MADELEN ISA LINDGREN




OH OMEN

Solo Show 24.04 - 22.06.2025
Norwegian Sculptors Society
Oslo, Norway

Curated by Tatiana Lozano
How can one cultivate the fragile? Madelen Isa Lindgren weaves together glass, metal, and leather to present a world where vulnerability and strength exists in a mutual dependence. 

Hanging from the ceiling and resting on a steel frameworks, her sculptural forms resemble fractured cocoons or fossilized vessels—artifacts caught in a state of flux. Something has broken through, or perhaps been left behind. These forms exist between emergence and decay, suggestive of both origin and aftermath, ancient yet oddly futuristic. Their surfaces—dark, metallic, fertile—gesture toward life suspended in transformation.

In Lindgren’s installations, metal transforms into its own flora—bearing weight, shaping refuge, and forming both shield and chamber. Fragile glass rests within these forms, not hidden but deliberately upheld in a gesture of mutual trust and elevation.

The sculptures demonstrate that the primordial and the futuristic do not necessarily stand in opposition, and that protection and defense can merge into new shapes and symbols. In Oh Omen, we enter a liminal space where the boundaries between the natural and the engineered, the molecular and the structural, begin to dissolve. Subtle pulses of light flicker softly, conveying messages known only to themselves.

A sacred atmosphere rests over the rooms.

Text by Emma Lomell



GRAND PERENNIAL (2025)
Handblown glass, steel, leather
141 x 115 x 30 cm
OH OMEN (2025)
Various dimensions











TRINITY PASSAGE (2025)
steel, glass, leather
200 x 35 x 25 cm



ORPHIC QUEST (2025)
Handblown glass, steelr
65 X 40 cm


OH OMEN (2025)
Various dimension



TREASURE DOME (2025)
handblown glass, steel


 
OH OMEN (2025)
hand blown glass, steel, tin, copper
250 x 100 x 20 cm




O, ORACLE (2025)
handblown glass, steel, rotation box
113 x 60 x 60 cm



AUTO DRIVE (2025)
tin cast, oxidized steel
93 x 65 x 210 cm

GLOOM PARK (2025)
hand blown glass, leather, steel
55 x 55 x 78 cm


OH OMEN (2025)
Various dimensions

Photos by Istvan Virag






    VENICE GLASS WEEK HUB under 35

    12 - 22 September 2025
    Istituzione Fondazione Bevilacqua La
    MasaGalleria di Piazza San Marco
    Venice, Italy

        Curated by Stefano Coletto and Marta Gradenigo

      The Venice Glass Week 2025. An evocative reference to the wonder and enchantment that glass has inspired for centuries A material forged by fire, and transformed as if by alchemy into art: each creation is an act of magic, suspended between tradition and innovation.

      The festival offers a unique chance to engage with the timeless tradition of glass, and to explore its ongoing evolution through contemporary creativity and future-facing innovation. 

      Curatorial Committee, chaired by renowned Venetian glass historian Rosa Barovier Mentasti, and composed of a panel of international glass experts: Nina Alessandri, Cristina Beltrami, Jean Blanchaert, Rainald Franz, Mikkel Hammer Elming, Susanne Jøker Johnsen, Cristina Tonini and Alma Zevi.

      From 13th to 21st September in Venice, Murano and Mestre.

      OH OMEN  presents a landscape caught between past and future, where time appears momentarily suspended. Fractured cocoons evoke emergence and escape, holding transformations in a state of uncertainty. The sculptures embody metamorphosis, forming spaces that suggest both shelter and arrival.

        Text by Venice Glass Week


      TREASURE DOME (2025)
      handblown glass, steel
      86 x 86 cm


      ORPHIC QUEST (2025)
      handblown glass, steel 
      60 x 40 cm


         Photos by Venice Glass Week


        FIELD NODES 

          Group Show 15 - 21.08.2025
          Hosek Contemporary, Berlin, Germany

        • Curated by Maria Helena Konttinen Nerhus

        In botany, nodes are connection points on a plant stem where leaves, branches, or flowers develop. It’s a structural and functional point for growth and expansion. A field is a place where flowers coexist and evolve into something larger than the sum of their parts. In the digital world, a field node is the canvas for digital codes visualized with a node system. Each node is a singular unit, holding its own command, yet it remains inert until connected. As nodes branch, link, and intertwine, the code grows more intricate, like roots or constellations spreading across the void.

