Exhibition view of “Machines à penser” 2018, Fondazione Prada, Venice, Photographer: Mattia Balsamini, Courtesy Fondazione Prada
2018
Machines à penser
Curated by Dieter Roelstraete
Fondazione Prada,
Ca’ Corner della Regina,
Supported by OCA
Venice, Italy
Eggs for Breakfast (restaurant), 2018, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
–
Eggs for Breakfast, 2018
with Siri Hjorth
Sandefjord Art Society
Sandefjord, Norway.
Using objects from the original storage of Park Hotel Sandefjord
built by the influential Norwegian architect Arnstein Arneberg,
“Eggs for Breakfast” mirror the structure of the hotel.
In addition to the wall paintings delineating
the “restaurant”, “foaje”, “bedroom” and “spa” areas, the exhibition
include latex, textiles, plaster, an ostrich egg and a variety of distilled oils.
–
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, textiles by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, textiles by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, textiles by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, latex and wall by Kjølaas, textiles by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (restaurant), 2018, wall by Kjølaas, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (foaje), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (bedroom), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (bedroom), 2018, wall and bed by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (bedroom), 2018, wall by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (spa), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (spa), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (spa), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (spa), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
Eggs for Breakfast (spa), 2018, by Hjorth, Sandefjord Art Society, Sandefjord, Norway. Photographer: Thomas Tveter
The transport of the Wittgenstein Monument, 2018. Filming: Falkeblikk
The Wittgenstein Monument, 2018, Sebastian Makonnen Kjølaas, Marianne Bredesen and Siri Hjorth, 7 x 4 x 3 m, Skjolden, Sogn og Fjordane, Norway. Photographer: Karen Gimle.
–
The Wittgenstein Monument (2018)
Part of the Wittgenstein on Vacation series
with Marianne Bredesen and Siri Hjorth
Supported by KORO (URO) and OCA
Skjolden, Sogn og Fjordane
Norway
–
The final part of the Wittgenstein on Vacation series,
a whistling monument for the Austrian philosopher
Ludwig Wittgenstein
–
The Wittgenstein Monument, 2018, Sebastian Makonnen Kjølaas, Marianne Bredesen and Siri Hjorth, 7 x 4 x 3 m, Skjolden, Sogn og Fjordane, Norway. Photographer: Karen Gimle.
The transport of the Wittgenstein Monument, 2018. Filming: Falkeblikk
The transport of the Wittgenstein Monument, 2018. Video still: Falkeblikk
Performance by Siri Hjorth, unveiling of The Wittgenstein Monument, 2018, Skjolden, Sogn og Fjordane, Norway. Photographer: Karen Gimle.
Performance by Siri Hjorth, unveiling of The Wittgenstein Monument, 2018, Skjolden, Sogn og Fjordane, Norway. Photographer: Bjørn Lindahl.
Performance by Siri Hjorth, unveiling of The Wittgenstein Monument, 2018, Skjolden, Sogn og Fjordane, Norway. Photographer: Bjørn Lindahl.
The monument speaks, unveiling of The Wittgenstein Monument, 2018, Skjolden, Sogn og Fjordane, Norway. Photographer: Bjørn Lindahl.
Wittgenstein on Vacation Part I, Little Austria (2015) web poster
–
2015 – 2018
Wittgenstein on Vacation, Part I
by Marianne Bredesen, Sebastian Makonnen
Kjølaas and Siri Hjorth, supported by
KORO (URO), Art in Public Space Norway
and the Fritt Ord Foundation.
–
In August 2015 we arranged a holiday for 30 people
to Ludwig Wittgenstein’s cabin in Skjolden, Norway.
Here we did a performance at the ruin of his cabin,
as well as lectures on his life and thoughts. In January
2016 we held a lecture at KORO’s auditorium about
the trip, and our subsequent take on Wittgenstein’s
thoughts. This was part I of Wittgenstein on Vacation,
Little Austria. Initiating part II,
The Wittgenstein Monument.
