in honor of the intestinal and villus, or thoughts of the consumer society  (installation, 1995)

was the title of my contribution for a storefront-window exhibition that took place at Steen og Strøm shopping mall in Oslo ( initiated by Jeanette Christensen). The idea was to use products that could be found in the shopping mall, in the making of the artworks. I made an installation containing food. It was a visual overview of the amount of food an average Norwegian person eat in a year. On three small screens, gastroskopisch and endoscopy videos of the food’s passage through the body, could be observed.


idiotes curiositas (installation, 1995)

I was invited to a Nordic exhibition, taking place at Helsinki Art hall. “streets” was the overall theme. The title I set on my work was to understand; as a way I felt as an artist, seeing the society from an outsiders position. “Idiotes” is a Greek word and means a person that was not an idiot as we understand the word, but an outsider in the old Greek state. “Curiositas” is Latin and means curious, which I am.

For the exhibition I made a photo series in black and white, with a dalmatiner (Lone ) in the leading role. The dog became my guide, and I followed her through the streets of Oslo. She became the subject for exploring the streets with a different view.

I also presented a video that showed different occasions taking place in the streets of Oslo. Like a marathon running, the parade on the 17th of May, people rushing home from work or the street-life in at late nights. In front of the video I placed a big taxidermist dog, who seemed to be looking at the video. This situation, with the dog looking at the video, made the viewers extra aware of the stories in that sense, that we as humans, saw ourselves through the dog`s perspective, or as an outsiders perspective.

 

The last part of the installation was placed in a corner of the exhibition hall. It was two stuffed (taxidermist) dogs, looking at each other, in a kind of freezed moment, as animals sometimes act, when they get aware of each other. On the wall, close to the floor, there was a painted map of the streets of Oslo, with several small speakers attached to it. From the speakers there were a mixture of sounds, recorded in streets of Oslo. You could hear people talking, cars moving, church bells ringing, dogs barking, people laughing, sirens and so on. To hear the sounds the audience had to kneel down, close to the speakers and then became close to the dogs perspective.


Song for Beuys (installation, 1996)

Gallery co/Atle Gerhardsen had a series of shows in his Oslo based gallery called “summertime”. For this occasion he invited some artists to make an exhibition in honor of other artists. My contribution was a work in honor of Joseph Beuys, which had been a great inspiration for me when I studied art. As I was selected for the PS1 Studio Program (NY) and on my way to move to New York , it felt natural for me to make an artistic comment on Beuys work: “I like America and America likes me”, where he stayed together with a wild coyote at Rene`Block Gallery. He was carried on a stretcher from the airport to the gallery, avoiding to walk on American soil. He spent 3 days and nights with the coyote. His idea with the performance was to visualize a form of communication behind words and language. In my work “song for beuys” I had a group of birds (Australian parakeets) staying in the gallery. I made them a kind of habitat, with a white painted tree where they could sit, an American female figure standing in a pile of birdseed where they could eat, a 3D puzzle of The Empire State Building surrounded by cress, (which parakeets love to eat ), four photos of the sky, a documentation-photo of Beuys and the coyote and the film “ Die hard in New York” shown on a very small screen.  All objects were in “bird-size”. The sound in the room was a composition I had made by using a triangle (which Beuys used in his performance). The sound recording blended with the sound from the film shown on the screen, and the actual birds singing in the gallery’s space. All together this was meant to be a “song for Beuys”. The gallery owner became the person that communicated with the birds, as he worked in the same room as the birds were exhibited. They flew around him, landed on his desk, his pc and so on. As Beuys never walked on the American soil, the birds flew in the airspace in the gallery. The Sky-photos exposed the installation was also a reference to that aspect.