Grand opening, Thursday 7 September, 5pm

Exhibition, 8 September – 8 October 2017

UKS, St. Olavs gate 3, Oslo


Performance by NaEE RoBErts + Concert by Klein, Friday 8 September, 10.30pm

Kunstnernes Hus, Wergelandsveien 17, Oslo

Free admission


Artist Talk by Thora Dolven Balke, Sunday 10 September, 2pm
UKS, St. Olavs gate 3, Oslo
Free admission


Listening session, Tuesday 12 September, 7pm

Sentralen/Hvelvet, Øvre Slottsgate 3, Oslo

Free admission


UKS and Ultima present an exhibition and radio series by Thora Dolven Balke in collaboration with Erik Balke, Dominic Barter, Camilla Rocha Campos, Trine Falch, Dr. Karl-Heinz Frommolt, Milford Graves, Gaby Hartel, Klein, Musa Michelle Mattiuzzi, Sandra Mujinga, and Amilcar Packer. 


All that respires, conspires reflects on the act of "conspiring" — the act of breathing together. The exhibition and radio series explores sound’s relationship to circulation and movement, following sonic movement through physical, social, interdisciplinary, and political spaces.


Etymologically to "conspire" comes from Latin con- + -spirare: to breathe together. Here "conspiration" is transposed to mean sensitivity, communication, instinct, and synchronicity, within oneself and in relation to other beings, bodies, and citizens. For example, how understanding the movements of the human body's circulatory and neurological systems can heighten our sensitivity to rhythm, language, and our ability to listen.


Works include, amongst others, Milford Graves’ compositional studies into the human heartbeat; Trine Falch’s precise understanding of the power of enactment and staging; Erik Balke’s practice of free improvisation, breathing techniques and developing instruments; Michelle Mattiuzzi’s physical research into how current and past narratives manifest in the body; Dominic Barter’s social methodology of Restorative Circles in the justice and education system of Brazil; and Dr. Karl-Heinz Frommolt’s research with wolves and foxes that helps us to better understand human communication.


Compiled and edited by Thora Dolven Balke, the work combines interviews, field recordings, archival footage, and commissioned compositions from Brazil, Norway, Germany, the UK, and the US, collected over an 18-month period. Contributors from the varying disciplines of natural science, social activism, justice, performance, medical research, and music share their insights and research on what it is to transmit meaning, and what is necessary to allow action and exchange to take place. The conversations draw from scientific research, artistic work and human experience.


UKS presents an exhibition displaying archive material, works, and objects from the contributors. The radio series is streamed online, as well as played live during an event in Hvelvet at Ultima Festival Thursday on 12 September at 7pm.







7. september – 8. oktober 2017


Åpning torsdag 7. september, kl. 17:00—20:00

UKS, St. Olavs gate 3, Oslo


Performance av NaEE RoBErts + Konsert av Klein, fredag 8. september. 22:30—02:00

Kunstnernes Hus, Wergelandsveien 17, Oslo

Gratis inngang


Lytte-session tirsdag 12. september kl. 19:00

Sentralen/Hvelvet, Øvre Slottsgate 3, Oslo

Gratis inngang


UKS og Ultima presenterer en radioserie og utstilling av Thora Dolven Balke i samarbeid med Erik Balke, Dominic Barter, Camilla Rocha Campos, Trine Falch, Dr. Karl-Heinz Frommolt, Milford Graves, Gaby Hartel, Klein, Musa Michelle Mattiuzzi, Sandra Mujinga og Amilcar Packer


Alt som puster, konspirerer tar utgangspunkt i konseptet «konspirasjon» som kommer fra latin og betyr «å puste sammen». Radioserien utforsker lyd i sammenheng med sirkulasjon og bevegelse — og følger sonisk forflytning gjennom fysiske, sosiale, interdisiplinære og politiske rom.

Verkene inkluderer, blant annet, Milford Graves’ musikalske studier av menneskehjertet; Trine Falchs presise forståelse av iscenesettelse; Erik Balkes praktisering av fri improvisasjon og pusteteknikker; Michelle Mattiuzzis’ research om hvordan fortidige og nåtidige fortellinger manifesterer seg i kroppen; Dominic Barters sosiale metodologi, Restorative Cycles, som har blitt en del av retts- og utdanningssystemet i Brasil; samt Dr. Karl Heinz Frommolts’ forskning på ulv og rev, som satser på å gi en bedre forståelse av menneskelig kommunikasjon. 
Etymologisk stammer ordet «konspirere» fra det latinske con- og –spirare: Å puste sammen. I denne sammenhengen betyr «konspirasjon» følsomhet, kommunikasjon, instinkt og synkronitet, både personlig og i relasjon til andre vesener, kropper og borgere.  
Utstillingen og radioserien har blitt samlet og redigert av Thora Dolven Balke over en periode på 10 måneder og kombinerer intervjuer, feltopptak, arkivmateriale og bestillingsverk fra Brasil, Norge, Tyskland, Storbritannia og USA. Bidragsytere fra varierte felt som naturvitenskap, sosial aktivisme, juss, performance, medisin og musikk deler research, arbeid og innblikk i hva det vil si å overføre mening—og ikke minst hva som skal til for å legge til rette for handling og reell utveksling. Samtalene baseres på vitenskapelig research, kunstnerisk arbeide og menneskelig erfaring.
Radioserien blir tilgjengelig online på, og den første episoden spilles live i Hvelvet under Ultimafestivalen 12. september kl 19:00. 
UKS presenterer en utvidet versjon av radioserien gjennom en utstilling med installasjoner av arkivmateriale, arbeider og objekter fra de forskjellige bidragsyterne.


Performance by NaEE RoBErts + Concert by Klein, Friday 8 September, 10.30pm
Kunstnernes Hus, Wergelandsveien 17, Oslo
! Free admission !


Part of Thora Dolven Balke's grand collaborative project All that respires, conspires – a radio podcast, events series, and an exhibition co-produced by UKS and Ultimaaudiences are invited to Kunstnernes Hus for a live performance by NaEE RoBErts, one of Sandra Mujinga’s (NO) many aliases, and a concert by one of the UK’s most intriguing and undefinable young producers and performers, Klein – an eclectic mix of gospel-inspired vocals and sensory soundscapes where obscure Nigerian B-Movies and piano loops clatter into jagged beats.


NaEE RoBErts
NaEE RoBErts is one of Sandra Mujinga's many aliases - a project that samples and archives the artist's performative movements by combining them with music and material collected online. Weaving material such as Congolese choreographies showing both traditonal and contemporary dance moves, NaEE RoBErts combines idiosyncratic musical experiments with pop music idioms and references, twisting conventions through repeated lyrics and unexpected samples.

South London based musician Klein is an artist whose neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers. Her often playful and restive approach to composition is instantly alluring. Samples of obscure Nigerian B-Movies clatter into jagged beats. Distant piano loops lurk in the haze whilst beguiling vocals fade in and out of the sensory World she has created. Following some ear-catching manoeuvres across last year’s releases, which gained her early fans like Bjork and Dev Hynes and Laurel Halo, resulting in her featuring on two tracks of Halo's new LP, upcoming release (29 September) Tommy marks Klein's deepest plunge yet into the 'deep, dark ocean' of her musical imagination on her Hyperdub debut.

Balke’s new, collaborative project, All that respires, conspires, reflects on the act of “conspiring” – the act of breathing together. Talking about the making of the exhibition and radio series, Balke will discuss how the project explores sound’s relationship to circulation and movement, following sonic movement through physical, social, interdisciplinary, and political spaces.


2pm—4pm at UKS, St. Olavs gate 3. 




Thursday 21 - Sunday 24 September 2017

Coast Contemporary at Hurtigruten (Lofoten—Bergen)

Asked to curate an afternoon in a cabin as part of the art event Coast Contemporary taking place on Hurtigruten in September, UKS has invited Nora Joung (b. 1989)—Norwegian writer, critic, and artist of succinct word-based performances who is currently preparing an upcoming solo show at UKS—to mount a retrospective of her performative works to date.

Using the cabin as backdrop, the prospect of Joung’s chronological walk-through promises to be as plain and simple as a portfolio viewing and as intimate as a prolonged studio visit, inviting everyone onboard to “see it all”. Working through eight early pieces, Joung toys with general presumptions of fragile, performative transparency; meanwhile Hurtigruten in all earnest becomes the outset for the credo that “sometimes you got to go back, to move forward”. Joung’s retrospective is the first step towards the production process of her new project, opening at UKS’ premises and the neighboring venue, Kunstnernes Hus, in January 2018.

Initiated by Norwegian curator and artist Tanja Sæter, Coast Contemporary is a platform that aims at annually assembling local artists and international art professional on a journey off the coast of Norway onboard the ship Hurtigruten. The first edition takes place from 21 September through 24 September 2017 and is curated by Helga-Marie Nordby.

Still image from the play Schaumstoff Laden written and directed by Georgia Gray, Acud Gallery Berlin, 2016
Butterfly Eyes (Relaxed), 2016




28 October – 26 November 2017

Venues: UKS, St. Olavs gate 3 + Kunstnernes Hus, Wergelandsveien 17


UKS Opening, Friday 27 Oct, 7pm



Performance "Concorde", Friday 27 Oct, 9pm [Free admission]

@Kunstnernes Hus


Performances "Concorde", Saturday 28 Oct, 3pm (matinée) [Free admission]

@Kunstnernes Hus


Performances "Concorde", Saturday 28 Oct, 7:30pm (soirée) [Free admission]

@Kunstnernes Hus


Georgia Gardner Gray (b.1988) is a Berlin-based artist whose work includes painting, sculpture and live theater. Originally from New York, she graduated from The Cooper Union in 2011. She has previously participated in the show New Theater: Selected Plays at the Whitney Museum of American Art (2015), and had her first solo exhibition at ACUD Gallery in Berlin (2016), and in summer 2017, she had a grand solo exhibition Precious Provincials at the Kunstverein in Hamburg. Her exhibition at UKS will be the first solo presentation of her work in Norway.


Gray's exhibition is part of a series of UKS solo exhibitions taking place both at UKS and at Kunstnernes Hus 2017/18. For more information on this series, read here.





Amerikanske Georgia Gardner Gray (f. 1988) er en Berlin-basert kunstner med en praksis som includerer maleri, skulptur og teater. Hun gikk ut fra The Cooper Union i New York i 2011, og har tidligere vist arbeider i gruppeutstillingen New Theater: Selected Plays (2015) ved Whitney-museet i samme by. Hun viste sin første soloutstilling ved Acud Macht Neu i Berlin (2016) og stilte i mai-juni 2017 ut ved Hamburger Kunstverein. Utstillingen for UKS blir hennes første solopresentasjon i Norge.


Utstillingen er en del av UKS’ gjestespill på Kunstnernes Hus 2017/18, som du kan lese mer om her.


Constance Tenvik, Koret. Del av utstillingen Game of Life III: Juliusvariasjonene. Foto: Tor Simen Ulstein.
Constance Tenvik, Koret. Del av utstillingen Game of Life III: Juliusvariasjonene. Foto: Tor Simen Ulstein.



9 December 2017 –  14 January 2018

Venues: UKS, St. Olavs gate 3 + Kunstnernes Hus, Wergelandsveien 17



Opening, Friday 7 December, 7pm

@UKS + Kunstnernes Hus


Constance Tenvik (b.1990) is a graduate of the Oslo National Academy of the Arts (BA) and Yale School of Art (MFA). Her work is anchored in the performative and the intermedial, and includes drawing, sculpture, and performance. Her project for UKS will open in December 2017 and will be Tenvik’s first major solo exhibition in Norway. She has previously shown her work at Kristiansand Kunsthall, Deli Projects (Basel), 6 Mont Space (New York), and Loyal Gallery (Stockholm), among other venues.


Tenvik's exhibition is part of a series of UKS solo exhibitions taking place at both UKS and Kunstnernes Hus 2017/18. For more information on this series, read here.




Constance Tenvik (f. 1990) er utdannet ved Kunstakademiet i Oslo (BA) og Yale School of Art (MFA), og har en praksis forankret i det performative og det tverrmediale – fra tegning til skulptur til performance. Prosjektet på UKS, som åpner i desember 2017, blir hennes første store soloutstilling i Norge. Hun har tidligere stilt ut ved bl.a. Kristiansand Kunsthall, Deli Projects i Basel, 6 Month Space i New York og Loyal Gallery i Stockholm.


Utstillingen er en del av UKS’ gjestespill på Kunstnernes Hus 2017/18, som du kan lese mer om her.

Nora Joung, Golden Ague (2016). Foto: Istvan Virag
Nora Joung, Mapping (2016), videostill.


26 January –  21 February 2018

Venues: UKS, St. Olavs gate 3 + Kunstnernes Hus, Wergelandsveien 17


Opening, Friday 26 January, 7pm

@UKS + Kunstnernes Hus


Nora Joung (b.1989) is a graduate of the Bergen Academy of Art (BA), Akademin Valand and the Oslo Academy of Art (MA). A prolific critic and writer, Joung’s artistic practice is mainly focused on installations and text. Through 2017, Joung presented a solo exhibition at NoPlace (Oslo), participated in a group exhibition at Kunstnerforbundet (Oslo) and is currently part of KATALYSATOR (Project Art Writing and Aarhus Litteraturcenter, Aarhus).


Joung's exhibition is part of a series of UKS solo exhibitions taking place at Kunstnernes Hus 2017/18. For more information on this series, read here.




Nora Joung (f. 1989) er utdannet ved Kunstakademiet i Bergen, Akademin Valand og Kunstakademiet i Oslo. Hun arbeider spesielt med installasjoner og tekst, og er også aktiv som kritiker og skribent. Kommende aktivitet inkluderer KATALYSATOR i regi av Project Art Writing og Aarhus Litteraturcenter (2017), gruppeutstilling på Kunstnerforbundet (2017) og solopresentasjon på NoPlace i Oslo (2017).


Utstillingen på UKS er en del av UKS’ gjestespill på Kunstnernes Hus 2017/18, som du kan lese mer om her.

Eirik Sæther, «Dress Rehersal» (2016). Courtesy of the artist. Previously exhibited at the 9th Berlin Biennale, Akademie der Künste
Georgia Gardner Gray, still image from the play «Schaumstoff Laden» (2016). Written and directed by Georgia Gardner Gray for the Acud Gallery Berlin.
Constance Tenvik, detail from «Koret» (2016). Photo: Tor Simen Ulster. Part of the exhibition «Game of Life III: Juliusvariasjonen» at Kristiansand Kunsthall.
Nora Joung, «Golden Ague» (2016). Photo: Istvan Virag.

From May 2017 through February 2018, UKS (Unge Kunstneres Samfund / The Young Artists’ Society) will present a part of its artistic program on the ground floor of Kunstnernes Hus. Running in parallel to the hosting institution’s own exhibitions,  UKS’ program comprises four grand, new commissions, all by artists who have not previously had major solo exhibitions in Norway or Scandinavia.


UKS’ program at Kunstnernes Hus premiers on May 19 with a solo exhibition by Eirik Sæther (NO). In Autumn 2017, UKS presents large projects by Georgia Gardner Gray (US/DE) and Constance Tenvik (NO), followed by Nora Joung’s (NO) solo exhibition in early 2018.


Throughout the year to come, in parallel with the activities at Kunstnernes Hus, UKS’s venue at St. Olavs gate will be extended to host a breadth of events and exhibitions.




Fra våren 2017 til februar 2018 vil Unge Kunstneres Samfund (UKS) vise sitt hovedprogram i utstillingssalen i første etasje av Kunstnernes Hus. Programmet består av fire store presentasjoner, alle av kunstnere som ikke har vist større soloutstillinger i Norge eller Skandinavia tidligere. 


Første kunstner på programmet er Eirik Sæther – hans utstilling åpner 27. april. Høsten 2017, etter et avbrudd for den årlige Høstutstillingen, åpner den amerikanske kunstneren Georgia Gardner Gray sin utstilling. Hun etterfølges av Constance Tenvik, før Nora Joung avslutter programmet med en utstilling som åpner primo 2018. 


UKS lokaler i St. Olavs gate vil blive utvitet så de kan fungere som venue for arrangementer og samlinger også i året som kommer, ved siden av utstillingsprogrammet på Kunstnernes Hus. 


Les mer om gjestespillet her!







Time: Wed 21 June, 7pm 

UKS at Kunstnernes Hus, Free admission


Don't miss Family Friendly, Eirik Sæther’s first large-scale institutional solo exhibition in Scandinavia and a part of UKS' guest programme at Kunstnernes Hus in Oslo.


The exhibition is on view through Sunday 18 June, yet as an additional finissage event and a last chance to see Sæther's works, UKS hosts a conversation between the artist and Berlin-based freelance writer and art critic Pablo Larios (associate editor, Frieze) on Wednesday 21 June at 7pm. The talk will take place at Kunstnernes Hus and is supported by Fritt Ord.


Read more about Family Friendly here!





Gå ikke glipp av Family Friendly, Eirik Sæthers første institusjonelle soloutstilling i Skandinavia og den første av UKS’ gjestespill på Kunstnernes Hus i Oslo.


Utstillingen er åpen frem til søndag 18. juni, men som et ekstra finissage-arrangement og en siste mulighet til å se Sæthers verker, inviterer UKS til kunstnersamtale mellom kunstneren og den Berlin-baserte freelance-skribenten og kritikeren Pablo Larios (redaktør ved kunstmagasinet Frieze) på Kunstnernes Hus onsdag 21. juni kl. 19. Samtalen vil foregå på engelsk. Arrangementet er støttet av Fritt Ord. Velkommen!


Les mer om utstillingen her!


Welcome to UKS’ Summer Party 2017!


Please join us for UKS’ annual summer party, which this year will take place in UKS’ newly refurbished space in St. Olavs gate 3. There will be drinks, DJ and a theatrical performance by artist Anahita Alebouyeh and comedian / actor / brother Amir Amadeus. Doors open at 7.30pm, performance at 8.30pm!


We’ve passed on the mike for Anahita and Amir to introduce their performance below (Norwegian only):




Velkommen til UKS’ Sommerfest 2017! 


Vi inviterer i år til fest i nyoppussa og utvida lokaler i St. Olavs gate 3, hvor vi det blir drinks, DJ og, ikke minst, performance med kunstner Anahita Alebouyeh og komiker / skuespiller / bror Amir Amadeus. Åpne dører fra 19.30, performance kl. 20.30! 


For å introdusere kveldens gjester, gir vi ordet over til Anahita og Amir selv: 


Anahita Alebouyeh (1987), more like AleBUHU, ja! er det noen som kommer til å gråte hele veien til banken så er det Anahita, fordi hennes lokalbank nylig ble STENGT av Mattilsynet grunnet dårlig hygiene. Ikke bare har hun en bachelor i kunst fra KHiB, men hun har også bachelor i å dumme seg ut: som f. eks. da hun valgte å ta en bachelor i Kunst ved KHiB. Haha! Hun er MEST kjent som «lillesøstra til Amir», men også som NEST kjent som «lilledattera til mora si». Hun har en hjerte av gull, men lommebok av støv og gulrot, for en idiot-klut hun er? Hun tror hun er sofistikert, men fikk nylig avslag på medlemskort hos  COOP. Og Ja: Gjesp,«zzz», snork, men hun har blant annet stilt ut på HATCH (utstilling for nyetablerte kunstnere i Agder), Oslo Open Kunstfestival, Qunst25,  The Artists-Festival (Zacheta National Gallery of Art) og Munch-museet (i forbindelse med utstillingen til Munch+Jorn, hvor hun og Eirik Sæther var invitert av Christian Tony Norum).


Amir Amadeus (1985), har nylig vært gjennom en herlig skilsmisse der kona hans tok halve formuen hans, heldigvis eide Amir kun ett stykke loff og sjelen sin. Nå har han bare loffen igjen. Etter skilsmissen gikk alt oppover, han bodde på gata en stund, møtte en hjemløs rotte, fikk barn med henne, og flytta nedi kloakken, der nede fant han en gullgruve og skilte seg nok en gang ettersom han fant ut han ikke er en rotte. Han har siden startet et skipsrederi for skip som står på land, og han inngikk nylig en avtale med Mattilsynet om å Stenge Lokalbanken til Anahita. Men ikke si det til noen. Amir pleier ofte å invitere Anahita for å vise henne det innrammede medlemskortet hans i COOP.


Anahita og Amir går under kunstduonavnet, «AirZone 35!», men det hender også at de kaller seg selv «Brother man, what a plan» og «Two in the Ass and one in the face!» Dette er deres første SceneFilm (forestilling-performance) sammen. Neida :P



Tuesday June 6, 2017, 6pm

UKS, St. Olavs gate 3, Oslo


Famous New Media Artist Jeremy Bailey solves the problems you didn’t know you had! 


UKS and PRAKSIS welcome you to a performative talk with self-proclaimed Famous New Media artist Jeremy Bailey. Get to know Bailey's inventive and endearingly self-deflating practice, which collides the vulnerabilities and embarrassments of physical embodiment with the tricks of internet marketing and digital imaging’s sleek pictographics. 


The event is part of 'The Artist Entrepreneur' residency developed by PRAKSIS with Bailey, UKS and The Moving Museum. Over a month, the resdiency group of international and local artists are probing the growing tendency within many arms of the ‘culture industry’ to require artists to adopt entrepreneurial approaches, with the elusive goal to develop new manifestos for artists in this era of increased uncertainty. 




Self-styled “Famous New Media Artist” Jeremy Bailey’s inventive and endearingly self-deflating performance practice collides the vulnerabilities and embarrassments of physical embodiment with the tricks of internet marketing and digital imaging’s sleek pictographics. His work has featured in an international roster of venues and festivals, including the Stedelijk Museum, Amsterdam; Tate Liverpool; Whitechapel Gallery, London; Transmediale, Berlin; Museums Quartier, Vienna; and the New Museum, New York. Via his project The You Museum (2015-ongoing), Bailey’s displays – individually tailored to suit the viewer’s personal tastes – can be accessed globally online: see

Eirik Sæther, All Living Legends (Lilja), 2017. Mixed materials, 150x40 cm.
Installation view.
Eirik Sæther, All Living Legends (Pauline), 2017. Mixed materials, 150x40 cm.
Eirik Sæther, I’m too excited to tell you, 2017. Video, 1:45 min loop
Installation view
Installation view. All photos: Vegard Kleven.


Family Friendly

20 May – 18 June 2017 

Opening: Friday 19 May, 7pm

UKS at Kunstnernes Hus, Wergelandsveien 17, Oslo


Opening hours:

Tuesday – Wednesday: 11am – 4pm

Thursday: 11am – 8pm*

Friday: 11am – 6pm

Saturday – Sunday: 12 – 6pm


UKS (Unge Kunstneres Samfund / The Young Artists’ Society) presents Eirik Sæther’s first institutional solo exhibition in Scandinavia, Family Friendly. Preluded by a one-night happening by Sæther in early spring, the exhibition launches UKS’ guest program at Kunstnernes Hus, displaying four new commissions by young artists from May 2017 through February 2018. Part of a new artistic generation in Oslo, Sæther has worked over the past few years in various collaborative constellations—among these, as a founding member of the infamous artist group Institutt for Degenerert Kunst (2008–15)—while his work has been shown both in Norway and abroad, including in Paris, Berlin, and New York.




A truce is a momentary armistice between fighting fronts, whether individuals or collectives. It is also the title of a work in Sæther’s exhibition. Expanding this concept of an uneasy balance, it approaches the artist’s body of work as an ongoing performance compiled from an amalgam of surrounding interests. Sæther’s practice is a constant negotiation, assemblages created from thickly applied layers, catalyzed by the different sociolects and visual realms he encounters as an international artist and a broke Oslo slacker; an eternal teenager, a son, and a father; and an occasional (identity) thief and the creator of an irregular (fake?) fashion brand.


To be Family Friendly is a benevolent marker. Yet in a corporate culture it is a double bind since it also indicates the potentially cynical motif: selling the product, i.e. hijacking the family for commercial employment and tuning the cultural output to its spectators by censoring the world’s terrors. Toying with these layers, Sæther’s exhibition is built around an almost life-size mock-up of a (family) home, introduced by the plaque Hiring Homewreckers and completed by an interior of patchwork carpets, a beat-up sofa, and a television.


Outside this DIY-playhouse, a central element of the exhibition is a series of elevated platforms displaying bronze casts of baby dolls that recall the 1988 horror movie Child’s Play in which a puppet breaks out of its amicable role. Clad in glittery costumes and punk wigs, Sæther’s figurines are set amongst faux branches, graffiti spray cans, and home-décor lettering, evoking simultaneously a humorous rip-off of uncanny motifs, a catwalk, and an ikebana arrangement.


A fixture behind Sæther’s scenario is the 1957 Italo Calvino novel The Baron in the Trees. The narrative follows the rampant, adolescent boy of a noble family who decides to rebel against the prospects of adulthood and assuming his proper role as Baron by living his whole life in a tree, rejecting the decorum of aristocracy. While Calvino’s text paraphrases the European post-war existentialist rejection of etiquette and embellished attire, in Sæther’s version the stage of rebellion is no longer an ascetic site of nature but a theatrically dressed-up act. It is an adorned photo-op combining montaged material, including classical bronze surfaces, tropes from en-vogue pop culture, and a plethora of artistic references to, among others, the oddities of Norwegian renegade artist Kjartan Slettemark. The withdrawal to an isolated treetop (akin to an artistic ivory tower) is thus replaced with a murkily embroidered stage design. Set on custom-built pedestals imitating grand-scale flower vases as if in a Japanese garden, the dolls’ miniature worlds merge (naive) visual indicators of dissidence – the spray can and the punk hair – with the floral tropes of good taste and bourgeois life. Here Calvino’s aim for lofty solitude has turned into a meticulously sculpted, philistine performance, resonating with the crux of Sæther’s practice: the deliberately failing attempt to escape from the institutionalized art world’s formalism only to sink into a dirty realm of libidinal desire, juvenile blogging, and blurred backstreet boyhood.


The sculptural copper house at the centre of the installation is left abandoned, the rebel dolls having dropped-out to pose on their different stages. The cabin’s interior, made mainly from found materials, is embellished with a patterned floor of collaged rugs (resembling the pedestals’ fabric surfaces). There a life-size foam-mannequin sits dressed in a pink robe repeatedly marked with the acronym BX (Sæther’s recurring ‘tag’). The same outfit is also seen on what appears to be a photoshoot with a young male model, that is pictured in a short film-loop entitled I’m too excited to tell you playing on a flat screen and interspersed by rushes of a crying baby mask donned by the artist himself. Paraphrasing the renowned Dutch artist Bas Jan Ader’s 1970–71 silent film I'm too sad to tell you, which shows Ader crying, Sæther’s video clip reshuffles the excited balance between earnest emotional investment and pressure of performative success. Chaining different levels of sincerity with tropes of high-life entertainment, flirtation and melodrama, the (gory) thrill stemming from popular attractions is an important anchor. As in horror films or reality TV, affect is an asset—slaughter, or even sorrow, is fun. In the midst of the exhibition, the hollow playhouse, entitled Family Friendly, thus gives space for an excited pleasure that is both gripping and abject, genuine and tongue-in-cheek. 



Eirik Sæther (b. 1983) graduated from Oslo Academy of the Arts’ MFA program in 2010. Previous exhibitions and projects include the solo show World’s Youngest at Édouard Montassut in Paris (2017), participation in the 9th Berlin Biennale (2016), the solo exhibition INNESTEMME organized by Jenny’s at 47 Canal, New York (2015), and the exhibition Unshelling and Shelling Again, which he curated for Kunsthall Stavanger and Diorama, Oslo (2014). Current exhibitions, on display throughout the summer 2017, include a solo show at Jenny’s in Los Angeles and participation in the Norwegian Sculpture Biennial in Oslo.






Family Friendly

Åpning: Fredag 19. mai, 19.00

Utstilling: 20. april - 18. juni

Kunstnernes Hus, Wergelandsveien 17, Oslo



Tirsdag – onsdag 11.00 – 16.00

Torsdag 11.00 – 20.00*

Fredag 11.00 – 18.00


Lørdag – søndag 12.00 – 18.00



Unge Kunstneres Samfund (UKS) er stolte av å presentere Family Friendly, Eirik Sæthers første store soloutstilling i Skandinavia. Etter en en-kvelds happening i utstillingsrommet med Sæther tidligere i år, er utstillingen den første av UKS’ gjestespill på Kunstnernes Hus i Oslo, som løper fra mai 2017 til februar 2018 og løfter frem fire unge kunstnerskap gjennom større solopresentasjoner. Sæther har de siste årene gjort seg bemerket gjennom egne utstillinger og prosjekter i inn- og utland – bl.a. i Paris, Berlin og New York – samtidig som han har vært aktiv innen ulike samarbeidskonstellasjoner, blant dem kunstnergruppen Institutt for Degenerert Kunst (2008 – 15).  




En truce (våpenhvile) er en fremforhandlet avtale mellom kjempende fronter – et momentant, kanskje skrøpelig forbund mellom motsetninger, individer eller kollektiver. Det er også tittelen på ett av de sentrale verkene i denne utstillingen. Sæthers verker skapes som skjøre avtaler mellom et utall av synlige og usynlige interessenter, mellom nære og fjerne samtale- og stridspartnere. Se for deg en fortløpende performance, der materiale fra omkringliggende interessefelt konstant hoper seg opp, forhandles med og negeres. Sæthers skulpturelle arbeider består av tykke lag av visuelle innflytelser fra de ulike sosiolektene og visuelle rommene kunstneren tar del i: fra internasjonal kunstner til blakk Oslo-slacker; fra designeren bak et (falskt?) klesmerke til tidvis identitetstyv, fra familiemann til evig tenåring. 


Å være family friendly er i utgangspunktet noe positivt. I en kommersielt orientert verden, er det likevel vanskelig å komme unna det potensielt kyniske ved det «familievennlige». Begrepet er nært forbundet med markedsføringsstrategier, der familien blir kapret av kapitalen og verdens grusomhet blir slipt bort til fordel for et produkts salgbarhet. I en lek med denne tosidigheten, har Sæther sentrert utstillingen rundt en storskala modell av et (familie)hjem, hvor besøkende ønskes velkommen av en plakett med teksten Hiring Homewreckers og interiøret består av en ansamling lappetepper, en sliten sofa og et fjernsynsapparat. 


Utenfor dette hjemmelagde dukkehuset står en rekke plattformer og spesialbygde pidestaller, nærmest som store blomstervaser i en japansk hage. Barnedukker støpt i bronse og kledd i parykker og glitrende kostymer, har her funnet sinn plass blant falske greiner, spraybokser og pyntebokstaver. Minitablåene er et lekent pek mot skrekkfilmen Child’s Play (1988), hvor en dukke bryter ut av sin familievennlige rolle, samtidig som de sender tankene til bl.a. catwalks og japanske blomsteroppsatser.


Ett av Sæthers utgangspunkter for disse scenariene er den italienske forfatteren Italo Calvinos roman Klatrebaronen (1957), som forteller historien om en adelsgutt som gjør opprør mot den truende voksenverdenen og mot sin egen framtid i et anstendig, kultivert adelsliv. Calvinos romanfigur klatrer opp i et eiketre og sverger på å aldri mer komme ned. Der Klatrebaronen parafraserte den europeiske etterkrigstidens eksistensialistiske avvisning av fortiden, er Sæthers versjon av dette opprøret en teatralsk handling, som utspiller seg langt borte fra den ville naturen. Disse scenariene fungerer som fotografiske oppstillinger, som kombinerer en eklektisk collage av klassisistisk bronse, en-vogue popkultur og kunstneriske referanser (bl. a. til de særegne delene av norske Kjartan Slettemarks kunstnerskap).


Utstillingens iscenesettelse av et tilbaketog går altså ikke til en ensom tretopp (eller et kunstnerisk elfenbenstårn), men til et ornamentert, nitidig konstruert miljø. Her, i dukkenes miniatyrverdener, er typiske «rebelske», performative gester, slik som graffiti-spraybokser,  stilt sammen med pyntelige symboler for småborgerlighetens «gode» smak. Det vidløftige ønsket om ensomhet har slått over i en utstudert, filistisk situasjon – en speiling av et gjenvendende tema i Sæthers kunstnerskap: det bevisst feilslåtte forsøket på å bryte ut av den institusjonaliserte kunstverden, bare for å havne i en skitten underskog av begjær, søppel-tv, motebloggere og en gutteaktig ansvarsløshet.  


Kobberhuset er forlatt, dukkene har flyttet hjemmefra for å innta sine positurer på hver sin scene. Igjen sitter en skumgummi-mannekeng, kledd i en rosa morgenkåpe med den serielle påskriften BX – ’tagen’ til Sæthers klesmerke. Den samme morgenkåpen kan sees i videoverket I’m too excited to tell you, der en fotoseanse med en ung, formodentlig berømt gutt kryssklippes med bilder av kunstneren selv, iført en gråtende babymaske. Som en parafrase av den nederlandske kunstneren Bas Jan Aders videoverk I’m too sad to tell you (1970-71) – som viser en gråtende Ader – pirker Sæthers korte filmloop ved det nervøse (eller ’excited’) skillet mellom den ektefølte, emosjonelle investeringen og det harde presset mot å skape performative suksesser. Her kobles ulike grader av oppriktighet sammen med effekter fra underholdningsverdenen – forførelsen og melodramaet – med spenningen som et viktig anker. Som i skrekkfilmer og reality-fjernsyn, er affekten noe som kan brukes; nedslakting, skrekk, til og med sorg, er noe gøy. Slik kan det hule lekehuset, som bærer samme tittel som utstillingen, Family Friendly, ende opp med å romme både det rørende og det frastøtende, det genuine så vel som det lekende, humoristiske. 



Eirik Sæther (f. 1983) er utdannet ved Kunstakademiet i Oslo, og har tidligere bl.a. vist soloutstillingen World’s Youngest på Édouard Montassut i Paris (2017), deltatt i Berlin-biennalen (2016), vist soloutstillingen INNESTEMME, organisert av Jenny’s ved 47 Canal i New York (2015) og kuratert utstillingen Unshelling and Shelling Again ved Kunsthall Stavanger og Diorama (2014). Sommeren 2017 åpner Sæther soloutstilling på Jenny’s i Los Angeles og deltar på Skulpturbiennalen i Oslo.



Tuesday April 4, 2017, 19:00-21:00 *

UKS, St. Olavs gate 3, Oslo


Founded by artists for artists as one of Norway’s first experimental art institutions, UKS (The Young Artists’ Society) has since 1921 been convening, exhibiting, and developing critical voices of contemporary artists, with the objective of having both an artistic and political impact within and beyond its region.


Opening a series of talks about the artists’ institutions, this evening three artists, all working as both individual creative producers as well as on larger institutional fabrics—Angie Keefer, co-founder of The Serving Library (Liverpool); Lise Soskolne, core organizer of W.A.G.E. (New York); and Steffen Håndlykken, co-founder of 1857 (Oslo)—will each expose and reflect on their dual functions followed by a conversation addressing questions of value and impact situated in the intersection between artistic and institutional practices. The discussion will be moderated by UKS’ director Rhea Dall, who will also be contributing by talking about PRAXES Center for Contemporary Art, an institution she co-founded in Berlin in 2013.

As part of the event, a prototype of UKS’ upcoming Minibar will be test-run.


* In advance of the talk, a workshop exploring different institutional models will take place from 14.00-17.00. The workshop will include all panelists and is open to participation. To attend, please RSVP to




Helt siden UKS ble stiftet av kunstnere i 1921, har organisasjonen vært et møtested og en utstillingsplass for samtidskunstnere og eksperimentelle kunstpraksiser.


Som den første i en samtalerekke om kunstnerinstitusjoner, inviterer UKS til et møte med tre kunstnere som alle arbeider institusjonelt, ved siden av sin egen kunstneriske praksis: Lise Soskolne, grunnlegger av W.A.G.E. (New York); Angie Keefer, med-grunnlegger av The Serving Library (Liverpool); og Steffen Håndlykken, medgrunnlegger av 1857 (Oslo). Hver av dem er invitert til å reflektere rundt sitt eget tosidige virke, før de møtes i en felles samtale. Samtalen vil ta opp spørsmål rundt verdi og innflytelse i skjæringspunktet mellom kunstneriske og institusjonelle praksiser. Samtalen ledes av Rhea Dall, kurator og ny daglig leder for UKS. Dall vil også bidra til samtalen gjennom å fortelle om PRAXES Center for Contemporary Art, en institusjon hun med-grunnla i Berlin i 2013.


Som en del av arrangementet vil en prototype av UKS’ kommende MINIBAR holdes åpen for besøkende.

* I forkant av den åpne samtalen vil det arrangeres en workshop rettet mot ulike institusjonelle modeller. Workshopen arrangeres mellom 14.00 og 17.00. Alle paneldeltakere vil delta, begrenset antall plasser. For å melde deg på, send en mail til



The Serving Library is an artist-run, non-profit organization founded in 2011 to develop a shared toolkit for artist-centered education and discourse through related activities of publishing and collecting. It comprises a biannual journal (Bulletins of The Serving Library) published both online and in print, an archive of framed objects on permanent display, and a public program of workshops and events. Angie Keefer, co-founder of The Serving Library, is an artist, writer, teacher, and publisher. She makes public exhibitions at arts institutions in addition to producing talks, event programs and publications, often in collaboration with other artists.

Working Artists and the Greater Economy (W.A.G.E.) is a New York-based activist organization focused on regulating the payment of artist fees by non-profit art institutions, and establishing sustainable labor relationships between artists and the institutions that contract their work. Lise Soskolne is an artist living in New York City. She enjoys writing and has worked in non-profit arts presenting and development since 1998 at venues including Anthology Film Archives, Artists Space, Diapason Gallery for Sound, Meredith Monk/The House Foundation for the Arts, Participant Inc, and Roulette Intermedium. She has been an organizer within W.A.G.E. since its founding in 2008 and its core organizer since 2012.

1857 was co-founded in 2010 by Steffen Håndlykken and Stian Eide Kluge as an artist-run project space that produces new projects by international artists. Steffen Håndlykken is an artist and curator based in Oslo. His work has been shown across Norway and Europe, both as a solo artist and as part of the artist group Institutt for Farge. He is the curator of the 9th Norwegian Biennial of Sculpture in 2017.
All photos: UKS Årsmøte, March 25, 2017. Photos by UKS.

Lørdag 25. mars er det klart for UKS Årsmøte 2017! Årsmøtet er foreningens høyeste organ, og dette er følgelig medlemmenes sjanse til å påvirke organisasjonens utvikling. Møtet er også åpent for ikke-medlemmer. 


Årsmøtet vil i år bli avholdt i den nye kinosalen til Kunstnernes Hus, i anledning UKS’ kommende gjestespill på i Wergelandsveien. Mange store og viktige saker står på årets agenda, inkludert UKS’ relokalisering, tilknytning til NBK og handlingsprogram for 2017. 


Vi håper at så mange medlemmer som mulig vil møte opp!


Tid og sted: Lørdag 25. mars, kl. 12.30,i Kunstnernes Hus Kino.


Medlemmer kan fremme saker til dagsorden, senest innen tre uker før møtedato. Innkomne saker sendes til 


Endelig dagsorden og sakspapirer gjøres tilgjengelig senest to uker før møtet. 


Etterfest på Kunstnernes Hus! 




UKS welcomes members and people from the public to the organization’s Annual Assembly 2017.


Time and place: Saturday March 25, 12.30 pm, in the cinema of Kunstnernes Hus in Wergelandsveien 17, Oslo. 


Members of UKS has the right to vote on and promote items on the agenda. If you have an item you wish to see on the agenda, please forward to by March 11. 


Afterparty at Kunstnernes Hus!

Image courtesy of Eirik Sæther
All photos: Eirik Sæther, artistic intervention at UKS Kick-Off 2017, March 25, 2017. Photos by UKS.

Tjuvstart på 2017-programmet? Etterfest for UKS Årsmøte? Spring break? UKS inviterer i alle fall til fest på Kunstnernes Hus, med en mobil, kunstnerisk intervensjon av Eirik Sæther. Hopp på partybussen utenfor Kunstnernes Hus kl. 21, før du kommer tilbake til Wergelandsveien til DJ-sett med Vilde Tuv. 


Gratis inngang, åpent for alle! 


UKS inntar våren 2017 første etasje Kunstnernes Hus med sitt kunstneriske program, i form av en serie soloutstillinger med fire unge kunstnere: Eirik Sæther (åpner 27. april), Georgia Gardner Gray, Constance Tenvik og Nora Joung. Gjestespillet er en følge av UKS’ pågående flyttearbeid, og festen 25. mars er første forsmak på det planlagte programmet. 




Kick-off of UKS' 2017 program? Afterparty for the UKS General Assembly (on 25 March)? Celebrating Spring Break? UKS invites you to a grand party, featuring a mobile, artistic intervention by artist Eirik Sæther. Hop on a party bus outside Kunstnernes Hus at 9pm and hop off for Vilde Tuv’s dj set inside Kunstnernes Hus. 


Free admission! 


Starting this Spring, while on the lookout for a more permanent 'own' venue, UKS takes over the exhibition space on the first floor of Kunstnernes Hus, presenting a series of solo exhibitions by the four young artists: Eirik Sæther (opening April 27), Georgia Gardner Gray, Constance Tenvik, and Nora Joung.




