Steinar Haga Kristensen

works by STEINAR HAGA KRISTENSEN

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WORKS STEINAR HAGA KRISTENSEN

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STEINAR HAGA KRISTENSEN
Brun Periode - Heimat
02.09.17 - 02.10.17 at Kunstnerforbundet, Oslo

Essay by Eirik Senje (English) translation (Norwegian)

http://www.klassekampen.no/article/20170920/ARTICLE/170929933
http://www.kunstkritikk.no/kritikk/en-regnbue-av-brunt/

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

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

Steinar haga Kristensen - Période brune
(Origines moqueuses et scepticisme du doute)
An 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)

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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

While the idea of the “période” within artistic practice is closely associated with a singular subject making a turn in their practice, an interesting link can be drawn towards the idea of the broader “artistic movement”: For instance, the early avant-gardes which grappled with modernity and the death of god, the mid-century Situationist movement, with its politically radical colonization of previously unpoliticized territory; or more recently the Crapstractionist struggle to spiritualize neo-liberalist ideals such as overindulgence, money-grabbing, self-empowerment and selective ignorance by juxtaposing a mimesis of early avant-garde pictorial deconstruction with commercially viable mass production strategies devoid of original thought. Movements such as these will often stem from a collective of individuals exchanging and affirming ideas, the movement building towards a crescendo as it absorbs more artists into its ethos, before eventually losing momentum and gradually disappearing, leaving only their mark on history and (occasionally disproportionately stuffed) museum storage magazines. The central point being that while in progress, there is a framework in place that allows an artist to effect a radical departure from their usual norm of artistic practice. In the case of Haga Kristensens Brown Period, there is also such a departure: Here however, it is brought about not by the collective formation of a sphere of socio-ideological acceptance, but rather willed into existence by personal engagement – the last remaining option for radicality perhaps, in todays fragmented socio-political situation - which also is so marked by the ever-present ghost of utilitarian project-based thinking as to make artistic independence very, very difficult. As such, the work comes into being from a state of decisive closeness to the matter at hand: A refusal to accept ignorance and intellectual debauchery; instead affirming the universal value of focused personal effort, even faced with the endless mountain of doubt stacked in front of us by modern society. Rather than a radical movement of individuals, there is a radical movement of objects unravelling the status-quo.

What becomes apparent with the Période Brune, is the result of Haga Kristensen’s many years of intellectual and physical exertion, leading up to the simple but profound realization that art can be made and enter history only as and for society – one without the other being inherently absurd. Any act of creation must as such always be either an affirmation or denial of collective responsibility and citizenship. From this comes the understanding that struggling through the mud and shit with all the others in the end is the only wellspring of meaningful inspiration and ideals. Mid brown period work can very much be said to revolve around this sudden and intuitive realization, finding its initial shape in the

work shown in the exhibition Bruine Periode - Liegen en Opscheppen: a series of ceramic fresco combination paintings as well as a radical new genre of performance entitled Socio-Imaginary Performance Theater. Here it is worth noting the first tendency towards smaller scale objects and readily available materials, indicating perhaps a desire to decouple from the logistical and socio-economic implications of large scale production in order to expand the field in which creation can take place (Later we see this become even more apparent in the form of increasingly prevalent use of cardboard boxes as not only a low-cost alternative to the conventional wooden crate for artwork transportation, but as exhibition architecture as well – becoming both a practical and aesthetic answer to recessional reality). Seen in comparison for instance with Haga Kristensen’s earlier monumental scale application of the fresco technique in Oslo City Hall, to create his 100m2 fresco mural entitled Consensus Image (which also functioned as the setting for his operatic performance piece The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image), 2014), the reimagining of architecture into a more personal scale becomes especially apparent. In addition to the previously mentioned practicalities, the small-scale application of techniques developed for monumental architecture can also fruitfully be considered in light of the artists explorations of social imagination – something which should be kept in mind as we see this approach become typical of the brown period.

As the period moves towards its final crescendo in 2017, a crystallization of certain motifs and tendencies expose with greater clarity the artistic imperative behind the Période Brune: While there is a resurgence of Haga Kristensen’s primeval motifs making their way into the period, for instance the ubiquitous Prophête Malade (Sick Prophet); they seem to materialize with a renewed urgency. For instance, significantly we now see for the first time the ill prophet from behind, exposing the viewer to the previously only assumed landscape on which his prophetic gaze rests - placing the viewer in the position of a disciple perhaps or even, unsettlingly, whatever deity sets the afflicted prophet on his forced journey. We also see the oft repeated motif of the abstraction, which acts simultaneously as a critique of what Haga Kristensen has often been quoted referring to as “the most modern form of kitsch”, as well as a symbol of the great anti-ideals of modern society: The ungraspable structures of consensus based representational government, the endless groping for information of rationality based thinking, as well as possibly the

siteless primordial communication soup called the internet, and certainly others yet to be defined. The abstractions are shown held up by figures heroically, hugged, clutched, secreted, found within sliced up, cross-sectioned sculptures incorporating painted images in the fresco technique. In a continuation of the application of the weaving technique, which is earlier in the period found hanging like clothing or very complicated body hair beneath or above the ceramic backed fresco paintings, it now finds application as giant passe-partouts or frames for pictures. Instead of tastefully hiding themselves and the struggles that went into their making like framing is expected to do, they enclose the pictures within webs of manual labour of uncertain purpose, connoting perhaps the industrial practice of sweatshops - cornerstones of commerce and thus exploitation of bodies since time immemorial; while also confronting the recent fashionableness of textile based art. Asking perhaps, the uncomfortable question of whether the aesthetics of victimization belies a more sinister exploitation. From here, we can also draw a connection to Haga Kristensen’s use of “Rosemaling”, a style of ornamentation developed in the artist’s country of birth, Norway. While it is now considered synonymous with the isolated Norwegian rural areas in which its development took place, and with time has been integrated into the national project of cultural ideas, it is originally an imported idea stemming from continental rococo style, brought to the country by the more internationally oriented bourgeoise in the 17th century. Its assumed synonymy with local culture and heritage the result of a slow, isolated perversion of the flowery patterns it originates from into an abstract visual language convention of ornamented C and S shapes, whose actual origins have been subsumed by the romanticizing idealizations of cultural protectionism.

What initially looks like Haga Kristensen nostalgically applying the ornaments of authenticity, something to hold on to in the face of the uncertainties of internationalism, becomes something else entirely: A display of how external representations of self will ultimately mock us with their origins, and with this betrayal initiate an even deeper form of auto-annihilation than that which they promised to keep at bay.

When seen together, these variations seem to indicate a deeper underlying theme for the period, one especially eloquently put by what must in this writer’s opinion be considered a key brown work: Période brune (Brown Period) #04 - a square, automaton-like figure holding up a pictorial representation of Haga Kristensen’s well known democracy lump. As evidenced by the gap between the increasing obsolescence of manual labor brought on by mankind’s unhinged pursuit of technological power and the ability of today’s society, in its self-confounding state, to deal with its own haphazard leaps of progress, the urgency of the insufficiencies of

the project of modernity are made painfully clear: Like the faceless automaton holding up the shapeless lump representing the so-called idea of democracy, or the enamoured abstraction-clutchers, the contemporary cultural project is so caught up in the thrilling procrastination of problem solving and a superficial mimesis of self-reflexivity to realize it is aimlessly shuffling itself about, into faceless obscurity.

Most remarkable of all however, is what can be termed the unifying superstructure of the period: Consisting of a reproduction and migration of all known brown period work, some seventy or more objects, into the decontextualizing sphere of digitized three-dimensional space, where they can effortlessly intermingle and combine to form one super-object devoid of physical qualities, existing only as image and potentiality. Picking up on the suggestive themes of propaganda, a well drilled regiment of objects marches unfettered through virtual non-space in an idealized immortalization of the impressive body of work known as the Periode Brune.

In this, the definitive expression of the Periode Brune, a great mass of objects brings into being the reality of the predicament looming over today’s society in brown tones: “Les Origines moqueses”, the mockery of the origins. But it is met not with despair or cynical indifference, not sarcasm – but rather with great optimism and positive endavour: “Sceptique du Doute” - skepticism towards the (non-) practice of doubting - the self-indulgent seeking of certainty where there is none to be had - made manifest through the simple but effective application of effort and principle. Haga Kristensen’s Periode Brune work is confounding, with its many twists, turns and returns. This is all the more reason to treat it with the same great attention to detail, urgency and seriousness with which it has come about, and to consider its implications with clarity as it enters history and becomes an undeniable fait accompli.

-Eirik Senje, 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

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

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

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

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

With kind support from
Office of Contemporary Art Norway & Arts Concil Norway

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

Origines moqueuses #02
Oil paint, tapestry
155x160cm
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

Origines moqueuses #01
Oil paint, tapestry
183x174cm
2017

Période brune (Brown Period) #06
Ceramics, fresco, plaster
99x72x40cm
2017

Origines moqueuses #01
Oil paint, tapestry
183x174cm
2017

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

Das Material interessiert Kunst #02
Ceramic, fresco
62x55x9cm 
2017

Das Material interessiert Kunst
Ceramic, fresco
61x55x9cm
2017

Profil prophète malade
Ceramics, fresco
44x36x21
2017

Scepticisme du doute #01
Ceramics, fresco
42x34x40cm
2017

Scepticisme du doute #01
Ceramics, fresco
42x34x40cm
2017

Scepticisme du doute #01
Ceramics, fresco
42x34x40cm
2017

Hidden Advocacy #05
Ceramics, fresco
45x34x23cm
2017

Hidden Advocacy #05
Ceramics, fresco
45x34x23cm
2017

Prophète malade 2017
Ceramics, fresco
46x40x44
2017

Prophète malade 2017
Ceramics, fresco
46x40x44
2017

Origines moqueuses #02
Oil paint, tapestry
155x160cm
2017

Scepticisme du doute #03
Ceramics, fresco
35x30x40cm
2017

Période brune (Brown Period) #08
fresco, plaster
87x74x51cm
2017

Période brune (Brown Period) #08
fresco, plaster
87x74x51cm
2017

Période brune (Brown Period) #05
Ceramics, fresco, plaster
97x61x56cm
2017

Période brune (Brown Period) #05
Ceramics, fresco, plaster
97x61x56cm
2017

Période brune (Brown Period) #04
Ceramics, fresco, plaster
87x60x52cm
2017

Période brune (Brown Period) #04
Ceramics, fresco, plaster
87x60x52cm
2017

Période brune (Brown Period) #04
Ceramics, fresco, plaster
87x60x52cm
2017

The Media
Ceramics, fresco, plaster
56x30x50cm
2017

Période brune (Brown Period) #06
Ceramics, fresco, plaster
99x72x40cm
2017

Période brune (Brown Period) #06
Ceramics, fresco, plaster
99x72x40cm
2017

Période brune (Brown Period) #06
Ceramics, fresco, plaster
99x72x40cm
2017

Période brune (Brown Period) #07
Ceramics, fresco, plaster
87x70x32cm
2017

Période brune (Brown Period) #07
Ceramics, fresco, plaster
87x70x32cm
2017

Période brune (Brown Period) #07
Ceramics, fresco, plaster
87x70x32cm
2017

Période brune (Brown Period) #07
Ceramics, fresco, plaster
87x70x32cm
2017

Family
Ceramics, fresco, tapestry
94x40x47cm
2017

Der Schlie§muskel funktioniert nicht mehr #68
Ceramic, fresco, jasmonite clay,
54x54x22 
2017

Der Schlie§muskel funktioniert nicht mehr #68
Ceramic, fresco, jasmonite clay,
54x54x22 
2017

Brown Tapestry Beneath Cracked Composition
Ceramic, fresco, tapestry
105x51cm 
2017

Scepticisme du doute #04
Ceramics, fresco, tapestry
167x66x7cm
2017

Heimat #03
Ceramics, fresco, tapestry
157x31x4cm
2017

Masters of Figuration
Ceramics, fresco, jasmonite
51x47x32cm
2017

Masters of Figuration
Ceramics, fresco, jasmonite
51x47x32cm
2017

Owl and Figure
Ceramics, fresco, jasmonite
44x31x16cm
2017

Owl and Figure
Ceramics, fresco, jasmonite
44x31x16cm
2017

Dealing Absence
Ceramics, fresco, jasmonite
32x30x22cm
2017

Dealing Absence
Ceramics, fresco, jasmonite
32x30x22cm
2017

Commissaire-priseur
Ceramics, fresco, jasmonite
45x54x18cm
2017

Commissaire-priseur
Ceramics, fresco, jasmonite
45x54x18cm
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

Abstraction hug #01
Spiritualization of Self-empowerment #04
Ceramics, fresco
48x47x3cm
2017

Origines moqueuses #01
Oil paint, tapestry
183x174cm
2017

Abstraction hug #02
Spiritualization of Self-empowerment #05
Ceramics, fresco
56x34x21cm
2017

Abstraction hug #02
Spiritualization of Self-empowerment #05
Ceramics, fresco
56x34x21cm
2017

Pérorer #03
Ceramic, fresco
50x30x17cm
2017

Pérorer #02
Ceramic, fresco
38x23x17cm
2017

Owl Bouquet
Acrylic paint, concrete,
aluminum, expanding foam
107x56x56cm
2017

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

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BRUINE PERIODE -
(Liegen en Opscheppen)
17.03.17 - 30.04.17 at 1646, The Hauge

Steinar Haga Kristensen´s exhibition at 1646 comes about as the result of a very brown time, and so it is called the Brown Period. The exhibition is put together of previously un-displayed work from this period. The work combines, ceramics, tapestry, oil paint and afffresco. During the opening reception Haga Kristensen and fellow artist Eirik Senje will perform their latest socio-imaginary performance play in 9 acts.

http://artviewer.org/steinar-haga-kristensen-at-1646/

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

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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
part of the groupe exhibition PASTORAL MYTHS at La-Loge, Bruxelles
18.04.16 - 26.06.16

PASTORAL MYTHS (curated by Anne-Claire Schmitz)
a group exhibition with Jean-Marie Appriou, Olga Balema, Daniel Dewar & Grégory Gicquel, Steinar Haga Kristensen, Jessica Warboys and Amelie von Wulffen
At least since a distance was established between landscape and early, flourishing cities men have con- tinuously coveted a fresh, innocent and bucolic escape so as to remember or imagine the time when they evolved in symbiosis with nature.
The pastoral emerged as a literary form during the 3rd century BC in Greece with the bucolic writings of Theocritus, Hesiod and Virgil, which depict a time when people lived together in harmony with nature. Although early pastoral poetry maintained contact with the working year and the real social conditions of country life, an idealising tone and mythical memory started rising alongside new tensions between land and labour. Pastoral literature praised natural beauty, innocence and simplicity from the viewpoint of the Hellenistic city, all the while essentially playing upon the contrast between the carefree pleasures of country life and the threat of loss or eviction due to trade and war. Over time, the common understanding of the pastoral has undergone significant transformations in the western world, be it through neoclassical painting, German Romanticism or post-industrial English litera- ture. For instance, during the 18th century nature and landscape were to become the theatre of romantic love in which shepherds, nymphs and farmers acted as lay figures entertaining aristocracy. A prime example is Marie-Antoinette's "Hameau de La Reine" at Versailles, where what were once considered the coun- try worker's activities became reduced to performed folkloric forms and gestures. Centuries later, while surpassing the boundaries of architecture and literature, the idea of the pastoral appears to be perpetu- ated in Eric Rohmer's nouvelle-vague cinema which oscillates from countryside to city, featuring scenes situated between spontaneity and display, hyper awareness and genuine innocence.
In today's globalised era our tradition in longing for an Arcadian retreat seems to have been disturbed. While our relationship to landscape is now informed by a new sense of environmental guilt, responsibil- ity, regression and progress, its reading has evolved towards a more conscious and more ambiguous understanding.
Pastoral Myths is a group exhibition featuring six artists that suggests a singular and twisted examination of pastoral aesthetics and ideas. The works in the show integrate style into a both embracing and critical relationship to environment, land and rurality. Next to a well-digested comprehension of what could be called the pastoral genre, the artists in the show develop a practice testifying to a physical, mythical and cultural understanding of landscape from their personal and local perspective.

