Group Show 15 - 21.08.2025
Hosek Contemporary, Berlin, Germany
Curated by Maria Helena Konttinen Nerhus
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.
Full Curatorial Text
Leather, hand blown glass, steel
25 x 25
Leather, steel, hand blown glass
100 x 100 cm
SOME DEGREE OF FRICTION (2025)
Group Show 19.07 - 31.08.2025
Wehrmuehle Museum, Berlin, Germany
Curated by Tjioe Meyer Hecken
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.
.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.
Hand blown glass, steel
86 x 86 cm
Tin, 24 x 19 cm
TEMPORAL TEMPLES (2024)
Hand blown glass, steel, woven tin and copper fabric
250 x 100 x 20 cm
Photos by Connor Howieson and Lilika Strezoska
- AND ALL THE LIGHT THAT GRIND-CORES (2025)
- Group Show 01.08 - 28.09.2025
- GRAC, Kristiansand (NO)
- Curated by Hedda Grevle Ottesen
Steel, hand blown glass
100 x 100 x 80 cm
OH OMEN
Solo Show 24.04 - 22.06.2025
Norwegian Sculptors Society, Oslo, Norway
Curated by Tatiana Lozano
Text by Emma Lomell
Photos by Istvan Virag
Solo Show 24.04 - 22.06.2025
Norwegian Sculptors Society, Oslo, Norway
Curated by Tatiana Lozano
Text by Emma Lomell
Photos by Istvan Virag
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.
GRAND PERENNIAL (2025)
Handblown glass, steel, leather
141 x 115 x 35 cm
OH OMEN (2025)
Exhibition overview
Various dimensions
ORPHIC QUEST (2025)
Handblown glass, steel
glass 60 x 22 x 200 cm / steel 86 x 86 cm
OH OMEN (2025)
Exhibition overview
Various dimensions
TRINITY PASSAGE (2025)
Handblown glass, tin cast, leather
200 x 35 x 25 cm
TREASURE DOME (2025)
Handblown glass, steel, tin cast
glass 60 x 30 cm / steel 80 x 80
OH OMEN (2025)
Handblown glass, steel, tin and copper woven fabric
250 x 100 x 20
OH OMEN (2025)
Exhibition overview
Various dimensions
O, ORACLE (2025)
Handblown glass, steel, rotating box
113 x 60 cm
OH OMEN (2025)
Exhibition overview
Various dimensions
AUTO DRIVE (2025)
Tin cast, oxidized steel
93 x 65 x 210 cm
GLOOM PARK (2025)
Hand made glass, faux leather, steel
55 x 78 cm
Photos by Istvan Virag
GLOOM PARK (2025)
Group Show 28.03.2025
TON 2 / Atelier Gardens, Berlin, Germany
Curated by MOLT
Group Show 28.03.2025
TON 2 / Atelier Gardens, Berlin, Germany
Curated by MOLT
The installation unfolds as a dialogue between fragility and persistence, where hand-blown glass sculptures mimic the growth of plants, stretching towards the light. Suspended in the tension between nature, culture, and performative aesthetics, these fragile but insisting sprouts rise from a steel grid—an object of industry and function, now transformed into a stage where mimicry and natural forms blend and 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. The space comes alive through imitation and transformation, as the materials suggest movement and change.
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. This interplay between material and form introduces a corporeal presence, where the growing structures take on human-like qualities. 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
.Movement and stillness blend, as the sculptures take shape in a frozen gesture of growth, blurring the boundary between the organic and the constructed. The space comes alive through imitation and transformation, as the materials suggest movement and change.
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. This interplay between material and form introduces a corporeal presence, where the growing structures take on human-like qualities. 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
110 x 100 x 65 cm
Photos by Sebastian Rozanski
- NOTHING PETALS CANNOT SAY,
- RESTING IN THE WORLDS BONE (2024)
- Solo Show 25.07 - 31.07.2025
- Forhallen, Stavanger (NO)
- Curated by Sandra Vaka
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—a stage suspended between transformation and stillness. 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—growth, erosion, adaptation, and decay. At the same time, it 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.
- Steel, 155 x 55 cm
- Photos by Eivind Egeland
35 x 35 x 45 cm
- SPIRAL SHIFTS (2024)
65 x 65 cm
- TEMPORAL TEMPLES (2024)
26 x 15 cm
5x5 cm
- steel
- 320 x 320 cm
- FRACTALS (2024)
65 x 65 cm
30 x 35 cm
- SPAWN VESTIGE (2024)
60 x 55 cm
- Group Show 21.03-31.03.24
- SALGSHALLEN, Oslo (NO)
- Curated by HULMUR
Its personal
MASTER GRADUATION EXHIBITION
Bergen Kunsthall, Bergen (NO)
Art Direction by Michael Stumpf
HEAVEN AND HELL IN ROOTS THEY ARE LONG explores verticality as a symbol in mythology, architecture, and belief—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, belonging, and transcendence. At the same time, they carry the possibility of decay and transformation, inviting reflection on the human desire to move beyond the material.
The work draws on the Corinthian column’s combination of construction and ornamentation, investigating how the ornament can function 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 and lively expression, where the ornament becomes an active narrative. The sculpture invites viewers to look at architectural symbols in a new light, detached from their original function and activated as spaces for speculative transformation.
- Exhibition history
- K32 Gallery, June 2023,
- Berlin (DE)
steel
150 x 30 cm
RISING ROOTS (2023)
- Group Show I CAN CARRY PEOPLE AROUND
- Bergen Kjøtt, May 2023, Bergen (NO)
Curated by MFA1
155 x 30 cm
THE MOTHER (2023)
steel
320 x 320 cm