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  Bjørg Lødøen - Biography by Ole Petter Bjerkek  

LØDØEN, Bjørg (7 December 1931- 5 March 2009) , painter, graphic artist, pictorial musician and composer. Born on December 7th 1931 in Oslo. Parents:  Chief Surgeon Olav Arnold Lødøen, MD (1907-1994) and Borghild Høyem Dybvik (1909-2002). Married to electronic painter and movie director Rolf Aamot (born on September 28th 1934) in 1960. Mr. Aamot’s parents were construction chief Randulf Andreas Aamot (1895-1981) and seamstress Petra Marie Aspevik (1904-1994).

Bjørg Lødøen has since the Sixties been considered a pioneer in the field of sound composition in conjunction with pictorial arts. This represented a break with the western musical tradition, but was inspired by faith in a modernistic and new international era. The innovative development based itself on the complex use of the elements from earlier traditional art styles. The result was an auditive art form in itself, where the colours’ harmonic counterparts were the main focus. Many of her compositions are collaborations with the art of Rolf Aamot. Only after 2000 was auditive art available as a subject at the School of Fine Art in Oslo through the Faculty of Visual Arts.

Bjørg Lødøen graduated from Latin School in 1951. That very year she began her artistic education at the National School of Crafts and Fine Arts, tutored by Finn Faaborg and Thorbjørn Lie-Jørgensen (years of tuition 1951-1954). Having completed the National School for Arts Teachers at Notodden, she went on to study at the National Academy of Fine Arts under Professor Alexander Schultz 1957-1960. Through his work with shapes and fabrics he inspired her to develop her own extraordinary talent for colours.

After only one year, she made her debut in 1961 with a separate exhibition at the Artists’ Assembly in Oslo. This exhibition reflected the meeting of strong impulses and impressions from her extensive study travels in Europe. Her own personal universe of colours came to the fore through the use of watercolours, pastels and inks. Her exhibition immediately prompted several other Norwegian artists to pave the way for colours as a means of expression in and by themselves.

Her next big exhibition at Oslo Art Association (1966) focused on non-figurative colour paintings. Lødøen’s great talent with colours was clearly expressed through a great range of colours, where her renderings changed from pastose point paintings to a lacerated drip-flow technique.

Inspired by the modern-day development of computer technology in conjunction with various art styles, Rolf Aamot’s “Evolution” was finally presented in 1966, where Lødøen collaborated and Arne Nordheim composed the score to the musical imagery. It wasn’t to be televised on NRK (the national broadcasting network) until the following year (28.05.67), when it was hailed as an international milestone of a new art form. This marked the first use of television as an independent presenter of pictorial art.

The Aamot-Lødøen collaboration, initiated during their education, went on to produce several new works for television and cinema. Their films were aired at numerous international film festivals and art biennials. Lødøen’s art, particularly painting, shapes the invisible energies of existence, with formats ranging from the intimate to the monumental.

Lødøen’s separate exhibition “Permanenten” in the House of Artists (1973) conjured an intense, vibrating silence of colours. In 1976, three years later, she once again held an exhibition, “Electronic painting communication”, in the House of Artists, this time in a fanlight hall and in collaboration with Rolf Aamot.  The paintings represented abstract colour-symphonic motifs in large and well-composed formats with a harmonic clarity.

Displayed at two separate exhibitions (Bergen Art Association 1994, Henie-Onstad Art Centre 1995, was another collaborative piece, “Korsvegen”, the result of Lødøen’s joint work with Aamot’s body lacerate painting technique. The painting currently resides with Henie-Onstad. In 1999 Bjørg Lødøen put on a large-format painting exhibition in Oslo City Council Gallery, which filled the entire ground floor facing the harbour. With this exhibition Lødøen showcased her monumental mastery of colours.

After many years of experience developing an experimental and innovative style, Bjørg Lødøen turned a new leaf in 1999. She has now turned from the simplification of abstractions towards an increasingly dynamic element, where the monumentality of space and surfaces is counterpointed by an increasingly profound concentration on intimate stillness.

