INSTALLATION

THE MASTER BUILDERS RELIEF

July 6th, 2017
The Master Builders Relief 
Trondheim Art Society 
(NO) 2017 
Supported by Art Council Norway
Photo: Susann Jamtøy

1 – 2. Byggmesterens lettelse / The Master Builders Relief (2017) 4 x 4 m, electro-magnetic field, aquarelle, paper, wood (detail)
3 – 7. Byggmesterens lettelse / The Master Builders Relief (2017) 4 x 4 m, electro-magnetic field, aquarelle, paper, wood (exhibition view)

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THE MISTLETOE PROMISE

July 6th, 2017
The Mistletoe Promise
Trondheim Art Society
(NO) 2017
In collaboration with Siri Hjorth
Supported by Art Council Norway
Photo: Susann Jamtøy

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1 – 4. The Mistletoe Promise (2017) performance in collaboration with Siri Hjorth, exhibition view.

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LUMPS OF ORGANIC PANIC

February 26th, 2017
Lumps of Organic Panic
Volda og Ørsta Art Society
(NO) 2017
Supported by Art Council Norway

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1 – 2. Lagnad til Bry / Lumps of Organic Panic (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle ceramic
3. Toppoengtoppen / Oily Boily (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle, ceramic
4. Suttungsmjød / A Dinner in Debate (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle, ceramic
5 – 6. Lagnad til Bry / Lumps of Organic Panic (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle ceramic (detail)

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HORSE OF THE NORSE

February 26th, 2017
Horse of the Norse
Volda og Ørsta Art Society
(NO) 2017
Supported by Art Council Norway

1. Horse of the Norse / Hoppen som skiftet bane (2016), 44 x 14 x 14 cm / 15 x 8 cm, wood, bottle, ink on paper
2 – 3. Exhibition view, Volda and Ørsta Art Society (NO) 2017

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INTROVERTED LISTENER

February 26th, 2017
Introverted Listener
Volda og Ørsta Art Society
(NO) 2017
Supported by Art Council Norway

1. Så inderlig vel / Introverted Listener (2017), 40 x 60 cm, wood, cearmic, bread, aquarelle, snakeskin, Volda and Ørsta Art Society (NO)

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THE INSTITUTE OF ART AND CRIME

May 14th, 2014
The Institute of Art and Crime
 Kunstnernes Hus
 Oslo (NO) 2014
Exhibition and book launch
Featuring works by 
Siri Hjorth / Donny Johnson / 
Eric Gill / Elmyr de Hory / 
Mom & Jerry / Constance Tenvik
Published by Torpedo Press
Photo by Karoline Hjorth

1. The Curator is Dead, tableau vivant in collaboration with Siri Hjorth (2014)
2 – 4. The Institute of Art and Crime, exhibition view (2014)
5. Me neither (2011), Donny Johnson
6. Bird of Paradise (2012), Donny Johnson
7. A preliminary sketch for a forgery of Modigliani (1968), Elmyr de Hory
8. Performer on Stage (1920), Eric Gill
9 – 10. Bach Cello Suite Nr. 3, concert by Malin Mertens (2014)
11. The Artist with the Police, photo by Eva Rosa Hollup (2014)

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PROTEINFABRIKKEN

April 9th, 2014
Juleutstillingen 2013
Kunstnerforbundet
 Oslo (NO) 2013

1. Proteinfabrikken (2013), 35 x 46 cm, ceramic
2. Proteinfabrikken (2013), 35 x 46 cm, ceramic (detail)

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TAB ME IN THE BACK

September 6th, 2013
Tab Me In the Back
Kunstnerforbundet
Punktutstilling
 Oslo (NO) 2013
 Photo: Thomas Tveter

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Tilbakefall (2013), steel, print, plaster, 2.41×32.5×24.9 cm

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Tilbakefall (2013) steel, print, plaster, 2.41×32.5×24.9 cm (detail)

