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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


Steinar Haga Kristensen
Retrospective: On the Un-Subjectified Persona

NOK 300,-

Texts by Matias Faldbakken, Gaby Hartel, Elin Seip, Pernille Albrethsen, Kjetil Røed & Leander Odin Djønne
Works by Steinar Haga Kristensen

Torpedo Press 2009

MF: The owl in ”Owl” from 1998 – why does it have a beak
and a mouth?
SH K: Well, the owl was supposed to look desperate and frustrated.
And beaks don’t really express that much emotion. The
eyes of an owl always already have this desperate stare. So in
order to make it look frustrated and desperate I had to …
smudge representation a bit. Tweak reality.
MF: That’s something you have …
SH K: … yes, that’s something I try to focus on. How to make
something that has the aura of desperation – but which is not
necessarily desperate per se – look desperate for real? My
show Brunt og Vanskelig at Galleri Trafo is all about that. How
to make not really desperate, but desperate looking art, look
even more really, really desperate.
MF: Art desperado.
SH K: You can’t blame an owl for being desperate just because
it stares at you with its wild eyes.
MF: Isn’t nature desperate? Just look at those greedy little
animals in the park. Insane. The birds.
SH K: These are desperate times. But do we recognize them as
MF: No?
SH K: The early paintings you could say … is the First Blood of
my artistic career.
MF: First Blood as in Stallone?
SH K: Yes, Stallone.
MF: I would say they look more stoner than … Vietnam
veteran. That’s perhaps not a contradiction, though. Either
way, they have the stoner pallette, the stoner brushwork
and not to forget the stoner subjects.
SH K: An owl?

– From the interview Plantational Aesthetics by Matias Faldbakken