works by STEINAR HAGA KRISTENSEN


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PANSOSIALOPPVÅKNINGSSENTRAL & PARASOSIALTVEKKELSESAPPARAT
08.05.2025 - 03.08.2025
Kunstnernes Hus, Oslo

Steinar Haga Kristensen presents two parallel exhibitions at Kunstnernes Hus:
PANSOCIALDEVELOPMENTCENTRAL and PARASOCIALAWAKENINGAPPARATUS.
Staged in identical spaces, the exhibitions explore ideas of similarity, difference, and repetition through a series of
doubled works. Together they span a wide range of artistic expressions, including painting, etching, textiles, photography, ceramics, mosaics, video, utilitarian objects, musical theatre, and a custom-built computer game. Two commissioned essays accompany the exhibitions, offering opposing readings that frame the presentation as a performative split—not only of the works themselves, but of the interpretive intentions we attach to art.

Texts by Stian Gabrielsen
Click here to read about PANSOCIALDEVELOPMENTCENTRAL
Click here to read about PARASOCIALAWAKENINGAPPARATUS

Click here to DOWNLOAD .PDF with all works
Click here to DOWNLOAD .PDF with exhibition views

 


exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen

exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen


exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen

exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen
exhibition view PANSOCIALDEVELOPMENTCENTRAL
photography: Øystein Thorvaldsen

 

 

 

 

 

 

 



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exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen



exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen


exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen


exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen

exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen		 exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen		 exhibition view PARASOCIALAWAKENINGAPPARATUS
photography: Øystein Thorvaldsen
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The Loneliness of the Index Finger (Part II):
PANSOSIALOPPVÅKNINGSSENTRAL & PARASOSIALTVEKKELSESAPPARAT
Musical theatre
Kunstnernes Hus, Oslo
performed at the opening of the exhibitiones
PANSOSIALOPPVÅKNINGSSENTRAL & PARASOSIALTVEKKELSESAPPARAT
08.05.2025
21:50min
2025

Director & Libretto:
Composers;


Iconostasis & Corography
Make up:

Performers:
Choier:
Harding Fiddle:



Video edit:
Camera:

Sound edit:

Steinar Haga Kristensen
Trond Reinholdtsen,
Morten Norbye Halvorsen,
Steinar Haga Kristensen
Steinar Haga Kristensen
Vibekke Sverre

ENSEMBLE 96
Kenneth Lien
Sunniva Langås-Røiland
Sindre Tronrud
Tiril Eirunn Einarsdotter

Frode Fjeringstad
Frode Fjeringstad and Fredrik Fossum Hallerud
Morten Nordbye Halvorsen

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WORLD NEWS
12/05/2022 - 11/06/2022
at Galleri Brandstrup, Oslo

Between the years 2011 – 2018, Steinar Haga Kristensen painted four separate oil paintings titled “Hidden Advocacy #01 - #04”. These paintings all depict a humanoid figure, body facing towards the interior of the image, looking over his shoulder towards the viewer, revealing to them two similar abstractions carried in his hands behind his back. In 2020 this motif appears again in the vast intaglio print edition of “Jubileum 2020”, consisting of 39 intaglio prints, all depicting this same motif, only this time the figure additionally carries 38 other motifs from the artist’s oeuvre. In 2021, this series of figures were avatarized, programmed for limited interaction and placed in a virtual and total world in the form of a video game constructed from digital reproductions of individual works of art from that same year. Since the beginning of 2022, Haga Kristensen has worked as an observational artist within this world. His observations are carried out in the form of oil paintings and Vat dye (indigosol) paintings. These reports will be disclosed at his exhibition World News at Gallery Brandstrup, May 12, 2022. The reports carry an in-depth understanding and vital information about the world. 

Click here
to view full press release with text by Benoît Lamy de La Chapelle

 

 

 



World Report #A-01
(public restroom
at the "Brun Periode" Cinema)
Indigosol Vat dye cotton
122 x 134 cm
2022

World Report #B-01
(ved avgrunns kyst)
oil on jute
68 x 88 cm
2022



World Report #A-02
(section from temple of alienation)
Indigosol Vat dye on linen
127 x 195 cm
2022


World Report #B-02
(sannhetslyst)
oil on cotton
68 x 88 cm
2022



World Report #A-03
(detalj i korridor)
Indigosol Vat dye dye on linen
236 x 132 cm
2022

World Report #B-03_
(Kranke Profet - Denkmal der säkularisierung)
oil on jute
80 x 101 cm
2022

World Report #A-04
(collectables)
Indigosol Vat dye dye on linen
167 x 128 cm
2022

World Report #B-04
(La chaise et la lampe)
oil on jute
65 x 69 cm
2022



World Report #A-05
(dome of heteronormativity)
Indigosol Vat dyee on linen
122 x 134 cm
2022



