ragnhildnes_/

ABOUT THE EXHIBITION

This exhibition takes place at People’s Art Office (人民美术网), an art media platform founded in 2008, dedicated to supporting artists, promoting contemporary art discourse, and fostering exchange between Chinese and international artistic practices.

展览介绍

本次展览由人民美术网（People’s Art Office） 主办，由挪威驻华大使馆支持。人民美术网成立于 2008 年，致力于服务艺术家、推动艺术文化交流、弘扬优秀传统文化。以及促进中外艺术交流的艺术媒体平台。展览落地于位于北京的人民美术馆，将于2026年6月5日开幕。艺术无国界，交流促创新。本次展览不仅是一次艺术作品的展示，更是中国和挪威两国文化交流，增进彼此认识和互相欣赏的契机。在此背景下，策展人娜兰·克里木精心策划了一场富有温度的文化互动——将邀请国内传统艺术领域的领军人物与拉格希尔・内斯见面交流，深度对话。同时带领内斯近距离观摩中国传统书画作品以及其装裱过程，体验中国艺术中“天人合一”的哲思与细腻而磅礴的美学表达。通过这次深入展厅与创作现场的交流，内斯不仅能感受到中国艺术穿越时空的生命力，也将开启中挪艺术家之间更多灵感的碰撞与合作的可能。

爱德华·蒙克在工作室创作

爱德华·蒙克在Ekely

Ragnhild Nes will exhibit a series of paintings developed during her residency at the historic studio and former home of Norwegian painter Edvard Munch (1863–1944), one of the central figures of European modernism. Munch’s practice was mainly within painting. He established a deeply influential visual language rooted in psychological intensity and expressive use of color. Works such as The Scream, The Sick Child, Madonna, and The Sun reflect his exploration of inner states through radical painterly means.

《呐喊》

本次展览中拉格希尔・内斯将展出一系列她在挪威现代主义核心艺术家爱德华・蒙克（1863–1944）的故居兼工作室驻留期间创作的作品。爱德华·蒙克是欧洲表现主义艺术的核心人物之一。他开创了一个极具影响力的艺术语言，其核心是强烈的心理表达与极具表现力的色彩运用。蒙克的《呐喊》《病孩》《圣母》《太阳》等经典作品都体现了他通过激进的绘画手法对内心状态的探索。

《病孩》

《太阳》

In fall 2025, Nes was granted a residency at Munch’s former home and studio at Ekely in Oslo. The site carries a layered history: a place where Munch lived and worked for nearly three decades, developing his late practice between enclosed studio spaces and outdoor environments, often allowing weather, time, and repetition to shape the surface of his works. Within this context, Nes worked directly in both the Winter Studio and the outdoor studiospaces, engaging with Ekely not only as a historical site but as a living environment of artistic production

内斯在蒙克工作室创作

2025 年秋季，内斯获邀入驻蒙克位于奥斯陆埃克利（Ekely）的故居与工作室。这里承载着丰富的历史：蒙克在此生活和工作了近三十年，在封闭画室与户外空间中创作其晚期的作品，他将作品放置于室外风吹日晒，任由天气、时间和重复的痕迹塑造作品表面的质感。在此背景下，内斯直接在冬季工作室和户外工作室空间中展开创作，将 Ekely 不仅视为一处历史遗址，更作为一个充满生命力的艺术生产现场。

内斯在蒙克工作室创作

From this residency emerged a body of work that forms the foundation of this exhibition. Nes developed what she refers to as the “red series,” in which painting becomes a site of encounter between multiple registers of meaning: the material memory of Ekely, the historical presence of Munch’s painterly language, and the cultural symbolism of red within Chinese visual and social traditions. Rather than isolating red as a fixed motif, Nes works across a broader field, allowing color to function as a shifting structure through which perception is continually reconfigured.

本次展览的核心作品均源于此次驻留创作。内斯在此期间创造了 “红色系列”作品集，在这系包含了多重意义的相互交汇：Ekely 的物质记忆、蒙克绘画语言的历史印记，以及红色在中国视觉与社会传统中的文化象征。内斯并未将红色孤立为一个固定母题，而是在更广阔的领域中展开探索与创作，让色彩成为一种不断变动的结构，试图让观者的感知也随之持续重构。

Within the exhibition, color operates as a site where different histories are told on the

surface. Red emerges not only as pigment but as an operative condition, at once material presence, emotional charge, and cultural signifier. In Edvard Munch’s practice, color functions as an expressive and psychological force that exceeds descriptive representation, while in Chinese cultural contexts red carries associations of vitality, prosperity, protection, and renewal. Nes works within this tension, allowing these registers to remain active and unresolved, where meaning is produced through oscillation rather than synthesis. And the energy of the vibrant color red is felt in the brushstrokes, not limited to only the color red.

展览中，色彩成为承载多元历史的视觉载体。红色不仅是颜料，更是兼具物质存在、情感张力与文化符号的创作核心。爱德华・蒙克的创作中，色彩是超越具象描绘的情感与心理表达；而在中国文化语境中，红色象征生机、繁荣、守护与新生。内斯在两种文化语境的张力中创作，并尽量保留着各自的特点让作品更加多元。两种文化语言在相互碰撞与流动，而非简单融合。浓烈的红色能量不仅体现在色彩本身，更流淌于每一笔笔触之中。

The exhibition title, Red Red, Fire Fire (红红火火), is drawn from a widely used Chinese expression describing a state of flourishing life experienced in brightness, warmth, and momentum. The repetition of “red” and “fire” intensifies this sense of expansion and vitality. The title functions less as reference than as atmospheric framing, situating the exhibition within a field in which color operates as a carrier of cultural memory, affect, and transformation.

展览标题 《红红火火》取自中国常用俗语，寓意生命蓬勃、光明温暖、充满活力。“红” 与 “火” 的叠用，强化了舒展旺盛的生命力。标题并非直白注解，而是营造整体氛围，让色彩成为承载文化记忆、情感与蜕变的媒介。

The exhibition includes, among other works, a triptych in oil and mixed media on canvas. Across its three panels, references to the blood moon and blood sun emerge as recurring motifs, developed initially during outdoor painting at Ekely and further expanded in Nes’ studio in winter/spring 2026.

本次展出作品包含一幅油画综合材料三联画，三幅画面中反复出现血月、血日的意象，这些灵感最初源于内斯在Ekely的户外创作，后于 2026 年冬春在其工作室进一步完善。

The work is extended into space through an accompanying wall installation of wooden cut letters, combining references to Norwegian wood with the Chinese phrase “red red fire fire.” Together, the elements and paintings operate as a spatial and linguistic translation between contexts, where material, language, and cultural signifiers are brought into tension ratherthan resolution.

艺术家亲手用木头雕刻了本次展览的标题，这将挪威木质工艺元素与中文 “红红火火” 字样结合，延伸作品的空间表达。画作与雕刻共同构建跨语境的空间与语言转译，让材质、文字与文化符号在碰撞中产生张力，而非达成单一和解。