Zinc White Lard
Sofie Amalie Andersen, 2020
“The artist Lars Nordby has recently visited several great theaters in Europe. With his camera, he spent the last couple of minutes before the curtain is pulled together with the actors. With these photographs, Nordby portrays the theatre as it looks from the backside. Neither the final sentences learned by heart, the choreographed movements, or the perfect lighting is in focus; the fragility behind the layers of the” Read more


The Prop as a Tool for Recognition
Kjetil Røed, 2019

“Couldn’t we, with Nordby, therefore say that art’s function isn’t about bringing us through to a position where we have come to a worthy recognition of something, but rather that it is a field where we can experience fragments torn from the narrative that we are otherwise so blindly absorbed in?” Read more


Old Laughter and Synonyms for Actors
Hanna Gjelten Hattrem, 2018

“There is a parallel to be drawn with how Nordby formulates his artworks’ relation to the theatre. In Nordby’s ‘staging’ there is an absence of plotline. Instead we are exposed to settings and objects that lead up to the theatrical moment, but that are not what one would expect as the protagonist in the play or the star of the show. There is no question that we are viewing scenes and objects associated with the theatre, but the emphasis is on the moments before or after the performance takes place.” Read more


We Contain Multitudes
Emil Stefanov, 2018

“Lars Nordby repeatedly tackles the issue of identity, utilizing conceptual means through the visual form. In his latest contemplation over the abstract boundaries of where the factual – by definition – frontline of identity begins and where, and if, it ends, the viewer is invited to observe a stage, not unlike in a theater, which is absolved of ending or beginning. The stage props are intended pest control materials, inviting their targeted groups” Read more


The Abstract Frontline of Identity: TO TOLE
Hanna Gjelten Hattrem, 2018

“As such Nordby rejects the inherent claim that interactive art practices are constructed through free collaboration with the audience as participant, and prefers to encourage the viewer to address the fact the ideological structures do dictate social and creative practices. Within this positioning of the viewer, you are furthermore asked to” Read more


Vanishing Identities: On the Deconstructive Aura of Lars Nordby's Conceptual Art
Rossen Roussev, 2018

“His focus on the abstract misfits of identity also dispels primitive topocentric tendencies. The dystopian experience of a denied voice by being re-positioned as Other, which has begun of late to threaten the integrity of our civilization and the global peace, has aroused in him a profound artistic aversion.” Read more


Various texts by Lars Nordby, 2016 - 2019
“In Solakov’s exhibition, there are two neon-lights stating Permafrost and IceCaps, each partially flickering. The neon-lights are signs stressing the global climate crisis with a lambent wit. They are emblematic of the insecure times we are living in, much like how flickering neon-lights in the film-noir genre depicts an apocalyptic mirroring of human desire and destruction.” / / “The metabolism in the exhibition Razkazvachat makes us realize that there is an anti-hero-artist in all of us. When integrating, like a parkour tourist or a deadpan tour-guide, with a person speaking a different language, we are bound to fail in communicating one way or the other. The real question is how to cope with that communication breakdown and potential xenophobic and symptomatic self-defense mechanisms in that collision, either spontaneously or not.” / / “Let’s take a bellyflop dive into an epic metabolic rift, where life, death, and everything in-between unfolds…”