Tenthaus for Sale catalogue

Page 1



t e k r a M 27.11 – 6.12



Tenthaus is a non-profit art collective and gallery space based in Oslo that focuses on socially engaged art. Our mission is to explore society from different perspectives, both through art exhibitions and discursive activities that foster diversity and inclusion. Interacting with the community and providing occasions for dialogue are central focuses in our program, which involves a radio programme, dinners, workshops and events. Tenthaus is not a commercial gallery; the ambiguity in the title of the exhibition is intended to show the uncertainty to what we are selling; is it artworks, the artists, the institution, the gallery, the collective or our principles?


To mark the end of 2020, Tenthaus invites artists collaborating with us in 2020 and 2021 to take part in a sales exhibition. We take this as an opportunity to reflect on current governing politics, the times we are living in and the future. Tenthaus for Sale invites you for a conversation about the economy of individual artists and socially engaged art practices. ‘What about the fact that we are broke?’ was uttered by an artist in Tenthaus after months marked by uncertainty, vulnerability and doubt.

We want to support artists by giving them an opportunity to sell works at the end of an economically challenging year. We are aiming beyond this year’s cataclysm and investigating ways that a small art organisation can increase the economic self-sustainability. Tenthaus for Sale is also part of a larger research project into the possibility of increasing the economic self-sustainability of a small non-profit arts organisation like Tenthaus. It is the first experiment in a research project funded by Kreativ Næring, written as a challenge to the Arts Council to fund an investigation into the self-sustainability of socially engaged art practices. We never imagined that this research was going to be so acutely needed. We call for a discourse about financial models of participatory process-based and collective art making. What is the difference between price and value in socially engaged practices? Is it at all possible to value and set a price on participatory art production? We are doing this by exploring alternative economic models to encourage a discussion around value and price of art and labour, with a focus on socially engaged art in the Norwegian arts funding system. In line with restrictions to prevent the spread of Covid-19 in the Oslo Municipality, Tenthaus was open with limited visitor capacity to maintain social distancing. There was no vernissage but extended opening hours instead. Transparent pricing policies comply to our research purposes: for the artworks sold during Tenthaus for sale, Tenthaus retains 30% of the retail price. Tenthaus is available to further mediate between clients and artists concerning the works exhibited during the art market. Amy Franceschini / Bjørn Erik Haugen / Carlos A. Correia / Ebba Moi & Anna Carin Hedberg / Easel Mortuza / Eli Eines / Elodie Guignard / Farhad Rahman / Farhana Satu / Future Farmers / Germain Ngoma / Gisle Harr / Hasan Daraghmeh / Helen Eriksen / Hello The Mushroom / Ida Warholm Bjørken / Jessica Williams / Juan Andrés Milanés Benito / Stephane Kabila-kyowa / Kirsty Kross / Lesia Vasylchenko / Lise Bjørne Linnert / Lucía Aragon / Maren Dagny Juell Kristensen / Mariken Kramer / Mathilde Carbel / Maya Økland / Meera Manjit Kaur / Melissa Kambidibwa Mujinga / Nabil Rahman / Nicolas William Hughes / Pete Fleming / Rachel Dagnall / Randi Nygård / Shahrzad Malekian / Shams Xaman / Sigbjørn Bratlie / Stan D’Haene / Stefan Schröder / Subvertising Norway / Trond Hugo Haugen / Ulla Schildt / Uronto Artists Community / Sadya Mizan / Vibeke Frost Andersen


San Francisco USA / Gent, BE since 1994 Futurefarmers is an international group of artists, architects, anthropologists and farmers with a common interest in creating frameworks of participation that recalibrate our cultural compass through moments of wonder. Their work uses various media to enact situations that disassemble habitual apparatus. Through public art, architecture, museum installations, publications and temporary educational programs inside institutions, they have transformed public policy, urban planning, educational curricula and public transportation plans. Futurefarmers’ work often creates relational sculptures and tools for audiences to gain insight into deeper fields of inquiry- not only to imagine, but also to participate in and initiate change in the places we live.

Amy Franceschini & Futurefarmers 25 000 NOK

SEEDS OF TIME 14” x 6” x 6” Hand blown glass time piece with Svedjerug (Rye) 2016, Losæter


SEED JOURNEY BROADSIDE: NO. 45/100 18” x 22” Limited Edition, Hand Set type, Letterpress printed, two color, embossed, Series of 100

15 000 NOK

FLATBREAD SOCIETY EXPLORATOUR 2013, Poster No. 45/100 50 cm x 70 cm Limited Edition Poster Series of 100 5 000 NOK


STARING AT CLOUDS # 3 2020 50 x 70 cm Anaglyph screen printing on paper

Bjørn Erik Haugen

STARING AT CLOUDS # 4 2020 70 x 50 cm Anaglyph screen printing on paper

2 000 NOK (unframed, including 3D glasses)


“My name is Bjørn Erik Haugen and I have a BA in visual arts from Trondheim Academy of Fine Arts, and MA from the Academy of Fine Art at KHiO, graduating in 2007. I am currently working on a PhD Artistic Research Project, due to finish in the beginning of 2020. As an artist I work idea-based, and with an array of materials, media and technologies to realise the projects. I work with several forms of expressions; sonic art, performance, video, photo, sculpture and installation. In 2019 I have presented a video work in the Research Pavilion of the Venice Biennale, and exhibited a number of new works in a solo show at Haugar Kunstmuseum. In addition I showed work in a group exhibition at Haugar Kunstmuseum, and in Hamburg, Berlin and Kiel. I presented a video during Rencontres Internationales in Paris, and had a solo exhibition at Khåk in Ålesund, as well as a large happening during the Ultima Festival in Oslo. In 2020 I have presented a large happening in the cinema at Kunstnernes Hus in August, and participated in a video festival in Düsseldorf.”


8 000 NOK

Carlos A. Correia


TRY AGAIN (VARIATIONS #10) 2020 Riso print, 30 x 40 cm (w/ frame)

Carlos A. Correia (b. 1989) is a Portuguese visual artist based in Trondheim, where he graduated with a Master in Fine Art from KiT-NTNU in 2015. He has been exhibiting regularly in Norway and Portugal. Correia also runs a small publishing house that specializes in Risograph printing, SMØR Press, together with Joana Bruno. He is also the co-founder of Slå På Kunst along with Inga Skålnes, an arts organization with a focus on art projects in non-conventional spaces.

8 000 NOK

“Try again (variations) is a series of collages using exclusively prints with the word “try” and “again”. Trying again is a continuous attitude, gesture and action. It appeals and relates to the persistence of doing something over and over until you obtain something from that effort. The question remains if trying again and again is enough, if it is merely meditative or instead, rooted in a belief.”

