Vika Adutova's artistic practice is rooted in the research of language and perception. Vika uses video, sound, drawing, and sculpture, working primarily with the subject of the affect of time on human and non-human life, and language as the tool of description. Born in Tashkent and previously based in New York, Adutova is currently living and studying in Oslo, and is an MFA candidate from the Oslo National Academy of the Arts due to graduate in 2018.
Isfrid Angard Siljehaug graduated from the Gerrit Rietveld Academy in 2010 and from Mater Artistic Research at the Royal Academy in the Hauge in 2012. Through her work she researches art history looking for images that reoccur through the ages, which could offer clues to perspectives important for the future. She explores the integration of art and artistic thought in daily life — especially through historic cultural developments and often using textile and text. Angard Siljehaug's work can be described as an interlacing of text and textile where she stitches, prints and draws images and words on textiles or draws directly on the wall. Working with textile as curtains, wall-hangings, carpets, tent and clothes, her work reside in the space between the surface of the body and the interior of our dwellings. Her practice includes performance, workshops and collaborations with various artists, architects and designers. Isfrid has exhibited her work in Czech Republic, Switzerland, Sweden, Germany, Austria and the Netherlands including 'Shifting Spaces' at the W139 Amsterdam (2016) and 'A Supernova' at the Hortus of VU Amsterdam (2015).
Working collectivly Belić, Westerlund and Müller work with structures of relationships and varying forms of acts of imitation. They develop performative works through a process of learning from internet sources.
Maria Gordana Belić received her BA in Fine Arts from Oslo National Academy of the Arts, Norway and her MA degree in Fine Arts from Valand Academy of Gothenburg, Sweden. Her practice uses inter-biographical stories, meetings or events which become magnetic mantras, where companions, nervous technique or collaborations modify the narrative. Things are repeated, looped and multiplied through various formats. She is fascinated by structures around support and what it means to struggle with personal problems in pubic.
Per Westerlund works with animation depicting sensational bliss using Windows Paint. While the angular shapes of the medium resist painterliness he uses the movement of the images and coloring to create impassioned effects. Recurring motives include naked skin, wind and sun light, and images sometimes paraphrase stereotypes from the romantic era. The rhythmic feature of the animations has recently led him to work with music videos. He graduated from Oslo Academy of Fine Art in 2013.
Daniela Müller studied Media Arts at the Zurich University of the Arts and Fine Arts at the Academy of the Arts in Oslo, Norway, completing her MA in Fine Arts at the Zurich University of the Arts in 2013. From 2012-15 she curated the ad-hoc gallery “One Night Only Zurich”. Müller's practice employs acts of appropriation to examine the purposeful conditions of language. She copies, loops and recontextualises mundane material, such as commercial signs, leaked pictures, spam mails and prophecies, leading toe moving images, installations and collaborations.
Tone Bjerkaas, born in 1987, lives and works in Oslo and her birthplace Tromsø. Bjerkaas' works with clothing and textile based craft to explore the fields of fashion, art and political activism.
Bjerkaas is currently situated at VORTA atelier in Middelalderparken, where she is a member of EUFORISK the collective for experimental club culture, as well as working as designer for the art & public space project Detroit Kunsthalle. Last year she received a grant from SNN-stiftelsen to launch her first un-gendered clothing collection. Bjerkaas holds a BFA from Gerrit Rietveld Academie (2015) and is a MA candidate at the Oslo National Academy of the Arts due to graduate in 2020.
Emma Bäcklund is a Swedish multi-disciplinary artist based in Berlin and London. Working with photography, performance, sculpture and writing she explores the body, its boundaries and consequences of its environment. She investigates social systems, power relations and cognitive impact on the physical body. While questioning preexisting structures, habit and gesture she strives to invent unexplored patterns of form, movement and thinking processes. The physical relationship is essential in her process of making and the photograph as a performative document explore elements of gesture. There are slippages between image, object and subject.
Emma received her MA in Photography from the Royal College of Art (2017) and her BA in Photography from London College of Communication, University of the Arts London (2015). Her upcoming solo exhibition Clench in Leeds (10 - 17 Oct ) explore contradictions in meaning between materials in relation to body, mimicry and power relations.
Edwin Cabascango (Ecuador / Norway) - professional dancers based in Oslo. He started dancing in Quito, Ecuador at the contemporary dance school Frente De Danza Independiente (FDI) dance school and Metrodanza dance school, Ballet Nacional del Ecuador (BNE), as well as with different ensembles practicing modern and contemporary dance. Later he continued his dance studies at The Norwegian College of Dance (NDH) and also studied performing arts and movement at The University College of Eurythmy in Oslo. After finishing his education, Cabascango performed in Gullhanen with the Sean Curran dance company in the Bergen National Opera. He has attended workshops by Tom Weksler, Linda Kapetanea and Jozef Frucek, Ultima Vez, Sidi Larbi Cherakoi, Cullberg Ballet, Physical Momentum Project, Martin Kilvady, Akram Khan and others. He has worked with artists including Terry Araujo, Eddie Borgues Lopez, Ingrid Midgard Fiksdal, Marianne Kjærsund, Monica Emilie Herstad and Sean Curran among others. In 2014 he choreographed and performed Green Tea in both Oslo and Trondheim. The same year he started developing his Texture and movement system, which he has presented at Contemporary Dance Workshop at The National M.K. Ciurlionis School of Art, Vilnius Contact Improvisation Festival (Lithuania) and Oslo Kontakt Impro. He has been practicing different somatic movements and martial arts since 2004.
Laura Cooper (b. 1983) is a British artist living and working between the UK and New York City, US. Group exhibitions include Play, Game, Place, State, Collyer Bristow Gallery London UK, Voice and The Lens, IKON Gallery Birmingham  touring to Rich Mix Cinema London . VideoGud program Stockholm Sweden  Eyes As Sieves, Global Committee Space Brooklyn NY. Solo exhibitions include Nomadic Glow, Centro ADM Mexico City Soft Revolutions, Space In Between Gallery London . Residencies include Shrewsbury International School Bangkok with the British Arts Council Thailand [2008-9], SAP Seoksu Market International residency in Anyang City, South Korea , IPark in CT, USA . She was awarded the Franklin Furnace Fund for Performance [2012/13] and an International Artist Development Fund by the Arts Council England for her project at LAN 360 Degrees Biennale, Mongolia . Cooper currently co-directs Global Committee in Brooklyn NY. She received her MFA in Fine Art Media at The Slade School of Fine Art London  and BFA from Glasgow School of Art .
Juan Covelli is an artist living and working in London. His work has focused on new materialities generated by the digital era; in particular, on the dynamics and approaches of the physical within the digital world. In the last few years, he has been exploring the relationship between technology, heritage, archaeology and digital colonialism. In his execution, he employs photography, video, 3D printing, coding, and data streaming, where data manipulation of the image is used to produce installations, as well as web-based works. Recent shows include: How to dust the surface (2018) Warrington Museum & Art Gallery, Warrington, UK; Life 2.0 The wrong Biennale (2017) Online; Neixcuitilamatl (2017) ADM Galería, México City, México; Connecting Columns (2017) Kochi-Muziris Biennale, Kochi, India; Moscow International Biennale for Young Art (2016) Moscow, Russia.
Devoted to a critical media performance project entitled Black Hydra's Discharge Springs Forth Errantly From Her Many Mouths, emerging multimedia artist and producer Brandon Covington Sam-Sumana works to interrogate matters related to transience, narrative structure, and system metabolism. Their interrogations have spawned music projects, objects of generative design, forays into speculative finance, video, and visual art. Brandon was born in Fayetteville, North Carolina.
Marte H S Dahl (b. 1989, NO) is an artist based in Oslo. She holds a BFA from the Academy of Fine Art, Oslo (2018). Her works revolve around themes such as the body, movement, material, feminism, honesty and desperation, mostly taking the form of live performance and video. In working intuitively in front of the camera in a clean space, with a few rules or props, she creates a space in the meeting between the object, space, movement and body, allowing anything to happen. She explores how one can be drawn to one’s aversions, using her own as inspiration when working with projects. She has exhibited at Sommerøya Music Festival, Rom for Kunst og Arkitektur, Galleri Ramfjord and Akademirommet.
