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Randi Grov Berger

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Emily Weiner
I took my lyre and said

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Past Projects  
— 2022

Cato Løland
Turning Strangers Into Family

Andrea Spreafico
Poor Dictionary (from Distance to Rage)

Cato Løland
Paris Internationale

Marco Bruzzone
GLUB CLUB (An Underwater Turmoil)

Lera Sxemka
Artists in Residency

Nastya Feschuk
Artist in Residency

Tuda Muda,
Sigrún Hlín Sigurðardóttir,
Unn Devik
Artists in Residency

Ivana Králíková
Future City Earth Systems
Artists in Residency

T-Yard Writers Residency
︎ www.t-yard.com

Karoline Hjorth & Riitta Ikonen
Eyes as Big as Plates

Entrée Cinema
Lasse Årikstad
Bergen Filmklubb

Pamflett & BABF
Bergen Art Book Library

Magnhild Øen Nordahl
Oppløyste abstraksjonar

Past Exhibitions
— 2021

- a group exhibition

Entrée Cinema
Calderón & Piñeros
Paul Tunge &
Egil Håskjold Larsen
Cinemateket i Bergen

Kåre Aleksander Grundvåg

Dan Brown Brønlund
Magnus Håland Sunde
Linda Morell

Lisa Seebach
I’d Rather Be Rehearsing the Future

Entrée Cinema:
Ina Porselius
Bergen Filmklubb

Ann Iren Buan
Falm varsomt, hold om oss

Sjur Eide Aas
At Hermit Street Metro Entrance

Entrée Cinema:
Esteban Rivera,
Marthe Thorshaug
Cinemateket Bergen

Karin Blomgren
Summen av alle krefter

Entrée Cinema: 
Jon Rafman,
Claudia Maté
at Bergen Filmklubb

Past Exhibitions
— 2020

Lin Wang
Exotic Dreams Tattoo Shop

Unfolding Questions, Codes,
and Contours

at Tromsø Kunstforening

Ida Wieth
wander / wonder

Lilian Nabulime, Bathsheba Okwenje,
Miriam Watsemba, Maria Brinch.
My Mother Is Forgetting My Face.
Curated by Martha Kazungu

Ian Giles
After BUTT
at Kunstnerforbundet

Oliver Ressler
Carbon and Captivity

Sara Wolfert
Head Channel & Lion 
- Waking of the Sleeping Lion Ear

Entrée Cinema
Kjersti Vetterstad
A Beehive in My Heart
at Cinemateket Bergen

Halldis Rønning

Past Exhibitions
— 2019

Kristin Austreid
Et underlig redskap

Bergen Assembly
Actually, the Dead Are Not Dead

Anne de Boer, Eloïse Bonneviot
the Mycological Twist

Kamilla Langeland
Stories of the Mind
(Transitioning Into Uncertainty)

Maria Brinch

— at Kunstnernes Hus

Bathsheba Okwenje
Freedom of Movement
at  Kunstnernes Hus

Lina Viste Grønli
Nye skulpturer

Toril Johannessen
SKOGSAKEN (The Forest Case)

Marysia Lewandowska
It’s About Time

(in Venice Biennial)

Films by
Mai Hofstad Gunnes

Isme Film
Collectively Conscious Remembrance

Trond Lossius
Jeremy Welsh
The Atmospherics
River deep, mountain high

— 2018

Marjolijn Dijkman
Toril Johannessen
Reclaiming Vision

Damir Avdagic

Eivind Egeland
Father of Evil

Marysia Lewandowska
Rehearsing the Museum

Anton Vidokle
Immortality for All: a film trilogy on
Russian Cosmism

Curated by
Ingrid Haug Erstad

Johanna Billing
Pulheim Jam Session,
I’m Gonna Live Anyhow Until I die,
I’m Lost Without Your Rhythm,
This is How We Walk on the Moon,
Magical World

