TO ALL THE SPROUTS THAT CHANT AT NIGHT
Solo Show
17 - 19.04.2025
SPJELD
Oslo, Norway
Glass, steel, leather, silk threads
80 x 25 cm
Steel, tin, silver
15 x 15 cm
tin, 2 x 2 cm
Photos by Max Barel
[...] and so I listen to the electricity of the vibrations, the last substratum of reality’s realm,
and the world trembles inside my hands.
Clarice Lispector, Água Viva, 1973
How do protection and resistance take form in vulnerable processes? Change is inevitable, but we can ask ourselves how we respond when cycles older than timekeeping itself continue to be put under pressure by ideologies of accumulation and expanded control.
Madelen Isa Lindgren approaches going forward by looking towards aspects of the past. She explores how Earth’s recurrent shifts can be understood as value systems that we once were more in tune with. Her studies of transitional phases in both nature and culture are brought into her sculptures, where they are materially processed. She refers to them as part of locating where one is in the landscape of time.
Throughout the centuries, maps and coins have been used as tools in missions of territorial control and capitalistic trade. In the hands of Ursula K. Le Guin and Lindgren, such entities instead become vessels—or carrier bags—containing philosophies that preserve knowledge from the past and advocate for a cosmic order focused on sustaining rather than advancing at all costs. The maps and amuletic works use a speculative cartography, serving as inventions of alternative realities through which we can imagine how current worldviews may be reformed, changed, or even replaced.
In To All the Sprouts That Chant at Night, the artist dives into a new branch in her exploration of how value is defined and how this in turn manifests itself materially. In the sculptural scenography presented, sprouts of glass are seemingly stretching towards the sky. Lindgren has rendered the seedlings in a liminal phase—no longer seeds lying protected by the earth, not yet bloomed into maturity.
The fragility of the sprouts is portrayed through glass as they grow from dark soil, represented as circles of leather—a material inherently intimate. Strands flow out from beneath them, like roots, tentacles, or fungal hyphae, reaching toward one another and intertwining.
In the above quote from Clarice Lispector’s Água Viva, the narrator describes listening to music by resting her hand on a record player. The vibrations travel through her body, creating a sense of the world trembling in her hands. Throughout the novel, the narrator attempts—often struggles—to capture the experience of being: fluid, shifting, and continuously transforming.
Letting go of linearity and accepting this vastness may help ground us in time and place, welcoming a sensory attentiveness to our surroundings. Just as sonic vibrations anchor Lispector’s narrator, Le Guin’s people of the Valley locate themselves in time through talismanic maps. Similarly, Lindgren’s sculptural journal connects the material and corporeal to the historical, cosmological, and spiritual.
She encourages us to listen for the chants of our surroundings, so that we, too, may feel the trembles of the world.
Text written by Marthe Yung Mee Hansen
OH OMEN
24.04 - 23.06.2025Solo Show
Norwegian Sculptors Society
Oslo, Norway
Curated by Tatiana Lozano
Handblown glass, steel
65 X 40 cm
Various dimensions
steel, glass, leather
200 x 35 x 25 cm
Handblown glass, steel, leather
141 x 115 x 30 cm
Various dimension
handblown glass, tin, steel
80 x 80 cm
handblown glass, tin, steel
80 x 80 cm
hand blown glass, steel, tin, copper
250 x 100 x 20 cm
handblown glass, steel, rotation box
113 x 60 x 60 cm
tin cast, oxidized steel
93 x 65 x 210 cm
hand blown glass, leather, steel
55 x 55 x 78 cm
Various dimensions
Photos by Istvan Virag
alt flyter, alt står
20.11 - 14.012.2025Group Show
Bernhard Bratsberg, Henrik Nordahl, Madelen Isa Lindgren
Studio Gabler
Oslo, Norway
Glass, steel, glasss stones
40 x 40 cm
Glass, steel, glasss stones
40 x 40 cm
BIRTH BONE (2025) and SOLAR SISTERS (2025)
steel, glass,
88 x 20 cm
Handblown gla ss, steel, leather, tin, silk thread
30 x 30 cm
Handblown glass, steel, leather, tin, silk thread
30 x 30 cm
Various dimension
Photos by Magnus Gulliksen
The 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
handblown glass, steel
86 x 86 cm
handblown glass, steel
60 x 40 cm
Photos by Venice Glass Week
- FIELD NODES
- 15 - 21.08.2025
- Group Show Maria Helena Konttinen Nerhus, Vivien Hoffmann, Madelen Isa Lindgren
- Hosek Contemporary
- Berlin, Germany
NIGHT GLOOMERS (2025)
Leather, hand blown glass, steel
25 x 25 cm
Leather, hand blown glass, steel
25 x 25 cm
Leather, steel, hand blown glass
100 x 100 cm
SOME DEGREE OF FRICTION
19.07 - 31.08.2025 Group Show
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.
Wehrmuehle Museum
Berlin, Germany
Curated by Tjioe Meyer Hecken
Hand blown glass, steel
86 x 86 cm
Tin
24 x 19 cm
Photos by Connor Howieson
- AND ALL THE LIGHT THAT GRIND-CORES
- 30.08 - 20.09.2025
- Group Show
- 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.
- GRAC
- Kristiansand, Norway
steel, glass
100 x 80 x 100 cm
Photos by Madeleine Noraas
GLOOM PARK
28.03.2025Group Show
Yves B. Golden, Detente, caner teker & Shaly Lopez, Andrea Bambini, Samuel F Pereira
Madelen Isa Lindgren, Brad Nath, Manuel Goetz
Atelier Gardens
Berlin, Germany
Curated by MOLT
GLOOM PARK (2025)
Hand blown glass, metal grid, leather
110 x 100 x 65 cm
Photos by Sebastian Rozansk
Hand blown glass, metal grid, leather
110 x 100 x 65 cm
Photos by Sebastian Rozansk
NOTHIING PETALS CANNOT SAY, RESTING IN THE WORLDS BONE
25.07 - 31.07.2025Solo Show
Forhallen
Stavanger, Norway
Curated by Sandra Vaka
- MOON SPROUTS (2024)
- steel, sand
- 155 x 55 cm
steel and glass
35 x 35 x 45 cm
steel and tin
65 x 65 cm
steel and tin
26 x 15 cm
- MOTHER (2024)
- steel
- 320 x 320 cm
steel
65 x 65 cm
steel and glass
30 x 35 cm
steel and glass
60 x 55 cm
Photos by Eivind Egeland