World Report #B-05 (Spiritualization of Self-empowerment - Scepticisme du doute)
oil on jute
89 x 71 cm
2022

World Report #A-06
(collectable)
Indigosol Vat dye on linen
134 x 145 cm
2022

World Report #B-06
(interesseløsheter i debatt)
oil on linen
75 x 66 cm
2022

World Report #A-07
(zwei jonglieren "Frau Europa")
Indigosol Vat dye on cotton
300 x 135 cm
2022

World Report #B-07
(søylens penetrerande sanning)
oil on cotton
102 x 91 cm
2022

World Report #A-08
(stack of owl bowls)
Indigosol Vat dye on
122 x 134 cm
2022

World Report #B-08
(Trofe til den siste kontekstrelativist - pérorer)
oil on jute
92 x 76 cm
2022

World Report #A-09
Hyttesene/cabin scene
Indigosol Vat dye cotton satin
198,5 x 140 cm
2022

World Report #B-09
(nøkkens verdigheter)
oil on jute
101 x 76 cm
2022

World Report #B-10
(uutgrunnelig sannhetslyst)
oil on jute
154 x 105 cm
2022


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ULTRAIDENTIFIKAČNÍ PAVILION 
07/12/2021 - 16/01/2022
at Centre for Contemporary Art FUTURA, Prague, Czech Republic

guest artists: Audar Kantun
curator: Caroline Krzyszton

User´s guide written by Eirik Senje. (eng)
Click here to play the webGL BETA eddition og the game.

 

 

 

 

 

UIP FUTURA
ULTRAIDENTIFIKAČNÍ PAVILION 
Installation shot, Centre for Contemporary Art FUTURA, Prague.
photography: Jan Kolský

UIP FUTURA

ULTRAIDENTIFIKAČNÍ PAVILION 
Installation shot, Centre for Contemporary Art FUTURA, Prague.
photography: Jan Kolský



ULTRAIDENTIFIKAČNÍ PAVILION 
Installation shot, Centre for Contemporary Art FUTURA, Prague.
photography: Jan Kolský



ULTRAIDENTIFIKAČNÍ PAVILION 
Installation shot, Centre for Contemporary Art FUTURA, Prague.
photography: Jan Kolský

 

The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility
(Consensus Image)
Two channel video installation, Format: 3840x2160 & 1920x1080, Length: 48:12min
2014		  
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021
Total Penetration
Performative sculpture / sound installation
Motor, dynamos, contact microphones, sound speakers, cardboard tube, UV-paint & black-light
240x35x35cm
2004
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021
Audar Kantun
“Rammebetingelser (Framework Conditions) November 2020”
Series of 25 French self-declaration curfew forms (Attestation de deplacement dérogatoire) assembled together with various media in artist´s frames, mounted on brackets.
30x40cm, 25 pcs.
2021




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ULTRAIDENTIFIKASJONSPAVILJON
20.03.2021 - 15.09.2021
at Trondheim kunstmuseum, Trondheim

Steinar Haga Kristensen's new work (difficult period) -ULTRAIDENTIFICATION PAVILION gathers around the avatarization of a humanoid figure that constitutes the main motif in the intaglio print series  Jubileum 2020 (2020). The avatar is placed and programmed for limited interaction in a virtual total world, constructed from digital reproductions of the singular works in the exhibition. Intaglio print, oil painting, ceramics, fresco and sgraffito painting, glass mosaics, crocheted children's clothes, lamps, furniture, etc. act as components in an idealized public space where you can interact with other avatars in an eternal game.
The game annexes and anticipates the aesthetic impulse of the viewer and leads her through a world that hyper-contextualizes the relative conditions of things and the viewers relevance.

Steinar Haga Kristensen's art is characterized by an extensive productivity unlimited by technique and medium, but most of all by the artist's tireless repetition and perversion of the artist's work in ever new constellations. The core activity of this seemingly simple gesture is to transcend the dialectical field of aesthetics, in order to allow a radical exploration of the core of human creative potency.
Click here to read the user guide to the work written by Eirik Senje.
Click here to play the webGL BETA eddition og the game.

ULTRAIDENTIFIKASJONSPAVILJON
interactive video game developed with unity

Art and directions: 
Game design/Programming: 
Programming:

Photogrammetry:

Sound:

Steinar Haga Kristensen
Magnus Andreas Hagen Olsen
Lars Hemmingsen Nørgaard/
Midtjyllands 3D service
Thomas Bremerstent/
Steinar Haga Kristensen
Morten Norbye Halvorsen/
Steinar Haga Kristensen



ULTRAIDENTIFIKASJONSPAVILJON
Installation shot, Trondheim kunstmuseum, Trondheim
photography: Susann Vamtøy



ULTRAIDENTIFIKASJONSPAVILJON
Installation shot, Trondheim kunstmuseum, Trondheim
photography: Susann Vamtøy