        The exhibition Field Nodes takes place on a slanted deck. Once a cargo ship carrying charcoal over the sea, now reimagined. The floor becomes a garden, a symbiose of the three sculptural practices of Vivien Hoffmann, Madelen Isa Lindgren, and Maria Helena Konttinen Nerhus, in collaboration with Manuel Schubbe and Imeon. The artists are following the leads of their material investigations, letting their works become personal navigation systems. Materialssuch as glass, leather, wood, geo- and biopolymers coexist in tension, oscillating between fragility and strength. Each artist seeking nodes of connection, both individual and collective.

        • Text by Maria Helena Konttinen Nerhus





        NIGHT GLOOMERS (2025)
        Leather, hand blown glass, steel
        25 x 25 cm


        PRIME LOTUS (2025)
        Leather, steel, hand blown glass
        100 x 100 cm

        SOME DEGREE OF FRICTION

        Group Show 19.07 - 31.08.2025
        Wehrmuehle Museum, Berlin, Germany

        Curated by Tjioe Meyer Hecken
        Running from July 19th to August 31st, the exhibition inspired by A Thousand Plateaus by Deleuze & Guattari (1987) and The Forest Maker by Volker Schlöndorff (2022). This project operates through a rhizomatic structure — decentralized, non-linear, and open to multiplicity. Rather than following a classic dramaturgy or fixed curatorial logic, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

        The emphasis lies on becoming-with — creating an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

        Featuring more than 25 artists—including Alicja Kwade, Amanda Donato, Anna Uddenberg, Anne Imhof, Beatriz Morales, Billie Clarken, Christine Liebich, Daniel Hölzl & Abie Franklin, Elena Francalanci, Evangelia Dalton, Hani Hape, Jade Cassidy, Jenna Sutela, Ju Young Kim, Lena Marie Emrich, Lorenz Rost, Lukas Heerich, Madelen Isa Lindgren, Mirko Mielke, Natalie Brehmer, Nicolás Lamas, Ornella Fieres, Paulo Wirz, Precious Okoyomon, Rosa Barba, Rosa Merk, Sally von Rosen, Seongwon Park, Sofiia Stepanova, Tim Schmid, Yngve Holen and many more.



        TREASURE DOME (2025)
        Hand blown glass, steel
        86 x 86 cm
        TEMPORAL TEMPLES (2024)
        Tin
        24 x 19 cm

        Photos by Connor Howieson


        • AND ALL THE LIGHT THAT GRIND-CORES

        • Group Show 30.08 - 20.09.2025
        • Grac, Kristiansand, Norway

        • Curated by Hedda Grevle Ottesen

        With: Alina Vergnano, Adin Mušić, Marianne Bredesen, Agatha Wara, Ida Rasmussen, Hedda Grevle Ottesen, Marvin Sereba, Thyra Dragseth, Kaja Krakowian, Mikael Marman, Ellinor Aurora Aasgaard & Zayne Armstrong, Louise Evensen Herreira, Elise Macmillan, Madelen Isa Lindgren and Tim Høibjerg.






        MISS FORECAST (2025)
        steel, glass
        100 x 80 x 100 cm


        • Photos by Madeleine Noraas



        • GLOOM PARK

        • Group Show 28.03.2025
        • Atelier Gardens, Berlin, Germany

        • Curated by MOLT

        The installation unfolds as a dialogue between fragility and persistence, where glass sculptures mimic the growth of plants, stretching towards the light. Captured between nature and performative aesthetics, the sprouts rises from a steel grid—an object of industry and function, now transformed into a stage where mimicry and natural forms perform. Movement and stillness blend, as the sculptures take shape in a frozen gesture of growth, blurring the boundary between the organic and the constructed. 