–
Siri Hjorth, Wittgenstein on Vacation (2015) performance at Wittgenstein’s Cabin, Skjolden (NO) video still
Siri Hjorth, Wittgenstein on Vacation (2015) performance at Wittgenstein’s Cabin, Skjolden (NO) video still
Kirstin Dirksen, Wittgenstein in Norway (2015), Open Culture Documentary
Wittgenstein on Vacation Part I, Little Austria (2015) trailer
Poster for “Machines à penser” 2018, model of Wittgenstein’s hut by Mark Riley. Courtesy of Fondazione Prada, Venice,
Exhibition view of “Machines à penser” 2018, Fondazione Prada, Venice, Photographer: Mattia Balsamini, Courtesy Fondazione Prada
–
2018
Machines à penser
Curated by Dieter Roelstraete
Fondazione Prada,
Ca’ Corner della Regina,
Venice, Italy
–
Preliminary model of the
Wittgenstein Monument (2018)
with Marianne Bredesen
and Siri Hjorth
Supported by KORO (URO) and OCA
–
The exhibition include works by:
Gerhard Richter, Goshka Macuga,
Anselm Kiefer, Leonor Antunes,
Paolo Chiasera, Alec Finlay,
Ian Hamilton Finlay,
Alexander Kluge, Patrick Lakey,
Mark Manders, Jeremy Millar,
Sophie Nys, Susan Philipsz,
Mark Riley, Ewan Telford
and Guy Moreton.
–
Exhibition view of “Machines à penser” 2018, Fondazione Prada, Venice, Photographer: Mattia Balsamini, Courtesy Fondazione Prada
Preliminary Model of the Wittgenstein Monument (2018) with Marianne Bredesen and Siri Hjorth, Vernissage TV
“Machines à penser” 2018, Fondazione Prada, Venice, Vernissage TV
Preliminary model of the Wittgenstein Monument, 2018, Photographer: Thomas Tveter
My Zeitgeist Hurts (2018) in collaboration with Siri Hjorth. Kunstplass, Oslo. Photographer: Thomas Tveter
–
2018
My Zeitgeist Hurts
with Siri Hjorth
Kunstplass
Oslo, Norway
–
Zeitgeist III, Misanthro-poop (2018), ceramic, 20 x 20 x 18 cm. Photographer: Thomas Tveter
Zeitgeist III, Misanthro-poop (2018), ceramic, 20 x 20 x 18 cm. Photographer: Thomas Tveter
Zeitgeist III, Misanthro-poop (2018), ceramic, 20 x 20 x 18 cm. Photographer: Thomas Tveter
Zeitgeist VII, 0% Man (2018), ceramic, 18 x 18 x 43 cm. Photographer: Thomas Tveter
Zeitgeist VII, 0% Man (2018), ceramic, 18 x 18 x 43 cm. Photographer: Thomas Tveter
Zeitgeist I, Nasty Nature (2018), ceramic, 18 x 18 x 27 cm. Photographer: Thomas Tveter
Zeitgeist I, Nasty Nature (2018), ceramic, 18 x 18 x 27 cm. Photographer: Thomas Tveter
Zeitgeist II, Fuck the System (2018), ceramic, 12 x 12 x 26 cm. Photographer: Thomas Tveter
Zeitgeist II, Fuck the System (2018), ceramic, 12 x 12 x 26 cm. Photographer: Thomas Tveter
Zeitgeist VI, You’re Ugly Too (2018), ceramic, 18 x 18 x 26 cm. Photographer: Thomas Tveter
Exhibition view, My Zeitgeist Hurts (2018), Kunstplass, Oslo, Norway, in collaboration with Siri Hjorth. Photographer: Thomas Tveter
Zeitgeist IV (2018), ceramic, 20 x 205 x 15 cm. Photographer: Thomas Tveter
Siri Hjorth, Promptly Punctual (2018), textile, 200 x 65 x 20 cm. Photographer: Thomas Tveter
Siri Hjorth, Promptly Punctual (2018), textile, 200 x 65 x 20 cm. Photographer: Thomas Tveter
Siri Hjorth, Prematurely Putrefied (2018), textile, 160 x 65 x 20 cm. Photographer: Thomas Tveter
Siri Hjorth, Prematurely Putrefied (2018), textile, 160 x 65 x 20 cm. Photographer: Thomas Tveter
Siri Hjorth, Fashionably Late (2018), textile, 160 x 85 x 20 cm. Photographer: Thomas Tveter
Byggmesterens lettelse / The Master Builders Relief (2017), electro-magnetic field, aquarelle, paper, wood, 4 x 4 m (detail). Video: Susann Jamtøy
–
2017
On Dry Things
Trondheim Art Society
(NO)
–
The Master Builders Relief (2017) was part of
On Dry Things, a solo exhibition organised by
The Association of Norwegian Art Societies,
traveling between Hammerfest, Eidsberg,
Haugesund, Volda and Trondheim. Exhibition
catalog designed by Yokoland, with text by
Line Ulekleiv and supported by Art Council
Norway. A series of performances in
collaboration with Siri Hjorth was presented
at the opening nights.