With kind support from
Ambassade de Norvège en France &
Office of Contemporary Art Norway

Press:
http://www.contemporaryartdaily.com/2016/06/pastoral-myths-at-la-loge/
http://www.bruzz.be/en/expo/pastoral-myths-arcadia-revisited

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

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

(Details)
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

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

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

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

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STEINAR HAGA KRISTENSEN / DANIEL DEWAR & GRÉGORY GICQUEL /
JOS DE GRUYTER & HARALD THYS
FIGURATION 1996 – 2016
at Johan Berggren Gallery, Malmö
14.01.16 - 20.02.16

Owl Bouquet
Styrofoam, aluminum, acrylic paint, oil paint, concrete
101x65x65cm
2016

(LEFT)
Owl framed Angst Total
(Der Schlie§muskel funktioniert nicht mehr #65)
Jasmonite, sand, glasfiber, styrofoam, oil paint,
Diptych / 180x150x25cm each
2016

Prophète malade 2015
Glass mosaic
130x75x40cm
2015

JOS DE GRUYTER & HARALD THYS

DANIEL DEWAR & GRÉGORY GICQUEL

JOS DE GRUYTER & HARALD THYS

Gleaners
Styrofoam, Jasmonite, glasfiber, sand, pine wood, acrylic paint, shellac,
Size: variable
2016

Owl framed Angst Total
(Der Schlie§muskel funktioniert nicht mehr #65)
Jasmonite, sand, glasfiber, styrofoam, oil paint,
Diptych / 180x150x25cm each
2016

Gleaners
Styrofoam, Jasmonite, glasfiber, sand, pine wood, acrylic paint, shellac,
Size: variable
2016

Prophète malade 2015
Glass mosaic
130x75x40cm
2015

DANIEL DEWAR & GRÉGORY GICQUEL

DANIEL DEWAR & GRÉGORY GICQUEL

Owl framed Angst Total
(Der Schlie§muskel funktioniert nicht mehr #65)
Jasmonite, sand, glasfiber, styrofoam, oil paint,
Diptych / 180x150x25cm each
2016

Angst Total
55x46cm
Glass mosaic
2016

DANIEL DEWAR & GRÉGORY GICQUEL

Owl Bouquet
Styrofoam, aluminum, acrylic paint, oil paint, concrete
101x65x65cm
2016

Prophète malade 2015
Glass mosaic
130x75x40cm
2015

DANIEL DEWAR & GRÉGORY GICQUEL

DANIEL DEWAR & GRÉGORY GICQUEL

JOS DE GRUYTER & HARALD THYS

DANIEL DEWAR & GRÉGORY GICQUEL

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Entourage du prophète malade
Les œuvres de Kristian Ø. Dahl
contemplent les œuvres de Steinar Haga Kristensen
at Tonus, Paris
24.10.15 - 15.11.15

With kind support from
Ambassade de Norvège en France &
Office of Contemporary Art Norway

http://www.contemporaryartdaily.com/2015/11/steinar-haga-kristensen-kristian-o-dahl-at-tonus/

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

(LEFT)
Entourage du Prophète malade (idielle betrak- ninger)
Anaglyphic 3D video
Dimensions: 1920x1080
Duration: 12:26
2015

The brother of all shadows
Plaster, metal wire, wood, garments,
39x30x153cm
2015
Kristian Ø. Dahl

Two sides of the same issue
Plaster, metal wire, wood,
39x30x152cm
2015
Kristian Ø. Dahl

Konsensusbilde / Consensus Image
Cibachromes,
10"x8"
2015

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Silence in the age of the rivers
Plaster, metal wire, wood, garments
39x30x153cm
2015
Kristian Ø. Dahl

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Untitled (Ballast)
Aquarelle
28x43cm
2014

Du prophète malade 2015
Mosaic table,
130x75x40cm
2015

Du prophète malade 2015
Mosaic table,
130x75x40cm
2015

How to lead a friend away from an empty circle
Plaster, metal wire, wood, garments
39x30x153cm
2015 Kristian Ø. Dahl

How to lead a friend away from an empty circle
Plaster, metal wire, wood, garments
39x30x153cm
2015 Kristian Ø. Dahl

How to lead a friend away from an empty circle
Plaster, metal wire, wood, garments
39x30x153cm
2015 Kristian Ø. Dahl

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Tendenser i Brunt #01 (betrakterskap)
Watercolour on paper, epoxy, wooden frame, 100x70cm
2014

Reflections in an empty room
Plaster, metal wire, wood, garments
39x30x153cm
2015
Kristian Ø. Dahl

Du prophète malade 2015
Mosaic table,
130x75x40cm
2015

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

My friend has left and the bill is about to be paid
Plaster, metal wire, wood, garments
39x30x153cm
2015 Kristian Ø. Dahl

My friend has left and the bill is about to be paid
Plaster, metal wire, wood, garments
39x30x153cm
2015 Kristian Ø. Dahl

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

Tired protester, Neo-situationist #03 & #02
Wood, clay, acrylics, caramics
2009 & 2013

Entourage du prophète malade -
Les œuvres de Kristian Ø. Dahl contemplent
les œuvres de Steinar Haga Kristensen
Installation shot, Tonus,

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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)
at Den Frie as part of TRUST

The exhibition TRUST is about the belief in collectivity and trust between people. The exhibition addresses the premises on which art and the art world operate today, as well as focusing on the relationship between the individual artist and the art institution. TRUST is curated by the Belgian curator Sonia Dermience, who as part of her curatorial strategy has given the five art venues temporary names to challenge their usual profiles.

For the duration of the exhibition, each of the five art venues has a symbolic name referring to their role and history. Under the name The Palace, Kunsthal Charlottenborg presents works that collect, order and process material from the world around us using aesthetic registers. Nikolaj Kunsthal–Copenhagen Contemporary Art Centre has been given the name The Temple. Here three art collectives will transform the gallery into three large-scale installations exploring different aspects of contemporary forms of worship. The art venue GL STRAND has been given the name The Salon. The exhibition in this former bourgeois home stages the institution’s history as a place for debate and dialogue, incorporating the decorative, aesthetic and challenging in an apparently dysfunctional family framework. Under the name The Exchange, Overgaden Institute of Contemporary Art brings design, video, printed matter and performance together to create an exchange between artistic practices. Den Frie Centre of Contemporary Art has been given the name The Studio, and presents installations where the creative process itself is both visible and key to the completed works. As well as the exhibitions in the art venues, there will be small TRUST satellites throughout Copenhagen.

press release
http://www.e-flux.com/announcements/trust-at-five-venues/
http://copenhagenartfestival2015.dk/
press
http://www.kunstkritikk.no/kritikk/objekterne-taler-ud/
http://www.kunsten.nu/artikler/artikel.php?trust+sonia+dermience
http://politiken.dk/
http://www.arterritory.com/
Other
http://artviewer.org/trust-at-copenhagen-art-festival/

The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
Installation shot, Den Frie

With kind support from
Office of Contemporary Art Norway

Installation shot, Den Frie

Installation shot, Den Frie

Installation shot, Den Frie

Installation shot, Den Frie

The Fundamental par of any Act 01
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, elk hair, pigments, pine wood framing
64 x 52cm
2015

The Fundamental par of any Act 02
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, elk hair, pigments, pine wood framing
50 x 73cm
2015

The Fundamental par of any Act 04
Fresco: wood, metal grid, limestone, sand, dolomite, straw, human hair, pigments, aluminuim frame
91 x 81cm
2015

The Fundamental par of any Act 05
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, elk hair, pigments, aluminuim frame
107 x 91cm
2015

The Fundamental par of any Act 07
Fresco: wood, metal grid, limestone, sand, dolomite, straw,
elk hair, pigments, aluminuim frame
91 x 107cm
2015

The Fundamental par of any Act 08
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, horse hair, pigments, aluminuim frame
121 x 101cm
2015

The Fundamental par of any Act 09
Fresco: wood, metal grid, limestone, sand, dolomite, straw,
human hair, horse hair, pigments, aluminuim frame
101x 121cm
2015

The Fundamental par of any Act 10
Fresco: wood, metal grid, limestone, sand, dolomite, straw, human hair, horse hair, pigments, aluminuim frame
81 x 91cm
2015

The Fundamental par of any Act 03
Fresco: wood, metal grid, limestone,
sand, dolomite, straw, horse hair,
pigments, aluminuim frame
91 x 101cm
2015

The Fundamental par of any Act 12
Fresco: wood, metal grid, limestone, sand, dolomite, straw, human hair, pigments, oke frame
75cm x 52,5cm
2015

The Fundamental par of any Act 11
Fresco: wood, metal grid, limestone, sand,dolomite, straw, human hair, pigments, oke frame
75,5 x 53,5cm
2015

The Fundamental par of any Act 06
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, human hair, pigments, aluminuim frame
101 x 91cm
2015

The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility (Consensus Image)
at Soft City, Inter Arts Center in Malmø

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

Consensus Image
at Oslo City Hall

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.

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)

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The Fundamental Part of Any Act
at Entreé
23.01.15 - 22.02.15

Entrée opens this season with 'The Fundamental Part of Any Act' by Steinar Haga Kristensen. His first solo exhibition in Bergen consists of an adaptation of his latest opera 'The Loneliness of the Index Finger (Part II): The Specialization of Sensibility in the Raw Conceptual State into Stabilized Theatrical Sensibility', into film. This opera was performed last September in relation to his ongoing monumental fresco in Oslo Town Hall. The libretto revolves around the conflict between the artist, the power of the state, and the people, by using the fresco as both backdrop and critical role in the narrative (NY Times, 24.9.14). The composition reappropriated the City Hall’s 49-bell carillon, and could be heard throughout the city center while the opera took place for a limited amount of audience inside.

The piece is 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 performed by carilloniste Laura Marie Rueslåtten Olseng and percussionist Håkon Stene. The opera was part of 'Soft City' performance festival presented by Kunsthall Oslo, and follows previous 'The Loneliness of the Index Finger (Part I) at UKS, Oslo in 2009.

Steinar Haga Kristensen (b.1980, Oslo, Norway) lives and works in Oslo. He has exhibited at The Contemporary Art Centre, Vilnius, Lithuania; Etablissement d’en face projects, Brussels, Belgium; Johan Berggren Gallery, Malmö, Sweden; WieLs Contemporary Art Centre, Brussels; Kunsthall Oslo; Witte de With, Rotterdam, Netherlands; Museum of Contemporary Art, Roskilde, Denmark; UKS, Oslo and Kunsthal Charlottenborg, Copenhagen, Denmark. He is educated from The National Academy of Art, Oslo, Akademie der Bildenden Künste, Wien and Sydney College of Art. Haga Kristensen is concurrently part of the exhibition 'Beyond G(l)aze' at KODE Art Museums of Bergen opening the same night.

____________________________________________________________________

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

(Video stills)
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
Video edit: Steinar Haga Kristensen
Best boy electric: Øyvind Aspen
Sound edit: Morten Nordbye Halvorsen
2015

(Video stills)
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
Formats: 3840x2160 & 1920x1080
Length: 48:12min
Video edit: Steinar Haga Kristensen
Best boy electric: Øyvind Aspen
Sound edit: Morten Nordbye Halvorsen
2015

Installation shot, Entreé, Bergen

Installation shot, Entreé, Bergen

Entrada
Fresco: wood, metal grid, limestone,
sand, dolomite, straw, elk and horse hair, pigments
Size: 39cm x 52,5cm
2015

Installation shot, Entreé, Bergen

Installation shot, Entreé, Bergen

Opening

Installation shot, Entreé, Bergen

Installation shot, Entreé, Bergen

Entrada
Fresco: wood, metal grid, limestone,
sand, dolomite, straw, elk and horse hair, pigments
Size: 39cm x 52,5cm
2015

The Fundamental Part of any Act
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, elk hair, pigments
Size: 63cm x 52cm
2015

Installation shot, Entreé, Bergen

The Fundamental Part of any Act
Fresco: wood, metal grid, limestone, sand,
dolomite, straw, elk hair, pigments
Size: 63cm x 52cm
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

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 will be 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 will be 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.
____________________________________________________________________

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

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/

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/

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Ballast
at CAC, Vilnius
Curator: Valentinas Klimašauskas
Opening:June 20th, 2014,

In the exhibition Ballast Steinar Haga Kristensen shows a selection of works produced in collaboration with Karen Eliot between 2006 and 2014. The method of their collaboration is characterized by their telepathic sensibility – a way of communication, which is possible by their use of telepathy, without apparent physical signals. Numerous paintings, sculptural work and other interventions will create imagery that is best described as gestalts of the aforementioned telepathic collaborations that seeks to scrutinize the force of similarity inherent in our redundantly exuberant modernity.

As backdrops for these works, Haga Kristensen has produced a number of large-scale banners – a roof to floor diptych measuring up to11 m in length. Consisting of 3D renderings documenting a prior instalment by the artist, the banners constitute a way of representation and investigation, which furthermore convey a utopian potential in regard to how an exhibit can be conceived – a sort of ghost-like view of one complex composition. A 3D video installation plays a central part in the exhibition, reflecting the artist’s histrionic enactment of creation and reception, suggesting a preclusion of the real audience or spectator by idealizing their involvement with the objects on display through an opaque and disorienting narrative.

The multiple artist identity Karen Eliot was developed in order to counter the male domination of the Neoist movement. Since then Eliot has been utilized to perform various radical artistic project. Influenced by English parapsychologist Rupert Sheldrake’s work, Eliot’s recent artistic practice is characterized by a telepathic sensibility. When at work she radiates a strong field intended for biological and metaphysical unification between brains and bodies. Eliot claims to demonstrate that – when experiencing strong fields of similarities – she is able to conduct and manipulate collective memory to such a degree that it consecrates evolutionary development in the human, or any brain...