Image 1: uten tittel, 2018, Video installation, during graduation show “Neste Næste Nästa”, Kunsthøgskolen i Oslo. (photo: Istvan Virag)
Image 2: Still from video, uten tittel, 2018
Image 3: Still from video documentation of performance "Recital No. 1", 2017 (photo: Mari Storm-Gran)
Esra Duzen (1983) is originally from Istanbul, Turkey and lives in Oslo. After more than a decade of working in the insurance sector in Istanbul and London, she decided to study art and moved to Oslo to dedicate herself to becoming an artist full time. She currently studies Fine Arts at The Oslo National Academy of Art (KHIO). Esra's passion in art comes from her strong belief in people and change. She incorporates themes of enlightenment and rebellion against oppression of all forms in her art. Her practice involves installation, painting and drawing. She is currently expanding her work to include digital and analogue animation.
Rina Eide Løvaasen’s (Porsgrunn, 1988) work combines astrology, mythology, archaeology, occult
biology, pop culture and science fiction to predict the future by resuscitating the past and
allegorically point to the mistakes we made to cause the anthropocene. Løvaasen received her MFA from the Malmö Art Academy in 2015 and is based in Malmö and Kragerø. The following year she received the Ellen Trotzig fund from Malmö Art Museum and Malmö Stad. In 2017 she had a
solo show at Galleri CC, Malmö, and was most recently represented at Brusfabrikken, Kragerø.
Previous solos exhibitions include: KHM, Malmö; Galleri Blunk, Trondheim, and artmade gallery,
Copenhagen. Two person shows include: ArtSafari, Bucharest and Makeriet, Malmö. Her work has also been shown at venues including: the Malmö Art Museum, Prague Quadrennial, and Liljevalchs Art Hall, Stockholm.
Vibeke Frost Andersen recently graduated from The National Academy of The Arts in Oslo with a MFA in Art and Public Space. She also holds a BA(Hons) in Graphic Communication from University of Wales Institute Cardiff, a Norwegian post-graduate diploma in education and has completed university courses in art history, sculpture and photography in Norway and the UK. Frost Andersen has run a local design practice for several years, and has participated in art projects and - exhibitions both locally, nationally and internationally. She lectures on a variety of art-related topics, and has developed syllabi and administered new educational opportunities within the arts in Norway.
How does places acquire meaning? What is it that gives us a sense of belonging? Through her practice, Frost Andersen seeks to respond to these questions through an investigation of edge lands, voids and forgotten space. Considering economic, social and political structures governing the appearance and perception of landscape, both physical and mental, her research projects asks if it is possible to see, represent and understand some of the larger forces shaping our time. Frost Andersen works mainly in the media of photography, installation and social interference. By engaging with a site and people connected to it, the work evolves along a path of enquiry and possible outcomes. The works are executed in a mix of low key materials and digital technology, alternating mediums by how they are related to the underlying idea and how it sits in the public sphere. By which medium is information about a specific topic usually mediated an accessed? What are the common ways of representing a specific theme, and what are the potentialities and limitations of those technologies and techniques? By working with material in this way, Frost Andersen explores the possibility of generating other perspectives with a new local public. The works follow each other, with discoveries made in one project forming the basis for the next. In this way Frost Andersens practice connects to the overarching problem influencing most of her work: That late capitalism brings with it a sense of totalisation implacably at work everywhere, and that our lives are ruled by abstractions of such immense vastness, invisibility and complexity that they can only be understood parts at a time - if at all.
Eva Funk is an Austrian artist and writer based in Berlin. She was educated at the Berlin University of the Arts and The Royal Danish Academy of Fine Arts. Her recent practice makes use of repetitive motifs across different contexts, building up large scale installations with performative interventions in the investigation of relationships between objects, language and spirit often in relation to notions of failure.
Funk works with physical bodies (of people and objects), as well as writing. She has self-published artist writings under rotato press, and is interested in the book as an alternative to the exhibition. Funk has exhibited and performed in Austria, Germany, Denmark, Switzerland, Iceland and Canada.
Rodrigo Ghattas (b.1989) is a Peruvian-Palestinian artist and cultural producer. His practice travels between a range of different media; site-responsive installations, social sculpture, creative writing, daily performativity and art intervention. Artistic concerns involve perception of public space and connections between temporality and social discovery, new visions of the unfamiliar within everyday settings.
He holds a BFA in Sculpture from PUCP (Peru) and is a current MFA Art and Public Space candidate at Kunsthøgskolen i Oslo, Norway. Ghattas is the founder and director of Machaqmara Center for the Arts (MQA) which he has been running since 2014. Additionally he has been working as OSLO PILOT artistic collaborator since 2016 . His work has been exhibited in Thailand, Peru, USA, Norway, China and Italy.
Tiril Guttorm lives in Oslo. Having graduated from the Norwegian School of Photography in Trondheim (2013), she now studies Film Arts at Oslo and Akershus University College of Applied Sciences. Through her work Guttorm explores personal family relations using digital photography; most of her family and relatives live in the area surrounding Karasjok in north of Norway. She is currently expanding her work to include moving image as well as still photography.
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.
Ina Hagen (b.1989, NO) is an artist and writer based in Oslo. She holds a BFA from the National Academy of Art, Oslo (2014). Her work constantly shifts the roles of artist, curator, assistant and collaborator in dealing with the mediation of art as artistic practice. Hagen has exhibited at: INCA, Seattle (Solo); Tidens Krav, Oslo; Kunsthall Charlottenborg, Copenhagen; Podium, Oslo; Kurant Visningsrom, Tromsø; Quartier 21, Museums Quartier, Vienna, among others. She was awarded a one year studio grant at Kunstnernes Hus, Oslo in 2015, as well as being artist-in-residence at BAR Project, Barcelona from March to May, 2017. Currently she writes for the Scandinavian online art journal kunstkritikk.no, and is vice-president of the board of UKS (Young Artist’s Society). Since July 2016, Hagen has been running the not-for-profit space Louise Dany together with artist Daisuke Kosugi from their home, studio and adjacent store-front.
Ina Hagen, Round Robin Reveries: Gathering for the Other Magic Fountain, Barcelona (2017), Montjuïc, Barcelona. Photo: Christina Inocencio.
Apichaya Wanthiang, Ban # 1 Practice Models (2016). Two day workshop at Louise Dany, Oslo. As part of the group exhibition Roaming curated by UKS (The Young Artist’s Association). Photo: Margit Selsjord.
Sondra Perry, Resident Evil Seminar, 2016. Seminar at Louise Dany, Oslo. Image courtesy of the artist and Louise Dany, Oslo.
Johnny Herbert studied music composition in U.K and Germany before studying art in Norway. He is co-founding editor of Grafters’ Quarterly, a free newspaper publication series. Johnny also works as a writer and copyeditor. He is presently a PhD candidate on the Curatorial/Knowledge research programme within the Department of Visual Cultures at Goldsmiths College, London.
Jasmine Hinks (1989) is a British curator and writer based in Stockholm, where she is currently completing her MA in Curating Art at Stockholm University. Hinks’ practice investigates the relations between artwork, context and audience. Through interdisciplinary collaboration, her projects unpack and re-think curatorial approaches, with a specific interest in spatial and textual framing. Ongoing research focuses on the affordances of public space – and the public sphere – within the expanded art field and in a broader social context.
In 2016, Hinks presented the curatorial project Codified Environments: Renderings of Public Space at Färgfabriken, Stockholm. The exhibition featured works by filmmaker Lucia Pagano and artist Johanna Gustafsson Fürst, and constructed an extended platform for dialogue around notions of public and private. Her curatorial approach has grown out of her experience working alongside artists in self-organised platforms in her native Scotland.
Bianca Hisse (b. 1994) is a Brazilian artist based in Tromsø, Norway. Her practice traverses performance and visual arts, exploring dislocations within social systems, collaborative circuits or interdependent arrangements, and often looking on how relational structures can be affected, sustained or destroyed by its own dynamics.
Hisse has presented work at Centro Cultural São Paulo; OC Oswald de Andrade; Casa Líquida (São Paulo, Brasil); Kulta Scenekunsthus; Galleri Snerk (Tromsø, Norway); Frystiklefinn Theater, Iceland; and others. Bianca holds a BA in Body Arts from the Pontifical Catholic University of São Paulo and is currently taking her MA in Contemporary Art at Kunstakademiet i Tromsø.