–
Byggmesterens lettelse / The Master Builders Relief (2017) electro-magnetic field, aquarelle, paper, wood, bread, 4 x 4 cm (exhibition view). Photographer: Susann Jamtøy
Byggmesterens lettelse / The Master Builders Relief (2017), electro-magnetic field, aquarelle, paper, wood, 4 x 4 m (detail). Photographer: Susann Jamtøy
Byggmesterens lettelse / The Master Builders Relief (2017), electro-magnetic field, aquarelle, paper, wood, 4 x 4 m (detail). Photographer: Susann Jamtøy
Byggmesterens lettelse / The Master Builders Relief (2017) electro-magnetic field, aquarelle, paper, wood, bread, 4 x 4 m (exhibition view). Photographer: Susann Jamtøy
Byggmesterens lettelse / The Master Builders Relief (2017) electro-magnetic field, aquarelle, paper, wood, bread, 4 x 4 cm (exhibition view). Photographer: Susann Jamtøy
Byggmesterens lettelse / The Master Builders Relief (2017) electro-magnetic field, aquarelle, paper, wood, bread, 4 x 4 cm (detail). Photographer: Susann Jamtøy
The Mistletoe Promise (2017) performance in collaboration with Siri Hjorth (exhibition view). Photographer: Susann Jamtøy
The Mistletoe Promise (2017) performance in collaboration with Siri Hjorth (exhibition view). Photographer: Susann Jamtøy
The Mistletoe Promise (2017) performance in collaboration with Siri Hjorth (exhibition view). Photographer: Susann Jamtøy
The Mistletoe Promise (2017) performance in collaboration with Siri Hjorth (detail). Photographer: Susann Jamtøy
Lagnad til Bry / Lumps of Organic Panic (2016), aquarelle and ceramic, 76,5 x 57 cm / 15 x 8 cm. Photographer: Ma Ortiz
–
2017
On Dry Things III
Volda & Ørsta Art Society
(NO)
–
Lagnad til Bry / Lumps of Organic Panic (2016), aquarelle and ceramic (exhibition view). Photographer: Ma Ortiz
Toppoengtoppen / Oily Boily (2016), aquarelle, 76,5 x 57 cm. Photographer: Ma Ortiz
Fører av en Fjernstyrt Fjord / Seductive Fusion Baby (2016) aquarelle, 76,5 x 57 cm. Photographer: Ma Ortiz
Suttungsmjød / Master Blaster (2016), aquarelle, 76,5 x 57 cm. Photographer: Ma Ortiz
Lagnad til Bry / Lumps of Organic Panic (2016), aquarelle and ceramic, 15 x 8 cm (detail). Photographer: Ma Ortiz
Lagnad til Bry / Lumps of Organic Panic (2016), ceramic, 15 x 8 cm (detail). Photographer: Ma Ortiz
Fører av en Fjernstyrt Fjord / Seductive Fusion Baby (2016), ceramic, 15 x 8 cm (detail). Photographer: Ma Ortiz
Lagnad til Bry / Lumps of Organic Panic (2016), aquarelle and ceramic (detail). Photographer: Ma Ortiz
More Gravy / Huldergrøt (2017), oil on canvas, wood, ceramic, leather, 10 x 9,5 x 1 m (exhibition view). Photographer: Ma Ortiz
Så inderlig vel / Introverted Listener (2017), wood, ceramic, bread, aquarelle, snakeskin, 40 x 60 cm. Ma Ortiz
Så inderlig vel / Introverted Listener (2017), wood, ceramic, bread, aquarelle, snakeskin, 40 x 60 cm. Photographer: Ma Ortiz
More Gravy / Huldergrøt (2017) oil on canvas, wood, ceramic, leather, 10 x 9,5 x 1 m (detail). Photographer: Ma Ortiz
More Gravy / Huldergrøt (2017), oil on canvas, wood, ceramic, leather, 10 x 9,5 x 1 m. Photographer: Ma Ortiz
More Gravy / Huldergrøt (2017), oil on canvas, wood, ceramic, leather, 10 x 9,5 x 1 m (detail). Photographer: Ma Ortiz
Av skog og by / A Dinner In Debate (2016), wood, aquarelle, ceramic, ink, 89 x 50 x 5 cm / 15 x 8 cm. Photographer: Zbigniew Ziggi Wantuch
–
2016
On Dry Things I
Hammerfest Art Society
(NO)
–
Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), ink, ceramic, wood, 102 x 70 cm / 15 x 8 cm. Photographer: Zbigniew Ziggi Wantuch
Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), ink, 102 x 70 cm. Photographer: Zbigniew Ziggi Wantuch
Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), ink, 102 x 70 cm. Photographer: Zbigniew Ziggi Wantuch
Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), ink, 102 x 70 cm (detail). Photographer: Zbigniew Ziggi Wantuch
Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), 102 x 70 cm, ink (detail). Photographer: Zbigniew Ziggi Wantuch
Horse of the Norse / Hoppen som skiftet bane (2016), wood, bottle, ink on paper, 44 x 14 x 14 cm. Photographer: Ma Ortiz
–
2017
On Dry Things IV
Haugesund Art Society
(NO)
–
Horse of the Norse / Hoppen som skiftet bane (2016), wood, bottle, ink on paper, 44 x 14 x 14 cm. Photographer: Haugesund Kunstforening
Horse of the Norse / Hoppen som skiftet bane (2016), wood, bottle, ink on paper, 44 x 14 x 14 cm. Photographer:Haugesund Kunstforening
Horse of the Norse / Hoppen som skiftet bane (2016), wood, bottle, ink on paper, 44 x 14 x 14 cm. Photographer:Haugesund Kunstforening
Cyber-fun in the Algorithm Gravy / Powerhouse on the Rooftop (2015), ink, aquarelle, pastel, 50 x 65 cm.