ULTRAIDENTIFIKASJONSPAVILJON
Installation shot, Trondheim kunstmuseum, Trondheim
photography: Susann Vamtøy
COMMANDS:

Q
SPACE

↑/W
↓/S
←/A
→/D

↑/W + SHIFT 
MOUSE

=
=

=
=
=
=

=
=

HUG
SELECT/JUMP

FORWARD
BACK
LEFT
RIGHT

RUN
CAMERA




press:
https://artscene.no/2021/05/18/tvaermateriel-laengsel/
https://kunstavisen.no/udefinerbar-uhygge
https://subjekt.no/2021/08/20/dette-er-vinneren-av-. . .
https://www.dagogtid.no/meldingar/forventningane-som-brast-6.3.21362.8 . . .
https://www.adressa.no/pluss/kultur/2021/08/20/N%C3%A5-er-det-klart- . . .
https://www.dagensperspektiv.no/dp-helg-kunst-samfunn/2021/ . . .
https://underdusken.no/kunst/vinnaren-av-lorck-schive-kunstpris-er-klar/ . . .



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ULTRAIDENTIFIKASJONSPAVILJON
interactive video game (Click here to play the webGL BETA eddition og the game)
(stills from the full quality edition)





ULTRAIDENTIFIKASJONSPAVILJON
interactive video game
(stills from the full quality edition)



ULTRAIDENTIFIKASJONSPAVILJON
interactive video game
(stills from the full quality edition)

ULTRAIDENTIFIKASJONSPAVILJON
interactive video game
(stills from the full quality edition)

ULTRAIDENTIFIKASJONSPAVILJON
interactive video game
(stills from the full quality edition)




JUBILEUM 2020
19.02.2020 - 22.03.2020
at BGE Contemporary Art Projects, Stavanger

In “Jubileum 2020”, Haga Kristensen explores the characteristics of ornamentation as a phenomenon of identification and collective imagination, and the occurrence of historical movements on even the most trivial sites. An extensive series of print editions based on his anniversary collections, reworkings and re-digestions of a number of motifs from Haga Kristensen’s artistry is carried out in the graphical technique, creating an ornamenting circumstance that runs throughout the show. Beside these Haga Kristensen exhibits 10 monumental paintings in frames ornamented with reliefs also sourced from previous motifs, and 16 sculptural repetitions holding up abstract similarities, all from a series entitled The Work of Art and The Spiritualization of Self-empowerment.  Furthermore, presented is the art work Les Origines moqueuses (Le scepticism du doute 01), a frame containing 28 paintings which also performs the function of a wall separation, a variation on the iconostasis, a staple of orthodox temple architecture.

The idea of the ornament in Haga Kristensen’s work is seen as a reflection on the decorative embellishment of architecture and objects. It relates to the understanding of patterns, repetition and similarity. This began in 2009-10 with his radical use of double similarities in his ongoing series Der Schließmuskel funktioniert nicht mehr, and developed into further repetition and digestion of motifs throughout his practice. Some of the art works, such as the “Syk Profet“ (Prophete malade) goes back to 1999, evident in the 20th anniversary graphic print edition of this art work shoen in Jubileum 2019, Galleri Brandstrup, Oslo. In “Jubileum 2020”, contains 30 new Jubilee motifs in limited editions using a combination of monotyping, intaglio and relief print. The prints are all of relatively modest size, creating a contrast between the domestic and the monumentality of the paintings they are shown alongside.

critique:
https://kunstavisen.no/steinar-haga-kristensen-jubileum-2020

https://www.aftenbladet.no/kultur/i/qLdLrw/trrvittig-ironi-i-flott-utstilling

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Jubileum 2020
Series of 39 intaglio/relief print
Edition: 3 + 1ap
Material: 300g hel limt Hahnemühle paper, Charbonnel oil ink
Size: 107 x 79 cm
Framed: 112 x 84cm
2020
click here to see bigger .gif





´

 

´


JUBILEUM
04.04.2019 - 11.05.2019
at Galleri Brandstrup, Oslo

Steinar Haga Kristensen’s extensive practice spans a variety of mediums and formats: painting, sculpture, bodies in space - inanimate or live, on and off screens, to name but a few. Yet at the heart of Haga Kristensen’s practice lies a relentless performing of itself and its motifs, and it is from this that every object and situation takes place across shape and form. The continuous digesting and re-digesting of motifs in Haga Kristensen’s practice, apart from committing to an exhaustive perversion of artistry in itself, can also be seen as a form of self-ornamentation, a tendency which is brought to a head in this exhibition.