Karoline Hjorth (b. 1980) is a Norwegian photographer, artist and writer with a journalism and tall-ship sailing background. She completed her BA Photographic Arts and MA International Journalism from the University of Westminster (London) in 2009. Hjorth's artistic practice explores the space between staged photography, documentary and text. Her photographic work has received the Deloitte Award at the National Portrait Gallery (London) and her first book Mormormonologene (Eng. The Mormor Monologues) was published in 2011 (Forlaget Press). She is currently working on three books to be published in 2017; Eyes as Big as Plates (with Riitta Ikonen (FI)), Billett Merket (Eng. Personals, Forlaget Press) and Time is a ship that never casts anchor (Hjorth / Ikonen / Mesén). Her recent works have been exhibited at NADA Miami, Pioneer Works (NYC), Fotogalleriet (Oslo), Greenland National Museum, Norwegian National Museum (DKS) and Museum of Contemporary Art Kiasma (Helsinki), amongst others.
Tze Yeung Ho is a Norwegian-Canadian composer of Cantonese descent. Despite being a native of Oslo, Norway, he spent most of his formative years in Toronto, Canada. His music is regularly performed in Toronto and Oslo venues such as the Faculty of Music at the University of Toronto, Gallery 345, Hart House, Kunstnernes hus, Kulturhuset, Levinsalen and Array Space and has also been recorded by the Blue Bridge Festival Orchestra in Sutton, Ontario and the ACCO Academy in Lithuania. He is a member of the Norwegian Society of Composers (Norsk Komponistforening), a board member in NyMusikk composers' group and an associate of the Hong Kong Composers' Guild. Tze Yeung was also one of the seven young composers to represent Norway in the UNM (Ung Nordisk Musikk) festival of 2015 held in Helsinki, Finland, where his saxophone concerto ingest thrice, as prescribed; received its premiere by the Avanti! Chamber Orchestra. The same work is currently highlighted in the Norwegian Society of Composer's jubilee orchestral catalogue. Recent events include his participation in the Druskomanija festival (Vilnius, Lithuania) and the founding of the Oslo-based new music ensemble: +47. Tze Yeung has also worked with German recorder virtuoso, Caroline Hausen, on an electroacoustic project, funded by the Culture Council (Kulturrådet) of Norway. "The juxtaposition of the grotesque and the ethereal," "brutal," and "visceral and gritty" are among some descriptions for Tze Yeung's repertoire. He has a keen interest in developing different forms of intra- and inter-personal symbolisms in his compositions.
Using sculpture, installation, and performance, Maria Jonsson's practice investigates ways in which art can create social spaces. Different strategies and methods help facilitate processes that are both artistic and interpersonal. Her art is either based on, or inspired by human relations and there social context. Jonsson is born in Colombia, raised in Sweden, and currently based between Bergen and Oslo. She holds an MFA from the KMD, Faculty of Fine Art, Music and Design 2016.
Ayesha Jordan is a multidisciplinary performance artist who often uses characters and stories to create indelible moments for cerebral and visceral experiences. Jordan’s characters each represent a facet of herself and act as a tool to playfully disguise herself and to uniquely connect with guests. Much of Jordan's work is about audience engagement, bringing participants as close to the work as possible – creating moments, tasks, and prompts allowing the opportunity to engage with the performer, as well as with fellow audience members.
Some of her previous performance events include Shasta Geaux Pop, Come See My Double D's, Enter & Exit: Playing House, Enter & Exit: Family Reunion, Inter 1-to-1, and In the Tube. Other works include video projects Living Room Dance Breaks, Drunk & Famous, as well as a host of other songs and videos. Jordan has been seen as an actor in the Broadway production of Eclipsed by Danai Gurira and directed by Liesl Tommy, Home by Geoff Sobelle, Failure Sandwich and Ludic Proxy, by Aya Ogawa, Platonov: Or the Disinherited by Jay Scheib, and Stairway to Stardom and Harold I Hate You by Cakeface. She has also been featured in video work and photography by visual artist Carrie Mae Weems.
Clara J:son Borg (1986) is an artist from Sweden, based in Rotterdam (NL). She graduated in 2016 from The Piet Zwart Institute, Rotterdam, with an MA in Fine Art. The attention of her works and research is directed towards staged situations where verbal language and bodily movement find themselves interacting. By setting up and enacting these staged situations (mainly executed through video and performance) her aim is to provoke moments where verbal and physical communications methods fit loosely to one another. She understands this looseness as a way of storytelling, but also as an invitation to observe different elements of interpersonal relationships, social choreographies, knowledge hierarchies and bodily relation to physical space and images.
Maren Dagny Juell is an Oslo based artist working with moving image and installation. Her subjects are alienated, filled with doubt and with a yearning for control and personal development. Maren is interested in the borders of subjectivity and individual autonomy. This is approached with narrative text often collected from online forums and tutorials. The works seeks to embody an investigation into the reality of appearances, surfaces and definition of visual space aided by technology.
Maren studied in London and has an MA from Chelsea College of Art. Recently exhibitions has been at Stavanger Art Museum and Papay Gyro Nights (Orkney and Hong Kong) amongst others. She won an award for video at BEERS contemporary (London) in 2013 and was included in Lights On Norwegian Contemporary Art at the Astrup Fearnely Museum in Oslo in 2008.
Kjetil Detroit Kristensen (b.1981) is an artist based in Oslo, Norway. He is currently occupied with his ongoing contemporary post-studio practice, interest for self-initiated venues, performative strategies, site (and situation) specific projects, pseudonyms, monochromes and polar bears. And also a belief that public art and democracy somewhat are the same, since the one thing cannot function without the other.
Kristensen is founder of the artist-run laboratory for art & public space Detroit Kunsthalle and co-founder of the organisation and collective September Split. He co-founded the collaborative curatorial platform and professional skateboard-art-team Contemporary Cruise Crew as well as the artist-run studio space VORTA at Lokomotivverkstedet in Middelalderparken, Oslo.
Kristensen holds a BA from the Tromsø Academy of Contemporary Art (2011) and a MFA from the Oslo National Academy of the Arts (2018). He has exhibited at Nebbelux, Fredrikstad; Gallery SØ, Copenhagen; Trinosophes, Detroit; Studio17, Stavanger; space 4235, Genova; The NY Art Book Fair, New York; MOCA - Museum of Contemporary Art, Haikou; Rogaland Kunstsenter, Stavanger; Tromsø Kunstforening, Tromsø; Akademirommet - Kunstnernes Hus, Oslo; Kurant Visningsrom, Tromsø; Occupy Landscape, Stavanger; Dronning Sonja KunstStall at The Royal Palace, Oslo and Festspillene i Nord-Norge, Harstad among others.
Photographs by (from left to right) Miguel Lope, Thor Brødreskift, Zane Cerpina
Kirsty Kross holds a Bachelors Degree in Art History from the University of Queensland and a Masters of Art in Context from the Berlin University of the Arts. Her work has been featured in Bedfellows at Tate Modern London, The Partisan Cafe at The Bergen Assembly, Østlandsutstillingen, ONO and PINK CUBE in Oslo as well as in Berlin at Parkhaus Projekts, Galerie Crystal Ball and Galerie Walden. From 2000-2010 Kirsty Kross was a co-creator and performer in the music/performance group, Team Plastique and performed extensively across Europe and Australia at clubs and events such as Glastonbury, Kunstsalon Berlin and the closing party of the 2006 Berlin Biennale. Kirsty Kross’ work combines performance, drawing, music and installation and deals with thehuman condition questioning appropriate adult behaviour and the relationship between the artist, artwork and audience. Her recent work deals with the attention economy, global economic and social changes as well as impending ecological doom. Kirsty Kross moved to Oslo in 2015 and is a board member of Performance Art Oslo.
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.
Mathew Lacosse (b. 1990, CA) is an artist and organiser whose work reevaluates and embellishes both architectural and natural space—its components, histories, and potentials. He holds a BFA (Hons) from the University of Manitoba (2018) and is currently living in Oslo. Lacosse has exhibited at Gallery 623 (Solo, Winnipeg), Platform Centre for Photographic and Digital Arts (Winnipeg), and curated exhibitions at the Winnipeg Architecture Foundation, GoSA, Nuit Blanche Winnipeg, and others. His writing has appeared in SCAN Journal and rip/torn magazine.