Ole Petter Bjerkek, Art Historian



 Museums and collections:

Bjørg Lødøen is represented in the Henie-Onstad Art Centre (“Korsvegen”), The Norwegian Bank, Oslo Concert Hall, Otto Nes’ art collection, Ole Henrik Moe’s art collection, Bergen Municipality and has been purchased by the Norwegian Council for Culture.



Lødøen has participated in a series of international biennals and festivals, e.g. paintings to the Nordic Youth Biennal in Charlottenborg, Copenhagen (1966), auditory art to Rolf Aamot’s auditory imagery pieces (Sixieme Biennale de Paris, Musee d’Art Moderne de la ville de Paris 1969), “Vision” to La Biennale di Venezia (1970), “Vision” to the main scene of the Berlin Film Festival (1971), “Visuelt” to Art/Video Confrontation 74 (Musee d’Art Moderne de la ville de Paris 1974), “Visuelt” to Palais de Beaux Arts de Bruxelles (1975), Louisiana (auditory film) to the Museum of Modern Art in Denmark (1980), “Actio” to the H.C. Andersen Film Festival in Denmark (1980), “Actio” to the Norwegian Film Festival (1980), “Nordlys” to the Norwegian Short Film Festival (1991), contributions to the Video Art Festival at Henie-Onstad Art Centre in 1993 and 1994, and paintings to ART ’96 in New York, US (1995).



Separate exhibitions: The Artists’ Assembly in Oslo (1961), Oslo Art Association (1966), House of Artists (Permanenten, Oslo, 1973), Porsgrunn Art Association (1973, and in collaboration with Rolf Aamot in 1976), Oslo City Council Gallery, 1999), Kongsvinger Art Association (1999), Anders Svor Museum (2000).

Auditory art for television and cinema: “Kinetisk Energi” (1967-68), “Vision” (1969), “Strukturer” (1970), “Visuelt” (1971), “Progress” (1977), “Actio” (1980), “Puls” (1986), “Nordlys” (1991), “Energy” (2003). These have been televised by the Norwegian Broadcasting Network NRK and/or been shown separately at cinemas and international festivals and biennals. The auditory imagery drama “Medusa – hun som ser” by Bjørg Lødøen and Rolf Aamot (also directed by Rolf Aamot and acted by Bjørg Lødøen) was televised on NRK in 1986. Online exhibitions: and . Email:



Member of Norwegian Pictorial Artists and the National Federation of Norwegian Painters.


Sources and literature:

A.M. Klausen: “Kunstsosiologi”, 1977; G. Alfsen: biography in “NKL”, second volume, 1983; “Allgemeines Kunstner-Lexikon” (Munchen-Leipzig) – Rolf Aamot, 1992; “Dagbladet” (17.11.61) illustration; ”Nationen” (18.11.61) illustration; R. Revold in “Aftenposten” (24.11.61); Ø. Parmann in “Morgenbladet” (04.12.61), “Stiftstidende” (06.01.62); ”Morgenbladet” (03.02.66) illustration; Ø. Parmann in ”Morgenbladet” (15.02.66); E.H. Johnsrud in ”Aftenposten” (16.02.66); O. Mæhle in ”Dagbladet” (February 1966); H. Røed in ”Arbeiderbladet” (01.12.73); D. Hofseth in ”Morgenbladet” (08.12.73); ”Kunst og Kultur” (1974, p. 124; 1976, p. 181); ”Kat. K. Hus” (January-February 1976); K. Norvin in ”Morgenbladet” (23.01.76); E.O. Dæhlin in ”Arbeiderbladet” (29.01.76); E.H. Johnsrud in ”Aftenposten” (29.01.76) illustration; A. Breivik in ”VG” (09.02.76); E.H. Johnsrud in ”Aftenposten” (02.09.86, early review, and 03.09.86); “Programbladet” (nr. 19, 1987); B. Calmeyer in ”Arbeiderbladet” (23.07.87); ”Dagbladet” (23.07.87); ”Bergens Tidende” (17.11.94).