–
2015
Høstutstillingen
The 128th State Exhibition
Oslo (NO)
–
Part of the 128th State Autumn Exhibition at
Kunstnernes Hus in Oslo. Received The
Association of Norwegian Art Societies
Debutant Prize 2015.
–
Cyber-fun in the Algorithm Gravy / Powerhouse on the Rooftop (2015), ink, aquarelle, pastel, 50 x 65 cm.
It’s Mega-personal / A Puzzle Building Muscle (2015), ink, aquarelle, pastel, 50 x 65 cm.
It’s Mega-personal / A Puzzle Building Muscle (2015), ink, aquarelle, pastel, 50 x 65 cm.
I’m So Oily / Training to Become a Train (2015), ink, aquarelle, pastel, 50 x 65 cm.
I’m So Oily / Training to Become a Train (2015), ink, aquarelle, pastel, 50 x 65 cm.
Prize Ceremony 2015, Kunstnernes Hus, Oslo (NO)
The Curator is Dead (2014), tableau vivant in collaboration with Siri Hjorth. Photographer: Karoline Hjorth
–
2014
The Institute of Art and Crime
Book launch and exhibition
Kunstnernes Hus
Published by Torpedo Press
Oslo (NO)
–
THE INSTITUTE OF ART AND CRIME is an illustrated dialog
between four characters; the Artist, the Curator, the Psychopath
and the Junkie. (for the book go here)
–
ARTISTS REPRESENTED IN THE EXHIBITION
DONNY JOHNSON – Born 1960, abstract painter. Incarcerated after
killing a man and then attacking a prison guard. Now serving three life
sentences at the Pelican Bay State Prison in California, where he’s
subjected to 23 hour lock down in a solitary cell with no windows.
Represented by four paintings on postcards provided by Stephen Kurtz,
which is responsible for Donny Johnson’s collection.The paintings are
made with the coating of M&M’s, water, and a paintbrush made of
Johnson’s own heir, as there is strict regulations for what he’s allowed to
keep in his cell.
–
ELMYR de HORY – born 1905, was a famous Hungarian forger. Lived
in France, Mexico and Ibiza before committing suicide in 1976, fearing
incarceration after his massive forging enterprise started to crumble.
He mainly forged Picasso, Renoir, Matisse and Modigliani. He is one of
the main protagonists in Orson Wells film F for Fake.
–
ERIC GILL – born in 1882, was one of Britain’s most respected artists.
His sculpture Prospero & Ariel is to be found in BBC’s Broadcasting
House, and the Creation of Adam is in the lobby of Palais des Nations,
now the European headquarters of the United Nations in Geneva. He
also created a widely used font, Gill Sans.After his death it was revealed
that he had a sexual relationship to his daughters, his sister, and the
family dog. Not quite as respected anymore, he has entered the realm of
obscurity.
–
SIRI HJORTH – born 1986, live and work in Oslo, Norway, with sculpture,
performance, installation and textile. She showcased a constructed
Tableau Vivant in collaboration with Sebastian Makonnen Kjølaas
relating to one of the protagonists of the book. It was to be found in the center
of the exhibition hall and mirrored a pivotal scene from the narrative.
The sculpture is a pastiche of Ernst Barlach’s The Avanger (1914). Barlach
was in his youth a war enthusiast, but became a pacifist after the atrocity
of World War I. This was the reason why he was exhibited at the infamous
Degenerate art exhibition in Germany (1937) organized by Adolf Ziegler
and the Nazi Party.