Haga Kristensen’s montages contains diverse artistic gestures ranging from event-scores, sculpture and painting to video, performance and telepathic investigation. After publishing his “catalogue raisonné” – a dedication to Karen Eliot’s Retrospective – on the un-subjectified persona. Haga Kristensen has developedstaged theatrical readings of his assemblages. These ‘ideal readings’ devote to anuncanny preoccupation of the potentially communicative elements of the exhibits. Recently Haga Kristtensen has been working closely with Karen Eliot. He states: “I’m struck by Karen’s intelligence and creative sensibility, it has been a great privilege to collaborate with her again”.

http://www.contemporaryartdaily.com/2014/09/steinar-haga-kristensen-at-contemporary-art-centre-vilnius/

Section AA from architectural model - Tweemal door den Blinden
print on acryllic banner
490x1150cm
2012 - 1014

Section BB from architectural model - Tweemal door den Blinden
print on acryllic banner
490x1120cm
2012 - 1014

(LEFT)
Totaler Angst der Abstraktion #03
(Der Schlie§muskel funktioniert nicht mehr #64)
Jasmonite, styrofoam, acrylic paint, epoxy, aluminum and glasfiber,
Diptych / 190x245x70cm each
2014

Ballast - Der schließmuskel funktioniert nich mehr #66)
plaster, wood, glue, styrofoum
110x75x35cm
2011

Totaler Angst der Abstraktion #02
(Der Schlie§muskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum, glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

(DETAIL)
Caryatid 03
(Der Schlie§muskel funktioniert nicht mehr #65)
oil on canvas
Diptych / 128 x 197cm each
2010

Caryatid 03
(Der Schlie§muskel funktioniert nicht mehr #65)
oil on canvas
Diptych / 128 x 197cm each
2010

(DETAIL)
Totaler Angst der Abstraktion #02
(Der Schlie§muskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum, glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

(LEFT)
Tendenser i Brunt #04
watercolour on paper, epoxy, hair, canvas and aleminium
60x110cm
2014

(DETAIL)
Tendenser i Brunt #05
(Tired Protester / Alibi)
watercolour on paper, epoxy, canvas, rock, wood
and aleminium
100c60cm
2014

(RIGHT)
Totaler Angst der Abstraktion #03
(Der Schlie§muskel funktioniert nicht mehr #64)
Jasmonite, styrofoam, acrylic paint, epoxy, aluminum and glasfiber,
Diptych / 190x245x70cm each
2014

Totaler Angst der Abstraktion #03
(Der Schlie§muskel funktioniert nicht mehr #64)
Jasmonite, styrofoam, acrylic paint, epoxy, aluminum and glasfiber,
Diptych / 190x245x70cm each
2014

(DETAIL)
Totaler Angst der Abstraktion #03
(Der Schlie§muskel funktioniert nicht mehr #64)
Jasmonite, styrofoam, acrylic paint, epoxy, aluminum and glasfiber,
Diptych / 190x245x70cm each
2014

(LEFT)
Ballast - Der schließmuskel funktioniert nich mehr #66)
plaster, wood, glue, styrofoum
110x75x35cm
2011

Section AA from architectural model - Tweemal door den Blinden
print on acryllic banner
490 x 1150 cm
2012 - 1014

Defiant pose #03
mixed media
2009

Defiant pose #04
mixed media
2009

Totaler Angst der Abstraktion #01
(Der Schlie§muskel funktioniert nicht mehr #62)
Jasmonite, styrofoam, acrylic paint, epoxy, aluminum and glasfiber,
Diptych / 365x200x60cm each
2014

Basic relational actevisem #02
Hair, acrylic paint, Jasmonite,
2008

Scream
oil on canwas
50x35cm
1999-2000

(DETAIL)
Section AA from architectural model - Tweemal door den Blinden
print on acryllic banner
490 x 1150
2012 - 1014

(DETAIL)
Section AA from architectural model - Tweemal door den Blinden
print on acryllic banner
490 x 1150 cm
2012 - 1014

Tendenser i Brunt #01 (betrakterskap)
watercolour on paper, epoxy, wooden frame
100x70cm
2014

Bird
oil on canvas
size: 90 x 75 cm
1999

Tendenser i Brunt #03 (betrakterskap)
watercolour on paper, epoxy, wooden frame
65x105cm
2014

Tendenser i Brunt #02 (betrakterskap)
watercolour on paper, epoxy, wooden frame
65x120cm
2014

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press release

http://us5.campaign-archive1.com/?u=a02f660a0e510be62930ba518&id=64f2b2e625&e=[UNIQID]

press
http://www.artnews.lt/prielaidos-steinar-haga-kristensen-paroda-balastas-smc-24340?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+
Artnewslt+%28artnews.lt%29

Other
http://www.contemporaryartdaily.com/2014/09/steinar-haga-kristensen-at-contemporary-art-centre-vilnius/

http://www.arterritory.com/en/news/3774-photos_telepathy_of_steinar_haga_kristensen_and_karen_eliot_at_cac/

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

Opening of Ballast
at CAC, Vilnius

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Totaler Angst der Abstraktion #02
(Der Schließmuskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum, glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

Totaler Angst der Abstraktion #02
(Der Schließmuskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum, glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

Innstalled at Market, Liljevalchs konsthall, Stockholm, 2014

Totaler Angst der Abstraktion #02
(Der Schließmuskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum, glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

Innstalled in the groupe exhibition Second view at Johan Berggren Gallery 2014

Works by Yngve Holen, Allison Katz, Andrei Koschmieder, Steinar Haga Kristensen, Veit Laurent Kurz, Eric Sidner, Fredrik Værslev and Paula J Wilson.

press
http://www.omkonst.com/14-vold-stale.shtml

<<-----
Totaler Angst der Abstraktion #02
(Der Schließmuskel funktioniert nicht mehr #63)
Plaster, styrofoam, acrylic paint, epoxy, aluminum,
glasfiber, jute & plywood
Diptych / 300x215x60cm each
2014

Installation shot, Johan Berggren Gallery

The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

Innstalled in the groupe exhibition Social Goth at Scandinavian Institute,
83 Canal St.
#207 NY, USA

Social Goth
31.01.2014

works by Mike Kelly, Ulrik Heltoft, Michel Auder, Jeremy Blake, Jacob Boeskov, Lizzi Bougatsos, Alexandra Mir, Mijohn Ruperto, Michelle Grabner, Rirkritt Tirivanija, Steinar Haga Kristensen, Henrik Plenge Jacobsen, and Karen Blixen (Isak Dinesen)

Untitled Despair in Clay
Anaglyphic 3D Video
Dimensions: 1920 x 1080.
Duration: 04:25
2012

Innstalled in the groupe exhibition Urschleim at Fauna,
Borups Allé 31 st v.
2200 Copenhagen N
Denmark

Urschleim
29.11.2013 - 21.12.2013

Works by: David Douard (FR), Rachel Koolen (Nl), Lea Porsager (DK), Olga Balema (US/UA) Steinar Haga Kristensen (NO). Murals by anonymous children.

I have whirled with the earth at the dawning,
When the sky was a vaporous flame;
I have seen the dark universe yawning
Where the black planets roll without aim,
Where they roll in their horror unheeded,
Without knowledge or lustre or name.

' Nemesis'
- H.P. Lovecraft

A very long time ago Life struck down on our planet to make things jitter and squirm for its amusement. Actually it didn’t strike down as much as it crept along. Then blind Evolution set out on a random, slithering course bumping into stuff, taking detours, modifying, trying again. Reproduction, mutation, reproduction, mutation. But Evolution, it would seem, is a negligent and indifferent force caring neither for the body reproduced nor the body reproducing, only the act of reproduction itself. It is a manic and faulty photocopier.

Fauna

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The Spread Of Dilettantism 
at Johan Berggren Gallery
21.11.2013 - 21.12.2013

The Spread of Dilettantism is Steinar Haga Kristensen’s first solo-exhibition in Sweden and the second in a series of installations forming an ‘upholstered’ labyrinthine pavilion of large-scale wall carpets referencing earlier works by the artist. The first exhibition took place at Etablissement d'en face projects in Brussels, March 2013

Haga Kristensen´s installations and montages contain diverse artistic gestures, ranging from event-scores, sculpture, reliefs, and painting to video, performance and telepathic interventions. In the current show, wall carpets act as backdrops for a series of mannerist sculptural repetitions and form life-size interior scenes, staging a satirical collaboration between consumerist over-production and the dark forces of the id.

A video installation plays a central part in the exhibition, reflecting the artist´s histrionic enactment of creation and reception, suggesting a preclusion of the real audience or spectator by idealizing their involvement with the objects on display through an opaque and disorienting narrative. In this, Haga Kristensen seeks to unveil the positive lingual potentialities inherent in an exuberant modernity. By perverting contemporary superfluity and redundancy, on a poetic and satiric quest to localize today’s heroic embodiments.

Steinar Haga Kristensen (b.1980) lives and works in Oslo. He is educated at the National Academy of Art, Oslo, Akademie der bildenden Künste, Wien and Sydney College of Art. Haga Kristensen has been engaged in artistic production at Etablissement d'en face projects, Brussels, Belgium; WIELS Contemporary art centre, Brussels, Belgium; Kunsthall Oslo, Norway; Gallery Rod Bianco, Oslo, Norway; Witte de With, Rotterdam, the Netherlands; Museum of Contemporary Art, Roskilde, Denmark; UKS, Oslo, Norway; Kunsthal Charlottenborg, Copenhagen, Denmark; and Bergen Kunsthall Landmark, Bergen, Norway. Kristensen is also one of the founding members of the artist group D.O.R and he currently holds one of the Oslo Municipality Town Hall Residency Studios.

Angst Total (model variation)
Styrofoam, acrylics, epoxy
43x35x35cm
2013

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

Currently Untitled mannerist repetition #02
Styrofoam, acrylics, epoxy, wood, concrete
46x26x24cm x2
2013

The Spread of Dilettantism - Der Schließmuskel funktioniert nicht mehr #57 (Tidens krav)
Carpet
300x400cm
2013

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

Tired protester, Neo-situasjonist #03
Wood, clay, acrylics
24x52x30cm
2013

The Spread of Dilettantism #05
Carpet
370x500cm
2013

Brainchils Brainchild #01 (Karen and me)
Tape, ceramic, oil paint
76x9x9cm & 108x9x12cm
2011

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

The spread of Dilettantism #03
Carpet
300x600cm
2013

(Detail)
Figure Overcoming Abstraction
200x160x65cm
Styrofoam, acrylics, epoxy, wood, plaster
2013

(Front)
Figure Overcoming Abstraction
Styrofoam, acrylics,
epoxy, wood, plaster
200x160x65cm
2013

(Back)
The Spread of Dilettantism #01
Carpet
300x400cm
2013

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

(Back)
Krank Prophet 2013
2 paintings, Oil on canvas
185x143cm x2
2013

(Front)
Context
Wood, oil, paint, PVA
230x50x50cm
2009

(Detail)
Context
Wood, oil, paint, PVA
230x50x50cm
2009

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

(left)
Der Schließmuskel funktioniert nicht mehr #63
Styroform, acrylics, epoxy, PVA, pinewood, acrylics,
plaster, poplar wood, grassfire, plastics, sand
80x119x21cm
2013

The Spread Of Dilettantism 
Installation shot, Johan Berggren Gallery

Krank Prophet 2080-2089
Canvas,commission
Ten jute canvases, variable size
To be painted from 2080-2089
2013

Pissing man and pissing woman (model variation)
Styrofoam, acrylics, epoxy, metal 93x61x50cm 2013

Ballast - Der Schließmuskel funktioniert nicht
mehr #33 (Resonans)
Wood, epoxy, plaster, ceramics, jute
79x56x36cm
2011

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magazine

press release
http://us5.campaign-archive1.com/?u=a02f660a0e510be62930ba518&id=0aef74803a&e=6d73e261eb

http://www.johanberggren.com/wp-content/uploads/2013/08/Pressrelease-Steinar-Haga-Kristensen.pdf

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013
view video

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

(2D still from Anaglyphic 3D Video)
The Spread of Dilletantism #01 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 12:26
2013

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Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere krachten van het id en de sociaaleconomische perversie van de werkelijkheid
at Etablissement d'en face projects
09.03.2013 - 21.04.2013

With the exhibiton Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere krachten van het id en de sociaaleconomische perversie van de werkelijkheid (Two times through the Blind - exhibitions on the collaboration between the dark forces of the id and the social-economic perversion of the real), Etablissement d’en face presents Norwegian artists Steinar Haga Kristensen’s first solo-exhibition in Belgium.

Haga Kristensen´s installations and montages contain diverse artistic gestures, ranging from event-scores, sculpture and painting to video, performance and telepathic investigation. For this exhibition Haga Kristensen has created an installation that runs over the two floors of the gallery-space in the form of a domestic ‘upholstered’ labyrinthine pavilion. A series of large-scale wall carpets make up life-sized interior scene staging a satirical collaboration between consumerist over-production and the dark forces of the id. Shedding light to a digestive collapse in the modern body. Haga Kristensen will stage a theatrical reading of re-activated ‘old’ works from the period before he went to art-academy.

Steinar Haga Kristensen (b.1980) currently lives and works in Oslo, Norway. He studied at the National Academy of Art, Oslo, Akademie der Bildenden Künste, Wien and at Sydney College of Art. Haga Kristensen has recently been engaged in artistic production at Kunsthall Oslo, Oslo. CAC, Vilneus. WIELS, Brussels (Un-Scene II). Witte de With in Rotterdam. He is also one of the founding members of Gallery D.O.R. that was located in Brussels during his three years residence in Belgium.