Munchmuseet i bevegelse og Unge Kunstneres Samfund presenterer:



Hanne Ramsdal&Rebekka Nystabakk og Amelia Beavis-Harrison

Åpning 17.11 kl. 19.00. Performance med Amelia Beavis Harrison m. fl. kl. 20.00


Utstillingen står åpen 18.11-18.12

Åpningstider: Torsdag-søndag (12:00 – 17:00)


Landbrukets hus, 


«Hei du der over på andre siden av muren, se opp mot meg.»*


Med utgangspunkt i et ukeslangt skriveverksted med innsatte, har Hanne Ramsdal og Rebekka Nystabakk laget et prosjekt, Sola kommer opp eller verden snurrer rundt, kall det hva du vil, som forsøker å skape et møtepunkt mellom innsiden og utsiden av en sentral, men nesten usynlig institusjon i bydel Gamle Oslo. 


Historiene fra verkstedene danner utgangspunktet for kunstprosjektet Celledeling. Gjennom tekster, lydinnspillinger og opplesinger får publikum innblikk i tankene og historiene til de innsatte: Daglige rutiner, kjedsomhet, savnet etter det normale, drømmer, tv, kaffe. Samtidig inviteres de besøkende til å selv sende noe tilbake til fengselet, i form av sine egne skrivearbeider og refleksjoner. 



«Inni fengsel med kaffe[…]Alle fiender av helse ble puttet i fengsel i Helseland.»**


Amelia Beavis-Harrison bygger videre på tekstene fra de innsatte i sitt bidrag til Celledeling. Hun festet seg ved betydningen av kaffe i det daglige livet i fengselet, som et rutineskapende og forenende element med omverden. Samtidig har hun tatt utgangspunkt i Landbrukets hus’ historiske rolle som Melkeforsyningens administrasjonsbygning med utsalg i Schweigaardsgate fra 1913. Ut fra kampanjen Melkeveien til Helseland fra 1930-tallet, utforsker kunstneren melkepropagandaen hvor kaffe ble karakterisert som et onde, som hørte hjemme i fengsel. Gjennom samtaler med Hanne og Rebekka, fikk Amelia vite at en utilsiktet konsekvens av ett av skriveverkstedene var at de innsattes fotballkamp måtte avlyses. Melkeveien er et stedspesifikt performance-verk der kaffe og melk spiller mot hverandre i en høyst uvanlig fotballkamp, ledsaget av en syngende kommentator. 


Deltakere i Melkeveien: Benjamin Lønne Røsler, Don Lawrence, Eirik Slyngstad, Per Magnus Barlaug, Silje Johannessen, Espen Solsbak, Eline Reve og Ksenia Aksenova.


Utstillingen er kuratert av Maria Horvei (UKS) og Natalie Hope O’Donnell (Munchmuseet).


* Tekst av 414, fra Sola kommer opp eller verden snurrer rundt, kall det hva du vil (2016). Forfatterne er anonymisert, og navnene erstattet med cellenummer.

** Fra Melkeveien til Helseland, opprinnelig produsert for Melkeprodusentenes Landsforbund, som deretter ble til Reisen til Helseland for Norsk Tannvern. Bildene er gjengitt med tillatelse fra Norsk Tannvern.





Hanne Ramsdal & Rebekka Nystabakk

Hanne Ramsdal (f. 1974) er utdannet litteraturviter fra Universitetet i Oslo og tar for tiden en master i teater ved Kunsthøgskolen i Oslo. Hun debuterte med romanen «Jeg lukket døren bak ham da han gikk» på Gyldendal Forlag i 2006. Siden har hun jobbet med tekst for litteratur, scene, film og kunst. Hun driver også teaterkompaniet Treverket sammen med to skuespillere, og har erfaring innen produksjon og regi, samt ledelse av skriveverksteder.


Rebekka Nystabakk (f. 1984) er utdannet skuespiller ved Akademi for scenekunst i Fredrikstad og Kunsthøgskolen i Oslo. Etter ferdigstilt utdanning var hun med på å starte teaterkompaniet REBEKKA/HUY sammen med Huy Le Vo, som blant annet har stått bak forestillingene «Happy Birthday Putin» og «Apokalypse da». De siste årene har hun vært tilknyttet Hålogaland Teater i Tromsø. Rebekka har i tillegg til å jobbe som skuespiller også jobbet med prosjektutvikling, tekst og


Samarbeidet mellom Rebekka og Hanne startet med prosjektet «22/7» ved Kunsthøgskolen i Oslo, et scenekunstprosjekt med utgangspunkt i hendelsene 22. juli 2011. I 2014 gjennomførte de en skrive-workshop i Tromsø Fengsel. Resultatet ble en tekstutstilling i fengselet, hvor både de innsatte og de ansatte fikk møte tekstene.


Amelia Beavis-Harrison

Amelia Beavis-Harrison (f. 1986) er utdannet fra Kunsthøgskolen i Oslo, avdeling Kunstakademiet. Som kunstner utforsker hun performance i grensesnittet mellom teater og skulptur; et sted hvor objekter kan bli båret som kostymer, bevege seg som skuespillere eller bli del av en teaterscenografi.


De siste årene har Amelia jobbet med ulike historiske hendelser som hun gjør politisk aktuelle. Hennes to år lange forskningsprosjekt på hekseprosessene i Nord-Norge, for eksempel, resulterte i en serie med arbeider som trekker paralleller mellom de historiske hekseprosessene og samtidens «heksejakt» på mennesker fra minoritetsgrupper, asylsøkere og ytringsfrihetsforkjempere.


Amelia har opptrådt både nasjonalt og internasjonalt. I 2016 deltok hun på utstillinger i Mumbai og New Delhi, og skal delta på turné-utstillingen «Arctic Hysteria» som vises i St. Petersburg og New York. I tillegg til sin egen kunstneriske praksis driver Amelia den nomadiske kunstplattformen Kunst Vardø, som hun initierte i 2015. /



Munchmuseet i bevegelse er et storstilt program for kunst som strekker seg over fire år med oppstart våren 2016. De kommende årene vil publikum få oppleve en rekke midlertidige samtidskunstprosjekter i aksen mellom det nåværende museet på Tøyen og det nye museet i Bjørvika. Munchmuseet i bevegelse består av to deler: Midlertidige kunstprosjekt av yngre kunstnere i ulike rom (også uterom) i Bydel Gamle Oslo, og visningen av Stenersensamlingen på Kunsthall Oslo i Bjørvika.


Formålet med det mobile utstillingsprosjektet er å videreføre Stenersenmuseets arbeid med samtidskunst og vise Stenersensamlingen i en serie poengterte utstillinger i samarbeid med Kunsthall Oslo. Munchmuseet vil med dette allerede nå prege kultur- og kunstscenen i nabolaget. Samtidskunstprosjektene i 2016 er lokalt forankret og preget av dialog med ulike institusjoner og aktører i området Munchmuseet beveger seg gjennom – fra Tøyen til Bjø




Munchmuseet on the Move and the Young Artists’ Society present: Cell Sharing

Through an open call, the Munch Museum and the Young Artists’ Society (UKS) invited artists to submit proposals for art projects in the borough of Old Oslo. The jury selected two projects: Hanne Ramsdal & Rebekka Nystabakk’s writing workshops in Oslo Prison, and a new performance by Amelia Beavis-Harrison based on the resulting texts.

Hey, you there on the other side of the wall, look up at me!*

Over the summer, Hanne Ramsdal and Rebekka Nystabakk carried out a number of writing workshops with inmates in Oslo Prison. The texts produced in these workshops provide the basis for The sun comes up or the world spins round, call it what you want, a project that seeks to create a meeting place between the inside and the outside of an almost invisible institution, located centrally in Oslo. Through a collection of texts, sound recordings and a series of live readings, audiences will encounter the thoughts of a group of people they normally, by definition, would not meet. The inmates’ texts are about daily routines, boredom, longing for a normal life, coffee, TV, dreams and aspirations. Visitors are invited to create a conversation by giving something back to the prison in the form of their own writings and reflections.


The exhibition at Landbrukets Hus creates a temporary meeting between two places, a stone’s throw apart, uniting the inside and the outside – freedom and its opposite – if only for a few weeks.

Into the prison coffee goes […] All enemies of health are put in prison in Health Land.**

In the texts from the writing workshops, Amelia Beavis-Harrison noticed a number references to coffee as a normalizing element in the daily life in the prison. Research into the connection between prisons and propaganda in Norway led her to the 1930s campaign Melkeveien til Helseland, devised to encourage children to drink milk. This cartoon presented utopian life in Health Land, in which coffee was characterized as an evil that belonged in prison. This campaign connected to the former role of Landbrukets Hus as the headquarters for milk distribution in Oslo. Through conversations with Hanne and Rebekka, Amelia was told that the writing workshop had inadvertently led to the cancellation of the inmates’ football match. The Milky Way is a site-specific performance in which Coffee and Milk play each against each other in an unusual game of football, accompanied by a vocal score.  

Participants in The Milky Way: Benjamin Lønne Røsler, Don Lawrence, Eirik Slyngstad, Per Magnus Barlaug, Silje Johannessen, Espen Solsbak, Eline Reve and Ksenia Aksenova.

The exhibition has been curated by Maria Horvei (UKS) and Natalie Hope O’Donnell (the Munch Museum).

Landbrukets Hus, Schweigaards gate 34C (entrance from Hollendergata)

Exhibition dates: 18 November–18 December

Opening hours: Thursday to Sunday (12.00–17.00) 


* Text by 414 from Sola kommer opp eller jorda snurrer rundt, kall det hva du vil (2016) [the sun comes up or the world spins round, call it what you want]. The authors have been anonymized, and the names replaced by cell numbers. 

** From Melkeveien til Helseland [the milky way to health land] originally produced for Melkeprodusentenes Landsforbund [the national association of dairy producers], which later became Reisen til Helseland [the journey to health land] for Norsk Tannvern [the Norwegian association for dental protection]. The images have been reproduced with the kind permission of Norsk Tannvern.

Foto: Carl Christian Lein Størmer

I forbindelse med prosjektet Celledeling, ønsker vi velkommen til følgende arrangement i utstillingsperioden: 


Torsdag 17.11, kl. 20: Melkeveien, performance av Amelia Beavis-Harrison.     


Søndag 20.11, kl. 14: Fremførelse av God morgen: Monolog basert på tekster av innsatte ved Oslo fengsel av Ana Golub (leder av Tøyenrådet).


Søndag 27.11, kl. 14: Fremførelse av God morgen: Monolog basert på tekster av innsatte ved Oslo fengsel av Biniam A. Gezai (Nordic Black Theatre).


Søndag 4.12, kl. 14: Fremførelse av God morgen: Monolog basert på tekster av innsatte ved Oslo fengsel av Tøyenkoret.


Søndag 11.12, kl. 14: Fremførelse av God morgen: Monolog basert på tekster av innsatte ved Oslo fengsel av Rebekka Nystabakk.


Søndag 18.12, kl. 15.00: Finissage, med Melkeveien, performance av Amelia Beavis-Harrison.




Events in the exhibition period:


Thursday 17 November, 20.00: The Milky Way, performance by Amelia Beavis-Harrison.


Sunday 20 November, 14.00: Good Morning: monologue based on texts by inmates in Oslo Prison, live reading by Ana Golub (leader of Tøyenrådet).


Sunday 27 November, 14.00: Good Morning: monologue based on texts by inmates in Oslo Prison, live reading by BiniamA. Gezai (Nordic Black Theatre)


Sunday 4 December 14.00: Good Morning: monologue based on texts by inmates in Oslo Prison, live reading by the Tøyen Choir.


Sunday 11 December, 14.00: Good Morning: monologue based on texts by inmates in Oslo Prison, live reading by Rebekka Nystabakk.


Sunday 18 December, 15.00: The Milky Way, performance by Amelia Beavis-Harrison.



28. oktober 1921 ble UKS stiftet som en forening med to formål: den skulle fungere som fagforening, og som selskapsklubb. 


På dagen 95 år senere inviterer vi til et uformelt selskap i UKS’ lokaler i St. Olavs gt. 3. Det blir lansering av vår nye bokbod, med nyere og eldre UKS-publikasjoner til salgs, i tillegg til varm suppe, bursdagskake og annen bevertning. 


Åpent hus fra 17.00 – 20.00. 


Kom innom etter jobb, på vei til en åpning eller når det måtte passe! Vi håper å se så mange medlemmer, venner, og andre kjente og ukjente fjes som mulig, og skåle for UKS’ for- og fremtid. 




UKS welcomes you to the launch of our new book booth, in our temporary head quarters in St. Olavs gate 3. New and old UKS publications for sale, snacks and beverages, nice vibes. 


The launch coincides with the institution’s 95 anniversary. Double cause for celebration! Doors wide open from 5 to 8 pm. 


Som en del av gruppeutstillingen Roaming, vil Ragna Bley gjøre en opplesing i UKS sine lokaler i St. Olavs gate 3. 


Tid: 16. oktober kl. 14.00


Arrangementet er en del av Oslo Art Weekend. Se fullt program her!




As a part of the group exhibition Roaming, Ragna Bley will do a reading in UKS in St. Olavs gate 3.


Time: October 16, 2 pm


The event is a part of the Oslo Art Weekend. Full program here!

Som en del av sin deltakelse i gruppeutstillingen Roaming, inviterer Apichaya Wanthiang til en åpen workshop i UKS sine lokaler i St. Olavs gate 3.

Tid: lørdag 24. september, kl. 14.00

Ingen påmelding nødvendig, men begrenset antall plasser. 


I løpet av utstillingens første uke, har Wanthiang gjennomført workshoper med inviterte deltakere i et lokale i Oslo sentrum. Målet er å eksperimentere seg frem til det Wanthiang kaller «praksismodeller»: alternative strukturer for utveksling av kunnskap.


I den åpne workshopen på UKS inviteres publikum til å prøve ut disse modellene, sammen med kunstneren og hennes fem gjester: forsker og kurator Elke Krasny (AU), kunsthistoriker Judha Su (TH), kurator Anna Frost (DK), arkitekt Cristian Stefanescu (CA/RO) og kunstner Kristian Skylstad (NO). 


Målet er å finne fram til praksismodeller som kombinerer tradisjonelle læringsverktøy, som å skrive og å debattere, med mer uvanlige metoder, som sang og rollespill. Kunstneren spør: Hvilke redskaper kan brukes for å aktivere latent potensiale for politisk og sosial endring? 

Serien med workshoper utgjør verket «B̂ān # 1 Practice Models». B̂ān er ordet for hjem eller landsby nordøst i Thailand, og brukes som et prefiks for det som gjør et samfunn til et samfunn. 
Ragna Bley, «the night hide toughens over it (no)then bandages», 2016 acrylic on Dacron, epoxy, pigment 370×165 cm
Bjarne Bare, «1991» (2016). Edition 1 of 3 +1. Archival pigment print on Hahnemühle paper, 150×100 cm, 151.5×101 cm (framed). Courtesy OSL contemporary
Mercedes Mühleisen, «Jumping through Hildur into the sooted corner» (2016).
Ragna Bley, «bowl gone black nor bud nor boys», 2016 acrylic on Dacron, epoxy, pigment 375×165 cm
Emma Brack, «Fluyendo» (2016). Cast aluminum, Atlantic ocean water, laurel forest floor debris, dimensions variable
Installation view with Bjarne Bare «Goals»(2016). Postcards, golf pegs, dimensions variable
Mercedes Mühleisen, «Jumping through Hildur into the sooted corner» (2016).
Emma Brack, «Sunbathing 1, Sunbathing 2, Sunbathing 3» (2016). Cotton, lichen, urine, dragon’s blood pigment, iron citrate, potassium ferricyanide, walnut frames, 70×90 cm
«NAnnO» (2016 -), work in progress. Applications and stitching on canvas, bahama blue, blackcurrant tea, crushed aquarelle, freeze-dried raspberries, goldfish orange, green pigment, instant coffee, intense violet, lemon tea, lime tea, ocean blue, olive green, paprika, red wine tea, sumac, turmeric, dimensions variable (30×30 cm - 100×124 cm)
Bjarne Bare, «Frank Augustus’ Desires» (2016), Edition 1 of 3 +1. Archival pigment print on Hahnemühle paper, 150×100 cm, 151.5×101 cm (framed). Courtesy OSL contemporary
Mercedes Mühleisen, «Jumping through Hildur into the sooted corner» (2016).
Bjarne Bare «Syzygy» (2015-16). Edition 1 of 3 + 1. Archival pigment print on Hahnemühle paper, 150×100 cm, 151.5×101 cm (framed). Courtesy osl contemporary
Mercedes Mühleisen, «Jumping through Hildur into the sooted corner» (2016).
Sigbjørn Bratlie Aporfik (2016, HD Video 17 min.
Joar Nango, installation view
Joar Nango, installation view
Joar Nango, «Sketch for Blok-P Hammock» (with Hamac weavers from San Jacinto, Colombia) (2016). Hand woven cotton and hemp,490×160 cm


Bjarne Bare, Ragna Bley, Emma Brack, Sigbjørn Bratlie, Mercedes Mühleisen,Joar Nango, Apichaya Wanthiang

16.9. – 16.10.2016


UKS (St. Olavs gate 3)/ Louise Dany (Neuberggata 5a) / Vorta (Bispegata), Sotahjørnet (Etterstadgata 2)



Ons. – søn: 12.00 – 17.00


Det er en godt etablert tradisjon å vise frem bilder når man kommer hjem fra en reise. Da Unge Kunstneres Samfund vinteren 2015 sendte sju kunstnere ut i verden med hvert sitt reisestipend, lå det i kortene at de til slutt skulle samles i Oslo i en gruppeutstilling. Resultatet er Roaming, en utstilling som må betraktes som syv enkeltstående presentasjoner, hvor bare de tilbakelagte reisene er fellesnevner. Tittelen viser til det engelske ordet for å streife, et ord som fort kan kobles til romantiske forestillinger om den rastløse, søkende, kanskje svermeriske kunstneren. Men i dag konnoterer å roame snarere ny teknologi, og ikke minst nettverk – enten det er mobiloperatører det er snakk om, eller de faglige og sosiale nettverkene som bygges opp når en besøker nye steder. 


Samtidig springer utstillingens form ut fra Unge Kunstneres Samfunds eget streiftog gjennom byrommet. Reisestipendet de syv kunstnerne ble tildelt var ment som et stimuli til at kunstnerisk produksjon skulle finne sted også i perioden da UKS midlertidig sto uten egen utstillingssal og hadde annonsert utstillingspause. For et visningsrom som jobber med å finne et nytt fast tilholdssted, er det naturlig å rette oppmerksomheten mot byrommet – både gjennom ulike undersøkelser av byutvikling, og gjennom å ta i bruk alternative lokaler for kortere perioder. Kunstnerne i Roaming er således fordelt på tre visningsrom, pluss en utendørs satellitt, som ligger langs en øst-vest-akse gjennom byen: det kunstnerdrevne visningsrommet Louise Dany på Majorstua, UKS’ midlertidige hovedkvarter i St. Olavs gate 3, atelierfelleskapet Vorta i den gamle lokomotivstallen i Middelalderparken, samt den ubrukte tomta Sotahjørnet i Etterstadgata 2. Publikum må altså også bevege seg, ta i bruk byen og kanskje lete litt for å oppleve kunsten. 


Kunstnerne i Roaming er juryert inn av UKS Jury. Utstillingen er kuratert av Johanne Nordby Wernø og gjennomført med Agatha Wara som gjesteprodusent. 




Bjarne Bare

f. 1985


I 1926 inngikk den amerikanske dekkprodusenten Firestone en avtale med regjeringen i Liberia. Landet som i sin tid ble grunnlagt av frigjorte amerikanske slaver skrev under på en 99-årskontrakt for verdens største gummiplantasje. Samtidig tok landet opp kostbare lån fra industrigiganten, som nå hadde et godt grep om landets økonomi. På 1990-tallet brøt borgerkrigen ut, og selskapets bånd til krigsforbryteren Charles Taylor har senere blitt kraftig kritisert.


Under tittelen Syzygy viser Bjarne Bare fragmenter fra denne historien gjennom fire fotografier, en serie postkort og Firestone-memorabilia. Kunstneren har besøkt «dekkbyen» Akron i den amerikanske delstaten Ohio, tidligere en del av den industrielle høyborgen, i dag en rusten ruin på randen av konkurs i Midtvesten. I 1898 grunnla F.A. Seiberling dekkprodusenten Goodyear, firmaet som først brakte velstand til Akron. Fotografiet Frank Augustus' Desires (2016) er fra Seiberlings rosehage in hans Stan Hywet Hall i Akron, i dag det sjette største historiske bolighuset til offentlig beskuelse i USA. 


Prosjektet handler altså ikke bare om historien om Firestone i Liberia, men også andre tråder i dekkindustriens kronglete historie: begjær, politikk og arbeidskraft – forholdene på gummiplantasjer verden over, kollapsen i industrien i det såkalte rustbeltet i USA, og vår uvitenhet som konsumenter. Arbeidene peker videre mot dokumentarfotografiet som sjanger, som sannhetsvitne og som filteret vi leser andre kulturer gjennom.  



Sted: Louise Dany / Neuberggata 5a


Ragna Bley

f. 1986


I to nye serier med arbeider, fordelt på UKS’ over- og underetasje, trekker Ragna Bley på minner og erfaringer samlet på nylige reiser, inkludert stipendreisen til Kenya. 


Bleys forhold til maleriet er i stadig endring, noe verkene i de utendørs «lyssjaktene» i kjelleren, som publikum må gå gjennom UKS’ lunsjrom og kontorer for å se, vitner om. Kunstneren har gjort været til sin samarbeidspartner, og dermed gitt fra seg noe innflytelse over uttrykket. Lommer med fargepigment og naturlige fargestoffer som kaffe, te og gurkemeie er sydd inn i lerretsduken. Om det regner, vil disse løse seg opp og flyte ut over lerretet. Om det ikke regner, blir pulveret værende i sin innkapslede form. Grepet kaller på publikums respekt – eller mangel på respekt – for rommene verkene er installert i: steder som er vanskelige å se fra gata og som ofte blir brukt som søppelbøtte eller askebeger. 


Disse verkene kompletteres av en annen serie arbeider i overetasjen. Store duker henger fra taket, det tradisjonelle lerretet er byttet ut med seilduker i polyesterblanding. Hvert verk holdes oppe av marmorerte hender, som trenger gjennom overflaten i de øverste hjørnene. Det minner om en skisse Bley malte under reisen til Kenya: legemsløse hender holder oppe et blankt lerret i skumringen. Tablået har noe lekent så vel som personlig over seg – som å prøve å holde oppe noe for verden, å be noen om hjelp. 


Sted: UKS / St. Olavs gate 3


Emma Brack

f. 1985


På øya La Gomera, en del av Kanariøyene, praktiseres fortsatt en eldgammel tradisjon: silbo gomero, plystring som verbal kommunikasjon. Lyden bærer over store avstander i det kuperte landskapet. Emma Brack har tatt for seg fenomenet over lengre tid, og interesserer seg for hva det kan fortelle om både økologisk og kulturell utryddelse og overlevelse. På UKS vises utdrag av disse undersøkelsene.

«Plystring som kommunikasjonssystem er flyktig og poetisk, og både pragmatisk og idealistisk; beskjeder tas med vinden over bølgende skogsterreng der landskapet er for tøft for å forseres til fots», forteller Brack.


Med en filosofisk eller økologisk inngang, undersøker Brack hvilke effekter performative praksiser kan ha. Hun er interessert i utvekslinger mellom menneske og natur, assimilasjon og tilpasning. Som kulturell praksis har silbo vist seg slitesterk; denne kulturelle praksisen har fungert både som poesi i offentlig rom og som markør for urbefolkningens selvoppholdelse i møte med kolonimakten. 


Cyoanotypier – en type fotografiske trykk – viser overlappende landskaper, reelle og manipulerte. Landskapene kombineres med avtrykk av organisk materiale – løv, skjell, mose, sand – og av kunstnerens egne skulpturer. Sammen danner de en imaginær topografi, der skillene mellom det naturgitte og det konstruerte viskes ut. I lydarbeidene, som aktiveres av bevegelse i rommet, høres skapelsesmyter fra urbefolkningen på Kanariøyene, fortalt på silbo. Opptakene kombineres med fuglelyder kunstneren har tatt opp i Marokko, og spilles av blant planter som finnes i Kanariøyenes flora.


Sted: UKS / St. Olavs gate 3

Sigbjørn Bratlie
f. 1973
Helt siden Sigbjørn Bratlie var tenåring, har han vært interessert i fremmedspråk, etymologi og grammatikk. Interessen har ført til at han i dag kan gjøre seg forstått på rundt et dusin språk, inkludert italiensk, finsk, gælisk og polsk.
De siste par årene har Bratlie viet seg fullstendig til grønlandsk. Da han sommeren 2015 reiste til Grønlands hovedstad Nuuk, var det med den grønlandske oversettelsen av Knut Hamsuns «Pan» i bagasjen. Boken er kjent for sine levende skildringer av det nordiske landskapet, men disse får en helt ny dimensjon når de overføres til et språk som kan skildre naturfenomener og landskap med en utrolig presisjon – samtidig som det mangler ord for  «skog», for eksempel. I filmen Aporfik (2016) kombinerer Bratlie naturopptak fra Grønland og Hamsuns oppvekststed Hamarøy med sitt eget forsøk på å gjøre rede for hva som tilføres og hva som trekkes fra i oversettelsen. Arbeidet blir en håndfast studie av de ofte vaklende forbindelsene mellom det vi opplever som evig og allerede gitt – naturen – og verktøyet vi har for å beskrive det.  
Filmen Colloquium (2016) utforsker språk på en litt annen måte. På gebrokkent italiensk konverserer kunstneren med en innfødt romer om Romas historie og arkitektur, italiensk mat med mer. I etterkant er samtalen blitt dubbet til klassisk latin. Dubbingen, som er et vanlig grep i mange land for å gjøre film og tv mer forståelig, løper her et dødt språks ærend.
Sted: Louise Dany / Neuberggata 5a
Mercedes Mühleisen
f. 1983
Mühleisens arbeid tar utgangspunkt i to reiser: den ene til Sotahjørnet på Vålerenga, den andre til et bibliotek i Shoshone i Death Valley i California. Tettstedet Shoshone består av et veikryss i det karrige ørkenlandskapet, omringet av en bensinstasjon, en provisorisk gravlund og en campingplass. I en vogn på campingplassen befinner det seg et ubetjent og tilsynelatende glemt bibliotek. Boksamlingen består av etterlatte bøker, hovedsakelig innenfor pulp- og kiosklitteratur-sjangeren.
Mühleisen reiste til biblioteket for å bruke innholdet som ledsager og samtalepartner opp mot det kommende arbeidet. Som en parasitts romstering i et kadaver, tok hun skamløst for seg blant bøkene. Ord og setninger ble stjålet, omformet og utvannet, og brukt som utgangspunkt for å skrive en skulpturell historie av brutte narrativer. Resultatet av denne prosessen – en utendørs  installasjon – vises på Sotahjørnet, en forlatt tomt på Vålerenga. Publikum kan komme og gå som de vil gjennom hele utstillingsperioden – eller så lenge verket holder stand mot elementene. 
Kunstneren ser på omdannelsen fra ord til fysisk form som en uoversiktlig transformasjon og gjenfødelse, noe som gjenspeiles i skulpturenes utforming og egenskaper. Hovedmaterialet og bindevevet i installasjonen er ubrent leire, et materiale som raskt vil forandres og oppløses. Under åpningen vil enkelte av skulpturene fyres i fra innsiden. Varmen vil skape sprekkdannelser i leiren, regnet vil siden ta seg av resten. Åpningen markerer dermed både slutten på en prosess og starten på skulpturenes etterliv; starten på deres kadavres fremtid. 
Sted: Sotahjørnet / Etterstadgata 2
Verkene står under åpen himmel og har uforutsigbar levetid
Joar Nango
f. 1979 
Historien om hvordan vestlige myndigheter har forsøkt å integrere innfødte befolkningsgrupper i det moderne samfunnet, har mange kapitler. Joar Nango har i lang tid interessert seg for rollen arkitektur og design har spilt i storstilte tvangsflyttinger av urbefolkningsgrupper – fra samfunnene og bosetningene de selv hadde skapt, til statlig tegnede boligblokker og landsbyer. Arbeidene som vises i Roaming er utdrag fra dette kunstneriske forskningsarbeidet, som fremdeles er under utvikling og som trekker på et nettverk av samarbeidspartnere fra ulike fagdisipliner. Sentralt står arkitekturens rolle i kolonialistisk aktivitet og global politikk.
Undersøkelser av planer og arkitekttegninger knyttet til spesifikke tvangsflyttingsprosjekter – i Russland og på Grønland – gis et kunstnerisk uttrykk i krysningspunktet mellom arkitektur, design og kunst. Blant verkene finner vi en hengekøye, vevd av en gruppe colombianske vevere på bakgrunn av fasadetegningene for en blokk danske myndigheter bygde for å huse grønlandske urinnvånere på 1950- og 1960-tallet. En serie mansjetter er sydd med utgangspunkt i Voronje-blokken i Lovozero i Russland. Her ble en hel landsby flyttet etter at hjemstedet deres ble oversvømt som følge av byggingen av den store Voronje-demningen. 
Arbeidene, og installasjonen de inngår i, er ment å gi et lekent perspektiv på konsekvensene av modernisering. Heller enn å vise til nostalgi og traumer, peker Nango mot en alternativ måte å leve med fortiden på – gjennom minner du kan kle deg i og leve med.
Sted: Vorta / Bispegata 16
Apichaya Wanthiang
f. 1987
Wanthiangs bidrag til Roaming er like mye starten på en reise som resultatet av en. I stedet for fysiske verk, har kunstneren planlagt en rekke workshoper gjennom utstillingsperioden, hvor inviterte deltakere vil eksperimentere seg frem til det Wanthiang kaller «praksismodeller»: alternative strukturer for utveksling av kunnskap. I en åpen workshop vil publikum så inviteres til å prøve ut disse modellene. Sammen utgjør dette verket B̂ān # 1 Practice Models. B̂ān er ordet for «hjem» eller «landsby» nordøst i Thailand, og brukes som et prefiks for det som gjør et samfunn til et samfunn. 
I et langsiktig perspektiv vil workshopene legge grunnlaget for en kunstskole Wanthiang ønsker å åpne i Bangkok. Målet er å finne fram til praksismodeller som kombinerer tradisjonelle læringsverktøy, som å skrive og å debattere, med mer uvanlige metoder, som sang og rollespill. Kunstneren spør: Hvilke redskaper kan brukes for å aktivere latent potensiale for politisk og sosial endring? 
«Noe av det jeg dras mot, er kompleksiteten i turisme og i det å reise – faktorer som har gjort at Thailand i dag fremstår som et land organisert rundt det å «tjene» eller «være vertskap» for andre,» sier Wanthiang, som selv er født i Thailand. Gjennom de møtene mellom mennesker hun legger til rette for i Roaming, vil hun skape et rom som bryter med slike implisitte hierarkier og undertrykkende strukturer. 
Inviterte deltakere: forsker og kurator Elke Krasny (AU), kunsthistoriker Judha Su (TH), kurator Anna Frost (DK), arkitekt Cristian Stefanescu (CA/RO), kunstner Kristian Skylstad (NO).
Sted: UKS / St. Olavs gate 3
Det kunstnerdrevne initiativet Louise Dany holder til i Neuberggata 5a på Majorstua. Ina Hagen og Kosugi Daisuke, som driver stedet, er medarrangører for den delen av utstillingen som vises her. 
St. Olavs gate 3 er UKS’ midlertidige hovedkvarter frem til organisasjonen på sikt flytter inn i nye, permanente lokaler. 
Vorta i den gamle Lokomotivstallen i Bispegata 16, i Middelalderparken i Gamlebyen, er et atelierfelleskap som drives kunstnerne Geir Backe Altern, Sigrid Bendz og Henrik Langgård. 
Ved krysset mellom Etterstadgata og Strømsveien på Vålerenga ligger Sotahjørnet.  Det uoffisielle stedsnavnet skriver seg tilbake til begynnelsen av 1900-tallet. 



In 2015, artists Bjarne Bare, Ragna Bley, Mercedes Mühleisen, Sigbjørn Bratlie, Joar Nango, Emma Brack og Apichaya Wanthiang were awarded a UKS travel grant. With the award came an invitation to participate in a group show: Roaming.


The project opens to the public on September 16 and will end with Oslo Art Weekend on October 14—16. The show is curated by Johanne Nordby Wernø and Agatha Wara will be guest producing. 

Unge Kunstneres Samfund har gleden av å ønske velkommen til åpningen av høstens store gruppeutstilling Roaming, fredag 16. september fra kl. 18.00Deltakende kunstnere: Bjarne Bare, Ragna Bley, Emma Brack, Sigbjørn Bratlie, Mercedes Mühleisen, Joar Nango og Apichaya Wanthiang


Utstillingen er fordelt over fire ulike adresser, som på åpningskvelden holder åpent til følgende tider: 


UKS / St. Olavs gate 3: 18.00 - 20.00

Louise Dany / Neuberggata 5a: 19.00 - 21.00

Vorta / Bispegata 16: 19.00 - 23.00

Sotahjørnet / Etterstadgata 2: 19.00 - 24.00 (NB: utendørs).


På UKS vises verkene til Ragna Bley og Emma Brack. På Louise Dany vises verkene til Bjarne Bare og Sigbjørn Bratlie. På Vorta vises verkene til Joar Nango. På Sotahjørnet, under åpen himmel, vises verkene til Mercedes Mühleisen. Sistnevnte verk har uforutsigbar levetid – vi oppfordrer til å oppleve dem åpningskvelden! 


(Apichaya Wanthiangs verk består av en serie workshoper fordelt over utstillingsperioden, der publikum inviteres til å delta. Sted: UKS i St. Olavs gate lørdag 24. september, kl. 14.00.)


Det kunstnerdrevne initiativet Louise Dany, drevet av Ina Hagen og Daisuke Kosugi, er medarrangører av utstillingen. Takk til Kulturrådet, Norske Billedkunstnere og Billedkunstnernes Vederlagsfond for støtte. 

Velkommen til todelt seminar om byutviklingstendenser sett fra kunstneres ståsted:






Fredag 26/8 2016 kl 09.00-18.00

Forstanderskapssalen, Sentralen, Øvre Slottsgate 3, Oslo

Åpent for alle.


Merk din påmelding til med «åpen dag». Begrenset antall plasser.



Kunstneren og kunsten har til alle tider satt sitt preg på byer og spilt en rolle i gentrifiseringsprosesser, men med dagens byutvikling er det blitt vanskeligere å oppdrive lokaler som er egnede til produksjon og visning av kunst.


Seminaret vil tematisere hvordan den kunstneriske infrastrukturen i byen er satt under press. Fokuset vil være på kunstnernes levekår, arbeidsbetingelser og visningsmuligheter, med vekt på: 


-- atelierer og delte produksjonsfasiliteter

-- små og mellomstore institusjoner


Et sentralt poeng vil være å synligjøre og debattere kunstproduksjonens viktige funksjon i norske byer – historisk, sosialt og økonomisk – for å kunne ivareta og tilrettelegge for dette også i fremtiden.







Registrering og kaffe



Innledning ved Johanne Nordby Wernø

Ingrid Lønningdal: «Borgens betydning for kulturbyen Oslo» 

Ida Madsen: «En kollektiv kraftanstrengelse for tapte saker»

Ruben Steinum: «Infrastruktur for kunstnere»



Rebecca Gordon-Nesbitt: "Studios, Galleries and City Development in London"






Jonny Aspen: "Om å tenke med byen - noen vitalistiske perspektiver

Hege Nyborg: "Fra verksted til poststudio: en diskusjon om atelierets betydning og funksjon"



Steffen Håndlykken: "Ikke så jævlig mange sko igjen… men faen så billig!"

Nicholas Jones: "Can artists survive in rapidly expanding cities?" 



Paneldebatt med Rina Mariann Hansen (byråd for kultur, idrett og frivillighet i Oslo), Knut Halvor Hansen (Bygg Konsulent AS), Helene Ødegaard (Léva Urban Design) og Ruben Steinum (styreleder for UKS). Moderator: Halvor Weider Ellefsen (Arkitektur- og designhøgskolen). 






Jonny Aspen jobber som førsteamanuensis ved Institutt for urbanisme og landskap (AHO), er utdannet idéhistoriker og har en doktorgrad i urbanisme. Han forsker og underviser i byteori, byplanhistorie, byens kulturhistorie og aktuell byutvikling. Hans siste bok er Den vitale byen (Scandinavian Academic Press 2015), skrevet sammen med John Pløger.


Rebecca Gordon-Nesbitt, King’s College London, arbeider med politikkutforming for det britiske parlamentet. Hennes virke som kurator og forsker strekker seg over to tiår. MA i kunsthistorie, MRes i samfunnsforskning, PhD. Et utvalg tekster er tilgjengelig fra 


Knut Halvor Hansen er tidligere direktør i Anthon B. Nilsen og nåværende daglig leder i ByKon (Bygg Konsulent). Eiendomsutvikler og eiendomsrådgiver. Styreleder i (Brenneriveien) og tidligere styreleder for VULKAN. Aktiv i prosessen med kjøp av Hausmaniatomtene og Blå. 


Steffen Håndlykken er billedkunstner og basert i Oslo. I 2010 startet han sammen med Stian Eide Kluge visningsstedet 1857 på Grønland i Oslo. Han er kurator for Skulpturbiennalen 2017.


Nicholas John Jones er leder og grunnlegger av PRAKSIS, en Oslo-basert kunstinkubator. PRAKSIS drives som et proaktivt, tematisk styrt residency-program. Jones er selv utøvende kunstner, med en MFA i maleri fra Slade School of Fine Art, London. Birdragsyter til en rekke kunstpublikasjoner, blant annet Artforum. 


Ingrid Lønningdal er billedkunstner og universitetslektor ved Arkitektur- og designhøgskolen i Oslo. Hun er utdannet ved Kunsthøgskolen i Oslo og aktuell med boken Borgen: Et sted for kulturproduksjon. Lønningdals kunstneriske praksis tematiserer blant annet byutvikling og hvordan fysiske omgivelser fungerer som premissleverandører for våre liv. 


Hege Nyborg er billedkunstner. Utover en rekke utstillinger nasjonalt og internasjonalt ved institusjoner som Henie Onstad Kunstsenter, Helsinki Konsthall og National Museum of Women in the Arts, Washington D.C, har hun omfattende erfaring fra undervisning, kunstrelaterte oppdrag og verv, bl.a. som medlem i fagutvalget for billedkunst OCA 2010-2013, Borgen ateliergruppe og styreleder i Kunstnerforbundet 2012-2016.


Ida Madsen er kunstner, bosatt i Oslo, og utdannet ved Statens Kunstakademi. Hun har stilt ut ved bl.a Kunstmuseet Kube i Ålesund, Autocenter i Berlin og  One Night Only i Oslo. Utover egen praksis, gjør hun kollektivprosjekter, der et sentralt tema er kunsten som et kollektivt urbant prosjekt.


Ruben Steinum er kunstner og styreleder for Unge Kunstneres Samfund (UKS) Han er utdannet ved Statens Kunstakademi i Oslo, og har stilt ut ved bla Arts Incubator at Washington Park i Chicago, Kunsthall Oslo og Rogaland Kunstsenter. Som styreleder i UKS har Steinum engasjert seg for kunstneres arbeidsvilkår og for kunstner-assistentordningen.


Helene Ødegaard arbeider som kreativ forretningsutvikler for Léva Urban Design AS. Selvstendig næringsdrivende innen kunst- og kulturbransjen i perioden 2012-2016, medgrunnlegger av blant annet Prosjektrom Normanns og kontorkollektivet Erfjordgt. 8 AS i Stavanger. M.Sc Samfunn- og teknologistudier, med fokus på klynge- og næringsutvikling.




Seminaret presenteres av Unge Kunstneres Samfund i samarbeid med kunstnerne Ida Madsen og Ingrid Lønningdal, begge aktuelle med bokprosjekter om byutvikling, kunstnerøkonomi og kunstnerisk infrastruktur. Initiativet til seminaret har sitt utspring i publikasjonene deres, Borgen - Et sted for kulturproduksjon (Lønningdal, Teknisk Industri, 2015) og En kollektiv kraftanstrengelse for tapte saker (Madsen, 2016).


Det åpne seminaret 26/8 bygger på erfaringer fra en fagdag tidligere i august, der kulturaktører utveksler kunnskap om urban, kunstnerisk infrastruktur, kunstens plass i byutvikling generelt og erfaringer fra flytteprosesser spesielt.


Seminaret er delfinansiert av Kulturrådet, Bildende Kunstneres Hjelpefond, Norske Billedkunstnere og Royal Norwegian Embassy in London.

Velkommen til todelt seminar om byutviklingstendenser sett fra kunstneres ståsted:






Mandag 15/8 2016 kl 09.00-16.00

Foredragssalen, Deichmanske Hovedbibliotek, Arne Garborgs plass 4


Åpen for alle kunstnere og kulturaktører med erfaringer – eller spørsmål – om byutvikling og flytteprosesser. Seminaret er gratis, inkludert lunsj. 


Merk din påmelding til med «fagdag».

Begrenset antall plasser.


Samling på UKS i St. Olavs gate 3 etter seminaret, med lett bevertning og mulighet for å fortsette samtalen!



