Developed with Gereon Krebber and Fellesverkstedet


Gereon Krebber, Working on 'Zirbel', A4 drawing


Thingness is a key term for thinking about Gereon Krebber’s practice, which references the long tradition of Western and modern sculpture while distorting and perverting it. Deploying a mixture of readily accessible and often completely unconventional materials – for example, porridge oats or mayonnaise – Krebber develops objects that are often both monumental and ephemeral. They frequently relate to their locations in unruly ways: blocking entrances, sprawling over floors, walls and ceilings, and disrespecting boundaries between interiors and exteriors. They are encouraged to morph, distort or disintegrate. Language also features in Krebber’s repertoire of media, becoming another kind of substance available for manipulation, distortion and proliferation. Conventional assumptions about public art and culture (for example that it should be permanent, ‘valuable’, or ‘compliant’ or “complementary’ to its location) are placed in question.

PRAKSIS's eleventh residency, Monumental-Temporal will involve a period of intensive, hands-on three-dimensional construction using a variety of substances, alongside discussion of public art and the expanded field of sculpture. Participants will be able to develop their own work whilst supporting other participants’ constructions, helping brainstorm and resolve technical and formal problems and enacting solutions. Applications are invited from cultural practitioners with an appetite for co-operative making and the lively exchange of ideas, and an interest in one or more of the following topics: monumentality and ephemerality, improvisation and scale; the protocols of sculpture, art and cultural manifestations in the public realm.

The residency will culminate in an exhibition on 11 September at Fellesverkstedet, Urtegata 11, 0187 Oslo.


Sculptor Gereon Krebber studied at the Kunstakademie Düsseldorf and the Royal College of Art, London, and has exhibited extensively since the early 2000s. His work has featured in solo and group shows in Los Angeles, New York, Berlin, Cologne, Dusseldorf, London and elsewhere, and he has received commissions to develop public work in Bonn, Bochum and Viersen (DE). Awards received include the UK’s Jerwood Sculpture Prize (2003) and the Wilhelm-Lehmbruck-Stipendium (Duisburg, 2009). His working processes probe questions about sculpture as a discipline in relation to site, time, language, communication and the body, and extend across a highly experimental range of media, including writing and speech: for example, via the Laberflash, a new form of performance that he has developed, in which participants’ bodies, voices and thinking processes become unexpected new media for sculptural experimentation.


Fellesverkstedet is a not for profit organisation providing open access production facilities and knowledge in the centre of Oslo.




Getting to know each other and the spaces on day 1.

Meet the residents - introducing practices.

Visits to the Norwegian Sculpture Society, the Vigeland Museum and a tour of galleries in Oslo with residents from PRAKSIS’s tenth residency, The Collective Subject of History.

Planning and collecting materials from the waste management centre.

Working hard - just three weeks to make a monumental exhibition!

The Monumental—Temporal exhibition.

Post opening critiques.

The exhibition comes down and goes back to the waste management centre.

With gratitude to The Goethe Institute for their support of the residency events and the Oslo Agency for Waste and Recycling for supplying the group with large amounts of waste. The recycled matter is being treated as materials, moulded onto large monumental sculptures before dismantled and returned to the circular economy.


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