Image 1. Between Two Bridges, Wild Grass, 2016
Image 2. Separation, Reclaimed Spruce and Fir, 2017
Image 3. SOFA Students Association, Spectator / Boundary Net, Exhibition for Nuit Blanche in Winnipeg, Canada. 2017
You wear, you watch the wearer, and you watch the wearer being watched.
- Auli Laitinen
Auli Laitinen is a jewellery artist based in Stockholm, Sweden. She is interested in contexts involving collaborative thinking and ideas including maker, wearer and viewer. Laitinen uses text, textile, and ready-mades to explore contemporary adornment. She sees jewellery as an active art form, whereby willing exhibitors carry signs of the makers ideas. Ideally, the wearer is engaged with the concept and aesthetics, and encourages conversation around what they wear.
Laitinen's work has been exhibited nationally and internationally since her graduation in 2000. She has received numerous grants and is represented at the National Museum in Stockholm and the Röhss Museum in Gothenburg, Sweden. She occasionally. teaches.
Matt Lambert's work pushes the preconceptions and possibilities of jewelry and adornment as traditionally understood. Adornment has the ability to blur the fields of design, craft, fashion, and art—and through inhabiting queer and/or liminal spaces adornment has great strength. Lambert believes that this aspect has yet to be fully explored as a terroristic act towards Westernized institutions.
Based in Detroit, Lambert holds an MFA in metalsmithing from Cranbrook Academy of Art with addition to specific university training in craft skills, such as metalsmithing, ceramic, and fiber. Through apprenticeships Lambert has also studied semi-antique rug restoration and leather working. Lambert holds academic training in art history, psychology/human sexuality, and cultural studies from Wayne State University in Detroit MI.
Lambert's work has been collected internationally and shown at venues including: Swedish Center for Architecture and Design (Stockholm, Sweden); Kunstnerforbundet (Oslo, Norway); the Craft Council of British Columbia Gallery (Vancouver, Canada); Handwerkskammer für München und Oberbayern (Munich, Germany); the Walker Arts Center (Minneapolis, Minnesota) and the Queer Culture Center (San Francisco, California). In 2017-2018 Lambert was the first international artist based in jewelry/metalsmithing to be invited as a resident at IASPIS the Swedish Arts Grants Committee’s programme for visual artists and designers in Stockholm, Sweden.
Silja Leifsdottir is currently curator for the Norwegian Sculptors Society in Oslo. She is on the board of The Norwegian Association of Curators and is the co-founder of SKREID publishing, an independent publisher of Nordic photobooks. She was a co-curator at the artist-run gallery Holodeck in Oslo for two years (2012-2013) together with Lina Norell and Kjersti Solbakken, and is the co-founder and director of U.F.O. – Exhibition Guide For Oslo. In addition to her own practice, she has worked as a coordinator at Fotogalleriet, a non-profit institution for contemporary camera-based art in Oslo established in 1977. While running Holodeck Silja initiated the Grønland Gallery Weekend (2013) together with Lina Norell, Kjersti Solbakken and other art spaces at the east side of Oslo which later transitioned into the Oslo Art Weekend (2014), currently organized by U.F.O. – Exhibition Guide For Oslo. Silja studied at the Fine Art Photography department at The Glasgow School of Art (2005-2008) and Curatorial Practice at Bergen Academy of Art and Design (2015-2017).
Eli Maria Lundgaard (b.1989 in Trondheim, Norway) finished a BFA at Bergen Academy of Art and Design in 2015. She will start on a MFA at Malmö Art Academy in 2016. She works with video, drawing, collages and sculpture.
Her art is about comprehension. She explores different concepts of the psyche, for instance anxiety or hypochondria. She also questions the subject and its surroundings: how body and environment are shaped by influences, direct intervention, or evolution and natural changes. The relationship between the natural and the artificial is interesting. Both science and art are curious and concerned the absence of information. We are looking for systems and definitions to put things in. Everything around us should be categorized and organized. These categories and systems come from what we are learned to look for. What cannot be described "physically", but only sensed, leads to speculation and fantasy. What do we do when explanations are missing? What we cannot see or explain turn into myths, monsters and magic. Fiction and dreams blends with reality and makes a setting we can live within and think.
Siri Hjorth (1986) and Sebastian Makonnen Kjølaas (1985) are two contemporary artists accomplishing high performance, premium, award-winning works that are safe, healthy, and certified sustainable.
When Kjølaas and Hjorth first got married in the Emanuel Vigeland Mausoleum in 2016 - they had already been working closely on a series of artistic projects since 2009. They now live and work in Oslo. Their artistic output include ceramics, textile, watercolours, latex and eggs.
Hjorth recently had her solo show “Looner Mooner" at Nebbelux in 2016, and participated in the production of “From Butter to Margarin” in 2017, directed by Pernille Lindstad and organised by “Munchmuseet on the Move” at Gallery 1857 in Oslo. She works with textile, costume and performance, and generates an unpredictable and sneaky world - disturbingly erotic. She opened the National Gallery's new Middle East Wing with a performativ staging of the painting “Marriage in Hardanger” by Tidemann and Gude. Hjorth has shown her work at the Black Box Theatre, Kunstnernes Hus, and Kunsthaus KULE in Berlin. Graduated with a Bachelor in Visual Arts from the Oslo National Academy of the Arts in 2014.
In 2015 Kjølaas won the Debutant Prize at the Autumn State Exhibition. He has toured the country since 2016 with his solo show “On dry things” showcased at different Art Societies around Norway, including Hammerfest, Eidsberg, Haugesund, Volda and Trondheim. He is the artist and author behind “The Institute of Art and Crime” (2014) published by Torpedo Press. Graduated in 2012 with a Master in Visual Arts from the Oslo National Academy of the Arts.
In addition to their praxis both Kjølaas and Hjorth hold positions at Prosjektskolen Art School, as Prorector and teacher. Together they have started the artist run spaces GAGO between 2009 - 2011, and SALT between 2011-2013. With Marianne Bredesen they have developed the project “Wittgenstein on Vacation” (2015 - 2019) supported by KORO, Art in Public Space Norway.
Shahrzad Malekian (1983/ Iran) is an interdisciplinary artist working with video, performance and sculpture. Malekian’s works often address the human conditions she experiences around her. Her interests include power structures, presentations of gender, the complexity of interpersonal relationships, and shifts that occur in the transition between the private and public domains.
Her works have been shown internationally in group exhibitions in Brazil, USA, Germany, Sweden, Norway, Finland and London. Her video piece was selected for International Film Festival Rotterdam and Göteborg International Film Festival in Jan 2013. She was the finalist for MOP CAP 2015 prize.
Malekian holds a BFA in Sculpture from the Art University of Tehran and is a current MFA Art and Public Space candidate at Kunsthøgskolen I Oslo, Norway. She lives and works in Oslo and Tehran.
Image 1: WARDROBE MEMORIES, Performance, Sommerøya Festival, 2018
Image 2: WARDROBE MEMORIES, Performance, Sommerøya Festival, 2018
Image 3: URBAN EXPERIENCES, Public Intervention, 2015
Image 4: MAKEUP EXPERIMENTS: LIPSTICK, Video Performance, 2013
Claudia Mann is a sculptor whose work is process oriented and conceptual. She also resorts to other media in her work, e.g. video, photography and language which serve as mirrors reflecting her sculptural works.
"Outer space is just as relevant for me as the centre of the earth. We are space. In order to comprehend the dimensions of space right up to the centre of the earth one should be fully aware of the fact that the ground only seems to be an impenetrable surface. However, it consists of air as well as material. Ground is a very self-centred version of what in fact is only material. That is why it is a component of the definition of ‘horizon’. It stretches to the horizon. One’s location starting with the feet, eye level and then what one sees is all physically dependent on this. (…) The ground is the starting of sculpture and the sculpture itself. But the human entity is and remains the reference. In the past I used to move and work above this ‘surface’. By means of various processes the necessity arose to break through it and to perceive it. What exactly is the ground? Where does it begin and where does it end? To perceive something and then to clearly accept it for what it is a form of appropriation. Not merely the wish to hold onto a thought but to own its equivalent made of matter. Air is just as much matter, we are matter. Perception means using the senses. However most of the time we use our senses unconsciously. It is interesting to become aware of one’s own senses."