In Jubileum, Haga Kristensen conducts a self-survey in the format of a jubilee, an arbitrary celebration of cyclic recurrence, while at the same time exploring the various potentialities inherent to ornamentation as a phenomenon of civilizational, manifestation - of identification and collective imaginings and the occurrence of historical movement on even the most trivial sites. An extensive series of print editions based on anniversary collections, reworkings and re-digestions of a vast number of motifs from Haga Kristensen’s oeuvre is carried out in the graphical technique of gravure, creating an ornamenting circumstance that runs throughout the exhibition. Beside these Haga Kristensen shows 11monumental paintings in frames ornamented with reliefs, also sourced from previous motifs, and 16 sculptural repetitions holding up abstract similarities, all from a series entitled The Work of Art and The Spiritualization of Self-empowerment. Les Origines moqueuses (Le scepticism du doute 01), a frame containing 28 paintings which also performs the function of a wall separation, a variation on the iconostasis, a staple of orthodox temple architecture.

entire press text: https://mailchi.mp/6f9ebcd004ba/jubileum?

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Jubileum 2020
Installation shot Galleri Brandstrup, Oslo



Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo



Jubileum
Installation shot Galleri Brandstrup, Oslo



Jubileum
Installation shot Galleri Brandstrup, Oslo



Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo


Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo

Jubileum
Installation shot Galleri Brandstrup, Oslo



Jubileum
Installation shot Galleri Brandstrup, Oslo



Les Origines moqueuses (Le scepticism du doute 01)
Material: Oil paint, linen canvas, jute canvas, pinewood, wood tar creosote, forged black steel, tjæredrev
Size: 255cm x 583cm and 255cm x 283cm
Year 2016

critique:
https://www.vl.no/kultur/lar-det-banale-mote-det-stor-slatte-1.1466025

http://omkonst.se/19-haga-kristensen-steinar.shtml?fbclid=IwAR0e6gDb6Dnr
M7pBi4czjVzIwuBJIxwfCeKAuiawxKGYsQVLNiO9C60cHOI




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Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
(the book above contains of all the 2/6 prints)click here to see bigger .gif
Size: 55 x 76 cm
2019



Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019



Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

Frome Jubileum 2019
Series of 40 intaglio prints, edition of 6 + 1ap
2019

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The Work of Art and The Spiritualization
of Self-empowerment
20.10.18 - 09.01.19
at Kunsthal Aarhus, Aarhus.
Curated by Jacob Fabricius


press:
https://mailchi.mp/3724a8258bcb/double-opening-steinar-haga-kristensen-
jos-de-gruyter-harald-thys?e=[UNIQID]

critique:
https://kunsten.nu/journal/brun-propaganda/

https://www.information.dk/agnes-slott-moeller-steinar-haga-kristensen

https://kunstkritikk.no/totalitaer-sindelagsmassage/

other:
https://www.contemporaryartdaily.com/2018/12/
steinar-haga-kristensen-at-kunsthal-aarhus/


With Kind support from
OCA



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The Work of Art and The Spiritualization of self-empowerment #06
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame Size: 227 x 176 x 8cm
2018





The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus



The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus

The Work of Art and The Spiritualization of self-empowerment #04
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame Size: 266 x 211 x 8cm
2018






The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus

The Work of Art and The Spiritualization of self-empowerment #07
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame
Size: 225 x 188 x 8cm
2018



The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus

The Work of Art and The Spiritualization of self-empowerment #03
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame Size: 277 x 238 x 8cm
2018





The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus

The Work of Art and The Spiritualization of self-empowerment #08
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame Size: 238 x 198 x 8cm
2018

The Work of Art and The Spiritualization of Self-empowerment
Installation shot Kunsthal Aarhus, Aarhus

The Work of Art and The Spiritualization of self-empowerment #15
Oil and tempera on linen, wooden stretchers epoxy, jesmonite plaster, polystyrene foam, pine wood frame Size: 280 x 200 x 25cm
2018

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Samfunnsornament
at Domus Juridica Oslo
Fresco Mural granite work
410 x 1655cm
2019

https://koro.no/jussen-som-ornament/



Samfunnsornament
at Domus Juridica Oslo
Fresco Mural granite work
410 x 1655cm
2019

Foto: Werner Zellien

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The Brown Period (2016-2018)

Bruine periode  (Liegen en Opscheppen)
17.03.17 - 30.04.17
at 1646, The Hauge

Période brune (Origines moqueuses et scepticisme du doute)
03.06.17 - 02.09.17
at Passerelle Centre d'art contemporain, Brest

Brun Periode (Heimat)
02.09.17 - 02.10.17
at Kunstnerforbundet, Oslo

Brown Period
20.06.18 - 19.08.18
at BOZAR - Centre for Fine Arts, Brussels
Part of Somewhere in Between.

