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These Are Situationist Times
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Postnordisk - Den nordiske kunstscenens vekst og fall 1976-2016

These Are Situationist Times!

Marianne Hurum: Krabbe

Liv Bugge: To accept theirs, to make it mine, to wish it for myself

Concrete Oslo

Ane Hjort Guttu:
Tekster, samtaler, manus

Dora Garcia: Segunda Vez – How Masotta was Repeated

Dora Garcia: Oscar Masotta – Segunda Vez, Cahier No. 1 and 2

Aktuell #1 Azar Alsharif

Lina Viste Grønli: LIBRARY

Guðrún Benónýsdóttir: 
lawlessness of dreams
colour palette

Ingrid Torvund:
When I Go Out I Bleed Magic

Benjamin A. Huseby:
Weeds & Aliens
An Unnatural History of Plants

Modelling Time: The Permanent Collection 1925-2014

Valentinas Klimašauskas: 
B and/or an Exhibithion Guide In Search of Its Exhibition

Matthew Rana:
The Theory of the Square

Eline McGeorge:
With the Free Rider into the oil age and beyond


Volupså & Postscript

Sebastian Makonnen Kjølaas: The Institute of Art and Crime

In Dependence –Collaborations and Artists´Initiatives

Bodil Furu:
The Aesthetics of Investigation

Jon Benjamin Tallerås and Ruben Steinum: Casual Maneuver – A Step Away From It

Geir Haraldseth: 

Great! I’ve written something stupid but I haven’t signed a contract with anyone to produce solely wise and perfect works

Marianne Hurum:

Mai Hofstad Gunnes:
Baby Snakes Hatching. Ruins. Ruins

Karl Larsson:
Poetical Assumption

Liv Bugge: You Make Me Want To Die In The Country Side –
A meditation on Heart of Darkness by Joseph Conrad

Marius Engh:
An Aggregation of Adversary

Kjartan Slettemark,Nixon Visions
Victor Lind, Monument


Hito Steyerl

Dan-Ola Persson:
Music for the Videos of Lars Laumann

Favoured Nations:
Momentum 5th Nordic Biennial of Contemporary Art

Steinar Haga Kristensen: Retrospective: On the Un-Subjectified Persona

Espen Dietrichson:
Sketches For A Mechanical Sunrise

Håkon Bleken:
tekster i utvalg (1964–2008)

Eivind Slettemeås:

Kunst og prekaritet

Kjersti G. Andvig:
No one here is Innocent

A Fiesta of Tough Choices: Contemporary Art in the Wake of Cultural Policies

The New Administration of Aasthetics

What Does Public Mean?
Art as a Participant in the Public Arena


Eline McGeorge
With the Free Rider into the oil age and beyond

NOK 100,-

The book contains a transcription of a video montage work of the artist with the same title and maps the video’s references in a narrative text in both Norwegian and English. The Norwegian version is in the front and the English version in the back. The middle of the book consists of a drawn sequence from the animation process for
the video.

The rewriting of some of the plot in the Norwegian science fiction television series Blindpassasjer (1978) is essential in the project. The plot in Blindpassasjer, which means Stowaway and is referred to in these works as the Free Rider, is simple: After a completed research project on an unknown planet, a Norwegian starship returns to
headquarters. While the ship accelerates beyond the speed of light, and the crew lies dormant, the silhouette of a figure appears on the surveillance monitors. The figure is known as the “biomat”. It is an artificial human made from a cloud of
programmable molecules, which entered the starship from the unknown planet. Its mission is to protect the planet’s ecological balance. Both the starship and the headquarters are considered a potential treat.

The plot from Blindpassasjer is rewritten into a timeline that takes as a starting
point the construction of the High-rise governmental building in Oslo (constructed in the 50s and damaged in the 2011 bombing) and the social democratic ideas coded into its architecture. The High-rise building plays the role of the headquarters in
the rewritten Blindpassasjer plot. The video and the artist’s book text follow some of the principles that laid the foundation of the Norwegian social democratic model, the organization of Statoil and the distribution of the oil wealth. The Blindpassasjer film represents some of the questions that came up at the start of the oil age in 1978 when the oil industry grew and started to change the society.
The timeline continues up to today’s version of Statoil as a multinational
corporation and further into a paradoxical future still haunted by the “biomat’.

The project investigates paradoxes within the social democratic ‘normality’. The drawn sequence in the middle of the book plays on the formation for the “biomat”. The Book was produced for the exhibition “We are living on a star” at Henie Onstad Kunstsenter (HOK), Norway, 2014

ISBN: 978-82-93104-12-4
Design: Eriksen/Brown
Torpedo Press 2014