Jenine Marsh
Kneading Wheel, 
Coins and Tokens

Jenine Marsh
Sofia Eliasson
Lasse Årikstad
Johanna Lettmayer
Lewis & Taggar
Jon Benjamin Tallerås
—  a group show in public space

Jon Rafman
Dream Journal

Goutam Ghosh &
Jason Havneraas

Ian Giles
After BUTT

Films by Yafei Qi
Wearing The Fog, 
I Wonder Why, 
Life Tells Lies

— 2017

Daniel Gustav Cramer
Five Days

Kamilla Langeland
Sjur Eide Aas
The Thinker, Flower Pot and Mush

Danilo Correale
Equivalent Unit
Reverie: On the Liberation from Work

Valentin Manz
Useful Junk

Jeannine Han
Dan Riley
Time Flies When Slipping

Pedro Gómez-Egaña

Ane Graff
Mattering Waves

Andrew Amorim
Lest We Perish

Tom S. Kosmo
Unnatural Selection

Jenine Marsh
Lindsay Lawson

Dear Stranger

— 2016

Eline Mugaas
Elise Storsveen
How to Feel Like a Woman

DKUK (Daniel Kelly)
Presents: Jóhanna Ellen
Digital Retreat Dot Com

Cato Løland
Folded Lines, Battles and Events

Harald Beharie
Louis Schou-Hansen
(S)kjønn safari 2.0

Lynda Benglis
On Screen
Bergen Assembly

Linn Pedersen
Bjørn Mortensen
Terence Koh
NADA New York

Ida Nissen
Kamilla Langeland
Marthe Elise Stramrud
Christian Tunge
Eivind Egeland
Fading Forms

Anders Holen

Sinta Werner
Vanishing Lines

— 2015

Bjørn Mortensen
Pouches and Pockets
/ Compositories in Color

Linn Pedersen
Plain Air

Øystein Klakegg
Entrée # 55

Leander Djønne
Petroglyphs of the Indebted Man

Lewis & Taggart
Black Holes and other painted objects

Azar Alsharif
Bjørn Mortensen
Steinar Haga Kristensen
Lewis & Taggart
Vilde Salhus Røed
Heidi Bjørgan
NADA New York

Linda Sormin
Heidi Bjørgan

Steinar Haga Kristensen
The Fundamental Part of Any Act


Tora Endestad Bjørkheim
Bjørn-Henrik Lybeck

Mathijs van Geest
The passenger eclipsed
the object that I could have
seen otherwise

Marit Følstad
Sense of Doubt

Oliver Laric

Terence Koh
sticks, stones and bones 

Kristin Tårnesvik
Espen Sommer Eide
Korsmos ugressarkiv

— 2013

André Tehrani
Lost Allusions

Pedro Gómez-Egaña
Object to be Destroyed

Flag New York City

Christian von Borries
I’m M
Institute of Political Hallucinations
Bergen Assembly

Dillan Marsh
June Twenty-First

Vilde Salhus Røed
For the Sake of Colour

Azar Alsharif
The distant things seem close (…)
the close remote (…) the air is loaded

Magnhild Øen Nordahl
Omar Johnsen

Lars Korff Lofthus
New Work

— 2012

Anngjerd Rustan
The Dust Will Roll Together

Cato Løland
Oliver Pietsch
Love is Old, Love is New

Stian Ådlandsvik
Abstract Simplicity of Need

Sinta Werner
Something that stands for
Something / Double
Described Tautologies

Kjersti Vetterstad

Anna Lundh
Grey Zone

Arne Rygg
Borghild Rudjord Unneland
Lisa Him-Jensen
Cato Løland
Lewis & Taggart
Klara Sofie Ludvigsen
Magnhild Øen Nordahl
Mathijs van Geest
Andrea Spreafico
Flag Bergen