Image 1. Aero, 2016. Resin, metall, soil, sand 205 x 140 x 217 cm. Photo: Ivo Faber, VG Bild-Kunst Bonn De Statua, KIT Düsseldorf.
Image 2. SOLID AERO, 2017. Inkjet print. Photo: Claudia Mann, VG-Bild Kunst, Bonn.
Image 3. Cast, 2016. Resin, metal, 260 x 320 x 120 cm. Photo: Dejan Saric, Kunstraum Düsseldorf Förderpreisträger 2016.
Image 4. Tombé.Tambour, 2016. Tarred board, resin, grass, wood, 205 x 621 x 621 cm. New Talents Biennale 2016, Poststrasse, Cologne
Evgeniya Martirosyan is an artist based in Ireland with a background in philosophy and design. She graduated from the Crawford College of Art and Design in 2016, receiving a number of residencies and exhibition awards, including residencies at National Sculpture Factory and Sample Studios, Ireland and an exhibition award at Cork Film Centre. Her most recent work has been shown at 126 Gallery, Galway Arts Festival, Ireland; Leeds Digital Festival, UK ; and TACTIC Gallery, Ireland.
Working primarily in the mediums of sculpture and installation, Martirosyan is interested in exploring the concepts of time, matter, chaos and transformation. She builds complex dynamic structures and uses transient organic matter, reflecting on the poetic possibilities of the fluid and constantly shifting state of things.
Image 1. The Shape of Emptiness, 2017. Metal, air compressor, silicone tubing, water, washing up liquid, plastic, timer. Photo: Jed Niezgoda.
Image 2. Between Something and Nothing, 2017. Refrigeration system, acrylic, copper piping, metal tray, timer. Photo: Jed Niezgoda.
Image 3. Dream Machine, 2017. Metal, plastic, acrylic tubing, corn syrup, led light. Photo: Jed Niezgoda.
Image 4.Your Quantum Uncertainty, 2016. Metal, water, water pump, tubing, wood, live projection.
Martirosyan's participation in residency eleven, Monumental—Temporal has been made possible due to kind support from the Arts Council of Ireland Travel and Training Award.
Michael McLoughlin is an artist and researcher from Dublin who makes audiowork, drawings, sculptural objects, video and installations. His artistic approach endeavors to presents an outlet for dialogue/exchange and explores the physicality of places where, and the manner in which, people interact. Since the mid-1990s Michael McLoughlin has consistently developed and presented new ways of making contemporary artwork in social contexts. Within the last year he has made site specific audio work in Limerick (Cumann:An Audio Map of Limerick, Limerick City Gallery of Art), Drogheda (Cumann, Droichead Art Centre, & as part of Beyond the Pale, Highlanes) and in Dublin (Rest Here, UCD Sutherland School of Law & Ocean Wonder Resort Revelations, Portrane). His artists book of drawings, I am here because I know you will be too was published by Dublin City Council in 2014. McLoughlin has been Artist in Residence in Draiocht Arts Centre, Blanchardstown (2017), and at UCD College of Social Science & Law in 2015, where he has since begun a critical social and institutional analysis of ethics, art-making and knowledge production in the contexts of social practice in the School of Sociology.
Nanna Melland (b.1969) is a jewellery artist based in Oslo. At the core of her work lies a fundamental curiosity in the relationship between nature and human existence. She is fascinated by symbols and rituals, as well as by unpleasant and dark tensions inherent to life.
Combining and experimenting with form, material, technique and subject until she finds a type of unity – maybe harmony in the disharmonic. Inter-Uterine-Devices (IUD`s), nails in gold, cast pig’s hearts, orchids in lead and aluminium airplanes hence achieve – albeit paradoxically – a coherent whole.
Melland initially trained in goldsmithing at Elvebakken Technical School, and received a Canditata Magister from the University of Oslo in the subject history of religion, social anthropology and Tibetan language and culture before going on to study at The Munich Academy of Arts, Germany, where she was appointed Meister student, and for her diploma work in 2008 received both the academy's Debut Prize, and the Norwegian Craft prize in Norway. Her work has been bought by national and international private and public collections. Nordenfjeldske Art and Craft museum, Collection Marzee in the Netherlands, Collection Hiko Mizuni in Japan and Collection Susan Cummins in USA among others.
Araiz Mesanza is an artist and illustrator whose work is mainly developed through drawings. She holds an MFA in Fine Art from the Basque University (Bilbao, Spain) and specialized in illustration at Escola Massana (Barcelona, Spain). Mesanza has worked as a freelance illustrator since 2009 and in 2011 she co-founded Ediciones Armadillo, an artist collective and publishing outlet releasing an annual collaborative illustration fanzine and other projects. Having relocated to Oslo in autumn of 2016 (currently working from VORTA atelier at Middelalderparken), Mesanza's recent work has largely focused on producing "introspective landscapes" that explore her relationship with her new surroundings.
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.
Ragna Misvær Grønstad (originally from Bodø in North of Norway) studied printmaking and drawing and received her MFA degree in 2016, from Oslo National Academy of the Arts (KHiO) in Medium- and Material-Based Art, and her BA in Visual Art in 2013 (KHiO).
In the catalogue for Misvær Grønstad's MFA show, "The Silent After", Eva González-Sancho writes:
"Misvær Grønstad explores the ways in which we perceive reality through literary texts. Figures such as Simone de Beauvoir, Guy Debord and Hannah Arendt navigate her boundless aquatic world—which she refers to as Saltvannsblomstene (salt water flowers)—as representatives of liberation, poetry and punk, the singularity of the individual and his/her emancipation."
Her work is marked by a social critique which is anchored in her belief in the positive potential of escapism, and in the force of the imaginary. In 2014 she was admitted to “The 68. North Norway Art Exhibition” with the print “The Great Escape”.
She graduated with “The Silent After” MFA Degree Show at KHiO, with her project “Conversations in Sáivu” (2016).
Ebba Moi's artistic practice relates to the public domain with a community based, participatory approach. Her concerns include the use of democratic space and the management of people's rights and needs. Moi works with installation, sound, performance, curating and dialogue- based art projects, primarily targeting young people across cultures. Moi is currently co-running artist run space Tenthaus Oslo together with artists Helen Eriksen and Stefan Schröder.
Anna Sofie Mathiasen (b. 1995, Copenhagen) lives and works in Oslo. She holds a BFA from the Academy of Fine Art, Oslo (2018), where she will complete her master studies in 2020. Working with mixed media installations, writing, analogue and digital, photography, film and animation, she investigates and mediates archives, which she collects and assembles from her surroundings and personal sphere. By processing and presenting the material continuously using a variety of methods Mathiasenn produces images and narratives that explore different ideas and relations she has about, and with, the material. Mathiasen has exhibited at RAM Galleri, Akershus Kunstsenter, and Akademirommet.
Image 1 & 2 Exhibition at RAM Galleri; Vi mødes i mørket og giver hånd, 2018 (Photos by Istvan Virag.)
Image 3 & 4 Stills from film Excavation, 2018 (Cinematographer Vegard Landsverk)
Kristin Nango (1976) is a butohdancer, performance artist, therapist and with a special interest in the bodily and philosophical approach to materiality and experience. Her works operates in the field of movement, dance and performance and are often inspired by the human relationship to nature and to the «non- human». She is currently based in Oslo where she is frequently giving workshops in poetic movement and operates as an artist in the collective Oslo Butohlaboratorium in which she is one of the founders and core members.
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.
Lara Ögel (born in Izmir, 1987) is an artist based in Istanbul. In her practice she uses a variety of mediums from collage to video. Her works develop from individual and universal concerns and take form through subtle, emotional, site and context aware installations. Recent solo shows include; İmtidad, Galata Greek School Open Library, Istanbul (2018), Come Back! All is Forgiven, Protocinema, Paris (2016), The Happy Average, Öktem&Aykut, Istanbul (2014). Selected group shows; Restless Monuments, Zilberman Gallery, Istanbul (2018), Driftwood, or how we surfaced through currents, Athens (2017), Past, in Each of its Moments be Citable, DEPO, Istanbul (2016).
