Currently working on Amphibious Trilogies, a three year artistic research project funded by the Norwegian Artistic Research Programme and Oslo National Academy of the Arts.
If I were The Ocean, Norwegian Maritime Museum (NMM), Bygdøynes, Oslo: a working exhibition, initiated and produced by Currently, August 2016.
– Supported by Arts Council Norway, Fund for Performing Artists and Oslo Municipality. Cooperating with NMM and Kystlaget Viken.
Waking the Whale – a pre-project research grant Arts Council Norway, 2016
– curating conditions for artistic investigations of life on a shelf sea
– initiated in 2012 with artist/curator Ross Dalziel (Liverpool, uk)
– collaborating with artists mainly from Oslo and Liverpool, we are making new work that a public can play with on and alongside the sea.
Artists, architects and technicians work together with audiences to create open responses to marine research. An aim is to bring about an awareness of forgotten or overlooked marine/maritime spaces. Supported by Arts Council Norway, Fritt Ord, Oslo Kommune, PNEK,Fund for Performing Artists, and SoundNetwork and Static in the UK.
Nautila: the name of my boat/home
Nautilab: exploring notions of mobility and urbanity via living on board
Nautilog: the ship’s log
An ongoing project dedicated to exploring notions and narratives of mobility and urbanity generated by experiences of living on a boat in the centre of Oslo.
Pulp Cryption 2011
– a prototype project featuring self-folding origami
Many people are worried about having their identities stolen and consequently shred all kinds of documents that contain sensitive information. Yet such documents may be decrypted by painstakingly putting the shreds back together (as seen on CSI, etc). Pulp Cryption offers a foolproof solution to data protection.
Energy Bank 2010-12
Target audience: random pedestrians; city dwellers, tourists and passers by
Energy Bank is a special type of bank; an altruistic public power dispensing machine that generates, stores and dispenses electricity derived from kinetic energy (muscle power) for recharging electronic mobile devices. It functions when pedestrians (clients) interact (transact) with its moving parts. While there are already prototype ideas for related facilities in circulation as well as similar commercial products, my version aims to be fully functional, fun and communicative by playing with actualities and metaphors of the production, consumption and distribution of power and energy (think Geothe’s Faust!).
Desert Walker. Atmosphere 41°’ 2010
Site specific mixed media installation/performance lectures
Location: Art Villa Garikula, Akhalkalaki, Shida Qartli region, Georgia
Made for Fest i Nova Festival of Contemporary Art
In 2008 I was co-director and choreographer of the performance Desert Walker (Motherboard) that took place on the Great Salt Playa in Utah, USA with people from Norway, Finland, Denmark and England.The performance took place only once and unannounced. It was based on the choreographic score of Samuel Beckett’s TV drama Quad (1981). In July 2010 I traveled to Art Villa Garikula and held a workshop where a small scale version of this performance was re-enacted with an interdisciplinary group of artists and cultural workers from Georgia and France. For the Fest i Nova exhibition I worked on a mixed media installation and performance event that seeks to tie these events together, drawing on documentation material and physical artefacts from both events.—
The Electromagnetic Fountain 2008
Temporary public installation, urban intervention
Fill with water, plug in and play
Target audience: random pedestrians
Every city has an invisible twin, an architecture in flux made up of electromagnetic waves emitted by its numerous electrical and wireless communications devices. The water jets and lights of the Electromagnetic Fountain are programmed to respond to these waves as they pass by in its near vicinity. The fountain is transportable and designed to appear in urban spaces for a limited period of time. Once loaded off a lorry it only needs to be filled with water and plugged into a electricity supply to work. Everything else happens automatically. The public can play with its kinetic behavior by coming close to its antenna with their own cell phone and other electronic devices. Each brand, model and type of device create different responses.
Desert Walker. The Impossible Mission 2008 – ongoing
– about a performance that virtually nobody could witness and a text I have been writing since 2008.
On a stage that stretches beyond the scope of human vision, where the weather can shift faster than the blink of an eye, four solo walkers performed a simultaneous act of endurance – a serial choreography inspired by Samuel Beckett’s experimental TV drama Quad. It was performed unannounced and only once. To be able to see Desert Walker in its entirety would require hovering high above the performance area for a period exceeding 11 hours. What is the remaining artefact of this project? A text, the presentation of the documentation material, a new work? This is what I’m trying to find out.
The Emotion Organ 2007
Synaesthetic simulacrum machine
Target audience: first person player
The Emotion Organ is a synaesthetic, simulacrum machine that takes its public on a phenomenological journey through the physical senses. With the organ, you can hear colors and smell sounds. The Emotion Organ is also a time machine. It connects obsolete technology with the new, combining a 19th century organ with contemporary gadgetry to create a hybrid form that is part performance object and part scientific instrument for studying phenomenon. When playing the organ, various combinations of chords and foot pedals trigger cross-sensory events, such as the projection of visual patterns, vibrations, and/or emission of compelling aromas. Each viewer is invited to play the organ and come up with his or her own set of discoveries.
Antenna Aesthetics 2007 – 2010
Photographic and sonic portraits of antennas
Collection of snapshots of antennas and audio recordings of their electromagnetic waves
Presented as an exhibtion, a book and an accumulative online archive.
Outside our consciousness there lies the cold and alien world of actual things. Between the two stretches the narrow borderland of the senses. No communication between the two worlds is possible excepting across the narrow strip …. For a proper understanding of ourselves and the world it is of the highest importance that this borderline should be thoroughly explored.
– Heinrich Hertz , keynote address at the Imperial Palace, Berlin, August 1891—
In Death Valley, everywhere we looked, gently waving stands of desert gold blossoms danced in the wind, their daisy-like faces punctuated with vibrant orange centers 2005
Kinetic installation of sound, light, metal, salt and aroma
Per Platou and Amanda Steggell have created a work that I am so intensely in love with that I am actually a bit embarrassed to talk about it. It is as though the work is custom-made for my private feelings and longings, however I can’t put my finger on exactly what or how. At the same time, it seems to be the exhibition’s most universally accessible work – because it is so instantaneously sensuous. (Erlend Hammer, Billedkunst 04.06)
The 8th Sister. An exercise into the depths of Freudian perception 2005
Underwater sculpture to be viewed via echosounder display in Træna, off the coast of North Norway
Target audience: fisher people, seafarers and tourists
The 8th Sister is an art project that investigates the practical and contextual implications of creating an underwater sculpture in which its “true” form is manifested as an image on an ultrasound/echosounder display. Most people today are familiar with 3D, and comprehend 3D as representations in a two-dimensional form (on a screen) in computer games and as animations on TV and in films. The 8th Sister poses questions with the general acceptance of this type of reality rendering in that the actual process transforms depth to surface – from 3D to a flat 2D. The manifestation of the naked woman on an ultrasound screen can evoke deep speculations of the sculpture’s actual physical form, while offering a cheeky, humorous and mystic resonance of clumsy pin-up posters that once flavoured male dominated workplaces.
See the Motherboard archives 1996-2008 for unlisted projects.