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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

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artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Mattias Härenstam

Works


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for further information contact blinkvideo
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Phone: +49 40 22748986
E-Mail: info@blinkvideo.de




Statement

Having grown up in self-proclaimed utopia of the Swedish welfare state in its prime and with a family history of mental illness and suicide, Mattias Härenstams work often deals with the conflict between the polished surface of society and what is hidden beneath it. His practise span over a wide range of different art forms including film, sculpture, installation, printmaking and more. Regardless of material or media, there is a recurrent theme of desire for control and an interest in the situation when it crumbles. Beyond it is the fear of failure and the subsequent fall into some undefined abyss. This "keeping of up appearances at any cost" and the actual cost of doing just that. To me that is not just a psychological or existential state, but just as much a political condition (Mattias Härenstam). It is a personal narrative dealing with issues of control / loss of control and the fear of weakness and failure, especially in relation to a shifting male role model. In his sculptural work he uses classic materials such as stone, wood and bronze but seeks to undermine or subvert them. The once strong, powerful and eternal materials appear as fragile, soft and transitional.


Biography

Born 1971 in Gothenburg, Sweden.
Lives and works in Oslo, Norway.

Educated

at the National Academy of Fine Arts, Bergen, Norway and Staatliche Hochschule für bildende Künste Städelschule, Frankfurt am Main (prof. Herman Nitsch).
mattiasharenstam.com

Selected solo exhibitions

2016
Secrets, Weaknesses, Lies, The Vigeland Museum, Oslo
Branching (with Lars Hertervig), Stavanger Art Museum, Norway
Later that night, Konstepidemin, Gothenburg

2015
Mattias Härenstam, Nils Aas Art Centre, Inderøy, Norway
Mattias Härenstam / Kristine Halmrast, Oppland Art Centre, Lillehammer, Norway

2014
Mattias Härenstam, Art-Claims-Impulse Contemporary Fine Arts, Berlin
Sketches for a re-animation, Konstnärshuset, Stockholm
Reconstruction, Norske Grafikere, Oslo
Sketches for a re-animation, Østfold Art Centre, Fredrikstad, Norway

2013
Temporary Disruption, Luleå Konsthall, Sweden
In the Middle of Sweden, Galleri Rostrum, Malmö, Sweden
Closed Circuit (In the Middle of Sweden), Trafo Kunsthall, Norway

2012
Fear of Failure, Tromsø Fine Art Society, Norway
I know you are there, Kunstnerforbundet, Oslo
28 February 1986, Galleri 54, Gothenburg

2011
28 February 1986, Akershus Art Centre, Norway
Drawing Circles (…the distance is always the same), Tidens krav, Oslo

2009
The Diary of the Unknown Consumer, Skånes Konstförening, Malmö

2008
The Diary of the Unknown Consumer, UKS, Oslo

Selected group exhibitions / festivals

2017
KINO DER KUNST, München / Neues Museum, Nürnberg
Exitus, Galleri F 15, Moss, Norway
Forest in Norway, Hubei Art Museum, China

2015
Impressions. Five centuries of woodcuts, The National Museum of Art, Architecture and Design, Oslo
Exitus, Galerie am Körnerpark, Berlin
Tomrom, Sandefjord and Larvik Fine Art Societies, Norway
Spring depot, Tenthaus, Oslo

2014
Artists Film International, Whitechapel Gallery, London
Letter from Mr. Faustus / Back to Berlin, Herzliya Museum of Contemporary Art, Israel
The Pleasure of negative emotions, KNIPSU, Bergen
FEC European Short Film Festival, Reus, Spain
Brüch Stücke, Theater im Palais / Art-Claims-Impulse, Berlin
Moviebox, Hydrogenfabrikken Kunsthall, Fredrikstad, Norway
Prints, Buskerud Art Centre, Drammen, Norway
Minimalen Short Film Festival, Trondheim, Norway

2013
Norwegian Sculpture Biennale, The Vigeland Museum, Oslo
Audiovisioni Digitali, Museo D’Arte Contemporanea Roma, Rome
between appropriation and interventions, Kunstraum Kreuzberg / Bethanien, Berlin
Video Art & Experimental Film Festival, Tribeca Cinemas, New York
Göteborg International Film Festival, Gothenburg
Jeonju International Film Festival, South Korea
Norwegian Short Film Festival, Grimstad
Spring Exhibition, Kunsthal Charlottenborg, Copenhagen
The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo
Umeå International Short Film Festival, Sweden.
Portrait in the moving image, IKFU, Jönköpings Läns Museum, Sweden
Trä / Wood 2013, Virserums Konsthall, Sweden.