(in the back in the image to the left))
Krank Prophet 2008, Krank Prophet 2003, Krank Prophet 2002, Krank Prophet,
Krank Prophet 2011, Krank Prophet 2009, Krank Prophet 2001-2010, Krank Prophet 2004,
Krank Prophet 2007-2011, Krank Prophet 2005, Krank Prophet 2010.
painting series
1999 -

Tweemaal door de Blinden 02# - hunted three
350x600cm
carpet
2013

Tweemaal door de Blinden 02# - hunted three
(detail)
350x600cm
carpet
2013

Despair in Clay #19 – Maskeholderen (the mask holder)
Ceramics
35x40x42cm
2012

Interdependence
Sculpture assemblage
Wax, husfix, spraypaint, acrylics, epoxy, wood & motor
2009 - (2013 variation)

(BACK) Tweemaal door de Blinden 01# - Der Schließmuskel
funktioniert nicht mehr 47#
Carpet
340x270cm
2013

Tweemaal door de Blinden 03#
acrylics, epoxy, glass
2013

Installation shot
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen
de duistere krachten van het id en de sociaaleconomische perversie
van de werkelijkheid

Despair in Clay 34# - Der Schließmuskel funktioniert nicht mehr 45#
Ceramics
45x65x20cm
2012

Tired protester, neo-situationist #02 (paper variation)
paper and PVC
2009

Untitled
oil on canvas
1999

Tweemaal door de Blinden 05# - Owl
400x280
carpet
2013

Installation shot
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere
krachten van het id en de sociaaleconomische perversie van de werkelijkheid

Tweemaal door de Blinden 05# - Owl
400x280
carpet
2013

Despair in Clay 06#
Ceramics
75c55cm
2012

Despair in Clay 05#
Ceramics
80x55cm
2012

Tweemaal door de Blinden 13# Der Kranke Prophet 2013
Carpet (based on Despair in Clay 21# - Der Kranke Prophet 2012)
400x320cm
2013

Installation shot
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de
duistere krachten van het id en de sociaaleconomische perversie
van de werkelijkheid

Tweemaal door de Blinden 12# - phantom view
3D video
04.23min
2013

Angst total
Oil on canvas
1999

OWL
Oil on paper in glass vitrine
28x20cm
1999

Tweemaal door de Blinden 06# - Angst total
(detail)
carpet
400x333
2013

Tweemaal door de Blinden 06# - Angst total
carpet
400x333
2013

Installation shot
Tweemaal door de Blinden, tentoonstellingen over
de samenwerking tussen de duistere krachten
van het id en de sociaaleconomische perversie
van de werkelijkheid

Jetzt
Chromed metal, ceramics, epoxy & wood
2009

Jetzt
(detail)
Chromed metal, ceramics, epoxy & wood
2009

Untitled
Various materials
2013

Nocturnal sight
Oil on canvas, oil on foam, tar, metal & wood
2009

Nocturnal sight
(detail)
Oil on canvas, oil on foam, tar, metal & wood
2009

Heroic bodies
Wood, oil, metal
2011

Tweemaal door de Blinden 11# - birds
Carpet
400x530
2013

Tweemaal door de Blinden 08# - birds
Oil on PVA on cardboard
2013

Tweemaal door de Blinden 11# - birds
(detail)
Carpet
400x530
2013

Tweemaal door de Blinden 09#
Gasoline tanks
2013

(the rear side of)
Tweemaal door de Blinden 11# - birds
Carpet
400x530
2013

Installation shot
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere
krachten van het id en de sociaaleconomische perversie van de werkelijkheid

Tweemaal door de Blinden 10# - fountains
Epoxy collage
2013

Ballast - Der Schließmuskel funktioniert nicht mehr 10# (arkitektur)
teggelsten, jern, aluminium, tre epoxy
30x55x35cm
2011

Installation shot
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere
krachten van het id en de sociaaleconomische perversie van de werkelijkheid

magazine
http://moussemagazine.it/steinar-haga-kristensen-edf/
http://www.contemporaryartdaily.com/2013/04/steinar-haga-kristensen-at-etablissement-den-face/
http://www.artspy.cn/html/news/8/8162.html

press release
http://oca.no/press/
http://us5.campaign-archive2.com/?u=a02f660a0e510be62930ba518&id=a7214afdba&e=83593088a1

Opening of
Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere krachten van het id en de sociaaleconomische perversie van de werkelijkheid
at Etablissement d'en face projects
08.03.2013

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With kind support from
Office of Contemporary Art Norway

and
Billedkunstnernes Vederlagsfonds Prosjektstøtte

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden #12 - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013
view video

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

(2D still from Anaglyphic 3D Video)
Tweemaal door de Blinden 12# - phantom view
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:45
2013

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen,
http://www.d-o-r.org

Contagonism-Versus-Neo-Miasmatism
Sculpture and action at, Kunsthal Charlottenborg, Copenhagen, Denmark
(As part of Tournament d’objet - a gestalt by Henrik Plenge Jakobsen)
Duration: 120:00min
2013

Press
http://www.kunsthalcharlottenborg.dk/library/documents/document/462382-Tournament_dobjet_press_release.pdf

Tournament d’objet - a gestalt by Henrik Plenge Jakobsen

With the Crusades as the primary source of inspiration,
Henrik Plenge Jakobsen will, together with a number of artists –
Pierre Bismuth (FR), Institutt for Degenerert Kunst (NO), Gæoudjiparl (FO), Rita Sobral Campos (PT), Jakob Boeskov (DK), Susanne M. Winterling (DE), D.O.R. (NO), Karl Larsson (SE) Constance Tenvik (NO) and Rosforth & Rosforth (DK) – be performing a ten-day experiment focusing on the artistic creative process through objects and actionsin the courtyard at Kunsthal Charlottenborg.

The atmosphere in Tournament d’objet is somewhere between joviality and perdition: a scene from the aftermath of a crusaders' raid following defeat, a camp in a distant wilderness, in limbo, dejected, powerless, and without an impending goal. Despite an atmosphere of defeat, the knights continue their contests and jousts. In the meantime, the impending Black Death is lurking in the shape of a plague doctor.

The title, Tournament d’objet, is a combination of the English ’tournament’ and the French ’objet’ – terms from two language areas occupying central roles in the world of chivalry. Besides the confusion of languages, ’Tournament d’objet’ also creates a confusion of terms, since ’détournement de l’objet’ is often associated with the concept of readymades, ’found objects’ exhibited as art. Adding to this, ’détournement’ was a central situationist concept in the 1950s.

In order to accentuate the special mediaeval atmosphere, Plenge Jakobsen has engaged and directed the role-play group, Rollespilsakademiet, who will frequently appear in mediaeval costumes, stage knightly battles in the courtyard of Charlottenborg together with more intimate exploits such as palm - reading. There will also be a fighting arena for children.

Tournament d’objet can be viewed as a kind of hybrid, a lengthy course of action drawing on central art historical references and experience stated by the Fluxus - movement, Social Plastik and the Viennese Actionism, for example. The invited artists were specially selected by Henrik Plenge Jakobsen for the purpose of creating this gesamtkunstwerk evolving during the period until 30 June.

The gestalt will evolve day by day through a large number of artistic actions and performances and the decoration of Charlottenborg 'scourtyard and architectural framework with banners, signs, tents, living animals, and objects.

The gestalt will commence at summer solstice, at which point the first events will unfold. The experiment will continue for the next 10 days and nights, in da yl ight and by moonlight where pro - and contra - actions will be unfoldingconcurrently with a challenging and 'tourning' of the objects.

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Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
at Sandefjord kunstforening, Sandefjord kunstforenings artprize exhibition.
2013

Kristensen develops his strategy through processes of perversion, repetition, fiction, narration and orchestration, all of which constantly modify and thwart the position, truth and status of the artwork. Hence the creation of what he calls “event scores,” that is, scripts or sets of instructions that activate and direct the life of his objects during performances, and hence also the characters he invents to pervert his own work. The Trolle Pavillon der verdorbene Historismus Kontext Fetischmus und der disfunktionale Schlißmuskel der Kranke Prophet takes form of a domestic pavilion which Haga Kristensen gathers many of his works – whether old, altered or new. Among these is Pissing Man and Pissing Woman, which he first painted in 1999, then painted over in 2001, when he started art school, and which, in 2009, he tried to restore to its youthful original, to no avail. The painting is be restored by a professional over the course of the show as a performance directed by the artist and documented in a 3D film.

http://www.kunstforum.as/2013/03/kunstpris-til-steinar-haga-kristensen/
http://www.kunstkritikk.no/nyheter/nyetablert-pris-til-steinar-haga-kristensen/
http://www.norskekunstforeninger.no/?pArticleId=28250&pArticleCollectionId=238

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Installation shot Sandefjord kunstforening
2013

Pissing Man and Pissing Woman (Latex version)
Latex, acrylics
450x350cm
2012 - 2013

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Installation shot Sandefjord kunstforening
2013

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet
Installation detail
2013

(FOME LEFT)
Ballast - Der Schließmuskel funktioniert
nicht mehr 12# (forflytning, død og repetisjon)
antilopehorn, silketrå
2011

Birds
Oil on Canvas
1999

Ballast - Der Schließmuskel funktioniert
nicht mehr 20# (apeskin og aluminium) apeskin and aluminium
2011

Pissing Man and Pissing Woman (Latex version)
Latex, acrylics
450x350cm
2012 - 2013

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Installation shot Sandefjord kunstforening
2013

Trophy to the last contextrelativeist
Oil on PVA on cardboard, ceramics, wood & bronze
2009

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Installation shot Sandefjord kunstforening
2013

Despair in Clay #10
Ceramics
2012

(LEFT) Ballast - Der Schließmuskel funktioniert nicht mehr 19#
(monochromes and Trolls)
Photomontage
2010

(RIGHT) Ballast - Der Schließmuskel funktioniert nicht mehr 50# (moons)
oil and wax
2010

(LEFT) Ballast - Der Schließmuskel funktioniert nicht mehr 21# (gift to the queen)
Photomontage
2010

(SECOND LEFT) Ballast - Der Schließmuskel funktioniert nicht mehr 09# (Gallery planka)
Photomontage
2009

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Installation shot Sandefjord kunstforening
2013

Restoration of Pissing Man and Pissing Woman
Performed with the aid of Claire Dupuy,
professional in conservation and restoration of artworks, specialised in paintings.
2013

Pissing Man and Pissing Woman (Latex version)
Latex, acrylics
450x350cm
2012 - 2013

Pissing Man and Pissing Woman
Painting
Oil on canvas
42x56cm
1999

(bottom left)
Picture beliver and his work
Clay, mahogany, cardboard,
PVA, acrylics,
oil paint & epoxy
90x45x45cm
2008

(topp left)
New abstraction before Obama
Oil on PVA on cardboard
2008

(topp Right)
New abstraction after Obama
Oil on PVA on cardboard
2008

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(2D still from Anaglyphic 3D Video)
Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #02
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 05:52
2013

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Contributions to the group exhibition

Footnotes. Every Artwork as a Different Entry to the Same Show
15.02.2013 - 17.03.2013
at CAC, Contemporary Art Centre, Vilnius, Lituania.
Curator: Valentinas Klimašauskas
Opening: Thursday, 15.02.2013, 18:00

An exhibition and a series of meetings with Kristian Øverland Dahl (NO), Morten Norbye Halvorsen (NO), Karl Holmqvist (SE), Steinar Haga Kristensen (NO), Mikko Kuorinki (FI), Jacopo Miliani (IT), Ieva Misevičiūtė (LT), Olof Olsson (DK), Michael Portnoy (USA), Gabriele De Santis (IT), Triin Tamm (EE) and others.

Special events:
“Red Alert!”: a talk show by Olof Olsson:
Friday, 8 February, 19:00
Karl Holmqvist reading his new book “K”:
Sunday, March 17, 18:00

With the support of Nordic Culture Point

Model for a Dream (2012) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

Model for a Dream (2012) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

Model for a Dream (2012) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

Spectator (2010) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

Spectator (2010) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

Spectator (2010) by Kristian Øverland Dahl
Action and Sculpture
Performed and installed by Kristian Øverland Dahl according to event score
2013

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen,
http://www.d-o-r.org

Curators Courage -
From Processology to Neo-Relationalism
Performce at Performance View,
Le Quartier, Centre d’art contemporain, Quimper, France
curated by Label hypothèse. Courtesy Label hypothèse.
Duration: 29:44min
2012

With kind support from Office of Contemporary Art Norway

Curators Courage -
From Processology to Neo-Relationalism
Performce at performance view, Le Quartier, Centre d’art contemporain, Quimper, France
curated by Label hypothèse. Courtesy Label hypothèse.
Duration: 29:44min
2012

Curators Courage -
From Processology to Neo-Relationalism
(Mother Courage)
sculpture
2012

D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen,
http://www.d-o-r.org

Blink med Kanon
at Kristiansand Kunsthall as part of Game of life
curated by Jan Freuchen
01.09.2012

The work marks the opening of Kristiansand Kunsthal,
Kristiansand, Norway
Thanks to Eva Hilland and Jan Freuchen.

Exhibition catalog: Game of life. Etter rutenettet
Texts by Peter Amdam, Martin Braathen, Pål Gitmark Eriksen, Jan Freuchen, Nicola Louise Markhus, Ole Robert Sunde, Sigurd Tenningen

critique
http://www.kunstkritikk.no/kritikk/kanonapning-i-kristiansand/

Blink med Kanon
Inauguration speech, action and sculpture
Duration: 13.00min
2012

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Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
at WIELS as part of Un-Scene II curated by
Elena Filipovic & Anne-Claire Schmitz
2012

Under the guise of a fallen prophet or degenerate artist, Steinar Haga Kristensen has produced a pointed and pluri-form body of work in which the artistic styles that have marked the twentiethcentury are put on stage like so many characters of a fictive art history. Conceptual, contextual, figurative, abstract, expressionist or folkloric art all play bit parts, but never quite emerge triumphant. Informing the work is not rejection or denial, but a position that tries to flee any and all artistic or historic authority that might affix a meaning to something once and for all; in the process, art’s cult of progress and evolution are undermined. Underwriting the Norwegian artist’s approach is both a resistance to using reference as a pedigree and to the contextual dependence that seem today to frequently replace the dynamism of the avant-gardes.