Kunstneren og kunsten har til alle tider satt sitt preg på byer og spilt en rolle i gentrifiseringsprosesser, men med dagens byutvikling er det blitt vanskeligere å oppdrive lokaler som er egnede til produksjon og visning av kunst.


Seminaret vil tematisere hvordan den kunstneriske infrastrukturen i byen er satt under press. Fokuset vil være på kunstnernes levekår, arbeidsbetingelser og visningsmuligheter, med vekt på


-- atelierer og delte produksjonsfasiliteter

-- små og mellomstore institusjoner


Et sentralt poeng vil være å synligjøre og debattere kunstproduksjonens viktige funksjon i norske byer – historisk, sosialt og økonomisk – for å kunne ivareta og tilrettelegge for dette også i fremtiden.


Seminaret er fordelt over to dager, hvorav første dag (15. august, Deichman Hovedbibliotek) retter seg mot kunstnere og kunstprofesjonelle. Ideen er å utveksle kunnskap om urban, kunstnerisk infrastruktur, kunstens plass i byutvikling generelt og erfaringer fra flytteprosesser spesielt. Fagdagen vil på denne måten informere den påfølgende seminardagen (26. august, Sentralen).





Registrering og kaffe



Innledning ved Ingrid Lønningdal og Ida Madsen



Introduksjon ved Even Smith Wergeland: Hva skal man egentlig med kunstnere i den kulturløse fremtidsbyen?

Det settes av tid til spørsmål fra salen. 






Innlegg ved Inge Pedersen (Maridalsveien 3), Frode Markhus (Grünerløkka kunsthall/ atelierfellesskap i Ole Deviks vei), Anja Skjulstad (Grünerløkka Lufthavn) og Mona Orstad Hansen (Tou atelierhus). Det settes av tid til spørsmål fra salen. 






Innlegg ved Nicholas Jones (Praksis), Randi Urdal (Dansens Hus), Will Bradley (Kunsthall Oslo)
 og Unnur Sande (Vega Scene). Det settes av tid til spørsmål fra salen. 





Innlegg ved  Graham Hayward (Fellesverkstedet), Eva Stenlund Thorsen (Tronsmo Bokhandel), Marianne Hultman og Runa Carlsen (Handlingsplan for kunst) og Espen Røyseland (Kreativt naboskap). 
Det settes av tid til spørsmål fra salen. 





Diskusjonen og samtalen fortsetter på UKS i St. Olavs gate 3 etter seminaret! Vi serverer pølser og pils. 




Seminaret presenteres av Unge Kunstneres Samfund i samarbeid med kunstnerne Ida Madsen og Ingrid Lønningdal, begge aktuelle med bokprosjekter om byutvikling, kunstnerøkonomi og kunstnerisk infrastruktur. Initiativet til seminaret har sitt utspring i publikasjonene deres, Borgen - Et sted for kulturproduksjon (Lønningdal, Teknisk Industri, 2015) og En kollektiv kraftanstrengelse for tapte saker (Madsen, 2016).


Seminaret er delfinansiert av Kulturrådet, Bildende Kunstneres Hjelpefond, Norske Billedkunstnere, Oslo kommune og Den norske ambassaden i London. Vi takker alle våre støttespillere!






Will Bradley er skribent og kritiker, og jobber som kunstnerisk leder for Kunsthall Oslo.

Runa Carlsen 
er kunstner og skal snakke om foreningen som arbeidet med å etablere atelierfelleskapet på Olaf Ryes Plass 2.


Mona Orstad Hansen er billedkunstner bosatt i Stavanger. Hun er nyvalgt styremedlem i Atelierhuset Tou Scene og i Tou Scene AS.


Graham Hayward var med på å stifte foreningen Fellesverkstedet (2011). Som daglig leder er han ansvarlig for drift og institusjonsutvikling. 

Marianne Hultman 
er kunstnerisk- og daglig leder for Oslo Kunstforening. På oppdrag av Curator Jour Fixe arbeider Oslo Kunstforening og Kunsthall Oslo med å utvikle et utkast til en Handlingsplan for kunst for Oslo.


Nicholas John Jones er leder og grunnleggar av PRAKSIS, en Oslo-basert kunstinkubator som drives som et proaktivt, tematisk styrt residency-program


Frode Markhus er initiativtager for atelierkollektivet Fossveien 19 / Grünerløkka Kunsthall (2007-2014) og fra 2014 Ole Deviks vei 30.


Inge Pedersen jobber som kunsthåndverker, i de senere år med hovedfokus på kunst i det offentlige rom. Førsteamanuensis ved Høgskolen i Oslo og Akershus, Produktdesign. Konsulent for Koro. Sitter i styret M3, kulturkvartalet Maridalsveien 3.


Espen Røyseland, arkitekt/byplanlegger i Transborder Studio. Prosjektleder for Kreativt Naboskap. Medgrunnlegger av kunst og arkitekturgalleriet 0047.


Unnur Sande er administrativ leder i Arthaus – stiftelsen for filmkunst¬ – og daglig leder for Vega Scene utvikling og drift.


Anja Skjulstad er daglig leder for Stiftelsen Grünerløkka Lufthavn, og fra 1997 del av det ulønnsomme firmaet Mañana Design og leietaker samme sted.


Eva Stenlund Thorsen er daglig leder for Tronsmo bokhandel, som i 2014 flyttet fra sine gamle lokaler i Kristian Augusts gate, til nye lokaler i Universitetsgata 12. 


Randi Urdal er daglig leder i Danseinformasjonen, hvor hun har arbeidet fra etableringen i 1994. Hun ledet arbeidet for realisering av Dansens Hus, som åpnet på Vulkan i 2008


Even Smith Wergeland er førstelektor i by- og regionalplanlegging ved Norges miljø- og biovitenskapelige universitet. Han har mastergrad i kunsthistorie fra Universitetet i Bergen og doktorgrad i arkitektur- og byplanhistorie fra Arkitektur- og designhøgskolen i Oslo. Kulturens vilkår i byplanprosesser er en av Wergelands sentrale forskningsinteresser. 

James Cridland (CC BY 2.0)

Velkommen til et seminar om hvordan man som kulturinstitusjon kan gjøre seg relevant for nye publikumsgrupper.


Dato: Torsdag 14. april

Tid: Kl. 13:00-17:00

Sted: Litteraturhuset (Amalie Skram)


Seminaret er produsert av TrAP (Transnational Arts Production), i samarbeid med UKS og Norsk Publikumsutvikling. 


Arrangementet er gratis, og finner sted på Amalie Skram, Litteraturhuset i Oslo. Meld deg på eller se møtet live på Morgenbladet Portalen.

I Oslo har 1 av 3 innvandrerbakgrunn, men i kulturbransjen er de nærmest usynlige. Hvordan kan norske kunst- og kulturaktører kommunisere bedre til ulike minoritetsgrupper?




13:05 — Hilde Maisey, daglig leder i TrAP, ønsker velkommen

13:15 — Eithne Nightingale: How to expand your regular crowd. The success and challenges of embedding a strategy for diversity across the V&A.

14:00 — Pause

14:15 — Jonas Jarl og Mikael Olsson Al Safandi: Södra Communityteatern – Hva skjer når publikum skaper fortellingene? Teateret som møteplass og omfordelingssone.

14:45 — Conversation with Nightingale, Jarl, Al Safandi and the moderator: How to create an environment of inclusion in your institution?

15:15 — Pause

15:30 — Umar Ashraf, Iffit Qureshi og Nina Bahar: Kommunikasjon, kommunikatører og kunstnere.

16:15 — Samtale mellom Ashraf, Qureshi, Bahar og moderator. Unge med minoritetsbakgrunn ser sjeldnere kunst- og kulturbransjen som karrierevei. Hva kan gjøres?

16:45 — Oppsummering v/ Carl Morten Amundsen (Det Norske Teateret)

17:00 — Slutt





Eithne Nightingale (V&A)

Jonas Jarl og Mikael Olsson Al Safandi (Södra Communityteatern)

Umar Ashraf (kommunikasjonsrådgiver, samfunnsdebattant og forfatter)

Iffit Qureshi (forfatter, fotojournalist og foredragsholder)

Nina Bahar (foredragsholder og rådgiver i Skeiv verden)

Carl Morten Amundsen (sjefsdramaturg på Det Norske Teateret)

Penny Wayne Claire Kembba (programleder og produsent NRK P3 og P13)


Mer informasjon om deltakerne finnes her




How to reach a more diverse audience? 

— A seminar on how to make your institution relevant to minority groups.


In Oslo, 1 out of 3 have an ethnic minority background, but this is far from being reflected within arts and culture. How can Norwegian museums, galleries and theatres communicate better with minority groups? 

The meeting will take place at the Oslo House of Literature. The lecture and conversation with Nightingale will be in English, and the rest of the programme in Norwegian. Register here or watch live streaming at Morgenbladet Portalen.



13:00 — Welcome, by Hilde Maisey (TrAP)
13:10 — Eithne Nightingale: How to expand your regular crowd. The success and challenges of embedding a strategy for diversity across the V&A.
14:00 — Break
14:15 — Jonas Jarl and Mikael Olsson Al Safandi: 
Södra Community Theater — What happens when the audience get to create the content?
14:45 — Conversation with Nightingale, Jarl, Al Safandi and the moderator: How to create an environment of inclusion in your institution?
15:15 — Break
15:30 — Umar Ashraf, Iffit Qureshi and Nina Bahar: 
Communcation, communicators and artists.
16:15 — Conversation with Ashraf, Qureshi, Bahar and the moderator: How to encourage young people with minority backgrounds to seek a career within the arts? 
16:45 — Summary by Carl Morten Amundsen (Det Norske Teateret)
Moderator: Penny Wayne Claire Kembba (NRK)


More information about the speakers here.

Lørdag 12. mars avholdes UKS Årsmøte. Årsmøtet er foreningens høyeste organ, og dette er følgelig medlemmenes sjanse til å komme, stemme og påvirke organisasjonens utvikling. Møtet er også åpent for ikke-medlemmer. 


Ettersom vi ikke har plass til alle våre 700 medlemmer (samt øvrige interesserte) ber vi om at påmelding sendes til t.urdal(at), så får vi en cirkaoversikt over hvor mange besøkende som kommer. 


Dette blir et ekstra spennende årsmøte ettersom Marianne Hurum går av som styreleder etter fire års fabelaktig innsats og en ny styreleder kommer på plass. 


Tid: 12. mars 2016 kl. 13:00 — 17:00 

Sted: OBS, møtet avholdes i Saxegården i Gamlebyen i Oslo, i Saxegaardsgate 17 (kartlink). 


Sosial samling med enkel servering i UKS' hovedkvarter i St. Olavs gate 3 etter ferdigstilt møte. 


Saksdokumentene er nå tilgjengeliggjort og kan lastes ned her




Medlemmer som bor utenfor Oslo kan søke om reisestøtte til årsmøtet. Benytt anledningen til å ta noen ekstra dager i Oslo, se utstillinger og opplev hovedstaden. Send din forespørsel om reisestøtte til t.urdal(at) Førstemann til mølla!




Vi varmer opp til UKS Årsmøte med en felles åpningskveld i nabolaget med Fotogalleriet, Kunstplass 10, Podium, ROM, Tenthaus og UKS.


UKS har invitert den tsjekkiske kunstneren Ivana Králíková med prosjektet Broken Ice Inn ( 



Alle visningsteder den 10. mars er åpne kl. 19:00—22:00.



I mai 2015 tok UKS en pause i programvirksomheten, etter en svært aktiv periode i midlertidige lokaler på Tullinløkka i Oslo. Det kunstneriske programmet ble satt på hold for å frigjøre ressurser til arbeidet med å finne nye, permanente lokaler for organisasjonen. Mens arbeidet fortsetter holder vi til i St. Olavs gate 3 sentralt i Oslo.


Samtidig fortsetter UKS’ arbeid som medlemsorganisasjon og politisk aktør som før. For tiden arbeider vi blant annet med en håndbok om kunst- og kunstnerpolitikk i samarbeid med Manifest forlag, styrking av nettverket av residency-avtaler for UKS-medlemmer og politisk arbeid – samt forberedelser til 2016-sesongen av utstillinger og arrangementer.


Høsten 2016 gjenopptar vi programvirksomheten – fra St. Olavs gate 3, i midlertidige lokaler, og i samarbeid med andre aktører som Munchmuseet og Ultimafestivalen.


Har du spørsmål? Send gjerne en mail til




In May 2015, after eight busy month in a temporary exhibition space at Tullinløkka, Oslo, UKS temporarily suspended its exhibition program, to prepare for the future relocation of the institution. While the search continues, we are based in St. Olavs gate 3 in central Oslo.


Our political work as well as our efforts as a members organization will go on as before. Among the projects we’re currently working on, you’ll find the writing of a handbook about art politics in collaboration with Manifest Publishing, expansion of our network of residencies for UKS-members, political work, and preparations for our upcoming shows in 2016.


In August, 2016, UKS will resume its public programming – from St. Olavs gate 3, off-site, and in collaboration with other institutions such as the Munch Museum and Ultima Contemporary Music Festival.


Questions? Email us at

Foto: Tove Sivertsen

15. og 16. april 2015 

Dørene åpner 18.00.

Åpen bar i Telegrafbygningens marmorfoajé frem til forestilingsstart.

Siste innslipp kl 18.45.


UKS er stolte av å presentere kunstner og musiker Mirejam Shala live over to kvelder i den historiske Telegrafbygningen i Oslo sentrum. Konsertforestillingen presenterer egenkomponert materiale og personlige fortellinger, i en visuell ramme av Michael Nybråten.



Forestillingene markerer Mirejam Shalas tilbakekomst til Norge, etter et tiår med base i Stockholm. Mange vil huske Shala som den ene halvdelen av discopunkduoen Martine & Mirejam, som med singelen «Go To The Beat» ble klubbfavoritter og medieyndlinger på starten av 2000-tallet. Det som startet som et undergrunnsfenomen endte i konserter på Øya og Quart-festivalen, englandsturné og formuleringen av et performativt, absurd og kompromissløst kunstnerskap. Siden den gang har hun spilt konserter verden rundt med duoen Fox n Wolf (sammen med Magnus Engstedt), gitt ut musikk på franske Kitsuné, samarbeidet med artister som Nils Bech og Todd Terje og komponert musikk for en rekke filmer og kunstprosjekter.



I Telegrafbygningen går Shala tilbake til sine egne komposisjoner for den prisbelønte dokumentarfilmen Pojktanten (Ester Martin Bergsmark, 2012), og omformer dem til en musikalsk manifestasjon av det indre livet, det uforanderlige og det tidløse. Instrumentale innspillinger danner plattformen, og åpner ifølge artisten et vindu inn til en hemmelig verden.






Michael Nybråten er klesdesigner og stylist og har tidligere jobbet for bl.a Acne Studios, Ann-Sofie Back og Meadham Kirchhoff.



Telegrafbygningen i Kongens gate 21 er tegnet av Arnstein Arneberg og Magnus Poulsen, mest kjent for Oslo Rådhus. I sin tid huset monumentalbygget, dit hovedstadbefolkningen kom for å ringe og sende telegrammer, Norges største arbeidsplass. Bygget ble oppført i 1924 og er vanligvis stengt for publikum. Les mer her.




Lydteknikk: Christian Obermayer

Lysteknikk: Anine Nonshaugen

Foto, artistportrett: Tove Sivertsen


Billetter til arrangementet kan kjøpes på, fra torsdag 2. april. Medlemmer av UKS kan kjøpe billetter til redusert pris ved oppmøte på UKS i Kristian Augusts gate 15. Begrenset antall!



CC kr 120,- + billetttavgift kr 20,-


Medlemspris kr 100,-, ingen avgift.



Arrangementene inngår i UKS Vinterprogram 2015 og er kuratert av Johanne Nordby Wernø. En varm takk til Telenor for lån av lokale og til Ny Musikk for lydutstyr. UKS er støttet av Norsk Kulturråd.


Vi gjør oppmerksom på at det under forestillingen vil bli tatt i bruk strobelys, som kan utgjøre en risiko for utløsing av epileptiske anfall.

Alicia Frankovich, The Blush, 2015 I The Female Has Undergone Several Manifestations, 2015
Alicia Frankovich, Becoming Performer: Ladder with Numerous Artist’s Fees, 2015
Roderick Hietbrink, I’m working on it, 2015,
Sara Eliassen, Out of Frame, 2014/15
Roderick Hietbrink, Bad Habit Dag Nabbit, 2015
Lucy Stein, Widdershins, 2015. Alle foto: Vegard Kleven.


Kate Berlant (US), Neil Doshi (US), Sara Eliassen (NO), Alicia Frankovich (NZ), Roderick Hietbrink (NL), Lucy Stein


Kuratert av Chiara Giovando and Andrew Berardini


26. mars – 26. april 2015


Åpning torsdag 26. mars kl. 19.00, Kate Berlant live kl. 20.00


Unge Kunstneres Samfund er stolte av å presentere den internasjonale gruppeutstillingen In Search of an Author, kuratert av Chiara Giovando og Andrew Berardini. I utstillingen blir kunstnerne karakterer i et drama de selv skaper underveis, idet en komiker, en designer, en filmskaper, en maler samt to mer vanskelig klassifiserbare kunstnere møtes i et kunstgalleri i Oslo. Forviklinger følger (håper vi), i det avsluttende kapittelet av UKS’ vinterprogram 2015 og siste akt av institusjonens gjestespill i lokalene på Tullinløkka.


Med Luigi Pirandellos skuespill Six Characters In Search of an Author fra 1921 som en løs ramme, har kuratorene tenkt ut en fortelling og invitert ulike aktører til å innta roller i den. Galleriet forvandles til teaterkulisser, som vi håper vil synliggjøre både de fysiske strukturene og de fiktive aspektene ved en white cube. I denne spesielle konteksten arbeider de nylig frigjorte karakterene sammen med, og mot, hverandre, for å skape den spenningen og gleden som en god forestilling krever.


I Pirandellos opprinnelige skuespill blir karakterene og deres uhyggelige familedrama forlatt av forfatteren. Karakterene gjør opprør mot sin egen forfatter, og begir seg ut for å finne en regissør og skuespillere som kan fremføre deres fortelling. Men skuespillerne innfrir ikke karakterenes forventninger, og regissøren er dypt frustrert over hele gjengen. Det ender i tragedie – eller komedie, alt etter din sans for det melodramatiske. Gjennom det hele er publikum, som denne dansen utspiller seg for, selv fanget spennet mellom det fiktive og det virkelige.


Vi, kuratorene, vil kanskje kalle utstillingen metafiktiv – en selvbevisst fritak fra tradisjonen, et forsøk på å synliggjøre de lagene vi skaper noe utfra, med utgangspunkt i det imaginære, men tydelig manifestert i virkeligheten, med alle tøylesløse tilfeldigheter og tilfeller av medforfatterskap som former tilværelsen. Vi foretrekker i alle fall at du ser det på denne måten, og at du kanskje til og med finner en dæsj med mening i utstillingens halvtrygge halvfortelling.  


Her ser vi alle på oss selv som medspillere. Kuratorene legger til rette som best de kan, for så å åpne opp for tilfeldigheter, forandring og medforfatterskap.


Som mange gode skuespill, spiller vårt seg ut over tre akter. Den første er allerede over: vi har tenkt ut utstillingen, funnet en plass hvor den kan formes og invitert et ensemble av karakterer. Andre akt starter så snart karakterene ankommer Oslo. Hva de vil gjøre deretter er opp til dem, men vi har litt å gå etter:


Lucy Stein vil kanskje male ville, okkulte orgier. Roderick Hietbrink, som også er produksjonsansvarlig for UKS, ser ut til å være en utmerket tekniker, men en vanskelig kunstner. Alicia Frankovich vil gjøre private kropper offentlige. Sara Eliassen vil antakelig vise en film hvor protagonisten fortaper seg i en historie av cinematiske fortellinger. Neil Doshi vil designe det hele, og ta pulsen på publikums reaksjoner i en fokusgruppe. Kate Berlant vil prøve å få oss til å le.

Åpningskvelden er en pause. Karakterene skriver tredje akt, og avslutter historien slik de selv ønsker. Det ender i tragedie – eller komedie, alt etter din sans for det melodramatiske.


– Chiara Giovando og Andrew Berardini.




Kate Berlant (US) er en eksperimentell komiker, som opptrer over hele USA og ved festivaler som New York Comedy Festival og SXSW. Hun ble nylig portrettert i The New York Times som en «magnetic improvisational comic». Time Out New York kåret henne i 2012 til en av sine «Top Three Comics to Watch», samme år som Comedy Central kåret henne til en av sine «Comics to Watch». Reggie Watts trakk Berlant frem som en av sine «Top Ten Stand-up Comedians» i Time Out London. 



Neil Doshi (US) er en designer som bor og arbeider i Joshua Tree, California. Han står bak det prisvinnende stedsprosjektet «Connections», har undervist ved OTIS College of Art ved Pasadena Design Center og har hatt residencyopphold ved Mont Alvo Center for Art.


Sara Eliassen (NO) er en Oslo-basert kunstner og filmskaper. Eliassen har en MFA i «experimental filmmaking» fra San Fransisco Art Institute, og var studio fellow ved The Whitney Museum’s Independent Study Program i 2011. Filmene hennes har blitt vist ved en rekke internasjonale filmfestivaler, inkludert Venice Film Festival, International Film Festival Rotterdam og Sundance Film Festival.


Alicia Frankovich (NZ) er en kunstner som bor og arbeider i Berlin. Blant hennes nylige soloutstillinger finner vi Today This Technique Is the Other Way Around, Kunstverein Hildesheim (2013), Bodies and Situations, Starkwhite, Auckland (2012) og Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin (2011). Frankovich har vist performancer ved bl. a. 12th Swiss Sculpture Exhibition: Le Mouvement: Performing the City, Biel/Bienne, Tophane-I Amire Gallery, Istanbul (2013) og Frankfurter Kunsterverein (2012).


Roderick Hietbrink (NL) er en kunstner som bor og arbeider i Oslo og Amsterdam. Han arbeider hovedsakelig med video, performance og installasjon. Hietbrinks arbeider er vist i solo- og gruppeutstillinger ved bl. a. Museum Bojimans van Beuningen, Rotterdam, Centre Pompidou, Paris,  De Appel, Amsterdam, Stedelijk Museum Amsterdam og den 5. Moskva-biennalen. 


Lucy Stein (GB) er en London-basert maler, med interesse for bl.a. britisk modernistisk maleri, feministisk teori- og litteratur. Blant hennes nylige soloutstillinger finner vi Gregor Staiger, Zürich (2013), Orgasms in Hell, Galerie Martin Van Zomeren, Amsterdam (2012) og Manderley, Gimpel Fils, London (2012). Stein er siden januar 2015 artist in residency ved Tate St. Ives.


Alle utstillinger på UKS er juryert av UKS Jury. In Search of an Author er en del av UKS vinterprogram 2015. Utstillingen er støttet av Fritt Ord og Produksjonsnettverk for elektronisk kunst (PNEK). Takk til Kulturstyrelsen (Danish Agency for Culture) og Comfort Hotel Grand Central.


UKS holder påskestengt 2. april – 6. april.






Kate Berlant (US), Neil Doshi (US), Sara Eliassen (NO), Alicia Frankovich (NZ), Roderick Hietbrink (NL), Lucy Stein (GB)


curated by Chiara Giovando and Andrew Berardini


March 26 – April 26 2015 | Opening Thursday March 26 19:00


On opening night:

Performance by Kate Berlant 20:00


Unge Kunstneres Samfund is proud to announce the international group exhibition In Search of an Author by curators Chiara Giovando and Andrew Berardini. Here the artists become characters in a drama they make up as they go along. A comedian, a designer, a filmmaker, a painter, and two less easily classifiable artists meet in an art gallery in Oslo, hilarity ensues, or so we hope, in this the final chapter of the UKS winter program 2015 and the curtain closing of the institution’s sojourn at its current space at Tullinløkka.


Loosely inspired by the 1921 play Six Characters In Search of an Author by Luigi Pirandello, the curators conceived the story and invited these artists, performers, and practitioners to become characters in it. The gallery turned into a set, we’re hoping to reveal its bones physically as well as the fictions that make up a white cube. These newly freed characters work together and against each other in this particular context to create the necessary tension and delight of any good show.


In Pirandello's play, the author abandons the characters and their lurid, familial drama. The characters overthrow the author, setting out to find a director and actors to tell their tale. The actors dissatisfy the characters. The director is compelled but frustrated with the lot of them. It ends in tragedy, or comedy depending on your sense of the melodramatic. This dance is done to delight an audience, sometimes under the myth that they aren't really there.


We, the curators, might say this exhibition was metafictive, a self-aware dispensation of tradition, an attempt at making visible the layers from which we create, born out of the imaginary but clearly manifested in reality with all the unruly chance and distributed authorship that shapes existence. Or we would prefer you to see it that way, and perhaps even find a dollop of meaning in the half-safety of its half-fiction.


Here we see ourselves all as players, the curators set the board as best they can and then open themselves to chance, change and co-authorship.


Like many good plays, ours occurs in three acts. The first has happened: we’ve conceived the show, found a space to nurture it, and invited a cast of characters. The second act happens as the characters arrive to the scene. What they’ll do once assembled in Oslo is up to them, but we have a few clues.


Lucy Stein might paint wild occult orgies. Roderick Hietbrink, also working as the UKS’ production manager, promises to be an excellent technician but a difficult artist. Alicia Frankovich will make private bodies public, blushing in their reveal. Sara Eliassen will likely project a film whose protagonist loses herself into a history of cinematic fictions. Neil Doshi will design it all and gauge the audience’s reactions with a focus group. Kate Berlant will try to make us laugh. 


The opening is an intermission. The characters will write Act Three and finish the story however they desire. It will end in tragedy, or comedy depending on your sense of the melodramatic.


- Chiara Giovando and Andrew Berardini




Kate Berlant (US) is a comedian performing across the US and in festivals such as the New York Comedy Festival and SXSW.  She was recently profiled by The New York Times as a “magnetic improvisational comic” at the forefront of experimental comedy.  In 2012 she was named by Time Out New York as one of New York City’s “Top Three Comics to Watch” and as one of Comedy Central’s “Comics to Watch.”  Reggie Watts named her as one of his “Top Ten Stand-Up Comedians” in Time Out London.


Neil Doshi (US) is a designer based in Joshua Tree, CA. His ongoing site-work project "Connections" received a creative Capital Award, he has taught design at OTIS College of Art, Passadena Design Center and been in residence at Mont Alvo Center for Art.


Sara Eliassen (NO) is a filmmaker and artist living in Oslo. Eliassen holds an MFA in experimental filmmaking from San Francisco Art Institute and was a studio fellow at The Whitney Museum’s Independent Study Program in 2011. Her films have played extensively at international film festivals, amongst them Venice Film Festival, International Film Festival Rotterdam and Sundance.


Alicia Frankovich (NZ) lives and works in Berlin. Her recent solo exhibitions include: Today This Technique Is the Other Way Around, Kunstverein Hildesheim, Germany, 2013 and Bodies and Situations, Starkwhite, Auckland, 2012. Frankovich has recently presented performances at the 12th Swiss Sculpture Exhibition: Le Mouvement: Performing the City, Biel/Bienne, 2012, The Leonard & Bina Ellen Art Gallery, Montréal, Canada, 2013 and Frankfurter Kunstverein, Frankfurt/ Main, 2012.


Roderick Hietbrink (NL) is an artist living in and working in Oslo and Amsterdam primarily with video, performance and installation. Hietbrink´s work has been featured in solo and group exhibitions at Museum Boijmans van Beuningen, Rotterdam; Centre Pompidou, Paris; De Appel, Amsterdam; Stedelijk Museum Amsterdam and the 5th Moscow Biennale. 


Lucy Stein (GB) is a London based painter, engaged in the matters of British modernist painting, feminist theory and women’s literature. Her recent solo exhibitions include: Gregor Staiger, Zurich, 2013; Orgasms in Hell, Galerie Martin Van Zomeren, Amsterdam, 2012 and Manderley, Gimpel Fils, London, 2012. Stein is a 2015 artist in residence at Tate St. Ives.


All exhibitions at the UKS are selected by the UKS Jury. The exhibition In Search of an Author is supported by Fritt Ord and Production network for electronic art, Norway (PNEK). Thanks to Comfort Hotel Grand Central and the Danish Agency for Culture.


UKS will be closed for Easter April 2 – April 6.




Still from A Blank Slate (regi: Sara Eliassen, 2014)

UKS is pleased to open up our space for the seminar "The Pleasure and Politics of Looking: Film, Gender and Aesthetics"  an international four-day event taking place on 12-15 March, 2015, in Oslo. This interdisciplinary event is a collaboration between UKS, Cinemateket, the University of Oslo og wuxia with an ambition to connect the fields of film, art, and academia. 


The conference and extended film program are organized and curated by Sara Eliassen (artist/filmmaker, Oslo), Maria Moseng (PhD research fellow, University of Oslo, and Wuxia editor), Sara Orning (lecturer and researcher, University of Oslo), and Sara R. Yazdani (PhD research fellow, University of Oslo, and art critic).


Events taking place at the UKS include a one-day conference Friday March 13th, as well as film screenings and artist talks Saturday 14th and Sunday 15th. Cinemateket will host a screening program. 

The conference and film screenings at UKS are free but registration is required for the conference (includes lunch and coffee/tea). To register please send an email to by 10 March.


"The Politics and Pleasure of Looking" is a conference with an extended film program that aims to re-think how desire, intimacy, gender and politics are manifested in contemporary film arts. How does the medium of film create subjects who look, desire and identify in certain ways? How and when is our gaze on film gendered? And what roles do aesthetics, media and technology play in such a process? 


The event is supported by NFI Filmkulturelle tiltak, Fritt Ord, Imag(in)ing Technologies at the Department of Media and Communications, University of Oslo, and the Centre for Gender Research, University of Oslo. Venues: UKS and Cinemateket. 



(Cinemateket screening program to be found here)




UKS Conference

09.00-09.30 Coffee


09.30-09.45 Welcome


09.45-11.00 Patricia White (Professor, Swarthmore College): The Horizon of Women’s Cinema


11.00-11.15 BREAK


11.15-12.15 Screening: A Blank Slate + conversation with Sara Eliassen and Patricia White


12.15-13.15 LUNCH


13.15-14.00 Susanne Winterling, (Professor, The Academy of Fine Arts, Oslo) in conversation: Biodiversity as a Guide: on Political and Aesthetic Questions of Abandoning the Nature/Culture Divide                                                                                                    

14.00-15.00 Gary Needham (Senior lecturer, Nottingham Trent University): Cruising: Another Way of Looking


15.00-15.20 BREAK


15.20-16.20 Knut Åsdam: title tba


16.30-17.15 Roundtable conversation


17.15-18.00 RECEPTION





UKS Artist talks and Screenings

12.00 Dirty Young Loose, Lene Berg (2013), 


          Artist talk with Lene Berg and Gary Needham


13.00 Olympic Variations, Michel Auder (1984)


          Artist talk with Michel Auder and Gary Needham


14.00 Abyss, Knut Åsdam (2010)


14.45 Lovely Andrea, Hito Steyerl (2007)


15.15 Scorpio Rising, Kenneth Anger (1963)


15.45 Secret screening (melodrama/ plastic figures/ disaster)




UKS Screenings 

Dirty Young Loose, Lene Berg (2013) 32 min


Abyss, Knut Åsdam (2010) 43 min


Olympic Variations, Michel Auder (1984) 25 min


Lovely Andrea, Hito Steyerl (2007) 30 min


Scorpio Rising, Kenneth Anger (1963) 28 min


Secret screening (melodrama/ plastic figures/ disaster) 43 min


The films will be screened 12 - 5 pm, following the order above. 



Aurora Sander, Panic Room. Foto: Vegard Kleven.
Marte Eknæs, preview av boken "Formal Economy". Foto: Vegard Kleven.
Aurora Sander, Panic Room. Foto: Vegard Kleven.
Marte Eknæs, preview av boken "Formal Economy". Foto: Vegard Kleven.
UKS Håndbok for kunstnerdrevne visningssteder. Foto: Vegard Kleven.
Endre Aalrust, Portrait of Man – Invasion of the Herbivores.
Pia Eikaas, Constructions and Destructions: A potential play. Foto: Vegard Kleven.

Med UKS Minifestival inviterer vi til en helg fylt med kunst, bøker og debatt. Blant programpostene finner vi presentasjon av Marte Eknæs’ kommende bok Formal Economy, utstilling og performancer med kunstnerne Pia Eikaas og Aurora Sander, filmvisninger ved Endre Aalrust, debatt om privat versus offentlig kunstfinansiering og lansering av den UKS-produserte Håndbok for kunstnerdrevne visningssteder.


Fuglen serverer kaffe og bakverk fra sin popup-kaffebar! 


Fredag 20/2



Aurora Sander: Panic room

Installasjon og avdukning.



Marte Eknæs: Formal Economy

Event for Eknæs’ kommende bok (Mousse/UKS). 


Lørdag 21/2


Pia Eikaas: Constructions and Destructions: A potential play

Installasjon + performance, med Jakob Oftebro, Nils Ole Oftebro og Mariann Hole.



Lanseringsskål forwebboken UKS Håndbok for Kunstnerdrevne visningssteder.



Paneldebatt om kunst, frihet og finansiering.


Hvordan har politiske skifter påvirket argumentasjonen for kunst? Hvilket ideologiske grunnlag bygger dagens kunstner- og kulturpolitikk på, og hvilken finansieringsform ser vi for oss i fremtiden?


Amerikansk panel: Heather Hubbs (leder for New York-institusjonen NADAJason Farago (New York-basert kunstkritiker og -skribent)


Norsk panel: Cathrine Sandnes (leder, Manifest analyse), Sara Christensen (kunstner), Marianne Hurum (styreleder, UKS), Jon Øien (kunstsosiolog), Nils August Andresen (redaktør, Minerva tidsskrift). 


Panelleder: Ruben Steinum, styrenestleder i UKS.


Løpende program, fredag – søndag


Endre Aalrust: Portrait of Man – Invasion of the Herbivores

Filmvisning, hver hele time


Pia Eikaas: Constructions and Destructions: A potential play



Aurora Sander: Panic Room



Marte Eknæs: Formal Economy

Preview av Eknæs’ kommende bok (Mousse/UKS). 




Fredag: 18:00 – 21:00

Lørdag og søndag: 11:00 – 18:00


Gjestekoordinator og co-kurator for UKS Minifestival er Agatha Wara. Kurator: Johanne Nordby Wernø. Kunstnerisk program: UKS Jury 


UKS Minifestival er støttet av Norsk Kulturråd, Fritt Ord og Generalkonsulatet i New York. Takk til Comfort Hotel Grand Central.




UKS Minifestival is a three-day festival on contemporary art and politics. Featuring a play by Pia Eikaas; a film screening by Endre Alrust; an exhibition by Aurora Sander; a book preview by Marte Eknæs; the launch of UKS’ own “Handbook for Artist-run Spaces”; and a lively discussion on global + Norwegian cultural policy.


All events are free and open to the public.





Friday 20/2

Aurora Sander: Panic room

Installation and unveiling


Marte Eknæs: Formal Economy

Event for Eknæs’ upcoming book (Mousse/UKS)


Saturday 21/2

Pia Eikaas: Constructions and Destructions: A potential play

Installation + performance ft. Jakob Oftebro, Nils Ole Oftebro and Mariann Hole


Launch of the web book UKS Handbook for Artist-run Spaces


Public debate on freedom, funding and art, seen from an American and a Norwegian perspective


Ongoing, Friday – Sunday:


Endre Aalrust: Portrait of Man ¬¬– Invasion of the Herbivores

Screenings, every hour


Pia Eikaas: Constructions and Destructions: A potential play



Aurora Sander: The Pelican Brief



Marte Eknæs: Formal Economy

Preview of Eknæs’ upcoming book (Mousse/UKS) and installation 


Opening hours: 


Friday: 18:00 – 21:00 

Saturday & Sunday: 11:00 – 18:00


Guest coordinator og co-curator for UKS Minifestival is Agatha Wara. Curator: Johanne Nordby Wernø. Artistic program selected by UKS Jury 


UKS Minifestival is supported by Norsk Kulturråd, the Norwegian Consulate General in New York and Fritt Ord. Thanks to Comfort Hotel Grand Central.

I forkant av Mørkedans publiseres fire forfilmer på UKS' nettsider (link!) .



Performance, 13.feb. kl. 18.00


fjor høst forsvant en av Victoria Durnaks venner, Filip, etter å ha sendt henne en kryptisk e-post. Han la ved et bilde av John Baldessaris manifest What Thinks Me Now, med strek under setningen «I want to express myself in archetypical imagery.» Han la også ved en coverlåt. Ledetråder!


På UKS forteller Durnak om sine tiltak for å finne Filip. Blant annet møtte hun en dansegruppe med et særegent forhold til det å kopiere.


Mørkedans er nummer to i en serie performancer om venner som forsvinner. Den første, Arkitektur i Helsinki, ble holdt på utstillingen Odd Bird på Kuva/Tila i Helsinki, august 2014. Begge arbeidene bruker et personlig narrativ for å kunne snakke om kunst. Durnak spør: Hvorfor blir noen kopier bedre enn originalen?


Performancen finner sted i UKS’ lokaler på Tullinløkka i Oslo, men prosjektet vil også innta institusjonens nettsider, hvor en serie forfilmer vil publiseres i forkant av 13. februar. Se dem her:


Victoria Durnak (f. 1989, bor og arbeider Oslo), gikk ut av Kunstakademiet i Oslo i 2014. Hun har også publisert to diktsamlinger og en roman. Hennes andre roman «Torget» gis ut på Flamme Forlag våren 2015. 


Performancen Mørkedans er en del av UKS’ vinterprogram 2015. Programmet byr på boklanseringer, performance, utstillinger av kortere varighet, filmvisning, én fullformats gruppeutstilling (april) og andre events. Programmet er juryert av UKS’ jury og kuratert av Johanne Nordby Wernø. Mørkedans er støttet av Oslo kommune. 

Ivan Galuzin, Uten tittel, 2013. Foto: UKS.
Synnøve G. Wetten, installasjonsbilde, 2014. Foto: Vegard Kleven
Lars Brekke, All verdens visdom og en beskjed til neste sivilisasjon, 2014 Videoinstallasjon. Foto: Vegard Kleven
Marthe Ramm Fortun, Bibliotek 1-5 (my bag is a library), 2014 detalj. Foto: UKS.
Kjersti Vetterstad, The Agronaut, 2014. Stillbilde.

UKS inntar det kunstnerdrevne visningsstedet Studio 17 i Stavanger, med høydepunkter fra 2014-programmet. Gruppeutstillingen vil presentere verk av Ivan Galuzin, Synnøve G. Wetten, Lars Brekke, Marthe Ramm Fortun og Kjersti Vetterstad, som alle viste soloutstillinger på UKS i løpet av fjoråret. 


Fra Ivan Galuzin ser vi utdrag fra utstilling Idiosyncrasy Means Allergy, hvor arbeid på lerret sto sentralt. Galuzins stadige utforskning av maleriets historie sto sentralt i hans utstilling i UKS – en utforskning som også kommer frem i Uten tittel, som vises i Stavanger. Bruken av organiske materialer viser også til kunstnerens interesse for den materielle menneskekroppen og dens prosesser, bestanddeler og avfallsstoffer.


Kropp var også et tema for Synnøve G. Wetten, om enn på et annet nivå enn for Galuzin. Usynlige maktkonstellasjoner og kjønnsproblematikk la grunnlaget for hennes utstilling HOW, hvor samtlige verker var tenkt som bruddstykker fra et stort arkiv over alternative identitetsorienteringer, fra førkolonial tid og frem til nå. Dette arkivet, som verkene som presenteres på Studio 17 følgelig også er en del av, tilhører en bevegelse Wetten har gitt navnet Trans Panthers, som er drevet fram av kunstneren selv. 


Lars Brekke viser filmen En beskjed til neste sivilisasjon, fra utstillingen Streben i anger: Problemer og menneskehetens bestrebelser. Her møter vi tre unge menn, i en ellers fullstendig forlatt verden, som mer eller mindre frivillig tar på seg å bøte på det de ser på som menneskehetens største feilsteg: at problemers relative omfang aldri ble prioritert systematisert. Oppgaven byr på språklige, intellektuelle og mellommenneskelige utfordringer, der mistanken om at feil mennesker er satt på feil oppgave aldri er langt unna. Etter hvert åpnes det for en total kollaps av skillene mellom det viktige og det banale, det logiske og irrasjonelle, det seriøse og det latterlige.


Der Brekke konsentrerte seg om en postapokalyptisk fremtid, sto byrommet og menneskene som befolker det i sentrum for Marthe Ramm Fortuns utstilling Skrive om byen, skrive den om. Verket Bibliotek (my bag is a library) peker mot Fortuns demokratiske tilnærming til kunst, kunnskap og offentlighet: hvem som helst kan være eiere av byen og kunsten. Hennes utstilling slo en bue mellom Manhattan og Oslo – og nå også Stavanger. 


Med Kjersti Vetterstad beveger vi oss bort fra byen, og inn mot naturen. 

Landskapet og menneskets plass i det naturlige kretsløpet lå til grunn for Quest in Paradise, den siste soloutstillingen på UKS’ 2014-program. På Studio 17 vises utstillingens hovedverk, den dokumentariske filmen The Agronaut. Her har Vetterstad over en lengre periode har fulgt Montserrat Canudas Jorba på hennes gårdsbruk og eiendom utenfor landsbyen El Bruc i Catalonia, hvor hun lever en eremittilværelse. Jorbas fortelling om det omkringliggende landskapet og dets historie, sidestilles med bilder og fortellinger fra hennes liv på gården – et liv preget av aksept for mekanismene som former omgivelsene våre. 


