" Mouveable Feast "

Carte blanche à Erin Lawlor
Hotel de Sauroy. 75003 Paris
March 22nd - April 3rd 2012

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Press Release
Communiqué de presse


" Un mystérieux lien entre la vie et la maison "


New Paintings - Peintures récentes
January 22nd - March 5th 2011
Galerie Maria Lund, Paris, France

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Encounter by Ann Hindry 2010
Rencontre par Ann Hindry 2010

Press Release
Communiqué de presse

More info at www.marialund.com


Carte blance à Isabel Duperray & Alexandra Roussopoulos

June 20th - August 20th 2009

Galerie Petit Maroc
Saint-Nazaire France

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AZART International Art Magazine no 34 Septembre-Octobre 2008

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see : www.azart.fr

Maibritt Ulvedal Bjelke has been artist in residence at the Josef and Anni Albers Foundation in Connecticut upon their invitation.

During the winter she was working in one of The Foundation's two studios for invited artists located in the forest - rather isolated in a beautiful natural setting.

The Albers Foundation can be viewed at : www.albersfoundation.org

New catalogue - Nouveau catalogue - Nyt katalog

Paintings 2000 - 2006

View the catalogue in pdf (compressed).

Galerie Maria Lund, Paris 2008
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Galleri Weinberger Copenhagen 20 years

Galleri Weinberger Copenhagen 20 years
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New paintings : April 21th to May 13th 2007 Galerie Provence, Denmark.

There is a kind of contemporary poetry that does not describe any certain time or any certain place, event or person. It refrains in one way or another from referring to a familiar world consisting of named elements. In fact, this kind of poetry is often more compact in its actual poetics, more condensed in its fundamental implements and means. The words are - in other words - no longer servants for anyone or anything else. They have become their own lord and master. At the same time, it cannot be claimed that a person who creates such a poem no longer has a motive. The motive has merely come to be the words themselves, their rhythms, their intonations, their pauses and their sounds. The poems contain nothing that lies beyond themselves. On the other hand, what they contain and the sense of wholeness the words engender leaves no void.

The same thing can be said about Maibritt Ulvedal Bjelke's works: these are paintings that have taken a stance beforehand that lies outside all the representative obligations that a painting is generally supposed to honor. They do not represent anything, yet they contain their own representations - and their own ruminations.

It would seem obvious to call them French, seeing that the artist has been living and working in France for more than twenty years. Moreover, Maibritt Ulvedal Bjelke was also educated in Paris, at École Nationale Superieure des Beaux-Arts, under the tutelage of Pierre Matthey, Jan Voss and Claude Viallat.

But that's not the most relevant issue, because what her pictures are concerned with possesses no distinct nationality. Ulvedal Bjelke's work is a kind of painting whose essential mission explores painting's very own language. If it can be said that working with color and surface is generally subjected to an intention on the part of the artist that is determined by external circumstances and relations, the situation is something again in this instance. Here, the artist's objective has specifically to do with painting, with painting this very stroke and then adding other strokes to the first, so that what arises is a whole family of strokes which communicate reciprocally without becoming expressions for anything other than the particular layers of color and the specific gesture that has brought them into being. In this way, the painting gradually comes to be a portrait of its own genesis. Such a process inevitably contains hesitation, reflection and many provisional attempts before the onslaught takes hold. However, the painting registers only that which is done and which succeeds because it has been done well.

Even the most abstract artists do not paint without a purpose. And the purpose here is to secure and propagate the energy and dynamic movement by means of which the color is applied to the surface as well as the impression of depth. Then again, there is also the sense of renunciation that this process concomitantly carries along.

The stroke and the color do not elicit any associations beyond their own resolve: to obtain a surface for existing considerations. Neither a subject nor a motive, not even an observation, is being recreated on the painted surface. Each work by Maibritt Ulvedal Bjelke concerns instead the ways and means of painting itself.

Peter Michael Hornung
Copenhagen, February 22, 2007
translated by DAN A. MARMORSTEIN

Le goût des pastilettas!
The taste of pastilettas!

Bent petersen, Dansk Kunst 2005 :
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carte de voeux Virty:"

Artikel: "Det tilsyneladende tilfældige" af Peter Michael Hornung Politiken 10.06.05

" Regards d'artistes " par Philippe Chancel . Edition 5 continents - Seuil. Paris


Diversité des langues de l'europe, Palais Royal Paris. Ministère de la Culture. "Une couleur est belle quand elle parle" " En farve er smuk når den taler" par maibritt Ulvedal Bjelke

galerie maria lund , Hélène Kelmacther, Fondation Cartier, Paris



"paper revisioned" Kunstcentret Silkeborg Bad
«farve-tid» (dansk) | «croma-time» (english)

Katalog Prix de Virty

«temps de couleurs » (francais)

" voldsomhed og overblik " Politikken 5. maj af Trine Ross

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portrait by Hergo, Paris


portrait by Hergo, Paris

"yves michaud présente un peintre" connaissances des arts n0 543 1997

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" sans maquillage " catalogue Yves michaud

sans maquillage (francais)

"passion som mangelvare"

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uddrag : en forfriskende undtagelse i den henseende er maibritt u. bjelkes to store akrylmalerier på papir. disse abstraktioner er født af kamp og proces og det er de blevet smukke af. jyllandsposten 94



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