Kristensen develops his strategy through processes of perversion, repetition, fiction, narration and orchestration, all of which constantly modify and thwart the position, truth and status of the artwork. Hence the creation of what he calls “event scores,” that is, scripts or sets of instructions that activate and direct the life of his objects during performances, and hence also the characters he invents to pervert his own work. For Un-Scene II, Kristensen has developed an installation in the form of a domestic pavilion within and around which he gathers many of his works – whether old, altered or new. Among these is Pissing Man and Pissing Woman, which he first painted in 1999, then painted over in 2001, when he started art school, and which, in 2009, he tried to restore to its youthful original, to no avail. The painting will be restored by a professional at WIELS over the course of the show as a performance directed by the artist and documented in a 3D film.

text by Anne-Claire Schmitz

Pissing Man and Pissing Woman (Latex version)
Latex, acrylics
450x350cm
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

Restoration of Pissing Man and Pissing Woman
Performed with the aid of Claire Dupuy,
professional in conservation and restoration of artworks, specialised in paintings.
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation detail
2012

(rear side)
Pissing Man and Pissing Woman (Latex version)
Latex, acrylics
450x350 cm
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation detail
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

Trophy to the last contextrelativeist
Oil on PVA on cardboard, ceramics, wood & bronze
2009

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Installation shot Wiels
2012

(left)
New abstraction before Obama
Oil on PVA on cardboard
2008

(Right)
New abstraction after Obama
Oil on PVA on cardboard
2008

Repetition of repetition of repetition
wood, tape, plaster, bone, oil & cardboard
2009

(left)
Phantom view
Photomontage
2008

(right)
Ballast - Der Schließmuskel funktioniert nicht mehr 19# (monochromes and Trolls)
Photomontage
2010

PICTURE BELIEVER AND HIS WORK
Clay, mahogany, cardboard, PVA,
acrylics, oil paint & epoxy
90x45x45cm
2008

(Topp)
Ballast - Der Schließmuskel funktioniert nicht mehr #09 (Gallery planka)
Photomontage
2009

(Bottom)
Ballast - Der Schließmuskel funktioniert nicht mehr #21 (gift to the queen)
Photomontage
2010

(From Left)

Ballast - Der Schließmuskel funktioniert nicht mehr #12 (forflytning, død og repetisjon)
antilopehorn, silketrå
2011

Angst Total
Oil on Canvas
1999

Ballast - Der Schließmuskel funktioniert nicht mehr #20 (apeskin og aluminium)
apeskin and aluminium
2011

Despair in Clay #10
Ceramics
2012

Pissing Man and Pissing Woman
Painting
Oil on canvas
42x56cm
1999

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critique
http://artfagcity.me/article.php?id=112
http://welcometolesalon.be/?journal=Photo_reportages&id=39
http://www.kunstbeeld.nl/nl/nieuws/19105/un-scene-ii-wiels.html
http://www.dromemagazine.com/un-scene-ii-wiels-summer-show/

LP Un-Scene II
http://www.mottodistribution.com/site/?p=23943

(2D still from Anaglyphic 3D Video)
Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet #01
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 07:13
2012
view video

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Opening of Un-Scene II at Wiels
21.06.2012
Photography: Nicolas Dandois

Over wiev
Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet

Opening of Un-Scene II at Wiels
21.06.2012
Photography: Nicolas Dandois

Over wiev
Trolle Pavillon der verdorbene Historismus Kontext Fetischmus
und der disfunktionale Schlißmuskel der Kranke Prophet

Opening of Un-Scene II at Wiels
21.06.2012
Photography: Nicolas Dandois

Restoration of Pissing Man and Pissing Woman
Performed with the aid of Claire Dupuy, professional in conservation and restoration of artworks, specialised in paintings.

Opening of Un-Scene II at Wiels
21.06.2012
Photography: Nicolas Dandois

Restoration of Pissing Man and Pissing Woman
Performed with the aid of Claire Dupuy, professional in conservation and restoration of artworks, specialised in paintings.

With kind support from Office of Contemporary Art Norway

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Fortvilelser i leire (Despair in Clay)
at Kunsthall Oslo, Oslo, Norway,
as part of the exhibition series
I don't see the sea from where I live - The Oslo Project.
Curated by Per Gunnar Eeg-Tverbakk, Elisabeth Byre and Will Bradley
2012

Steinar Haga Kristensen's exhibition Fortvilelser i leire (Despair in Clay) centres on the manipulation of a mass of raw clay, excavated from the very foundations of Oslo. Turning the geology of the city upside-down, and the historical use of local clay as a building material inside-out, Kristensen has sculpted a life-sized interior scene and a series of large-scale tableaus which stage a satirical collaboration between consumerist over-production and the dark forces of the id. A film, shot in digital 3d, further explores the artist's relationship with this very particular raw material.

Steinar Haga Kristensen (b.1980, in Oslo, Norway, lives and works in Brussels, Belgium) studied at the National Academy of Art, Oslo, Akademie der Bildenden Künste, Wien and at Sydney College of Art. He is also one of the founding members of the artist group D.O.R. whose most recent works include the ongoing performance of Gallery D.O.R. in Brussels. Haga Kristensen has been engaged in artistic production at Etablissement d'en face projects, Brussels; Gallery Rod Bianco, Oslo; The Danish Pavilion at the 54th International Art Biennial in Venice; Witte de With in Rotterdam; Dortmund Bodega in Oslo; Gallery Niklas Belenius in Stockholm; the Museum of Contemporary Art in Roskilde; UKS, Oslo; Landmark, Bergen Kunsthall; and Gallery D.O.R. in Brussels.  

Fortvilelser i leire is the third project in the series I don't see the sea from where I live - The Oslo Project, which runs from March to October 2012.

critique
http://www.kunstforum.as/2012/05/lovsang-til-leire/
http://www.nrk.no/kultur-og-underholdning/1.8122974
http://www.kunstkritikk.no/kritikk/av-leire-er-du-kommet/
http://www.kunstkritikk.no/artikler/15-december-pernille-albrethsen/

Despair in Clay 12#
Ceramics, Concrete & Aluminum
235x310x15cm
2012

(2D still from Anaglyphic 3D Video)
Untitled Despair in Clay
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:25
2012
view video

Despair in Clay
Installation shot Kunsthall Oslo
2012

(2D still from Anaglyphic 3D Video)
Untitled Despair in Clay
Anaglyphic 3D video
Dimensions: 1920 x 1080
Duration: 04:25
2012

Despair in Clay
Installation shot Kunsthall Oslo
2012

Despair in Clay 05# and Despair in Clay 06#
Ceramics
80x55cm and 75c55cm
2012

Despair in Clay 14#
Ceramics, Concrete & Aluminum
300x260X15cm
2012

Despair in Clay 13#
Ceramics
30x60X55cm
2012

Despair in Clay
Installation shot Kunsthall Oslo
2012

Despair in Clay 01#
Ceramics
50x40X40cm
2012

Despair in Clay 11#
Ceramics
90x40x55cm
2012

Despair in Clay
Installation shot Kunsthall Oslo
2012

Despair in Clay 08#
Ceramics
100x45x25cm
2012

Despair in Clay 22# - Politisk Oppmåling 01#
Ceramics
87x75x10cm
2012

Despair in Clay
Installation shot Kunsthall Oslo
2012

(left)
Despair in Clay 24# - Politisk Oppmåling 04#
Ceramics
87x75x10cm
2012

(right)
Despair in Clay 24# - Politisk Oppmåling 05#
Ceramics
86x55x10cm
2012

Despair in Clay 24# - Politisk Oppmåling 03#
Ceramics
40x57x10cm
2012

Despair in Clay
Installation shot Kunsthall Oslo
2012

Despair in Clay 32# - Der Schließmuskel funktioniert nicht mehr 43
Ceramics
40x60x40cm
2012

Despair in Clay 31# - Der Schließmuskel funktioniert nicht mehr 42#
Ceramics
35x58x5cm
2012

Despair in Clay 32# - Der Schließmuskel funktioniert nicht mehr 43#
Ceramics
40x58x7cm
2012

Despair in Clay 34# - Der Schließmuskel funktioniert nicht mehr 45#
Ceramics
45x65x20cm
2012

Despair in Clay 33# - Der Schließmuskel funktioniert nicht mehr 44#
Ceramics
40x65x3cm
2012

Despair in Clay 21# - Der Kranke Prophet 2012
Ceramics
95x62x4cm
2012

Despair in Clay 20#
Ceramics
30x70x50cm
2012

Despair in Clay 03# and Despair in Clay 04#
Ceramics
70x25cm and 40c30cm
2012

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scroll ----->>	Despair in Clay Opening Kunsthall Oslo 2012
scroll ----->>	Despair in Clay Opening Kunsthall Oslo 2012

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Celluloid Brushes:
An Anthology of the Filmic Perception of the Artist from 1267 till today
A Project by Etablissement d’en Face, Brussels
film screenings and a collection of posters commissioned to artists.

25.03 - 23.04.2011, Etablissement d'en face projects, Brussels
01.02 - 05.02.2012, Witte de With, Rotterdam
29.06 – 28.07.2012, Isabella Bortolozzi Galerie, Berlin
03-09 - Ludlow 38, New York

Film posters by:
Saâdane Afif, Abel Auer, Thomas Bayrle, James Beckett, Aline Bouvy & John Gillis, Daniel Bozhkov, Sascha Braunig, Wolfgang Breuer, Marco Bruzzone, Ben Cain, Michael Callies, David Catherall, François Curlet, Keren Cytter, Koenraad Dedobbeleer, Jos de Gruyter, Donuts, Jana Euler, David Evrard, Loretta Fahrenholz, Michael François, Olivier Foulon, Rainer Ganahl, Patrice Gaillard & Claude, Kendell Geers, Manuel Gnam, Mai Hofstad Gunnes, Karl Holmqvist, Nina Könnemann, Silvia Kolbowski, Steinar Haga Kristensen, Franciska Lambrechts, Doris Lasch, Hans Friedrich Lissman, Gareth Long, Hans-Christian Lotz, Mathieu Malouf, Valérie Mannaerts, Gloria Maximo, Sophie Nys, Jurgen Ots, Benoit Platéus, Sam Pulitzer, Boris Rebetez, Jimmy Robert, Carissa Rodriguez, Anne Speier, Tobias Spichtig & Laura Koerfer, Robert Suermondt, Derek Sullivan, Megan Francis Sullivan, Zin Taylor, Erik Thys, Robin Vanbesien, Michael Van Den Abeele, Richard Venlet, Bernard Voita & Mitja Tusek, Boy Vereecken, Gert Verhoeven, Pieter Vermeersch, Danh Vo, Leen Voet, Peter Wächtler, Michael White, Stefan Wilke, Stephen Wilks, Barbara Woutermartens, B. Wurtz

Celluloid Brushes at Galerie Isabella Bortolozzi, Berlin

Celluloid Brushes at MINI/Goethe-Institut Curatorial Residencies Ludlow 38, New York

critique
http://www.vogue.de/kultur/kultur-news/ausstellung-das-treffen-der-giganten-eine-filmische-reise-durch-die-kunstgeschichte

press
http://www.contemporaryartdaily.com/2013/09/celluloid-brushes-at-ludlow-38/_mg_0159-09062013/

Celluloid Brushes at Etablissement d'en face, Brussels

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No title
Collaboration between Lars Brekke and Steinar Haga Kristensen
HD Video
2011

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Harpefoss Spelet 2011
Performed by Karen Elliot og Steinar Haga Kristensen
at harpefoss hotel in Gudbransdalen, Norway
Duration 12:00min
Photo documentation: Anders Valde

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org

Collection of Centers – good vs. bad models of collaboration
at Osloo - A Public Place in Venice by FOS, part of:
SPEECH MATTERS at The Danish Pavilion
54th International Art Exhibition
la Biennale di Venezia
2011
www.danish-pavilion.org
download Osloo program

collection of centers - good vs. bad models of collaboration
Discussion on the confines of reason under the neo-relational regime. Following the debate D.O.R. also perform a set of significant actions.

Panel: author Sindy Barbera and curator Veary Tall moderated by art historian Carsten Hödle .
Duration: 32:04min

With kind support from Gallery D.O.R. and
Office of Contemporary Art Norway

critique
http://www.kunstkritikk.no/kritikk/pa-seminar-i-venezia/

Collection of Centers – good vs. bad models of collaboration
Panel discussion
at Osloo - A Public Place in Venice by FOS, part of:
SPEECH MATTERS at The Danish Pavilion
54th International Art Exhibition
la Biennale di Venezia
Duration: 32:04min
2011

Sindy Barbera

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Ballast - Der schließmuskel funktioniert nich mehr #35
Wood, epoxy, ceramics, horns, iron wool, plaster, oil
140x75x40cm
2011

Photo documentation: Thomas Tveter

Ballast - Two new exhibitions
Steinar Haga Kristensen & Karen Elliot
Kunstnerforbundet
Oslo
2011

Ballast - Two new exhibitions is a collaborative work between artists Steinar Haga Kristensen and Karen Elliot

Dance performance 19.00
Dancers: Siri Jøtvedt abd Gisle Hass
Choreography and Telepathic transcendence: Karen Elliot & Steinar Haga Kristensen

“Combining Boris Groys´s notion of difference beyond difference and Sheldrake´s concept of morphic resonancewe might catch a glimpsea new heroic art. A heroism of similarity”.1

Kirkegaard states that the figure of Jesus Christ indeed looked like any other ordinary human being at that historical time. And that Christianity is based on the impossibility to recognize Christ from God – the impossibility to recognize Christ as difference. Further this implies that Christ is really new and not merely different – And that Christianity is a manifestation of difference beyond difference. We can then say that Duchamp´s Fountain is a kind of Christ among things – because here we are also dealing with the difference beyond difference – but here the difference between the artwork and the ordinary, profane object. Accordingly, the art of the readymade is a kind if Christianity of the art world. We put Christ and the Fountain in the context of the divine without recognizing them as divine – they are the same – but yet genuinely new.

At Kunstnerforbundet, Karen Elliot and Steinar Haga Kristensen, will attempt to connect Boris Groys´sidea of the difference beyond difference to Rupert Sheldrake´s concepts of “morphic fields” that constantly produces the new through “morphic resonance”.
Sheldrake explained the unified formation of immigrating bird in the sky as holons (something that is simultaneously a whole and a part). The biological and mental similarity between the individual birds constitutes a “morphic field”generated by “morphic resonance”. The hypothesis suggest that a particular form belonging to a certain group can read the collective information through the process of “morphic resonance” and tune into the same “morphic field”, using it to guide its own development. This development of the particular form will then provide, a feedback to the morphic field strengthening it with its own experience. Sheldrake argues that such “morphic field”can be set up by repetition of similar acts and thoughts.

For the Ballast - Two new exhibitionsproject Elliot and Haga Kristensenhas collaborated on sculptural interventions and imagery that investigates similarity, repetition and difference. By repeating similar forms, acts and thoughtsthese new works could be seen as gestalts of Groys´sdifference beyond difference, definingan exuberant and context driven culture. Elliot and Haga Kristensenwill attempt to take advantage of this exuberant situation of repetitions and similarities.
Treating the vernissage at Kunstnerforbundet as a ground for scientific research, and its inherent cultural memory and the homogeneous choreographed biological masses visiting these places as artistic medium Elliot and Haga Kristensentests out the concepts of “morphic fields” and “morphic resonance”. Through telepathic techniques they intend to create a strong mental resonance that – they claim – will envision a common future, a heroic body, a political and mental know-how for the coming community.

Karen Elliot
The multiple artist identity Karen Elliot was developed in order to counter the male domination of the Neoist movement. Since then Elliot has been utilized to perform various radical artistic project. Influenced by Sheldrake´swork, Elliot´s recent artistic practice is characterized by a telepathic sensibility. When at work she radiates a strong field intended for biological and metaphysical unification between brains and bodies. Elliot claims to demonstrate that – when experiencing strong fields of similarities - she is able to conduct and manipulate collective memory to such a degree that it consecrates evolutionary development in the human brain / or any brain.

