It’s not the same
It has never been any different
There is a sense of, a feeling of - this is the time to, recap? Make a summary? It was said in class that Benjamin wasn’t very much in favour of summary’s. I’m just hesitant because I suck at it.
There’s magpie on my doorway. I have coffee and a long joint. And time. Semester is ending. Or, we’re nearing the end. Again it became too much. I rode the wave as far as I could, and at one point I thought it would go all the way.
The difference this time was that I avoided the fall. I laid down flat on the board and went with the flow. An order of adjustments. Biting the lip. Not doing too much, not doing too little.
making charcoal in the backyard
reaction to Luto. Miguel Fructuoso's exhibition of paintings depicting and addressing, in an abstracted way, the aftermath of wildfires in Andalucia.
Museo de Arte Contemporáneo de Genalguacil
summer 2025
I was at scratch in the beginning. A planned zero full of determination.
Although there were things floating around in the air( Genalguacil, material explorations, collaborations on exhibitions in the making..)
Miguel Fructuoso - Artistas - F2 Galería
(Three photos at the top)
CROSS POLLINATION
Self-organised exhibition by first and second year master students
oktober 2025
Galleri Kit
A collaborative exhibition
The title reflects how we understand our situation in an artistic landscape. How we wish for visitors to navigate it. It speaks of establishing relations to what surrounds us. Of underlying and unseen structures that bind together the human and non-human.
Throughout the bachelor and now, I have insisted on the gallery as a place of learning. A pedagogical space reigned by a superstructure we call art.
I was encouraged by my first supervisor to use the gallery as a space of experimentation. My second supervisor added the perspective of the student gallery of one with even more amplitude than a gallery in the non-student world. By the third supervisor I had I was secured of a spatial understanding of the gallery. To say that, a pure spatiality is enough as a curatorial approach to any space and object
I continue to use the telephone booth book redistribution node down the street from the academy as a source/pensum/study curriculum/
accesability/commons
the "random" curating as a contrast to the art library's scholarly curated collection that is also a main source
So a conclusion is that curating can be a standalone artistic pratice. That goes beyond topicality, overarching themes, meaning, words, but cannot be separated from assembly, arrangement, composition and organisation.
This semester has consisted of four main nodes:
Marginal notes: Searching for the WIDF in digital archives
Performance art. When the documentation becomes the "work".
Following sheep from Spain to Tynset
Crosspollinating. Cooperation with the mfa group. I feel like we put down some good work this semester in organising and creating a good atmosphere within the group and the main course. I feel like it is lacking in input, and for the spring semester I want to focus more on how to get the group to bring more coal to the engineroom. Also saying this because it has already started to grow, and perhaps it consolidates even more at Tynset in december.
Department of Lost and Found
Research Catalogue-page
Archive for found objects established 2025
The main purpose of this site is to establish grounds for a next step for my habit of collecting small items.
Secondly to create a network and get and keep in touch with other aficionados
I see this as a constant artistic practice and form of play and empiricial excercise that continously informs and connects me to my immediate physical surroundings and creates bridges to others(sometimes on a hobby-basis, others on a poetical level, and others on a deeper emotional level)
What do you find most difficult to articulate about your work — and why might that be important?
How do you reflect during your process — sketchbooks, notes, photography, discussion?
With the possibility to go to Tynset and spend time at the residency there came the idea of initiating an event/happening/festival at the Tynset Bygdemuseum.
The idea builds on a exhibition realised at the the open air museum this summer, MANNVOND, curated by Bjørn Hatterud and Hans Kristian Borgrevinch Hansen. This was an immersive transformation of the old writers hut of editor and anarchist Ivar Mortensson-Egnund. The lafted house was the editoral headquarters for the magazine Fedraheimen in the late 1800s. Together with Rasmus Steinsvik and Arne Garborg, Ivar Mortensson-Egnund attempted to formulate a form of anarchism that was adapted to Norway.
There is a informal and established link between Tynset Bygdemuseum, Ivar Matlaus Bokkafe seeing that the bookcafe is named after Ivar Mortensson-Egnund. The bookcafe is non-profit, run by those who use it, open when somebody opens serving anarchist litterature, bad coffee, offers lectures, concerts, small informal groups like Skeivt Opprør use it to have meetings and cafes.
Fedraheimstua - Musea i Nord-Østerdalen
Fedraheimstua visited during reseidency at Tynset Air
I see this as a possible venture that could encompass many of my abilities and fields of interest throughout the MA degree
the raw idea is to invite a group of artists, musicians, cultural workers and activists from the informal sector, to show and share their interest with a public
a festival based on activities and creating the festival together
mixing the urban and rural, the history and the contemporary, informal and formal
noise-punk-anarchy-folk music-
zinemaking, printmaking, poetry, lectures and storytelling, art and exhibition-making