MG 4244


Open: 28 April - 21 May 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address: Maridalsveien 3, 0178 Oslo

Performance: Sun 21 May at 2 pm and 3 pm: Johan Urban Bergquist presents
Count Pukebeard - Industrial Noise for Industrious People

Preview:  Thursday 27 April  7 pm - 9 pm
Performance at 7.45pm and 8.45 pm: Johan Urban Bergquist presents
Count Pukebeard - Industrial Noise for Industrious People


StagingtheArtwork 43


Amelia Beavis-Harrison

P: is for
Press Politics Propaganda

Welcome to opening, performance and our annual neighbourhood summer party Thursday 31 August!
Opening: 7 pm - 9 pm
Performance: 8 pm
Summer party: 9 pm - 12 pm

Opening 31 August 2017 19.00

Open: 1 -17 Sept 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address: Maridalsveien 3, 0178 Oslo


Press Politics Propaganda

Norway is ranked second in the world for press freedom, dating back to 1814, but with worldwide media companies being privately owned, what exactly does this freedom mean. In the UK privately owned press has a dominating right wing agenda, where contributing columnists include the leaders of outwardly racist parties. Freedom of press, suggests freedom of speech, but the twin of this freedom is hate speech. In a careful crafted ‘people orientated’ media, how can we as consumers begin to dissect the news material set before us, and remove the bias from the facts.

The exhibition brings together the connecting threads of politics and the agenda of the printed press, with intersecting works focusing on the forthcoming Norwegian election and select media campaigns. At particular moments during the exhibition performances will activate the props and objects found within the exhibition installation, developing a narrative through provocation.

Amelia Beavis-Harrison is an artist working predominantly with performance installation and video. Her works stem from a deep rooted anger with the current status-quo, often commenting upon politicised situations that are particularly provoking. In 2015 Amelia graduated with an MA from Kunst Akademiet in Oslo, since then she has exhibited and performed internationally in institutions such as Prague National Gallery (2015), Munchmuseet i bevegelse (2016), Luda, St Petersberg (2016), Floodlight Foundation, Delhi (2016). Later this year Amelia will be developing a piece about women breaking out of traditional roles for Creative Black Country, UK.

This exhibition is supported by Norske Billedkunstnere (NBK) and Kulturrådet.

Live Election Swing

11 September 19.00-00.00

The Live Election Swing is a social and performative event, bringing together all your election nerves under one roof. Follow the election results as they come in live and see just how far that swing is going to be. A parallel commentary to the election results will forecast the future of the country. Join us for fun and flavour with special election themed drinks. 





Johnny Herbert is a British art writer living in Oslo. He has been commissioned to write a piece relating to the exhibition Ingenmannsland. His text Resolution´s Cut is an independent response to the works shown in ingenmannsland - nomannsland.


Resolution’s Cut

Taking the word “resolution” for a walk, there are two uses of it we might read together: one in which it is a formal (judicial/political) agreement which seeks to act to solve a conflict (e.g. Khartoum Resolution); another wherein it refers to the level of detail in an image that is then processed by a specific technology (“high resolution image”…etc.) Read together, with an eye on its other uses, it is possible to infer that resolution articulates thedetermination of a separation (to then be resolved), determination here being   the identification and agreement upon a shared understanding – between people or between data and machine – which can then be acted upon to make things “complete.” In Enlightenment philosophy, on which so many (involuntarily) rely, the main condition for understanding is prior understanding; imagination feeds understanding but remains under its jurisdiction: this testifies to widespread anxiety of the new, different (“other”), and irresolute.

Exhibition preview: Thursday March 16th, 7 pm - 9 pm

March 16th 2017 - April 2th 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address Maridalsveien 3, 0178 Oslo
Floresta Submersa 

Manipulering av vann gjennomstrømmer utstillingen Floresta Submersa: Menneskets manipulering av vann, en kunstners manipulering av vanndråper, og vannets mulige manipulering av seg selv.

Publikum i Tenthaus forflyttes til Lago Balbina, en enorm oppdemt innsjø i Brasil, en økologisk katastrofe som har skapt et unikt fraktal-landskap fullt av øygrupper og døde trær halvveis under vann. Et uoversiktlig og vakkert scenario - på en morbid, goth-aktig måte.

Floresta Submersa består av to serier med tegninger og en video, alle har karakter av å være undersøkelser, forsøk på å trenge inn i Balbina, som sted, som åsted, og som et slags psykisk speil.

Den første serien tegninger er oversikts-, og detaljkart, utsnitt med (hypotetiske) reiseruter gjennom det labyrintiske landskapet. Den andre består av beregninger og simulasjoner av «avvikende» naturfenomener. Tegningene er selvstendige verk, og kan ses som de siste tilføyelsene i en rekke kart og pseudo-vitenskapelige undersøkelser i form av detaljerte penn- og tusjtegninger. Dette har vært et gjennomgående trekk i Torgeir Husevaags kunstnerskap. Samtidig er tegningene tett tilknyttet videoen Vanntårnet – sveip 2.



During the last fifteen years, Torgeir Husevaag has consistently worked on detailed pen drawings, mapping and surveying projects in which networks and conventional geographical maps are used as a basis to track movements and events. In many ways they refer to the map as well as the nature and history of cartography.

He also works with related expressions: rule-based drawings, infographics, games, language studies, labyrinthine narratives. Husevaag's artist practice is first and foremost driven by curiosity; genuine attempt to "figure things out", often through the dedicated examination processes based on relatively irrational or contradictory issues. 
In recent years Husevaag has made several artist's books, in which he draws on the interaction between text, image and the narrative. His most recent works explore manmade lakes, both visually and thematically.

Its theme, the manipulation of water, flows through the exhibition suggesting humanity´s  manipulation of water, an artist's manipulation of water droplets and water´s own self manipulation.   FLORESTA SUBMERSA consists of two series of drawings and a video, all of which are characterized by an analytical gaze that attempts to penetrate Balbina, that place, that scene, reflected in the mirror of this work.




February 10th - March 5th 2017
Opening hours: Fri - Sun, 1pm - 5pm

Read a review of the exhibition at Kunstkritikk. (In Norwegian)

151230tomorrowshow copy



Exhibition preview: Thursday February 9th, 7 pm - 10 pm

Maridalsveien 3, 0178 Oslo

ONE MAN SHOW is an exhibition which centers on two documentary shorts, The Stonewall Nation (2014) and The Tomorrow Show (2015). Drawing on archival material from the ONE National Gay & Lesbian Archives in Los Angeles, the exhibition examines the performative potential of archival documents. Using the interview format as a framework, ONE MAN SHOW engages in the telling and retelling of history by examining utopian ideas and myths concerning sexual liberation in California in the 1970s.

Invested in the transmission of history across generations, Storihle has worked closely with the Los Angeles-based actor Michael Kearns. In The Stonewall Nation (2014), Kearns impersonates the activist Don Jackson, revisiting his aim to establish a gay settlement in Northern California. The film portrays a man yearning for community and belonging, while questioning the ideological framework of his idea of a promised gay land. 

The Tomorrow Show (2015) takes Michael Kearns’ own story as its starting point. Shot in his own bedroom, the film focuses on Kearns’ life as The Happy Hustler in the mid-70s, a fictional role he took on and acted out both on and off screen. It recounts Kearns’ memory of a trick he turned before going on the talk show, The Tomorrow Show - a return to a role that unsettles narratives of identity and history. 

The exhibited works include print and video material from the ONE National Gay & Lesbian Archives at the USC Libraries and the UCLA Film & Television Archive.