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Achilles (2013) plast, plastelina, lakk, 6x8x16 cm

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Tablå I, berøringsskjerm (2013) ceramic, 25x10x10 cm

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Tablå II, dødtast (2013) ceramic, 17x23x5 cm

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Tablå III, Kidnapped in space (2013) ceramic, 24x18x6 cm

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Tablå IV, Gressklippermannen1992 (2012) ceramic, 17x19x6 cm

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Tablå V, Nå blir det LAN-party (2013) ceramic, 24x24x16 cm

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Nostalgi var mye bedre før (2013) ceramic, linoleum, glas, epoxy, 30x19x19 cm

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Error 404 ny fane (2013) ceramic, 115.2×58.6×9.3 mm

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Sacrificial Hammertime I (2013) ceramic, 31x15x10 cm

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Melancholic Hammertime II (2013) ceramic, 31x15x10 cm

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I fremtiden er det alltid dekning (2013) plaster, ceramic 23x13x8cm

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My little multi-polyopticon looking for his hat (2013) plaster, ceramic, 30x32x10 cm

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Foxconn 鴻海科技 (2013) plastic, aluminum, linoleum, 155x83x135x19 cm

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DØDEN PÅ UKS

May 29th, 2013
Døden på UKS
One Night Only
 UKS, Oslo, (NO) 2011
Models: Marianne Skjeldal / Elin Sandvik / Jorunn Kjersem Hildre / Marte Reithaug Sterud / Ida Gudbrandsen / Julie Skjønberg / Silje Høgaas / Sigrid Hirsch Kopperdal / Ingjerd Heggem Nergaard / Vilde von Krogh / Hedvig Heggem Nergaard /
Photo: Martin Johansen
Hearse: M. Jacobsens Begravelsesbyrå

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1 – 10. Death at UKS (2011) 11 models, mirroring themselves in a hearse, 5 x 3 m, One Night Only, UKS (NO)

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YES WE VATICAN

February 21st, 2013
Yes We Vatican
Nordic Masters
 Helsinki (FI) 2012
Organised by ArtShortCut, Nordic Culture Point and World Design Capital

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1. Yes We Vatican (2012), wood, plaster, epoxy, green LED light. 36 x 38 cm
2. Yes We Vatican (2012) wood, plaster, epoxy, green LED light. 36×38 cm (detail)

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3327 TESLA

February 21st, 2013
3327 TESLA
Galleri Darbu
 Oslo, (NO) 2010

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1 – 3. 3327 TESLA (2010) 94 x 40 cm, ceramics, print, publication, Galleri Darbu (NO)

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NEXT DOOR WONDERWALL

February 21st, 2013
Next Door Wonderwall
Galleri Seilduken
 Oslo, (NO) 2011
 In co-operation with Terje Nicolaisen
Curated by Maria Brinch

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Next Door Wonderwall (2011) 45 x 45 cm, Disney book series (1984) Kellogs Honni-Korn, Donald Duck Cup (1968)

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 Next Door Wonderwall (2011) 69 x 23 cm, aquarelle, pamphlet Social Kunst (1932)

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 Next Door Wonderwall (2011) 20 x14 cm, aquarelle, pamphlet Social Kunst (1932)

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Next Door Wonderwall (2011) 20 x14 cm, aquarelle, pamphlet Social Kunst (1932)

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Next Door Wonderwall (2011) 20 x14 cm, aquarelle, pamphlet Social Kunst (1932)

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 Next Door Wonderwall (2011) 20 x14 cm, aquarelle, pamphlet Social Kunst (1932)

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Next Door Wonderwall (2011) photo, 120 x 80 cm (1992)

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 Next Door Wonderwall (2011) photo, 120 x 130 cm (1992)

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 Next Door Wonderwall (2011), silver figurine from Indonesia (1929), 15 x 10 cm

