Halvor Bodin

︎






Morten Juvet
Grafikk 1969–2025


Morten Juvet had his breakthrough as a visual artist during a golden age for printmaking. Seldom before or since has printmaking played such a prominent artistic role, not least among a large and youthful buying audience. Juvet holds a secure place in art history due to his significance during the 1970s and 1980s, at the transition from pop art to postmodernism. Whether viewed in the context of one movement or the other, we are left with an impression of an unmistakably distinctive character.
[…]
Juvet’s preferred techniques have been woodcut and screen printing, with only a modest output in other methods. By employing simple and affordable graphic techniques, artists of Juvet’s generation were also able to take control of the entire production process. Through edition printing, the art could reach beyond the gallery wall. On his farm in Holmestrand, he has set up his own printmaking workshop with a press, and the graphic work he carries out there today can be seen as part of his approach to creating art as a form of cottage industry aligned with the green transition. This has helped to maintain one of the few remaining farms in the area and has prevented the land from being expropriated for other commercial purposes—such as what would otherwise have been an ideal location for a furniture superstore. In this way, the societal role of printmaking is linked not only to form and subject matter, but also to the method of production and the category of goods.

(From Øivind Storm Bjerke’s text in the book)


Galleri Galleberg
Hortensveien 231
3157 Barkåker
+47 921 12 721
kjetil.galleberg@gmail.com

Text: Øivind Storm Bjerke
Cover: Woodcut by Morten Juvet, 2024
32,5 x 32,5 cm
Photography: Tomas Moss, Thomas Widerberg, p. 61, Petter Brønn, p. 6, Halvor Bodin, p. 2, 182, 183, endpapers 
Graphic design: Halvor Bodin
Design intern: Caroline Rognan Aasen
Printing: TS Trykk, Oslo
Bokbinding: Bokbinderiet Johnsen

Morten Juvet website
2025
24 x 28 cm
184 pages
ISBN 978-82-93233-37-4
TS Trykk, Oslo
Paper: Arctic Volume White 130 g/m2
Endpapers: MultiOffset 140 g/m2, FSC
Cover: Geltex 11 LS 150 g/m2
Typography: SN Skandia Condensed,
LL Ruder Plakat Var
Language: Norwegian



















Bjarne Melgaard


The 2,000 unique covers of this book, designed by Halvor Bodin, constitute the largest single presentation of Melgaard’s artistic practice. However, since no one will ever see all the books together, this also reflects the experience of working through the material on which the book is based. Melgaard’s body of work is so extensive, multifaceted, and dispersed across numerous exhibitions, publications, and other forms of presentation that achieving a complete overview would be impossible.

From a traditional art historical perspective, a catalogue raisonné is a comprehensive record of an artist’s entire output. If anyone were to attempt such a project for Melgaard in the future, it would likely be the most extensive of its kind in Norwegian art history. So far, however, the artist himself has actively and consciously avoided structuring his artistic production within a hierarchical framework.

A recurring theme in this book is precisely how this approach has been central to Melgaard’s artistic practice—both within individual drawings and paintings and in the way he has produced exhibitions and the relationships between them.

(From Erlend Hammer’s preface)


© Uten Tittel 2025
Author: Erlend Hammer

Publishing editor: Marcus Bøhn
Image editors: Halvor Bodin and Erlend Hammer
Design/repro: Halvor Bodin
Coding of database export: Jonni

Copyright for works by Bjarne Melgaard
© Bjarne Melgaard/BONO 2025

Uten Tittel
View all projects for Uten Tittel
2025
19 x 24 cm
256 pages
ISBN 978-82-93502-52-4
Livonia Print SIA, 2025, Latvia
Paper: Arctic Print White 150 g/m²
Cover: Polar Rough 300 g/m²
Coloured edges
Typography: Sans Sans/Sans Flux (MuirMcNeil)
Language: Norwegian

2000 numbered books with unique covers. 4000 cover images (front and back). 367 images in the interior.