–
MOM & JERRY – The multi-faceted Mom, and her dirty son Jerry have
a passion for art, music, parties, glitter and fashion. In addition to being
artists, they consider themselves rebels, outlaws, Djs, living sculptures,
talk show hosts,TV personalities, movie stars, and progressive Broadway
dancers. Mom and Jerry can be seen as recycling machines in the
monstrous, virtual city of garbage. They showcased the video The world
is a cruise (9 min 34 sec, 2014) and a piece titled Line up your fun (2014).
–
The Curator is Dead (2014), tableau vivant in collaboration with Siri Hjorth. Photographer: Karoline Hjorth
The Curator is Dead (2014), tableau vivant in collaboration with Siri Hjorth. Photographer: Karoline Hjorth
The Curator is Dead (2014), tableau vivant in collaboration with Siri Hjorth . Photographer: Karoline Hjorth
Donny Johnson, Me neither (2011), non-stop paint on postcard (made in Pelican Bay correctional facility) 16 x 9 cm. Photographer: Karoline Hjorth
Donny Johnson, Bird of Paradise (2012), non-stop paint on post card (made in Pelican Bay correctional facility), 16 x 9 cm. Photographer: Karoline Hjorth
Elmyr de Hory, A preliminary sketch for a forgery of Modigliani (1968), pencil on paper, 77 x 48 cm. Photographer: Karoline Hjorth
Eric Gill, Performer on Stage (1920), graphic print, 30 x 30 cm. Photographer: Karoline Hjorth
Bach Cello Suite Nr. 3, concert by Malin Mertens (exhibition view). Photographer: Karoline Hjorth
Bach Cello Suite Nr. 3, concert by Malin Mertens (exhibition view). Photographer: Karoline Hjorth
The Artist with the Police (2014), laser print, 30 x 20 cm. Photographer: Eva Rosa Hollup
Tilbakefall (2013), steel, print, plaster, 2.41 x 32.5 x 24.9 cm. Photographer: Thomas Tveter
–
2013
Tab Me In the Back
Kunstnerforbundet
Punktutstilling
Oslo (NO)
–
Tilbakefall (2013) steel, print, plaster, 2.41 x 32.5 x 24.9 cm (detail). Photographer: Thomas Tveter
Achilles (2013) plast, plastelina, lakk, 6 x 8 x 16 cm. Photographer: Thomas Tveter
Tablå I, berøringsskjerm (2013) ceramic, 25 x 10 x 10 cm. Photographer: Thomas Tveter
Tablå II, dødtast (2013) ceramic, 17 x 23 x 5 cm. Photographer: Thomas Tveter
Tablå III, Kidnapped in space (2013) ceramic, 24 x 18×6 cm. Photographer: Thomas Tveter
Tablå IV, The Lawnmower Man 1992 (2012) ceramic, 17 x 19×6 cm. Photographer: Thomas Tveter
Tablå V, Nå blir det LAN-party (2013) ceramic, 24 x 24 x 16 cm. Photographer: Thomas Tveter
Nostalgi var mye bedre før (2013) ceramic, linoleum, glas, epoxy, 30 x 19 x 19 cm. Photographer: Thomas Tveter
Error 404 (2013) ceramic, 115.2 x 58.6 x 9.3 mm. Photographer: Thomas Tveter
Sacrificial Hammertime I (2013) ceramic, 31 x 15 x 10 cm. Photographer: Thomas Tveter
Melancholic Hammertime II (2013) ceramic, 31 x 15 x 10 cm. Photographer: Thomas Tveter
I fremtiden er det alltid dekning (2013) plaster, ceramic 23 x 13 x 8cm. Photographer: Thomas Tveter
My little multi-polyopticon looking for his hat (2013) plaster, ceramic, 30 x 32 x 10 cm. Photographer: Thomas Tveter
Foxconn 鴻海科技 (2013) plastic, aluminum, linoleum, 155 x 83 x 135 x 19 cm. Photographer: Thomas Tveter
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m, One Night Only, UKS (exhibition view). Photographer: Martin Johansen
–
2011
Døden på UKS
One Night Only
UKS
Oslo (NO)