Steinar Haga Kristensen
Haga Kristensen´s montages contains diverse artistic gestures ranging from event-scores, sculpture and painting to video, performance and telepathic investigation. After publishing his “catalogue raisonné” - a dedication to Karen Elliot - Retrospective – on the un-subjectified persona.2 Haga Kristensen has developed staged theatrical readings of his assemblages. These “ideal readings” devote an uncanny occupation of the potentially communicative elements of the exhibits. Recently Haga Kristensen has been working closely with Karen Elliot: “I´m struck by Karen´s intelligence and creative sensibility, it has been a great privilege to collaborate with her on the Ballast project” Haga Kristensen states in a conversation at Gallery D.O.R. Brussels, Jan 2011

1 Marc Ribot – Heroic guitars – resonance of difference and similarity,
Das Braun Press, 2011
2 Steinar Haga Kristensen - Retrospective – on the un-subjectified persona,
Torpedo press, 2009

David Oliver Rinchler, Brussels April 2011

Ballast - Two new exhibitions
Installation shot Kunstnerforbundet
Oslo
2011

Ballast - Two new exhibitions
Installation shot Kunstnerforbundet
Oslo
2011

Ballast - Der schließmuskel funktioniert nich mehr #31
oil on canvas
55x47cm
2011

Ballast - Der schließmuskel funktioniert nich mehr #32
wood, rock, linon
size: variable
2011

Ballast - Two new exhibitions
Installation shot Kunstnerforbundet
Oslo
2011

Ballast - Der schließmuskel funktioniert nich mehr #30 (Brun bevegelse)
Iron bar, oil, wood
80x75x40cm
2011

Ballast - Der schließmuskel funktioniert nich mehr #33 (Karen og Steinar)
c-print, epoxy, wood
74x74cm
2011

Ballast - Der schließmuskel funktioniert nich mehr #12
forflytning, død og repetisjon)
Antelope horn , silk tread
size: variable
2011

Ballast - Der schließmuskel funktioniert nich mehr #27 (Karen og Steinar)
Sanding paper, wood
70x120cm
2011


Ballast - Two new exhibitions performance Choreography and Telepathic transcendence: Karen Elliot & Steinar Haga Kristensen Dance: Siri Jøtvedt abd Gisle Hass 2011

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Das Loch der Kranke Prophet
Gallery Rod Bianco
Oslo
2011

Das Loch der Kranke Prophet is a collocation of the works Das Loch, Jos de Gruyter & Harald Thys (2010) and Der Kranke Prophet, Steinar Haga Kristensen (1999-2011). Trough simple symbolic sets, fueled by tragicomic sensibility and ghoulish humor, both works addresses power dynamics and emotional entanglements to the work of art and the artists work.

Steinar Haga Kristensen
Der Kranke Prophet (Syk profet)
Painting and installation with guest performance, by Laone dos Santos Lopes according to an event score Main event “Krank Prophet” (ideal reader)
1999-2011

The installation is a montage of paintings and event-scores. All paint- ings are meditations on the same motive; Der Kranke Prophet (Syk profet), first painted in 1999.

critique
http://www.kunstkritikk.no/kritikk/i-repetisjonenes-desperate-tidsalder/

Das Loch der Kranke Prophet
Steinar Haga Kristensen +
Jos de Gruyter & Harald Thys
04/03/2011 - 27/03/2011
at Rod Bianco Press

Event score ”Krank Prophet” 01# - 08#
2011

Ideal Reader
Video performance
Videoformat 720x576
06:30min
2011

Der Schließmuskel funktioniert
nicht mehr 02#
(repetition of repetition)
mixed media
2011

Krank Prophet 2002
oil on canvas
2002

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	Der Schließmuskel funktioniert nicht mehr 01# (repetition of repetition) 2011	Der Schließmuskel funktioniert nicht mehr 02# (repetition of repetition) 2011	Der Schließmuskel funktioniert nicht mehr 04# (repetition of repetition) 2011	Der Schließmuskel funktioniert nicht mehr 06# (repetition of repetition) 2011	Ideal Reader Video performance Videoformat 720x576 06:30min 2011	Guest performance by Laone dos Santos Lopes according to an event score	Guest performance by Laone dos SANTOS Lopes according to an event score	Guest performance by Laone dos SANTOS Lopes according to an event score	Guest performance by Laone dos SANTOS Lopes according to an event score	Guest performance by Laone dos SANTOS Lopes according to an event score	Guest performance by Laone dos SANTOS Lopes according to an event score


Jos de Gruyter & Harald Thys Die apokalypse, oil on canvas	Jos de Gruyter & Harald Thys Das Loch, video, 26 min (installation shot) from Das Loch der Kranke Prophet	Jos de Gruyter & Harald Thys Das Loch, video, 26 min (installation shot) from Das Loch der Kranke Prophet	Jos de Gruyter & Harald Thys Das Loch, video, 26 min (video still)

D.O.R. / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org

Untitled - Give it all up Again
Performance and actions by D.O.R
at the Vernissag of the exhibition Give it all up again
by Institutt for Degenerert Kuns at Gallery D.O.R.
Duration: 29:02min
2011

Thanks to Lars Brekke for stepping in as Veary Tall alias Kristian Ø. Dahl.

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D.O.R. / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org Situation as Object (Framed) Performance by D.O.R. at the inaugural show at Gallery D.O.R.(bxl) Duration: 11:35min video documentation 2011 About Gallery D.O.R. Evolving according to an expanded chorographical principle Gallery D.O.R takes its leading methods from the commercial Galleries globalized, institutionalized and fine tuned formalities. D.O.R. has scripted and will perform an ambiance so close to a Gallery situation that it will transcend the social realistic “problem drama”. Gallery D.O.R is performed by the artist group D.O.R. (Sverre Gullesen, Steinar Haga Kristensen & Kristian Ø. Dahl)

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Gift to the queen
performance at Oslo Rådhus (Oslo City Hall)
2011

The performance was done at the Oslo City Hall in conduction whit the 100 year anniversary of the artist run gallery, Kunstnerforbundet.
Queen Sonja was there to honor Kunstnerforbundet´s important and unique position in Norwegian art history. The Gift to the queen was a variation of Askeladden´s (The Ashlad, a hero from Norwegian folklore) found objects that he collected on his way to silence the princess in the fairytale
The Princess who always had to have the Last Word
.
Askeladden manages the task to silence the princess by using found objects as rhetoric tools to overwhelm the princess with absurdities and pragmatic humor.

Gift to the queen
performance at Oslo Rådhus (Oslo City Hall)
2011

Photo documentation: Thomas Tveter

Gift to the queen
Gift:
Two antelope horns, a dead magpie infant, en vidjespenning,
a piece of a piece broken bowl, a wedge & a worn out shoe sole.

The Princess who always had to have the Last Word
There was once a king; he had a daughter who was so wayward and willful in her speech that she always had to have the last word, and therefor he promised that the one who could make her hold her tongue should get the princess and half the kingdom into the bargain.

There were plenty who wanted to try, you may believe, for it's not everyday one can get a king's daughter and half a kingdom just for the asking. The gate to the king's manor didn't stop swinging for a moment; they came in flocks and droves, from east and west, both riding and walking. But there was no one who could make the princess stop talking. At last the king made it known that those who tried but couldn't would be branded on both ears with that big branding iron of his - he wouldn't have all this running to his manor for nothing.

Now there were three brothers who had also heard tell of the princess, and, as they weren't well off at home, they wanted to go out and try their luck, and see if they could win the king's daughter and half the kingdom. They were on good terms and got along pretty well, and so they went together, all three.

When they had gone a bit of the way, the youngest brother, who was called the Ash Lad found a dead magpie. "Look what I found!" he shouted. "What've you found?" asked his brothers. " I found a dead magpie," he said. "Fie! Drop it! What are you going to do with that?" said the two, who always thought they were the wisest. "Oh, I've nothing better to do, and nothing better to carry, so I'll just take it along with me," said the Ask Lad. When they had gone a bit farther, the Ask Lad found an old willow hank, so he pinked it up. "Look what I found! Look what I found!" he shouted. "What've you found now?" said his brothers "I found a willow hank," he replied. "Pooh! What are you going to do with that? Drop it!" said the two. "I've nothing better to do, and nothing better to carry, so I'll just take it along with me," said the Ask Lad. When they had gone a little farther, he found a bit of a broken saucer. This he also picked up.

"Boys! Look what I found! Look what I found!" he said "Well, what did you find now?" asked the brothers. "A bit of broken saucer," he said. "Ugh! Now that was something to take along! Drop it!" they said. "Oh, I've nothing better to do, and nothing better to carry, so I'll just take it along with me", replied the Ash Lad. When they had gone a little farther, he found a crooked ram's horn and just after he found the mate to it. "Look what I found! Look what I found, boys!" he shouted. "What've you found now? said the others. "Two ram's horns," replied the Ask Lad "Ugh, Drop them. What are you going to do with them?" they said. "Oh, I've nothing better to do, and nothing better to carry, so I'll just take them along with me," said the Ash Lad. In a little while he found a wedge. "But fellows, look what I found! Look what I found!" he shouted. "That's a mighty lot of finding you've been doing! What have you found this time?" said the two eldest. "I found a wedge," he replied "Oh, drop it! What are you going to do with that?" they said. "I've nothing better to do, and nothing better to carry, so I'll just take it along with me," said the Ash Lad. As they walked over the fields by the king's manor - where manure had recently been spread - the Ask Lad bent down and picked up a worn-out shoe sole. "Say, fellows! Look what I found! Look what I found!" he said. "If only you'd find a little sense by the time you got there!" said the two. "What did you find this time?" "A worm-out shoe sole," re replied. "Ugh! That was really something to pick up! Drop it! What are you going to do with it?" said the brothers. "Oh, I've nothing better to do, and nothing better to carry, so I'll just take it along with me, if I'm to win the princess and half the kingdom," said the Ash Lad. "Yes, you're likely to do that, you are!" said the two.

Then they were let in to the princess - first the eldest. "Good day" he said. "Good day yourself," she said, twisting and turning.' "It's terrible warm in here," he said "It's warmer in the coals," replied the princess. There lay the branding iron, ready and waiting. When he saw this, his courage failed him right away, and so it was all up with him. The middle brother didn't fare any better. "Good day" he said. "Good day yourself," she said, starting to squirm. "It's terrible hot in here," he said. "It's hotter in the coals," she said. At that, he too lost both voice and speech, and so it was out with the iron again. Then came the Ash Lad. "Good day," he said. «Good day, yourself," she replied, twisting and turning "It's good and warm in here," said the Ash Lad. "It's warmer in the coals, she replied. A third one didn't make her temper any sweeter "I suppose I can roast my magpie there, then?" he asked. "I'm afraid she'll burst," said the king's daughter "Oh, that be no trouble! I'll put this willow hank around it," replied the boy. "It's too wide!" she said. I'll drive in a wedge!" said the boy, and took out the wedge "I'll fat'll run off her! said the king's daughter !I'll catch it in this!" replied the boy, and held up the bit of broken saucer. "You're twisting my words!" said the princess. "No! Your words aren't twisted, but this is!" replied the boy, and took out one of the ram's horns. "Well! I've never seen the like!" shouted the princess "Here's the like of it!" said the boy, and took out the other one. "You're bent on wearing me out, aren't you?" she said. "No, you're not worn-out, but this is!" replied the boy, and pulled out the shoe sole. So the princess had to hold her tongue! "Now, you're mine!" said the Ash Lad, and so he got her, and half the realm and kingdom into the bargain.

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Live and Let Die; Sovereignties or territorial organization.
Performance with Leander Djønne at the Swedish Institute in Paris, 2010.

The performance was a part of the inauguration of Leander Djønne´s
large scale sculpture in the backyard of the Swedish Institute in Paris.
The sculpture was a reconstruction of the Danish-Norwegian slave ship Fredensborg.
The ship was constructed out of material found in the suburbs of Paris.

sound recording from performance

back to topp

Live and Let Die; Sovereignties or territorial organization
Performance with Leander Djønne at the Swedish Institute, Paris, France, 2010.
Duration: 3:09min

The performance was a part of the inauguration of Leander Djønne´s
large scale sculpture in the backyard of the Swedish Institute in Paris.
The sculpture was a reconstruction of the Danish-Norwegian slave ship Fredensborg.
The ship was constructed out of material found in the suburbs of Paris.

sound recording from performance

video documentation of performance

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen,
http://www.d-o-r.org

Situation - Let us compare minorities – Seventh Father of the House
Inauguration speech for “ACT XI: Let us compare minorities” performance cycle
at Witte de With, Rotterdam, Netherland, 2010
Duration: 10:00min

With kind support from Office of Contemporary Art Norway

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen,
http://www.d-o-r.org

Situation – The Kashubian Interregnum
Performative work for “ACT XI: Let us compare mythologies” performance cycle
at Witte de With, Rotterdam, Netherland, 2010
Duration: 20:00min

With kind support from Office of Contemporary Art Norway

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THE LONELINESS of the INDEX FINGER
(Phantom View)

Curated by Linus Elmes at UKS, Lakkegata 55d, Oslo
Exhibition with Operatic reading.

Two spectators, visiting from the future attended the exhibition. There arrival is to be based upon a retrospective interest in to “The Loneliness of the Index Finger (Phantom View)” exhibition:

“In the future this exhibition marks a breaking point in history, authorities have proclaimed this very moment to be of great interest to the understanding of the development of the depraved historism and its vicious roundelay. The opening of this exhibition has been identified as a critical point. It was the birth of the nocturnalistic era and the end of context relativism.”

Our time traveling friends - accompanied by a Harpist – have been designated an important mission. They are here to give their initiated view regarding the state of our contemporary art and society, taking this exhibition as a point of departure. Further on, they will perform a live attentive critical reading based upon their future knowledge of history and art-ideology. Their reflections will be transformed, expressed through song, recorded and brought back to the future.