Gruppeutstillingen presenteres av Studio 17 ved Line Anda Dalmar, i samarbeid med UKS. Utstillingen er støttet av Norsk Kulturråd. 




Ivan Galuzin (Murmansk, 1978; bor og arbeider i Oslo). Siden han gikk ut fra Statens Kunstakademi i 2006, har Galuzin markert seg som en viktig figur på Oslos kunstscene, både som selvstendig kunstner og drivkraft bak noen av hovedstadens mest omtalte og diskusjonsskapende visningsrom, som Galleri Galuzin, TAKFAG, Brown, Dude Project Loft. Blant hans tidligere utstillinger finner vi solo- presentasjonen What Took You So Long på Galleri Christian Torp (2012) samt en rekke gruppeutstillinger – blant dem Nordic Art Today på Etagi Contemporary Art Centre i St. Petersburg (2011), Aspects of painting på Akershus Kunstsenter (2011) og Border District på Haugar Vestfold Kunstmuseum.


Synnøve G. Wetten (Akershus, 1978; bor og arbeider i Oslo) er utdannet ved Konsthögskolan i Malmö, 2009. Hun er medlem av den aktivistiske queer-bevegelsen Trans Panthers, og opptrer gjerne som en del av duoen Fine Art Union med Annette Stav Johansen, som nylig deltok på Sydney-biennalen. Wetten var med å grunnlegge FRANK, en plattform for kunstneriske og kuratoriske prosjekter som i dag drives av Sille Storihle og Liv Bugge. Hun har publisert tekst bl.a i antologien Gruppe 12 (Kolon, 2012). Tidligere separatutstillinger inkluderer Nipple scale for a parade på Sørlandets Kunstmuseum (2012) og Splinter Trips- Deviant Militancies of Occupation på USF i Bergen (2009)


Lars Brekke (Tromsø, 1983; bor og arbeider i Oslo og Skånevik) er utdannet ved Statens Kunst- akademi i Oslo og ved Piet Zwart Institute i Rotterdam, 2012. Gjennom ulike samarbeid og individuell praksis har han vist arbeider ved bl.a. Museet for Samtidskunst, Kunstnerforbundet, Kölnische Kunstverein (Köln), Galleri D.O.R. (Brussel) og Reena Spaulings (New York), samt soloutstillinger på prosjektrommet Konkret og kunstnerdrevne NoPlace. I 2009 ble han tildelt Einar Granums Kunstpris. 


Marthe Ramm Fortun (Oslo, 1978; bor og arbeider i Oslo og Gent) har det siste året deltatt i utstillingen Vi lever på en stjerne ved Henie-Onstad Kunstsenter og vist performance ved S.M.A.K i Ghent og MKA i Antwerpen (BE). Tidligere har hun gitt ut boken «100 situasjoner» som en del av pamflett-serien Stemmer (Aschehoug). Hun har hatt separatutstilling ved Galerie Jan Dhaese (BE) og vist performance ved bl.a Tidens Krav, Kunstnernes Hus, Torpedo/Kunsthall Oslo, Kunsthall Bergen, Høstutstillingen, Museet for Samtidskunst, Tegnebiennalen, Vestlands-utstillingen, og SculptureCenter og Poetry Project ved St. Marks Church i New York.


Kjersti Vetterstad (Drammen, 1977; bor og arbeider i Oslo og Drammen) er utdannet ved Kunstakademiet i Bergen og Konstfack i Stockholm. Sammen med Monica Winther utgjør hun performance-duoen Mor & Jerry. Et annet, nyere samarbeidsprosjekt er Fine Day med Peter Mitterer / Sex Tags. Også bruken av eksperimentell pedagogikk og undervisning på Prosjektskolen i Oslo inngår i hennes kunstneriske praksis. 


Velkommen til årets første utstilling på Unge Kunstneres Samfunds Vinterprogram: Lene Baadsvig Ørmens Dear Darkling. I det intime prosjektrommet i UKS’ lokaler på Tullinløkka presenterer Ørmen en serie abstrakte betongskulpturer. 


Skulpturene blir til gjennom en spontan, taktil praksis. Kunstneren graver ut hulrom i en kasse med jord og fyller disse med betong og pigment. Hver enkelt form får så herdes, fullstendig innkapslet i jord. Fremgangsmåten legger føringer på hvilke former det er mulig å skape, samtidig som det er noe rituelt over måten skulpturene oppstår – og står opp – fra sine grotter i jorden.


Den arkeologiske prosessen med å hente skulpturene opp fra jord finner gjenklang i formene selv, som ved første øyenkast kan antyde et slektskap til eldgamle artefakter fra en ukjent kultur, eller minne om sakrale gjenstander Men først og fremst er de preget av en tvetydighet, som ikke setter én mulig tolkning over en annen. De peker mot et ubestemmelig territorium, hvor kunstneren både er skaper og oppdager, og fortid og nåtid dermed smelter sammen. 


Utstillingen ledsages av en trykksak med bidrag av Jan Verwoert og Eirik Senje. 


Lene Baadsvig Ørmen (f.1984, Fredrikstad, bor og arbeider i Oslo) er utdannet ved Kunsthøgskolen i Bergen (avd. fotografi), Kunstakademiet i Tallin og Kunsthøgskolen i Oslo (avd. Kunstakademiet). Hun har bl. annet vist soloutstilling ved Another Space (København) og deltatt på gruppeutstillinger ved Auto Center (Berlin), Fat Relic (London) og Podium (Oslo).


Utstillingen Dear Darkling er en del av UKS’ vinterprogram 2014/15. I tillegg til sesongens to store soloutstillinger med Marthe Ramm Fortun og Kjersti Vetterstad, byr programmet på boklanseringer, performance, utstillinger av kortere varighet, filmvisning, én fullformats gruppeutstilling (april) og andre events. Programmet er juryert av UKS’ jury og kuratert av Johanne Nordby Wernø. 


Dear Darkling er finansiert av UKS og Norsk Kulturråd. 

I anledning siste helg med Kjersti Vetterstads utstilling Quest in Paradise på UKS, inviterer vi til en samtale mellom kunstneren og Johanne Nordby Wernø, kurator og daglig leder for UKS. 


Tid og sted: Lørdag 17. januar kl. 14.00, i UKS’ lokaler på Tullinløkka i Oslo.


Samtalen vil være en anledning til å bli bedre kjent med utstillingen og de temaene den tar opp, slik som menneskets forhold til naturen, det forgjengelige aspektet ved tilværelsen og alternative tilnærminger til ikke-menneskelige eksistenser. 


Arrangementet er gratis, og åpent for alle. Velkommen!





12. desember, 20.00 (dørene åpner 19.00)


CC. 100kr. 

Billetter kan kjøpes i døren (kun kontant). Forhåndsbestilte billetter må hentes før 19.30!


Scroll down for information in English!


Et Hellig barn vil bli født på UKS! Maria (Monica Winther / Bloody Mary) har reist tilbake i tid til sitt indre, gravide selv, og forbereder seg på å ta imot den Hellige ånd (Ida Frømyr Borge) og dens hellige væsker, under de flammende ordene til Engelen Gabriel (Marianne Heier). Josef (Håkon Mathias Vassvik) forsøker fremdeles å finne ut hvem han er, men vil gjøre sitt beste for å være en god farsfigur for barnet som er på vei. Invitasjonene til en babyshower / nachspiel er sendt ut, og den hemmelige gjestelisten er full av overraskelser!


The Trollkrem Gospel er kunstnergruppen Trollkrems (Jennie Bringaker og Tor Erik Bøe) første teateroppsetning. Deres versjon av den Hellige fødsel er skrevet og utviklet i samarbeid med de deltakende kunstnerne, og vil også inneholde en opptreden av oslobandet Beglomeg. Skuespillernes kostymer er designet kunstnernes egne favorittdesingere i Haik. 


Jennie Bringaker og Tor Erik Bøe startet Trollkrem som et prosjektbasert samarbeid i 2013. Gjennom happenings, utstillinger og andre former for livekunst, ønsker de å rette søkelyset mot performancekunst og å legge til rette for samarbeid mellom kunstnere på tvers av disipliner. Siden den første happeningen i et rekonstruert naust ved Operaen, har duoen blant annet produsert en énkvelds, Skype-basert performancefestival på Kunstnernes Hus i Oslo, laget 17. mai-utstilling på visningsstedet Kurant i Tromsø og arrangert visninger med designgruppen Haik. Deres posterserie, med 11 portretter av norske kunstnere, ble presentert under New York Art Book Fair 2014, og ble nylig lansert på Kunstnernes Hus. Flere kommende prosjekter vil presenteres i 2015. 


The Trollkrem Gospel er støttet av Norsk kulturråd. 






Desember 12th, 20:00 (doors open at 19:00)


CC. 100kr.

Tickets sold at the door (cash only!). Pre-ordered tickets must be picked up before 19:30!


BEHOLD!  A Holy Child is about to be born at UKS,  due date december 12th!  Maria (Monica Winther/ Bloody Mary) has travelled back in time to her inner 17 year old pregnant citizen of Sandnes, preparing to receive the Whole Spirit ( Ida Frømyr Borgen) and its holy fluids guided by the flaming words of The Angel Gabriel ( Marianne Heier). Josef ( Håkon Mathias Vassvik) is still figuring out who he is, and will try his best to be a good father figure for the baby when the time comes.  


The invites to the Baby shower/Nachspiel has been sent out and the secret special-guest-list is full of surprises!  


Trollkrem is making their debut as Theater producers, staging their very own version of the holy-baby-birth-story, written and developed in collaboration with the performing artists. All rounded up by Oslo’s most steamy live-band, Beglomeg! The wooly wonders worn by the cast made by the wow-we love: Haik!  


Tor Erik Bøe and Jennie Hagevik Bringaker started Trollkrem in 2013 as a project based collaborative that organize and produce happenings, exhibitions and performances in connection to live art. The Trollkrem agenda is put a focus to performance art and how to make artists interact in new constellations cross disciplines and personal beliefs. Since their first happening at a reconstructed boathouse by the Oslo Operahouse, the Duo has amongst others produced a one-night Skype-based Performance Festival at Kunstnernes Hus, 17th of May Exhibition at Kurant, 2 runnway Shows for the Design Group Haik, a Performance-Artist-Fan-Poster-Series with 11 portraits of Norwegian Artists- presented at NY Art Book Fair 2014, Kunstnernes Hus, and at the coming LA Art Book Fair. More upcoming projects to be released in 2015!  


The Trollkrem Gospel is supported by the Arts Council Norway. 

Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, Spirit workers, 2014
Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, Spirit workers, 2014
Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, Prophecies of the Oak, 2014.
Kjersti Vetterstad, The Agronaut, 2014
Kjersti Vetterstad, The Agronaut, 2014




5. desember 2014 – 18. januar 2015.


Åpning: 5. desember kl. 19.00 I Artist talk 17. januar kl. 14.00


Scroll down for information in English!


Det forgjengelige står i sentrum for Kjersti Vetterstads Quest in Paradise, årets siste store utstilling i Unge Kunstneres Samfunds midlertidige lokaler på Tullinløkka i Oslo. Utstillingen sprenger seg ut av hovedsalen, og tar i bruk samtlige rom i kjellerlokalene. Gjennom en serie video- og lydinstallasjoner – og en giftig plante – gjør Vetterstad UKS om til et mikrokosmos. Det evige stilles opp mot det uhyre kortvarige, i kretsløpet vi alle er en del av. Samtidig tar kunstneren opp spørsmål ved menneskets forhold til naturen: Er naturen et sted? Er vi noe annet enn natur? Hvordan ville verden sett ut om vi hadde tatt ikke-menneskelige eksistenser på alvor?



En sterk interesse for landskapet og menneskets plass i det naturlige kretsløpet ligger til grunn for Quest in Paradise. Utstillingens hovedverk, den dokumentariske filmen The Agronaut, tar oss med til den spanske regionen Catalonia, hvor Vetterstad over en lengre periode har fulgt Montserrat Canudas Jorba på hennes gårdsbruk og eiendom utenfor landsbyen El Bruc, hvor hun lever en eremittilværelse. Filmens tittel er hentet fra Jorbas eget spøkefulle navn på seg selv, et ordspill på Jasons mytiske argonauter og et nikk til hennes egen rolle som navigatør i landskapet hun lever i og av. Jorbas fortelling om det omkringliggende landskapets historie, om området og menneskene som har befolket det, sidestilles med bilder og fortellinger fra hennes liv på gården – et liv preget av aksept

for mekanismene som former omgivelsene våre. «Vi skal alle tilbake til jorden,» sier hun i filmen. «Også vi er nedbrytbare.»


The Agronaut er en tidsreise fra fossilenes tid og inn i fremtiden, slik Jorba ser den for seg. Og nettopp tid er et viktig tema for Quest in Paradise. Gjennom undersøkelsen av det ustadige ved verden vi befinner oss i, beveger verkene seg bort fra en lineær tidsforståelse og mot et mer syklisk perspektiv på tilværelsen. 



I UKS’ prosjektrom spilles et lydverk bestående av opptak fra en enkelt morgen på Jorbas eiendom. Verket fungerer både som en tidskapsel for en bestemt tid og sted, og som en dokumentasjon av de hverdagslige, stadige gjentakende øyeblikkene som ellers ikke registreres. Det samme kan sies om videoinstallasjonen Prophesies of the Oak som vises i hovedsalen, hvor drivende skyer, en billes dødskamp og det levende, pustende landskapet som tegner seg på en hundekropp dokumenteres. 


I dette verket inngår også et lydverk komponert av musikeren Mirejam Shala. I komposisjonen har Shala tatt i bruk binaurale beats som korresponderer med og stimulerer hjernebølgefrekvensene forbundet med blant annet avslapping, minne og dyp søvn. I tillegg er en fjerde frekvens lagt til: den såkalte Shumann-frekvensen, som er navnet på elektromagnetiske pulser av energi som eksisterer på overflaten av jorden og i nedre del av ionosfæren. 


Vetterstads verker springer ut av et bestemt område i Catalonia, som i Quest in Paradise er gjenskapt i en ny ramme. Til tross for den tydelige nærværet av en menneskelig protagonist, peker denne kunstneriske rekonstruksjonen på det som ligger utenfor menneskelig kontroll, og som eksisterer uavhengig av oss. 



Kjersti Vetterstad (Drammen, 1977; bor og arbeider i Oslo og Drammen) er utdannet ved Kunstakademiet i Bergen og Konstfack i Stockholm. Sammen med Monica Winther utgjør hun performance-duoen Mor & Jerry. Et annet, nyere samarbeidsprosjekt er Fine Day med Peter Mitterer / Sex Tags. Også bruken av eksperimentell pedagogikk og undervisning på Prosjektskolen i Oslo inngår i hennes kunstneriske praksis.


Alle utstillinger på UKS er juryert av UKS Jury og kuratert av Johanne Nordby Wernø. Utstillingen Quest in Paradise er støttet av Norsk kulturråd og Fond for lyd og bilde. 





Quest in Paradise


5 December 2014 – 18 January 2015.


Opening 5 December at 19:00 I Artist talk 17 January 2015 at 14:00


The ephemeral is central to Kjersti Vetterstad’s “Quest in Paradise”, the last major exhibition of the year at Unge Kunstneres Samfund’s temporary home at Tullinløkka, Oslo. The exhibition spills out from the main hall to fill every room of the basement venue. With a series of video and sound installations – and a poisonous plant – Vetterstad transforms UKS into a microcosm. The eternal is juxtaposed with the most fleeting, revealing the cycles to which we all belong. At the same time, the artist asks questions about how we as humans relate to nature: Is nature a locality? Are we distinct from nature? What would the world look like if we seriously respected non-human entities?



An intense interest in landscape and the place of humanity in natural cycles form the background for “Quest in Paradise”. At the heart of the exhibition is The Agronaut, a documentary film that transports us to the Spanish region of Catalonia, where Vetterstad spent a long period following Montserrat Canudas Jorba, who lives like a hermit on her farm outside the village of El Bruc. The title of the film, taken from the pun Jorba uses to describe herself, plays on the Argonauts of the Greek myth of Jason and is an acknowledgement of Jorba’s own role as a navigator in the landscape she lives in and off. Jorba’s retelling of the history of the surrounding area, its landscape and the people who have inhabited it, is interspersed with images and stories from her life on the farm – a life lived in acceptance of the mechanisms that shape our surroundings. “We’ll all return to the earth,” she says in the film. “We too are biodegradable.” 


The Agronaut takes us on a journey through time, from the era of fossils and into the future as Jorba envisages it. And time is an important theme for “Quest in Paradise” as a whole. By exploring the inconstancy of the world in which we live, these works distance themselves from a linear conception of time and come closer to a more cyclical perspective on life.



UKS’s project room hosts a sound work based on recordings from a single morning at Jorba’s farm. The work functions as both a time capsule that captures a specific time and place, and a documentation of the mundane, incessantly repetitive moments that would otherwise not be noticed. The same can be said about the video installation Prophesies of the Oak on show in the main hall, which documents drifting clouds, the death throes of a beetle, and the living, breathing landscape one can find on the body of a dog.


This work also includes a sound piece composed by the musician Mirejam Shala. In her composition, Shala uses binaural beats, which correspond to and stimulate the brain-wave frequencies associated with, among other things, relaxation, memory and deep sleep. To these she has added a fourth frequency: that of the so-called Shumann resonance, an electromagnetic phenomena that pervades the surface of the earth and the lower reaches of the ionosphere. 


Vetterstad’s works are a response to a specific area in Catalonia, which in “Quest in Paradise” is recreated within a new frame. Despite the obvious presence of a human protagonist, this artistic reconstruction alludes to things that lie beyond human control and exist independently of us.



Kjersti Vetterstad (Drammen, 1977; lives and works in Oslo and Drammen) trained at the National Academy of the Arts in Bergen and at Konstfack in Stockholm. Together with Monica Winther, she has formed the performance duo Mor & Jerry. More recently, she has established the collaborative project Fine Day with Peter Mitterer / Sex Tags. Another aspect of her artistic practice is the use of experimental teaching techniques at Prosjektskolen in 



All exhibitions at UKS are selected by the UKS jury and curated by Johanne Nordby Wernø. The exhibition “Quest in Paradise” is supported by Arts Council Norway and the Audio Visual Fund.


UKS will be closed for the Christmas holiday from 22 December – 5 January 2015.

Kjersti Vetterstad: The Agronaut (2014). Still fra video.




Åpning 5. desember kl. 19.00.


UKS har gleden av å ønske velkommen til åpning av årets siste store soloutstilling på Tullinløkka: Kjersti Vetterstads "Quest in Paradise".


Det forgjengelige står i sentrum for "Quest in Paradise." Utstillingen sprenger seg ut av hovedsalen, og tar i bruk samtlige rom i kjellerlokalene. Gjennom en serie video- og lydinstallasjoner – og en giftig plante – gjør Vetterstad UKS om til et mikrokosmos. Det evige stilles opp mot det uhyre kortvarige, i kretsløpet vi alle er en del av. Samtidig tar kunstneren opp spørsmål ved menneskets forhold til naturen: Er naturen et sted? Er vi noe annet enn natur? Hvordan ville verden sett ut om vi hadde tatt ikke-menneskelige eksistenser på alvor?


Mer informasjon om utstillingen her


Hjertelig velkommen til åpning!

Andrea Bakketun, Self-regulating string instrument, 2014.
Andrea Bakketun og Christian Tony Norum, Zürich, 2014.
Christian Tony Norum, In conversation with Teodor Adorno and Walter Benjamin’s death, 2014
Christian Tony Norum og Petter Ballo, Cut the roof, 2014.
Installasjonsbilde. Alle foto: UKS.




11. nov. – 16. nov. 2014


Åpning / performance: 11. november kl. 18.00.


Med den performative samarbeidsutstillingen Descend along my eyelashes inntar Andrea Bakketun, Petter Ballo og Christian Tony Norum UKS over fem dager, hvor de innlosjeres i en fordums dansesal dypt inne i institusjonens labyrintiske midlertidige bygg på Tullinløkka i Oslo. Med speil, dansestenger og garderobeinnretninger som scenografi, presenterer kunstnerne en undersøkelse av performancens logikk og potensial til å fremstå som en egen virkelighet – eller snarere en eventyrverden. 


En rekke ulike tidsepoker og karakterer trekkes inn i fortellingen: Utstillingstittelen er hentet fra en gammel amerikansk myte, mens griffen, fabeldyret som skuer utover Tullinløkka fra taket til nabobygget Nasjonalgalleriet, har stått modell for en av utstillingens skulpturer. Griffen er en del av en serie skulpturer laget av kobbeplater fra taket til Museet for Samtidskunst, som med tiden har fått en irr-grønn patina. Skikkelser fra boken Gamle Kristianiaoriginaler fra 1922 har vært med på å forme performancen kunstnerne gjør på åpningskvelden, hvor karakterer som «Grønlands-Ibsen» og «Wergelandsgutten» tolkes med både humor og alvor. Edvard Munch er skyggeaktig tilstede i Christian Tony Norums verk, som tar i bruk tekstiler fra jubileumsutstillingen Munch 150. Tekstilene trekkes over en fjernstyrt garasjeport som lar seg åpne og lukke, og fremkaller den avgrensede flatens muligheter, som fysisk overflate og mental inngangsport. 


Andrea Bakketun har konstruert et overdimensjonert strengeinstrument som spennes opp gjennom store deler av rommet. Under åpningskveldens performance får instrumentet rollen som hendelsens dirigent; tilfeldighetene i instrumentets komposisjon danner utgangspunkt for intuitive hendelsesforløp. Petter Ballo bearbeider på sin side den litografiske teknikkens metode i sine lysende tegninger – fremfor å tegne i stein har han risset i de tidligere dansespeilene som befinner seg i rommet og lyssatt dem bakfra. I et siderom til dansesalen presenteres 8mm-filmer av Ballo, med elementer fra performancer kunstnerne har gjort sammen tidligere. 


Descend along my eyelashes gransker et vidt spekter av historier, myter og drømmer, som utvikler seg til en sammensatt gjenfortelling.



Gjestekurator for Descend along my eyelashes er Jenny Kinge. Produksjonen er støttet av Norsk Kulturråd. 


Utstillingen Descend along my eyelashes er en del av UKS’ vinterprogram 2014/15. I tillegg til hovedprogrammets to store soloutstillinger med Marthe Ramm Fortun og Kjersti Vetterstad, bys det her på boklanseringer, performance, utstillinger av kortere varighet, filmvisning og andre events. Programmet er juryert av UKS’ Jury. 

Marthe Ramm Fortun, Utflagging, 2014. Foto: Vegard Kleven.

I anledning siste helg med Marthe Ramm Fortuns soloutstilling Skrive om byen, skrive den om, inviterer Unge Kunstneres Samfund til artist talk mellom kunstneren og Johanne Nordby Wernø, kurator og daglig leder for UKS.


I samtalen vil også musikeren Thomas Öberg delta, for mange kjent som vokalist for popbandet bob hund. Öberg vil snakke om lydverket Mitt Paradoxskåp, som han spesialkomponerte for Skrive om byen, skrive den om. 


Tid og sted: Lørdag 8. november kl. 14.00, i UKS’ lokaler på Tullinløkka i Oslo.


Sentrale tråder i Marthe Ramm Fortuns utstilling er møtet med publikum, den moderne byen og eierskap til offentlige rom, kunst og kropp, noe som også vil reflekteres i lørdagens samtale. Lik utstillingen kommer den til å spenne fra Manhattan og Jackie Kennedy, til Tullinløkka og Oslos innbyggere.


Arrangementet er støttet av Sveriges Ambassad i Oslo, og utstillingen av Norsk Kulturråd.


Hjertelig velkommen!

Velkommen til performance med Hanne Lippard, i foajeen til Unge Kunstneres Samfund, tirsdag 21. oktober kl. 18.00.


Hanne Lippard jobber i skjæringspunktet mellom poesi, performance og visuell kunst. Deja-You er en aktiv poesiopplesning som tar utgangspunkt i en serie yoga-øvelser, der samspillet mellom tekst, tale og fysisk bevegelse skaper en særegen estetikk. 


UKS holder for anledningen langåpent, med Marthe Ramm Fortuns soloutstilling Skrive om byen, skrive den om i hovedsalen. 

Utflagging, 2014, installasjon.
Brev, 2014, installasjon.
Bibilotek (my bag is a library), 2014, assemblage.
Hulda Garborg-drakt, 2014, assemblage. Alle foto: Vegard Kleven.




10. okt. – 9. nov. 2014


Åpning/boklansering: Fredag 10. oktober kl. 17.00.


På annonserte tidspunkter er det mulig å bli med kunstneren på en vandring inn i UKS’ bakganger til det skjulte maskinrommet der lydverket «Mitt paradoxskåp» av Thomas Öberg spilles. Varighet ca. 15 minutter, oppmøte utenfor UKS.


Tider for å bli med på vandringen:

Søndag 12. oktober kl. 14.00

Søndag 19. oktober kl. 14.00

Søndag 26. oktober kl. 14.00


Med sin første store separatutstilling i Norge fortsetter Marthe Ramm Fortun sine flerstemte fortellinger fra byrommet, med publikum som medsammensvorne. Gjennom skulptur, installasjon og lyd vever hun sammen en historie om makt, ornamenter og empati som spenner fra Manhattan til Tullinløkka, og inviterer Oslos innbyggere å skrive om byen, skrive den om.


Fortuns kunstnerskap har de siste årene konsentrert seg om direkte samarbeid med publikum. I vanskelig dokumenterbare én-til-én-transaksjoner har hun arbeidet med hukommelse og delt underbevissthet, utveksling av tekster og objekter, empati og tillit. Med Skrive om byen, skrive den om gis denne særegne metoden for første gang form av en stor presentasjon av fysiske, installerte verk. Samtidig åpner den for nye performancer spredd utover utstillingsperioden.


En gruppe marmorbenker – som publikum inviteres til å skrive på med gulltusj – vil flyttes mellom galleriet og gaten utenfor, som et bindeledd mellom visningsrom og offentlighet. Kunsten sendes også ut i det offentlige rommet som lyd: I et gammelt maskinrom spilles et lydverk av den svenske musikeren Thomas Öberg, kjent for mange som vokalist i bob hund. Popsangen, et bestillingsverk komponert spesielt til Fortuns utstilling, lekker ut på gaten ved Tullinløkka trikkestopp. 


Den moderne byen – som åsted både for individuelle valg og for gjennomregulering av individet – er bakteppe for Skrive om byen, skrive den om. I en by der slett ikke alle står fritt til å bruke offentligheten slik de ønsker, ønsker Marthe Ramm Fortun å skape et smutthull i rommet mellom bruk og misbruk.


Innenfor utstillingens logikk eies kunsten og byen av hvem som helst; hvem som helst eier maleriene og skulpturene på Nasjonalgalleriet og gullkonglene på Grand Central. Slik Marthe Ramm Fortun fant en marmorbenk på gata, tok den inn i galleriet og fikk den reprodusert i fem kopier, slik Jackie Kennedy Onassis tok et eksemplar av Hustler Magazine med sin egen nakne, paparazzifotograferte kropp på framsiden, signerte det og sendte det til Andy Warhol, kan hvem som helst nå skrible på byen med gulltusj – skrive om den, skrive den om. 


Marthe Ramm Fortun (Oslo, 1978; bor og arbeider i Oslo og Gent) har gjort seg kraftig bemerket med et stort antall nyskapende performancer etter å ha flyttet hjem til Norge i 2012. Hun jobber stedsspesifikt med poetiske nylesninger av det offentlige rom, der situasjonene drives frem med bidrag fra publikum og gjerne oppleves som brudd med den vante, gjennomregulerte kunstopplevelsen. Arbeidene er forankret i performance, strukturert improvisasjon, tekst og assemblage. UKS-prosjektet i 2014 blir hennes første soloutstilling i Norge, og tyvstarter allerede i november 2013 da vi reiser til New York for å co-produsere hennes performancebidrag til biennalen Performa.


Marthe Ramm Fortun er utdannet ved New York University (2008). Hun er forfatter av «100 situasjoner» (Aschehoug, 2013) i Stemmer-serien, en markering av hundreårsjubileet for norske kvinners stemmerett. Hun har vist performance bl.a ved SculptureCenter i New York, Bergen Kunsthall, Museet for Samtidskunst og Kunstnernes Hus, og hatt soloutstilling ved Galerie Jan Dhaese i Gent.








Oct. 10 – Nov. 9 2014


In her first major solo exhibition in Norway, Marthe Ramm Fortun continues her polyphonic narrative about urban space, with the audience as her accomplices. Using sculpture, installation and sound, she weaves a story of power, ornamentation and empathy that takes her from Manhattan to Tullinløkka, where she invites the residents of Oslo to write about the town, rewrite it. 



In recent years, Fortun’s art has focused on direct collaboration with the public. In one-on-one interactions that are hard to document, she has worked with memory and the shared subconscious, the exchange of texts and objects, empathy and trust. In Skrive om byen, skrive den om she adapts this unusual method for the first time into the form of a large, physical installation. It is a presentation that also lends itself to the various performances that will occur throughout the exhibition period.


A group of marble benches – which visitors are invited to write on with gold marker pens – will be moved between the gallery and the street outside, as a link between the exhibition hall and the public. Art is also transmitted into public space in the form of sound: a sound composition by the Swedish musician Thomas Öberg, known to many as the lead singer of bob hund, is played back in an old machine room. Specially commissioned for Fortun’s exhibition, the music seeps out onto the street beside the Tullinløkka tram stop.



The modern city – as a location for both individual choices and the thorough regulation of the individual – is the backdrop for Skrive om byen, skrive den om. In a city where many are by no means free to use public space as they wish, Marthe Ramm Fortun seeks to clear a free space between use and abuse.


According to the logic of the exhibition, art and the city belong to everyone; we all own the paintings and sculptures at the National Gallery and the gold fir cones at Grand Central. Just as Marthe Ramm Fortun found a marble bench front on the street and took it into her studio and had five copies made of it, and just as Jackie Kennedy Onassis took a copy of Hustler magazine with a paparazzi photograph of herself, naked, on the front cover, signed it, and sent it to Andy Warhol, anyone can now scribble on the town with a gold marker pen – write about it, rewrite it.



This past year, Marthe Ramm Fortun (b. Oslo, 1978; lives and works in Oslo and Ghent) has participated in the exhibition Vi lever på en stjerne (We are living on a star) at Henie-Onstad Art Centre and given performances at S.M.A.K. in Ghent and at MKA in Antwerp (BE). Upcoming exhibitions include Jeg er en telefon og jeg elsker deg (I am Your Telephone, and I Love You) at the Museum of Contemporary Art and a joint exhibition with Kasper Bosmans at Komplot in Brussels (BE). She has published the book 100 situasjoner as part of the pamphlet series Stemmer (Aschehoug). She has had solo exhibitions at Galerie Jan Dhaese (BE) and given performances at Tidens Krav, Kunstnernes Hus, Torpedo / Kunsthall Oslo, Kunsthall Bergen, the National Annual Autumn Exhibition, the Museum of Contemporary Art, the Drawing Biennial, the West Norway Exhibition, the SculptureCenter and the Poetry Project at St. Marks Church in New York.



The book Inverted Sky; Letters to Jackie is based on the performance Inverted Sky, produced by UKS and presented during the performance biennial Performa in New York in 2013. This performance was supported by the Norwegian Consulate General in New York and Office for Contemporary Art Norway.


All exhibitions in UKS’s programme are selected by the UKS Jury and curated by Johanne Nordby Wernø.


The exhibition Skrive om byen, skrive den om is supported by Arts Council Norway. The publication Inverted Sky; Letters to Jackie is supported by Arts Council Norway and produced in collaboration with Black Dog Publishing.




Unge Kunstneres Samfund har gleden av å invitere til åpning av "Skrive om byen, skrive den om" fredag 10. oktober. Vi begynner med norgeslansering av boka Inverted Sky; Letters to Jackie på Tronsmo bokhandel kl.17, før vi flytter oss over til UKS fra kl. 18.


Med sin første separatutstilling i Norge fortsetter Fortun med sine flerstemte fortellinger fra byrommet, der publikum er hennes medsammensvorne. Gjennom skulptur, installasjon og lyd vever kunstneren sammen en historie om makt, ornamenter og empati som spenner seg fra Jaqueline Kennedy Onassis og Grand Central Terminal i New York, til Tullinløkka og Oslos innbyggere. Med gulltusj på marmorbenk inviteres forbipasserende til å skrive om byen, skrive den om.


Hjertelig velkommen!


 Treat me like a thumbtack from clouded lungs. We are stars on the city’s ceiling.

Inverted Sky; Letters to Jackie er en ny publikasjon, skrevet av Marthe Ramm Fortun i samarbeid med publikum som deltok på hennes performance Inverted Sky ved Grand Central Terminal for Performa 13 i New York i 2013. Boken lanseres ved New York Art Book Fairs seksjon NORWAY FOCUS: KUNSTNERBØKER.

I den anledning vil Fortun og hennes medskribenter gjøre en vandrende opplesning fra boken. Med tekst i bevegelse skriver de byen, skriver den om. Vandringen starter der Jaqueline Kennedy Onassis’ minneplakett har pleid å henge, i Vanderbilt Hall på Grand Central Terminal. Den går videre via East River Ferry til PS1 MoMA i Long Island City, der bokmessen arrangeres. Turen avsluttes med en opplesning på PS1s trapper klokken 16:00.

Bli med på vandringen: 

oppmøte er i Vanderbilt Hall på Grand Central Terminal (89, E42nd Street), kl. 1445 fredag for å bli med på performance/byvandring, eventuelt direkte på MoMA PS1 kl. 16:00 for kun opplesning. 


Gratis, ingen registrering påkrevd. Kontakt kurator Johanne Nordby Wernø på +47 92 43 08 92 for spørsmål.

Torpedo Press vil presentere boken under messen.


Marthe Ramm Fortuns første store soloutstillling åpner på UKS i Oslo 10. oktober.


UKS takker Norsk Kulturråd for støtte til produksjon av Inverted Sky; Letters to Jackie.





Inverted Sky; Letters to Jackie  is a new publication, written by Marthe Ramm Fortun in collaboration with audience members who participated in her performance Inverted Sky in Grand Central Terminal, made for Performa 13 i New York in 2013. The book is launched in New York Art Book Fair’s section NORWAY FOCUS: KUNSTNERBØKER.

On occasion of the launch, Fortun and her co-writers will carry out a reading from the book – while also doing a city walk. Putting text in motion, they will write the city, re-write it. The walk starts in Vanderbilt Hall, Grand Central Terminal, where Jaqueline Kennedy Onassis’ memorial plaque has traditionally hung. One continues via the East River Ferry to PS1 MoMA, Long Island City, where the Book Fair takes place. The walk is completed with a reading on the PS1 staircase at 4pm.

Join the city walk:

Please join the artist and co-writers in Vanderbilt Hall, Grand Central Terminal (89, E42nd Street), at 2.45 Friday to join the performance/city walk, or attend in MoMA PS1 at 4pm to hear the reading only. 

Free of charge, no registration required. Please contact curator Johanne Nordby Wernø on +47 92 43 08 92 for any questions.

Torpedo Press will be distributing the book during NYABF.


Marthe Ramm Fortun’s first major solo exhibition opens October 10th in UKS, Oslo. 


The production of Inverted Sky; Letters to Jackie is supported by Arts Council Norway.

Fra Marthe Ramm Fortuns performance "Inverted Sky" i 2013. Foto: Linus Sundahl Djerf

Deltagelse med Marthe Ramm Fortuns publikasjon Inverted Sky; Letters To Jackie, utgitt av UKS i samarbeid med Black Dog Publishing. Boken er en videreføring av Fortuns performance Inverted Sky fra fjorårets Performa-biennale i New York, og leder opp til soloutstillingen i oktober


Boken lanseres med eget performance-arrangement ved Fortun fredag 26/9. Torpedo Press vil deretter presentere boken under messen.

Fra åpningen av «Streben i anger». Foto: UKS.
Fra åpningen av «Streben i anger». Foto: UKS.
Fra åpningen av «Streben i anger». Foto: UKS.
Fra åpningen av «Streben i anger». Foto: UKS.
Fra åpningen av «Streben i anger». Foto: UKS.

I anledning siste helg med Lars Brekkes utstilling «Streben i anger: Problemer og menneskehetens bestrebelser» inviterer vi til finissage på UKS.

Lørdag 20. september kl. 14.00 blir det artist talk med Lars Brekke og kurator Johanne Nordby Wernø. Møt kunstneren i samtale om postapokalypse, beskjeder til ettertiden og problemet med problemer.


Fra Streben i anger: Problemer og menneskehetens bestrebelser. Foto: Vegard Kleven.
Fra Streben i anger: Problemer og menneskehetens bestrebelser. Foto: Vegard Kleven.
Lars Brekke, En beskjed til neste sivilisasjon, 2014. Videostill.
Fra Streben i anger: Problemer og menneskehetens bestrebelser. Foto: Vegard Kleven.
Lars Brekke, Beskjeden til neste sivilisasjon, 2014. Videostill.
Fra Streben i anger: Problemer og menneskehetens bestrebelser. Foto: Vegard Kleven.
Fra Streben i anger: Problemer og menneskehetens bestrebelser. Foto: Vegard Kleven.
Lars Brekke, En beskjed til neste sivilisasjon, 2014. Videostill.



Problemer og menneskehetens bestrebelser


15. aug. – 21. sept. 2014.

Noen problemer er større enn andre. Det kan virke innlysende nok, men hva om vi ikke har tatt de moralske og filosofiske implikasjonene av en slik innsikt på tilstrekkelig alvor? Hva om du ser det som din viktigste oppgave å hindre samme feilsteg i neste hypotetisk fremtidige sivilisasjon?

Temaet problemer danner utgangspunktet for Lars Brekkes separatutstilling på Unge Kunstneres Samfund – en utstilling som samtidig innvier UKS’ nye lokaler på Tullinløkka i Oslo sentrum. Den nyoppussede overlyssalen, som inntil nylig fungerte som dansesal for Bårdar Danseinstitutt, domineres for anledningen av en serie videoverk, som vises i spesialdesignede båser og i egen kino. Satt til en sliten brunstue i en postapokalyptisk fremtid, tar de for seg anger på vegne av menneskeheten og det håpløse forsøket på å rette opp skaden – når det allerede er for sent.

Lars Brekke (Tromsø, 1983; bor og arbeider i Oslo og Skånevik) er utdannet ved Statens Kunstakademi i Oslo og ved Piet Zwart Institute i Rotterdam, 2012. Gjennom ulike samarbeid og individuell praksis har han vist arbeider ved bl.a. Museet for Samtidskunst, Kunstnerforbundet, Kölnische Kunstverein (Köln), Galleri D.O.R. (Brussel) og Reena Spaulings (New York), samt soloutstillinger på prosjektrommet Konkret og kunstnerdrevne NoPlace. I 2009 ble han tildelt Einar Granums Kunstpris. Utstillingen på UKS blir hans første større separatutstilling.




Problems and the Strives of Humanity


August 15 – September 21 2014


Some problems are larger than others. This may seem obvious, but what if we have neglected to address the moral and philosophical implications of such an insight? What if you were to make it your main priority to prevent the same mistakes in the next, hypothetical future civilization? 

The issue of problems is the basis for Lars Brekke's solo exhibition at Unge Kunstneres Samfund (UKS) — an exhibit which also marks the inauguration of UKS' new location at Tullinløkka in downtown Oslo. The newly renovated, skylit hall, which until recently housed the Bårdar Dance Institute, has now been transformed to display a series of films screening in uniquely-designed booths and private cinema surroundings. Set in the deteriorated living room of a post-apocalyptic future, the films address humanity's regrets and the hopeless attempt to repair the damage — when it's already too late. 

Lars Brekke (b. Tromsø, 1983; lives and works in Oslo and Skånevik) studied at the Oslo National Academy of the Arts and at the Piet Zwart Institute in Rotterdam, 2012. Through varying collaborations and individual practice, his work has been shown at, among others the Museum for Contemporary Art (Oslo), the Kunstnerforbundet (Oslo), Kölnische Kunstverein (Cologne), Galleri D.O.R. (Brussels), and Reena Spaulings (New York), as well as in solo exhibitions at the project space Konkret and the artist-run NoPlace. In 2009 he was awarded the Einar Granum Art Prize (Kunstpris). The exhibition at UKS is his first large solo exhibition.

For more information about the exhibition in English, please click here

Lars Brekke, En beskjed til neste sivilisasjon, 2014. Videostill.

Unge Kunstneres Samfund har gleden av å invitere til åpning av utstillingen Streben i anger: Problemer og menneskehetens bestrebelser, fredag 15. august kl. 19.00.


Utstillingen blir den første som vises i UKS’ nye lokaler på Tullinløkka. Den nyoppussede overlyssalen, som inntil var i bruk som dansesal for Bårdar Danseinstitutt, domineres for anledningen av en serie videoverk, som vises i spesialdesignede båser og i egen kino. Satt til en postapokalyptisk fremtid, tar verkene for seg anger på vegne av menneskeheten og det håpløse forsøket på å rette opp skaden – når det allerede er for sent.


