Monika Zak

Monika Żak (b.1989) is a self-taught photographer and scientist with a special interest in visual perception. She graduated in 2015 from University in Oslo with a Master of Philosophy in Cognitive Neuroscience.

In her latest research, she explored the origins of human colour vision, attempting to investigate whether seeing colours in faces may affect emotion recognition. Through her interdisciplinary work Żak delves into the substance of perception, searching for possible explanations of what determines how we see and what we actually perceive.

Rachel Wolfe

Rachel Wolfe, born 1984 in rural Illinois. Foundational training in dance, vocals, and piano developed into interdisciplinary work in images, installations, drawing, video, fiber, writing, and performance. Wolfe studied formally and practically in several areas including advertising, interior design, sociology, photography, energetic arts, contemporary art, and language. She graduated with a BA in 2006 and MFA in 2015. Her work has been collected and exhibited in the United States, Europe, and Asia.

Water, ice, and rocks are repeated themes in Wolfe's work. Ideas about Place, Subjectivity, and the Irrespirable drive her aestheticised constructions. With literal and material focus on the relationship between Vision and Body, the works mediate sensual experiences on The Nature of Desire, or what moves a Body. Her art making runs parallel to research in the field of Embodied Cognition.

Nina Torp

Through observation, research and interpretation of historical material, Nina Torp examines how our gaze creates and communicates culture and memories. A key issue in her work is how the past exists/takes place in the present time, and how it is communicated and used through history. The starting point for her projects is often a cultural artifact, an art historical subject or a cultural phenomenon. She presents projects in large installations consisting of prints on fibre-board, video, objects, photographic series and wallpaper.

Nina Torp is educated at the Royal College of Art in London, Kent Institute of Art & Design in Maidstone and the Ecole des Beaux-Arts in Toulouse. She has exhibited in galleries and museums in Norway, UK, The Netherlands, Iceland, Japan and Germany. From 2015 until 2018 she is collaborating with archaeologists and scientists at the Museum of Cultural History in Oslo where she examines mechanisms for how cultural history is written.

Lindsay Seers

Lindsay Seers works in London and lives on the Isle of Sheppey. She studied at the Slade School of Fine Art, University College London and at Goldsmiths College, University of London, where she now works as a lecturer on MA Fine Art. Her works are in a number of collections including Tate collection, Arts Council collection, Artangel collection and the collection of MONA, Tasmania. She has won several prestigious grants and awards such as the Sharjah Art Foundation Production Award, UAE; Le Jeu de Paume production award for the Toulouse Festival, France; the Paul Hamlyn Award; the Derek Jarman Award; AHRC Award; a number of Arts Council and British Council Awards in support of her works and she also received the Wingate Scholarship from The British School at Rome 2007/8.

She has shown her large scale works internationally at a number of museums and art centres including SMK (National Gallery of Denmark); Venice Biennale 2015; Hayward Gallery, UK; MONA, Tasmania; Bonniers Konsthall, Sweden; Smart Project Space, Amsterdam; Kiasma, Finland; Turner Contemporary, UK; Tate Triennial, UK, TPW, Canada, Sami Centre for Art; Norway; Centre for Contemporary Art 'Poland and Baltic Centre for Contemporary Art. Recent new commissions include Suffering, Unconformity Festival 2016, Queenstown, Australia; Nowhere Less Now, Glynn Vivian Gallery, Wales 2016; Nowhere Less Now 5, Turner Contemporary UK, 2016.

Jeremy Olson

Jeremy Olson is an American artist working with painting, video, sculpture and photography. These practices are thematically linked by an interest in animist objects and the way images shape desire. His references range from the commercial still-life to science fiction, often utilizing small assemblages or dioramas as points of departure.

Born in Ojai, CA., he attended the University of Arizona as an undergraduate, and received his MFA from New York University. His work has been exhibited in New York as well as Antwerp, Baltimore, Berlin, Melbourne, and Seoul. He has participated in residency programs in Florida, New York, Nebraska, and Michigan.

Milenasong

As a former student of art & sound, it felt only natural for Milenasong to start painting with musical layering. Ten years ago she released her debut album, SEVEN SISTERS on Gudrun Gut's label Monika Enterprise in Germany.

Touring and meeting interesting artists from all corners greatly enriched her perspectives and process and in interviews she liked to say how much she wanted to break open rules in song-making. Motherhood and ill health temporarily rerouted her focus and her steps have been slower since. Since 2011 she has been working on her next album, started in London, with finishing touches added at Bauteil3 in Berlin, she is developing the end-mix herself in Oslo in 2017. It is a work on shadow-walk and transformation, the things that cannot be controlled, yet ultimately will find its resolution/dissolving in time.

Milenasong also works with illustration, currently fine lining for the newspaper Ny Tid and working on experimental audiobooks for Cappelen Damm/Storytel. Her current waves: Allowing things to be what they are, cooperating with given health, talents and the likeminded, for possibilities to take shape.

Gunnlaug Kuløy

Gunnlaug Bina Kuløy uses visual media, audio and sculptural installations to explore the intricate weave of circumstance, coincidence, emotion and decision that define a present situation or a state of mind. In turn this opens up a space to reflect upon interconnectedness in its many forms, and possible future trajectories. Her work evolves around themes as diverse as nostalgia and the immaterial connotations of objects, as well as biodiversity and the extinction of species. It often intersects with the realm of science; negotiating the ground between personal experience, observation and scientific research. Her intense focus on detail often results in the creation of spaces that demand full attentiveness in exchange for a sense of intimacy.

Gunnlaug holds a masters degree in Visual anthropology and has worked in various fields including cinematic production in Cuba, research on visual literacy in developing countries, media in exile and theatre production. The past few years she has divided her time between Oslo and Burma/Myanmar, working on projects related to wild endemic orchid conservation and mangrove forest restoration, resulting in the exhibitions Black Orchid Red Line, Goethe institute, Yangon (2016) and Macro Mangrove, Gallery 65 (2016). Her most recent exhibition Fate Undecided (2017) examined nostalgia in a socio-political context and was held at a site-specific location in Yangon.

Anne Haaning

Anne Haaning's practice revolves around an interest in digital ontology and myth and usually employs CG animation and video installation. She is currently a research fellow with The Norwegian Artistic Research Programme. Her work has been shown internationally in among other venues: The Jerwood Space, London, Whitechapel Gallery, London, Taipei Contemporary Art Center, the Islandic Biennial: Sequences Vll, CPH:DOX, Kurtzfilmtage Winterhur, Nottingham Contemporary, FACT, Liverpool, CCA, Glasgow International and Jeune Creation, Paris. She was shortlisted for the Jerwood/Film and Video Umbrella Awards and won the Solo Prize at the Spring Exhibition at Charlottenborg Kunsthal in 2014.

Through animated, fleeting and disintegrating images Haaning's work seeks to convey the impermanence of matter and identity in a digital context; she considers the digital as something comparably fluid, infectious and viral as the bacteria that literally enters the human body to breed and subsequently migrate from person to person through bodily fluids. This notion of a digital flow is linked to her interest in ancient myth and its often conspicuously fluid perception of the connections between people, creatures, times and places; the spirit is far from bound by the body and its physical circumstances. In Haaning's work myth is employed as a parallel to the conditions that were introduced with the emergence of the digital world.

Looking at the employment, performance and meaning of technology through a mythical perspective, she tries to unmask, or perhaps re-mask, some of the structures the digital imposes on us. She explores and comments on how production and circulation locks us in a loop of unpaid digital labor, violated privacy, continued human de-skilling, post factual manipulation and other potential traits of Digital Colonialism.