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These Are Situationist Times
–Online Interface


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


Great! I’ve written something stupid but I haven’t signed a contract with anyone to produce solely wise and perfect works.
NOK 150,-

Selected projects by Geir Haraldseth 2005-2012

ISBN: 978-82-93104-07-0
Design: Yourfriends
Torpedo Press 2012

"The independent curator might be independent in name only as there are always certain dependencies on funding, cohesion, sense, and hierarchies. If you want to work in this business, you have to play by the rules. If you want to eat you have to stay in line. The selected exhibitions and essays collected in this publication offer a few possible answers to whether there’s a potential agency located in the oft-discussed title of independent curator.The projects featured in Great! I’ve written something stupid have been selected from a vast pool of endeavors by curator and critic Geir Haraldseth. Most of the exhibitions have been done in project spaces or in artists run spaces, while the writing has been sampled from different sources. The earliest example is from Haraldseth’s time as a student at a curatorial training program, and other texts range from contributions to exhibition catalogs to unpublished essays. Writing proved to be one way of gaining a sense of independence for the author. That particular space on paper combined with an interest in methodologies developed by artists and his peers developed into a practice of exhibition making that offer new and exciting ways of thinking curatorially and writing exhibitions. Haraldseth has been inspired by a diverse set of voices such as Witold Gombrowicz, Peter Sloterdijk and Marcia Tucker and the resulting projects on display here in this publication is a cacophony that might not fit a singular narrative nor make much sense, but they are all attempts a staking new ground for the figure of the curator and marry convention with immaturity, spite and inquisitiveness.““Great! I’ve written something stupid…” reflects Haraldseth’s efforts to carve out a space that is critical to contemporary art and its mores. In doing so, they demonstrate how vital it can be to assume the role of an independent curator in an art world bound by its dependency on patronage, on opinion, on its shared acceptance of unspoken rules of behavior. Through the guise of an independent curator, Haraldseth’s practice illuminates new ways to perceive artists and curatorial practice, and also to understand the history, problems and potential of contemporary art as a field”

– Lauren Cornell