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 Next Door Wonderwall (2011) Donald Duck collectors book, 15 x 20 cm (1998)

acNext Door Wonderwall (2011), sketch for unrealised comic book (1998), 18 x 13 cm (1995)

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 Next Door Wonderwall (2011), sketch for unrealised comic book (1998), 18 x 12 cm (1995)

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ILLUSTRATION

LUMPS OF ORGANIC PANIC

February 26th, 2017
Lumps of Organic Panic
Volda og Ørsta Art Society
(NO) 2017
Supported by Art Council Norway

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1 – 2. Lagnad til Bry / Lumps of Organic Panic (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle ceramic
3. Toppoengtoppen / Oily Boily (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle, ceramic
4. Suttungsmjød / A Dinner in Debate (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle, ceramic
5 – 6. Lagnad til Bry / Lumps of Organic Panic (2016), 76,5 x 57 cm / 15 x 8 cm, aquarelle ceramic (detail)

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A DINNER IN DEBATE

February 26th, 2017
A Dinner in Debate
Hammerfest Art Society
(NO) 2017
Supported by Art Council Norway

1 – 4. Av Skog og By / Mega-personal (2016), 89 x 50 x 5 cm / 15 x 8 cm, wood, aquarelle, ceramic, ink
5 – 6. Loker og Luker Litt i Hagen / One After the Other They Nailed Each Other (2016), 102 x 70 cm / 15 x 8 cm, ink

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MORE GRAVY

February 26th, 2017
More Gravy
Volda og Ørsta Art Society
(NO) 2017
Supported by Art Council Norway

1 – 2. Huldergrøt / More Gravy (2017), 10 x 2,5 x 1 m, oil on canvas, wood, ceramic, leather
3 – 4. Huldergrøt / More Gravy (2017), 10 x 2,5 x 1 m, oil on canvas, wood, ceramic, leather (detail)

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THE ALGORITHM GRAVY

November 12th, 2015
Høstutstillingen 2015, 
The 128th State Autumn Exhibition, Oslo (NO) 2015
Winner of Norwegian Association of Art Societies debutant prize 2015

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50×65 cm, ink, aquarelle, pastel.ferdig04Cyber-fun in the Algorithm Gravy / Powerhouse on the Rooftop (2015)
50×65 cm, ink, aquarelle, pastel.ferdig05 It’s Mega-personal / A Puzzle Building Muscle (2015)
50×65 cm, ink, aquarelle, pastel.ferdig-01It’s Mega-personal / A Puzzle Building Muscle (2015)
50×65 cm, ink, aquarelle, pastelferdig06I’m So Oily / Training to Become a Train (2015)
50×65 cm, ink, aquarelle, pastel.ferdig03I’m So Oily / Training to Become a Train (2015)
50×65 cm, ink, aquarelle, pastel.

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THE INSTITUTE OF ART AND CRIME

April 3rd, 2015
The Institute of Art and Crime,
 Published by Torpedo Press, 2014
Order it here

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1 – 6. The Institute of Art and Crime, 123 pages, 66 black and white illustrations
22 x 28,5 cm, hardcover. Language: English (2014), published by Torpedo Press (NO)

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INITIATIVE

WITTGENSTEIN ON VACATION

May 24th, 2016
Wittgenstein on Vacation 
Skjolden - Oslo 
(2015 - 2019)

In collaboration with 
Marianne Bredesen and Siri Hjorth
Supported by KORO (URO) 
Art in Public Space Norway

WITTGENSTEIN-GIFF

In 1914 Ludwig Wittgenstein started building a small wooden cabin on a secluded hilltop outside of Skjolden in the south of Norway. At the far end of the world’s deepest and longest fjord, Wittgenstein lay the foundation for his greatest work, Tractatus Logico Philosophicum.

Is it possible to write a masterpiece while on vacation? Ludwig Wittgenstein did it. It’s even possible to imagine that all great works of art has been made while on vacation. That is – on vacation from life, away from reality. While Wittgenstein withdrew from the world he stumbled upon the mythic landscape of Norse folklore. In the fjords and mountains he was possessed by elks, bears and ravens – and that nordic darkness of the soul.

