Oslo National Academy of the Arts

Kunstakademiets Bachelorutstilling 2019

Ila Pensjonat, Waldemar Thranes Gate 70. 10-19 May.
MATIAS KIIL (b. 1995, Stavanger, Norway) is an Oslo based artist and works with sculpture, installation and text. Kiil has an interest in automated norms and gestures in contemporary culture. With an assemblage approach, he combines everyday objects with traditional materials and techniques. Kiil explores movement and language in the social, the political and the spiritual.



Holding On I, II, III, 2019
Chain (Stainless steel), Plaster, Foundation
Foto: Simon Serigstad

Belief, 2018
Cardboard, Backrest, Steel, Candle, Canvas, Bleach
Foto: Maria Pasenau

Seat, 2018
Chrome (Spray paint), Steel, Plaster

A Sign Of The Times, 2017
UV-print, Glass, Textile, Wood
Foto: Christian Tunge

Clipboard, Paper, Inkjet
Foto: Leonard Mechineu

Foot, 2016
Shoe, Sock, Glass, Basil
Foto: Maria Pasenau



Q: Thyra Dragset
A: Matias Kiil


TD: What’s your thoughts on references in your work and other artists?
MK: Fischli & Weiss - The Way Things Go, 1987



TD: Can you show me a sculpture you find interesting and tell me why?
MK: Bruce Nauman - A cast of the space under my chair (1965-68)

MK: When I discovered this work I was lost in my own process. I had started making furniture as a sort of hobby within my studio time. Although I had a feeling that the furniture could be an interesting starting point for sculpture, I had no idea how to go about it. Being too caught up in the chair itself and the design part of it.
Nauman’s sculpture struck me while flipping through a book. I think what intruiged me was that he’d filled a void I hadn’t really paid much attetion to. At least not since I was a child.
But the most productive discovery I made while staring at the image, was that the chair itself was not important to me. It made me aware of ”The Situation”. The act of sitting- what you’re thinking about or engaging with while doing it. Figure out what motions are in effect, and cram them into it. Pretty obvious, really. However, when you’re stuck you’re stuck. The sculpture could easily pass as minimalism. And I guess that’s what it becomes too in a sense. But it’s not homogenic like most minimalist work, to me it’s theatrical.


TD: What are your plans for the coming year?
MK: https://www.youtube.com/watch?v=NCIUf8eYPqA