Steinar haga Kristensen - Période brune
essay by Eirik Senje

Most closely associated with idea of the “période” in an art historical context is without doubt Spanish painter Pablo Picasso’s Période Bleu (Blue Period), 1901-04. Said to have come about as a result of personal struggle and loss, the period took the shape of a series of sombre motifs painted in blue tones, often tending towards social realism in their choice of subject. While not very popular at the time, the work would later become amongst the artist’s most celebrated. Other examples include Belgian painter Rene Magritte’s Période Vache (Cow Period), 1947-48. A more conscious artistic turn carried out in order to make a statement, the stylistic, colourfully fauvist-like work did not do well at the time, though it succeeded in its goal of causing an annoyance amongst Parisian surrealists whose self-important arrogance the painter had developed a distaste for (later, Magritte would claim that his wife didn’t like his new style and cite this as the reason for his subsequent abandonment of the venture). Steinar Haga Kristensen’s Période Brune (Brown Period) is a period brought about by a very brown time, and is therefore called his brown period.

Recalling my first encounter with Haga Kristensen´s work several years ago: I was then struck by the immediacy of its visceral repulsiveness, sparking a powerful need to distance myself from its many unsettling implications by sarcastically remarking that “Whatever it is, it’s certainly ugly enough”. Later, as I would reach greater familiarity with Haga Kristensen’s impressive body of work, it would become apparent to me that what I had then been exposed to was early tendencies of his Période Brune (the earliest known examples are found 2008 in the exhibition Brunt og Vanskelig (Brown and Difficult), although there have been suggestions made that there may exist even earlier brown period work). In the years following these early brown works, Haga Kristensen’s rich, though somewhat more polemical work revolving amongst other things around the repetition of subjectively primeval motifs within different media, would take precedence over the Période Brune until its recent resurgence. This raises some questions.
(text continues to the left)

Exerpt from essay by Eirik Senje (English) translation (Norwegian)


click here to view more of the Brown Period video works.


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click here to view more of the Brown Period video works.

 

Brown Period
as part of somewhere in between 20.06.18 - 19.08.18
at BOZAR - Centre for Fine Arts, Brussels

 



 

 

 

 


With Kind support from
OCA




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Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels

Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels

Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels

Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels

Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels



Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels



Brown Period
Installation shot BOZAR - Centre for Fine Arts, Brussels

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Brun Periode - Heimat
02.09.17 - 02.10.17 at Kunstnerforbundet, Oslo


Essay by Eirik Senje (English) translation (Norwegian)

 

 

critique:
NO
http://www.klassekampen.no/article/20170920/ARTICLE/170929933
http://www.kunstkritikk.no/kritikk/en-regnbue-av-brunt/
ENG
https://kunstkritikk.com/a-bouquet-of-browns/

 

other:
https://artviewer.org/steinar-haga-kristensen-at-1646/
https://www.contemporaryartdaily.com/2017/08/steinar-haga
-kristensen-at-centre-dart-contemporain-passerelle/

 


With Kind support from
Arts Concil Norway




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Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo



Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo



Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo

Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo


Brun Periode - Heimat
Installation shot Kunstnerforbundet, Oslo


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Période brune (Origines moqueuses et scepticisme du doute)
03.06.17 - 02.09.17 at Passerelle Centre d'art contemporain, Brest
press release

http://moussemagazine.it/steinar-haga-kristensen-ola-vasiljeva-clemence-
esteve-and-aurelien-froment-at-passerelle-centre-dart-contemporain-brest-2017/

https://contemporaryartdaily.com/2017/08/steinar-
haga-kristensen-at-centre-dart-contemporain-passerelle/

https://cfileonline.org/exhibition-steinar-haga-kristensen/

 
With Kind support from
OCA

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Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest



Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest



Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

  Pérorer #02
Ceramic, fresco
38x23x17cm
2017		 Pérorer #03
Ceramic, fresco
50x30x17cm
2017


Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest


Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

  Pérorer #02
Ceramic, fresco
38x23x17cm
2017		 Pérorer #03
Ceramic, fresco
50x30x17cm
2017

 

  Pérorer #02
Ceramic, fresco
38x23x17cm
2017		 Pérorer #03
Ceramic, fresco
50x30x17cm
2017


Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest



Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

  Pérorer #02
Ceramic, fresco
38x23x17cm
2017		 Pérorer #03
Ceramic, fresco
50x30x17cm
2017

 

  Pérorer #02
Ceramic, fresco
38x23x17cm
2017		 Pérorer #03
Ceramic, fresco
50x30x17cm
2017



Der Schlie§muskel funktioniert nicht mehr #70
acrrylic paint, jasmonite
87x40x16cm
2017



"Basic Relational Activism" framed "Kranke Profeten"
Oil on Canvas
214x250cm
2017

(FRONT)
Der Schlie§muskel funktioniert nicht mehr #70
acrrylic paint, jasmonite
87x40x16cm
2017

(FRONT)
Spiritualization of Self-empowerment #01
(Erasing women)
Ceramics, fresco, jute, pinewood
117x99cm
2017

Spiritualization of Self-empowerment #01
(Erasing women)
Ceramics, fresco, jute, pinewood
117x99cm
2017

(FRONT)
Der Schlie§muskel funktioniert nicht mehr #70
acrrylic paint, jasmonite
87x40x16cm
2017