More and proper documentation photos to come






At the King’s Table
– From dinner services to contemporary ceramics

At the King’s table, stories of national traditions, international ties, craftsmanship and industrial development unfold. Preparations begin long before the guests arrive with the setting of the table. Each piece of a dinner service, selected from a collection passed down through generations, carries its own history and significance. When the guests arrive, they are welcomed to a table prepared not only for a meal, but to a table that tells a story.

At the King’s Table – from dinner services to contemporary ceramics is a presentation of dinnerware that have been added over the years, as well as other ceramic and porcelain pieces from the Royal Collections, such as serving pieces, showpieces, vases, and contemporary ceramics.

The exhibition in Queen Sonja Art Stable is divided into two sections. The Central Hall is devoted to the Palace’s porcelain and ceramic collection, whilst the Riding Hall presents contemporary ceramics by artists Torbjørn Kvasbø, Irene Nordli, Paul Scott and Marit Tingleff. The exploration of materiality, the history of the ceramic industry, and contemporary topics is central to the artists’ work. As an extension of the exhibition, Oscarshall showcases artworks by master students from the ceramics programme at the Oslo National Academy of the Arts.

(From the catalogue introduction)

Published for the exhibition
At the King’s Table
– From dinner services to contemporary ceramics


7  February–14 December 2025
in Queen Sonja Art Stable: Midtstallen

28 May–14 December
in Queen Sonja Art Stable: Ridehuset

10 May–31 August: Summer season
at Oscarshall

The design project includes a main catalogue, a smaller catalogue for the contemporary ceramics exhibition as well as promotional material and ads.

The Royal Collections
The Royal Court
© Det kongelige hoff/The Royal Court 2025
ISBN 978-82-8106-043-2
2025
20 x 25 cm
128 pages
Language: Norwegian/English

Curators of the exhibition and editors of the catalogue:
Sandra Lorentzen/Kaja Maria Ranveig Hjort

Texts by:
H.M. Queen Sonja
Dr Richard Halliday, specialist in 18th- and 19th-century British ceramics
Dr Annechen Bahr Bugge, sociologist and senior researcher at OsloMet
Dr Gunhild Vatn, professor of ceramics at KHiO
Kaja Maria Ranveig Hjort, Sandra Lorentzen and Gunhild Varvin at the Royal Collections
Extract from Pablo Neruda, “Oda al plato” (Ode to the Plate) in The Poetry of the Table, translated by Henry Notaker (Oslo: Den norske Bokklubben, 1989)

Proofreading and translation:
Kjersti Velsand/Angela Amoroso

Design: Halvor Bodin
Repro: Øivind Möller Bakken/Halvor Bodin
Printer: TS Trykk, Oslo
Bookbinder: Bokbinderiet Johnsen
Typography: Displaay Tobias
Paper: MultiArt Silk, 170 g/m2
Paper, cover: Algro Design Advanced, 350 g/m2

Photography:
Øivind Möller Bakken, De kongelige samlinger
Jan Haug, Det kongelige hoff
Jørgen Gomnæs, Det kongelige hoff
Richard Halliday
Karl Anderson
Dalane Folkemuseum
British Museum
Teigens Fotoatelier
Anders Beer Wilse
Fotograf Sturlason
NTB
















Documentation photography by Halvor Bodin




Kristian Blystad


Known for his distinctive monumental works in stone, such as Torso (1999) in the former government quarter, Reclining Head II – Dream at Filipstad Brygge (1999), and The Sailing King (1993), a monument in memory of King Olav V at Hankø. He played a significant role in collaboration with Snøhetta on architectural projects such as the Bibliotheca Alexandrina and the Oslo Opera House roof.

The book covers Blystad’s entire oeuvre, from his early years in Bergen, through exhibitions and acquisitions in the 1990s and 2000s, up to his current creative practice in the quarry at Skjeberg, Østfold.