        At the core of the work, the glass sculptures orbit a leather ballerina skirt—a reference to craftsmanship and movement, but also an intimate trace of the body. The interplay between material and form introduces a corporeal presence, drawing the body into the sculptural space. The composition of organic motion and scenographic elements captures a performance caught in suspension, a dance frozen in time.

        The installation invites reflection and speculation on the way nature can appropriate human culture, absorbing our gestures and expressions. By lending theatrical and bodily qualities to plant life, the work questions the relationship between the human and the non-human, suggesting that a deeper understanding of this connection might cultivate a renewed sense of care for the spaces we inhabit.


















        Hand blown glass, metal grid, leather
        110 x 100 x 65 cm

        Photos by Sebastian Rozansk




          • NOTHING PETALS CANNOT SAY,
          • RESTING IN THE WORLDS BONE

          • Solo Show 25.07 - 31.07.2025
          • Forhallen, Stavanger , Norway

          • Curated by Sandra Vaka
          Rooted in botanical anatomy, growth, and decay the exhibition presents a scenario where the past and a distant future collide. Within this space, a duality unfolds between what has been lost and what re-emerges, a condition reminiscent of a hypothetical archaeological discovery, where the remnants of something once alive testify to both destruction and survival.

          Lindgren translates concepts such as camouflage and protection into sculptural survival strategies. Through material and formal choices, she creates objects that appear to exist in a frozen metamorphosis. Organic life is imitated, but held in a state that challenges the distinction between what is alive and what has lost its vitality.

          The exhibition gradually shifts from the organic to the static, and from the living to the non-living. This transition is mirrored in works that bear traces of nature’s cycles, and explores forms and expressions of survival, where nature’s resilience and vulnerability coexist. Lindgren invites the viewer to reflect on the passage of time, the impermanence of life, and the possibility of transformation even in moments marked by stillness and dissolution.


            MOON SPROUTS (2024)steel, sand
            155 x 55 cm

          RE-ROOTING (2024)
          steel and glass
          35 x 35 x 45 cm




          SPIRAL SHIFTS (2024)
          steel and tin
          65 x 65 cm


          TEMPORAL TEMPLES (2024)
          steel and tin
          26 x 15 cm 


          • MOTHER (2024)
          • steel
          • 320 x 320 cm
            FRACTALS (2024)
            steel
            65 x 65 cm
            SIBIRAN SUN (2024)
            steel and glass 
            30 x 35 cm


            SPAWN VESTIGE (2024)
            steel and glass 
            60 x 55 cm

            • Photos by Eivind Egeland





            • HEAVEN AND HELL,
            • IN ROOTS THEY ARE LONG

            • Graduation Show  19.04 - 05.05.2025
            • Bergen Kunsthall, Bergen, Norway

            • Art Direction by Michael Stumpf
            The work explores verticality as a symbol in mythology and architecture, ranging from the Tower of Babel and Mount Olympus to modern skyscrapers. Such structures express both ambition and vulnerability, reflecting humanity’s need for direction and belonging. At the same time, they carry the possibility of decay and transformation, inviting reflection on the human desire to move beyond the material.

            The sculpture draws on the Corinthian column’s combination of construction and ornamentation, investigating how the ornament can function both as a narrative and symbolic form. In the sculpture, this is transformed into a plant-like structure growing upward, an image that represents both nature’s logic and architectural striving.

            Through repeated forms and subtle shifts, a rhythm of growth and mutation takes shape. The classical order is broken in favor of a more corporeal expression, where the ornament becomes an active narrative. The sculpture invites viewers to look at architectural symbols, detached from their original function and here activated as a space for transformation.


            HEAVEN AND HELL IN ROOTS THEY ARE LONG (2024)
            Steel 
            510 x 70 cm 



              Group Show I CAN CARRY PEOPLE AROUND
              Bergen Kjøtt, May 2023, Bergen (NO)
            Curated by MFA 1


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