(FRONT)
Der Schlie§muskel funktioniert nicht mehr #70
acrrylic paint, jasmonite
87x40x16cm
2017




(FRONT)
Der Schlie§muskel funktioniert nicht mehr #70
acrrylic paint, jasmonite
87x40x16cm
2017



Heimat 01
Ceramics, fresco, jute, pinewood
60x52x5cm
2017



Heimat 02
Ceramics, fresco, jute, pinewood
60x55x5cm
2017

Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm

2017



Pérorer #01
Ceramics, fresco, jasmonite
69x14x13cm
2017



Pérorer #01
Ceramics, fresco, jasmonite
69x14x13cm
2017



Figure Overcoming Abstraction #03
Ceramics, fresco, oil on canvas, pinewood
78x48x9cm
2017

Desperate Figure Beneath Monochrome
Ceramics, fresco, oil on canvas, pinewood
107x62x9cm
2017

Study
Ceramics, fresco
50x50x3cm
2017

Self Embrace
Ceramics, fresco
50x50x3cm
2017

Liegen en opscheppen
Ceramics, fresco,
47x51cm
2017

Traders and Abstraction #03
Ceramics, fresco
49x42x3cm
2017

Hidden Advocacy #04
Oil on canvas
63x57cm
2015-17 		Bruine Periode (Brown Period) #03
Ceramics, fresco, tapestry
83x32x13cm
2017


Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm
2017

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest

Période brune (Origines moqueuses et scepticisme du doute)
Installation shot Passerelle Centre d'art contemporain, Brest



Totaler Angst der Abstraktion #04
(Der Schlie§muskel funktioniert nicht mehr #66)
51x42cm
2015-17



Angst Total 2017
Jesmonite, oil paint
55x46cm
2016


The Light and the Masses
Ceramic, fresco, oakwood
56x60,5x9cm
2017

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Bruine periode  (Liegen en Opscheppen)
17.03.17 - 30.04.17
at 1646, The Hauge

 


With Kind support from
OCA

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  Agreement and Crowd
Ceramics, fresco, jute, pinewood
117x99cm
2017


Figure Overcoming Abstraction #03
Ceramics, fresco, oil on canvas, pinewood 78x48x9cm
2017


Hidden Advocacy #04
Oil on canvas
63x57cm
2015-17 		Bruine Periode (Brown Period) #03
Ceramics, fresco, tapestry
83x32x13cm
2017







Bruine Periode (Brown Period) #02
Ceramics, fresco, tapestry
185x33x12cm
2017

Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm
2017		 Desperate Figure Beneath Out Stretched Hand
Ceramics, fresco, oil on canvas, pinewood
120x65x8cm
2017







Hidden Advocacy on Self-embrace
Ceramic, fresco, jute
217x99cm
2017

Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm
2017		 Desperate Figure Beneath Out Stretched Hand
Ceramics, fresco, oil on canvas, pinewood
120x65x8cm
2017


Spiritualization of Self-empowerment #01 (Erasing women)
Ceramics, fresco, jute, pinewood
117x99cm
2017





Angst Total 2017
Jesmonite, oil paint
55x46cm 2016

Brown Tapestry Beneath Cracked Composition
Ceramic, fresco, tapestry
102x51cm
2017

Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm
2017

Bruine Periode (Brown Period) #03
Ceramics, fresco, tapestry
83x32x13cm
2017



Bruine Periode (Brown Period) #01
Ceramics, fresco, tapestry
177x30cm
2017

Agreement and Crowd
Ceramics, fresco, jute, pinewood
117x99cm
2017



Traders and Abstr action #03
Ceramics, fresco
49x42x3cm
2017		 Bruine Periode (Brown Period) #02
Ceramics, fresco, tapestry
185x33x12cm
2017


Das Material interessiert Kunst
Ceramic, fresco
61x55x9cm
2017

Democracy (brown variation)
Ceramics, fresco, jute, pinewood
117x99cm
2017

Brown Tapestry Beneath Kranke Propheten
Ceramic, fresco, tapestry
102x50cm
2017

Der Schlie§muskel funktioniert nicht mehr #68
Ceramics, fresco, jute, pinewood
117x99cm
2017

Spiritualization of
Self-empowerment #02
Ceramic, fresco, tapestry
117x31x14cm
2017



Desperate Figure Beneath Monochrome
Ceramics, fresco, oil on canvas, pinewood
107x62x9cm
2017



Hidden Advocacy #04
Oil on canvas
63x57cm
2015-17


Totaler Angst der Abstraktion #04
(Der Schlie§muskel funktioniert nicht mehr #66)
51x42cm
2015-17		 Figure Overcoming Abstraction #03
Ceramics, fresco, oil on canvas, pinewood 78x48x9cm
2017


Totaler Angst der Abstraktion #04
(Der Schlie§muskel funktioniert nicht mehr #66)
51x42cm
2015-17