Wittgenstein on Vacation is a project which try to trace the significance of Ludwig Wittgenstein’s vacation spot between 1914 and 1950. It takes as its starting point Wittgenstein’s strange relationship to Norway, and infuse the situation with a range of polarised conceptual stands; a central cultural persona hiding in the social periphery, a location meddling with an event, work being done on vacation, and subsequently – art blaming philosophy.

In August 2015 we arranged a holiday for 30 people to the Austrian philosopher 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. A performative lecture was also held at the auditorium of the National Gallery in Oslo 7th of January 2016. This was part I of Wittgenstein on Vacation, “Little Austria”.

Documentary by Kirsten Dirksen

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AAHHAA

February 21st, 2013
ART ART HISTORY HISTORY AGAIN AGAIN
UKS, Oslo (NO) 2013
Gesticulators: Vilde von Krogh, Mikael D. Brkic, 
Sebastian Makonnen Kjølaas
Initiated by Prosjektskolen AS in conjunction with UKS.
Photo: Jon Benjamin Tallerås

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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 conceptually and stylistically.

Silenus claimed that “It is best not to be born, second best to die young”. Let’s rephrase this to “best is not knowing anything, second best is it to know it all”.

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

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SALT

February 21st, 2013
Saltarelli Salong (SALT) 
2011 - 2013
Møllergata 37, Oslo
Run by:
Sebastian Makonnen Kjølaas,Siri Hjorth
Jon Magnus Ohren, Morten Ising, 
Martin Johansen, Vilde von Krogh, Luca Andreotti, 
Maren Aarbu Titterud, Marianne Bredesen.
Web ansvarlig:
Michael Hare
Photo:
Martin Johansen

Sandro Steger

Sandro Steger (2012)

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.

Holdt til i et gass og splintertett rom i Møllergata 37. Med Megazone, kickboksing og Flørt sexbutikk som nærmeste naboer var vi å finne i strøket som tidligere huset Oslos første sosiale boligbygg, stiftet i 1851,  populært kalt “Bolig’n”. Sorgenfri hospits for menn med kjønnssykdommer holdt også til her frem til 1922. Saltarelli Salong er oppkalt etter Jacopo Saltarelli.

 ”De kom inn i Storgaten. Gina pekte: “Det er Mangelsgården. Der setter dom inn grisefruentimmer”. De böide av til höire ved  Youngsgaten: “Tukthuset! Og der oppe ser du Råstua (=Møllergt. 19)”.   De gik op Youngsbakken: “Der ligger Sorgenfri, “Fila” dom kaller.   Dit kommer dom på hospital, dom som er fulle ta svineri. Og der, på  den are sia, har du Barselsstiftelsen”.

– Utdrag fra Fredrik Parelius’ “Drift”, prostitusjonsroman, 1928

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Cecilie Lind (2012)

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Espen T. Samuelsen (2012)

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Espen T. Samuelsen (2012)

Geir Backe Altern
Illegal tree planting by Geir Backe Altern (2012)

Tito Frey 01

Tito Frey (2011)

Tito Frey 02

Tito Frey (2011)

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Tito Frey (2011)

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GAGO

September 20th, 2012
 GAGO (Galleri Godteri) 
Showroom for contemporary art,
established in 2009 at Kjellands candy factory in Oslo.
 In cooperation with Morten Ising, Siri Hjorth,
 Can Bora Lundby, Martin Johannsen.
Oslo (NO)
2009 - 2010

At GAGO, located in one of the oldest candy factory’s in Norway, the desires of bourgeois consumer culture is personified. The pictorial language of consumerism is distilled into fine art. Instead of being primarily concerned with providing a space to show works of art in the most neutral way, we make 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 a candy 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.

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