Image 1: Come Back! All is Forgiven, Installation view, Protocinema, Paris, 2016
Image 2: baba!, installation view from Restless Monuments, Zilberman Gallery, Istanbul, 2018
Image 3 &4: houses were rooms, I had forgotten (variation II), Driftwood, or how we surface through currents, Athens, 2017
Gabrielle Paré is a Canadian-born artist, living and working in Oslo, Norway. She completed her BFA at the University of Alberta (Canada) in 2011, and her MFA at the Kunsthøgskolen i Oslo in 2017. Her practice is wide-ranging: from paper-based works, to audio-visual installations, to creative writing. At the core of all works is the desire to challenge the borders of identity with the uncanny, the uncomfortable and the hybrid body. Paré uses her own body performatively as a site for the exploration of culture, filiation, and personal mythology.
Julia Parks received her undergraduate degree from Central Saint Martins School of Art in 2015 and through an exchange programme studied photography and printmaking at Kyoto Seika University, Japan in 2013. Her practice encompasses film, animation and photography, often using series of photographs and projected 16mm film. Parks explores the methodologies of 20th century filmmakers and photographers, often reenacting historical artworks in the attempt to re-imagine and experience being in the moment of their production. More recently, she has been documenting the process of a sheep farm being sold on the Solway coast of Cumbria. Parks has exhibited in both England and Japan including; All Work and No Play, The People's History Museum, Manchester (2016), and 5 under 30, The Daniel Blau Gallery, London (2015).
Martina Petrelli is an artist, designer and curator: Italian by blood, Canadian by birth, British, Danish, Dutch, French, German, Norwegian, Palestinian, Swiss and Tunisian because of her life journey. Her higher education includes a MA degree from the Sandberg Instituut in Amsterdam, a BA from the École Nationale Supérieure des Beaux-Arts of Lyon, an international Baccaleureate of philosophy, language and literature, and the participation to the study course Psychology of Language at the Universitetet i Tromsø. She has exhibited and worked for several cultural platforms internationally and across Europe, and is now engaged at Fotogalleriet in Oslo as Project Coordinator for the upcoming anniversary exhibitions, publications and public archives. Her artistic practice approaches art and design as revelatory of reasons and of the absurd, as a study and reutilisation of images and structures that script given realities, juxtaposing ways of reading and of seeing.
Darja Popolitova (1989) is an Estonian jewellery artist and designer. She is currently a PhD researcher and guest lecturer at Estonian Academy of Arts. Her approach to jewellery art emerged while studying at Estonian Academy of Arts, as well as at the Academy of Fine Arts and Design, Bratislava. She honed her skills at Florian Landstätter’s studio in Vienna. Darja received the Young Jewellery Award (2015) and has exhibited in Holland, Germany, Brazil and Spain among others. The topics of her works include androgyny, erotics and digital culture.
Image 1: Image for the exhibition "Androgyny: Jewellery Beyond Gender". Photo Diana Pashkovich.
Image 2: "Drama of Two" brooch. Sea stabilized wood, steel, silver; modelled, 3D scanned, CNC milled, chromed
Image 3: View on exhibition "Eros Loading".
Image 4: Brooch from series "Metanoia", photo is by author. Stabilized wood, steel, silver; modelled, 3D scanned, CNC milled.
Catriona Robertson is a sculptor based in London. She holds a BAFA (Hons) from Central Saint Martins, London (2010) and forthcoming MA in Sculpture at the Royal College of Art, London (2019). Catriona also works as a Technician in 3D fabrication at Central Saint Martins, London teaching students at Foundation, BA and MA level.
The making and un-making process is an integral part of her sculpture, working with constructive materials and some found objects to create sculptural assemblages that have an architectural resemblance with a raw sense of formation. Drawing from the in-between moment that may be overlooked at first glance, her work evokes performativity in a solid form; the potential state in which there is an element of chance or possible destruction. Her sculptures create an opposition of material and surface – forming tension and fragility, whilst questioning the permanence of the material against traditional sculptural practices.
Catriona was recently artist-in-residence at the Merz Barn, Elterwater, UK and co-ordinated a summer residency programme for Royal College of Art Students in July 2018. In 2015 she was awarded the REFRESH grant by Central Saint Martins for an artist residency in Onishi, Japan at Shiro Oni Studio, as well as artist-in-residence at Liebig 12, Berlin from December 2011-February 2012.
Catriona has exhibited at: the Merz Barn, Elterwater, England, (July 2018), the Hockney Gallery, Royal College of Art Kensington, London, (June 2018), ‘WIP Show’ at the Sculpture Building, Royal College of Art, Battersea, London (January 2018), and at the Futuro House, SafeHouse London (February 2016) and Central Saint Martins, Kings Cross London (January 2016). As well as international exhibitions at the Galeri Mejan, Skeppsholmen, Stockholm (August 2016), the Futuro House, exhibition during artist residency in Onishi, Shiro Oni studios Gunma prefecture at the civic Centre, Onishi, Japan (July-August 2015) and was further selected for the ‘Kanna Art Festival’ selected Shiro Oni artists, Fujioka Gunma prefecture, Japan (September 2015).
Image 1. Connected – 2016. Exhibition at SafeHouse, Peckham, London.
Image 2. Un-Monument 2018 , Royal College of Art Battersea, London. Concrete, steel, resin, polyurethane, plywood, plaster, acrylic. 50 x 70 x 410 cm.
Image 3. Moulded 2017, Concrete, plaster, thistle, plywood. 78 x 42 x 30 cm.
Image 4. Merzsaüle 2018, Merz Barn Elterwater, Langdale England. On show until October 2018. Concrete, slate, slate clay, plaster, plywood, found objects (steel, newspaper, rope, card, plastics).
Based in Mexico, Aleyda Rocha's practice is focuses on data ethnography, social impact design and educational technology. She is interested in how to understand, think about, and interact with data - particularly, how we can make data experiences that are aesthetic, tangible and consider all of our senses.
Rocha graduated from Monterrey Center for Higher Learning of Design’s Digital Art Program. She currently researching how safety policies and violent events influence gender identity and garment in Mexico. The project traces how, from the post-revolution war, the identity of Mexican men have been dictated by the constant state of ferocity.
She is a founding member of RevoltosasMX – a non-profit dedicated to generate speeches and narratives that challenge the existing power dynamics at workplace in order to push forward gender equality in Mexico.
Identifying as a curious wanderer, Rocha has navigated industries including technology, advertising and public sector innovation. She spent two years as Creative Program Manager at Google, developing groundbreaking digital projects in Latin America with the goal of leveraging the power of technology for both users and brands.
Mallika Roy (b. 1991, Chicago, USA) is a diasporic artist who facilitates open sites of creative education. Her guiding belief is that alternative communications for, amongst, and on behalf of dispossessed and alienated peoples can serve to disrupt and re-imagine the political economy. She synthesizes critical theory, art, ethnographies, and other research and presents them in publicly accessible forms like websites, graphic design, fashion and adornment, curriculum, workshops, and social media. Mallika’s framework for understanding social change has been primarily informed by her BA in International Studies and Urban Studies from the University of Michigan, the Center for Political Education’s community course on Marxist thought, Movement Generation’s A Just Transition Zine, and her upbringing in Eastern philosophy. Her work is constantly challenged and reinvigorated by the youth she has partnered with in Detroit and San Francisco since 2012.
Maija Rudovska’s practice is shaped by independent curation, research, art criticism and writing. The focus of her work has been inter-mediation and stimulation of relationships between different spaces, contexts and institutions. Finding a voice from/in the marginalized spaces that in her practice often rooted from the post-Soviet context, she pays particular attention to the in-between space seeking alternative ways of learning and sharing knowledge in the art realm today.
For the last 6 years Rudovska together with Juste Kostikovaite have been running the network platform Blind Carbon Copy that focuses on network building models, alternative education and work strategies between curators, artists and other practitioners. One of the priorities has been the learning, looking for the ways to teach each other as a sort of curatorial strategy. Engaging by creating a lively networking system and structures of self-organization (refusing to being attached to a certain power structure), the platform serves as a place from where to act and to find a voice. http://blindcarboncopy.org/
Rudovska have worked extensively in the Baltic-Nordic region, as well as internationally. Close collaborations include: Contemporary Art Centre (LV), Moderna Museet (SE), Rupert (LT), Contemporary Art Centre Vilnius (LT), The Living Art Museum (IS), HIAP (FI), among many others.