2012
Videoholica, SAMCA - Museum for Contemporary Art, Sofia
Screengrab, New Media Arts Award, Townsville, Australia
Kort, KinoKino, Sandnes
Videosincracy, Galleria Limiti Inchiusi Arte Contemporanea, Campobasso, Italy
Videoguerrilha, São Paolo, Rio de Janeiro and Brasilia.
Kuala Lumpur Experimental Film Festival, Malaysia
The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo
The 25th Festival Les Instants Vidéo, Marseille
Festival Miden, Kalamata, Greece
L’Oeil d’Oodaaq, Rennes
Oslo Screen Festival, Oslo
CologneOFF (touring videofestival)

2011
InsideOut Step2 - Latest trends in Western Videoart, White Box Museum of Art, Beijing
OK Video FLESH, National Gallery of Indonesia, Jakarta
Arte Video Roma Festival, Rome
The 24th Festival Les Instants Vidéo, Marseille and Paris.
Vårutstillingen, Fotogalleriet, Oslo
between appropriation and interventions, Christianssands Kunstforening, Norway
That’s entertainment!, The Norwegian Short Film Festival in Grimstad
NewScreen NewCastle, Newcastle
Videoholica, Varna, Bulgaria
21st International Videofestival, Bochum
Art:Screen at Beaconsfield, London and the International Film Festival, Rotterdam.
Flaggfabrikken presenterer Nordic Art Express, touring videoscreening

2010
Spring Exhibition, Kunsthal Charlottenborg, Copenhagen
Art Kino # 7, Rio, Stockholm
Invisible Violence, FestArte, MACRO, Rome.
The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo
II Baltic Biennale of Contemporary Art, Derzhavin Museum, St Petersburg

2009
NOMAD, Brügge, Belgium
Naturally, Bergen Museum of Natural History
Beyond existence – Do not avoid the void, Cordy House, London
Affluenza, Clerkenwell, London

Public collections

The National Museum of Art, Architecture and Design, Oslo
Oslo Municipal Art Collection
Arts Council, Norway
The Royal Norwegian Foreign Department
Luleå Municipal Art Collection, Sweden

Grants / awards

Lifetime working grant, Norwegian Government, 2010
Nominated for the Lorck Schive Art Prize, 2017
Nominated for the Norwegian Film Award, the Amanda, in the category for Best Short
Film, 2013