Les mer om utstillingen her!


Hjertelig velkommen!

I samarbeid med Unge Kunstneres Samfund presenterer Morgenbladet i sommer en serie kunstverk laget spesielt for avissiden. UKS har kuratert inn seks kunstnere/kollektiver som i juli og august får vise et nytt, helsides verk til avisens 110 000 lesere. Vi kaller det selvsagt Unge Kunstneres Sommer


Deltakende kunstnere: Jorunn H. Øgstad, Anders Holen, Johanne Hestvold, Tiril Hasselknippe, FRANK og Solveig Lønseth


Artist talk: Søndag 11. mai kl. 14. 

Møt Synnøve G. Wetten i samtale med kurator og daglig leder ved UKS Johanne Nordby Wernø.

Identitet, kjønnsideologi og språklig makt utgjør en tematisk kjerne i Synnøve G. Wettens kunstnerskap. Med utstillingen HOW retter hun et skrått, for ikke å si skeivt, blikk mot forenklende kategorier og innarbeidede tankemønstre vi alle kjenner – men som godt kunne vært annerledes.

Denne tematikken er med på å danne grunnlaget for søndagens artist talk, hvor besøkende gis muligheten for et dypere innblikk i utstillingen. 

Velkommen til samtalen!

Synnøve G. Wetten | Silent Speech, 2014 | Videostill.
Synnøve G. Wetten | Installasjonsbilde.
Synnøve G. Wetten | The Uprising – Soft Rebels, 2014 | Video.
Synnøve G. Wetten | Trans Panthers, She Is My Brother, Jonas and Nicole, Two Spirit, 2014
Synnøve G. Wetten | Share the Script, 2014 | Collage i eikevitrine.
Synnøve G. Wetten | New Member of Trans Panthers, 2014 | Fotografi.
Synnøve G. Wetten | Installasjonsbilde.
Synnøve G. Wetten | Silent Speech, 2014 | Video.
Synnøve G. Wetten | Fantasies cannot be censored, Love Letters, 2014
Synnøve G. Wetten | Fra serien We, 2013 – 2014 | Blyant på papir.
Synnøve G. Wetten | Installasjonsbilde. Alle foto: Vegard Kleven |




9. mai – 15. juni 2014


Hvordan bestemmes et menneskes sosiale kjønnsidentitet? Hvordan får noen makt over andre? Og: hvordan samler og bearbeider vi mennesker informasjon? Hvordan samles og spres innholdet i et arkiv? HOW, spør Synnøve G. Wettens soloutstilling på UKS, under en tittel som samtidig problematiserer vestlig kolonimakt. I populærkulturen har nordamerikansk urbefolk- ning gjerne blitt framstilt med hånden løftet til en karikert hilsen: «HOW.»


Wettens spørsmål har sjelden entydige svar. Identitet, kjønnsideologi og språklig makt utgjøren tematisk kjerne i dette aktivistisk ladede kunstnerskapet, og utstillingen på UKS retter et skrått, for ikke å si skeivt, blikk mot forenklende kategorier og innarbeidede tankemønstre vi alle kjenner – men som godt kunne vært annerledes.


Mer informasjon om utstillingen finnes her.


For information about the exhibition in English, click here.


Synnøve G. Wetten (Akershus, 1978; bor og arbeider i Oslo). Spørsmål om identitet, språklig makt og kjønnsideologi er ofte tema for dette aktivistisk fargede kunstnerskapet – et som tidligere ofte har inngått i samarbeidskonstellasjoner, men som på UKS vil få stå alene. Ideene gestaltes som både performance, tekst, video, foto og tegning. Til UKS-utstillingen vil Wetten jobbe fram en form for arkiv der samtlige teknikker tas i bruk. I «arkivet» får en rekke fiktive og reelle figurer med ambivalent kjønnsidentitet (urbefolkning som opererer med flere enn to definerte kjønnskategorier; drag-artister; individer i overgangen fra mann til kvinne) fylle det Wetten kaller et kontemplativt, minimalistisk format.


Synnøve G. Wetten er utdannet ved Konsthögskolan i Malmö, 2009. Hun er medlem av den aktivistiske queer-bevegelsen Trans Panthers, opptrer gjerne som en del av duoen Fine Art Union med Annette Stav Johansen, og var med å grunnlegge FRANK, en plattform for kunstneriske og kuratoriske prosjekter som i dag drives av Sille Storihle og Liv Bugge. Hun har publisert tekst bl.a i antologien Gruppe 12 (Kolon, 2012). 

Unge Kunstneres Samfund har gleden av å invitere til åpning av utstillingen "HOW" med Synnøve G. Wetten, fredag 9. mai kl. 19.00. 


Performance / konsert med Synnøve G. Wetten og Tobias Sondén kl. 21.00.


Hvordan bestemmes et menneskes sosiale kjønnsidentitet? Hvordan får noen makt over andre? Og: hvordan samler og bearbeider vi mennesker informasjon? Hvordan samles og spres innholdet i et arkiv? HOW, spør Synnøve G. Wetten, under en tittel som samtidig problematiserer vestlig kolonimakt. I populærkulturen har nordamerikansk urbefolkning gjerne blitt framstilt med hånden løftet til en karikert hilsen: «HOW.»


Wettens spørsmål har sjelden entydige svar. Identitet, kjønnsideologi og språklig makt utgjør en tematisk kjerne i dette aktivistisk ladede kunstnerskapet, og utstillingen på UKS retter et skrått, for ikke å si skeivt, blikk mot forenklende kategorier og innarbeidede tankemønstre vi alle kjenner – men som godt kunne vært annerledes.


Co-kurator: Jenny Kinge.


Dette blir siste utstilling UKS viser i lokalene i Lakkegata, før vi i sommer tar fatt på flytteprosessen. 


Hjertelig velkommen!

UKS har gleden av å være vertsskap for Hordaland kunstsenters lansering av boken «Dublett – Toril Johannessen» søndag 30. mars kl. 18:00. 


«Dublett – Toril Johannessen» er andre bok i serien Dublett, en bokserie som tar for seg kunstneres praksis, kunstneriske samarbeid eller prosjekter fra Hordaland. 


Boklanseringens tone blir satt av en samtale mellom Toril Johannessen og kunsthistoriker og kulturteoretiker Julia Moritz. De vil med utgangspunkt i Johannessens bok «Unseeing» ta for seg tema som øyne og kunst som illustrasjon.


«DUBLETT – Toril Johannessen» består av en antologi med tekster av Espen Sommer Eide,kunstner, musiker og filosof; Peter Galison, professor i fysikk- og vitenskapshistorie ved Harvard University; Mette Karlsvik, forfatter; Marit Paasche, kunsthistoriker og Theodor Ringborg, kurator og skribent,  samt en artist book av Toril Johannessen med tittelen «Unseeing».  «Dublett – Toril Johannessen» er redigert av Eva Rem Hansen og Maria Lyngstad Willassen. 




Toril Johannessen (f. 1978) har holdt separatutstillinger på UKS (2013/14), Bergen Kunsthall NO.5 (2010), Oslo KUnstforening (2009) og LAUTOM Contemporary (2011).  Hun har deltatt I gruppeutstillinger så som Mom, Am I Barbarian? 13th Istanbul Biennial, Tyrkia; Nouvelle Vagues, Palais de Tokyo, Frankriker; (2013); dOCUMENTA (13), Kassel, Tyskland; Machine Worries, Machine Hearts at Blank Projects, Cape Town, Sør-Afrika; Biennale Bénin 2012, Cotonou, Bénin; (2012); The End of Money, Witte de With, Rotterdam, Nederland (2011). Hennes praksis tar for seg vitenskapelige tema og kaster lys på de iboende metaforer og kreative elementer man finner i  ulike former for kunnskapsproduksjon. Johannessen tok MA i kunst på Kunsthøgskolen i Bergen I 2008 og var student ved The Mountain School of Arts, L.A., USA i 2011.




Julia Moritz er Curator of Theory and Programmes på Kunsthalle Zurich. Før dette var hun Head of Maybe Education and Public Programs for dOCUMENTA (13), hun har undervist samtidskunsthistorie ved Lüneburg Universitet, der hun også var kurator for universitetsgalleriet. Moritz leverte sin avhandling «Institutional Critique in Spaces of Conflict» til Leipzig Universitet, et resultat av hennes Critical Studies Fellowship ved Whitney Museum Independent Studies Program i New York og et research residency i Bilbao, Spania. Hun har jobbet i ulike stillinger for Galerie für Zeitgenössische Kunst Leipzig, European Kunsthalle Cologne, den tyske paviljongen ved den 52. Veneziabiennalen og Manifesta 7 i Fortezza, Italia, i 2008. 




Hver Dublett består av et nytt kunstverk i bokform og en tekstsamling med nyskrevet tekst. Disse tvillingutgivelsene fokuserer på en kunstners praksis, et kunstnerisk samarbeid eller et kunstnerisk prosjekt. Dublett er igangsatt av Hordaland kunstsenter og formgitt av Anti & Grandpeople/Gaute Tenold Aase. Bokserien er støttet av Hordaland fylkeskommune gjennom deres Kulturelt utviklingsprogram (KUP). Anne Szefer Karlsen er serieredaktør for Dublett. «Dublett – Annette Kierulf & Caroline Kierulf» ble utgitt oktober 2013, og senere i 2014 kommer «Dublett – Pedro Gómez-Egaña» og «Dublett – Elsebeth Jørgensen». 




Hordaland kunstsenter holder til i Bergen, og ble etablert i 1976 av Bildende Kunstneres Forening Hordaland (BKFH) og Norske Kunsthåndverkere Vest-Norge (NKVN) som det første kunstnerdrevne kunstsenteret i Norge. Aktiviteten på Hordaland kunstsenter er synlig gjennom utstillingsprogrammet, med lik vekt på seminarer og dialog, publikasjoner, et regionalt og internasjonalt Utenforprosjekt (i samarbeid med andre institusjoner) og et gjesteprogram for internasjonale kunstnere, kuratorer, skribenter og andre innen kunstfeltet. HORDALAND KUNSTSENTER BOKHANDEL er Bergens første fagbokhandel med et bredt utvalg tidsskrifter og fagbøker knyttet til samtidskunstfeltet.



Onsdag 19. mars kl. 18.00 


Har Ivan Galuzin sjel? Hvem er utstillingens posterboy? 

Ellef Prestsæter innleder til samtale med Ivan Galuzin om den aktuelle utstillingen Idiosyncrasy Means Allergy på UKS. Sentrale temaer: Autoimmun kunst, kroppen som medium og organer uten kropp.

Før samtalen blir det en kort innledning av Ellef Prestsæter, kurator for utstillingsprosjektet Gutenberg-galaksen ligger på Blaker (2013 – 2014), kritiker i Klassekampen og og redaktør for Rett Kopi. 


Hjertelig velkommen!

SKURT surfing with a pirated PURPLE FASHION font



12. mars – 14. mars 2014


Det er med stor glede UKS presenterer Ilja Karilampi (f. 1983) som del av vårt småskalaprogram for 2014. Den svenske kunstneren tar over UKS’ lokaler for tre kvelder på rad, og serverer både egenproduserte videoverker, et spesielt kuratert filmprogram og en selvlysende intervensjon i selve rommet. 


Tittelet på programmet er Shine On – et navn som hinter om kunstnerens interesse for popkultur og massemytologi. I en særegen, tverrmedial praksis smelter kunstneren sammen romantikk og virkelighet, personlige erfaringer og kollektive minner.


Ilja Karilampi bor og arbeider i Gøteborg, Berlin og New York. I 2013 deltok han blant annet på Frieze London, med det Berlin-baserte galleriet Sandy Brown. 


Se fullt program under!


Noen høydepunkter: Ilja Karilampis dokumentar om Dr. Dre, et helaftens dypdykk i New Yorks klebrige mytologi og visning av det nyere verket Hendrix Incident, hvor kunstneren utforsker omstendighetene rundt Jimi Henrix’ to uker lange, ufrivillige opphold i Gøteborg i 1968. 




Onsdag 12. mars


19.00: Forelesning ved Ilja Karilampi


Med forelesningen Esprit de Corps lover kunstneren å ta opp temaer som sikkerhetskontroller og den påtrengende bedømmelsen, «stygge» mennesker i samfunnet, MP3-spiller-genererert utestengelse, matlaging som en enestående fri aktivitet og menneskekroppens bevegelse og lyder. 


20.00: Screening av videoverk


To av Ilja Kampilaris vil bli vist: The Chief Architect of Gangsta Rap (2009), en personlig og fortellende dokumentar om Dr. Dre, og Dj Säkerhetskontroll (2010). 


20.45: Aperitif i baren med passende lydspor på anlegget. 


Torsdag 13. mars


20.00: New Amsterdam – filmmaraton 

Visning av filmer spesielt utvalgt av Ilja Karilampi i UKS’ kino. Bli med på et dypdykk ned i New Yorks mytologi og undergrunn!


20.10: New York, Murder, Mafia, & Drugs (2013)

Dokumentar av Al Profit. Dekker New York Citys forvandling fra 1970-tallets «brennende» South Bronx og 1980-tallets farlige subways til 1990-tallets opprensking, ved hjelpav ekslusivt videomateriale og et dypdykk ned i New York-mytologiens undergrunn. 


21.30: Downtown 81 (1980/81)

«Dokumentar» av Edo Bertiglio og Glenn O’Brien. Filmen er et sjeldent øyeblikksbilde av den ultrahippe undergrunnen i Manhattans post-punk-dager. Jean-Michel Basquiat figurerer som den ensome, kreative vandringsmann i en tid uten smarttelefoner, bare møtesteder, i en doptraffikert Lower East Side hvor alle møttes. 


22.35: Forfriskninger.


22.40: The Seven-Ups (1973)

Spillefilm av Phillip D’Antonio. Filmen følger en hardhudet detektiv, medlem av The Seven-Ups – en elitedivisjon av New York-politiet. Kledd i sivil tar de i bruk uortodokse metoder for å lure kriminelle til å begå forbrytelser med en strafferamme som overstiger syv år – derav navnet. Som kulisse finner vi Tracy Tower og flere andre arkitektoniske landemerker i Bronx, mens Pelham Parway og hele Manhatten utgjør scenen for en spektakulær biljakt. Finnes det likheter mellom kunstnere og sivile politimenn?


Fredag 14. mars


18.00: Baren åpner.


19.00: Hendrix Incident (2013)

I den 14 minutter lange dokumentarfilmen Hendrix Incident, tar Ilja Karilampi for seg den sanne historien om Jimi Hendrix’ konsert i Gøteborg i 1968. Etter konserten ble Hendrix anholdt for å ha vandalisert hotellrommet sitt, og ble midlertidig nektet tilatelse til å reise fra byen. 


20.15: Musikkvideoer og forfriskninger.


21.00: Dørene stenges.



Artist talk: Lørdag 22. februar kl. 14. 


Møt Ivan Galuzin i samtale med kurator og daglig leder ved UKS Johanne Nordby Wernø.


En intens utforsking av menneskekroppen, dens bestanddeler, prosesser og avfallsstoffer har gått som en rød tråd gjennom store deler av Ivan Galuzins kunstnerskap. I utstillingen Idiosyncrasy Means Allergy blåses dette opp i en større skala en noen gang - på en måte som også viderfører Galuzins utforsking av maleriets historie. 


Denne tematikken er med på å danne grunnlaget for lørdagens artist talk, hvor besøkende gis muligheten for et dypere innblikk i utstillingen. 


Velkommen til samtalen!

Ivan Galuzin | If This Painting Turns Black, Call the Police, 2014 | 186×245 cm | Svovel, bly, aske og blyant på lerret
Ivan Galuzin | Uten tittel, 2013 | Olje og akryldispresjon på lerret
Ivan Galuzin | Uten tittel, Tent Painting I, Tent Painting II, Body Vessel I, 2014
Ivan Galuzin | My Generation I – VIII, 2014
Ivan Galuzin | Kitchen Series I – V, 2014
Ivan Galuzin | Blood Vessels II, Blood Vessels III, Tent Painting III, Suicide Vessel, 2014
Ivan Galuzin | High And Low, Cookie, Stock, 2013. Alle foto: Vegard Kleven

Ivan Galuzin

Idiosyncrasy Means Allergy


21. februar  30. mars 2014


Åpning: fredag 21. februar kl. 19.00


Artist talk: lørdag 22. februar kl. 14. Møt Ivan Galuzin i samtale med Johanne Nordby Wernø, daglig leder og kurator på UKS.




Med Idiosyncrasy Means Allergy presenterer Unge Kunstneres Samfund den største solo­presentasjonen av Ivan Galuzins arbeider til nå. Galuzin er er et kjent navn på den yngre Oslo­-scenen, og var midt på 00-­tallet med å starte notoriske visningsrom som Galleri Galuzin og TAFKAG. Siden har han imidlertid satset mål­ rettet på eget kunstnerskap og blant annet stilt ut på Kunstnerforbundet og Galleri Christian Torp.

Med Idiosyncrasy... er både entréen, foajéen, utstillingssalen og mezzaninen på UKS maksimal­ istisk vis fylt opp med malerier, film, skulpturer og installasjon. Verkene er utført i et bredt spekter av materialer, fra tau funnet på stranden og trestammer fra skogen utenfor atelieret på Romsås, til giftige kjemikalier. Arbeidene på lerret er mange, og vitner om Galuzins interesse for stadig utforskning av maleriets historie – eller, med utstillingstittelens terminologi, hans forsøk på å diagnostisere det.



Blant utstillingens viktigste tematiske tråder finner vi interessen for den materielle menneske­ kroppen og dens prosesser, bestanddeler og avfallsstoffer. Temaet er en gjenganger i kunster­skapet, men i Idiosyncrasy... blåses det bokstav­elig talt opp i større skala enn noen gang. En nøkkelserie er en ny gruppe store lerreter der olje og akryl er byttet ut med kjemikalier som fosfor og svovel – stoffer som finnes i menneske­ kroppen. De finnes også i sjøvannet som opptrer i filmen Singular Impossibility. Her er et tau innfiltret i garn skylt i land på en billedskjønn strand, og får av kunstneren selv sin tålmodige befrielse med mytologiske undertoner.


De monokrome eller nesten­monokrome ler­retene er i målene 186 x 245 cm; kortsiden tilsvarer Galuzins egen høyde, mens langsiden er diktert av at bildet skal passe «the Academy Ratio», standardmålet som ble innført for kino­ bildet i 30-­tallets Hollywood og erstattet tidlig­ere, mer idiosynkratiske proporsjoner. Lerretets høyde tilsvarer også den kunstneren kan nå med oppstrakte hender.



Der Galuzin tidligere har fremvist kjemikaliene analytisk og vitenskapelig, lagret i dertil egnede beholdere, tas de på UKS i aktivt bruk. Skulpturer og malerier hinter til kroppens vakre og taktile, men også ekle, forgjengelige og utsatte natur (stinkende hud, skjulte lag under overflaten, foranderlige fargeskalaer). Andre «kropper» er ubåtene i My Generation, referanser til Galuzins russiske bakgrunn; bildene i pappmaché er laget på basis av motiver kunstneren har gravd fram i Murmansk’ bruktbutikker, amatørfotografier av militære ubåter. De er både flokk og enkelt­ individer på samme tid, kanskje med referanse til utstillingstittelen. Idiosynkrasi betyr ikke bare «særpreget individuell egenskap», men betegner også tilstanden der en pasient viser allergiske symptomer på noe andre ikke ville reagert på.



Ivan Galuzin (Murmansk, 1979; bor og arbeider i Oslo). De siste tre årene vitner om en ny konseptuell retning i dette kunstnerskapet. I installasjoner, maleri, skulptur, tekst og performance er menneskekroppen og det den produserer et hovedtema (i rent kjemisk eller naturvitenskapelig så vel som antropologisk forstand) og balansen mellom patos og kunnskap en stadig tilbakevendende spenningsfaktor. «Det vanskelige ved å leve i en kropp» løftes til samfunnsnivå idet det knyttes til vår samtidige konsumpsjon av varer, underholdning og dop. I et tidligere arbeid ble kroppen dekonstruert ned til sine 60 kjemiske substanser, representert i dunker, poser og kasser. På UKS vil en serie store lerreter danne grunnlag for en dissosiativ lek med avtrykk, spor og navn.


Ivan Galuzin er utdannet ved Statens Kunstakademi i Oslo, 2006. Han var en av kunstnerne bak  notoriske visningsrom som Galleri Galuzin, TAFKAG og Brown, Dude Project Loft i Oslo. Siden har han imidlertid satset målrettet på eget kunstnerskap og blant annet stilt ut på Kunstnerforbundet og Galleri Christian Torp.

Ivan Galuzin: Uten tittel, 2013. Olje og akryldispresjon på lerret.

UKS har gleden av å invitere til åpning av utstillingen Idiosyncrasy Means Allergy, fredag 21. februar klokken 19.00.


Dette er den største solopresentasjonen av Ivan Galuzins arbeider til nå, og fyller UKS’ entré, foajé, utstillingssal og mezzanin opp av malerier, film, skulpturer og installasjoner. Verkene er utført i et bredt spekter av materialer, fra tau funnet på stranden til giftige kjemikalier. Arbeidene på lerret er mange, og vitner om Galuzins interesse for stadig utforskning av maleriets historie – eller, med utstillingstittelens terminologi, hans forsøk på å diagnostisere det. 


Blant utstillingens viktigste tematiske tråder finner vi interessen for den materielle menneskekroppen og dens prosesser. Temaet er en gjenganger i kunstnerskapet, men i Idiosyncrasy... blåses det bokstavelig talt opp i større skala enn noen gang. 



Impossible Pictures (2013). Tegning, fargekritt og digital print. Foto: Arne Skaug Olsen

Artist talk: lørdag 23. november kl 14 på Unge Kunstneres Samfund.


Møt Toril Johannessen i samtale med Johanne Nordby Wernø, daglig leder og kurator på UKS.


22. november åpner Toril Johannessens  utstilling Teleportation Paradigm. Prosjektet består av en lyssinstallasjon – et samarbeid med forsker i nevrofysikk Karel Jezek – og en serie tegninger. Installasjonen modelleres etter et laboratorieeksperiment Jezek har utført på rotter for å studere hukommelsesfunksjoner i hjernen, mens tegningene er basert på et forsøk fra da Toril var barn, der hun prøvde å tegne hvordan det så ut inni hodet.



Toril Johannessen (Trondheim/Harstad, 1978; bor og arbeider i Bergen). Johannessen har siden endt MA-utdanning i 2008 utviklet et kunstnerskap som er både metodisk og tematisk konsekvent fra prosjekt til prosjekt: det handler om vitenskapens emner og framgangsmåter, og om de metaforene og kreative elementene som finnes også i «harde» disipliner. På UKS vil hun vise Teleportation Paradigm. Prosjektet består av en lyssinstallasjon – et samarbeid med forsker i nevrofysikk Karel Jezek – og en serie tegninger. Installasjonen modelleres etter et laboratorieeksperiment Jezek har utført på rotter for å studere hukommelsesfunksjoner i hjernen, mens tegningene er basert på et forsøk fra da Toril var barn, der hun prøvde å tegne hvordan det så ut inni hodet.


Toril Johannessen er utdannet ved Kunstakademiet i Bergen, 2008, og Mountain School i Los Angeles, 2011. Hun fikk mye omtale for deltagelsen på fjorårets Documenta 13 i Kassel, men selv ville hun også trekke fram Transcendental Physics på No. 5 i Bergen Kunsthall og vandreutstillingen Curiosity: Art and the Pleasures of Knowing med Hayward Touring.

Foto: Ruben Steinum



Det er med stor glede UKS (Unge Kunstneres Samfund) i samarbeid med Rom for Kunst presenterer Månedens Bilde for november: “Orgy” av Marte Eknæs & Nicolau Vergueiro.


“Orgy” viser en gruppe menneskelignende søppelkasser som er samlet på en mørklagt scene. Beholdernes åpninger er blitt munner med tenner og tunger, som for å understreke deres funksjon som portaler mellom det produktive (innovasjon) og det ikke-produktive (søppel); samtidig antyder de en idé om ansiktsløst forbruk. Som ville dyr er søppelkassene sultne og klare til å fortære en evigvarende tømming av ideer. Dans på fyllinga. 


Marte Eknæs (født 1978 i Elverum) bor og jobber i Berlin. Hun har en MFA fra Central Saint Martins i London (2004) og en BA fra California Institute of the Arts og Glasgow School of Art (2002). Hun har stilt ut solo ved What Pipeline (med Nicolau Vergueiro), Detroit; Susanne Hilberry Gallery, Detroit; Kunstnerforbundet, Oslo; Exilo (med Nicolau Vergueiro), Los Angeles; og Trondheim Kunstmuseum. Blant nyere gruppeutstillinger kan nevnes FUSED, San Fransisco; Johannes Vogt Gallery, New York; og Hotel Gallery, London.


Nicolau Vergueiro (født 1977 i New York) bor og arbeider i Los Angeles og São Paulo. Han har sin MFA fra California Institute of the Arts (2002) og BA fra University of California, Los Angeles (2000). Han har vist solo ved David Kordansky Gallery, Los Angeles; Galerie Nathalie Obadia, Paris og The Pasadena Museum of Californian Art, Pasadena. Blant nyere gruppeutstillinger finner vi Orange County Museum of Art, Newport Beach; David Zwirner Gallery, New York; Hiromi Yoshii Gallery, Tokyo; og Museu de Arte Moderna da Bahia, Brasil. 




Månedens Bilde – også kjent som Byens Bilde – var en glassvitrine utenfor Stortinget der medlemmer av kunstnerorganisasjonen UKS hver måned viste nye arbeider. Mest kjent fra denne visningsplattformen er Kjartan Slettemark som i 1965 viste bildet som nå er kjent som “Av rapport fra Vietnam: Barn overskylles av brennende napalm, deres hud brennes til svarte sår og de dør.” Dette verket ble som kjent vandalisert av en rasende publikummer med øks, noe som førte til voldsomme opptøyer i Oslo og Stavanger. Snart femti år senere har UKS igjen æren av å kuratere Månedens Bilde til inspirasjon og ettertanke for Oslos befolkning, nå utenfor Østbanehallen ved Oslo S.




Dear Mayor Beame, …is it not cruel to let our city die by degrees, stripped of all her proud moments, until there is nothing left of all her history and beauty to inspire our children? If they are not inspired by the past of our city, where will they find the strength to fight for her future?


– Jacqueline Onassis Kennedy, 1975


Marthe Ramm Fortun will narrate experiences and thoughts shared with her by the users of Grand Central Terminal—those who work, live, visit and commute within and throughout the Terminal. Through her three performances she will highlight existing structures and choreographies created by the ways people use the space in their conduct of everyday life. Fortun will use historic paradigm shifts and cultural references such as Jacqueline Kennedy Onassis’ initiative to restore the terminal, to highlight celebratory as well as socio-political aspects of the Grand Central Terminal in its hundredth year.


Scheduled performances:

  • Friday, November 8, 7:00 pm
  • Saturday, November 9, 7:00 pm
  • Sunday, November 10, 7:00 pm

Grand Central Terminal, 87 E 42nd St


Inverted Sky is a Performa Project co-presented with MTA Arts for Transit & Urban Design and Unge Kunstneres Samfund (UKS). 


The project is part of the Norwegian Pavilion Without Walls: The strategy of the Norwegian Pavilion is specifically to highlight cultural producers in Norway and present some of the country's most outstanding artists. The program is co-curated with leading institutions such as Ny Musikk, Henie Onstad Kunstsenter (HOK), Kunsthall Stavanger, Kunsthall Oslo, Hordaland Art Centre, Entrée and Unge Kunstneres Samfund (UKS), in collaboration with the directors and curators there.


Read more:


Generously supported by The Norwegian Consulate General, New York and Office of Contemporary Art Norway (OCA).


Photo: Samling (An Improvised Reading Circle), by Marthe Ramm Fortun for Oslo Train Station. In collaboration with Kunsthall Oslo and Rom for Kunst, 2012.



“Om jeg elsker, elsker jeg noen (silver from clay)”, 2013

Det er med stor glede UKS (Unge Kunstneres Samfund) i samarbeid med Rom for Kunst presenterer Månedens bilde for november: “Om jeg elsker, elsker jeg noen (silver from clay)” av Inga Sund Hofset. Verket befinner seg i randsonen mellom skulptur og maleri, og består av aluminium på tre.


Med en personlig tilnærming gransker Hofset aluminiumets egenskaper som estetisk materiale og som en del av våre hverdagslige omgivelser.


Aluminiumet bærer med seg en historie om utvikling, fremtidshåp, idealisme og maktpolitikk. I Hofsets arbeid møter denne historien kunstnerens intime og subjektive behandling. Ved å lese inn disse ulike narrativene i materialet skaper Hofset en metodisk dialog mellom subjekt og objekt, som igjen bygger opp under verkets autonomi.

Tittelen ”Om jeg elsker, elsker jeg noen (silver from clay)” henspeiler på denne bevissthetsutviklingen, som dialektiske bevegelser mellom det bevisste, det ubevisste, separasjon og enhet. 


Inga Sund Hofset, født 1983 i Hønefoss, bor og arbeider i Oslo. Har studert ved Kunstakademiet i Oslo og NTNU i Trondheim. Et utvalg av utstillinger inkluderer Holodeck, Podium, One Night Only og Kunsthall Oslo.





Byens bilde eller Månedens bilde var en tradisjon i Oslo fra 1960 til midten av 80-tallet. Hver måned presenterte UKS (Unge Kunstneres Samfund) et nytt verk i en vitrine utenfor Stortinget. Mange kjente norske kunstnere viste arbeidene sine der, slik som Morten Krohg, Eva Winther-Larssen, Håkon Bleken og Eva Bull Holte. Verkene berørte ofte kontroversielle tema og utnyttet til det fulle sin offentlige plassering. Mest kjent er Kjartan Slettemarks maleri “Av rapport fra Vietnam: Barn overskylles av brennende napalm. Deres hud brennes til svarte sår og de dør”. Maleriet ble angrepet av en mann med øks og kontorversene åpnet opp for en kraftfull offentlig debatt. Slettemarks arbeid er nå i Nasjonalgalleriets samlinger.


Rom for kunst har invitert UKS til å gjenoppta tradisjonen med Månedens bilde. UKS velger ut et nytt verk hver måned som blir vist i en spesialkonstruert vitrine på Jernbanetorget. Vitrinen med Månedens bilde finner du utenfor Østbanehallen ved Jernbanetorget.

Velkommen til lanseringsfest på Unge Kunstneres Samfund fredag 20/9, 20.00!


Vi lanserer utstillingsprogrammet for 2014 og ønsker Johanne Nordby Wernø velkommen som ny daglig leder ved UKS.

Kveldens program:


☞ 20.00 inviterer vi til fest og hygge i Lakkegata 55 D. Musikk, bar og mat.


☞ 20.30 vil styreleder Marianne Hurum presentere ny daglig leder,
Johanne Nordby Wernø.


☞ Johanne Nordby Wernø offentliggjør utstillingsprogrammet for 2014.
Kunstnerne vil være tilstede.


☞ Utdelingsseremoni for Snorre Andersen, Maleren Ambrosius Egedius
og hustrus legat ved Marianne Hurum.


☞ 21.30 spiller DJ-duoen Dansestøl opp til dans. Vi stenger midnatt.



Fra Regjeringens flickr-konto 2013

I anledning valget 2013 inviterer Unge Kunstneres Samfund og Kunstnernes Hus til valgvake på UKS i Lakkegata 55 D på valgnatta 9. september.


NB! Ny tid: vi åpner allerede kl. 19.00 med en enkel, kostnadsfri middag.


Fra valglokalene stenger klokken 21.00 følger vi valget via NRKs valgsending. Når alle har funnet seg til rette og stemningen er god vil vi gjennomføre et internvalg på huset med påfølgende analyse ved Sverre Gullesen, styreleder på Kunstnernes Hus, og kunstner og ølbrygger Anders Dahl Monsen:


Hvordan stemmer kunstnere? Hvordan ville landets parlamentariske sammensetning vært om kunstnerne bestemte? Hvilken utopiske framtid venter kunstnerne etter valget? Dette og mere kan du finne ut av på UKS Valgvake 2013.


Du kan også velge å følge NRKs valgsending uforstyrret fra UKS Kino.


Vi har som vanlig en bar og enkel servering.


Du er velkommen!





Johanne Nordby Wernø

Daglig leder, UKS



Sverre Gullesen

Styreleder, Kunstnernes Hus




UKS (Unge Kunstneres Samfund) i samarbeid med Rom for kunst presenterer Månedens bilde for september: “Interrupted Meals” av Eirik Sæther.


“Interrupted Meals” består av fotografier av ulike forlatte bordsettinger samt en reprodusert menytavle fra restauranten Rasoi India Kitchen på Østbanehallen. Elementene er printet på glassfiberduk og støpt inn i epoxy til en transparent collage som er lyssatt fra baksiden.


Eirik Sæther (1983, Halden) bor og arbeider i Oslo og har studert ved Kunstakademiet i Oslo og Det Kongelige Danske Kunstakademi. Et utvalg av solo- og gruppeutstillinger inkluderer VI, VII, Oslo; Kunstverein München, München; ICA, London; Sculpture Center, New York; Arnolfini, Bristol; Landings Projects, Vestfossen; og Johan Berggren, Malmö. Sæther initierte også kunstnergruppa Institutt for Degenerert Kunst (med Anders Nordby og Arild Tveito) og Galleri Annen Etage i Oslo.















1:1 An exhibition is a room with things. What did you say? A concept a technology for remembering. A mask a tool for forgetting. That small strip of doubt separating face and image. At the center of the exhibition is a photograph from the collection of W.B. Yeats. It is a picture of Michio Ito in his fox mask.* There are also objects: a replica of an antique folding chair, a carpet as make-up, the grey linen clothing of a stagehand. Invisible men moving invisible objects over an invisible stage. 


*Michio Ito was a Japanese dancer who moved to Britain 1913 where he met Ezra Pound who introduced him to contemporaries such as W.B. Yeats. Ito started to work for Pound as a translator and followed him into a newly sparked interest for Noh theater. While working on the Japanese manuscripts, Ito began rehearsing gestures and movements related to the ancient art form. He became not only a translator, but a medium in himself, allowing for new forms of poetry to emerge. 

**For Yeats the mask was important as a poetic device in a search for a personal (rather than a subjective) expression. This search was also one of medium, of form.















1:1 A mask is a cultural figure, a source of naive knowledge.** There is no story, but there are images an intellect could never make. Are artworks there to be performed? I see you from the inside of a face. Worn objects we might use, dead animals we can pretend to be. Eyes rolling, breath heaving. Listen, I knew you from before you pretended not to know me. I am still part of everything here. Don't you want more? Are you against or for forgetting? I mean, are you on your way to becoming something else?



With a shared interest in humans relationship to fire, Futurefarmers and Erik Sjödin assembles as Flatbread Society to host a program of short films, baking, music and workshops. A boat-oven will be docked for the evening for all to make flatbread, share recipes and contemplate flatbread.


More about Flatbread Society:


From May 20 - June 23, 2013, Flatbread Society will take the form of a program of events, a mobile oven tour and hands-on workshops. The program will be geared towards co-defining the function, form and community of a public Bakehouse to be built in Bjørvika*. Flatbread Society will circulate through Oslo and surrounding areas linking existing programming, projects and institutions with a common curiosity in the three mysteries of life; cosmos, human and soil. Flatbread will be baked and shared as means of exchange and invitation to convene on June 23 on the waterfront at Bjørvika to celebrate midsummer, fire the bread ovens built and inaugurate the location of the future Bakehouse Bjørvika.  


*Bakehouse Bjørvika is part of the Slow Spaces public art program initiated by Claire Doherty of Situations, Bristol. This program is funded by Bjørvika Infrastructure.


“Far from being simply an object, the bread oven reflects a technique, a physical environment, a standard of living, a spatial organization, indeed a whole a way of life. It reveals a great deal about the perceptual and conceptual schemes of the people using it. The oven may therefore be considered a total cultural fact.

                                                                                        -Jean-Francois Blanchette





About the artists:


Futurefarmers, US/Belgium

Futurefarmers is a group of diverse practitioners aligned through an open practice of making work that is relevant to the time and place surrounding them. Founded in 1995, their design studio serves as a platform to support art projects, an artist in residence program and their research interests. Futurefarmers create frameworks for exchange and tactile forms of inquiry that provide playful entry points and tools for participants to gain insight into deeper fields of inquiry – not only to imagine, but to participate in and initiate change in the places we live.


Futurefarmers use various media to deconstruct systems as a means to understand their intrinsic logics; food systems, public transportation, education. Through this disassembly they find new narratives and reconfigurations that form alternatives to the principles that once dominated these systems. They have created temporary schools, bus tours, urban agriculture policy and large-scale exhibitions internationally. 


Collectively, they teach in the visual arts graduate programs at California College of the Arts in San Francisco, Mills College in Oakland, and the University of California at Berkeley. Their work has been exhibited at the Walker Art Center, Whitney Museum, NY Museum of Modern Art, the Solomon Guggenheim Museum in New York and the New York Hall of Sciences. They have received grants from the Solomon Guggenheim Foundation, Creative Work Fund and the Graham Foundation. 



Erik Sjödin, Stockholm, Sweden

Erik is an artist and researcher based in Stockholm and Bergen. His practice explores interdependencies and interrelationships between humans and non-humans as well as questions of being and becoming.


Erik's work is primarily constituted of transdisciplinary research, production of situations, interventions in the public realm and exhibitions. The projects he pursues are often of an exploratory nature and take shape over several years.


He frequently collaborates with and consults experts such as scientists, farmers, chefs and craftspeople. 



25 Maggio 2013
N. 4235
Institutt for degenerert kunst's brain-teasing contribution to the current issue of La Settimana Enigmistica takes the format of a cryptogram and is available at local kiosks & newsstands in Venice throughout the opening week of the 55th Venice Biennale. 
About La Settimana Enigmistica:
Published since 1932 – La Settimana Enigmistica was created by Giorgio Sisini, a Sardinian nobleman, count of Sant'Andrea, and the son of the founder of the Rotary Club of Sardinia. 
Sisini died in 1972 and the production of the magazine was taken up at first by Raoul De Giusti and then by Francesco Baggi Sisini. 
The first edition of the magazine was published on 23 January 1932 and featured the Mexican actress Lupe Vélez on the front cover. 
Since its founding, the magazine has featured puzzles created by famous puzzle-setters, including by the magazine´s founder who created puzzles for readers up until the last days of his life. One of the footers on the front page of the magazine states è il settimanale che vanta innumerevoli tentativi di imitazione ("it is the weekly magazine that boasts countless attempts at imitation"). 
Numerous other publications have followed in the wake of La Settimana Enigmistic's popularity. In November 2008, it reached the milestone of 4,000 issues. 


Osterhausgate 12, OSLO

The eighth FRANK salon is held in collaboration with UKS and the exhibition POSSESIONS.


Lars Laumann (NO) has invited Daniel Barrow (CA) to perform Every Time I See Your Picture I Cry.

Winnipeg-born, Montreal-based artist DANIEL BARROW uses obsolete technologies to present written, pictorial and cinematic narratives centering on the practices of drawing and collecting. Since 1993, he has created and adapted comic book narratives to "manual" forms of animation by projecting, layering and manipulating drawings on overhead projectors.

       “...From a position amongst the audience, he recites live narration while manipulating layers of transparencies in continuous motion. Accentuated by interference patterns and sleight-of-hand trickery, Barrow's hand-drawn images contrive an absorbing tale of comic book grotesques. Every Time I See Your Picture I Cry is a bizarre confessional detailing the grand but hopeless scheme of an estranged garbage collector and failed art student. Unloved and rejected by society, the protagonist begins a universal art project in the form of a telephone directory of 'profound and intimate insights' to chronicle the lives of those around him. As he snoops through the windows and waste bins of fellow citizens, his survey is rendered futile by a maniacal killer who follows in his wake, picking off subjects one by one. Invoking introspection, pathos and dark humour, this award-winning performance piece is accompanied by an unassuming Beach Boys-inflected score recorded by Amy Linton of The Aislers Set.” - Mark Webber


DANIEL BARROW has exhibited widely in Canada and abroad. He has performed at The Walker Art Center (Minneapolis), PS1 Contemporary Art Center (New York), The Museum of Contemporary Art (Los Angeles), The International Film Festival Rotterdam, The Portland Institute for Contemporary Art, and the British Film Institute (London). Barrow has supported acts such as Antony and the Johnsons, The Hidden Cameras, and Miranda July. Barrow is the winner of the 2010 Sobey Art Award and the 2013 winner of the Glenfiddich Artist-In-Residence Prize. He is represented by Jessica Bradley Art + Projects, Toronto.
AMY LINTON is the chief songwriter and lead singer of the bands Henry’s Dress and the Aislers Set. High praise follows the Aislers Set on lengthy tours, supporting acts such as Sleater Kinney, Bratmobile, Yo La Tengo and Belle and Sebastien. Amy is currently living, writing and recording in Brooklyn, NY.
LARS LAUMANN draw inspiration from the outskirts of popular culture, mixing different media and techniques to create works explores ideas of fandom, obsession, conspiracy and love, both romantic and divine. Laumann’s work has previously been exhibitions at White Columns, Marian Goodman Gallery, New Museum and the MoMA, at the Kunsthalle Winterthur and Kunsthalle Basel (Switzerland), and at the 5th Berlin Biennial and, Haus der Kulturen der Welt, Liverpool Biennial, Whitechapel Gallery, Hayward Gallery, Tate Modern.

