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Jone Kvie (b. 1971, Stavanger) lives and works in Naples and Stavanger. His practice as a sculptor is characterised by a fascination with existential questions, and by an intention to extend the notion of art towards contemplation over the world’s being, and what it means to be human in it. Our will to know and interpret the “natural world” is reflected in Kvie’s attention to cultural interpretations, archetypes and myths, and finally in his choices of themes, form, materials and titles. Often taking on the unfathomable and unknown as his subject matter, his sculptures may be read both as reflections on our attempts to understand and as physical manifestations of the ideas that are created in these attempts. Mental and abstract conceptions become objects with independent existence, often appearing surprisingly recognisable in their firm presence. Kvie has exhibited extensively, including ARoS Art Museum (Aarhus), The National Museum, Kunstnernes Hus (Oslo), Bergen Art Museum, Malmö Art Museum and Gothenburg Museum of Art. Highlights include his solo exhibitions Vessels at the Vigeland Museum in Oslo (2017), Metamorfos at Göteborgs konstmuseum, Gothenburg, Sweden (2018), and Here here at Stavanger Kunstmuseum (2019). He has been involved in several public and private commissions, and is represented in key public and private collections including Corcoran Museum (Washington DC), AROS (Aarhus); The National Museum of Art (Oslo), The National Public Arts Council (Stockholm), Malmö Art Museum, Kode Bergen, Stavanger Kunstmuseum, in addition to a permanent installation at the Gothenburg Museum of Art. In 2022, Kvie participated in documenta fifteen in Kassel, Germany, and was part of a group show in Kunsten Museum of Modern Art, Aalborg, Denmark. He also presented a solo exhibition what comes after certainty at Örebro konsthall, Sweden. In 2025, he was part of the group exhibition Apocalypse: From Last Judgement to Climate Threat at the Gothenburg Museum of Art. Kvie is a member of LABINAC, a design collective founded by Maria Thereza Alves and Jimmie Durham.