Musical theatre production:
THE LONELINESS OF THE INDEX FINGER-
THE SPECIALIZATION OF SENSIBILITY IN THE RAW CONCEPTUAL STATE INTO STABILIZED THEATRICAL SENSIBILITY, THE PHANTOM VIEW
Directions and libretto: Steinar Haga Kristensen.
Score: Knut Nergård.
Costume: Benjamin Elllingsen.
Harp: Johanna Nousiainen.
Baritone: Njål Sparbo.
Soprano: Helene Wold

view video documentation from performance
6th of November 2009 & 11th of November 2009

Interdependence (Detail)
Sculpture assemblage
Wax, husfix, spraypaint, acrylics, epoxy, wood & motor
2009

Trophy to the last contextrelativeist
Oil on PVA on cardboard, ceramics, wood & bronze
2009

Tired protester, neo situationist #02
wood, ceramics, acrylics & epoxy
2009

The in-depth commotion of whatever singularities #02
Chain, oil, stone wood, ceramics, epoxy, plaster, paper,
leather & glass

The in-depth commotion of whatever singularities #02 (Detail)
Chain, oil, stone wood, ceramics, epoxy, plaster, paper,
leather & glass

The in-depth commotion of whatever singularities #02 (Detail)
Chain, oil, stone wood, ceramics, epoxy, plaster, paper,
leather & glass

Displaced modified plank
modified plank
2004

Hidden advocacy
Metal, oil, stone & glass fibre
2008

Head of WTO 2029
Ceramics, Oil & wood
2009

Repetition of repetition of repetition
wood, tape, plaster, bone, oil & cardboard
2009

Nocturnal sight
Oil on canvas, oil on foam, tar, metal & wood
2009

Untitled
Plexiglas, water & chocolate bar
2009

Factory of sesebilety
Blind frames & oil paint
2009

Jetzt
Chromed metal, ceramics, epoxy & wood
2009

Democracy by Zarghuna Hotak, Kabul
Photography of sculpture
c-print
2009

Fountain (after Duchamp)
Wood & ceramics
2009

Europe in colour #02
Oil on PVA on cardboard
2008

The Nullifying and Determining power
of what is common will be pacified
from drawing series 1997 ----
Pen on paper
2001

Snorre Hvamens beard
beard
2009

Interdependence
Sculpture assemblage
Wax, husfix, spraypaint, acrylics, epoxy, wood & motor
2009

Head of WTO 2029
Ceramics, Oil & wood
2009

		New abstraction after Obama Oil on PVA on cardboard 2008
New abstraction before Obama Oil on PVA on cardboard 2008


scroll ----->> "THE LONELINESS OF THE INDEX FINGER - THE SPECIALIZATION OF SENSIBILITY IN THE RAW CONCEPTUAL STATE INTO STABILIZED THEATRICAL SENSIBILITY, THE PHANTOM VIEW" Directions and libretto: Steinar Haga Kristensen. Score: Knut Nergård. Costume: Benjamin Elllingsen. Harp: Johanna Nousiainen. Baritone: Njål Sparbo. Soprano: Helene Wold view video documentation from performance 6th of November 2009 & 11th of November 2009 scroll ----->>									"THE LONELINESS OF THE INDEX FINGER - THE SPECIALIZATION OF SENSIBILITY IN THE RAW CONCEPTUAL STATE INTO STABILIZED THEATRICAL SENSIBILITY, THE PHANTOM VIEW" Directions and libretto: Steinar Haga Kristensen. Score: Knut Nergård. Costume: Benjamin Elllingsen. Harp: Johanna Nousiainen. Baritone: Njål Sparbo. Soprano: Helene Wold view video documentation from performance 6th of November 2009 & 11th of November 2009 back to topp


Svolvær Specific Band collaboration with Monica Winther at LIAF, Lofoten internatonal Art Festival Curator Helga Marie Nordby Svolvær, Norway 2010


scroll ----->>	*HEAT MADE IT HOT / WATER MADE IT WET* LIAF, Lofoten internatonal Art Festival Curator Helga Marie Nordby Svolvær, Norway 2010 The work were realised on a huge temporary sauna, just across the fjord from Laurens Wiener ´s text work “WATER MADE IT WET”and could be seen as an extension or an impostor of Wiener´s work.

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*Giant Bowl on Monuments day* curated by Sverre Strandberg and Anna Daniell at Bislet Stadion, Oslo 2010 Giant Bowl on Monuments day Participating artists: Haris Epaminonda, Heimo Zobernig, Børre Sæthre, Samuli Blatter, Jamila Drott, Jan Freuchen, Jorunn Hancke Øgstad, Steinar Haga Kristense,n Rachel de Joode Per-Oskar Leu, Helmut Smits, Anders Smebye, Kristian Øverland Dahl, Jan Erik Mikalsen, Kristoffer Busch, Nordstrand Janitsjar, Kathryn Walsh Thomas, Kristoffer Archetti Stølen Marianne Hurum, Kaja Leijon, Josefine Lyche, Arne Vinnem, Tori Wrånes, Roger Eugen Poliakov Egseth.

artist book
RETROSPECTIVE – on the un-subjectified persona

RETROSPECTIVE – on the un-subjectified persona
Steinar Haga Kristensen, Torpedo Press 2009,
Design: Kristoffer Busch,
268 pages, Edition: 500, English,
ISBN: 978-82-997365-7-2,
NOK 250/ € 30
Published with support from The Allowance Fund for Visual Artists, Signex and Forbundet Frie Fotografer.

order at http://www.torpedobok.no/

Download .pdf
RETROSPECTIVE – on the un-subjectified persona

Torpedo Press is proud to publish the first retrospective on Kristensens work, focusing on the artist’s early life and art. The publication offers a unique visual overview of Kristensens life-long engagement and study of artistic life forms and alternative strategies, or what he himself identified as a forced commitment to the “braun und schwer-mindset”.

These core concepts and artistic impulses of Kristensen are intimately portrayed through an in-depth interview by Matias Faldbakken, shedding light to his formative, pre-career years. Gaby Hartel comments briefly on the cultural-historical backdrop of the “sprachmaske”-concept, crucial to his so-called Vienna-period. Kristian Øverland Dahl has taken the task of editing the highly problematic issues raised by Elin Seip in her poem on the un-subjectified persona, which attained a major influence to the artist’s later thinking. Pernille Albrethsen’s text departs from Kristensen’s central artwork The Troll Mirror, further elaborating the contradictions at work in his use of artistic personas and characters. Kjetil Røed offers a new understanding to Kristensen’s application of mnemotechnical operations and his quest to de-humanise the logic of experi-mental economy. Through the spectacles of the Abolitionist Movement, Leander Odin Djønne evokes the lethal political potentiality – and the public outrage that caused the destruction – of Stick #01, and its later model revisited in Stic k #02.

From Processology to Neo-Relationalism - chaos to consensus, a debate

takes form as a panel debate on the “Neo-Relations, Aesthetics of the now”.
D.O.R. have initiated a series of paneldiscussions between art historian Cindy Barbera, the author
of the publication Slippery Translucence and Neo-relational aesthetic; scornful, but (at least) it has identity(!) and curator at Proper Palate Gallery, Veary Tall. They are discussing the inherent potential in neo-relational esthetics
and how these strategies affect our every-day life. The discussions are beeing lead by
director of Die neue institute, Niclas Hödler.

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
From Processology to Neo-Relationalism - chaos to consensus, a debate
at Record Gallery, Oslo, 2008
Duration: 35:49min (video documentation)

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D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
From Processology to Neo-Relationalism - chaos to consensus, a debate
a debate at Bergen Kunsthall Landmark, Bergen, 2008
Duration: 40:00min

Prev Next

D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
From Processology to Neo-Relationalism - chaos to consensus, a debate
at The National Academy of Art, Oslo, 2009
Duration: 29:00min

Prev Next

D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
From Processology to Neo-Relationalism - chaos to consensus, a debate
at Gestures - Performance and Sound Art, Museum of Contemporary Art, Roskilde, 2010
Duration: 28:00min

SPECIFIC THEATRE –
TRIBUTE TO LAWRENCE WEINER
Video performance
Videoformat 720x576
02:37 min
(Impersonation of Lawrence Weiner stating:
«Art can never be anything else than a specific object», during a panel discussion at the Oslo School of Architecture, 2006)
2007

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BRUNT OG VANSKELIG /
BRAUN UND SCHWER
Painting
Oil on PVA on cardboard
23x32cm
2008

TIRED PROTESTER,
THE NEO-SITUATIONIST #01
Sculpture
Clay, acrylics & epoxy
50x40x40cm
2008

MU & BHA
paintings
Oil on PVA on cardboard & mahogany frame
20x21cm x2
2008

MU & BHA
paintings
Oil on PVA on cardboard & mahogany frame
20x21cm x2
2008

TIRED PROTESTER,
THE NEO-SITUATIONIST #01
Sculpture
Clay, acrylics & epoxy
50x40x40cm
2008

SOLVING THE PROBLEM
Sculpture
Clay, acrylics, aluminium & epoxy
45x35x50cm
2008

SOLVING THE PROBLEM
Sculpture
Clay, acrylics, aluminium & epoxy
45x35x50cm
2008

BRUNT OG VANSKELIG /
BRAUN UND SCHWER
Painting
Oil on PVA on cardboard
23x32cm
2008

SOLVING THE PROBLEM
Sculpture
Clay, acrylics, aluminium & epoxy
45x35x50cm
2008

SUPERSUBJECT
Textile & performance
Fabric with prints of Kandinskys entire
production & performing human
300x160cm
Performance duration 5 hours
2008

SNORRE STURLASON
REINCARNATED
Sculpture
Oil paint & granite
45x25x15cm
2008

PROPOSAL TO DAN GRAHAM
3-dimensional model
Polystyrene foam, acrylic paint, air dried clay,
two-way mirror glass & model stuff
18x20x30cm
2008

WORLD OF EXPRESSION
Sculpture
Polystyrene foam, wood, stone,
metal globe, oil paint & epoxy 55x14x14cm
2008

DONATION TO THE
UNIMAGINATIVE PEOPLE
Assemblage (detail)
Mixed media
100x100x100cm
2008

DONATION TO THE
UNIMAGINATIVE PEOPLE
Assemblage (detail)
Mixed media
100x100x100cm
2008

OSLO MONUMENT OF PEACE
Proposal / model
Clay, acrylics, spray-paint,
tinsel & epoxy
45x25x20cm
2008

DENKMAL DER
SEKULARISERUNG
Model
Wood, PVA glue & asphalt
30x20x20cm
2008

CUTTING BOARD
Photography
(Snapshot of altar piece at Torpo
stave church, through keyhole)
Framed C-print
60x40cm
2008

A CHARACTER THAT DOES
NOT CONTRADICT ITSELF
IS NOT A CHARACTER
Photography
Framed C-print
29,7x21cm
2008

DEMOCRACY
Conversation piece
Ceramics
7x7x7cm
2008

KITSCH
Sculpture
Wood & spraypaint
10x10x10cm
2008

EUROPA IN COLLOR
Painting
Oil on PVA on cardboard
22x22
2008

Brunt og vanskelig, - wonderkammer on the destruction of experience.

I Galleri Trafos nyetablerte Prosjektrom vil Kristensen vise flere arbeider basert på en visningsform kjent fra Wonderkammer-tradisjonen. Et wonderkammer var et kuriositetskabinett som oppsto på midten av 1600-tallet og hvor ukjente objekter fra natur og kultur ble presentert. Objektene var ikke alltid ekte, og wonderkammeret selv ble bl.a. betegnet som et mikrokosmos, eller et Verdens hukommelsesteater.
Kristensens utstilling tar spesielt for seg emner som representasjon, definisjonsmakt og teatrale strategier, hvor en slags fordervet historisisme penetrerer de utstilte arbeidene. Selv omtaler han det som en re-digestion, - en perspektivpsykose, - en språkpøl. En schizofren tid.

Kristensens metode kan sammenlignes med en kortspiller, der han ”samler” motiver, stiler og attityder, stokker dem og deler ut igjen. Han smugler ofte med seg gamle arbeider eller deler av gamle arbeider inn i nye utstillinger og kontekster. På den måten tar arbeidene med seg en viss historisering, som ikke bare reflekterer aspekter ved kunsthistorien, men også aspekter ved hans egen historie som billedkunstner. I utstillingen Brunt og vanskelig finner vi blant annet en grå formløs klump med tittel Demokrati, Snorre Sturlason reinkarnert som en liten afrikanergutt, et videoselvportrett som aboriginer, et fotografi av Torpo stavkirkes altertavle, abstrahert etter at den tilfeldigvis endte opp som skjære- og eltefjøl på kjøkkenet til kjærringa ved en av gårdene i Hallingdalen. Mellom disse verkene,- slepende, som et poltergeist, finner vi verket Supersubjekt; en flyvende kappe, trykket og satt sammen av alle Wassily Kandinskys tablåer.

Kristensens komplekse assemblager kan sammenlignes med kunsthistorikeren Aby Warburg og hans arbeid med sitt Mnemosyne Atlas, samt den uendelige reorganisering i hans eget, 4 etasjer høye bibliotek. Utstillingen utforsker på likt vis ikonologiske relasjoner mellom ord, bilder og situasjoner i gallerirommet.
Brunt og vanskelig er i tillegg til å være tittelen på utstillingen også et arbeid i utstillingen; et abstrakt maleri i bruntoner. Arbeidet er ment som en hyllest til
bildet i seg og til kunsten. Kristensen uttaler at hvis man forstår og ”ser” dette bildets uutgrunnelighet og potens, da har man troen på det gode, på utvikling - og på prosjektet. Prosjektet i utvidet forstand legger han til – prosjektet som et alfa og omega. Arbeidet vil bli solgt til halv pris til den som overbeviser kunstneren om at de forstår bildet fullt ut.

tekst Marthe Waltinsen

Brunt og vanskelig, - wonderkammer on the destruction of experience
curated by Marthe Waltinsen
at Galleri Trafo, Asker, Norway
2008

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BRANNEN / THE FIRE
Video
Videoformat DVD
72:38 min
(English subtitles of Håkon Sandøyen’s feature film Brannen/The Fire(1973)
The film is based on Tarjei Vesaas’ novel with the same name)
2007

A collaboration between Steinar Haga Kristensen and Kristian Øverland Dahl.
This work is based on a full length Norwegian feature-film by Håkon Sandøy
after a novel by Tarjei Vesaas subtitled into English by the two artists.
Very few Norwegian movies have been translated in to English and very few will be.
“BRANNEN” is a modernistic novel and the makers of the film
carried with them a schooling from the east European movie tradition of that day.
Originally a 35mm. film made into a VHS, that was later turned into a DVD by the artists.

view Brannen

Total Penetration
Framed C-prinet
2004

Total Penetration
Performative sculpture / sound installation
at Galleri Blunk,Trondheim
Motor, dynamos, contact microphones, sound speakers, cardboard tube, UV-paint
& black-light
240x35x35cm
2004

MORE WORK

∇
▼
∇
▼
∇
▼
∇

TIRED PROTESTER,
THE NEO-SITUATIONIST #01
Sculpture
Clay, acrylics & epoxy
50x40x40cm
2008

.
TIRED PROTESTER,
NEO SITUATIONIST #02
Sculpture
wood, ceramics, acrylics & epoxy
2009

TIRED PROTESTER,
NEO SITUATIONIST #02 (variation)
Relief
Pappmaché & paper
2009

.
FOUNTAIN
Sculpture
Wood & ceramics
2009

TROPHY TO THE LAST CONTEXTRELATIVEIST
Trophy
Wood, oil on PVA on cardboard, ceramics & bronze
2009

.
HIDDEN ADVOCACY
Sculpture
Metal, oil, stone & glass fibre
2008

PHANTOM VIEW
Photography montage
c-print
2009

PROPOSAL TO DAN GRAHAM
3-dimensional model
Polystyrene foam, acrylic paint, air dried clay,
two-way mirror glass & model stuff
18x20x30cm
2008

LONELY INDEX FINGER
Photography
c-print
2009

IRRATIONALIS
Painting
Oil on PVA on cardboard
2009

JETZT
sculpture
Chromed metal, ceramics, epoxy & wood
2009

HEAD OF WTO 2029
Sculpture
Ceramics, Oil & wood
2009

NOCTURNAL SIGHT
Sculpture installation
Oil on canvas, oil on foam, tar & wood
2009

UNTITLED (WATER, CUBE AND PHILOSOPHY)
Sculpture installation
3 Plexiglas cubes, water
& chocolate bar
2009