TRY AGAIN (VARIATIONS #2) 2020 Riso print, 30 x 40 cm (w/ frame)


Drew has worked across the arts as a researcher, lecturer, editor, artist and organizer of exhibitions and programs in Norway, Ghana, South Africa and the US. He has a PhD in art history, theory and criticism from the University of California San Diego and since 2018 has been programme manager at the Office for Contemporary Art Norway in Oslo where he lives with his partner Nina and kid Konrad. He is happy to be collaborating with Tenthaus and Germain Ngoma on Germain’s upcoming solo-exhibition opening September 2021, as well as editing a new publication on Germain’s work for the occasion.

Drew Snyder UNTITLED 90 x 80 cm Acrylic on canvas

3000 NOK


7 500 NOK


Written in 2011, this text is about an artwork by Michael Asher (Untitled, 1991) that is part of the Stuart Collection of public art on the UC San Diego campus in La Jolla, California. The work, a functioning but otherwise non-descript drinking fountain, is Asher’s only permanent public outdoor art work in the United States. The text is annotated and commented on by the writer and theorist Lesley Stern, who taught a graduate course on fictocritical writing in the Visual Arts Department at UCSD in 2011. The pages are original and there is no digital copy of the text.


“The three small bronze figures were placed on Eidsvolls plass in front of Stortinget as a temporary sculpture in 2019. The forms are the result of a process- and workshop-based collaboration that has taken place during a series of open workshops in the Vigeland Museum. Participants of all ages have studied sculptures by Gustav Vigeland, to subsequently shape their own interpretations in clay. The repetition means that several people look at each other’s interpretations, and that the work step by step becomes a variation of the original. A form of whispering game in three-dimensional form. The figures are based on Vigeland’s sculpture Kvitebjørn kong Valemon from 1921, inspired by a Norwegian folk tale. In the story, a girl is at the center, she is the driving force in the story and shows the strength that lies in cooperation. When using public spaces, given contexts are developed that can create new associations through interaction. Stortinget is a symbol of democracy and a place for the people. By placing a work of art based on participation on Eidsvolls plass, an alternative backdrop to Vigeland and the other sculptures around the square in front of Stortinget is created. The sculpture allows the audience’s voice to become part of the interpretation. The artwork stands for a multi-voiced dialogue, which trusts the people’s gaze, memory, and retelling. It shows an alternative view where representation in relation to memorials is at the center.”

Ebba Moi & Anna Carin Hedberg


FORMFORANDRINGER (KVITEBJĂ˜RN KONG VALEMON), 2019 Pedestal: 50 cm x 60 cm x 85,5 cm; Figures: ca 15 cm. Bronze and larvikite.

180 000 NOK

Ebba Moi (1971) has a degree from the Art Academy in Trondheim. Moi is part of the art collective Tenthaus and is currently chairman of the board of the Norwegian Sculptors’ Association. Anna Carin Hedberg (1966) has a degree from the Academy of Fine Arts in Trondheim and the University of Design and Crafts in Gothenburg. She works in the National Museum and was involved in starting the art bookstore Torpedo and the publishing house Torpedo Press. Ebba Moi & Anna Carin Hedberg have worked together since 2003. They have shown work in public spaces and in a number of exhibitions, both as a duo and individually. The work is a collaboration with Anna Carin Hedberg and it is a public art piece.


By the title ’I would have liked to stroke your cheek and tell you everything will turn out OK’ Eli Eines started making a double-finger-crochet chain when she was an art student at the Art Academy in Trondheim in the late 1990s. She has continued working on it alongside other art projects. This work has many similarities with traditional handicraft. Over the years meter upon meter of textiles have passed through the artist’s hands and been treated by her. But in contrast to the normal handicraft that results in a garment or finished product, this particular work is a visualization of a process – of time and of the artist’s effort and concentration. The double-finger-crochet chain is made up of leftover yarn to utilize existing resources, tethering it to daily life. This artwork has been displayed several times before, either laid out on the floor like a blanket or wound up as a ball. This time, parts of the chain are pulled off the ball and spread along walls and ceilings through all the exhibition rooms at Tenthaus. The artist mainly used existing hooks and fasteners in the gallery during assembly and thus linked the work to what has previously happened in these exhibition rooms. Art 35.5 Hours a Week depicts the National Gallery in Oslo from the perspective of the security guards who work there. The film is a poetic reflection of the rhythm of the working day of the security guards and shows how the building and its works of art

Eli Eines

80 000 NOK


ART 35,5 HOURS A WEEK In collaboration with Mariken Kramer 2017 21,38 minutes film Edition of 3 + 2 artist proof


105 000 NOK (5 000 x 21 years) + 5 000 NOK each year for the rest of the artist’s life

touch them as individuals. ‘Art 35.5 hours a week’ is a walk through the museum halls with the bodies and voices of the guards as guides. We meet Mona, Noriko, Abdullahi and Hallvard. The film also serves as a historical document of the National Gallery as it was before it was closed temporarily in January of 2019, to facilitate the move to the new National Museum opening in 2022. Art 35.5 Hours a Week is a collaborative project between Mariken Kramer and Eli Eines.


Germain Ngoma


Ngoma’s mastering of bronze is excelled in rendering transient consumer culture into an object of desire. We are looking so much forward to your exhibition at Tenthaus next fall Germain! GOOD READ: Kunstkritikk’s interview with Germain Ngoma. https://kunstkritikk.com/i-am-interestedin-everything-that-has-a-cavity

UNTITLED 25 x 20,5 cm Bronze

80000 NOK

Born in Zimbabwe and raised in Zambia and trained as a foundry technician before leaving Zambia to study art in Oslo, Germain Ngoma has exhibited widely and continues an experimental practice in many different media. His contribution to the Norwegian art scene is far beyond his exhibition activities. He is considered teacher and mentor to many students that have passed through the Academy of Art in Oslo. Ngoma was instrumental in establishing Norad funded workshops that have resulted in Zambian MA students studying in Oslo and establishing a strong European cultural network.


Gisle Harr

2 000 NOK


MORMOR, 2020 15 x 6 x 9cm Lego, epoxylim

2 000 NOK

“I studied at the Academy of Arts in Oslo and Budapest, SHKS and Oslo Tegne og Maleskole, I live and work in Oslo. The focus in my artwork is much on people in their everyday life, and how we as human beings are affected by society. I thematize this both in three and two- dimensional techniques, with emphasis on sculptural portraits and objects in miniature size, but also via drawings, paintings, photo, text and music. I also do more compound and participating work. After all, I see my artwork as personal, humorous or satirical comments on society.�

EIENDOMSSPEKULANT IVAR TOLLEFSEN 2020 15 x 6 x 9cm Lego, epoxylim


“This work was filmed in 17th of May 2018 at Trondheim Torg during the celebration of the Norwegian National Day. The work is part of an ongoing research and project called (Timescapes), which tries to explore and examine the concepts of time, distance, movement, and memory through developing a new method of working with moving image and video medium that revolves around the complexity of the medium by the exploration of the term pixel as the smallest component unit for the digital image. Through this project I try to look at the time as landscape to open up new ways of seeing the objects’ time, memory and space, and try to break the limitations of the digital frame.”