— 2011

Karen Skog & Mia Øquist
Skog & Øquist systematiserer

Danilo Correale
We Are Making History

Sveinung Rudjord Unneland

Ethan Hayes-Chute
Make/Shifted Cabin

Ebba Bohlin
Per-Oskar Leu
Kaia Hugin
Pica Pica

Gabriel Kvendseth
First We Take Mannahatta

Roger von Reybekiel
Do Everything Fantastic

— 2010

Michael Johansson

Tone Wolff Kalstad
This Color Is Everywhere

Knud Young Lunde
Road Show Event Plan

Alison Carey
Ivan Twohig
Benjamin Gaulon
On The In-Between

Mercedes Mühleisen
Øyvind Aspen
Birk Bjørlo
Damir Avdagic
Annette Stav Johanssen
If Everything Else Fails...

Ciara Scanlan
Matthew Nevin
An Instructional

Patrick Wagner
Nina Nowak
Samuel Seger Patricia Wagner
South of No North

Agnes Nedregaard Midskills
Patrick Coyle
Boogey Boys Santiago Mostyn
Bergen Biennale 2010 by Ytter

Lars Korff Lofthus
West Norwegian Pavilion

Serina Erfjord

Mattias Arvastsson
Presence No.5

Malin Lennström-Örtwall
It`s like Nothing Ever Happened

— 2009

Tor Navjord

Ragnhild Johansen
Erased Knot Painting

Entrée Radio

Lewis and Taggart
Ledsagende lydspor

In Conversation:
Gómez-Egaña and
Mathijs van Geest

In Conversation:
Andrew Amorim and
Mitch Speed

In Conversation:
Ane Graff and Alex Klein

In Conversation:
Martin Clark and Daniel Kelly

Ludo Sounds with
Tori Wrånes

In Conversation:
Stine Janvin Motland,
Kusum Normoyle,
Mette Rasmussen,
Cara Stewart

Randi Grov Berger
Other projects

September 2nd- October 28th, 2018

Magnhild Øen Nordahl

The Frisbee Perspective

Sogn og Fjordane Kunstmuseum
part of Vestlandsutstillingen 2018

Curated by Randi Grov Berger

Installation view, The Frisbee Perspective. All images by Maya Økland/Vestlandsutstillingen.

In the exhibition The Frisbee Perspective Magnhild Øen Nordahl departs from two expeditions undertaken to investigate the shape of the earth. In the first, inspired by Nordahl's long-standing interest in the physical experience of scientific and geometric phenomena, the artist set off in a boat and traveled towards the horizon. Having calculated how far one can see before the curvature of the earth cuts off vision, Nordahl documented her journey to this point. This journey is re-staged for the viewer in the video The Distance to the Horizon. The second expedition was carried out by inventor and stuntman Mad Mike Hughes in the California desert in March 2018 when Hughes launched himself 500 meters into the air in home-made rocket. The launch was part of a series of stunts through which Hughes tries to prove empirically that the earth is flat, or, more precisely, shaped like a frisbee. 

Magnhild Øen Nordahl (b. 1985, Ulstein, Norway) lives and works in Bergen, Norway, and was educated from the Royal Institute of Art in Stockholm, Sweden and Bergen Academy of Art and Design. Through working with sculpture, installation and video, she examines dissonance between the world as we perceive it to be and the world as we know it to be. Her work has been exhibited in Hordaland Art Center (NO), Astrup Fearnley Museum (NO), Blank Projects (SA) and Palais de Tokyo (FR) to mention a few. In collaboration with Cameron MacLeod she recently opened ALDEA center for Art, Design and Technology in Bergen, and this fall she enrolls in a Ph.D. at The University of Bergen.


Eg såg tidleg at ho hadde heilt spesielle evner
Av Geir Ivar Ramsli

07.09, 2018
NRK Radio
Intervju med Magnhild Øen Nordahl, om kunsten og om VU18
Distriktsprogram Sogn og Fjordane

Magnhild Øen Nordahl
The Distance to the Horizon
Video, 26’33’
The video documents the journey from a given point at sea, to the point one could see as the horizon to begin with. The expedition was undertaken in a small boat by the artist herself.

