UKS focuses part of its annual program on a series of solo exhibitions, aiming at molding the institution to the artistic process and its potential for material sidetracking and conceptual surprise. In 2019, Martin Sæther, Özgür Kar, Mikael Brkic, and Victoria Pihl Lind will each exhibit new productions at UKS’ recently renovated grounds in Oslo’s city center.


January – March 2019

Martin Sæther investigates and reshuffles aesthetic conventions through sculpture and wall works. Trite flowers on toilet paper, knobbly wallpaper surfaces or standardized magazine files are scaled up, manipulated, and cast in plaster and papier-mâché, functioning as faux remakes that extend and question the artistic quality of everyday Nordic commodities. At UKS Sæther will create a solo installation hereof, aggrandizing this gesture while also delving into animation and publication.

Sæther (b. 1986, NO) lives and works in Oslo. He is a graduate from Oslo’s Academy of Fine Art. Recent exhibitions include the solo show Post at Destiny’s Atelier, Oslo (2017), the duo exhibitions Blickkontakt at Spreez, Munich (2015), and (b.1986) at Archipelago, Bergen (2015), and group exhibitions at Den Nordiske Ambassade, Copenhagen (2017), Kunstnerforbundet, Oslo (2016), and Slursula, Oslo (2016). Since 2014, Sæther has been co-running the exhibition space Diorama in Oslo.


April – June 2019

Özgür Kar’s recent black-and-white video animations sketch out semi-mythological creatures—often half-man/half-snake—caught and squeezed into the confined frame of the flat-screen. Whispering monologues, these figures summon contemporary tales of new normative frontiers, poised between libido and longing—a solipsist motive turned symphonic choir in his new UKS production.

Kar (b. 1992, TR) lives and works in Amsterdam. He is a graduate from the Sandberg Instituut and since January 2019 a resident at Amsterdam’s Rijksakademie van Beeldende kunsten. Recent exhibitions and screenings include Finally you are in me at Taylor Macklin, Zurich (2017), a group presentation at the Cruising Pavilion at the 16th Venice Architecture Biennale (2018), and the group exhibitions Full Spectrum Dominance at Decad, Berlin (2017), Mene Mene Tekel Parsin at Wysing Arts Centre, Cambridge (2017), and Ugly Feelings at the Stedelijk Museum, Amsterdam (2017).


August – October 2019

Incessantly grilling topical political actions pushing at the artistic field, Mikael Brkic composes theatrical cartoonish images of a neoliberal work-life balance out of tune. Brkic’s recent remake of a 1960s Situationist comic leaflet uses his four-year-old self as the main protagonist to stage the difficulties of carving out time for artistic production. His new commission for UKS focuses on the Norwegian weapon industry, one of the largest of the world if measured by income per-capita.

Brkic (b. 1987, NO) lives and works in Berlin. He is a graduate from the Academy of Fine Art in Oslo and has studied at Frankfurt’s Staatliche Hochschule für Bildende Künste, and the Mountain School of Arts in LA. Brkic has presented a number of self-organized exhibitions taking place in temporary and pop-up locations, including Gelber Salon at o.T. Bar, Berlin (2018) and War and Peace at Foreign Press, Berlin (2017). Brkic’s work has also been included in To the Fans / Tü de fäns at the Oslo gallery VI, VII (2015).


November – December 2019

Casting a consistent set of actors throughout recent years, in her film work Victoria Pihl Lind has developed a tight-knit choreography of questions on trans-humanism and the schism of privilege, seen through the optic of Scandinavian welfare. Building on a recent expansion into theater and performance, Lind is developing a large-scale production with UKS.

Lind (b. 1981, NO) lives and works in Oslo. She is a graduate from the Academy of Fine Art in Oslo and has studied at Chelsea College, London. Lind was included in the Sydney Biennale in 2014 and within performance and film exhibitions including Det nye mennesket at Frognerbadet/KORO, Oslo (2017), Det nye mennesket at Galleri Noplace, Oslo (2016), A Tone to Play—Abc According to Ingeborg Bachmann and Paul Celan at Oslo Kunstforening (2013), and Universalman at Galleri Maria Veie, Oslo (2012).

Martin Sæther, Key, 2018

Mikael Brkic, Board with Lemons (Lazy Sunday), 2016. Photo: Erik Tschernow; courtesy of VI, VII

Özgür Kar, Love Letters (Monologue II), 2017

Victoria Phil Lind, Det nye mennesket, 2017. Photo: Kristine Jacobsen

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