Liegen en opscheppen
Ceramics, fresco,
47x51cm
2017

Desperate Figure Beneath Out Stretched Hand
Ceramics, fresco, oil on canvas, pinewood
120x65x8cm
2017

The Light and the Masses
Ceramic, fresco, oakwood
56x60,5x9cm
2017

Traders and Abstr action #03
Ceramics, fresco
49x42x3cm
2017












































Konsensusbilde / Consensus Image
at Oslo City Hall
2013-15

 

Since the summer of 2013, Steinar Haga Kristensen has been working on a large scale fresco mural in one of the artist studios on the top floor of Oslo City Hall. The fresco, which covers an area of approximately 100 square meters, is now complete but is soon to be covered up. "Consensus Image" originally served as the backdrop to Kristensen's new opera, The Loneliness of the Index Finger (Part II), commissioned by Kunsthall Oslo for the performance festival Soft City in September 2014. Encapsulated within the walls of the city hall, the fresco will be left as a monumental time capsule for future generations.

Affresco is a technique with deep historical roots stretching back through millennia: From ancient murals predating early antiquity, to grandiose commissions for the Vatican during the renaissance age. Rather than paint applied to a surface, a fresco's pigment merges with the fresh plaster of the wall itself and thus becomes part of the architecture of a building. Haga Kristensen's work is one of few monumental frescos produced in Norway since the murals originally commissioned as part of Oslo City Hall in the 1940s. These works display an astonishing interplay of art, architecture, political ideology and the public sphere in ways rarely seen since. In his new fresco, Haga Kristensen picks up the abandoned thread of this now dying form of expression, attempting to conceive of what such work might look like if it were made in our time.

In its earlier iteration, Haga Kristensen's fresco constituted the backdrop for the newly written opera The Loneliness of the Index Finger (part II). The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (consensus image). This work was curated and produced by Kunsthall Oslo in connection to their performance festival Soft City, which took place in September 2014. At that time, the still incomplete fresco and the apparatuses of its construction made up the entire scenography of the play. Written for two soloists and a mixed choir, the opera was accompanied by the city hall carillon bells, which could be heard through out the city as well as within the studio space where the performance took place.

The libretto of the opera, written by Haga Kristensen, revolves around the conflict between the artist (tenor), the power of the state (soprano), and the people (choir). An artist struggles to produce a monumental public work, a fresco on a giant scale that must reflect contemporary reality. As he attempts to find a form for the piece, the artist is hurt by the people's contempt for monumentality, and pained by his own disdain for the transient. Caught between the demands of the State and the ridicule of the people, progress seems impossible. Slowly, however, an idea reveals itself. The work must be a self-portrait, narcissistic, fractured, triumphant; the truest expression of late-capitalist sensibility. The people are enraptured. With satirical grandiosity the picture is constructed from the artist's own earlier works, a monumental staging of the premature historicism that characterizes the current condition.



Konsensusbilde / Consensus Image
Fresco Mural
595 x 1408cm
2013 - 2015

Steinar Haga Kristensen's complex, site-specific project brings to light questions concerning commissioned art and the role of the artist, with an emphasis on art in the public sphere and how the public relates to it in both a contemporary and historical perspective. This viewing is a unique opportunity to experience Haga Kristensen's grandiose mural work in direct dialogue with the frescos on the first floor of the city hall, before the former is sealed away and left for generations to come.

A book about the project will be published at a later date, as well as a film version of the opera The Loneliness of the Index Finger (part II). The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (consensus image).

Fresco Mural Credits:
Steinar Haga Kristensen with kind assistance from Astrid Nondal, Terje Berner, Fredrik Berberg, Eirik Senje, Kristian Øverland Dahl, Mathilde Carbel, Irma Salo Jæger, Audar Kantun / Production of viewing: Public Art Norway (URO), Kristine Jærn Pilgaard.

Opera Credits:
Director: Steinar Haga Kristensen / Music Score: Morten Norbye Halvorsen, Trond Reinholdtsen, Steinar Haga Kristensen / Libretto: Steinar Haga Kristensen / Carillion: Laura Marie Rueslåtten Olseng / Tenor: Nils Harald Sødal / Soprano: Helene Wold / Conductor: Stefan Ibsen Zlatanos / Choir: Maria Lund, Marilyn Almeida, Marilena Zlatanou, Ingeborg Brekke, Daniel Norum, Carl-Fredrik Thonée, Patrik Egersborg / Dancers: Petter Width, Tormod Carlsen, Heidi Dalene / Percussion: Håkon Stene / Costume design: Steinar Haga Kristensen, Anders Holen, Linda Lerseth / Sound: Morten Nordbye Halvorsen, Øyvind Mellbye / Lighting: Tormod Carlsen, Steinar Haga Kristensen / Assisting Director: Mai Hofstad Gunnes and Eirik Senje / Production: Kunsthall Oslo, Steinar Haga Kristensen / Curators: Will Bradley, Elisabeth Byre (Kunsthall Oslo).