Hasan Daraghmeh

3500 NOK each 5 Editions + 2AP


UNTITLED (DANCE) NO.1 UNTITLED (DANCE) NO.2 UNTITLED (DANCE) NO.3 25cm x 35cm inkjet prints on matte paper

Hasan Daraghmeh (b. 1983 Palestine) lives and works in Trondheim. Daraghmeh is a visual artist working primarily with film, video installations, multimedia installations and photography. His work explores the interlacing relationship between the individual and the environment. Often focusing on the memory, time and space in relation to the digital era that we live in.


POSTER 2018 30 x 42 cm

200 NOK

Helen Eriksen


Helen Eriksen is an artist and educator living in Oslo. She was born and raised in Liverpool UK, studied literature and languages at the University of East Anglia (BAHons). Owns an MFA from National Academy in Oslo, specialising in Sculpture in the Expanded Field. Her doctoral thesis project at the Oslo School of Architecture explored the shifting role of the artist in public space. She has an eclectic art practice that includes making sculpture, drawing, illustration, textiles and artist books. She contributes to arts and educational journals in Scandinavia, as well as maintaining a creative writing practice. She is a founding member of Tenthaus Art Collective with a focus on the role of the artist in education. She also has an ongoing collaboration with Germain Ngoma in which they explore ideas of the artist’s life experience and signature of the artist.

KNOCK KNOCK 2018Â Artist book 23,5 x 16 cm

1 200 NOK

Helen Eriksen is currently a research associate at the University of Agder. Her research project is entitled Aesthetic Decision-Making Moments in Post-Colonial Norway. Her thesis draws on post-colonial scholarship and critical race and whiteness theories placing and contextualises them in the Scandinavian debate on racism within the academic and cultural fields.



SERIES 1 HAPPINESS, JOY Both 40 x 50 cm Both acrylic marker on reclaimed vintage print

68000 NOK 1700 NOK separately

SERIES 2 DELIGHT, GOOD SPIRITS, GLEE, CONTENT, ELATION, BLISS All 16 ,5 x 22,5 cm All acrylic marker on collage

Hello The Mushroom

10000 NOK (5000 NOK separately)

Hello the Mushroom is an urban artist from Lisbon, currently based in Oslo, by way of London. Her work can be found on the streets and in galleries in cities all over the world. The artist is interested in the idea of transforming existing materials, in creating something out of nothing, also from an ecological perspective, by utilising objects that would be otherwise discarded or can be considered surplus. As such, most of the work uses found imagery, mainly printed media. The work features mostly a personal exploration of subjects such as life, death, and cultural expectations towards women, often in a humorous way. Hello the Mushroom has exhibited in several galleries around the world, including Saatchi Gallery and Well Hung Gallery in London, UK as well as collaborated on several occasions with the Fitzwilliam Museum in Cambridge, UK.


Ida Warholm Bjørken

NESLESOMMERFUGLER (2) 2020 27cm x 29 cm Digital print, Epson paper, 1 of 5 print

Ida Warholm Bjørken (1984) graduated from Medium- and Materialbased art at Kunsthøgskolen in Oslo,spring 2018. Her first solo exhibiton was in 2011 at Trondhjem Kunstforening. Ida works multidisciplinary, some of her projects can be seen at instagram.com/idawarholm. She currently lives on a farm at Inderøy in the northern part of Trøndelag county with her family.

715 NOK


585 NOK

NESLESOMMERFUGLER (1) 2020 40,5cm x 41cm Digital print, Epson paper, 1 of 5 print

“These photos were taken during the residency at P1 mobilt atelier, when I was preparing pieces of wood in our big old barn from 1925 at our farm at Inderøy. A video of the butterflies can be seen at Tenthaus’ Instagram-account posted this spring, as I stopped my work and took out my phone, spending about 15 minutes in their presence. When I take pictures I shoot what I stumble upon or what comes to me, using the Leica camera on my phone. The photos are not planned in advance. When I am out walking, preferably alone, I walk slowly and look around. Therefore my photos are often taken in a meditative state, in a moment where I feel connected with my surroundings.”


Jessica Williams is an artist based in Jeløya who works freely within the realms of publishing, photography, text, and new media. She holds a BFA from the Cooper Union in New York City (2008) and a MFA from the National Academy of Art, Oslo (2014). Her working methods are like those of a hunter/gatherer, which is a nice way of saying she often works with trash. Everything from institutional language, mass-produced consumer goods, internet scraps, and physical debris finds its way into her work. She is also an avid collaborator, often involving others in her works.

Jessica Williams A ROSE, 2014 51x38cm Digital c-print (unique), unframed OSLOFJORD REVISITED, 2019 14x19x8cm Found plastic, silicon, glass, and wood

6 000 NOK


2 500 NOK

This assemblage Oslofjord Revisited is part of a limited yet open-ended edition based on a collection of plastic and styrofoam collected by the artist in the inner Oslofjord. After collecting large quantities of this strange but aesthetic plastic in 2016, Williams had a difficult relationship to artistic production. To make work felt like making trash: a terrible, gnawing feeling which was hard to shake. In 2019, she came across several dead stock vitrines made of wood and glass at different school flea markets in Oslo; they were mass produced in the 1990s for Ikea but never used by their original owners. In these she started producing aesthetic collages of the plastic, and will continue to do so once the flea markets start up again post-COVID if more of the boxes are found. A rose taped to a car on the streets of Beijing. This image was included in the now out-of-print artist book “Sympathetic Objects�, published in 2013 by Mediabus (Seoul). This print is unique and was made on the occasion of a group show at Open Space in Baltimore.


Juan Andrés Milanés Benito

POTEMKIN VILLAGE 2019 58 x 76 cm Serigraphy on cotton paper

Juan Andrés Milanés Benito was born in Isla de La Juventud, Cuba in 1978. He received his Bachelor of Fine Arts from Escuela de arte Wifredo Lam, Isla de La Juventud, Cuba in 1996. Milanés Benito pursued an exchange year at the Trondheim Academy of Fine Art in Trondheim in 2007, and received his Masters in Fine Art at the Art Academy in Oslo in 2009. He lives and works in Oslo. Milanes Benito’s work is characterized by his social, political, and environmental commentary. He also uses the technique of precise casting, a process that forms part of the narrative of his work. The act of copying and imitation refers directly to the human behavior we pursue to be part of our social environment. He is represented in Oslo by Galleri Riis and has exhibited around the world for over a decade.

EXTRACTION OF THE STONE OF MADNESS II 2019 58 x 76 cm Serigraphy on cotton paper

5 000 NOK


The serigraphies are documentation from Milanes’ sculpture exhibition at the Havana Biennial in 2015.