FRANK is a platform run by Liv Bugge and Sille Storihle. It was established in April 2012 to nurture art and critical discourse revolving around gender issues, desire and sexuality. The platform operates in different locations and with various co-curators 

The krebs cycle shows how the body metabolizes citric acid.

It is with great excitement UKS Unge kunstneres samfund presents a talk by artists Amy Lien and Enzo Camacho at Lakkegata 55, Oslo. The artists will deliver a paper approaching the network discourse within contemporary art through an analysis of one of its prevalent motifs: self-cannibalism.


Self-cannibalism may be thought of as a distinct outgrowth of critical strategies and impulses, suited to the conditions of hyper-connectedness, but perhaps no longer even recognizable as critique. By giving examples of self-cannibalism in artistic practices including Merlin Carpenter’s, Jana Euler’s, Michael Krebber’s, David Lieske’s, and Jerry Magoo’s, the paper links these to a spectrum of negative or dysfunctional emotional registers, including rage, depression, heartbreak, and frigidity. Rather than understanding these emotional drives as puncturing through the entrapments of the network, they argue that damaged emotions are just as much produced by the network, and operate as its descriptive vectors, as fluidly as socially affirmative artistic practices do.


Lien and Camacho then offer another proposition: That negativity is in fact inherently a part of the network, and lies in the empty spaces that exist between connections. By approaching a proximate conceptualization of the negative already implied by network discourse, one runs greater risks than with tactics of self-cannibalism. 


After the presentation a discussion with Qs and As will follow, moderated by UKS coordinator Mikael D. Brkic.


Enzo Camacho (b. 1985, Philippines) and Amy Lien (b. 1987, USA) are collaborating artists currently based in Berlin, Germany. They both graduated from Harvard University with a BA degree in Visual and Environmental Studies in 2007 and 2009, respectively and are currently attending the Hochschule für Bildende Künste Hamburg for a Masters in Fine Arts. Recent activity includes the solo exhibitions Abuses at MoSpace, Taguig, Philippines, 2012; Your body is not an implement but a ballistic at Pablo Fort, Taguig, Philippines, 2012; Witnesses in the Garden at Republikha Art Gallery, Quezon City, Philippines, 2011; and Café by the Ruins at 47 Canal, New York, USA, 2011; along with the performance Café by the Ruins Tour at the Museum of Modern Art, New York, USA, 2011. They have recently contributed to the publications Provence Magazine, edited by Hannes Loichinger and Tobias Kaspar, and 2012 (you were always on my mind), a 47 Canal publication edited by Margaret Lee and Domenick Ammirati, soon to be released.



curated by Linus Elmes



Presented with a photo, a machine can determine what it is looking at. Machines can now see INSIDE images.


Extract the physicality of objects within images (there is the object elevator inside the photo of an elevator), detect symbols (upward arrow means going up) and associate words (lift, metal, rectangle, sliding doors).


A machine confronted with an image or a scenery now knows how to place it. It’s another step towards machines autonomy, that enables navigation, within both virtual and real world.


If human’s unconscious is more of a factory than a theater*, how does it work in machines little electronic cogs? Image Families is an assembly line of an exhibition, an exploration to figure out what’s really inside an image. 


* Deleuze et Guattari “l'inconscient n'est pas un théâtre, mais une usine, une machine à produire”







Velkommen til UKS` generalforsamling 2013 fredag 22. mars kl. 18.00 i Lakkegata 55d.


Sakspapirene er tilgjengelig i nedlastingsfeltet øverst


Dersom du ønsker å motta sakspapirene via post, ring oss på telefon 22195050. 


For å ha stemmerett under generalforsamling må du ha betalt medlemskontingenten for 2012. Vedtekter finner du her


Vi minner for øvrig om § 4.5 i vedtektene: 

Medlemmer som er forhindret fra å møte på årsmøtet kan forhåndsstemme på saker meldt i sakspapirene eller ved skriftlig erklæring overdra sin stemme til et navngitt annet medlem med stemmefullmakt. Max 2 pr. medlem. 


Forhåndsstemmer og stemmefullmakter må meldes til styret senest 24 timer før årsmøtet. E-post en scan eller fax (22195054) en fullmakt med underskrift.






1. Valg av referent og tellekorps


2. Godkjenning av innkalling og dagsorden


3. Gjennomgang av årsberetning 2012


4. Gjennomgang av regnskap 2012


5. Godkjenning av regnskap


6. Gjennomgang av årsrapport 2012


7. Gjennomgang av budsjett 2013


8. Godkjenning av budsjett 2013


9. Gjennomgang av handlingsprogram for 2013


10. Godkjenning av handlingsprogram 2013


11. Presentasjon av ny daglig leder


12. Presentasjon av vedtektsendringer


13. Godkjenning av vedtektsendringer


14. Valg av delegater til NBK landsmøte.


15. Innkomne saker


16. Nominasjonskomiteen presenterer innstilte 2 styremedlemmer og 1 vara.


17. Eventuelt presentasjon av andre styremedlems kandidater.


18. Valg







On display in the 'Månedens bilde' bulletin board in Jernbanetorget, Oslo.


Opening reception Friday 22nd March 17.00

(in Kristiania bar & café, Jernbanetorget 1)


The artist Anders Dahl Monsen began his campaign for a 0-hour working day with an exhibition in Stockholm in 2009. Now he is bringing it to the people of Oslo with a display in the new 'Månedens bilde' bulletin board in Jernbanetorget, as well as a free poster edition of the work which is also available as a digital download.


You can find the bulletin board outside the Østbanehalle in Jernbanetorget; collect a free poster at Oslo S; at Kunsthall Oslo in Trelastgata or at UKS in Lakkegata; and download a digital version of the work at


Dahl Monsen writes: In 1930 the famous economist John Maynard Keynes predicted that within a hundred years human beings would freed from work, "lilies of the field, who toil not, neither do they spin". It is now 2013, and so far there is no sign of Keynes's prediction coming true. The once-spirited movement for the 6-hour working day is being abandoned by the Left in most countries; intensified exploitation and the eradication of labour rights in the name of productivity and competitiveness accompany a global economic system out of control. The Zero Hour Day is about refusing to contribute to this system. It's about spending time living instead of working, spending time with friends and family, not simply working to consume and being consumed by work. The logo is an altered version of the six-hour day campaign, and the text is based on an 1856 banner calling for an eight-hour working day.


About the artist:


Anders Dahl Monsen (born 1980) lives and works in Oslo. He was educated at Kunstakademiet i Bergen (2001-05) and has exhibited widely in Norway and abroad, with recent solo exhibitions at Gallery D.O.R. in Brussels and NoPlace, Oslo. Hs interests include strenuous lethargy, serious partying, and self-imposed narcolepsy.


About Månedens bilde:


In the past UKS disposed a glass vitrine outside the Norwegian Parliament where members took turn showing new works.


In 1965, as a reaction to the exhibit of young Kjartan Slettermark’s collage in that vitrine, entitled: “A Report From Vietnam, Children are Washed by Burning Napalm, Their Skin Burns to Black Sores and They Die” a provoked citizen armed with an axe vandalized both the vitrine and the work. His rage came to mark the beginning of violent riots and crated an extensive public debate about weather art could or should be political in mass media.


UKS is now, some 50 years later asked to re-animate the glass vitrine as part of a public art program, “Rom for kunst” produced by Kunsthall Oslo at the Oslo central station. Rather than repeating history and producing works for this specific format we are looking into the format of a bulletin or wall journal to be displayed in the vitrine as well as freely distributed in a small edition. 



About Rom for kunst:


Rom for kunst (Space for Art) at Oslo Central Station is a public art initiative run by Rom Eiendom AS. Kunsthall Oslo and Hovind AS are currently the commissioners for Rom for kunst.




Roee Rosen; Out (still from the video) 2010

Curated by FRANK


With works by Serina Erfjord, Klara Lidén, Sidsel Paaske, Tove Pedersen, Roee Rosen and Martin Skauen. 


The exhibition takes “Possessions” as starting point to address the complexities of the term: as an act of taking control, claiming ownership, and a state of being possessed by demons and emotions. The selection of artworks evokes ambiguities of gender, desires and complex power relations, to allow for contradictions and collisions of the past and present to surface. It presents various explorations of the operations of power, identity construction and dominant ideologies, confronting solidified modes of thought that oppress the possibilities of ambiguity and paradox.


Klara Lidén’s video work, The Myth of Progress, functions as an allegory of the show as a whole, questioning the understanding of Western advancements. In it, the artist glides backwards through a cityscape, moving at her own pace as the world around her continues its course. Roee Rosen’s Out (Tse) is another central work. It presents a possession episode in which Israeli right-wing ideology is internalized within the body of a woman and exorcized through a domination/submission scene. The complexities of possessions are extended to erotic tapestry from the 70s, a drawing of a mother and child, a symbolic sculpture, a found object and an intervention in the “watchtower” in the exhibition space.


FRANK is a platform run by Liv Bugge and Sille Storihle. It was established in April 2012 to nurture art and critical discourse revolving around gender issues, desire and sexuality. The incentive to form such a platform came from the realization that Oslo, to a large extent, lacked a scene that critically addressed gender issues. The platform operates in different locations and with various co-curators, Possessions is the first major curatorial work by FRANK.



Artist talk by Roee Rosen

Saturday March 9th at 6pm

Osterhausgate 12


Roee Rosen (b. 1963) is an Israeli-American artist, filmmaker and writer. He will present two fictive identities, The Jewish Belgian Surrealist painter and pornographer Justine Frank (1900-1943), and the young Russian Poet and artist Maxim Komar-Myshkin who committed suicide in 2011


Rosen’s painting and text installation, Live and Die as Eva Braun (1995-1997), stirred a scandal when first exhibited at the Israel Museum. Eva Braun was later recognized as groundbreaking in its approach to the representation of the holocaust, and was exhibited in Berlin and in New York and Warsaw. In 2012 the project was part of Rosen sole exhibition Vile, Evil Veil at the Institute of International Visual Arts (INIVA), London.


Rosen dedicated many years to his fictive feminine persona, the Jewish-Belgian Surrealist painter and pornographer Justine Frank, a project that entailed fabricating her entire oeuvre as well as writing biographical and theoretical text about her, and the novel she supposedly authored. Rosen's book, Justine Frank, Sweet Sweat (Sternberg Press) was listed as one of the best books of 2009 by Artforum magazine. In 2008, Frank's “retrospective” was exhibited at Extra-City, in her native town, Antwerp (an exhibition curated by Hila Peleg).

ART ART HISTORY HISTORY AGAIN AGAIN is an open forum for dialectical discussion and interpretation of the historical preconditions for art. During this forum we will develop our main tool; a timeline that will manifest the discussed history. In the form of a classical symposium the participants are 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 will present an eclectic array of narratives and action.


Covering 202 013 years, the symposium will be held over three weeks, and culminates in an exhibition Thursday January the 24th at UKS. The participants are then assigned to unique artistic eras that they will interpret, 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".


Welcome to the opening of ART ART HISTORY HISTORY AGAIN AGAIN Thursday January 24th at 7.00pm in the main hall of UKS.


Gesticulators: Vilde von Krogh, Mikael D. Brkic, Sebastian Makonnen Kjølaas



A film program put together by the gesticulators will be shown in relation to the discussed topics.



ART ART HISTORY HISTORY AGAIN AGAIN is initiated by Prosjektskolen AS in conjunction with UKS.


Edited by Gjertrud Steinsvåg
Published by

Free download:



How does money influence integrity of artists and relevance of their work? In which way does funding influence artist’s motivation? Is there a difference between public and private funding? These and other questions are attempted be answered in the anthology Never mind the Benefits.


With essays by: writer and senior advisor in KORO, Dag Wiersholm, critic André Gali, art sociologist Sigrid Røyseng and critic/curator Erlend Hammer.
Additional contributions by: artists Marianne Heier and Marius Martinussen, former director of Kunsthall Oslo, Per Gunnar Eeg-Tverbakk and gallerists Randi Thommessen (Lautom Contemporary) and Randi Grov Berger (Entrée).

In a series of informal events, Mikael D. Brkic gathers temporary visitors and local voices together in informal constellations to reflect and elaborate on relevant topics.


In this second edition Lindsay Lawson, one of the initiators of Times Bar, Berlin and Esperanza Rosales founder of VI, VII, Oslo join in for a discussion about possible "alternative" structures for mediation of contemporary art. 


Times Bar was located in Hermannstrasse 16, Neukölln, Berlin. As a short-lived phenomena lasting between July 1, 2001-September 7, 2012 it is both famous and infamous. The bi-monthly "hanging" of a single work of art behind the bar served as an exhibition format for young, emerging to mid-career artists in and around Berlin. 


The newly opened VI, VII is a gallery and exhibition space that represents international artists, but withdraws from obvious categorization, refusing to be trapped in a particular format.


Times Bar primarily attracted a vast ex-pat audience and the current location of VI, VII unavoidably raises questions of involvement in gentrification – is this a relevant critique today or has the idea of negotiating the institution lost much of its validity? 


Doors open 5 pm.

Liz Glynn, William E. Jones, Christine Rebet, Emily Roysdon, Jumana Manna and Wu Tsang
with Nana Oforiatta-Ayim
curated by Shoghig Halajian and Suzy M. Halajian


Nothing is forgotten, some things considered explores the politics of image-making and its impact on individual and collective identity. At a moment when the dominance of neoliberalism and its attending crisis questions the smooth image of corporate capitalism, the exhibition brings together artists who challenge dominant modes of representation within historical and political discourses. It investigates the multifarious sites of power that construct identity, ranging from national archives to media coverage of protest, and consequently presents a generative tension between ideology and experience.

Acknowledging that history is representational and the images that constitute it mediated, the exhibited artists investigate identity-forming narratives within culture. Across their use of video, sculpture and performance, they explore a broad spectrum of issues, including the Farm Security Administration archives of American society during the Great Depression and the Metropolitan Museum of Art’s Hellenistic antique collection, to problematize the objectivity of visual and canonized information. The artists reconfigure, decontextualize or abstract key elements within these sites in order to disclose gaps in narratives and open up space for improvisation, misreadings, and awkward tension. The project explores the paradoxes inherent in producing identity and the critical potential of images. It reconsiders the status of the subject by re-aligning the visual with physical lived experience. In doing so, it emphasizes the significance of claiming space – both the poetic and the actual – and looks for alternative ways of inhabiting public and political sites. The body within environments of collectivity takes priority, underscoring the significance of how one feels in the world and how one can feel in the world.

The Artist is Present is a feature-length documentary about Marina Abramović and her preparations for her 2011 retrospective at MoMA. Abramović is portrayed as a glamorous art-world-icon and myth of her own making on the verge to take the leap into – what under these pre-set conditions only can be understood as – the exhilarating milestone moment of desire for any living artist, a major solo at a premium museum. While the installation and exhibition period serve as a narrative spine, the strategic game played between Abramović and her long time friend, MoMA curator Klaus Biesenbach also reflect upon constituting factors in the intricate web of legitimating a legacy.
Abramović’s ambitious plan seems to be that of securing a future understanding of performance as a legitimate art form and thereby also her own importance in art history, and the MoMA show is the vehicle to achieve it – once and for all. An ambition seemingly far from Abramović’s own device “The hardest thing is to do something which is close to nothing”. While the context and the institution serve as tools for her agenda, the film also allows us to follow Abramović's sketches for the new work that will be the centrepiece of the exhibition. As such, the work is perfectly scripted for her purpose. It is not only the longest-duration work in her career, it is also claimed to be the most physically and emotionally demanding one. Only the thought of it “made me nauseous” Abramović says in the film.
The work that also lends the title to the film – The Artist is Present – consists of Abramović herself, sitting at a table in the museum’s atrium while individual members of the audience are invited to join her – one at the time – at the opposite end of the table. The conditions are simple; no talking, no touching, no overt communication. Abramović’s goal is to achieve what she refers to as a “luminous state of being” and to transmit this in “an energy dialogue”. In the film Abramović’s performance of presence becomes a metaphoric manifestation where she returns to her roots in order to crystallize her own simplicity and purity – the moment where life becomes art and art becomes life – or is it, art becomes documentary film becomes advertising?

(doc.lounge is a colaboration with Oslo Dokumentarkino and Moloch)


ABC Reader

No Gods, No Parents will be on display during Art Berlin Contemporary, participants may contribute new content.


Bazaar is part of abc, Artists Space has selected an additional 20 international organizations and initiatives – from publishers to architects, record labels to fashion designers – to present their projects on over 3000 square meters in the entrance hall. The diversity of this section suggests the expanded yet interconnected field of contemporary cultural production, and the varied forms of distribution and exchange that these activities engage in.


Artists Space (NYC) has been invited to organize two artist “interventions” and the “bazaar” as part of abc 2012. Founded in 1972 in Downtown Manhattan, Artists Space has since successfully contributed to changing the institutional and economic landscape for contemporary art, by lending support to emerging artists and emerging ideas alike, and often controversially and critically challenging the intellectual and artistic status quo in New York City and beyond..


Nordic Focus 


Kaffebord at den Frie Udstillingsbygning – Common histories and artist initiatives.

The Visual Arts Focus of the Reykjavík Arts Festival 2012, (I)ndependent People: Collaborations & Artist Initiatives, which officially ends on September 2nd, conceptually holds many points of correspondence to both the theme of Copenhagen Art Festival and the history of the venue and working methods employed by Den Frie Udstillingsbygning, Center for Contemporary Art.


(On display during the conversation: No Gods No Parents. Participants are encouraged to contribute.)


In Reykjavík, several of the trajectories of artist-initiated practices from the Nordic region – spanning the past forty years – served as a genealogical background to questions posed in both the exhibitions and an international seminar, such as: Do we share common, ‘alternative’ histories in the Nordic region? If so, what are they and is it relevant to peruse these connections today? How have these networks changed over time? Is it possible, or even desirable, to create dynamic and sustainable collaborations?


Trajectories from this on-going investigation will be presented at Den Frie Udstillingsbygning / Centre of Contemporary Art is staged as an open conversation, echoing Den Frie´s Projekt Kaffebord. Our point of departure is The Living Art Museum´s Archive of Artist-Run Initiatives, who opened an office in the main exhibition hall at the National Gallery in Reykjavík between May and September 2012, housing a research on an archive of artist-run projects in Iceland from the past five decades. They presented objects and documentation from conceptual galleries like Gúlp! (contained within a shoe box) and Gallerí Barmur (a wearable badge in which exhibitions took place) to artist run venues like the Living Art Museum itself (founded by twenty artists in 1978 and still today key to Icelandic art history and international exchange).


One of the Kaffebord is a seminar-format that takes the 1800´s salong conversation as

it´s point of departure, with a specifically invited group of experts on the subject to be discussed. Den Frie Udstillingsbygning, have released 2 books documenting their experimental projects by transcribing several Kaffebord conversations.


Confirmed participants (more to be confirmed): Jonatan Habib Engqvist, curator of (I)ndependent People, Stockholm, Linus Elmes, director UKS, Oslo, Gunnhildur Hauksdottír, director of the Living Art Museum; Reykjavík, Kirse Junge-Stevnsborg, director of Den Frie Udstillingsbygning


In a series of informal events, our new member of staff Mikael D. Brkic gathers temporary visitors and local voices together in informal constellations to reflect and elaborate on relevant topics.


The first event covers topics located within and between art and fashion. Agatha Wara gives a presentation based on her text What Does Nike Want?, suggesting a new approach to art criticism that is underpinned by materialist philosophy, taking cues from advertising and brand-culture. With the Swiss Masai shoe as an example Ragnhild Brochmann talks about the classical dichotomy of form and content. Halvor Rønning introduces us to his practice and talks about how he arrived at appropriating brands in his work. With this as a backdrop, Ida Eritsland moderates a conversation between the participants and audience.


Of these works we cannot speak
Approaching something with the ambition to explain it can be precarious. At every attempt one finds oneself defenceless against a linguistic-philosophical query, regarding of the possibility to create a representation of the impossible and unnameable in order to render the unintelligible intelligible.


SYMMETRY is a series of drawings, an object and three publications of a future where a life without work-work is possible and there is nothing to regret.


Two of the publications reside from the process up until the realization of the exhibition, they co-exist without no specific inter-mutual order. CITY is a polyglot exercise and KATT is a correspondence between the artist and Stian Gabrielsen.
The third book is developed in collaboration between Johan Hjerpe and Linus Elmes. Through grammar, rhetoric and polemics it ends up in SYMMETRY.

Curated by Linus Elmes


aiPotu, Ann Cathrin November Høibo, Axel Linderholm, Five oclock shadows, Idan Hayosh, Joanna Malinowska, Julien Berthier, Kunstverein St. Pauli, Maria Hlady, Mercedes Mühleisen, Miks Mitrevics, Roman Singer, Serina Erfjord, Sigmund Skard, Siri S. Skaard, Tori Wrånes, Øyvind Aspen


FTG takes place in the archipelago of Fitjar consisting of 381 islands, isles and reefs off the West Coast of Norway. The project is located on the Island of Smedholmen, together with a number of the surrounding islands. Each 
invited artist will have access to their own island to produce a temporary and site 
specific work in relation to topography, vegetation, weather, tides and light conditions.This is a collaborative production with the artists and initiators Silje Linge Haaland and Andrea Bakketun.



The annual nomadic UKS - 24 hour summer party 2012 takes place in Harpefoss as a satellite event to the poetry festival and offers a multitude of fun; readings, food, bar, DJ’s, talks, screenings, concerts, etc.
We locate the finissage of Mai Hofstad Gunnes exhibition Baby Snakes Hatching. Ruins. Ruins to the party and launch her new book. The book is produced by UKS and published by Torpedo Press. It contains essays by Erlend Hammer and Emily Verla Bovino.Locally produced food, micro brewed beer & home baked bread, Pit-fight Koskinkorva, Chop Gang Live & Watching a Summer in Saint Tropez to The Sound of Rain In England.






Curated by Erlend Hammer

The surface seems to be made of a soft leathery material. In 1923 Aby Warburg gives a lecture on the Serpent Ritual. The different units stick together. As the baby snake uses its tooth to slice open the membrane, the East Wing of the Naturkunde Museum in Berlin is bombed into ruins. The hatching process takes up to two days from it starts until the snake has managed to leave the demolished edifice behind. The structure then deflates like a punctuated ball, and is left to decompose. In 1979 Frank Zappa’s single Baby Snakes is released.


For the exhibition Baby Snakes Hatching. Ruins. Ruins. Mai Hofstad Gunnes presents new works including a 16mm film, collages and a series of unique silkscreen prints. The project draws on references from psychoanalysis, zoology, Indian animal mythology and architecture, becoming a labyrinthian semiotics in which architecture and the life cycle of snakes connect through magical assimilation. An artist book is launched during the exhibition. The book, produced by UKS and published by Torpedo Press, contains essays by Erlend Hammer and Emily Verla Bovino.




Works of students, teachers and aluminis of KHiO is for sale

- remember to bring CASH


Any artist who expands their practice to encompass a wider audience, as opposed to create with integrity, may be disdainfully labeled as a “sellout”.


The rent boy bro-ho’s and alley cats of the Academy of fine Arts in Oslo together with allied anonymous sympathizers have simultaneously gone down that road before to sell their souls, and this year they turn tricks again for 1000 NOK only.


They defend it with the noble aim of raising funds for the 2012 yearbook but we all know that they are in it for the money …  





Yo can download all the neccessary paperwork for the Annual General Meeting 2012 in the downloads section above.


Unge Kunstneres Samfund 

Generalforsamling 2012

Wednesday 21st March 18:00

Lakkegata 55 D




Dominique Buchtala (DE), Vesna Bukovec (SI), Ana Grobler (SI), Guerrilla Girls (US), Michelle Handelman (US), Kika Nicolela (BR), Grace Graupe Pillard (US), Angelika Rinnhofer (DE/US), Duba Sambolec (SI/NO), Evelin Stermitz (AT/SI), Alison Williams (ZA), Liana Zanfrisco (IT)


In a collaboration between UKS and Oslo Screen Festival 2012 Austrian artist and curator, Evelin Stermitz presents a film program and a lecture.Stermitz graduated with a MA degree in new media art from the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, and is holding a Master degree in philosophy from media studies. Besides her artistic work, Stermitz's research focuses on women artists in media and new media art. In 2008 she founded ArtFem.TV, an online television program presenting art and feminism, with the aim to foster women's media works, their art and projects, to create an international online television screen for the images and voices of women. 

The program CONTEXTUAL FACE (48 minutes) addresses variant meanings of the woman's face in the context of women's issues when embedded in a socio-cultural heritage.


Klassekampen - Gaven som fortsetter å GI

published: 25.02.12



Anders Dahl Monsen

Marte Ramm Fortun

Victoria Pihl Lind


Click in the downloads section to download and read the article.


UKS supports the preservation of GI and is working towards a resolution of this issue. We believe it would be a mistake to remove a scheme that has served the needs of artists so well without a thorough review in relation to artists other sources of income and scholarships.




If You Expect To Rate as a Gentleman, Do Not Expectorate On the Floor is the third autonomous and last coordinate in a series of exhibitions with these works – in London, New York and Oslo – accompanied by the publication What I Need To Do Is Lighten the Fuck Up About a Lot Of Shit with texts by Mark Beasley, Todd Colby and Linus Elmes. At UKS a site-specific version of Vitale’s Burned Bridge functions as the leading element. This spatially, heavily metaphorical and theatrical installation indicates a different world from those in previously circulated versions and could be seen as a new extension of Vitale’s practice.
The exercise of raising material into new realms functions not only as a deconstruction but also as a construction of another world. Instead of individual objects containing encapsulated meaning this is a conversation of cursors insinuating a threatening and violent landscape on the verge of collapse.

During the exhibition four of Vitales videos are screened in the cinema; Patron – 2010 (8:38), That Brute Beasts Make Use of Reason - 2007 (2:27), I Know Who I Am (with M. Portnoy and T. Fivel) - 2005 (19:23) and Battle for the Hurled - 2009 (2:29)


UKS participates in Condition Report, a 3-day international symposium on building art institutions in Africa organised by Raw Material Company in cooperation with the Goethe Institut and German Federal Cultural Foundation. The symposium takes place in Dakar, Senegal, from 18-20 January 2012. 


According to the organisers, ‘Condition Report aims to address the changing role of art institutions and initiatives in relation to the broader artistic urgencies, and in relation to the society in its whole. The symposium is organised to evaluate a founding principle of many independent organisations that have emerged in recent years – namely that independent contemporary art institutions are an important voice in the construction of a strong cultural private sector as well as in forging a critical opinion from an open civil society. The importance of issues of action, space, power, control and quality will be covered. The sessions will also provide a platform for discussing case studies and experiences accompanied by an informed interpretative analysis’.


The symposium is divided into three leading chapters broken down into multiple sessions. In an effort to contextualise the African art scene and facilitate access and exchange to international participants, site visits to local art institutions are an integral part of the programme.


The first chapter, Actors, Agents and Mainstream, ‘looks at existing institutions and how they work to build a shared understanding of artistic agency’. The second chapter, Remains of the Days, ‘discusses how former colonial powers define and implement their strategies of cultural representation and exchange in post-colonial areas’.


The Norwegian delegation will participate in the third chapter titled Area Studies, which ‘investigates models and profiles of art institutions developed in other regions of the world with similar historical and contemporary settings’. The session scheduled on Friday, 20 January, titled Case Study: Norway, will elaborate upon a grass roots impulse that is assuming the scene of contemporary art and how it relates to international exchange.


Other international participants in the symposium include Abdellah Karroum (Appartement 22, Rabat, Morocco); Yto Barrada (Cinémathèque de Tanger, Tanger, Morocco); Oyinda Fakeye (Center of Contemporary Art Lagos, Lagos, Nigeria); Juan Gaitan (Witte de With, Rotterdam, the Netherlands); Livia Paldi (Baltic Art Centre, Visby, Gotland county, Sweden); Kerstin Pinther (Free University, Berlin, Germany); Dirk Snauwaert (Wiels Contemporary Art Centre, Brussels, Belgium); Ousseynou Wade (Dakar Biennale, Dakar, Senegal) and Marie-Cécile Zinsou (Fondation Zinsou, Cotonou, Benin), among others.




In 1656, Diego Velázquez painted Las Meninas (The Maids of Honor) in the court of King Philip IV. The painting extends the illusionary space of its image by establishing a fixed position for the live viewer in relation to the work's flat surface. In 1672, at the age of 21, Princess Margarita died. In 1968, Stanley Kubrick released the science fiction epic 2001: A Space Odyssey. The film centers on the interactions between human beings and a group of scaleless, though consistently proportioned (9:4:1), black magnetic monoliths. In 1999, at the age of 70, Stanley Kubrick died. In 2001, The Bruce High Quality Foundation was formed in New York City. The Foundation honors the legacy of the social sculptor, Bruce High Quality, through the instigation of confrontations between cold hard fiction and cold hard fact. In 2001, Bruce High Quality died.
The Bruce High Quality Foundation, the official arbiter of the estate of Bruce High Quality, is dedicated to the preservation of the legacy of the late social sculptor, Bruce High Quality. In the spirit of the life and work of Bruce High Quality, we aspire to invest the experience of public space with wonder, to resurrect art history from the bowels of despair, and to impregnate the institutions of art with the joy of man’s desiring ...
Professional Challenges. Amateur Solutions

Spectres, 2010

In conjunction with Belgian artist Sven Augustijnen residency at OCA’s International Studio Programme we are happy to, in collaboration with OCA, screen three of his films:

L’École des Pickpockets (2000, 48 min)
The film unfolds as kind of documentary around two professional pick-pockets who give a master-class in their craft.
Le Guide du Parc (2001, 44 min)
A film centred on one individual, a middle-aged businessman who incessantly speaks into the camera in a guided tour through a park located in the centre of Brussels. He brings the viewers' attention to the instruction inscribed on the palace wall that informs in detail of how it is possible to sexually solicit another individual in the park, and the film proceeds according to this narrative.
Une Femme Entreprenante (2005, 72 min)
A film that documents how a museum for contemporary art is literally talked into existence. The film follows the accounts of several people as they meet to speak about plans for the development of a contemporary art centre on the site of a disused and more or less derelict brewery in Brussels. The central figure in the story is a real estate developer who has decided to support the plans for the redevelopment of the brewery into a place for art. A story evolves around the evolving inclusion of other characters: advisers, wealthy patrons and art professionals who convene at the site, standing upon its ruins and projecting its future.

UKS helped finance and organise the establishment of the artist run residency program Institute for Neo Connotative Action (INCA) in Detroit, USA. The project was initiated by Aeron Bergman and Alejandra Salinas.


During UKS' involvement the following artists were chosen to travel to Detroit where they were provided with housing, a studio and a stipend to complete a project of their choosing:


Sille Storhile, 21st Sept - 21st Nov 2011


Storhile has a MA in Aesthetics and Politics from California Institute of the Arts, Los Angeles and a BFA from the Trondheim Academy of Fine Art. Storihle is the co-founder and co-curator of FRANK, a newborn concept that uses domestic settings to host art in Oslo.


Marte Eknæs, 28th Feb - 24th April 2012


Marte Eknæs lives and works in Berlin and Espa, Norway. She has an MFA from Central Saint Martins College of Art and Design and a BFA from California Institute of the Arts. She has had solo shows at Kunsthall Oslo, Bonner Kunstverein (Bonn), and most recently Between Bridges (London). She has been part of many group exhibitions, including Momentum – 5th Nordic Biennial of Contemporary Art and The Norwegian Drawing Biennial at the Kunstnernes Hus. Recent exhibitions include the Armory Show in New York and Linn Lühn in Düsseldorf. 


feat. Paul Gauguin (FR) & George Kuchar (US)
Curated by Linus Elmes

Sailing is not only about leaving it is also about returning …            

In the autumn of 1968 Donald Crowhurst set out from England in a plywood trimaran to take part in the first single handed non-stop round-the-word sailboat race. With little previous sailing experience, Crowhurst’s boat was badly equipped and his homemade electronic gadgets unreliable. Only through persistence had he managed to persuade the judges to give him permission to take part in the race.

The Stolen Apples


One night we jumped fences and climbed fruit trees. We redistributed about 20 kilos of stolen fruit - mostly apples, but also some pears - at OCA for their green gathering.


Stealin' Apples - Benny Goodman






SCREENING PROGRAM (on loop during opening hours)

Art History with Food” – 2008 (17 min)

The Gate: Not the Idea of the Thing But the Thing Itself” – 2006 (11 min)

Public Art and Collaboration” – 2008 (7 min)

We Like Amerika” – 2010 (22 min)

2001: Art History with Metaphor” – 2010 (16 min)



BHQFAQ is a talk on ... the Paradoxes of working simultaneously as an organization and an artist, the construction of history, the progress of garbage, the politics of specificity, how to run a free art school, how to get rich, the auction market from 1973 to present, community spirit, drinking in public, the individually momentous, momentary solidarity, and how to build a better tomorrow.  






In collaboration with Harpefoss Hotell and Torpedo, we invite you to join us for a summer festival with concerts, food, self-brew, plays and poetry.
Harpefoss Hotell opens WunderbaumWanderlustWunderkammer on the 1st of July with a 2-day festival, UKS is organising a road trip to the festival.




As an UKS one-shot venture Dronebrygg microbrewery will present their latest experiments in contemporary beer production. Infamously known for their previous brews Crystal Mesk and Busty Milf Dronebrygg’s maiden public appearance carries a promise of divine proportions for all and every thirsty throat.



Try Again is a one-night venture following a strict script. The artists have chosen to perform this as a public event within the realms of the exhibition room at UKS. It is an attempt to test the conditions of a social contract within the institution and at the same time perform an act that will have real effect outside the institution, legally and socially.


Curtator: Linus Elmes

Maids: Ivan Galuzin and Anders Dahl Monsen

Entrance Music: Lars Petter Hagen, performed by POING

Speech: Trond Reinholdtsen

Performance: DJ Gud Junior

Exit music: Øyvind Torvund, performed by POING

Architecture: Siri Liset

Design: Iselin Engan and T-Michael

Photo: Signe Marie Andersen

Party music: DJ Kavalér


This presentation of the works of Øivind Brune and Talleiv Taro Manum marks a point in history where multiple timelines meet in order to manifest themselves again. The exhibition is an intersection between now and then, and an obligatory right of passage between two artists linked to each other beyond formal expressions and aesthetic values.


Øivind was part of the infamous GRAS-group in the 60’s and Talleiv has over the past ten years established a unique position within the Norwegian art scene. With their individual works now presented side by side for the first time we are happy to be the same institution where they both once debuted, Øivind in 1971 and Talleiv in 1997.


In a search for fragile dialogical connections between generations we discovered an interrelationship fundamentally based upon their characters. Both Talleiv and Øivind are stubborn individuals who in a search for autonomy have developed deeply personal agendas that are to be found in their work.


The exhibition is curated by the UKS director Linus Elmes. In conjunction with the exhibition we have produced a publication with contributions from: Talleiv Taro Manum, Geir Tore Holm, Morten Krogh, Peter Amdam and Linus Elmes. 



The French director Francois Truffaut once famously said, "I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between." Truffaut's words best describe the selection of films presented at the NEW AUTHORS / NEW VISIONS film screenings 2011. None of these filmic works are in between, instead they are all a result of a personal endeavor, a vision, a need to tell a story, convey a mood or present a situation in a certain way, without compromises and often by going through both the joy and agony of filmmaking. In all, NEW AUTHORS / NEW VISIONS pays tribute to the idea about the director as the main creative force behind a filmic work. Each of the selected films reflect a strong personal vision and present a unique artistic viewpoint of the world.


While many of the films utilize a variety of filmic strategies to exploit the narrative and formal potential of film, others delve into sensations and feelings, rather than a story. Yet some use low-fi animation or advanced stage design to get their message across. The filmic works are all bound together by a certain seriousness and devotion toward their subject and center around reoccurring themes such as isolation, adolescence, longing and relationships.


Curated by Carolina Hellsgård and Astrid Rieger




Serina Erfjord [1982] lives and works in Oslo, Norway. She graduated from the Art Academy in Oslo in 2008. Her works are within a sculptural field and they usually reflect and include their surroundings, as they often constitute interventions within the gallery space or the public realm. The works are often simple and minimalistic, but have a character of being both subtle and monumental. Her interest in movements within a material is shown through her use of electromagnets, gravity, freezing elements, motors, sound light and different kinds of liquids.?
It is with great pleasure that we present Serina Erfjord’s research project Column and Corridor here at UKS.

After a three week long workshop; Demanding the impossible; the structural transformation of the public sphere and civil obedience, the students from Prosjektskolen in collaboration with Leander Djønne and the director of UKS, Linus Elmes are pleased to invite you to the release of a publication made during the workshop, and a one night only show at UKS.
Together we have investigated different ideas concerning that of the state, the public and private sphere, civil obedience, anarchy, the potential of escapism and different forms of autonomous communities. We have been questioning individuality, the embodiment of our common dispossession in post-fordist society and the possibilities of removing every obstacle one by one.
When the very sign of resistance or just a word of complaint is repressed, fined, despised, vexed, pursued, hustled, beaten up, garrotted, imprisoned, shot, machine-gunned, judged, sentenced, deported, sacrificed, sold, betrayed, and to cap it all – ridiculed, mocked, outraged, and dishonoured. That is governing! That is society! That is our acceptance of justice and morality!
We claim that power is actualized only where word and deed have not parted company, where words are not empty and deeds not brutal, where words are not used to veil intentions but to disclose realities, and deeds are not used to violate and destroy but to establish relations and create new realities.
This universal TAKING OVER within all fields of human activity, bringing with it its wars and its domestic struggles of power, its palace revolutions which only replace one tyrant by another, and inevitably at the end of this development there is… DEATH! In this struggle over death we must multiply new zones of opacity!

Afarin Alsharif / Alex Wengshoel / Anders Emìl Våge / Andrea Furberg / Ane Kvåle / Stian Stahl Sørensen / Christina Butler / Anders Dahl Monsen / Arild Tveito / Eskil Bast / Grevlingbanen / Hedvig Heggem Nergaard / Henrik Sørlid / Ida Kristiansen / Ivan Galuzin / Inger Zivana M Torvund / Top-Z / Jumana Manna /Karima Andrea Furuseth / Christian Bould / Sebastian Helling / Leander Djønne / Lene Berg / Steinar Haga Kristensen / Lina Grenaker / Linus Elmes / Lisa Størseth Pettersen / Maja Haugsgjerd / Maren Serine Andersen / Maria Fallmyr / Marlene Mccann / Ola Braadland / Sara Fargam / Toril Strøm / Simon Daniel Tegnander / Snorre Hvamen / Anders Smebye / Ingrid Sofie Ofstad / Vilde Von Krogh / Vemund Thoe / Sven Roald Undheim / Thora Dolven Balke/ Kristian Skylstad / Tine Katrine Rønningsen / Tom Even og Therese Johnsen / Øivind Andreas Frydenberg / Øyvind Lind / Cara Lien / Øyvor Engen / Bendik Aalborg




"Munan Øvrelid’s exhibition at the Unge Kunstneres Samfund mostly dwells in silence, it seems to breathe with anticipation for a crashing sound brought about by boldness and by a moment of action, perhaps even revolutionary action.


The installation "An encounter like a flash", from now to the end of consciousness (2010) captures such a moment, whether through a video of toppling objects from windows, or the marks of fallen objects on the face of a slab of concrete. However, the sound that is most important to the exhibition is the almost inaudible, hissing, which wavers, between sound and silence, which is about to become something elevated, something important, historical, only to fall back into an abstractness. But even this abstractness is dripping with possibility, with a sense of urgency, one must practice acute sensitivity, acute awareness, one must listen first. Speak later."


Wojciech Olejnik





Three evenings, one talk, two performances (and then a show):

Thursday September 30th, 7pm: Warren will be in conversation with Ina Bloom on the subject: Tertiary Economies, Power and Neuromodulation

Friday October 1st, 7pm: Warren Neidich with A K Dolven and Fadlabi Mohamed

Saturday October 2nd: 7pm Warren Neidich with Stian Ådlandsvik and Tori Wrånes


In the Mind's I derives its meaning from two complementary streams of thought. The first designates that place, so eloquently described as the mind's eye by the famous psychologist William James, inside the skull where the cinema of the life/world is projected and inspected. The second refers to the work of Robert Morris entitled the I-box in which a totally nude portrait of the artist is displayed beneath a capital I.


In the Mind's I is a collaborative spoken word artwork in which an imaginary art exhibition - consisting of three or four imaginary works - is created and installed in a make-believe gallery space inside the head. In the end what is created is a totally conceptual and immaterial work of art, which persists in the memory of Warren and his collaborators, which leaves no real object to sell, distribute or gaze upon. The audience is privy to this private conversation transmitted through a microphone and witnessed as a dance of shadows displayed on a translucent screen.




UKS presents Anna Daniell who presents her new series of sculptures Skulpturene (The Sculptures). Anna Daniell explores a way of looking at the process of looking at the documentation of sculptures documented as photographic or cinematic subjects. This is the first in a series of individual informal projects at UKS. We have invited emerging artists for presentations of individual work, work in process or research projects.


About the artist: Anna Daniell lives and works in Oslo. She has a master from the academy in Oslo 2007. She divides between curatorial projects and her artistic practice. She is running "Planka" and did ”Giant Bowl” together with Sverre Strandberg and has among other places exhibited at Myymälä2, Helsinki and Total museum of contemporary art, Seoul.