–
Death at UKS was an One Night Only
event, where a hearse was placed in
the foaje of the Young Artists’ Association,
in which 13 women mirrored themselves
throughout the opening night. With
support from the Funeral home
M. Jacobsens.
–
Featuring:
Marianne Skjeldal /
Elin Sandvik /
Jorunn Kjersem Hildre /
Marte Reithaug Sterud /
Ida GudbrandsenJulie Skjønberg /
Silje Høgaas /
Sigrid Hirsch Kopperdal /
Ingjerd Heggem Nergaard /
Vilde von Krogh /
Hedvig Heggem Nergaard /
–
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (exhibition view). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (exhibition view). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail). Photographer: Martin Johansen
Death at UKS (2011) 11 models mirroring themselves in a hearse, 5 x 3 m (detail). Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail) Photographer: Martin Johansen
Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m (detail) Photographer: Martin Johansen
Yes We Vatican (2012), wood, plaster, LED light, 36 x 38 cm
–
2012
Yes We Vatican
Represented at Nordic Masters
Organised by ArtShortCut
Nordic Culture Point
and World Design Capital
Helsinki (FI)
–
Yes We Vatican (2012) wood, plaster, LED light, 36 x 38 cm (detail)
3327 TESLA (2010) ceramic, copper, laser print, 94 x 40 cm. Photographer: Martin Johansen
–
2010
3327 TESLA
Galleri Darbu
Oslo (NO)
–
3327 TESLA (2010) ceramic, copper, laser print, 94 x 40 cm (detail). Photographer: Martin Johansen
3327 TESLA (2010) ceramic, copper, laser print, 94 x 40 cm (detail). Photographer: Martin Johansen
Next Door Wonderwall I (2011) Disney book series (1984) Kellogs Honni-Korn, Donald Duck Cup (1968), 45 x 45 cm, . Photographer: Martin Johansen
–
2011
Next Door Wonderwall
Galleri Seilduken
In collaboration with Terje Nicolaisen
Curated by Maria Brinch
Oslo (NO)
–
Next Door Wonderwall II (2011), aquarelle, pamphlet Social Kunst (1932) glass pedestal, 69 x 23 cm (exhibition view). Photographer: Martin Johansen
Next Door Wonderwall III (2011) aquarelle, pamphlet Social Kunst (1932), 20 x14 cm. Photographer: Martin Johansen
Next Door Wonderwall IV (2011) aquarelle, pamphlet Social Kunst (1932), 20 x14 cm. Photographer: Martin Johansen
Next Door Wonderwall V (2011) laser print, 120 x 80 cm (1992). Photographer: Martin Johansen
Next Door Wonderwall VI (2011) laser print, 120 x 130 cm (1992). Photographer: Martin Johansen
Next Door Wonderwall VII (2011), silver figurine from Indonesia (1929), 15 x 10 cm. Photographer: Martin Johansen
Next Door Wonderwall VIII (2011) Donald Duck collectors book, 15 x 20 cm (1998). Photographer: Martin Johansen
Next Door Wonderwall IX (2011), sketch for unrealised comic book (1998), 18 x 13 cm. Photographer: Martin Johansen
Sebastian Makonnen Kjølaas, On Dry Things (2016), cover. Costume and photography: Siri Hjorth
–
2016
Om tørre ting (On Dry Things)
Text by Line Ulekleiv
Design by Yokoland
Costume and photography
by Siri Hjorth
Published by
Norwegian Art Societies
–
On Dry Things (2017), Costume and photography: Siri Hjorth
On Dry Things (2016), Costume and photography: Siri Hjorth
On Dry Things (2016), Costume and photography: Siri Hjorth
On Dry Things (2016), Costume and photography: Siri Hjorth
On Dry Things (2016), Costume and photography: Siri Hjorth
On Dry Things (2016), Costume and photography: Siri Hjorth
The Institute of Art and Crime, 22 x 28,5 cm, 123 pages, 66 illustrations, black and white, hardcover, english. Published by Torpedo Press 2014
–
2014
The Institute of Art and Crime
Book launch and exhibition
Kunstnernes Hus
Published by Torpedo Press
Oslo (NO)
–
Represented at
NY art Book Fair MoMA PS1
New York (US)
–
THE INSTITUTE OF ART AND CRIME is an illustrated dialog
between four characters; the Artist, the Curator, the Psychopath
and the Junkie.
–
The Institute of Art and Crime has just opened, and the newly
acquired museum curator sets out to explore subversive themes
with a set of sensational and critical tools. The story unfolds as a
dramatized encounter between the artist, the psychopath, and
the junky, who by accident meet on a park bench.The subsequent
visit to the institute gradually degenerates. As the curator
presents a wide variety of criminal elements in art good taste
dissolves in the cold, contemptuous white cube.