© Orfeus Publishing
Author: Øivind Storm Bjerke

Publishing editor: Birgitte M. Siem
Design/repro: Halvor Bodin
Photography: Øystein Thorvaldsen, Halvard Haugerud, Halvor Bodin, Øivind Storm Bjerke and more

Orfeus Publishing
Kristian Blystad website

View all projects with Orfeus Publishing here.
2024
19 x 24 cm
464 pages
ISBN: 978-82-93959-106
Livonia Print SIA, 2024, Latvia
Paper: Arctic Matt 150 g/m²
Endpapers: Munken Lynx 150 g/m²
Typography: ABC Arizona
Binding: Open spine, edge milling, blind debossed cardboard, foilblocked with white, coloured threads (7 colours)
Language: Norwegian

Documentation photos above: Øystein Thorvaldsen.
More documentation photos to come.




The book Kristian Blystad is among the selected 23 books for The Most Beautiful Norwegian Books 2025 (Årets vakreste bøker). The exhibition in Oslo is open 28 May–15 June at Grafill in Oslo. Online presentation at grafill.no.

Jury’s Comment
This is a book that confidently translates the artist’s monumental visual language into book form. Its physical presence – weighty, coarse, and rich in detail – mirrors Blystad’s sculptures in a way that feels both authentic and apt. The production choices are numerous: exposed spine, multicoloured thread, milled edges, blind embossing, and foil stamping. It’s a lot, but here everything is rooted in a clear concept and executed with precision and sensitivity to the material. The typesetting is heavy and solid, yet balanced with space and rhythm. Variations in layout and excellent photographs – both of the artworks and the creative process – give the book depth and dynamism. The visual and tactile elements work together in a cohesive and carefully crafted publication that not only documents an artistic practice but also conveys it in a sensuous and physical way. A strong and solid monograph that gives Kristian Blystad’s art a dignified and lasting book format.

“In the competition books with exceptionally high quality in design, creative solutions, and choice of materials are awarded. The aim is to inspire the consistent use of design in book publishing and to highlight everyone involved in creating them.”






Photographs above from Årets vakreste bøker: KUNSTDOK / Istvan Virag.



Juryens kommentar
Dette er en bok som med sikker hånd oversetter kunstnerens monumentale formspråk til bokformatet. Den fysiske tilstedeværelsen – tung, grov og detaljrik – speiler Blystads skulpturer på en måte som oppleves som både troverdig og treffende. Produksjonsgrepene er mange: åpen rygg, flerfarget tråd, freste snitt, blindpreg og foliering. Det er mye, men her er alt forankret i en tydelig idé og gjennomført med presisjon og forståelse for materialet. Satsspeilet er tungt og solid, men balansert med luft og rytme. Variasjon i layout og gode fotografier – både av verk og arbeidsprosess – gir boken dynamikk og dybde. Det visuelle og taktile spiller sammen i en helhetlig og gjennomarbeidet bok, som ikke bare dokumenterer et kunstnerskap, men også formidler det sanselig og fysisk. En sterk og solid monografi som gir Kristian Blystads kunst et verdig og varig bokformat.



Photos from the exhibition at Grafill: Halvor Bodin




Karl Erik Harr – Å fange en bølge


Karl Erik Harr has been a beloved and popular visual artist throughout his more than 50-year-long career. With his powerful depictions of Northern Norway, as well as his delicate pen drawings for Knut Hamsun’s novels, he has secured an enduring place in art history.

Art historian Tommy Sørbø writes engagingly and insightfully about Harr’s life and artistic journey—about what it means to be both loved and criticised by the Norwegian art community.

© Orfeus Publishing
Author: Tommy Sørbø

Publishing editor: Inger Schjoldager
Design/repro/scanning: Halvor Bodin

Orfeus Publishing
Harrmuseet

View all projects with Orfeus Publishing here
2024
24,5 x 27 cm
352 pages
ISBN: 978-82-93959-11-3
Livonia Print SIA, 2024, Latvia
Paper: Arctic Matt 150 g/m²
Endpapers: Munken Lynx 150 g/m²
Typography: ABC Arizona
Binding: Balacron Ottawa 9072 (FSC™)
Language: Norwegian

More documentation photos to come







Index Random
pixels
© Halvor Bodin