5 000 NOK

5 000 NOK

EXTRACTION OF THE STONE OF MADNESS II 2019 58 x 76 cm Serigraphy on cotton paper


Kirsty Kross

4 500 NOK


Kirsty Kross is an Oslo based artist from Brisbane, Australia. Her work deals with the human condition, currently focusing largely on humans’ relationship to the attention economy and growing ecological uncertainty. She holds a Bachelor’s Degree in Art History from the University of Queensland and a Masters Degree of Art in Context from the Berlin University of the Arts. Kirsty Kross exhibited and performed at Høstutstillingen, Bergen Assembly, Tenthaus and PINK CUBE as well as Clockwork Gallery, Parkhaus Projects and Galerie Crystal Ball in Berlin. Kirsty Kross was awarded the Dusk till Dawn Art Prize by PNEK and Vandaler Forening in 2016.

“This artwork was created in Berlevåg, Finnmark during a residency at Kvitbrakka. It is about the attention economy, the climate crisis and the role of the individual and interconnectedness of humans and other species. The Coral Trout is my artistic alter ego and is a fish from the Great Barrier Reef where I am from. The Coral Trout series of performances has been going since 2012.”

PORTRAIT OF A NORWEGIAN MARRIAGE Edition of 3 59,4 x 84,1 cm, High quality print, signed


Lesia Vasylchenko


Lesia Vasylchenkois a Kyiv-born artist based in Oslo. Her practice spans between installation, moving image and photography, and explores possible encounters between the fields of visual culture and time politics. Vasylchenko is a founder of STRUKTURA.Time, a cross-disciplinary initiative for research and practice within the framework of visual arts, media archaeology, literature, and philosophy. She holds a degree in Journalism from the Taras Shevchenko National University of Kyiv and Fine Arts from Oslo National Academy of the Arts. Her works have been shown among others at Haugar Art Museum; Berlin Transnational Queer Underground; The Wrong New Digital Art Biennale; Korea Queer Film Festival; Kunstplass 10.

9 000 NOK

TEMPORARY TITLE 12x15cm Ceramic, meteorite, photosensitive pigments, wooden box 1/1

“’Temporary Title’ is a collage of a 3D printed ceramic, light sensitive pigment and meteorite. The object is estimated to be 4.5 billion years old, It’s mass originated within the Asteroid Belt located between Mars and Jupiter and formed as part of the development of the solar system.”


Lise Bjørne Linnert

7 000 NOK


Lise Bjørne Linnert was born 1964 in Oslo, lives and works in Oslo. Lise works interdisciplinary. Social, political, feminist and human rights issues are fundaments in her activistic practice. Collaboration and audience’s participation and long-term commitment are key elements. Her projects can last over many years or be without an ending. Her work has been exhibited widely both nationally and internationally in institutions such as: Nordenfjeldske Kunstindustrimuseum, Kunstbanken, Hå gamle Prestegard, Oslo Cathedral, Ila and Ullersmo prison, numerous libraries, Women Museum, Mexico City, FN High Commission for Human Rights, Mexico City, Juarez Contemporary, Ciudad Juarez, Mexico, Rubin Centre for Contemporary Art, El Paso, The Station Museum of Contemporary Art, Houston, USA, Pallant House Gallery, Chichester, UK, Charlottenborg Kunsthal, Copenhagen, VISUAL Centre for Contemporary Art, Carlow, and Musée Bernadotte, Pau, France.

RESIDUE OF CONVERSATIONS I 2019–2020 70 x 53 cm Textile collage of samples of natural dyed silk and cotton

6 000 NOK

RESIDUE OF CONVERSATIONS II 2019 - 2020 40 x 33 cm Textile collage of samples of natural dyed silk and cotton

“Residue of conversations I and II belong to an ongoing series of textile collages created from samples of natural dyed silk, cotton and wool, given to me by participants in botanical dye workshops. I arrange the workshops as an invitation to learn techniques in botanical dyes and spend time discussing women rights and practices to fight violence towards women. The combination natural dye, activism and empowerment of women, comes from NI EN MORE, a sewing – and dye studio I have initiated in Cd Juarez, Mexico together with local and international artists and activists. The studio provides work to women with vulnerable backgrounds. Jobs with dignity, sustainable and fair income, skills to contribute to long term financial independence, empower and create new opportunities for the team of women. The samples I get from the participants in the workshops are both beautiful token of their research into natural dye and a residue of our conversation. I have hosted workshops in Cd Juarez, Guadalajara, Mexico City, Munich, Huddersfield and Oslo.”


8 000 NOK framed 6 000 NOK unframed


TRANSITION 76 x 56 cm Print

Lucía Aragón Lucía Aragón (Culiacán,1988) is an artist who works mainly between the media of site-specific paintings, printmaking, drawing and light installations, influenced by her Mexican heritage and her current context in the Nordic countries. Her artwork researches the contrasts and the relationship that exists between life and beliefs about death, as well as the link between darkness and the transitional lines of light. She studied Visual Arts at Interlochen Arts Academy (USA), obtained her Bachelor’s degree from the Universidad Iberoamericana (Mexico) and her Master of Art from Kunsthøgskolen i Oslo (Norway).

FLAMINGO 35 x 28 cm Print

5 300 NOK framed 3 800 NOK unframed


IT FITS PERFECTLY IN THE PALM OF YOUR HAND_STILL2 25cm x 45cm, Print on Canson baryta prestige 340g Mounted on aluminium and coated with a UV coat

Maren Dagny Juell Kristensen Maren Dagny Juell is an artist working in moving image, installation and virtual reality. She received her MA from Chelsea College of Art (London) and has exhibited widely, including solo shows at Atelier Nord Oslo, Trafo Kunsthall, Trøndelag Senter For Samtidskunst, Akershus Kunstnersenter, Podium Oslo and group shows at Astrup Fearnley Museum of Modern Art, Stavanger Kunstmuseum and Riga Photography Biennial 2020 among others. Moving image works have been screened internationally including The Australian video Biennial in Melbourne. Maren co-run SHE WILL art space with Liv Tandrevold Eriksen.

“The installation (and thus the stills) are concerned with the seductive screen and appeal of the smartphone and its surface. Its carved place as an artificial limb. The tactile, haptic organ with the world witin it – that is has become. The title is a quote from Steve Jobs description from the Launch of the first Iphone.”

IT FITS PERFECTLY IN THE PALM OF YOUR HAND_STILL1 25cm x 45cm, Print on Canson baryta prestige 340g Mounted on aluminium and coated with a UV coat


8 000 NOK

8 000 NOK



Mathilde Carbel

JANUS (1 AND 2) 21 x 15 x 0,5 cm Reliefs in aluminium

1 900 NOK per piece

Mathilde Carbel was born in 1990 in Møn, Denmark. She studied art at the Central Academy of Fine Art (CAFA) in Beijing, China, and later at the Goldsmith College in London. She now lives and works in Oslo.


