Distant Landscape

That said, unsaid

Christina Leithe Hansen, Kristina Kvalvik and Mathias Kristersson 

Opening: Friday December 7th, 20:00

Open: December 8th – 9th, 2-5 PM

NB! Holodeck is relocated! We are now to be found at Oslogate 2, read more about this here.

The exhibition That said, unsaid” presents film, photography and sound which incorporate narratives related to what is hidden and unexplanatory. The exhibition examines the structure of dreams and their absurdity, the landscape as a projection of fear and the subject’s conceptions and beliefs. Through the works we encounter three individual views, each on a different layer of one story. In the dialog between these three individual works, new traces appears that leads the viewer into unknown territories between the said and unsaid.

In the photographs ”Thigh” and ”Dark III” one can vaguely make out the silhouettes of people in a closed and surreal darkness. The images tell of psychological memories in the physical body. The film ”Distant Landscape” depicts a character´s close and sensual encounter with nature. In the sound installation “Erinran” a story of a dream is told, of which we do not know what is real and what is fiction.

The starting point of the exhibition has been to put together three separate works across different practices. The artists have initiated the project where they have first and foremost focused on how the different pieces can work together, invade each other, influence each other and step on each other’s boundaries.

Christina Leithe Hansen lives in Oslo and graduated with a MFA from Malmö Art Academy in 2006. Leithe Hansen works with photography in the intersection between documentary and ficition, where both landscape and portrait are recurrent motifs. In both the thematic and visual expression she explores ambiguous moods inspired by the unconscious.

Kristina Kvalvik (b.1980) is a Norwegian visual artist currently based in Copenhagen, Denmark. She studied film and fine art in Norway, Sweden and Canada, and completed her MFA at Malmö Art Academy (SE) in 2008. Her work deals with matters relating to surveillance, the inexplicable and the threatening. She examines the limitations of sight and our ability to interpret what we see.

Mathias Kristersson lives and works in Malmö where he graduated with a  MFA from Malmö Art Academy in 2006. Kristersson work freely with sculpture, sound, performance, installation, text and video. Human nature is central in Kristerssons art. Mans relation to language, time, himself and others is often dealt with.


Ligninger for en fallende kropp/Vi roper mot hverandre

Inga Sund Hofset

Opening: Friday November 23rd, 20:00

Open: November 24th – 25th, and December 1st – 2nd, 14:00 – 17:00

NB! Holodeck is relocated! We are now to be found at Oslogate 2, read more about this here.


Snør det?


Hvor da?

Du ser det nesten ikkje. Du ser ikkje fjellet bakover.

Å ja. Det er ikke bare tåke?


Det er ikke bare tåke?



Inga Sund Hofset er født i 1983. Hun har sin utdannelse fra Kunstakademiet i Oslo (2011). Hun har tidligere vist arbeider på Podium, MFAPS Oslo og Kortfilmfestivalen i Grimstad. Inga Sund Hofset jobber med installasjon, ofte med en konseptuell tilnærming til materialer. Arbeidet kan ta form av skulptur, tekst, tegning, lyd og video, men felles er at verkene forholder seg til opplevelsen de ble skapt i og/eller rommet det vises i.


Utopia Planitia

Lars-Andreas Tovey Kristiansen

Opening: Friday October 19th, 19:00

NB! Holodeck is relocated! We are now to be found at Oslogate 2, read more about this here.

Open: Saturday October 20th – Sunday October 21th, 14:00 – 17:00

A gallery space within a gallery space within an urban city on Earth creates the starting point for the exhibition. Holodeck, in science fiction terms, is a space where you can create anything you want, and is, in this case, situated in the middle of nowhere.

Onboard the starship Enterprise exploring the final frontiers of space in the 1960s science fiction series Star Trek, there is a “holodeck” where you can generate any place you like through computer programs using holographic technology. Here the crew could create and experience environments from Earth or any other place, separated from the otherwise sterile minimal space ship interior.

Utopia Planitia is one such “holodeck” from this science fiction series, named after an actual crater on the surface of the planet Mars, which also serves as the visual backdrop in the holodeck program. The red, entropic and desolate crater makes it a manifested no place, while at the same time holding possibilities of a future colonization and society outside of Earth.

A different kind of entropic environment is the closed off still radioactive Zone of Alienation surrounding the Chernobyl nuclear power plant in the north of the Ukraine. Encompassing the concrete skeleton ruins of the city of Pripyat, this zone holds the remains of one of the biggest modernist utopian dreams of the last century halted in the midst of continuous expansion and prosperous development to remain in a suspended state of decay.