Mattias Härenstam
Born 1971 in Gothenburg, Sweden. Lives and works in Oslo, Norway. Educated at the National Academy of Fine Arts, Bergen, Norway and Staatliche Hochschule für bildende Künste Städelschule, Frankfurt am Main (prof. Herman Nitsch).mattiasharenstam.comSelected solo exhibitions 2016 Secrets, Weaknesses, Lies, The Vigeland Museum, Oslo Branching (with Lars Hertervig), Stavanger Art Museum, Norway Later that night, Konstepidemin, Gothenburg 2015 Mattias Härenstam, Nils Aas Art Centre, Inderøy, Norway Mattias Härenstam / Kristine Halmrast, Oppland Art Centre, Lillehammer, Norway 2014 Mattias Härenstam, Art-Claims-Impulse Contemporary Fine Arts, Berlin Sketches for a re-animation, Konstnärshuset, Stockholm Reconstruction, Norske Grafikere, Oslo Sketches for a re-animation, Østfold Art Centre, Fredrikstad, Norway 2013 Temporary Disruption, Luleå Konsthall, Sweden In the Middle of Sweden, Galleri Rostrum, Malmö, Sweden Closed Circuit (In the Middle of Sweden), Trafo Kunsthall, Norway 2012 Fear of Failure, Tromsø Fine Art Society, Norway I know you are there, Kunstnerforbundet, Oslo 28 February 1986, Galleri 54, Gothenburg 2011 28 February 1986, Akershus Art Centre, Norway Drawing Circles (…the distance is always the same), Tidens krav, Oslo 2009 The Diary of the Unknown Consumer, Skånes Konstförening, Malmö 2008 The Diary of the Unknown Consumer, UKS, Oslo Selected group exhibitions / festivals 2017 KINO DER KUNST, München / Neues Museum, Nürnberg Exitus, Galleri F 15, Moss, Norway Forest in Norway, Hubei Art Museum, China 2015 Impressions. Five centuries of woodcuts, The National Museum of Art, Architecture and Design, Oslo Exitus, Galerie am Körnerpark, Berlin Tomrom, Sandefjord and Larvik Fine Art Societies, Norway Spring depot, Tenthaus, Oslo 2014 Artists Film International, Whitechapel Gallery, London Letter from Mr. Faustus / Back to Berlin, Herzliya Museum of Contemporary Art, Israel The Pleasure of negative emotions, KNIPSU, Bergen FEC European Short Film Festival, Reus, Spain Brüch Stücke, Theater im Palais / Art-Claims-Impulse, Berlin Moviebox, Hydrogenfabrikken Kunsthall, Fredrikstad, Norway Prints, Buskerud Art Centre, Drammen, Norway Minimalen Short Film Festival, Trondheim, Norway 2013 Norwegian Sculpture Biennale, The Vigeland Museum, Oslo Audiovisioni Digitali, Museo D’Arte Contemporanea Roma, Rome between appropriation and interventions, Kunstraum Kreuzberg / Bethanien, Berlin Video Art & Experimental Film Festival, Tribeca Cinemas, New York Göteborg International Film Festival, Gothenburg Jeonju International Film Festival, South Korea Norwegian Short Film Festival, Grimstad Spring Exhibition, Kunsthal Charlottenborg, Copenhagen The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo Umeå International Short Film Festival, Sweden. Portrait in the moving image, IKFU, Jönköpings Läns Museum, Sweden Trä / Wood 2013, Virserums Konsthall, Sweden. 2012 Videoholica, SAMCA - Museum for Contemporary Art, Sofia Screengrab, New Media Arts Award, Townsville, Australia Kort, KinoKino, Sandnes Videosincracy, Galleria Limiti Inchiusi Arte Contemporanea, Campobasso, Italy Videoguerrilha, São Paolo, Rio de Janeiro and Brasilia. Kuala Lumpur Experimental Film Festival, Malaysia The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo The 25th Festival Les Instants Vidéo, Marseille Festival Miden, Kalamata, Greece L’Oeil d’Oodaaq, Rennes Oslo Screen Festival, Oslo CologneOFF (touring videofestival) 2011 InsideOut Step2 - Latest trends in Western Videoart, White Box Museum of Art, Beijing OK Video FLESH, National Gallery of Indonesia, Jakarta Arte Video Roma Festival, Rome The 24th Festival Les Instants Vidéo, Marseille and Paris. Vårutstillingen, Fotogalleriet, Oslo between appropriation and interventions, Christianssands Kunstforening, Norway That’s entertainment!, The Norwegian Short Film Festival in Grimstad NewScreen NewCastle, Newcastle Videoholica, Varna, Bulgaria 21st International Videofestival, Bochum Art:Screen at Beaconsfield, London and the International Film Festival, Rotterdam. Flaggfabrikken presenterer Nordic Art Express, touring videoscreening 2010 Spring Exhibition, Kunsthal Charlottenborg, Copenhagen Art Kino # 7, Rio, Stockholm Invisible Violence, FestArte, MACRO, Rome. The Annual National Exhibition of the Visual Arts, Kunstnernes Hus, Oslo II Baltic Biennale of Contemporary Art, Derzhavin Museum, St Petersburg 2009 NOMAD, Brügge, Belgium Naturally, Bergen Museum of Natural History Beyond existence – Do not avoid the void, Cordy House, London Affluenza, Clerkenwell, London Public collections The National Museum of Art, Architecture and Design, Oslo Oslo Municipal Art Collection Arts Council, Norway The Royal Norwegian Foreign Department Luleå Municipal Art Collection, Sweden Grants / awards Lifetime working grant, Norwegian Government, 2010 Nominated for the Lorck Schive Art Prize, 2017 Nominated for the Norwegian Film Award, the Amanda, in the category for Best Short Film, 2013

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