3 000 NOK

LARISSA & RAÍSSA - ANÁPOLIS, GOIÁS, from the series STRANGER IN MOTHERLAND 2005 30 x 40 cm Maya Økland (b. 1980, Bergen, Norway) is an artC-print, framed ist and a curator. She holds an MFA in photography from the Bergen National College of Arts in 2005. Her works are included in the art collection of Halland Art Museum in Sweden, and have been exhibited at various venues such as Varbergs Konsthall, Sweden; Fotogalleriet, Norway; Gallery SíM, Iceland; Telemark Kunstsenter, Norway; Kreuzberg Pavilion, Berlin; Galleria Huuto, Finland; Kjubh Kunstverein, Cologne; Sermermiut, Greenland among others. Her photobook ‘Stranger in Motherland’ was published by Teknisk Industri in 2017 and launched in Norway at the Rogaland Kunstsenter, Entrée and Podium. In 2021 Maya Økland will be the OCA artist in residence at Capacete in Rio de Janiero. As a curator Maya Økland co-founded and co-curated the artist run gallery KNIPSU in Bergen from 2010 to 2015. In 2015 – 2017 she worked for Director Hanne Mugaas as Curatorial Assistant, Interim Director and Coordinator at Kunsthall Stavanger. She frequently writes about art in the feminist magazine Fett, where she is also in the editorial board. Lives and works in Oslo, Norway.

Maya Økland


BRASILÍA D.F., from the series STRANGER IN MOTHERLAND 2013 40 x 30 cm C-print, framed

Stranger in Motherland is a project where I over the last 20 years have been traveling to my mother’s homeland in Brazil. It is about having relations that are at the same time both close and remote. As a half Norwegian and half Brazilian I am expected to have a Brazilian identity but I haven’t been there enough to relate to that so the camera becomes my tool to get to know my family and their surroundings - and who I am. It is a series with documentary photography that both documents them and me.

3 000 NOK


2 000 NOK

FRESH JUICE STALL SHOP 2020 33 x 40 cm Photograph

Meera Manjit Kaur


Meera M. Kaur (b. 1988) is an artist, communicator and critic. Kaur worked as a teacher before changing career by studying art, design and communication. In 2019, she delivered her Master’s thesis on implementing digital tools and games in art communication. She is as of the 1st Nov editorial assistant in Kunstavisen, a communicator at Kunstnernes Hus and Astrup Fearnley Museum. She is also part of Tenthaus Collective.Â

2 000 NOK

LEMONADE STALL SHOP 2020 33 x 40 cm Photograph

The works exhibited are photographs taken in India to document local small businesses; stall shops. These images are from a series of four stall shops, which were all exhibited as part of her exhibition: “Masala chai with a hint of racism”. Her next project will be a work exhibited as part of the Skulpturtriennalen by Norwegian Sculptor Association in Autumn 2021.


5 000 NOK each

On this project entitled ‘Kikwembe’, which in Kiswahili refers to colourful fabric worn as a wrap in parts of Africa, Melissa Mujinga intends to make her work as a painter reason with her intimate relationship and the beautiful passion she wears for the fabric that was used to welcome her at birth. This intimate relationship is renewed in her new experience as a woman, who undertakes to read, to question her society on the place of women, and to paint the values that the Kikwembe carries as representation in the collective imagination. By reappropriating this fabric, Mujinga is amazed by the multiple functions that it plays in everyday life, which elevates her passion for Kikwembe in her creations of patterns and paintings. She hopes they create spaces for dialogue in an African context where women are often obscured behind the fabric, and this will in turn break down the prejudices linked to the condition of women. In a conflict between the preservation of traditional values and the impact of changes towards a post-modern society, the condition of women preoccupies Melissa Mujinga’s work. This is why in these two series, she wishes to create opportunities to break the silence on taboo subjects in African society. Mujinga Melissa is also saying ‘no’. No to the prejudices and institutionalized barriers of which women are victims in an African society which sings the emancipation of women in their daily life, yet still victimises those who sing of this very emancipation. At the same time she portrays the hope and resistance of women in everyday actions that can build a world where living in harmony is possible. Born in 2001, Mujinga Kambidibwa Melissa is an independent visual artist based in Lubumbashi, Democratic Republic of Congo. As a visual artist, she graduated in Plastic Art from the Institute of Fine Arts in Lubumbashi, working in collaboration with the art workshop ALBA a.s.b.l. She defines herself as a visual artist working with several mediums: from ceramics to writing, and painting.


1) ABUS, Project Kikwembe 20 x 30 cm Oil paint on canvas

7) SON REGARD, Project Kikwembe 20 x 30 cm Oil paint on canvas

4) AU NOUVEAU JOUR, Project Kikwembe 20 x 30 cm Oil paint on canvas

2) GRIFFES, Project Kikwembe 20 x 30 cm Oil paint on canvas

6) PREJUGES, Project Kikwembe 20 x 30 cm Oil paint on canvas

3) LARMES DE RESISTANCE, Project Kikwembe 20 x 30 cm Oil paint on canvas


5) NON, Project Kikwembe 20 x 30 cm Oil paint on canvas






Melissa Kambidibwa Mujinga


Nicolas William Hughes DAISY ON PINK, from the series I FELT LIKE SOMETHING BEAUTIFUL 2020 250 x 150 cm Macro photograph

6 000 NOK

I felt like something beautiful / I felt like (destroying) something beautiful 2020/2021 is a series of large-scale photographic works along with short film works and accompanying texts. The work explores the concept and (re)definition of the word “wild”. This work takes onboard Timothy Morten’s principle that if we as a species are to become truly ecological then we must do away with the old definitions of nature (and in turn specific to this work the term “wild”) in order to highlight that we humans are indeed a part of the overall ecological landscape and not outside or in some way disconnected from the rest of “nature”. The title of the work is based on a quote from the Novel Fight Club by Chuck Palahniuk, the actual quote discusses the protagonist’s own mental breakdown and disconnection from society and his own desire for


the destruction of the world which had brought him nothing but pain and ennui. I felt like something beautiful is a series of macro photographs of wildflowers which were found growing in my own garden after I decided to not cut the grass for one whole year. The images in the series are taken on bright almost unnatural backgrounds making them seem constructed or manmade. Accompanying this series is a self-written text leaning towards poetry (I am not a poet though) which explains what happened when I decided to not cut the grass in the garden. Each image in the series is 250 x 150 cm (including the accompanying text) and would be hung via batons and wire.

Nicolas William Hughes (b.1984). “I am a visual and conceptual artist from South Wales. I lived and worked in Norway for 7 years. I graduated from KHiO with a masters degree in art and Public space in 2018, winning an award for my project “Et tre som eier seg selv”. My work has been exhibited extensively internationally as well as around Norway. Exhibitions in the past year include group shows in Kurant visiningsrom, Tromsø and Galleri Blunk, Trondheim. This summer I showed work in Østfold Kunstsenter where I won an award for my piece “the ballad of a dandelion”. Most recently in August this year I exhibited a project in public space with Kvartetten Visningsrom, Halden. I have two solo shows planned over the next two years (in Sarpsborg, Viken next year and in Swansea, Wales in 2022). Also, In the spring of 2021, I will be undertaking an artist residency with Tistedal barneskole in Halden as part of Tenthaus Oslo’s P1 project.“

6 000 NOK

FIELD SCABIOUS, from the series I FELT LIKE SOMETHING BEAUTIFUL 2020 250 x 150 cm Macro photograph


Pete Fleming approaches the digital image from a materialist position, and his work engages with objects and processes that interweave virtual and physical space. Integral to this practice is his concept of the photograph as word-image-touch-object, a term that is intended to articulate the materiality of a photograph as it moves between servers, fingertips, light emissions, and feelings. Educated at the Academy of Fine Art in Oslo and The Glasgow School of Art, he has exhibited across Europe and the United States.