–
The Institute of Art and Crime, 22 x 28,5 cm, 123 pages, 66 illustrations, black and white, hardcover, english. Published by Torpedo Press 2014
The Institute of Art and Crime (illustrations). Published by Torpedo Press 2014
The Institute of Art and Crime (illustration). Published by Torpedo Press 2014
The Institute of Art and Crime (illustration). Published by Torpedo Press 2014
The Institute of Art and Crime (illustration). Published by Torpedo Press 2014
Order hardcover here / Kindle E-reader here)
Det ikke styrte, Riksteateret, with Siri Hjorth. Organised by Kulturtanken and KORO. Photo: Børre Høstland og Thomas Gønvoll
“Det ikke styrte”
For tiende året på rad arrangeres seminar om formidling
av kunst. I år har Formidlingsseminaret 2019 tittelen:
Det ikke styrte – om kunst, uforutsigbarhet og formidling,
og er et samarbeid mellom KORO, Kunstnernes Hus,
Kulturtanken og Nasjonalmuseet.
Åpning av Sebastian Kjølaas og Siri Hjorth,
«såkalt frie kunstnere», som drøftet samfunnskontrakten
med kunsten. En påstand var at bak støtten til kunsten,
ligger avkastningen i symbolsk status, selvbilde og ønske
om anseelse, fremfor at den begrunnes i ytringsfriheten.
Foto: Børre Høstland og Thomas Gønvoll
Se opptak fra konferansen her:
Go to top - Link: DET IKKE STYRTE
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
–
BAUHAUS 100
Bauhaus Museum
Kick-off for Bauhaus jubilee in Dessau
23 February 2019
2 pm – 9 pm
Bauhaus Museum Dessau
Mies-van-der-Rohe-Platz 1
Nude drawing played a central role in Oskar Schlemmer’s
teaching at the Bauhaus. The artists Siri Hjorth, Sebastian
Kjølaas and Mikael Brkić explore its limits: The models
become costumed actors, the course becomes a lecture
performance, dressed as the goddess Freyja – and her cats.
The theme; Norse mythology in relationship to Bauhaus.
2019 marks the centenary of the founding of the Bauhaus.
In Dessau this year there is a varied program. The opening
event of the centenary year in Dessau is one such experiment:
the Bauhaus Dessau Foundation is making the Open Stage in
the new museum building accessible to visitors for the first time.
In music, performances and conversations, everyone can get
an impression of the varied programme in Dessau and immerse
themselves for a whole day in the Bauhaus centenary.
–
Stiftung Bauhaus Dessau / Foto: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau / Foto: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Stiftung Bauhaus Dessau, Photographer:: Nathalie Wächter, 2018
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
Frejya at the Miniloft, 2019, with Siri Hjorth and Mikael D. Brkic. Photographer: Shauna Summers
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
–
Hvordan bli udødelig
Lecture & drawing session
Kunstnerforbundet
2018
Atelier Kunstnerforbundet is supported by
Sparebankstiftelsen, Fritt Ord and
Billedkunstnernes Hjelpefond.
–
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
Hvordan bli udødelig, 2018, with Siri Hjorth, Kunstnerforbundet, Oslo, Norway. Photographer: Thomas Tveter
It’s Me Norway (2017), ink drawing transfered to Mash banner, 5 x 3 m, Photographer: Marianne Bredesen
–
2017
It’s Me Norway
Sommerøya
Music & Art Festival
Curated by
Marianne Bredesen
SALT Oslo
(NO)
–
It’s Me Norway (2017), ink drawing transfered to Mash banner, 5 x 3 m, Photographer: Marianne Bredesen
It’s Me Norway (2017), ink drawing transfered to Mash banner, 5 x 3 m, Photographer: Marianne Bredesen
AAHHAA, logo (2013)
–
2013
AAHHAA
With Vilde von Krogh Mikael D. Brkic
Initiated by Prosjektskolen AS
in conjunction with UKS
Oslo (NO)
–
ART ART HISTORY HISTORY AGAIN AGAIN was an open forum
for dialectical discussion and interpretation of the historical
preconditions for art. During this forum we developed our main tool;
a timeline that manifested the discussed history. In the form of a
classical symposium the participants was encouraged to actively
involve themselves in the material as well as additional resources
available at UKS. With the idea of man’s separation from nature,
through the Dionysian return via utopian ecstasy, and up to heroic
materialism, we presented an eclectic array of narratives and action.
Covering 202 013 years, the symposium was held over three weeks,
and culminated in an exhibition at UKS. The participants was
assigned to unique artistic eras that they interpreted, both concept-
ually and stylistically.