The works in the exhibition juxtaposes the artist’s exploration of two no places, and plays with the duality of the meaning of utopia as “no place” and “good place”, all of the time within the setting of an art space as a holodeck inside NoPlace.

Lars-Andreas Tovey Kristiansen (1983) holds an MFA from Malmö Art Academy, including exchange studies at Braunschweig University of Art. Past exhibitions include group shows at Kunstnernes Hus, Oslo; Lunds Konsthall, Lund; Hannover Kunstverein, Hannover; One Night Only, Oslo; Wolfsburg Kunstverein, Wolfsburg; Galleri 21, Malmö; Botnik Studios, Gerlesborg and others, as well as solo presentations at Grünerløkka Kunsthall, Oslo; Galleri Lilith Waltenberg, Malmö; KHM, Malmö and Lumiar Cité, Lisbon. Kristiansen is co-director of Landings project space in Vesfossen, Norway.

Relocation of Holodeck

Beginning October 1st, 2012, Holodeck will take up residency in Oslo gate 2, first floor – an address currently occupied by Noplace. Noplace on the other hand is staying where they are, which means, as logic dictates, that Holodeck will move into Noplace. Not however to become part of Noplace, even if they are inadvertently now spatially engulfed by Noplace. On the surface of things, this seems a simple operation: A business merger is not necessarily followed by a cessation of spatial separateness and, vice versa, a shared location does not necessarily indicate a merger on the level of business (though neither Noplace nor Holodeck have, for the record, ever considered themselves businesses in any proper sense of the word). So the eradication of difference in geographical location here does not entail that same effacement on the level of whatever differentiated us, apart from spatial separateness, in the first place. We will remain, as it were, separate in principle.

So let’s not be tempted to conceive of this housing of one within the other as symbolizing anything beyond the subjugation to fiscal circumstances from which was divined the idea that this could possibly work out to the benefit of both enterprises to begin with. Not to mean of course that we wouldn’t rather have it so that we didn’t have to share this cramped and poorly ventilated dungeon but could instead bask like spoiled cats in front of our laptops in some properly furbished penthouses with high ceilings and windows – that actually opened – overlooking a scenery less imbued with the prospect of rape. One day perhaps… but, as the saying goes, if you want to hear God laugh, tell him your plans.

This is, if not the ideal solution, then perhaps an interesting one, and if not particularly interesting, then hopefully without a detrimental effect on either of our respective aims, which are, let’s admit it, desperately vague and arbitrary to begin with. Besides, togetherness was always an enticing concept.


Kjersti Solbakken, Lina Norell, Silja Leifsdottir, Petter Buhagen, Karen Nikgol, Kristian Skylstad, Hans Christian Skovholdt and Stian Gabrielsen

Nico Joana Weber

The balance of matter (2008-2011)

two-channel digital video, PAL, 16:9, sound, 45 min 

Opening: Friday June 8th, 19:00

Open: June 9-10th, 12:00-16:00


Nico Joana Weber’s two-channel installation The balance of matter is a filmic journey conceived between 2008 and 2011, linking inherently different places from Bolivia and Brazil to Switzerland and England. The common thread is transformation, which becomes a tangible experience through the flow created by the symmetry of the two channels. The calmly breathing scanning gaze travels through real and imagined deserts, rainforests and black holes, encountering the cities of tomorrow, finding absence and traces of civilisation, finally arriving at geographical dislocation and a sense of timelessness.

The title refers to the scientific term ‚balance of matter’ which describes a calculation to inventory material inputs versus outputs in a process system. Seeing that it is impossible to monitor all the processes of interchange in an ecosystem simultaneously, the balance of matter’s goal is to arrive at a condensed trial balance that sheds light on the situation as a whole. Having no beginning or end and various openings for associative links, The balance of matter’s method is indication rather than completeness, attempting at a distillate of creation, a poetic glimpse of the state of civilisation. Its nondualist simultaneity poses questions of progress and modernity, becoming and entropy, and the relationship between nature and man.

To a large extent compiled of footage filmed on a yearlong journey, the work is an endeavour to connect the gathered experiences of different modernities and landscapes with the familiar context of civilisation. Sparked by the discovery that in Aymara, one of the Bolivian indigenous languages, there is no word for ‚progress’ (a word that can’t possibly be missing in the language of western civilisation), the artist upon her return specifically travelled to places around Europe to complement her material filmed abroad. Slowly the work became a rhizomatic network speaking about a simultaneous existence of places and complex relations rather than simple oppositions and different worlds or cultures. In the process the familiar became strange and the formerly foreign started to mirror in the known.