Pete Fleming

6 825 NOK

SCREEN GREASE VI 2018 67 x 130 x 20cm UV photo print on silicone rubber


6 825 NOK

SCREEN GREASE V 2018 67 x 130 x 20cm UV photo print on silicone rubber

“The works Screen Grease VI and Screen Grease V (2018) are both multi-layer UV photo prints on silicone rubber. Originally exhibited at Babel Visiningsrom for Kunst in Trondheim, the images show the sticky residues left on touch screens. When a display is augmented in this manner, the distinction between the body, device, and image becomes both literally and figuratively blurred. My use of silicone, a material used in body modification, transforms the photograph into a vestigial and flexible image, a kind of screen-skin hybrid. In the context of the Covid-19 pandemic, we have never been more dependent on our personal devices. Those same screens can become surfaces for the transmission of the virus, making the sight of finger prints and oily smears on shiny glass a combination of fear, shame, and a stark reminder of our mortality.”


Rachel Dagnall

The cassette contains extracts from the radio broadcast series entitled Sonic Scenography made for Tenthaus Radio in 2020. Side A is made by Christian Tony Norum at Munchs studio at Ekely in Oslo. Side B is made by Ali Djabarry and Mohammadreza Ebrahim Salkooyeh conveying the sonic experience of their separate imprisonments in Iran. Tesla Faen is a hand drawn skateboard logo made for the Woodland Skateboard Installation at Høstutstillingen last year. Take a skateboard down from Holmenkollen instead of your f**k’n Tesla Fæn. Tesla F**k’n Fæn.


PRISON RECORD (extracts on tape) 2020 90 mins Audio cassette (1st edition 1/3)

250 NOK

TESLA FAEN 2020 15 x 10 cm Car sticker (1st edition 1/20)

Pris etter avtale

Rachel Dagnall (b. 1972 in Liverpool, UK) is a visual artist working predominantly with performance, sculptural and sound installations, scenography and film. She holds a Bachelor degree from the Department of Environmental Art at Glasgow School of Art, a Master of Fine Art from The Art Academy in Oslo and a Master in Scenography from NTA. As an artist she has made public a range of installation and performative works for exhibitions and public commissions and has been part of the collaborative art group Henry VIII’s Wives since 1997. Most recently Sonic Scenography for Radio Tenthaus and Save The Nature at CLICK Festival in Denmark. She has worked as an exhibition producer at Momentum III Nordic Biennial, as technical coordinator for the artist’s media resource and project space Atelier Nord, curator at the Kunsthall Oslo and was also responsible for programming the Public Art program for the city’s central station, she has been the curator for the Oslo Open festival and the Bachelor Exhibition at the Art Academy in Oslo. She was on the board of the National Association of Norwegian Sculptors. Publications have included We March Under the Banner of Visual Art made in conjunction with the exhibition Light Without Shadow at Tramway in Glasgow.


THE DENIAL OF NATURE: ENVIRONMENTAL PHILOSOPHY IN THE ERA OF GLOBAL CAPITALISM 2017 19,5 cm x 27,5 cm Rubbing, charcoal on paper (over book cover), framed

4 000 NOK

Randi Nygård


In her frottage-drawings Randi Nygård places thin papers on top of thousand years old ice, faded flowers or used book covers and drags her hands smeared in coal or pastel over the uneven surfaces. In this way the drawings are created by the touch of her hands, structures in the objects and in the paper. The book frottages get their titles from the books they are made on top of. The abstract images that appear can be seen as distant landscapes, like hidden memories of the origin of the paper, created by the act of reading and touching the books. This frottage is made by dragging a stick of charcoal over the cover of a book by Arne Johan Vetlesen. “My work often departs from scientific facts about how nature and its forces form part of society and culture, and they highlight how humans have a profound impact on but also deep affiliation with nature.”

Randi Nygård is an artist based in Oslo with an MFA from the Trondheim Academy of Fine Art, NTNU (2006). Aiming to create both wonder and enthusiasm for the natural environment, her work often departs from scientific facts about how nature and its forces form part of society and culture. She has been inspired by how pollution contributes to the creation of clouds, how clouds can be full of organic life, how time might not be a fundamental structure but something which arises between things, how words having some similar sounds may stand for things with similar forms, how our teeth are connected to memory, and how our ways of life lead to the extinction of plants and animals in other parts of the world. Randi has received numerous grants and taken part in many residency programs, W17 at Kunstnernes Hus, Nordic Artist Centre in Dale, URRA in Buenos Aires and Bruce High Quality Foundation and digitally at the New Museum (both in New York with Ensayos). Her work has been exhibited internationally at Contemporary Art Center of Thessaloniki, (Greece) YYZ Artist Outlet, (Toronto, Canada), New Museum (New York, USA, with Ensayos), Kunstverein Springhornhof (Germany), and Museo Nazionale di Sant’Angelo (Roma, Italy). Exhibitions in Norway include Kunstnernes Hus, Kunstmuseet KUBE, Ålesund, Tromsø Kunstforening, Tag Team Studio, Bergen, QB gallery, NoPlace and Fotogalleriet.

HAND 2018 36,6 x 33,8 cm Collage, framed

5 500 NOK


Easel Mortuza, Elodie Guignard, Farhad Rahman, Farhana Satu, Nabil Rahman & Shams Xaman Curated by Sadya Mizan / Uronto Artists Community URONTO Artist Community is an ArtistLed Open Collective in Bangladesh (2012). It was created with the purpose of encouraging a new organic platform for creative practitioners and researchers from all possible disciplines to collaborate and enhance their inter-disciplinary and uphold their Artistic responsibilities toward the Society. URONTO reconnects with lost memories of forgotten places through diverse contemporary artistic interventions. They create opportunities to share the joy of connecting to cultural histories through co-existing and co-creating by harnessing the power of oral history in community and artists’ Interdisciplinary interventions. Sadya Mizan is an independent curator, researcher and Arts manager. Founder of URONTO Artists Community in Bangladesh (2012). Founding trustee of Art Initiative Bangladesh-AIB (2018), Sadya has been a Dhaka based contributing researcher for Asia Art Archive-Delhi, contributing member of Samdani Artist-Led-Initiatives forum and an Art Think South Asia (ATSA) fellow 201819. Her curatorial interest is in and around cross disciplinary artistic experiments where community engagement and collective thought process play a major role. Her recent research is about strategic planning, sustainability, inclusiveness and accessibility of art organization models and projects in different Geo-locations including South Africa, Colombia, New York, Berlin and Oslo.