The Light from the Horizon
By Hans Carlsson

Theoreticians suggest that attributes of Modern art, such as the loss of unified perspective and dissolution of homogeneous space, can already be found in works by the romantic painter J. M. W. Turner. Jonathan Crary, art historian, argues that Turner's painting Light and Color (Goethe's Theory) – the Morning after the Deluge – Moses Writing the Book of Genesis (1843) anticipates new technology, such as photography and other visual practices that will emerge later in the 19th Century.(fn.1) The painting, where one can hardly distinguish a sunrise or sunset over a diffuse - possibly stormy or foggy - ocean, destabilizes the very appearance of a horizon, already barely visible. The rules of perspective are disregarded. Rather than representing something ‘out there,’ the painting seems to replicate an inner image, a lasting visual impression. Similarly, in her essay “In Free Fall: A Thought Experiment on Vertical Perspective,” the artist Hito Steyerl describes Turner’s art as a violation of the social logic of the geometrical perspective, a logic derived from enlightenment thinking, which imagines a homogeneous Western subject at a privileged vantage point from which to observe the world.(fn.2) The violation which Steyerl identifies in Turner’s work breaks apart the singular horizon. Perspective multiplies and dissolves. This violation lingers in Modern art, along with the development of photography and film, which reaches a new level with advent of artistic video installations.

Such a fragmentation of the space and experience of art is partly, but only partly, discoverable in Magnhild Øen Nordahl's work, which often makes the viewer aware of the possibility to perceive the world from many perspectives. At the same time, however, her installations, sculptures and videos maintain a pedagogical, unified and accessible quality, which emphatically expresses the presence of a common basis for these very different perspectives.

In the video work The Distance to the Horizon (2016) the horizon appears in its normal aspect: fixed and clearly in the middle of the picture, as per the rules of perspective. From a small wooden boat, we are looking toward the line where the surface of the Earth curves and disappears before our eyes, where the blue ocean meets the sky. But, we are moving forward. The boat should – if the horizon were actually a line at the edge of a flat plane – have reached the end of the world before the film’s end.

Anyone might say that the Earth is obviously spherical, and that is why we cannot reach the horizon. But how many of us have actually taken a voyage like that in The Distance to the Horizon? How many have experienced the Earth curve? Most of us are left to trust the experts of the scientific community who collectively decry: the Earth is round.

Modern science follows, in accordance with the philosopher Karl Popper, the idea that knowledge of things is acquired through deduction. The deductive method requires that assumptions must always be subject to analyses and tests from a skeptical position, that what is believed to be right might be wrong. They must be falsified. In this way alone can professional scientists maintain a sobriety and it is only this critical approach that will lead us toward to a correct understanding of the world. The deductive method’s predecessor, the inductive method – usually associated with the 16th century philosopher Francis Bacon – was differently oriented. It was concerned with the collection of knowledge, of compiling a reserve of experience, and then, in order to prove their claims, the scientists were constantly involved in testing their veracity using empirical studies. The two methods have one thing in common: both were based on the principle that scientific results are arrived at through observation and rational analysis; collecting knowledge is mandatory, as is a system for classifying, organizing and analyzing this knowledge.(fn.3)

The central question today may be who has the right – the mandate – to engage with science. The concept of a researcher at a university, institute or company who is adequately educated to perform their task is quite new. In early modern times, scientific investigative research was often relegated to hobby-status, disconnected from economic value or academic status. It's really only since the second half of the 19th century that the position of a researcher has become a profession. Some have warned that the institutionalization of acquiring knowledge actually challenges the basic principle of scientific deduction – why would professional scientists question their own conclusions by submitting to the deductive logic, and thereby run the risk of possibly ruining the safety provided by their professional status?