- The Primal Shelter is the Site for Primal Fears (2016). Exhibition view. Photo: Vigfús Birgisson, courtesy The Living Art Museum.
- Society Acts - Version 2. After Moderna Exhibition 2014 (2015). Exhibition view. Photo: Ansis Starks, courtesy kim? Contemporary Art Centre
- Image of Blind Carbon Copy website, design by Nerijus Rimkus
Ella Heidi Sand (b. 1957) studied at the Oslo National Academy of the Arts, graduating in 1984, with further studies at the State University of New York, USA. She has participated in exhibitions both in Norway and abroad, and has held several solo exhibitions. She is a member of the art collective The Archive.
Sand has coordinated a number of jewelry exhibitions abroad, and has had several assignments as an art consultant for KORO (Public Art Norway). For 7 years she was the director of RAM gallery in Oslo. From 2006 -2013 she was a professor at the Oslo National Academy of the Arts in Oslo (KHiO) where she was Head of the Department for Metalwork and Jewellery.
Permanent collections include: The Norwegian Council of Culture, The Royal Ministry of Foreign Affairs, SKMU Art Museum Kristiansand, The Museum of Applied Art in Oslo, Vestlandske Museum of Applied Art in Bergen and Nordenfjeldske Museum of Applied Art in Trondheim.
Image 1: Dicplacement. Necklace; brass, nylon thread. Photo by Sveinung Bråthen
Image 2: Who Cares. Necklace; silver, copper, plastic covered steel, nylon thread. Photo by Elsie-Ann Hochlin
Image 3: Empty Diamonds. Necklaces; silver, nylon thread. Photo by Øyvind Suul
Image 4: Powder. Necklace; woman facial soft cotton sponge powder puff pads, copper. Photo by Elsie-Ann Hochlin
Line Sanne graduated from Central Saint Martins, University of the Arts London, with a BA(Hons) in Spatial Design, and holds an MA in Nonfiction Writing from Høgskolen i Sørøst-Norge. Sanne has worked as a set designer, visual merchandiser, and installation artist at music festivals, Slottsfjell festivalen and Øya. She is now working on writing a biography about a former refugee and actress, Sara Baban.
Amina Sahan is an artist with Iraqi and Norwegian background, based in Oslo, Norway. She is educated as an art teacher (Bachelorś Program Specialized Teacher Training in Design, Arts and Crafts, Masterś Program in Visual and Performing Arts: Art and Design Education at Oslo and Akershus University College) and has worked both as a teacher and an artist in the last 4 years.
Sahan is inspired by ongoing debates concerning multiculturalism, diversity and freedom of speech. Working primarily with painting, but also drawing and mixed media, her work concentrates on contrasts in both the content it depicts and its materiality.
In 2016 she wrote her Master thesis in Arts and Design Education on the relationship multicultural youth in Oslo have with visual art. She has developed this topic throughout her artistic career and as an activist, using exhibitions, lectures and the media. Her intention is to make art available in public space, and relatable to the multicultural youth of Oslo.
Sahan has exhibited in various arenas in Norway, Sweden and New York. Both in galleries and urban spaces.
Patricia Sandonis is a conceptual artist based in Berlin. She studied fine arts in the Complutense University UCM, Madrid (2007) where she received an exchange scholarship for the FH for design in Schwäbisch Gmünd in Germany. A scholarship from the sculpture Park at Universal Museum Joanneum was the starting point of her interest for art in the public realm - now present in most of her works. She holds a Master in Art in Context from the UdK University in Berlin (2014).
Her artistic works has been shown in art institutions including Patio Herreriano Museum, Valladolid in Spain, Palazzo Ducale in Genova, SBK in Berlin, Heidelberger Kunstverein and Salzamnt in Linz. In 2016 she was invited to Villa Massimo in Rome, for a residency where she started the visual research for the artistic work she currently producing which relates to the question of how the unilateral narration of history can influence the perception of places that could be differently perceived if history would have included missing elements. Sandonis views her work as research on visual mechanisms to use on the development of the next generation monuments that will influence the collective memory of the future.
Sandonis's participation in residency eleven, Monumental—Temporal has been made possible due to kind support from the Embassy of Spain.
Sayed Sattar Hasan is a British born artist and Goldsmiths, MA, graduate (2009) currently based in Oslo, Norway. Hasan uses a variety of mediums from lens-based media to sculptural installation, and describes himself as a process- based artist.
His practice explores notions of tradition, heritage and belonging and how they are continually subject to change. Hasan often produces autobiographical narratives, based on his relationships with people, places and belief systems, and looks to express the fragility, humour and complexity of everyday life in his work. Influenced by his mixed-race identity, Hasan likes to negotiate tensions drawn by cultural and historical lines by embracing identity as a hybrid condition and expressing himself in unorthodox ways.
Hasan has had solo shows at Stephen Lawrence Gallery, UK (2017), New Art Exchange, UK (2016) and NN Contemporary, UK (2015)., and his work has appeared in international art and photography festivals such as 2nd Changjiang, Video and Photography Biennale, China (2017), EM Pavilion at the 56th Venice Biennale (2015).
He has produced several public installations; Southbank Centre, London, UK (Alchemy, 2017) and Heathrow Terminal 5 (2012) and participated on international artist residency programmes at the National College of Art, Lahore, Pakistan (2014) and The Baltic residency exchange program between the UK and South Korea (2018).
Images from 'My Granddad's Car', a collaborative project by Sayed Sattar Hasan and Karl Ohiri (2016).
Shweta Sharma a.k.a Betty (b.1988, IND) is a fashion editor and costumier based in Mumbai. She holds a bachelors degree in Fashion Communication from National Institute of Fashion Technology, Mumbai. She has styled for various television networks like TLC, MTV and Discovery Networks and designed costumes and characters for movies and ad films. Using styling and costume design as a way of story-telling and cultural gate-keeping, she has collaborated with publications including; Vogue India, Femina and Harper’s Bazaar on fashion features and editorials. She has been working on a sartorial and spatial documentation series - meeting women through Instagram and travelling to Liguria, Berlin, New York, Oakland, and London. In 2017, after doing a Contemporary Fine Arts Intensive course at Central Saint Martins London, she developed a photographic series with a women’s Cricket ball as a starting point. She teaches Advanced Fashion Styling to undergraduate students of Fashion Communication at NIFT (National Institute of Fashion Technology, India).
Image 1: 'Victoria' for Jade. Styling and Photo by Shweta Sharma
Image 2: 'Warrior Woman' an fashion feature for Harper's Bazaar India. Photo by Aneev Rao, courtery Harper's Bazaar India
Image 3: 'Ophelia' for Vogue India, Sep 2016. A costume design project to create a costume for a modern day Shakespeare heroine. Image Courtesy : Vogue India
Image 4: Shweta Sharma for NorBlack NorWhite from 'Holi Jouvert' Series. Image Courtesy: NorBlack NorWhite
Helle Siljeholm is a choreographer, performer and visual artist, based in Oslo. She holds a BA (hons) from London Contemporary Dance School in 2003. In 2016 she graduated with an MA in Visual Arts from the Oslo Academy of Art (KHiO). Her artistic practice involves film, installation, choreography and performance. She has exhibited, performed and produced projects in theatres, galleries, and site-specific contexts in Norway as well as in the UK, Germany, Nordic Countries, Middle East, Asia, USA and East Africa. Siljeholm is a recipient of Ibsen Scholarship award (2011), a 3 year grant for younger artists from Norwegian Arts Council (2014) and Hans Christian Osterø´s memory award (2015), received together with colleague Sara Christophersen focusing on a 3 year project for dance in Palestine. In 2017 she has exhibited/presented work in Fotogalleriet (Nordic Anthology), Black Box Theatre (Oslo), Ramallah Contemporary Dance Festival, Golan heights, Jugenstilsenteret KUBE (Ålesund) and Høstscena (Ålesund). In 2018 she will be amongst other create a new work co-produced by Teaterhuset Avant Garden (Trondheim), a pre- project for Munchmuseet on the Move (Oslo) and a solo show for Akershus Kunstsenter (Lillestrøm).