HOME & BEYOND 04 2013 30 x 45 cm Photograph


HOME & BEYOND 01 2013 30 x 45 cm Photograph

3 900 NOK


4 550 NOK


REMINENCES 01 2019 45 x 30 cm Photograph


REMINENCES 05 2019 45 x 30 cm Photograph




REINCARNATION 06 2015 45 x 30 cm Photograph

REINCARNATION 03 2015 45 x 30 cm Photograph

4 550 NOK




ABJURE ENTITY 02 2017 45 x 30 cm Photograph

4 550 NOK

ABJURE ENTITY 03 2017 45 x 30 cm Photograph




GIVING BACK 01 2019 45 x 30 cm Photograph

GIVING BACK 02 2019 45 x 30 cm Photograph


GOURARONG DIARIES 01 2017 30 x 45 cm Photograph


4 550 NOK

GOURARONG DIARIES 02 2017 45 x 30 cm Photograph



Shahrzad Malekian (IR/NO) is an interdisciplinary artist working with performance, video and sculpture. Malekian’s works often address human conditions and body politics. Her interests include power structures, presentations of gender, the complexity of interpersonal relationships, and shifts that occur in the transition between the private and public domains. Her works have been shown internationally in exhibitions and museums in Brazil, USA, Germany, Sweden, Norway, Finland, Portugal, and London. Her video pieces were selected for International Film Festival Rotterdam (2013), Göteborg International Film Festival (2013) and Doclisboa (2019). She was the finalist for MOP CAP 2015 prize and nominated for Follow Fluxus - After Fluxus 2017 award. Malekian holds a BFA in Sculpture from the Art University of Tehran and MFA in Art and Public Space at Oslo National Academy of the Arts, Norway. She lives and works in Oslo.

A V ST A N D REFLECTION ON VIGELAND, 2020 70 x 50 cm Digital print

Shahrzad Malekian

“In this series, I explore the language of protocols and the way they regulate how people relate to each other. The project will revisit the work of Norwegian sculptor Gustav Vigeland to investigate past and future constructions of body politics, and the notion of the human relationship with each other and space. These sketches will be used as the foundation for the series of performances, with a focus on developing and articulating a vocabulary of movement while applying gestures to shifting concepts of site.”


1 200 NOK


Sigbjørn Bratlie


Sigbjørn Bratlie (b. 1973, Oslo) has an MA in Fine Art from Central Saint Martins College of Art and Design in London (2002), and works predominantly with video, installation and painting. His artworks have an analytic, hermeneutic and often comical side to them, and they frequently revolve around themes like language and linguistic meaning. His recent solo shows include Galleria Huuto, Helsinki, (2020), Oseana Kunst- og Kultursenter, Os (2019) and Buen Kulturhus, Mandal (2019). Recent group shows include Høstutstillingen (2020), Łaźnia Centre for Contemporary Art, Gdansk (2019) and Østlandsutstillingen (2017).

“DYSGEUSIC ANALYSIS OF THE POWER STRUCTURES IN FRANCIS FORD COPPOLA’S THE GODFATHER” 85 x 95 x 10 cm Wooden shelf, miscellaneous household objects, acrylic paint

22 000 NOK

“My artworks are primarily about language and there is a distinctly hermeneutic approach to contemporary visual culture in them: They are often conceived in order to search for meaning in cultural phenomena. They are about the production of artworks in the midst of an overwhelming flow of TV, movies, advertising, fashion and cartoons. To me, these phenomena are like an incessant background noise, one that makes it difficult to speak clearly and succinctly — that makes it difficult to hear oneself think. My artworks are often “filtered” through one or several layers of cultural references, but are ultimately about the search for a voice, both artistically and personally.“


9 000 NOK


GARTNER VANN Garden hose, steel chain, keyring, plug, concrete diamond, screw


1 000 NOK per piece 4 000 NOK for the installation

SUN SALUTATIONS, paint or ink on surface of choice

Stan D’Haene “Gartner Vann is the material synthesis of reflections made during my ongoing project ‘Håndstil Hagearbeid’, of which the workshops with Tenthaus are part. During these workshops we write on concrete with water by means of garden sprayers. Concrete is the second most consumed material globally after water. Gartner Vann is a ‘diamond chain’ wearable sculpture. The piece plays with the hop-cultural term ‘water’, which is an alias for diamond. The water has turned concrete as it poured out of the garden hose.” “Sun Salutations is an artist book and a catalogue of writings. These writings were created through improvisation, a direct way of writing, a handstyle refined by continuous practice. The book functions as a point of departure for its contents to be rewritten. The book itself is not for sale. It is possible to buy rewritings from specific writings out of the book, onto a support and location of your choice. Buyers can choose single strips, or a combination of several strips or sheets. Any difference between writing and rewriting must be considered as a feature and not a fault.” STAN D’HAENE (b. 1994, Belgium) lives and works in Oslo. He has graduated from the MA Autonomous Design at KASK School of Arts, Ghent. He also studied Fine Art at LUCAarts in Ghent and Media Art at the Academy of Fine Arts, Warsaw. He is a water based artist and works with contemporary myth, rituals, vernacular, nomadic phenomena and trends. His practice is rooted in his concept of ‘Gardening as Lifestyle as Art’. His methodology is based on extracting rituals, tools and ideas from gardening and exploring how they can be reconsidered in a lifestyle-oriented art practice and vice versa. He invites the audience to interact with his work, to acknowledge that it’s embedded in their world.

NOK 1 000/m2 for outside walls; NOK 1 500/m2 for inside walls


Stefan Schrรถder


Stefan Schrรถder is an artist and curator based in Oslo. He was born and raised in Dresden, Germany. After an education in construction, he studied art at the Academy of Fine Arts Dresden (GER) and The School of Fine Art and Design St. Joost, Breda (NL). His artistic production includes various projects in the public sector as well as works based on drawing, painting, photography as well as three-dimensional works. His work is open for participation though sharing of ideas and resources. Late autumn this year, Schrรถder was commissioned a public work for Nye Vinne og Ness public school in Verdal, Norway. Together with other members from the Tenthaus collective, Schrรถder is invited for the upcoming exhibition at The National Museum of Norway, entitled Jeg kaller det kunst that opens in late 2021.

4 X COMMON ALPHABET (2), 2019 118 x 155 cm (57 x 76 cm each)

4 X COMMON ALPHABET (1), 2019 104 x 133 cm (50,5 x 65 cm each)

CA, short for Common Alphabet, is created from stencils made of flattened cardboard packaging. The series of 2 X 2 drawings highlights the cardboard packaging’s inherent aesthetic form; a rich visual vocabulary, with an initially intended function and design for a product. The work thematically circuits around the ´buy and throw away´-ideology of our time, also known as financial growth. The stencil is a universal unit, and its canon of form is considered a shared language, a common alphabet.

a single drawing: 6 500 kr the entire series: 22 000 kr



Subvertising Norway / Gina Greig Riisnaes

4 450 NOK (framed) 1 950 NOK (unframed)

HAPPINESS IS AN INSIDE JOB 60 x 40 cm Giclee print on photo-quality HahnemĂźhle Photo Matt Fibre 200gsm paper Edition of 50, stamped and numbered on verso

Subvertising Norway is a non-profit network of artists, activists and designers dedicated to questioning who has the power and authority to communicate messages and create meaning in public space through acts of creative subversion and art-based activism.