"Stupid as a painter" is a famous French proverb. It was a favorite of Marcel Duchamp, for whom it expressed the dead end that a mimetic artistic practice represented, an art that pleased the eye, not the intellect. But one could read it also to indicate less the literal stupidity of the painter, but the very reason he or she picks up a brush and paints. The tool in question is not used to articulate in words, but to create a visual language, to examine and structure the world. That is why painting is a rather heavy discipline, weighed down by it‘s own history. Jorunn Hancke Øgstad takes on this quality of painting in her own way, reinterpreting its history as an empowering back catalogue of painterly possibilities, while at the same time maintaining independence: "Being a painter today, means trying to forget."




Fukt is an international magazine, inviting the most interesting artists and writers to present their views on contemporary drawing. The Issue 8/9 was created during Hegardt’s residency at Center for Contemporary Art in Warsaw during spring 2010. The largest so far double issue of the magazine comprises works of as many as 32 artists. The section FUKT IN FOCUS presents the work of artists invited by Bjørn Hegardt. In the part INVITED TO INVITE the selection was made by thirteen curators invited by the editor.





First out this semester in the main gallery is Tarje Eikanger Gullaksen who shows three lens-based works. This is his first major presentation in Norway and UKS has the great pleasure to present two new works: Two Trees and The object is that which is objected against me (prologue) are both produced for the exhibition.
Tarje Eikanger Gullaksen lives and works in Berlin. His artistic practice includes text, photo, film, installation and sculpture. In his art he investigates objects and signsin relation to language, transgression, representation, transformation and loss. Recently his work has been shown at Artspeak, Vancouver, The Museum of Modern Art Aalborg, Galerie Medhi Chouakri, Berlin and Krome gallery, Berlin.


UKS presents an off shoot of the very first exam show from the youngest of the art academies in Norway. The show at UKS consists of an eight day program of concerts, screenings, performances and happenings starting every day at 5pm with a free dinner served for the audience at 8pm. Instead of traditional individual presentations of works, the students have developed a collaborative format revolving around their ground braking experiences as participants in the challenging process of forming a new academy. Tromsø art Academy has profiled itself with a site oriented educational practice focusing on fields such as ecology, society, identity and politics.



Marianne Hurum with special guest Inger Sitter (1929)

Image-ridden-ness and loneliness are looked upon and investigated as resources in this new work. My belief is that painting acts as both a problem-solver and a means to liberate imagination. The resulting works include lively and lyrical riffs about the act and history of painting. Recurring elements include ripped canvases, stacks and clusters.


Sverre Strandberg and Anna Daniell

Developed in collaboration with UKS

And supported by KORO

Time and place: Bislett Stadium 15.May, 6pm-10pm, Oslo - Norway 



Big inflatable sculptures, an abstracted medal table, a lonely spectator and a dystrophic marching band: Giant Bowl is an art exhibition taking place at a sports stadium in Oslo, Norway 15. May 2010. Inspired by big sports events this is a one-night-only sculptural happening, the sports athletes will be replaced by 22 artworks. Amongst them 12 king-size inflatable sculptures!




Curated by Jan Van Woensel 


A balance or unbalance between chaos and transgression, and solitude and melancholy. A cacophony of paintings, drawings, videos, installations, murals, and noise music transforms the main gallery space in a dungeon of audiovisual violencea


Vanessa Albury, Fia Cielen, Martha Colburn, Steinar Haga Kristensen, SARALUNDEN/The New Age, Prussian Blue, Lee Ranaldo, Max Razdow, Reynold Reynolds & Patrick Jolley, Sunna Schram, Joaquin Segura, Kristian Skylstad & Stian Gabrielsen, Taravat Talepasand, Tithonus, Philippe Vandenberg, Bart Van Dijck, Richard Kern 


Recurring Individual Conversations

Do you need someone to talk to?

For one year Lars Cuzner offered fully confidential, one-to-one conversations, teetering four meters above the gallery floor, at UKS. Six participants signed up for conversations once a week for the full year.  The conversations were not documented.

The room with the glass wall, which was placed three meters above the gallery floor, was a collaboration between Lars Cuzner and UKS director Linus Elmes.

The piece was quietly commenced during the Oslo Speculations seminar, April 16 – 17 at UKS and ended April 16 2011 without ceremony. The box still stands.

Participants in project:
Per Platou, Client, Artist and curator. Co-ordinator for PNEK
Victoria Stewart, Client, Psychologist
Serina Erfjord, Client, Artist
Suzana Martins, Client, Program co-ordinator for 0047
Magnus Oledal, Client, Artist
Anna Ring, Client, Artist
Linus Elmes, Editor

Oslo Speculations is a collaboration between Henrik Plenge Jakobsen, The Academy of Fine Arts in Oslo / Linus Elmes and Sverre Gullesen, UKS

Friday April 16:
14:30 Sverre Gullesen, Linus Elmes and Henrik Plenge Jakobsen
15:00 Jens Haaning
16:00 Marta Kuzma in conversation with Thomas Bayrle
17:00 Sante Poromaa
18:00 Leander Djønne, Ivan Galuzin, Anders Smebye and Ann-Catrin November Høibo
19:00 Loulou Cherinet
20:00 Danh Vo
21:00 Yngvars conservative kitchen and party
Saturday April 17:
13:00 Rodrigo Mallea Lira and Ylva Ogland
14:00 Michel Auder
15:00 Pause
16:00 Judith Hopf in conversation with Sladja Blazan
17:00 Jan Freuchen



Can the awareness of emptiness function as a catalyst for meaning?

UKS is glad to present Jørund Aase Falkenberg’s Portal. A Portal allows you to enter a space that is physically apart from where one was before entering. Or it can lead to a new mental space; new knowledge, changed outlook, altered awareness, a new ideological, political or ethical platform.




Book Launch: Emokonseptualisme

Kjetil Røed and Thomas Kvam



Lars Paalgard

Arne Borgan

Tor Børresen

Snorre Ytterstad


(Norwegian Text)


Begrepet ”emokonseptualisme” ble lansert 2007 i en artikkel i Morgenbladet. Det ble sendt ut som en sonde for å danne et arkiv over generasjonsdiagnosenes spredningsmønster. Innholdsmessig skulle begrepet reflektere konkrete fenomener i kunsten, samtidig skulle det kartlegge hvordan det ble brukt og hvem som brukte det. Bokproduksjonen har således vært outsourcet til norsk kunstoffentlighet. Resultatet foreligger nå i bokform og utgjør et empirisk grunnlag for en undersøkelse av kunstoffentligheten. Boken danner et bilde av et samtidig kunstfelt – språkbruk knyttet til kunst, retorikk og kunstkritikkens relasjon til faglige vurderinger og trender. Til forskjell fra annen forskning på kunstkritikk er dette prosjektet en intervensjon i selve kunstkritikken med det for øye å danne et kart og et konkret rom for debatt. Vi takker følgende kritikere og kunstskribenter for deres ufrivillige bidrag til boken: Charlotte Krog, Tommy Olsson, Bjørn Hatterud, Nina Marie Haugen Holmefjord, Anette Therese Pettersen, Tore Kierulf Næss, Ruth Hege Halstensen, Stina Högkvist, Karin Haugen, Hans Thorsen, Kari J. Brandtzæg, Mariann Enge, André Gali. De har alle bidratt til å utbygge begrepsdefinisjonen og dermed spredningen. De har utfylt prosjektets intensjon om outsourcing av bokens tekstproduksjon.


This is an exhibition that stretches outside the room and far into time. Everything displayed in it in some way treats, reflects and touches UKS. Vi have emptied our cupboards, searched the archives, and opened many a dusty drawer. This is not a chronological account and we make no claims to objectivity. Rather, our subjectivity has led the way and what we choose to display is primarily of personal relevance. The goal has been to clean up, put in order, and move on. So what really happened? And, perhaps most importantly, what will happen now?
Curated by Linus Elmes


Kristian Øverland Dahl, Mercedes Mühleisen and Siv Blankenberg Skottheim

Curated by Sverre Gullesen

"First follow NATURE, and your Judgment frame By her just Standard, which is still the same: Unerring Nature, still divinely bright,
One clear, unchang'd and Universal Light,
Life, Force, and Beauty, must to all impart,
At once the Source, and End, and Test of Art
Art from that Fund each just Supply provides, Works without Show, and without Pomp presides: In some fair Body thus th' informing Soul
With Spirits feeds, with Vigour fills the whole, Each Motion guides, and ev'ry Nerve sustains;
It self unseen, but in th' Effects, remains. Some, to whom Heav'n in Wit has been profuse. Want as much more, to turn it to its use,
For Wit and Judgment often are at strife,
Tho' meant each other's Aid, like Man and Wife. 'Tis more to guide than spur the Muse's Steed; Restrain his Fury, than provoke his Speed; The winged Courser, like a gen'rous Horse,
Shows most true Mettle when you check his Course."
(Essay On Criticism, 1711, Alexander Pope)


radiowy was founded in 2007. As the first project of its kind in Sweden, its aim was to produce a platform for artforms between the fields of art, literature and drama, connected via the use of sound, focusing on the Swedish, and later Scandinavian, context.radiowy was founded in 2007. As the first project of its kind in Sweden, its aim was to produce a platform for artforms between the fields of art, literature and drama, connected via the use of sound, focusing on the Swedish, and later Scandinavian, context.

Curated by Linus Elmes


Two spectators, visiting from the future will attend Steinar Haga Kristensens exhibition. They have announced that their arrival is to be based upon a retrospective interest in The Loneliness of the Index Finger (Phantom View):
“In the future this exhibition marks a breaking point in history, authorities have proclaimed this very moment to be of great interest to the understanding of the development of the depraved historism and its vicious roundelay. The opening of this exhibition has been identified as a critical point. It was the birth of the nocturnalistic era and the end of context relativism.”

Maria Sundby and Tone Leksbø

Ole Troldmyr (1888-1967) and Ulf Hallén (1927-2007) were two traders from Oslo. Troldmyr sold condoms, Hallén sold women’s wear. These two men are bound together here because both left protected listed buildings that have since been allowed to perish. The project is based upon Voksenkollveien 5 - Villa Troldmyr, and Thorvald Meyersgate 59 - Hallén-gården in Oslo. In a capital city local history often recieves less attention than the national. People feel less affiliation to the community than they would otherwise have in a smaller city. This project deals with local character’s histories and is an invitation to the city's population to become familiar and engage with a portion of Oslo’s own history in a slightly different manner.



As an extension to Unni Gjertsens project Creative History a new mural was painted on UKS's exterior wall with the text "Yoko Ono created fluxus"

"The work creates a possible but more or less false history of the public recognition and celebration of some well-known woman artists and intellectuals"

UKS presents the first three parallel exhibitions curated by our new director Linus Elmes. Three new film productions by three young Norwegian artists:

Elna Hagemann – Duet (2009) and Edward P. (2009)
Elna Hagemann's films, Duet (2009) and Edward P. (2009), takes contemporary art practice into un-explored territory by crossing the genre border to opera. Her collaboration with two opera singers will be followed by another opera intervention later this autumn in the upcoming exhibition by Steinar Haga Kristensen at UKS. In the inner room Elna Hagemann gets involved in a dark sexually twisted homage to Tim Burton.

Kaja Leijon – Resonances (2009)
In previous works Kaja Leijon has explored how film as medium influences the way we perceive the world and how it affects the constitution of our attitudes. In her new film,Resonances (2009), she extend this exploration of consciousness and perception and deals with the relation between senses.

Jorunn Myklebust Syversen's Violent Sorrow Seems a Modern Ecstasy No.2. (2009) present as another format but not present as such, this representation of cinematographic aesthetics extends the exhibition in time and space. This experiment with format of distribution is a collaborative project between UKS and Konst Bio. (Konst Bio is a project by the two Swedish curators Paola Zamora and Sofia Curman involving screening of video art and art film as opening short films prior to the screenings of main feature films at cinemas.)


The exhibition Internal Displacement; fin de siécle deals with how people’s understanding of the world holds together with various constructed moral and political dilemmas. The works explore the individuals` ability to adapt to divergent power structures and the desire for revolt and radical change. Political power is something deeply grounded in the biological nature of humans. The body is a gravity point for power strategies: It is trained, CAT scanned, diagnosed, medicated, isolated and set in relation with other bodies through nations, gender, state of health, age group and so forth. It is giant social body where singular bodies cannot be discerned from one another, rather creating a mountainous grey mass.

Trondheim Art Academy MA

Lina Berglund, Lars Haahr Klemmensen, Linn Halvorsrød, Åsa Larsson, Malin Lenneström-Örtwall, Marianne Omdahl, Lars Skjelbreia, Aylin Soyer Tangen, Linn Rebekka Åmo
Curator: Helga-Marie Nordby

The exhibition is dominated by by installations and large spatial works. Nine final-year students from Trondheim Art Academy reflect on subjects such as time and movement, loss and memory, identity and the orientation of the self, family and staging human experience.

Curators: Line Halvorsen & Helga-Marie Nordby
UKS is celebrating the Art Academy's 100 year anniversary with the exhibition Kunstakademiet 1909-2009 which contains a fragmented, yet rich selection of its history. Nude studies, television debates, 90s performance and forgotten stories are among the elements presented along with a purpose-made film consisting of interviews with current and former students and employees.


A Talk Show hosted by Jon Løvøen and Kåre Magnus Bergh

Using the audience as an alibi, the two talk show kings promise to gallantly guide us through a talk show filled with happening topics from the art and culture scene. A series of video clips concerning current affairs are followed by specially invited guests which takes us inside the world of artists' living conditions, disabled peoples' every day life and the phenomenon of diction surrounding the pronunciation of the letter "r" within the cultural sphere, just to mention a few topics. The guest list contains a NBK representative, a disabled person, a speech therapist and many surprises. In between all of this, Løvøen and Bergh will do their best to make up for the free entrance. Also, they will be accompanied by the totally awesome house band led by the well known Norwegian artist Kristian Øverland Dahl. A touch of very short skirts may also be a part of it all, on request from one of the talk show hosts.

Peter and Stefan Mitterer

The project title is inspired by the hardcore band SMORGASBORD, active in the studio and concert space Fan Club in Moss. Fan Club was an important meeting point for a the small underground music scene in Moss from 2002 to 2004, when their building was run down. In 2008, Sex Tags held an exhibition at Gallery F15 in Moss and in connection they released the album Fan Club consisting of live recordings from the club. The cover design of that album is the starting point for Sex Tags wall piece at UKS. The artists have also produced a poster for the audience to bring home.


Curated by: Bassam El Baroni and Helga-Marie Nordby

Trapped in Amber: Angst for a Reenacted Decade is an exhibition that draws on Oslo’s art history, specifically the city’s tradition of northern European ‘Angst’ demonstrated in the oeuvres of such pivotal figures as Edvard Munch. The exhibition aims to test the limits of cultural industry stereotypes by creating a contemporary comparative to the phenomenon of Fin de siècle angst-ridden artistic production. Through the works of the invited artists, Trapped in Amber considers angst’s possible post-continental existence today in contemporary artistic formats. Of particular interest is the way angst can live on and express itself in a different world and age, experiencing different problems and in the midst of new cultural, socio-economic, and information dynamics.



Devolution is the title of Anders Smebye`s debut exhibition in Oslo. Devolution in biological terms is a backwards evolution towards a more primitive form, disintegration or total annihilation. The exhibition presents ten new works exploring different forms of deconstruction, destruction and collapse. Devolution investigates how these conditions could be the start of something new; Regression in the spirit of progression.



Mattias Härenstams work can ressemble a bereavment. An undefined loss or absence can always be found in his work. It generates a feeling of disquiet that places the viewer on the outside – A spectator trapped in a pattern of perpetual repetition. Härenstam has created his own narrative structure in his videoworks, based on a monotonous repetition and a meak, almost autistic movement through everyday surroundings, interupted by dreamlike or magical occurrences. The cameras perspective functions here as ones eyes and subtilely posítions the viewer in the role of ”the outsider”, one who has closed down or who has withdrawn from the collective.


Härenstam criticises in his work the consumer society and the disillusionary potential that exists in empty, uncritical usage. He points towards a type of conduct that creates isolation and leads to a break down of the collective and the social.


Christian Blandhoel`s project My First Record Label is an expression of strong fascination for the guitar both as an object and as an instrument. All the works in the show have their starting point in the electric guitar. Blandhoel wants to challenge and expand our relation to the instrument through various experiments. As with John Cage`s prepared piano, the artist has altered all the guitars incorporating different objects in the instruments body and stringpath creating new sounds and ways of playing. The exhibition is also introducing Blandholes own record label and recording studio My First Record Label. Here the audience can record their own improvisations and take a recording home.


Glossalolia means speaking in tongues.
Glossalolija: Poem o zvuke is a poem about sound. The poet Belyj is searching for the origin of language and the conection between sounds and senses. The text breaks up in the search for a universal language that can be understood regardless of cultural origin. In 1932 Kurt Schwitters composed the Ursonate, a piece for two vocals without instruments or words, built over rhythmical sequences of verbal sounds. Schwitters felt words had lost their meaning because of the massive propaganda machinery during World War I and reacted by using meaningless combinations of letters.

Wrånes' work consists of voice and sculpture. She does not perform glossalolia herself, but greets it as a viewer or curious admirer. How can we, as walking molecules, grasp our own meaning when evolution has equipped us with so much complexity and flexibility? Hello Glossalolia takes a closer look at the reverse reality of our life cycle.


Atopia Screening at UKS
Saturday 27 September (14:00 – 16:00) Sunday 28 September (19:00 – 21:00)
"Ten Skies ... looks at light: here, directly at its source - the sun. all ten skies were filmed from my backyard in Southern California: sies formed from weather systems, montain land currets, wildfires, pollution and the wind; skies as a function of landscape_ the sound giving clues about the land below. Each sky is a detail selecte from the whole; sometimes filled with drama, somtimes a metaphor for peace....
The whole thing is very dramatic, and it's just cloud movement. All the shots end up with a dynamic quality.
I never saw that before. I never had the courage. It took me fifty years to look at the sky like that! I call it 'found paintings'. I think of my landscape works now as anti-war artworks - they're about the antithesis of war, the kind of beauty we're destroyin. The Ten Skies works came about because I'm thinking about what the opposite of war is." (James Benning)


Like a Dog! is the last uttering of the protagonist Josef K, before his execution in Franz Kafka’s novel The Trial. Kafka’s ending is about as intangible as the rest of the novel. This however has not prevented the book from becoming a commonly-used and popularised reference and thereby escaping the authorative position often associated with literary classics. The book deals with K’s fight against an impenetrable bureaucracy, and has been the source of countless adaptations and interpretations. In the exhibition Like a Dog! Per-Oskar Leu adresses the proliferation and reuse of similar culturally ”decoded” phenomena, but with an equal interest in the Kafka-mythology itself.


This is an exhibition which concerns itself with individuality and diversity, and focuses on the importance of being conscious of the other and the distance between self and other. This distance can help visualize the individual, the experience can move in contexts which are positive, negative and neutral. This room, this exhibition and the accompanying catalogue open possibilities of combining experiences and wishes, to strive for unexpected processes, so that the work and the viewer, one by one by one by one, form a movement that can mix up, overlap and exceed our framework of understanding and create new rooms.
-Mads Gamdrup

Pernille Elida Fjoran
Ane Fornes
Anne Grefstad
Kristoffer Henriksson
Marianne Husnes
Elisabeth Kjellesvik
David Lamignan Larsen
Rina LIndgren
Love Evan Lundell
Robert K. Nilsen
Thomas Pedersen
Preben B. Solevåg
Ingvild Kjær Tofte
Kristin Tårnes
Anders Wighus


Dietrichson`s sculptures occupy UKS with a monumental strength and airy elegance. The objects, which have strong references to vehicles and architectonic structures, offer an immediate presence, which resonate and reflect their spatial environment. The apparently mechanical objects are created from an artist`s sensitivity and an engineer`s technical accuracy. They are fragile and forceful at the same time. By fusing formal elegance and simplicity with a rebellious and humorous touch, Dietrichson manages to create objects of outermoust complexity promising the impossible.
Curator: Helga-Marie Nordby

Øyvind Renberg and Miho Shimizu

Danger Museum has developed a large part of their work through collaboration with artists, musicians, curators and cultural institutions during their temporal inhabitance in various cities: London, Berlin, Rio de Janeiro, Seoul, Aberdeen and Cork, to name a few.
Their backbone interest is to investigate inscribed or hidden boundaries, tension, canon and traditions in the people or the community they encounter. Through their pursuit of research, the artists attempt to create a sphere that activates reflection and tenuous articulations. With their openness in modes of work, Danger Museum has taken on various positions and roles from producers of artwork to facilitators, interviewers and editors in their projects.
Curator: Kyongfa Che

Gorm Heen

Narve Hovdenakk

Sigbjørn Bratlie & Arne Langleite

Kristian Skylstad

Arne Vinnem


All Apologies is a group exhibition challenging the role of men, masculine stereotypes, self- image and ideals. The exhibition comments the current discussions on men as the new losers in light of the contemporary role of the sexes.
All apologies is at the same time a critical and humourous interjection into the medias special role in debates about the roles of the sexes in today ́s society. We have strong perceptions about what is male and female; what is understood as masculine and feminine will, in most cases, be traditionally rooted. The works in the exhibition adapts and plays with the media ́s and popular culture ́s own languages and tools. At the same time, it illuminates themes such as alienisation and marginalisation, sexuality and notions of shame, aggression and revenge, greed and violence and not in the least misunderstandings.
Curator: Helga Marie Nordby






The Kaupang Laive was a three-day Live improvised theatrical role-play that simulated the first urban community in Norway, namely Kapangen i Skiringssal year 800. The participants only had their character description as a reference on how to perform. Several of the participants were professional  active role-players. The others were artists.


D.O.R - Sverre Gullesen, Steinar Haga Kristensen & Kristian Øverland Dahl


Curated by Ida Ekblad and Anders Nordby


Dear Cockettes is a tribute to the legenday extragavant gender-bending art / performance groups The Cockettes, who were active in San Francisco and New York during the 1960`s and 70`s. For their rich visual material, boundary testing and mixing of genres like art, theatre, music, cabaret, performance and drag The Cockettes / Angels have become one of the most influential families of performers ever. They are credited as inspiration by everyone from designers John Gallioano & Marc Jacobs, musicians Anthony and The Johnsons, Sonic Youth, Alice Cooper & Devendra Banhart , artists Mike Kelley & Salvador Dali and film makers Alejandro Jodorowsky, Steven Arnold & John Waters. Allen Ginsberg (who performed with The Cockettes in Pickups Tricks), Truman Capote, Robert Raushenberg and Andy Warhol were some of their many fans.

Unique original material such as posters, vintage prints, magazine articles and parts of costumes will be shown in a museum installation. A film program with films concerning or with The Cockettes, as well as performances by Rumi Missabu, House of Egypt, Nils Bech and Stephan Dillemuth. The exhibition aims to present the Norwegian public with a broad and extensive survey of their work, and will consist of four parts, photography, archive / museum, performance and film program.

This fall, UKS and Black Box Theatre have joined forces to present a performance program over four oval weekends in October and November. In all 36 artists – 26 Norwegian and 10 foreign – will perform 30 performances in the gallery, the theatre hall and foyer. Somebody once said that performance is an art form that needs addressing every fifth year. There might be something to it. These days, artists involved in UKS and Black Box projects keep returning to performance, and in very different ways. With visual arts and the art of theatre on each side, performance is a natural collaboration between a gallery and a theatre. We hope that the respective audiences of these two institutions will come together and reflect upon the art of performance.



"And, as we went down this road towards a disbandment of the universal idea of good and bad form, this new attitude towards things infected the surroundings. As if I was inside a zone where all things could be the result of a higher formal awareness: The roads, the chewing gum on the side walk, the yellow light over the city on our way home from kinder garden. Or it could not be, it didn't matter any more. Everything became art, and in the same moment: nothing."

(Ane Hjort Guttu: How to Become a Non Artist, 2007)

Make a bargain at UKS Friday June 8th
Every item is NOK 1000,-
Cash only

The exhibition is open the following weekend
June 9th and 10th 12.00-16.00

The Art Academy's students and teachers have donated works.

Jørund Aase, Ayman Alazraq, Ben Allal, Kenneth Alme, Anne Marte Archer, Amir Amadeus Asgharnejad, Jack Bangerter, Simona Barbera, Javier Murillo Barrios, Tone Kristin Bjorndam, Sivert Bjørnerem, Lars Brekke, Petter Buhagen, Kristoffer Busch, Marie Buskov, Bjørn Breistøl Båsen, Mattias Cantzler, Sara Korshøj Christensen, Ellen Christensen, Tora Dalseng, Anna S Daniell, Jamila Drott, Aida Dukic, Ida Ekblad, Karl Edvin Endresen, Serina Erfjord, Sandøy, Silje Fredriksen, Stian W Gabrielsen, Nicklas Granström, Sverre Morell Gullesen, Hans Hansen, Tone Hansen, Iselin Linstad Hauge, Christian Hennie, Anders Marius Henriksen, Malin Hjorth, Emelie Hoffmeister, Hilde Honerud, Petter Johannisson, Tommy Johansson, Tone Wolff Kalstad, Lars Tore Kjempehol, Jon Eirik Kopperud, Tove Karine Larsen, Shi Li, Victoria Pihl Lind, Malo, Jumana Manna, Frode Markhus, Vidar Hesby Martins, Herman Mbamba, Peter Mohall, Eline Mugaas, Victor Mutelekesha, Lars Myrvoll, Kate Naluyele, Anders Nordby, Øystein Wyller Odden, Michael O ́Donnell, Ragnhild Ohma, Cecilia E Jiménez Ojeda, Margarida Paiva, Jet Pascua, Bodil Cecilie Paus, Erik Pirolt, Tom Daniel Reiersen, Gunter Reski, Olga Robayo, Sahak Sahakian, Andreas Schille, Abdullah Shirzad, Sindre Foss Skancke, Sigmund Skard, Jan Skomakerstuen, Kjersti Solbakken, Markus Li Stensrud, Marco Storm, Sverre Strandberg, Marius Sundåsen, Petr Svarovsky, Grim Svingen, Solveig Syversen, Anna Særnblom, Inga Søreide, André Tehrani, Hans E Thorsen, Roghie Asgari Torvund, Emma Tryti, Endre Tveitan, Anders Valde, True Solvang Vevatne, Ulrika Westergren, Tori Wrånes, Jorunn Hacke Øgstad

Liv Bugge, Marius Engh, Johannes Heldén, Daniel Jensen, Martin Skauen

The spiritual and metaphysical has clearly recurred as a major source of inspiration on the contemporary art scene.This approach could be a reaction to today's highly rationalized society and desire for parallel realities: for the fictional and the fantastic. The exhibition Future Primitive indicates a connection between future science and technology, and a retrospective mysticism and fascination for the supernatural. The works in the exhibition takes in different ways, their starting point in contemporary myths and the esoteric. Some of the works explore brotherhoods and sects – marginal groups that perform rituals connected to obscure beliefs, or as depictions of new and alternative world orders, coincidentally based on ancient symbols, and contemporary and scientific myths and facts.

Curators: Helga-Marie Nordby and Sylvia Cochanska

Hai Nguyen Dinh, Egill Sæbjörnsson, Christine Ödlund


The Journey of Niels Klim to the World Underground, Alice's Adventures in Wonderland and Gulliver's Travels are all well-known works of literature. These satirical and fantastical tales stimulated and challenged the imagination in new ways, while at the same time they provided an alternative critique of contemporary phenomena. In each book the main character is a human being from our world, who suddenly finds him or herself in unfamiliar surroundings, inhabited by weird creatures and governed by outlandish laws.

How Imitations Get Cornered By the Real transports the unwitting participant to a new world, just as Alice or Gulliver are plucked from their familiar setting and arrive in an unusual environment. The exhibition is diorama-like and consists of three projects that combine two- and three-dimensional elements and which are brought to life by video and light projections. Assisted by music and sound, the installations function as spatial sculptures, in which the participant can move around and enter into the notion that they are visitors in another world. These theatrical landscapes appear as cutouts of an exotic, if imperfect, far-off universe.



A reoccurring phenomena in Stian Ådlandsvik's work, is the reorganization and simulation of reality. In his project Stream Day, he links this to the oil wealth of Norway by contemplating the petroleum industry from a distance in an attempt to understand what kind of impact massive oil resources have on a nation's inhabitants. The result of this is translated into an interior like installation, where recognizable objects create a strangely unproportional landscape.

To simplify such an enormous and complicated network as the one the oil industry is an integral part of, it is necessary to be able to understand its character, Ådlandsvik argues. By using the interior as such, he presents a concrete way to deal with the problems connected to form and function at the same time as a new language, discussing Norway's economic base and the influence it has upon us, is suggested.
The word stream day is a description of one operational day and night at an oil rig.

Lars Nilsson (S), Sixten Therkildsen (DK), Kristin Tårnesvik (N)
Curated by Anne Szefer Karlsen (N)

Return Flight is a thematic exhibition dealing with conceptions, stories and tales from New York through the eyes of three Scandinavian artists. Three diverse video works have their starting point in a two week long work shop from the city made in June 2006. By three very different methods the artists have produced their works which in their own way showing the ambivalence, but also the fascination, we have for New York and the USA.

Before walking the streets of New York for the first time one is bound to have preconceptions of what  one will meet there. These preconceptions might stem from facts as well as fiction, historical events, tv-series and films, as well as news. To say that these works get beyond these preconceptions would be a mistake, they rather offer the public the different understandings. The three artists have had their starting points in their special fields of interests, and thereafter used the city as a material with which to present their works.



”The trustful ways in which we deal with pathos, is one of the great mysteries to me” (Kristian Ø. Dahl)

Dahl has in a series of projects explored the rhetorical phenomena pathos, with emphasis on the artists role and myth, but also how contemporary society is legitimizing power and power structures through pathos. Like fog, pathos is still obscuring and covering the more healthy relations regarding ”truth” and ”the natural”, he argues. In FOG, the artist is transforming the exhibition space into a mythical landscape of sculptures in material like foam, cardboard, moss and hair. Here he confronts the biblical, political, and artistic pathos, and questions our apparently eternal benevolence facing the phenomena. Also the meaning we impose on an artwork, is a form of pathos, Dahl argues - a declaration of trust based on benevolence. Through the sculptures he wishes to analyze or objectify pathos, thus uncover and demystify the pathetic. According to Dahl, the artist should problematise his or her personal expression – it should be questionable, and he is sceptical towards the formal as a main artistic focus. In this way, he is criticizing the subject of the artist and the artists role, at the same time as religious and secular institutions intentions in communicating totality and performing transactions of trust, are challenged.

Kristian Ø. Dahl graduated from the Art Academy in Bergen and Oslo in 2005. His solo show NIGHT is currently running at Gallery TAFKAG (The Art space Formerly Known As Galuzin). He has also had a solo exhibition at Gallery Fimbul in Oslo, and has taken part in a number of group shows nationally as well as internationally.


Thomas Kvam's first solo exhibition in Norway, Eurobeing, moves in a dystopic landscape between politics, film and media critique, unfolded in a stylized animation universe. In the 20 minutes long film, the news coverage's sensationalism and our own prejudices are being parodied, either as pointed towards the American, Arabic to the European. The film presents a collage of chaotic news reportages, which fight for the spectators attention, which play the role as "Eurobeing" or the cynical audience. Here, black humor and critique of society are entwined, and where the media's simplification of a complex world is the real "bad guy".

The film landscape is a visually consistent and dense room, which balances between post apocalyptic tableaus, political satire and media clichés and myths . The film problematizes cultural taboos and shows a will to play in a politically unredeemed space. However, the political foundation in the fiction never disappears: the film's use of the term "Eurabia" points to a long European utopian tradition, where Thomas Moore and Jonathan Swift are natural references. With the extension of the word to "the desecularized zone of the U.S. of Eurabia" a future, where so-called "Western" values and political Islam, relygious believes and neo-liberalism converge, is implied, and where the real conflict takes place between a secular and a religious perception of the world.

Pierre Lionel Matte
Birgitte Sigmundstad
Curator: Eivind Slettemeås
UKS in association with the Pillar Foundation

"Public diplomacy, in its attempt to affect the attitudes and opinions of foreign publics, involves the entire communications spectrum, modern communications technology as well as such other methods of intercultural communication as well as cultural and educational exchanges, libraries, publications and people."
- Hans Tuch, "Communicating with the world: U.S. Public Diplomacy Overseas"

An equivalent concept to Public Diplomacy is lacking in the Norwegian language, and the content varies depending on countries' international orientation. The concept can both point to the self-projected image of a nation, and the influence of a nation upon other countries. In the 20TH Century, Norwegian art and culture were used as main means to position Norway in the world. The pathos of nationalism, expressed through characterizations of indigenousness and national heritage, does not communicate non-problematic today.

The wish to act as `global players` on the global stage of financial markets and media, makes it more desirable to nations to be impersonated with a "promising national character". Among the most famous examples we find `Cool Britannia` and `The Irish Tiger`. This is why Omdømmerådets sluttrapport (2005) to the Foreign Department, proposes a Norwegian version of Public Diplomacy, to be carried out by a prospected national forum of repute. The task of the forum should be the promotion of a national image based on peace engagement, aid policy and adjacency to nature.
Ideas about art as bridge-maker and change-maker, whether this occurs in real or imaginary stages of international politics, is a recurring theme in this exhibition. Birgitte Sigmundstad and Pierre Lionel Matte are both referring to the problems of political idealism, represented as unstable transitions between the officially representative and the visually seductive. The second part of Public Diplomacy will be a collaboration between UKS and the Pillar Foundation, taking its` departure from the art institution as an arena for international relations and democratic development, and the projected image of Norway as a beneficiary country.

The Geometry of the Zodiac


"Wherever we have spoken openly we have said nothing. But where we have written something in code and in pictures we have concealed the truth"
(Rosarium pholosophorum, Weinhein edition 1990)

Andreas Nilsson and Fredrik Söderberg have collaborated on several projects, and are recognized nationally and internationally for their distinctive and mystical universes. Together they create a unique visual language based on contemporary imagery mixed with symbols from past times, which questions our common iconography.
In the Geometry of the Zodiac, the artists explore the inner regions of thought and mind. Their wish is to recreate the force which can be found it what appears hidden and forgotten – like some kind of ruin of an exhibition which owned the room a long time ago, in a time when everything was more grey, simpler and less open…
Curated by Helga-Marie Nordby

Behind Front Lines - the Art Academy's MA Exhibition

Tone Bjordam, Margarida Paiva, Ida Ekblad, Simona Barbera, Olga Roboya, Kristine Afacan, Sverre Strandberg, Viktor Mutelekesha, Anders Langstrand, Anders Nordby, Therese Fische, Bjørn Breistøl Båsen, Solveig Syversen, Bjørn Erik Haugen, Petter Johannison, Marius von der Fehr

This year, the Art Academy have been a part of public debate due to the board of KHIO's decision to close down the Art Academy. Its students have been engaged in the debate through protest and action in a situation not far from trench warfare. It is now time to show people what is going on behind the front lines!

The exhibition "Behind Front Lines - the Art Academy's MA Exhibition", 16 students present strong, individual works that can be described as rougher, more intuitive - less conceptual - than what you have seen in recent MA exhibitions. There is still an critical distance to the art work and an understanding of the individual as part of a bigger, public society.


Ulf Aminde and Bruno Nagel
Curated by Anders Smebye

The provincial narrow-mindedness is here changed to the introvert. The audience is presented to staged tableaus, which simultaneously describe different stages and mental states of the human psyche. With its rough scenography and stage construction, alongside the simple and direct acting style, this work can be seen in connection to theatre traditions like the Norwegian 'fjelebodsteatret' and 'comedia dell Àrte', which were based on improvisation around given characters. In Province the audience is confronted with familiar and stereotypical situations, objects and characters. The actors are improvising around given actions where the stagelike installation makes up some kind of professional playground, where small actions and displacements constitute the narration.

Artists: Ibon Aranberri (Bilbao), Julie Becker (Los Angeles), Marius Engh (Oslo), Terence Gower (New York), Gareth James (New York), Adriana Kuiper (Halifax) og Sean Snyder (Berlin)
Curator: Craig Buckley (New York)

Whether incorporated as a kind of Potemkin architecture, pictorialized as a backdrop for images, or as a quote pointing to the generalized boogeyman of modernism, one of the working hypothesis of this exhibition is that architectural tropes in contemporary artistic practice are over-freighted, to the point of exhaustion and cliché on the one hand, while being simultaneously under-scrutinized on the other.
This exhibition brings together the work of several artist whose procedures address the field through deliberately indirect means. Taking on the materials, procedures, or documents related to architectural culture, their work transforms such points of departure often to the point of effacement. The process of effacement is less about masking than about drawing attention to the cognitive work implied by translation.
The exhibition will leave the relative opacity of these work standing, as a question particular to these artists' processes and their own wagers. Within these layers of effacement, the exhibition looks to produce a space in order to put in question the cognitive affinities and dissonances relating these fields of work.


Periphery, exploring localness through sound


Most people in this world, and also most artists, live and work in the periphery, in the cold shadows of New York, Paris and Berlin's proud concert halls, clubs and art scenes. In a time where art and contemporary music have focused on the site specific, social politics, the democratizing art production with home computers and mobile studios - there is a new sense of the local, for provincial distinctiveness and history, and the unique and particular have gained strength over the standardization of multinationalism. Many of the most interesting composers and sound artists today take their starting point in their precise geographical location and their private experiences and let their work grow out of the immediate reality.


Happy Days Sound Festival will explore an extensive experimentation around the concept of 'concert' and will seek to stretch this term. All works will be made site specifically with consciousness  as a central theme.

- what do you spin? records or linen?
Anne Bang Steinsvik go Kjersti Sundland
"Monstrous little Women" is a live video performance, in which female stereotypes in horror films are being explored. A common thread connecting the different films, is how evil is being present in the women as something unstable and hysterical. It is though the unstable feminine nature "evil forces" can harness and exist.

The evil feminine subject in horror films, is being explored through samples taken from a selection of horror movies from the 1950`s until today. The VJ panel is programmed in studio max, making a live three channel video projection. Audio and video samples are being scratched and re-sampled to soundtracks from the album "Syklubb fra hælvete". This album was the first release made by Fe-mail, a noise duo consisting of Maja Ratkje and Hild Sofie Tafjord.

As part of the series Celluloid2006, Atopia presents in collaboration with UKS, the first ever Norwegian screening of Line Describing a Cone, the legendary 'solid flight' film by Anthony McCall.

"Line Describing a Cone is what I term a solid light film. It is dealing with the project light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes a flat surface (the screen). The film exists only in the present: the moment of projection. It refers to nothing beyond this real time. The form of attention required on the part of the viewer is unprecedented. No longer is one viewing position as good as any other. For this film every viewing position presents a different aspect. The viewer therefore has a participatory role in apprehending the event: he or she can - indeed needs to - move around, relative to the emerging light-form."
(Anthony McCall, 1973)

Jana Winderen and Maia Urstad arranged the project Motlyd at USF Bergen in 2001 in collaboration with Jørgen Træen. The UKS seminar will focus on the changes in the field of sound art for the last 5 years, the main focus being today's situation. There is now an enormous activity in soft ware development and experimenting, large exhibitions and publications are being made on sound art and several young artists are exchanging experiences within this field. This includes a positioning of sound art within the galleries, and therein which strategics the institutions need to take to follow this development. Participants in this debate will speak of their experiences as practicing professionals concerning sound art's possibilities and ambitions.

Deabte contributors: Jana Winderen, Maia Urstad, Mike Harding, Jørgen Larsson, Lars Petter Hagen, Brandon LaBelle, Steinar Sekkingstad, Erlend Hammer, Bjarne Kvinnsland, Trond Lossius


Norwegian and San Francisco based video artists will present their work over four days at UKS. The aim is to focus on the productivity that different artworks generate when installed together. The videos in the program vary both in technique and theme, showing different ways of using the media. These kinds of meetings and disjointed connections can create new ideas and interpretations.

Disjunction (latin dis = apart, iunctio = connection) A disjunction is an "or statement". For example John skis or Sally swims, is a disjunction.

Anders Eiebakke, Ane Lan, Anne Britt Rage, Anneke von der Fehr, Astrid Johannessen, Aurora Sandlilje, Birgitte Sigmundstad, Camilla Figenschou, Caroline Silva, Catherine Czachi, Christian Hennie, David Larsen, Dodda Maggy, Endre Aalrust, Espen Tversland, Eva Drangsholt, Frederick Browne, Janne Talstad, Jan Steinum, Jasmina Bosjnak, Jorunn Myklebust Syversen, Kaja Haugen Pedersen, Lindsay Seers, Liv Bugge, Mads Lynnerup, Maggie Foster, Magnus Martinsen, Mariken Kramer, Mark Boswell, Mark Morris, Marthe Torshaug, Mette Hansen, Mika Rottenberg, Narve Hovdenakk, Ole Christian Ellestad, Petter Ballo, Ricky Rivas, Seth Myers, Sharon Glazberg-Erez, Stine Gonsholt, Sverre Strandberg, Thomas Østbye, Tilda Lovell, Tim Sullivan, Tone Kristin Bjordam, Tor Jørgen van Eijk, Tormod Bergum, Trine Lise Nedreaas, Zachary Reno

The Comic Book Backfire Project ™
Bastard Child, 2006
Stalagmite Tentacles in the Middle of the Night

This is part three of Borgan's The Comic Book Backfire Project which consists of a constellation of fascinations and work processes where sculpture, drawing and painting form large room installations. Part one was the artist's MA exhibition at the Stenersen Museum in 2002, part two was presented at the Tegnebiennalen in 2004. The installation at UKS will work as a scene where the artist will improvise soundscapes live.