Noder om stein og andre sosiale landskap Jugendstilsenteret og KUBE og Høstscena, Ålesund, Norway 2017 (pictures by Marius Simensen and Helle Siljeholm)
Detail from exhibition: Looking at chemicals. at Fotogalleriet, Oslo 2017. (both photos by Istvan Virag)
Installation documentation from a selection of exhibitions curated by Stephanie Von Spreter
Stephanie von Spreter is a freelance curator based in Oslo. She has served as the director of Fotogalleriet, Oslo, between 2011 and May 2018. In this position she has curated a large number of exhibitions and seminars with a focus on contemporary camera-based art. In her position she also initiated international collaborations with partner institutions in the Nordic and other European countries and set up a special educational programme with a focus on photography. Von Spreter is the co-founder/co-owner of the first exhibition guide for contemporary art in Oslo, U.F.O. (ufoguide.no).
Before moving to Norway, Stephanie von Spreter served as project manager for various large exhibitions and projects, including the 4th and 5th Berlin Biennale for Contemporary Art. She was assistant curator at the 50. Biennale di Venezia (The Structure of Survival) and curatorial assistant at Documenta11 in Kassel.
Image credits left to right
Texas Sweet Chai Latte (Pour Femme) How good can you feel?™ Yogi Tea
Photo: Ruben Steinum
Treat Yourself. Sodastream Taittinger, Sodastream Möet & Chandon, Sodastream Veuve Clicquot, Sodastream Laurent Perrier
Freak on a Leash
Photo: Jon Benjamin Tallerås
Project in collaboration with Marianne Hurum
Ruben Steinum (b. 1984, Oslo, Norway) is an artist and co-founder of the digital art sales platform Atelier. Steinum graduated from the Norwegian Academy of Fine Arts in Oslo in 2011. In his artistic practice, he works with object-based sculpture, drawing and photography. His interest in pop and everyday culture comes to light through the use of commercial objects, appropriation of brands and in the relationship between the artwork and the title. He is currently working towards an exhibitions at Elephant Kunsthall in Lillehammer and at a sculpture park at Nesodden. He has exhibited at Tidens Krav (Oslo), Arts Incubator at Washington Park (Chicago), Kunsthall Oslo, Podium (Oslo), Rogaland Art Center (Stavanger) and RAKE (Trondheim).
Steinum is chairman of the Young Artists Society (UKS) and board member of Norwegian Visual Artists (NBK).
Kim Svensson (1995, Sweden) lives and works in Oslo where he currently studies Fine Art at Oslo National Academy of the Arts. His works incorporates personal experiences, literary and historical references to engage with the subjects of representation and language. Often using the intricate image-text relationship as a conceptual framework, to convey narratives and/or scenarios in the minds of the encounters. He works with installation, photography, publishing and does occasional readings.
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.
Tough Guy Mountain is an ongoing project focusing on the glories, trials, and absurdity of late capitalism. As an artist collective of over a dozen members, TGM creates presentations of capitalist aesthetic and consumer culture. TGM creates narrative performances where the collective plays a fantastical corporation that treats abstract concepts like Art and Post-Capitalism as its clients.
Ahmed Umar (1988) is a Norwegian/Sudanese cross-diciplinary artist based in Oslo. He came to Norway as a politcial refugee in 2008. In 2016 he received an MFA in Medium and Material-based Arts from the department of Ceramic Arts at the National Academy of the Arts, Oslo (KHiO). Since his graduation, Umar has exhibited in several galleries and museums, both nationally and internationally including; FORMAT, Kunstnerforbundet, Kunstnernes Hus, Museum of Cultural History (Oslo), and Kunsthall Oslo. In 2017, Umar won the Debutante prize for his installation Hijab (Annual protection) at the Norwegian Annual Art and Craft exhibition. His work have been collected by institutions such as Drammen Museum of Art and Cultural History, and Oslo Municipality Art Collection. He also is a board member of OsloOpen art festival.
Merve Ünsal is a visual artist based in Istanbul. In her works, she employs text and photography, possibly beyond their form. Merve holds an MFA in Photography and Related Media from Parsons The New School of Design and a BA in Art and Archaeology from Princeton University. She was most recently a participant at the Homework Space Program 2014-15 at Ashkal Alwan, Beirut. She has participated in artist residencies at the Delfina Foundation and at the Banff Centre. Merve is the founding editor of the artist-driven online publishing initiative m-est.org.
Jessica Williams (b. 1986, US/NO) is an Oslo-based artist who works freely within the realms of publishing, photography, text, and new media. She holds a BFA from the Cooper Union in New York City (2008) and a MFA from the National Academy of Art, Oslo (2014). Her working methods echo those of a hunter gatherer: collecting objects (both physical and metaphysical) that stand in as metaphors for intangible, shared feelings and experiences. The power of language and everyday physicality in the increasingly digital world are constant themes.
Between 2011-2014, she was the driving force behind the small, yet internationally recognized artists' publisher North, South, East, West – NSEW for short. Since 2012, she has regularly given talks and held workshops related to self-publishing and Risograph printing. In 2016, she started producing printed works under the moniker Hverdag Books and in 2018 she co-founded the Norwegian Risograph Society.
Williams' work has been exhibited widely over the past decade, notably at Good Press, Glasgow (solo); KRETS, Malmö (solo); High Tide, Philadelphia (two-person); The New Museum, New York City; Art in General, New York City; Capricious Space, Brooklyn; Open Space, Baltimore, among others. She has also had solo exhibitions in Oslo, Bergen, Barcelona, and Austin, Texas.
Sam Williams (b. 1985, Essex, UK) currently lives and works in London, where he studied MA Sculpture and Moving Image at the Royal College of Art.
Sam has exhibited and screened nationally and internationally at institutions including Estuary 2016: Points of Departure (alongside artists including John Akomfrah and Adam Chodzko, curated by Gareth Evans and Sue Jones) Focal Point Gallery (Southend), ONCA (Brighton), Outpost (Norwich), Baltic39 (Newcastle), Independent Dance, Sadler’s Wells, V&A, Lychee One, Tate Britain and Jerwood Space (London); Fragment Gallery (Moscow) and Korai Project Space (Cyprus).
He was awarded the RCA residency at Cité Internationale des Arts in Paris (2015), the Relax Digital Commission (2016) and the Stuart Croft Foundation Award (2017). In 2018 he received an Artist Network Professional Development Bursary to organise a series of choreographic workshops for non-dance artists, and was also artist in residence at ArtHouse (Jersey) and JOYA Arte + Ecología (Almería).
As part of the audio-visual group Emptyset he has performed internationally at institutions including BOZAR (Brussels), Arnolfini, Spike Island (Bristol), La Gaîté Lyrique (Paris) Kunsthalle Zürich and Kraftwerk (Berlin).
For several years prior to her passing, Sam was a close collaborator with the seminal British choreographer Rosemary Butcher MBE. Together they showed work at The Place (London), Nottingham Contemporary and Akademie der Künste (Berlin). Sam is a founding trustee of the Rosemary Butcher Foundation and will work with her extensive archive towards a gallery retrospective.
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.
Ola Wlusek is an independent curator based in Canada and Poland. She earned an MA in Contemporary Art Theory from Goldsmiths College, University of London. She also studied Art History and Cultural Anthropology at McMaster University. For the past ten years, she worked in curatorial and educational departments at public art institutions in Canada and abroad. From 2011 to 2015, Wlusek was the curator of contemporary art at the Ottawa Art Gallery (Ontario, Canada) where she organized multidisciplinary projects that explored the contesting social, cultural and community histories. She’s interested in transnational frameworks for the interpretation of art through exhibition-making that is accessible to an audience from culturally diverse backgrounds. Her research focuses on new curatorial strategies and museological methodologies for exploring non-Western, indigenous, and comparative approaches to global modernities. While working collaboratively, she considers exhibitions as experiential, flexible and accessible spaces for cultural production and exchange. Prior to joining PRAKSIS, she will be attending the Curatorial School: Curating the New, at the University of Malta, and conducting research in Krakow.
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.
Gary Zhexi Zhang is an artist and writer, whose films and essays are interested in private and political narratives of the digital. He studied at Glasgow School of Art and University of Cambridge, and is a staff contributor to Frieze Magazine. Recent exhibitions include Tenderflix ‘Futures' at ICA, London and Would you like help? at EMBASSY Gallery, Edinburgh.