3 000 000 NOK

Tenthaus Grønland 16, 0188 Oslo is a conceptual photographic work. The images, re-contextualized as artistic elements, are a commercial property listing from Finn.no, The sale of this art piece will fund the relocation of Tenthaus to these premises and its price is one year’s rent of the building. Thus, these conventional images of vacant space are charged with the possibility of a future artistic and community centre in Grønland. The purchase of the work is the agent of its realization.


GRØNLAND 16, 0188 OSLO 2020 60 x 80 cm 8 digital C-prints on coloured recycled card


HISTORIEFORTELLING 2020 167x120 cm Akryl på fotografi, Giclée på Barytt-papir

Trond Hugo Haugen Trond Hugo Haugen (b. 1975) is a Norwegian artist. His artistic practice focuses largely on drawing and project-based works, and he is active in various artist-led and artist-governed initiatives and structures. After he graduated from the Trondheim Academy of Fine Art in 2002, he lived and worked in Malmö and Berlin, now based in Oslo. Haugen works shows a main interest in politics, history and the role of the artist in society. His drawings are direct, with a strong black and white expression. Haugen is currently chairman of the board at Kunstnernes Hus and Oslo Open Åpne Atelier.

2 000 NOK per stykk


JAMIE 2006–2008 29x29 cm x 77 stk. Tegning, tusj på papir

Fotografiet er originalt et verk av Haugen fra 2014: Et riksportrett (Rikssalen) Innkjøpt av Oslo bys kunstsamling i 2017

50 000 NOK


Ulla Schildt (b. 1971) is a visual artist primarily working with analog and digital photography. In recent years her artistry has been fascinated by human’s need to gather, organise, and consequently master the world. She has studied photography at the Dublin Institute of Technology and Aalto University (TAIK). Schildt has exhibited widely in Norway and internationally and her works are included in collections held by institutions such as University of Oslo’s Art Collection, the Office of Public Works in Ireland, and the Ministry of Local Government and Modernisation in Norway. She was selected to participate in the Norwegian Journal of Photography in 2017, received the Jury’s Award at the 64th Northern Norway Exhibition in 2010, and in 2008 was shortlisted for the Victor Award by Hasselblad Foundation and received the Curtin O’Donoghue Photo Award. Recent exhibitions are “Flowers from Svalbard” at Bærum kunsthall and “Klima2” at Technical Museum, Oslo. She is currently working towards a solo exhibition at Tenthaus and a photo book, which will be published by Journal in 2021-2022. For the exhibition she has chosen the image Untitled Bird Study # III and Cornwall. These works can be seen as metaphors for human anxiety over everything we are unable to control and helpless at regulating: climate change, population growth, war and natural disasters. (More info: www.schildt.no)

7 400 NOK


UNTITLED BIRD STUDY # III 2020 20 x 20 cm pigment print, framed ed. 1/6 + 1 ap

28 000 NOK

Ulla Schildt

CORNWALL 2019 115 x 95 cm pigment print, framed museum glass ed. 1/6 + 1 ap


21000 NOK framed

Vibeke Frost Andersen

0_0 IMPRINT 4 2016 digital print on archive paper 101 x 152 cm (shown as documentation photo, 42x59,4 cm)

Vibeke Frost Andersen works with various forms of landscape surveys. Through text and images, she tries to document the characteristics of an area as they are experienced, and simultaneously say something about how these are consequences of economic, political and social currents that shape and move the landscape and our relationship to it. The presentations varies - drawing, print, photo, film and sound - but usually relates to the medium and method by which the relevant area and theme is usually communicated to the public. The presentations have in common that they can be reproducible and mass communicating. Vibeke Frost Andersen is educated at the Oslo National Academy of the Arts, MFA Art and Public Space, and at the University of Wales Institute Cardiff, BA (Hons) Graphic Communication. She lives and works in Oslo and Kragerø. “0_0 Imprint” is a topographical survey of four islets in the Kragerø archipelago which have fallen out of the property register. The work exists as a full scale digital file, with contour lines for every centimeter. The reproductions shown here are “0_0 Imprint 4”, scaled to 1:50, and “0_0 Imprint 4, section” which shows a section in full scale. Both reproductions are produced in an edition of 1.


6000 NOK framed

0_0 IMPRINT 4, section 2016 digital print on archive paper 52 x 52 cm




















Published by Tenthaus 2020 Editorial Matilde Balatti, Stan D’Haene, Shahrzad Malekian Design Ariane Spanier arianespanier.com Photography Øystein Thorvaldsen Published as part of Tenthaus for Sale Production team Tenthaus for Sale Matilde Balatti, Stan D’Haene, Shahrzad Malekian, Hamza Ali ©2020 Tenthaus / the contributors Big thanks to the artists Amy Franceschini / Bjørn Erik Haugen / Carlos A. Correia / Drew Snyder / Ebba Moi & Anna Carin Hedberg / Easel Mortuza / Eli Eines / Elodie Guignard / Farhad Rahman / Farhana Satu / Future Farmers / Germain Ngoma / Gisle Harr / Hasan Daraghmeh / Helen Eriksen / Hello The Mushroom / Ida Warholm Bjørken / Jessica Williams / Juan Andrés Milanés Benito / Stéphane Kabila-kyowa / Kirsty Kross / Lesia Vasylchenko / Lise Bjørne Linnert / Lucía Aragon / Maren Dagny Juell Kristensen / Mariken Kramer / Mathilde Carbel / Maya Økland / Meera Manjit Kaur / Melissa Kambidibwa Mujinga / Nabil Rahman / Nicolas William Hughes / Pete Fleming / Rachel Dagnall / Randi Nygård / Shahrzad Malekian / Shams Xaman / Sigbjørn Bratlie / Stan D’Haene / Stefan Schröder / Subvertising Norway / Trond Hugo Haugen / Ulla Schildt / Uronto Artists Community / Sadya Mizan / Vibeke Frost Andersen Thanks to Ebba Moi, Helen Eriksen, Stefan Schröder, Mechu Rapela, Stan D’Haene, Shahrzad Malekian, Matilde Balatti, Hamza Ali, Meera M. Kaur, James Finucane, Thomas Holth, Ida Uvaas, Nikhil Vettukattil, Caroline Woolard, Leigh Claire La Berge.

Maridalsveien 3 0178 Oslo Norway www.tenthaus.no team@tenthaus.no IG @tenthausoslo

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