With support from Art Council Norway, FFUK, Public Art Norway (URO)


press
http://www.nytimes.com/2014/09/24/arts/international/steinar-haga-kristensen-a-rebel-in-oslos-vibrant-arts-scene.html?_r=0

http://www.kunstkritikk.no/artikler/monumental-forgjengelighet/


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(Detaljer)
Konsensusbilde / Consensus Image
Fresco Mural
595 x 1408cm
2013 - 2015

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The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 50min
Location: Atelier A, Oslo City Hall, Oslo
05.09.2014 & 06.09.2014
(video documentation)

Steinar Haga Kristensenhas worked for several months to create a large-scale fresco at Oslo City Hall as the backdrop to a new opera, The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image). The libretto, written by Haga Kristensen, revolves around the conflict between the artist (tenor), the power of the state (soprano), and the people (choir). “An artist struggles to produce a monumental public work, a fresco on a giant scale that must reflect contemporary reality. As he attempts to find a form for the piece, the artist is hurt by the people’s contempt for monumentality, and pained by his own disdain for the transient. Caught between the demands of the State and the ridicule of the people, progress seems impossible. Slowly, however, an idea reveals itself. The work must be a self-portrait, narcissistic, fractured, triumphant; the truest expression of late-capitalist sensibility. The people are enraptured. With satirical grandiosity the picture is constructed from the artist’s own earlier works, a monumental staging of the premature historicism that characterises the current condition. The fresco will be overpainted as soon as it is completed, deliberately so, and sent into the darkness of our unknown future. Encapsulated in the walls of Oslo City Hall, the work will use the building as a time machine.”

The piece was performed by two of Norway’s leading opera singers, Nils Harald Sødal and Helene Wold, and the choir conducted by Stefan Ibsen Zlatanos. The score is by Morten Norbye Halvorsen with Steinar Haga Kristensen and Trond Reinholdtsen, and was performed on the City Hall’s carillon by the carilloniste Laura Marie Rueslåtten Olseng and percussionist Håkon Stene. The opera is the second part in a series that began in 2009 at UKS, Oslo.
____________________________________________________________________

Director: Steinar Haga Kristensen
Music Score: Morten Norbye Halvorsen, Trond Reinholdtsen, Steinar Haga Kristensen
Libretto: Steinar Haga Kristensen
Carillion: Laura Marie Rueslåtten Olseng
Tenor: Nils Harald Sødal
Soprano: Helene Wold
Conductor: Stefan Ibsen Zlatanos
Choir: Maria Lund, Marilyn Almeida, Marilena Zlatanou, Ingeborg Brekke, Daniel Norum, Carl-Fredrik Thonée, Patrik Egersborg
Dancers: Petter Width, Tormod Carlsen, Heidi Dalene
Percussion: Håkon Stene
Fresco: Steinar Haga Kristensen, with kind assistance from Astrid Nondal, Terje Berner, Fredrik Berberg, Eirik Senje, Sverre Gullesen, Kristian Øverland Dahl & Mathilde Carbel
Costume design: Steinar Haga Kristensen, Anders Holen, Linda Lerseth
Production: Kunsthall Oslo and Steinar Haga Kristensen
Curator: Will Bradley and Elisabeth Byre, Kunsthall Oslo
Sound: Morten Nordbye Halvorsen, Øyvind Mellbye
Light: Tormod Carlsen, Steinar Haga Kristensen
Assisting Director: Mai Hofstad Gunnes and Eirik Senje


The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility
(Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 50min
Location: Atelier A, Oslo City Hall, Oslo
2014

(video documentation)



The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 50min
Location: Atelier A, Oslo City Hall, Oslo
2014

(video documentation)

The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 100min
Location: Atelier A, Oslo City Hall, Oslo
2014


The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 100min
Location: Atelier A, Oslo City Hall, Oslo
2014


The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 100min
Location: Atelier A, Oslo City Hall, Oslo
2014

The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 100min
Location: Atelier A, Oslo City Hall, Oslo
2014

The Loneliness of the Index Finger (Part II):
The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Operatic theatre performance and fresco mural
Fresco 585cm x 14080cm
Performance length: 100min
Location: Atelier A, Oslo City Hall, Oslo
2014
       

 

                                                            

press
http://www.nytimes.com/2014/09/24/arts/international/steinar-haga-kristensen-a-
rebel-in-oslos-vibrant-arts-scene.html?_r=0

http://www.kunstkritikk.no/artikler/monumental-forgjengelighet/





Take me deeper
To view older works and projects.
Take me deeper
To view older works and projects.
Take me deeper
To view older works and projects.
Take me deeper
To view older works and projects.

 

 





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works by STEINAR HAGA KRISTENSEN






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