Bastard Child is an ill-mannered play with mixing genres and styles. Together with Stalagmite Tentacles in the Middle of the Night the project pokes fun at often over the top pompous lyrics used in metal music –  a sort of popular mysticism where symbols are pulled away from their original meaning.


Marianne Heier's solo exhibition at UKS presents a series of works booted by Cracking Concrete in 2000, and which now culminates in her new project CREW. The main focus in the exhibition is an exploration of concepts of values and conventions.

Background for the project CREW was that the National Museum of Art, Architecture and Design Autumn 2004, advertised 60 positions for museum hosts. No specific qualifications were required from the candidates. The hosts were part of the National Museum's new image, and replaced earlier forms of surveillance. The Museum received over 600 applications. The vast number of applicants made it possible for the National Museum to hire people with especially high culturural and academic competence, which now in most cases are occupied by people with high ambitions and long educations within culture and academia. Most of them consider the job a temporary solution on their way to another job or position in their working life. Heier was herself employed at the Museum as a host from October 2004 to May 2005.

CREW is a group video portrait of Heier's colleagues at the Museum. The work focuses on the very special environment that occurred among the newly appointed hosts. It is a paradox for the National Museum that they who are considered low in the institutional hierarchy , often have better insight when it comes to the institution's own field of subject than their superiors. CREW discusses the situation from another angle and uses the Museum as a point of departure for criticizing constructed hierarchies. In this way, Heier emphasizes the relation (and distance) between cultural and economical capital.

These problematics are further explored in the video installation Construction Site, which documents the redecoration process of the museum host's lunch room at the National Gallery. The refurbishment as an initiative from Heier who has hired and paid the artisans and two of Norway's best architects to draw the room and the furnishings. Through this investment Heier tries to activate an equation between the Museum's visible and invisible reality.

Michael Blum, Andrea Creutz, Copenhagen Free Universty, Maria Eichhorn, Stephen Geene, Olafur Gislason, Ashley Hunt. Natascha Sadr Haghighian, Katya Sander, Fia Stina Sandlund, Jason Simon, Elin Wikström, Knut Åsdam

Capital (It Fails Us Now) is a group show exploring the notion of capital, taking point of departure in the one hand location, and on the other subjectivity: how capitalism affects our daily lives, our very structure of feeling and perceptions. Capital is here understood as an economic tool, as a measure of exchange and surplus, and as something at once regulated and regulating (regarding both state and market), as well as a producer of subjectivity (through the commodification of everything). The exhibition in Oslo is the first half of a two-fold project, with the second, expanded version taking place at Kunstihoone in Tallinn, Estonia Jan 7-Feb 14, 2006.
A book including artistic contributions and essays from Will Bradley, Katja Diefenbach, Stephan Geene, Brian Holmes, Trude Iversen, Oleg Kireev, Isabell Lorey, Gerald Rauning and Natascha Sadr Haghighian will be published.


This fall's opening exhibition at UKS is a collaboration between artist Unn Fahlstrom and composer Øyvind Torvund. The installation takes place over three rooms where sound and video establish a composition which deals with the general notion of re-interpreting existing works of art, more specifically Jean-Luc Godard's film Contempt (Le Mémpris) far 1963.

Using canonized movies as raw material is characteristic of Fahlstrøm's work. In this installation lies a more basic process though, the collaboration with Torvund has resulted in an installation concerned with an exploration of the video media's components where narration, characters and plot is dimmed down.

Curated by Trude Iversen

100 works by 60 artists
Videoarchive initiated by Sören Grammel, Maria Lind, Katharina Schlieben and Ana Paula Cohen, produced by Kunstverein München.
Organized by Anders Smebye and Kjersti Solberg Monsen (UKS)
Video screening by Marianne Zamecznik

Est its schwer das Reale zu berühren (It is hard to touch the real) is an archive which includes more than 100 video works by 60 artists for whom the notion of the "documentary" provides an important subject of investigation. Documentarism is one of the most prevalent approaches to video making in contemporary art. It is based on the notion of directly confronting the viewer with a reality or an event which appears to exist independently of the documentary's ability to mediate information. The artist involved in It is hard to touch the real both embrace documentarist and question it in various ways.

Current Considerations on Art Institutions and the Economy of Desire

This exhibition will explore in what way art institutions are used and challenged today within artistic processes.The startingpoint is the observation that institutions have changed after  ‘institutional critique’ in the 70s as well as in the 90s. What could be the future impact of current critical tendencies? Today a critique is no more put against the institution in order to deconstruct it. Instead, a certain opacity, which has been criticized in the work of powerful institutions, can on the other hand be useful for smaller institutions in order to try out new forms of collaboration between different positions in the art field (artists, curators, academics or activists), and by this to create an alternative agenda for institutional work. The project is developed in a close collaboration between the curators and the artists. Therefore several workshops have been scheduled. The terms autonomy, freedom, internal process, uncertainty were discussed in relation to opacity. As well as the history of critical and affirmative work respectively within institutions: What happened in the 80s and 90s to institutional models in relation to notions of democracy? Only now the new forms of institutions of the 90s  are at a point, where you can evaluate them, which was not possible five years ago.

The exhibition is not seen as the culmination point of these discussions, rather an integral part of an ongoing process. Considering the internal perspective of the artist as an involved teammate in cultural production, the question arises, how an art institution can be used from within - as an arena or a tool for repoliticization. Where lie the possibilities, and what do the presumable failures tell us about the societal role and reaching area of the diverse art institutions?
The exhibition will propose and discuss a collaborative and productive model, which researches current conditions of institutional work and develops alternative strategies – be they activist, appropriated, mocking, actual or purely utopian.

Participating artists: Kajsa Dahlberg, Stephan Dillemuth, Gardar Eide Einarsson, Markus Degerman, Sofie Thorsen, Danger Museum
Graphical concept: Halvor Bodin

April 15 – June 15, 2005 at UKS, Unge Kunsternes Samfund, Oslo.

Curators Nina Möntmann (NIFCA) and Trude Iversen (UKS).

UKS has the pleasure of hosting the opening of Lina Viste Grønli’s first solo exhibition. The exhibition title shares its name with the sculpture Ferdig/Finished (2005). As of this writing, it is a contradiction in terms to write Ferdig ("Finished") in italic with a year behind it, denoting a work of art. The work is not yet such a thing. Neither finished, nor a "work." The letters spelling out the word "finished," are chest high. The finished Finished will be the result of the artist "putting the last touch on the piece." In the same gesture, this theme is actualised and communicates with ongoing discussions on the supposed de-objectification process of art.
Hindrance as theme, as well as specific institution-critical aspects are present already at the entranceway to UKS. A double staircase makes visitors feel the "threshold" of stepping into the gallery. The same thing repeats itself when one leaves the exhibition. In the reception area, a two meters tall sculpture of letters made from leca, shaped like the word IKKE ("DON’T") can be found. The normal, accustomed passageway is now occupied by a defiant negation. The main room of the gallery is characterised by the work Cut it Out (2005). Despite the introduction of language- philosophical dimensions that need to be dealt with, Grønlis work demonstrates a straightforwardness that makes intellectualisation difficult, and possibly even unnecessary.
Curated by Trude Iversen



Alex Villar's long-term investigation of potential spaces of dissent in the city focuses on the productive conjunction of the body and the architectural environment. His are micro political interventions in the social experiences that constitute our subjectivity. Villar makes use of performative displacements of regular daily activities to engage resistance in the rearticulation of the normative processes at work in everyday life. In this exhibition, three of Villar's video pieces Other Ways, Upward Mobility and Dribbling the Field are presented in constructed settings conceived as tangible contextualizations of the situations depicted in his work.


"Gardar Eide Einarsson's work seems to pose a continual problem for criticism. To begin with, there simply seems to be too little to see and experience in his work – unless by som perverse sensual logic you happen to count meagre replicas of benches, or of skating "ramps" or flimsy photocopied images among your top ten objects of fascination. And what is on offer, visually, seems all at once too lightweight and too bluntly upfront to command the kind of awe you expect from "good exhibitions". Of course the small gesture also has its place within the contemporary art context. But Gardar Eide Einarsson's work is far from the romanticism of the ephemeral and the fragmentary as it is from the stringent textual strategies of classic conceptual art – to mention two tendencies that might favour an art of slim visual offerings."

[Excerpt from Ina Blom: "A Problem of Style: Art vs. Subculture. On the work of Gardar Eide Einarsson."]

SKA TV ART AWARDS show will be held for the very first time at UKS. The show addresses the Norwegian "alternative" art scene – artist run galleries, temporary and mobile art projects, art fanzines and web magazines. By establishing this award show, this part of Norwegian art scene will finally have their own glamorous event. The award show's intention is to promote the active and dedicated under ground scene and at the same time honor former participants in the alternative art scene. SKA TV ART AWARDS also consists of a following exhibition with video archives and an edited part of the opening show. The show itself will commence in a TV studio designed and built for this purpose and will offer awards, speeches, video clips, performances, dancing and music.

SKA TV ART AWARDS is produced by Art Academy students Ivan Galuzin, Christian Bould and Leander Djønne

Contributions: Lasse Ramstad, Camilla Tellefsen, Ildflue Produksjon/Bårdar, Fredrik Östman, Steinar H Kristensen, Marco Juha Mikael Storm, Sindre Foss Skancke, Terje Øveraas, Hai Nguyen Dinh, Ingeborg S Olerud, Rent a Bar, Jon Løvøen and Charlotte Thiis Evensen.
Curators: Eivind Slettemeås and Cathrine Evelid

[excerpt, translated]

The fourth UKS-biennial opens September 3 this year, and is one of the most important exhibitions for young contemporary art in Norway. The Biennial will for the first time take place in Unge Kunstneres Samfund’s own premises (Young Artists’ Association). After its relocation in 2003 UKS has created an improved and ambitious space for contemporary art in Oslo, and will for the first time have enough room to house its own Biennial. The exhibition is curated by Ida Kierulf and Helga-Marie Nordby.
The UKS-biennale 2004 will investigate the strong presence of the city and urban reality in contemporary Norwegian art production. In the last years, an increasing consciousness of urbanism - the city as subject and phenomena - has come into being, and this is clearly reflected in contemporary Norwegian art. The exhibition has a particular emphasis on Oslo and the political and social, physical and fictional, relationship between the individual and the city. The curators put to attention some of the main questions of the exhibition: “In what way do the urban surroundings affect us; how do they form our relation and interaction with other citizens; what kind of habits of movement and consummation do they create, what identity(ies) do they build? While urban planning and political strategies have decisive influence on how we live and move in the city, art can present for us other patterns and motivations, a possibility to see the city from within and from without”.
The selected artists for the UKS-biennial 2004 are:
Jesper Alvær, Liv Bugge, Bodil Furu, Ane Hjort Guttu, Lars Petter Hagen,
Knut Henrik Henriksen, Katja Høst, Eline Mugaas, Ketil Nergaard, Arve Rød, Christian Hoel Skjønhaug and Anders B. Wittusen.

Camille Norment (US)
Brian Conley (US)
Petra Lindholm (SE)
Unn Fahlstrøm (NO)
Alexander Rishaug (NO)
Marit Paasche (NO) text

"Noise/Space deals with the use of video, space and sound in opposition to the mass media's use of technology. The works demand the viewers engagement on time and space. They create a situation of conflict rather than a harmonic relation between noise/space and space/noise. They also point to conflicts outside the white cube. The exhibition looks at artistic strategies which employ tools of distribution that are similar to mass media culture, but the result is quite different. Music might be the art form most exposed to commodity fetishism and commercial adjustment the last years. The enormous mass culture has still made space for subversive strategies. Is there now easier for  artists to make use of these distributing means than before? And if so, how can the gallery space facilitate this production and be a part of this network? If the relation to technology is normalized, one has to consider it as a tool. What artistic strategies are more resistant to the fetishizing of art as commodity? Can noise art be considered as a sort of last defense because it is so unavailable and at times uncomfortable?

The exhibition presents concrete space- and sound experiences, personal narratives where sound and image are intertwined, and an analytical and complicated use of video editing and soundscape push the boundaries of both medium and perception. The works are physical sound situations and works that manifest illusions of space. The contributors have in common a great degree of control of the instruments involved, a workmanship that is  recognizable in the representation and production process."

Tone Hansen

[excerpt, translated]

TransAction will focus on the art space's possibilities as a place for production in the form of discussion, reflection and intervention. The program stretches over five weeks of debates. A reader's lounge for art magazines will be launched. The concept of art is not only exposed to continuous renewal and expansion – a turn from the art object as a starting point of evaluation to the art production that occurs outside the traditional venues of art is making a relevant impact. This situation entails changes for this type of production's various participants.

Art's diminutive status in the public sphere is the first topic in this series of debates and lectures. How to strengthen art's role in public? Which strategies have been launched and which ones remains to be tested? Participants are the art critic Marit Paasche, editor Jon-Ove Steihaug, Billedkunst editor Ingvill Henmo and Klassekampen editor Bjørgulv Braanen.
In the reader's lounge Jesper Fabricius, artist and editor of Danish art magazine Pist Protta, have made a selection of 140 art magazines and books. Fabricius also runs the publishing company Space Poetry, which releases journals and art books. TransAction's visual profile has been made by visual artist Tone Hansen and architect Kjetil Sæterdahl. Hansen has, among other things, made the exhibition hall into a boxing ring, in which the debates will take place. The NRK program Aktuell debatt from 1965 is shown, in which Kjartan Slettemark's Vietnam painting is the object for a hard discussion about "propaganda art". Sæterdahl has drawn the blueprints for the reader's lounge.

[excerpt, translated]

UKS have the pleasure of presenting Mats Andersson's first solo exhibition in Norway. Andersson will show four works where the opposition between individual and surroundings is a common problematic.

The four meter tall installation Meeting with Félicité (1999) is made of mdf, wood and glass. The installation forms a diorama with a staircase that seems big enough to climb. The staircase curves upwards and the steps become smaller and smaller.

Teatro del Dongo (2003) is an architectural model. On its backside hangs the story of Fabricio del Dongo – the main character in Stendahl's The Charterhouse of Parma.

Untitled (2002) is an architectural model in glass and wood. Here, the artist touches on architectural themes and their function in relation to monumentality. The work also poses questions surrounding openness and exclusiveness, front- and back side.

In the 28 minute long video installation Norfolk Island Pine (2001) the artist sits himself in front of the camera. His back is turned to the viewer, sitting still and letting people pass by him. The video is recorded in Copenhagen's botanical garden and raises humorous questions as to what is being filmed – the artist to the left or the pine trees to the right? The passersby can't seem to make sense of it.

[excerpt, translated]



Time Ecstasy is Siri Hermansens first solo exhibition which contains two photo series, a photo manage, two videos, a sound piece and other smaller, but not lesser installations. Thematically and formally these works dwell around the experience of the scientific versus the personal idea of time and existence. "The sound of a star turning around its own axis" is a sound recording of just that. The photo series "From here to eternity; snow photography" is a cool representation of a well-known image: the blizzard on a TV screen without reception. In contrast to these works, Hermansen presents an endearing nature experience in the photo montage "Time-Out". A tent installation is a further comment on nature's mythology and an individual experience of lack of oxygen is the starting point for the video loop "Breathless". Easily recognizable porn scenes is an element of the exhibition's last photo series. Characteristical for Hermansen's works are the use of readymades as startling point for dividing and destruction of meaning, re-worked and put into a new context. Well-known objects different aspects both formal and connotative are exposed to analyzations and segmentations that has a means to bring the objects complex elements a cognitive value.

[excerpt, translated]

Farhad Kalantry shows his video installation, On a Bed of Blue, where a faceless naked person is presented on a bed of blue. The person is filmed in a bird's perspective and the video is projected on the floor. This installation view creates an ethical dilemma forcing the viewer to relate to the subject projected. The video Tea House differs from the cold blue video installation and emerges as a melancholy work evolving around the idea of memory. Black and white photographical close-ups shows the tea house on the screen – no continuity, alternating and brief, the language of film allows one to be the site for complex memories  without offering any form of safety.
Antiværelse (Anti  space) is the title of Anne Sophie Normann's series of photographies and paintings. Familiar motives are zoomed in in the paintings and the starting point for the photographies. This double sided approach to homely scenes from immigrant life in France creates the basis for a sober interpretation of western and oriental interior, taste, likenesses and differences. A photo of Hilary and Bill Clinton sitting at their lunch table from a home reportage from the sixties creates a starting point for all the series.

[excerpt, translated]



Debutant of the year? UKS gallery presents Daniel Jensen's first, and most certainly not last solo exhibition A Means To an End/Demolition 4. The exhibition is an extension of The Octagon which was shown at the graduation exhibition at Stenersen Museum in 2001. The UKS exhibition consists of a single work with stretches through the gallery rooms, altering the architecture dramatically. The audience meets an environment reflecting a paranoid and manic mood. We find ourselves in a space where somebody has tried to shut themselves in, away from the outside world, and created their own utopia. A Means To an End/Demolition 4 represents a world which exists parallel to the public space, where some other, private order reigns.

Dag Nordbrenden's new book Be Yourself Tonight is launched simultaneously, with a foreword of Matias Faldbakken.

Karen Landmark

[excerpt, translated]

Carlo Benvenuto, Alessandro Dal Pont, Letizia Cariello, Gianni Caravaggio, Lara Favaretto, Marcello Maloberti, Alessandro Pessoli

"Does it make sense to make an exhibition representing the Italian contemporary art in today's globalized reality? This is the question which serves as a starting point for Caroline Corbetta's exhibition Italanamente where she has picked seven young Italian artists working with very different themes and materials. Italianamente means 'the Italian way', although Corbetta wishes to focus on the Italian (artist) identity in a global perspective, rather than representing the works as demonstrational objects."

Trude Iversen

[excerpt, translated]


"The Sellout exhibition at UKS was a huge success with a 40 meter long line of people an hour before the doors opened due to several announcements in the media. 144 artists generously contributed works with one thing in common - they were all worth so much more than 1000NOK. During the opening night alone we sold 88 works and nearly every piece was sold the following week. This resulted in securing the financial situation for UKS Forum and also made clear how important this magazine is for Norwegian artists. As a sales exhibition the show displayed enormous variety. Contributions from artists in various age groups and different artistic traditions mirrored the complex nature of UKS's members. Many visitors bought their very first art piece, and hopefully left inspired to start collecting.

Many thanks are due: Erling Fossen for being a splendid 'godfather' to the event, the magician Glorillo for entertaining the waiting crowd in minus ten degrees celsius, Hot Rod's Jan Walaker for photographing, Hummel for donating T-shirts to the workers, Mozell and Ultra for providing soft drinks,  ginger bread and mulled wine, Kim Hiorthøy for DJ'ing and especially Halvor Bodin for profiling the event. But first and foremost we wish to thank all the artists whose generosity exceeds the financial success. This event have already been copied a few times and debates over art's possibilities for revenue and financial alternatives have been revived. In addition, this exhibition's availability and democratic openness have presented contemporary art to a whole new audience."

- Marianne Heier, curator for the event and board member of UKS

[excerpt, translated]

Dove Allouche & Evariste Richer
Roman Ondak
Bojan Sarcevic
Marika Bührmann
Jeremie Gindre
Jun Yang
Dominique Petitgrand
Laurent Montaron

Solene Guillier and Nathalie Boutin is the duo behind the gallery and art mediation project GB AGENCY which resides in the 13th Arrondissement in Paris. Together they have curated exhibitions with Douglas Gordon, Vibeke Tandberg, Koo Jeong-a, David Shrigley, Jonathan Monk and Pierre Bismuth, among other artist. Using GB AGENCY as arena, Guillier and Boutin work with showing art in new arenas as well as traditional art spaces.

[excerpt, translated]

Åsil Bøthun
Siri Hermansen
Gardar Eide Enairsson
Ole Martin Lund-Bø
Ane Hjorth Guttu
Morgan Schagerberg
Jenny Magnusson
Trine Lise Nedreaas
Anna Maria Gudmundsdottir

"The artists uses everyday life as a staring point to focus on the symbols that surround us and what these means to the artist as individual. A structural reworking of life's conditions, the state of affairs. The result is clear and concise, without ironic distancing and metaphysical denominators. The works speak to the spectator with immediate appeal and no one is to be embarrassed by the art. I would even go out on a limb and say that the art in this show is popular. By that I mean immediate and likable. This might be a future prospect which contemporary art may be wise to follow."

Terje Nicolaisen, curator

[excerpt, translated]

Force Majeure présent their new production Enslig Gran (Lonely Fir Tree) which consists of different technical installations feeding the audience graphic texts. Sound/image/action is generated by actor/viewer/technology in interaction. Four situations present different connections between text, viewer and actor – the actors consistently subject to the graphic text. The viewers' perspective differentiates between the situation – from passive observation to a sort of guided participation. Force Majeure have since june 1997 produced shows and performed on different scenes in different settings in Norway and abroad. Text have been the pivot point from the onset and now technology have become an integral part. The work is process oriented and is presented in various versions. Focus rests on demonstrations of perspective rather than performing brilliance. The material is developed "in common".

Actors: Saila Hytinnen, Håkon Lindbäck, Martin Lundberg, Daniel Norbäck, Cia Runesson, Anders Wennerström.





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"Alexander Gutke (SE) presents two video loops and a model of a pavilion built in plexi glass. The video "Transition (A 1978 Pontiac Firebird driving through a Forest of Pine Trees)" shows the landscape along a Swedish country road reflected in the car's paint. "Untitled, to be continued" consists of a deserted country road where a car disappears in the horizon, reminiscent of Hollywood movies where the hero and his girl always gets away in the end. The pavilion model, "Proposal for a Turning Point",  challenges the idea of immortality connected to building public monuments.

Tine Aamodt presents a wall painting, its motif consisting of silhouettes of different furniture. The arrangement does not conform to the room's corners with creates a confusion and decomposition of the boundaries of space. The painting's materiality is further compromised by the furniture's appearance as being both represented and mere shadows. Together with a slideshow of a young calf's last moments before slaughter, Aamodt's installation tells of transience and historicity."

Trude Iversen

[excerpt, translated]

Zolt Kovac
Miodrag Krkobabic
Milena Maksimovic
Vladimir Nikolic
The art and design group SKART

Project leaders: Per Platou and Sinisa Spasojevic

"If you try to find the term "Little Red Elephants" in a dictionary or encyclopedia, I have to disappoint you and tell you that you won't succeed. These small creatures have not yet taken their place in such documents. "Little Red Elephants" were born a few years ago as an accidental hybrid, and since that time have not evolved beyond their initial infantile state of innocence. Isolated in their own reservation park, the little red elephants knew only of the existence of each other and their masters who provided them with their daily needs, and made sure that they didn't escape from the reservation. However, some elephants managed to leave their habitat, never to return. Secluded in the reservation and isolated from the rest of the world, the remaining elephants had no means of finding out what happened to them. They had simply disappeared."
- Vesna Madzoski
The title of the exhibition refers to the artists' own self image. Exotic red elephants are perceived as 'other' and the title problematizes this mechanism as the 'other' is understood as 'the suppressed artist' under Milosevic's regime. The artists showing their works at UKS do have an identity that reaches beyond being representations of the opposition in Belgrade even though this is an important parameter. The exhibition is the result of a collaboration between UKS and the Belgrade Center for Contemporary Arts. It is also the first part of an exchange between young Norwegian artists and Serbian artists. In febuary 2003 a handful Norwegian artists visit Belgrade and the areas around the city. Head of Belgrade Center for Contemporary Arts, the art historian Branislav Dimitrijevic gives a guest lecture on the Yugoslavic art scene and the project "Serbain Art During War Time".

[excerpt, translated]

Sverre Koren Bjertnæs, (artist group) 1561, (graffiti artist) Goal, Astri Wexelsen Goksøyr and Bjønnulv Evenrud, amongst others…

Curated by Anders Eiebakke





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"Schlafen gegen rechts" - "Sleep towards the right" - is the title of Snorre Ytterstad's exhibition as well as the main piece in the show - a fully functional slot machine produced by the artist himself. For every one kroner the visitor inserts, five kroners will be donated to the Anti Fascist Action, thus making a bet on the slot machine a political gesture, supporting this communist and anarchist movement. Two new works are also presented; "In the middle of the fucking room" consists of a one kroner placed i middle of the (fucking) room with eight wires, and the piece "Play/Rewind" is a little (very little) LCD-monitor placed on the skirting board on the floor. Besides the incitement to incorporate a resistance to the right in your sleep, the exhibition's title may be regarded as a means of reflection of all the three works on show at UKS.

Curated by Anders Eiebakke

[excerpt, translated]


"Berit Henning presents the video "Pål". Pål is a disabled person traveling on a cruise ship with two assistants from his communal house. His parents tells the story of his life and how his disability has changed their family structure parallel to Pål's journey.
Andre Lange exhibits a sound and video installation where Maroccan born Samir Tasaft (14) and Karim Bounbaa (13) sing the song "Frere Jaques" among photographs from their home town, Saint Gaudens in the south of France.
Ståle Sørensen presents the installation "Mobile Gallery", actually his touring gallery consisting of a 70s caravan. The caravan has been the scene for the project "Getmyselfconnected" showing five different foreign artists this year."

Trude Iversen

[excerpt, translated]

"Rune Elias Helgesen presents his new work "20 short movies in black and white" along with "Simple songs about living and relaxing", "Transport 01" and the CD "Transport". "20 short movies.." consists of 10 seconds long videos focusing on apparent day to day circumstances looped with 10 seconds long pauses in-between, stimulating impatience in the beholder.
Josephine Lindstrøm shows her 16mm film "Fossen" (The Waterfall). The image appears as something between fixation and endless movement: the aspect of time is reversed and gravity have ceased to exist.
Birgitte Sigmundstad presents her photo series "Match of the day", eight portraits of female athletes inspired by the media's representations of sports, here focusing on the losers. The fallen women reflects on athletic rivals like Nadia Commaneci and Olga Kobut or Tonya Harding and Nancy Kerrigan."

Trude Iversen

[excerpt, translated]





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Ólöf Björnsdottir shows her project "Designer Dress Project" consisting of a series of specially designed dresses mounted on posters for call girls. The dresses are produced by Wollenmaiden who also presents a new portrait in the exhibition.
Charlotte Eliasson presents her project "The Ladies Club". Eliasson's focus lies on the individual's life situation, deconstructing and mapping three main aspects: the social heteronormative construction, gender and power through photographs and videos.
Cathrine Evelid displays her project called "The Mind Shop" (TMS), whose primary goal is to give easy answers to hard questions. TMS treats questions regarding culture, gender, politics and history through marketing items like "Club wear for female terrorists", "Ideology Bikinis" and "Back to Basics Boob Tubes".
Kristin Wexelsen Goksøyr shows her installation "Under Jorden" ("Under Ground") in UKS' basement. Concerned with creating a room that gives visitors a sense of visiting a parallel universe under ground, the visitors are supposed to encounter beauty in vegetation, water, contrasting living and dead, light and darkness.

[excerpt, translated]





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Helen Torp Andersen, Anne Berntsen, Steven Cuzner, Kathrine Dille, Geir Gjerde, Björn Hegardt, Synne Holst-Pedersen, Mariken Kramer, Jens Laland, Mats Linder, Jens Nilsson, Ellen Røed, Pia Sandström, Lars Teigum, Hilde Tørdal, Theo Ågren.
The title "Interviews" reflects upon young aspiring artists speculating, questioning and perhaps even answering. Also the aspect of presenting views and comments on relation to their surroundings.

Co-ordinator: Lars Bang Larsen

[excerpt, translated]





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"Degraw's paintings, drawings and illustrations have strong references to music, mainly punk, but also themes like religion, drugs, "white trash" icons and "Bible belt" culture. his last installations have included altars honoring characters like Ian Curtis (Joy Division), Morrisey (The Smiths), as well as Dalai Lama and Satan. Degraw explains his art as religious confusion, wether it's christianity, rock music or whatever constitutes as 'belief'."

Jørn Mortensen

[excerpt, translated]





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"Annika Simonsson presents her work "Splash", a series of paintings in enamel paint on mdf boards. Their shape is an essential element from the 60s and 70s interior design, inspired by commercial and cartoon aesthetics.
Camilla Dahl shows two installations/sculptures. The first one being a champagne bar with a reclined hostess on top, pouring champagne into a container. The audience is invited to enjoy the champagne and converse with the hostess. There is also a vomit-machine in painted mdf and aluminum.
Eline McGeorge shows a series of animated works presented on LCD screens. Line drawings presents a way to reach the essence of what takes place on the screens, the possibilities of different meanings and outcomes."

Jørn Mortensen

[excerpt, translated]

"Hyun-A. Ji presents an installation consisting of models made of wood, trowel and acrylics. The models are based on shapes that can be described as homely – furnitures, but also stylized figures and a dismantled wooden bicycle. The works are based on the shapes' and material's  subjective and objective purpose and (dys)functionality. The keywords here are fetishism, personal stories and the material's own expression detached from its original context and function.

Han Christian Gilje exhibits two works; One room contains film stills from Gilje's Mountain series printed on 150x120cm photo screen among smaller images with different themes. In the inner room we find "node III", the third version of a metal well with represents a sort of collective memory and also a meeting place in time and space."

Jørn Mortensen

[excerpt, translated]


"Una Ree Hunderi presents a series of photographs with motives from Tonga in the Pacific Ocean. After photographing Norwegian mountains, fjords and deep forests, Hunderi left for the South Pacific to study the exotic landscape there. Her former projects deals with the Norwegian landscape and our perception of this; a way to see nature closely bound to romantic nationalism, tourism and commercial representations of Norwegian nature. The apparent meaninglessness and harmlessness of the landscape photography is her point of interest. The choice fell on Polynesia and the Pacific paradise because many of us have a certain notion of what it looks like despite the fact that most of us have never been there.

Irene Nordli shows her work "the Boxing Kangaroos", two porcelain robots measuring 175 cm programmed to throw punches every 10th minute. Nordli also exhibits a series of porcelain figures on plinths. The figures accentuate the sensuality of their material, being casts of well-known female figures, souvenirs, models, dolls and such. The figures are compiled in new ways which represents Nordli's personal artistic expression."

Jørn Mortensen

[excerpt, translated]

"Cecilie Nissen shows her painting installation "Flux, Seductive Red" in UKS' large space. The work covers an entire wall with red aluminum plates painted with thick coats of different orange/magenta nuances and also shaded, highlighting a three diminutional effect. Nissen is concerned with the relationship between the work and the beholder and employs seductive hyper-aesthetic remedies in this exchange between figurative and non-figurative landscapes.

Yngvild Færøy presents a series of thirty framed pencil drawings on paper which together forms an organic whole. The motives are half recognizable as ornamental and cryptic symbols, half as representations of physical objects. Færøy also shows a photography of a dress with floral pattern against a grey sky, through the fog a cityscape is nearly visible. Her works depicts an inclination towards the ornamental world we live in, as in rose painting, hairstyles and dress patterns together with questions concerning the incomprehensible, indefinable and illogical in this world."

Jørn Mortensen

[excerpt, translated]

"UKS Gallery is opening the fall season with two simultaneous separate exhibitions.
Knut Henrik Henriksen work with different media, his focus being on drawing and sculpture. The sculpture is built with pinewood panels, stretching from floor to ceiling, placed in the big hall. As a sculptor, Henriksen works with non-functional, irrational walls where he gets his visual expression in the private, homely sphere and what you might call an intimate architecture. He is concerned with the materials' cultural and psychological character and value.
Tommy Olsson refers to this e-mail correspondence concerning the exhibition at UKS:
"Eh, pictures? Works on paper? Watercolors, drawings and collage… figurative? (Classical that is, like the Nerdrum students). Does it have to be more specific? I looked through the material last night; looks like it's going to be a quite ample exhibition. It revolves around Christine Keeler, choirs, pigs, cocaine and bisexual dwarfs… Don't ask me to be more detailed, that will make it downright filthy." "

Jørn Mortensen


[excerpt, translated]

Shin Myeong-eun & Taro Chiezo


"UKS gallery have the honor of presenting Shin Myeong-eun and Taro Chiezo. UKS continues to present international artists, this time we have chosen to focus on Japan.
Shin Myeong-eun, originally from Seoul, Korea, living in Tokyo, shows a series of photographies of stuffed animals, dogs, who float around under different skies and also the sculpture "Poodles", stylized poodles in plastic. Her works deals with the dogs' place in culture both as pets and icons. She addresses the special relationship people have to dogs in Japan and employs the dog as form and symbol for abstract feelings.
Taro Chiezo's video "An Experiment: Robots Fall in Love / or not" shows colorful plastic robots, half animal, half geometrical sculptures in suggestive, but clumsy attempts of hopeless relationships. The video consists of a scientific experiment involving five robots in an artificial garden. The robots were programmed to desire one another, but the experiment shows that robots resemble, but are quite different from people in function. Their intelligence work on another level."

Jørn Mortensen

[excerpt, translated]

Mette Gamst, Beathe C. Rønning & Heidi Sundby
"The exhibition is curated by Tiril Schrøder, deputy of the board of UKS and one of the curators of next year's UKS Biennal.

Mette Gamst works with narrative structures, all having their point of departure in every day life and the subject's dealings with these events and situations which Gamst registrate and express through text or photos. The different projects are gathered in a binders system with the title "Standard Quality", presented in a reading room with table and chairs.

Beathe C. Rønning shows a database consisting of drawings, texts, newspaper clippings and photos. Each one are local moments of significance, high or low. Together they build a universe layered with stories made manageable by the installation where they are composed in different correlations every time.

Heidi Sundby presents "Delighted and Disturbed", a magical tale about the conditions of nutrition physiology and unconditional devotion. Three variations of the same photography reveals the opportunity to create the image one wants and not that which was. A text on the wall, porcelain and tablecloth points to items such as cotton candy as metaphors for desire and consumption, a material Sundby has worked with several times."

Jørn Mortensen

[excerpt, translated]

"The expelled artist Matt Burt is denied residence permit from the Foreign Affairs Office with, amongst others, this reason: "…the projects he possibly participates in concerns CD recordings and a text/sound/video project, not visual arts which is the applicant's field of speciality in arts". An amazing reason which demands many answers. Matt Burt will speak his cause by performing a piece named "Freeport". The work is a 30 minutes long collection of softly spoken word-images accompanied by a pump organ, inspired by Choygam Trungpa, John Cage and Allen Ginsberg.

These days, the art world of Norway discuss the need for organizing an apparatus capable of distributing art abroad and receiving artists from abroad. This makes fighting the bureaucracy that does not see Matt Burt's value, his extensive network and obvious contributions to Norwegian art and culture, a quite morbid situation."

Jørn Mortensen

[excerpt, translated]





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Kaspar Bonnén, Andrea Creutz, Lise Harlev, Elsebeth Jørgensen, Lone Bank Nielsen, Olof Olsson, Daniel Salomon, Åsa Sanjasdotter, Lisa Strömbeck, Marie Rømer Westh

"UKS have invited Jeanette Christensen to curate an exhibition in the gallery due to her engagement as a guest professor at The Royal Danish Art Academy as head of the brick and wall course 1998-2000, her position as director of UKS and initiator of the UKS Biennal, and also working as a professional artist with exhibitions over large parts of the world the recent years.
Christensen have organized an exhibition consisting of young artists from Copenhagen. Her starting point has been artists who easily move between different media, not as independent activities but as an integrated exploration. The works in the exhibition exist in the tension between the sculptural, the extended painting, conceptual work and video work."

Jørn Mortensen

[excerpt, translated]

Julia Gorman
David Jolly
Ricky Swallow

"The Exhibition BrandNewMasterCopy is a result of UKS' participation in Melbourne International Biennal 1999. UKS cooperated with the gallery 200GertrudeStree and met an artistic milieu that appealed directly to UKS' ideas of art and art mediation, and further cooperation was a natural consequence. BrandNewMasterCopy presents three of Melbourne's most exiting and innovative contemporary artists, all of them working across techniques as painting, sculpture, and installation. The exhibition shows a range of works which in different ways processes and plays with the relationship between technology and craftmanship, while at the same time having clear references to pop, hip hop and rave. The title of the exhibition reflects upon the artists' exploration of the concept of "cover versions", maticulously re-enacting and adapting original objects and phenomenons to a new object or phenomenon: a BrandNewMasterCopy."

Jørn Mortensen

[excerpt, translated]

"Jannicke Låker presents two videos and a book. The video "9 1/2 Minutes" is brand new and not shown before. It is a monologue in the form of a video letter inspired by a love letter from a nordic woman to an aid worker in a developing country. The occurrence of a jealousy tantrum drives the video into absurdity. The book consists of the video's manuscript. The second video work named "Spiderwoman" is a performance video from 1998 where the artist has placed the camera to her stomach, crawling around harassing furniture with her crotch.

Liv Strand shows three sculptures consisting of day-to-day ordinary materials put in motion through mechanics and electrical engines. Each one of the sculptures is both a description and a concentrated part of human behavior. Strand searches for conditions and situations marked by ambivalence, where understanding and interpretaion needs to be complex."

Jørn Mortensen

[excerpt, translated]


HC Gilje
Victor Lind
Crispin Gurholt
Norsk Anarkistisk Fraksjon
Lappophora Wiljamsis
Jonas Ekeberg
Øystein Barsnes
Jan Nordvik
Helge Ryggvik and Internasjonale Sosialister

"Tilt" is a collaboration between UKS and Samtidskunstforum curated by Anders Eiebakke. There are no apparent theme connecting the works in the exhibition, reflected in its title – which also comments the complex cultural and political situation in Norway at the end of this century. This heterogeous project points to the climate where there is a general skepticism expressed toward the dominating market capitalism but where no alternative political options are presented. In the art world, the situation is less clear than ever: The exploration of the private sphere seems to come to its end and the heavy focus on philosophy of language and conceptual art have little effect on the coming generation of artists. Simultaneously there is no apparent formation of new tendencies, although concepts such as "social", "formal", and "post-conceptual" are prominent in today's activities.

"Jes Brinch is a Danish visual artist specially invited by UKS due to his artistry's relevance to the Norwegian public and art world when it comes to mediation and thematics. Brinck shows an installation titled "Only Apparently Real" which mainly consists of a chamber challenging our conception of reality. Using the room, objects and mirrors he offers an opportunity to contemplate reality.

Lisa Lohne and Adja Arnebäck presents the video installation "Trespasser" ("Trängde vi oss på dig eller du dig på oss?"). The recording is made in Berlin 1997 and 1999 and tries to portray the political and mental shifts in boundaries that has occurred since the fall of the Berlin wall. With this work the artists wish to describe the consumer society's rules and values as it appears in the capitalist system's "victory" over the Eastern Bloc."

Jørn Mortensen

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UKS presents Micke Persson's sound work "In the Fat Angels Blood". The piece will fill the whole of the gallery's ground floor. Persson graduated from The Art Academy in Oslo 1996, focusing on sound as his main channel for artistic expiression.

Jørn Mortensen

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"Per Teljer should be known to Norwegian audiences with a resume of exhibitions in Oslo, Bergan and Trondheim although this is his first solo show in Oslo. Teljer shows video works projected on the gallery walls. The video titled 'Deaf Throes' is from 1998. 'The Vigilante' (1999) has its premiere at UKS. Both works revolve around a theme of narrativity which the artist have processed over several years – a sort of tragicomic realism offering the viewer an insight to somewhat peculiar interpersonal bevhaiour.

Mette Hellenes is known for her drawings and cartoons called 'Kebbevennene'. This project has evolved into a mix of cult figures and classic observations of the Norwegian art scene. Hellenes have been working on an animated version of this instant classic which also premieres at UKS.

Hege Vadstein and Trine Haaland present a video based scheme/web-installation in collaboration with Paul Brady titled 'Added Values' which could be described as a poetic staging of Franc de Mark's experiences from EU's 5th Framework Program. Vadstein and Haaland also shows their computer based work 'Conto Finto' presenting 21 artists from Loveland."

Jørn Mortensen
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"Aage Langhelle presents an installation mainly consisting of manually intertwined photographies referring to raster graphics, woven structures and digital imagery. The works appears as manifestations of visual decomposition and restructuring.

Ogar Grafe shows photographies, embroideries and objects inspired by old mythology and new popular culture.

Johan Suneson debuted with this exhibition, displaying a glass object representing his family- mom, dad and brothers. Allegories and abstractions refer to his childhood environment, drawings on the wall presents motives from artistic, bohemian, Free Church societies undergoing metamorphosis."

Jørn Mortensen

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"For the first time, graduate students from the Valand Academy of Photography and Film show their work in Norway. Their artistry is a part of "the new visual language" consisting of dialogues and messages where photography serves as a starting point. The exhibition shows the younger generation's relation to photography and thereby the changes occurring in this field. These last years' explosion of new visual techniques creates a possibility of changing the visual language - perhaps the extended field also needs a change. It is not the technical innovation which constitutes the crucial factor, but the effect this has on our consciousness.

Supervising this exhibition: professor Tuja Lindström, artist Helga Bu and art critic Erik van der Heeg."

Jørn Mortensen







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