STRUCTURE UPON STRUCTURE UPON STRUCTURE
Sculpture
roots
2009

LAMP #02
Sculpture
Paper & wood
2009

.
PICTURE BELIEVER AND HIS WORK
Sculpture
Clay, mahogany, cardboard, PVA,
acrylics, oil paint & epoxy
90x45x45cm
2008

DEVIATIONIST MEETING
sculpture
Clay, mahogany, oil paint & epoxy
140x35x55cm
2009

.
THE IN-DEPTH COMMOTION OF WHAT-EVER SINGULARITY #01
heraldic monument
Stone, mahogany, oil pain on PVA on cardboad, hari, granit & epoxy
250x100x100cm
2009

scroll ----->>

. .
THE IN-DEPTH COMMOTION OF WHAT-EVER SINGULARITY #02
heraldic monument
Clay, wood, oil pain on PVA on cardboad hairi, paper gla, leather, betongt & epoxy
250x100x100cm
2009

.
CONTEXT
sculpture
cooperative work with Karen Eliot
45x45x300cm
2009

KING ON TRAM
video
cooperative work with Karen Elliot
4:3 / 3 ex
2009

DEVIATIONIST #02
video
4:3
2009

.....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

RETROSPECTIVE – ON THE UN-SUBJECTEFIED PERSONA
book
16x24cm / 500 ex
2009
order at http://www.torpedobok.no/

THE NULLIFYING AND
DETERMINING POWER OF
WHAT IS COMMON WILL BE
PACIFIED
Drawing series (1998 – )

SOME UN-SUBJECTIFIED,
SEIPS AND ELIOTS ON TRAM
Found postcard (King Olav V. travelling with tram during the Oil Crisis Norway. Oslo 1973)
2009

CUTTING BOARD
Photography
(Snapshot of altar piece at Torpo
stave church, through keyhole)
Framed C-print
60x40cm
2008

TROLL MIRROR
Photography
C-print
26x17cm
Collaborative work with Karen Eliot
2000

STICK #01
Sculpture
Wooden stick
87x0,3x1,5cm
(Inscription:
«If you don’t know enough about art and history you don’t know enough about yourself and this society and you should therefore not have the right to vote.»)
2008

.
OWL
Painting
Oil on cardboard
28x20cm
1999

SYK PROFET / SICK PROPHET
Painting
Oil on canvas
90x60cm
1999

INTERNET IS DEAD
Sculpture
Ceramics, paper, felt, hair & tinsel
22x15x15cm
2007

DEMOCRACY
Conversation piece
Ceramics
7x7x7cm
2008

.
INTERDEPENDENCE
Sculpture assemblage
Wax, husfix, spraypaint, acrylics, epoxy, wood, motor
2009

KITSCH
Sculpture
Wood & spray paint
10x10x10cm
2008

SUPERSUBJECT
Textile & performance
Fabric with prints of Kandinskys entire
production & performing human
300x160cm
Performance duration 5 hours
2008

. .
SOLVING THE PROBLEM
Sculpture
Clay, acrylics, aluminium & epoxy
45x35x50cm
2008

BRUNT OG VANSKELIG /
BRAUN UND SCHWER
Painting
Oil on PVA on cardboard
23x32cm
2008

Prev Next

D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
Der Kleine Mensch
Performance
Forsbacka Bruk, Forsbacka, Sweden, 2006

With kind support from Office of Contemporary Art Norway

Prev Next

D.O.R / Kristian Ø Dahl, Sverre Gullesen & Steinar Haga Kristensen, http://www.d-o-r.org
Kaupang Laive – New-historicalism for our time
live roleplay
at UKS, Oslo, Norway, 2007

The Kaupang Laive was a three-day Live improvised theatrical role-play that simulated the first urban community in Norway, namely Kapangen i Skiringssal year 800. The participants only had their character description as a reference on how to perform. Several of the participants were professional
active role-players.

PISSING MAN & PISSING WOMAN
Painting
Oil on canvas
42x56cm
1999

SNORRE STURLASON
REINCARNATED
Sculpture
Oil paint & granite
45x25x15cm
2008

A CHARACTER THAT DOES
NOT CONTRADICT ITSELF
IS NOT A CHARACTER
Photography
Framed C-print
29,7x21cm
2009

DREAM CATCHER #02
Assemblage
Mixed media
120x120x50cm
2007

DEFIANT POSE #01
Wall montage
Wig, tape & acrylics
50x35x20cm
2007

DEFIANT POSE #02
Wall montage
Wig, tape & acrylics
35x35x20cm
2007

video
CONSTANT PENETRATION
Performative sculpture / sound installation
Motor, dynamos, contact microphones, sound speakers, cardboard tube, UV-paint
& black-light
240x35x35cm
2004

CONFUSED NEGATION
Performative sculpture
Batteries, electro motors,
cardboard tubes, acrylics
120x50x12cm
2006

CRUMBS OF SENSE
Installation shot
Objects, videos, drawings
Mixed media
2006

ETNO MUTATION
Performative sculpture /sound installation
Oak, amp, turntable, iron & oil paint
100x120x80cm
2002

DEAD HIPPIE
Sculpture from D.O.R. project
«Der Kleine Mensch» (see page 182)
Plaster, wig & makeup
30x60x40cm
2006

POLTERGEIST EX SI´TU
Sound installation
Re-built Telecaster guitar, amp
& display case
200x160x80cm
2002

SPINNING JETTY
Performative sculpture
Cyclope, motor, C-print of Spiral Jetty, metal & plexiglas
85x65x45cm
2005

HUNTED THREE
Painting
Acrylic, oil & spray paint on respatex
60x120cm
2000

DECISION MAKERS #01
Painting
Acrylic & oil on respatex
60x120cm
2000

MU & BHA
paintings
Oil on PVA on cardboard & mahogany frame
20x21cm x2
2008

MAN AND FORM, BEFORE OBAMA
Painting
Oil on PVA on cardboard
& mahogany frame
21x16cm
2008

MAN AND FORM, AFTER OBAMA
Painting
Oil on PVA on cardboard
& mahogany frame
21x21cm
2008

NEW ABSTRACTION,
BEFORE OBAMA
Painting
Oil on PVA on cardboard
& mahogany frame
21x31cm
2008

NEW ABSTRACTION,
AFTER OBAMA
Painting
Oil on PVA on cardboard
& mahogany frame
30x25cm
2008

WORLD OF EXPRESSION
Sculpture
Polystyrene foam, wood, stone,
metal globe, oil paint & epoxy 55x14x14cm
2008

STUDENT
Collage
Cardboard, X-ray & acrylic paint on plywood
100x75cm
2008

ANGST TOTAL
Painting
Oil on canvas
45x35cm
1999

UNTITLED SELF
Painting
Oil on canvas
240x110cm
2000

DECISION MAKERS #01
Painting
Oil on respatex
90x60cm
1999

INVENTION OF THE CUBE
Video performance & sculpture
Videostill
Videoformat 720x576
04:17 min
2006

INVENTION OF THE CUBE
Video performance & sculpture
Sculpture
Polystyrene foam, acrylic paint
& duct tape
2006

INVALID REVOLT
Video performance
Videoformat 720x576
02:48 min
2006

NØKKEN
Sculpture with video
Videostill
Videoformat 720x576
02:03 min
2006

NØKKEN
Sculpture with video
Sculpture
LCD screens, rope & polystyrene foam
80x80x50cm
2006

NØKKEN
Sculpture
plastic, lights, moss, oil paint
60x60x100cm
2006

STEINAR T H KRISTENSEN,
RETROSPECTIVE
View from the exhibition
Drawings, sound installation & video
Sound installation and drawings
Videoformat 720x576
09:08 min
2006

DEVIATION #01
Video performance
Videoformat 720x576
05:30 min
2005

DEVIATION #02
Photography
C-print
51x30cm
2005

.
I HAVE SEEN THE FUTURE BABY
Video
Videoformat 720x576
04:40 min
2006

INVENTION OF THE BALL
Video performance
Videoformat 720x576
02:41 min
2005

NO TITLE
Video
Videoformat 720x576
07:43 min
2003

ANOTHER BLACK MONOCHROME
Video performance
Videoformat 720x576
04:20 min
2005

GOOD MORNING
Video performance
Videoformat 720x576
01:55 min
2004

UNTITLED DESPERATE TIMES
Found object
Slide
2009

HANDS
Photo montage
Photography on canvas, acrylics
15x21cm
2002

KEY TO THE GATE
Photography
C-print
54x41cm
2004

SWORD
Wall montage
Wood and spray paint
60cm
Screenshot of hacked home page
(www.steinarkristensen.org got hacked
in 2006 by crazy Turks counteracting
against the sculpture Internet is Dead)
2007

CRITICAL THEORY IS DEAD
Video
Videoformat 720x576
01:39 min
Collaborative work with Leander Djønne, Munan Øvrelid & Christian Bould
2004

TRANSACTIONISM
Sculpture with video
LCD screen & wig
{left page}
Installation shot
{right page}
Videostills
Videoformat 720x576
08:51 min
2008

LIKE DUCKS TO WATER
Video
Videoformat 720x576
06:21 min
Videostills

Installation shot
2008

scroll ----->>

. .
REVENGE OF THE 4th WORLD
Assemblage with video & sculptures
Videoformat 720x576
02:51 min
2006

REVENGE OF THE 4th WORLD
Video
Videoformat 720x576
02:51 min
In collaboration with Clare Milledge
2006

REVENGE OF THE 4th WORLD
Photography
C-print
23x32cm
2006

I SAY 'HI' AND THEY
SAY 'HI' AND I SAY 'HI'
Video with scrolling text
(Charles Manson quote)
Videoformat 720x576
02:13 min
2005

I SAY 'HI' AND THEY
SAY 'HI' AND I SAY 'HI'
Photography
C-print
23x32cm
2005

CURRENTLY UNTITLED
Photography
Never printed
2006

CURRENTLY UNTITLED
Photography
Never printed
2007

ULTRA MODERN
Shadow sculpture
Steel wire & spot light
100x100x100cm
2007

BIRD
Painting
Oil on canvas
90x70cm
1999

THE NEW CONTINENT
Sculpture
Phone & congas
40x40x30cm
2002

OSLO MONUMENT OF PEACE
Proposal / model
Clay, acrylics, spray-paint,
tinsel & epoxy
45x25x20cm
2008

OSLO MONUMENT OF PEACE
Photography
Framed C-print
80x60cm
2008

HØR LILLE MENNESKE/ LISTEN LITTLE MAN
Sculptures & performance
Performance duration 15 min
Collaborative work with artistgroup D.O.R.
(D.O.R. is Sverre Gullesen, Kristian Øverland Dahl &
Steinar Haga Kristensen)
Special thanks to Tori Wrånes & Sebastian Slaaten
2008

.
STICK #02
Sculpture
Wooden stick
89x1,5x1,5cm
(Inscription:
«If you don’t know enough about art and history you don’t know enough about yourself and this society and you should therefore not have the right to vote) 2008

NEW WORKS, ON THE
CONTEMPORARY «YOU AND I»
Performance
Performance duration 12 min
(Presentation of a possible
neo-relational strategy)
Collaborative work with
artistgroup D.O.R.
2009

I HAVE SEEN THE FUTURE BABY
Sculpture
Plexiglass, fabric, acrylics, leather,
aluminium tape, LED-lights,
wool & moss
85x50x50cm
2006

DER KLEINE MENSCH
Performance & installation
Smoke, pine trees, plaster sculptures, tent & various hippie artefacts
Performance duration 10 min
Collaborative work with artistgroup D.O.R.
Special thanks to Clare Milledge,
Tori Wrånes & Sebastian Slaaten
2006

HEADLAKED WAR ON WATER
Painting
Oil on plywood
75x61cm
1999

HOPE
Painting
Oil on canvas
66x42cm
2000

EXPRESSIONIST BOMB
Painting
Oil on canvas
51x71cm
2000

THE SPREAD OF DILETTANTISM
Painting
Latex on plywood
55x80cm
2008

DEMENTED DIGESTION
Video
Videoformat 1920x1080
04:18 min
2007

SELF-PORTRAIT AS INDIGENOUS
BUSHMAN
Video
Videoformat 1920x1080
02:13 min
2007

TOTOBUA
Removed object / mimesis
(Absent, referring to the demolition of the famous kiosk Totobua, at Oslo Central Station, as an attempt get rid of the drug addicts hanging around)
2008

SLINGSHOT
Slingshot
Bike handle, bike tube, suitable piece of wood, tape, leather & rock
30x20x20cm
2005

FOUND FUTURE
Photography
C-print
23x39cm
2006

Public art project at the Hausmania
culture house
Installation shot (2009)
120x240cm
2001

PROCESSOLOGY-ISM
Painting
Oil on PVA on cardboard
24x30cm
2008

LAMP
Sculpture
Chromed metal, ceramics & glass
48x35x35cm
2008

MISINTERPRETED CULTURAL
ARTEFACT #01
Sculpture
Half a bongo drum & rag
36x30x30cm
Collaborative work with Karen Eliot
2007

ALIBI
Photography
C-print
26x17cm
Collaborative work with Karen Eliot
2009

WOOMERA
Photography
C-print
26x17cm
Collaborative work with Karen Eliot
2004

ASSOCIATIVE MUSHROOM
Sculpture
Wood
43x10x10cm
Collaborative work with Karen Eliot
2008

DENKMAL DER
SEKULARISERUNG
Model
Wood, PVA glue & asphalt
30x20x20cm
2008

DO WHAT THOU WILT SHALL
BE THE WHOLE OF THE LAW
Photography
C-print
51x30cm
2009

EUROPE IN COLOUR
Painting
Oil paint on PVA on cardboard
& mahogany frame
23x21cm
2008

WESTCORE
Sculpture with video
Belt, LCD screen
8x30x30cm
Videoformat 640x480
04:03 min
2008

PORTRAIT OF A STUDENT
Photography
C-print
26x17cm
Collaborative work with Karen Eliot
2000

SELF-PORTRAIT AS KAREN ELIOT
Photography
C-print
26x15cm
Collaborative work with Karen Eliot
2002

UNDERTAKING STRUCTURE,
ULTRA-MODERN ARTISTIC INTERVENTION
Video performance
Videoformat 640x480
01:22 min
(Shot at the hotel Le Corbusier in
Marseille)
2007

PRO SCHIZO
Video performance
Videoformat 720x576
02:18 min
{left page}
Videostill
{right page}
Installation shot
2004

KAUPANG LIVE, NEO-HISTORICISM FOR OUR TIME
Live action roleplay / installation
Performance duration 48 hours
Collaborative work with artistgroup D.O.R. Special thanks to geologist Christoph Kilger and sociologist Helge Hiram for preliminary research

.
BRANNEN / THE FIRE
Video
Videoformat 720x576
72:38 min
(English subtitles from Håkon Sandøyen’sfeature film from 1973, Brannen/The Fire. The film is based on Tarjei Vesaas’ novel with the same name)
2007