Unni Askeland is one of a number of the new high profiled artists on the Nordic art scene.
For her there exists no "gap between art and life". In a series of spraycan paintings called "Munchadoptions" Unni Askeland takes as a startpoint the work of the famous Norwegian artist. What does it signify to adopt the Norwegian master with the paint of the reality of suburban concrete? It's like injecting a dimension of todays world in the work of Munch. But it's also to adopt a Kiss or a Scream into todays harsh and instant society, into our lives where history and perspective lose more and more ground. It's like connecting the instantaneousness of the hip‑hop kids graffiti, with the expression of the reflective. It's also, and to a very high degree, to show respect for Munch, but simulteaneously no respect at all to the institutionalization that has been constructed around his work. [ by Jonas Stampe]
Uni Askeland, 2002, Black Joy, Ref. as0201
Uni Askeland, 2003, Munch Adopsjon Aske, Ref. as0301
Uni Askeland, 2003, Munch Adopsjon Livets dans 1, Ref. as0302
Uni Askeland, 2003, Munch Adopsjon Kvimnne i tre stadier 2, Ref. as0303