–
Participants:
Alex Sander Fossøy / Markus Theodor Frossli Sundberg / Runa Gidske /
Catrine Constanse Gjelsnes / Luka Grbelja Fischer / Hedda Grevle Ottesen /
Ole Henry Halvorsen / Simen Halvorsen Tyse / Lise Hartvigsen /
Adrian Hidalgo Nygaard / Kristin Hovde / Ida Aurora Høiklev Ribu /
Petter Iversen / Marianne Knutsen / Solveig Aurora Lien Granberg /
Eirik Lyster / Caroline Løvhaug Harrison / Morten Magnus /
Anne Mari Mork Sletta / Sunniva Nilssen / Alexandra Nordfjeldmark /
Live Nornes Westli / Helle Pedersen / Tor Andreas Petterson /
Natalie Price Hafslund / Roger Robberstad / Tone Elizabeth Sabro /
Liam Seeland / Jan Eric Skevik / Katarina Skår Henriksen /
Sebastian Slaatten / Kristin Stangenes / Johannes Per Stockhausen Hektoen /
Sigrid Voll Bøyum / Frida Yggeseth
–
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) exhibition view, UKS (NO). Photographer: Jon Benjamin Tallerås
AAHHAA (2013) Art history timeline, pastell on canvas, 35 x 2,5 m. Photographer: Jon Benjamin Tallerås
AAHHAA (2013) Art history timeline, pastell on canvas, 35 x 2,5 m. Photographer: Jon Benjamin Tallerås
AAHHAA (2013) Art history timeline, pastell on canvas, 35 x 2,5 m. Photographer: Jon Benjamin Tallerås
AAHHAA (2013) Art history timeline, pastell on canvas, 35 x 2,5 m. Photographer: Jon Benjamin Tallerås
AAHHAA (2013) Art history timeline, pastell on canvas, 35 x 2,5 m. Photographer: Jon Benjamin Tallerås
Sandro Steger (2012). Photographer: Martin Johansen
–
2011 – 2013
Saltarelli Salong (SALT)
Oslo (NO)
–
Saltarelli Salong (SALT) operated through weekend exhibitions,
happenings, screenings, concerts and workshops mainly focused
on exhibiting young artists based in Oslo – and named after
Jacopo Saltarelli – an apprentice goldsmith and notorious male
prostitute who lived in Firenze during the renaissance.
In 1476 Leonardo da Vinci was arrested, spending two month
in jail, along with several young companions, on the charge of
sodomy with the then 17-year-old Jacopo. He was in his own time
accused of being ‘party to many wretched affairs and consents
to please those persons who request such wickedness of him‘.
SALT believed this to be much the same service delivered
by the majority of contemporary art.
–
Run by Sebastian Makonnen Kjølaas
Siri Hjorth, Jon Magnus Ohren,
Morten Ising, Martin Johansen,
Vilde von Krogh, Luca Andreotti
Maren Aarbu Titterud and
Marianne Bredesen
Cecilie Lind (2012). Photographer: Martin Johansen
Espen T. Samuelsen (2012). Photographer: Martin Johansen
Espen T. Samuelsen (2012). Photographer: Martin Johansen
Illegal tree, Geir Backe Altern (2012). Photographer: Martin Johansen
Tito Frey (2011). Photographer: Martin Johansen
Tito Frey (2011). Photographer: Martin Johansen
Tito Frey (2011). Photographer: Martin Johansen
Galleri Godteri, exhibition space (2009). Photographer: Martin Johansen
–
2009 – 2011
GAGO (Galleri Godteri)
Oslo (NO)
–
At GAGO, located in one of the oldest candy factory’s in Norway,
the desires of bourgeois consumer culture was personified.
The pictorial language of consumerism was distilled into fine art.
Instead of being primarily concerned with providing a space to
show works of art in the most neutral way, we made it evident
that surroundings and social setting is more than a prominent
part of any visual representation. The gallery white cube, the
impersonal, clinical art-space that is embraced by the
contemporary art world, gives the illusion that art should be seen
in a sterile environment, not contaminated by the outside world.
In the 1960’s a group of British scientists did an experiment.
They put a 4-year-old in a room with a marshmallow. They then
left the room, promising the child one more marshmallow, if he
could wait to eat it for 15 minutes. This experiment was tried out
all over the world, and always with the same result; Only one out
of three waited for the extra marshmallow. With this in mind we
made GAGO a gallery for instant satisfaction. As a marshmallow,
we’re not refined, only momentarily desirable.
–
Founded by Sebastian Makonnen Kjølaas,
Morten Ising Siri Hjorth Can Bora Lundby
and Martin Johannsen.
–
Galleri Godteri, exhibition space (2009). Photographer: Martin Johansen
Nr 9 Presents Galleri Godteri, Vilde von Krogh (2009). Photographer: Martin Johansen