Nico Joana Weber, born 1983 in Bonn, Germany, graduated from Goldsmiths College, London, in 2008. She is currently completing her postgraduate studies at the Academy of Media Arts in Cologne.

Your Strangely Familiar Customs are Alien to Us,
Please Consider Revealing the Secret of Their Significance

Eirik Senje

Opening: Saturday May 19th, 12:00 – 18:00

Open: May 20th – 26th, 12:00 – 18:00

An exceptionally long title deserves a short explanation. Anyone who has ever tried to defeat an inanimate object in a staring contest knows; this is not the way. As strategy tells us, always face the stronger opponent on ground where his advantages can be taken away from him. This is why, in order to get anything done, one must always study a thing thoroughly and then walk away from it. Inevitably a thing, tricked into thinking it holds all the cards, will expose itself by carelessly wandering into territory where it can be taken apart and reconfigured.

What is represented through the title is neither a fragment of a sentence nor a study for a question. Nonetheless, there is something to respond to. Theoretically speaking, it is the event horizon of several dark spots pasted onto the fabric of spacetime, which in this case will be represented by pieces of canvas stretched over some odd number of manageably sized frames, and covered with glue, chalk, and patches of pigment mixed with linseed oil. While it is known that human beings tend to empathise with, or indeed react violently to that which bears a resemblance to themselves, the main attraction here seems to be a slightly out of focus alternate center of attention that begs no more than just that. If this becomes possible, it is only because the medium is so specific it can cause the rules of contemporaneity to behave strangely in the immediate area surrounding it.

Why describe a small painting exhibition in such a circuitous manner you ask, in a hypothetical scenario. Could it be that description perhaps, itself is the theme? Here we all believe that there are laws and regulations. I say to you, as the saying goes: You who want across the border; you must try to look inconspicuous as you pass through customs, but if they have dogs they will probably find you out regardless.

-Eirik Senje, 2012

The presentation is part of 20 MA Exhibitions, for more information go to: http://www.kunstakademiet.no and www.kunstnerneshus.no



Julien Discrit (F) and Marius Moldvær (N)

Curated by Lars Sture

Opening Friday May 4th, 7pm

Open: May 5th – 6th, 12:00 – 16:00


Julien Discrit: The Day Trip Project – DV PAL

A moving object made of mirrors is gliding across a park or what seems to be a forest. An assembly of polyhedrons, their specific angles reflecting only what is beneath and what is above, constructs the geometrical machine. As the crystal-like object progresses through the woodlands, it becomes as if transparent reflecting the sky and the ground merge.

Julien Discrit’s work explores geography, cartography and the notion of space. His works involve the perception and the representation of territories looking at the connections between the subject and the world.

Julien Discrit, born 1978, lives and works in Paris (F). Since graduating with an M.A from École supérieure d’art de Reims, he has been exhibiting extensively both in France and internationally. Solo shows includes Diagrammes (2010), Music in Dreams (2009) and Up and down in the end it’s only round and round (2008), Galerie Martine Aboucaya, Paris, and L’atelier, Galerie du Jeu de Paume, Paris (2006). Recent group shows include WANI, Fondation Ricard, Paris,  Une terrible beautée est née, Biennale de Lyon, Nel palzzo di cristallo, CA’ASI, Venice, Entre-temps, Minsheng, Shanghai Loft Project Etagi, St Petersburg and MIS Sao Paolo.



Marius Moldvær: Cairn, 2012 – photographic print, shelves, archival boxes

Personal and somewhat private diary entries render the construction, the dismantling and the displacement of a cairn in a desolate mountain landscape. The diary notes are being set against the geologist’s scientific approach to the different varieties of rocks and the building of cairns. A photograph depicts the cairn in its various positions in the remote mountain landscape.

Marius Moldvær’s work starts out as an investigation; an investigation of occurrences that will unfold another set of ideas and explorations of related occurrences. The focus in Marius’s work is on the personal thoughts, ponderings and experiences. This investigation could be described as a space where the cultural and social world is fused with the personal.

Marius Moldvær, born 1985 lives and works in Bergen (N). He graduated from Bergen National Academy of the Arts with an M.A in 2011. He is a founding member of artist collective Gruppe 11. Recent exhibtions include The Ocean Unseen, CirkulationsCentralen, Malmoe (with Hedevig Biong), Følgene, Gruppe 11, Bergen Kjøtt, ONO – UKS, Oslo, Across the Bering Strait and other tall tales, Nottingham and Fluktforsøk, Gruppe 11, KNIPSU, Bergen.