This is one of many challenges for a science that constantly wishes to refine and critically review its own methodology. There is a tradition in Western humanities of criticizing the language of scientific truths by pointing at the parts of so-called scientific results that rely on highly-ideological assumptions: the paleontologist and science journalist Stephen Jay Gould has remarked on the racist foundations of archeology, theology and anthropology; the philosopher Donna Haraway has pointed out how both masculine norms and anthropological conventions prevent scientific empirical studies in science; and Thomas S. Kuhn has – in stark contrast to Popper – criticized the ability of singular individuals to think beyond the epistemological frameworks offered by a certain knowledge paradigm.

In the exhibition The Frisbee Perspective (2018) at Sogn og Fjordane Kunstmuseum, Nordahl presents parts of the rocket built by “Mad Mike” Hughes, a 62-year-old former limousine driver. The goal of the rocket was to raise money for a larger spacecraft, capable of flying high enough to prove that the Earth is flat. Hughes, who is part of the so-called Flat Earth movement, does not rely on the scientific community collective answer to the question of whether or not the Earth is flat. In an interview published by The Two Way, a blog affiliated with NPR (the United States’ media network National Public Radio), he goes so far as to say that he “does not believe in science, since it's no better than any mythology”. Hughes has his own ideas on how to get to know the world:

I know about aerodynamics and fluid dynamics and how things move through the air, about the certain size of rocket nozzles, and thrust. But that's not science, that's just a formula. There's no difference between science and science fiction. (fn.4)

Hughe's do-it-yourself attitude results in a distrust of the analysis and large-scale collection of information in the service of science. This serves to stress the fact that science, the supposed safe haven of free thought and exploration, in fact limits empirical studies of the world. Hughes can be seen as part of an influential anti-science and anti-information movement, which typically has ties to the populist christian Alt-Right movement, and is perceived as a thorn in the side of many social as well as academic institutions.

Some have pointed out the similarities between this movement’s science criticism and the criticism stemming from within humanities mentioned above. Such a simplified historical dialectical attitude, which could be attributable to the sociologist of science Bruno Latour among others, is problematic in many ways, not least because it corrupts the fact that many of the theorists involved in reviewing and thinking about scientific methodology actually make use of the same critical approaches as Popper argued for. It is a kind of thinking that not only assumes that science tells the truth, but is constantly testing this assumption against criticism of the basic foundations of research by questioning the relationships between facts, perception, ideology and results.

Something similar can be said about the work of Magnhild Øen Nordahl. Her installations often put objects and theories from widely different sources against one another in a clear way, as if each proposal should be observed with the utmost care and examined at their foundations. In the exhibition The Frisbee Perspective, theories regarding the shape of the Earth are illustrated. In a previous work, Occupational Knots (2014), the performances and metaphors that associated with the knot became the starting point. The work consists of a series of sculptures based on knots found in the encyclopedic knot book Ashley Book of Knots (1944): a book of clear lexical ambitions and a somewhat unclear empirical method. In connection with the sculpture installation, the fanzine Pb? Ni? He? presented material from practical as well as mathematical knot-theory. The mathematical knot theory arose from the hypothesis that everything in the world consists of the same material on the nano-level, but is firmly shaped in different ways, as different knots. The theory was eventually replaced by a better-functioning atomic model, and only a century later when scientists discovered knots in the human DNA, it regained interest from fields outside mathematics.

The question is whether the gesture itself – of placing scientifically-sanctioned material in relation to more 'amateurist' attempts to an epistemology – is in fact inline with a deconstructive strategy: to emphasize the value of having different ways to understand the world, while simultaneously studying the power relations between these different ambitions? My answer is that Nordahl's art rather opens up the possibility for simultaneously thinking inside of different thought systems: the scientific deduction, the spirit of an amateur inventor, the reactionary science criticism, poststructuralist antihumanism, etc. When these different systems are side-by-side, one can observe their differences and at the same time recognize that they all have roots in a common world, one that is commonly unwilling to take a thing for granted.

The works in the exhibition The Frisbee Perspective also make allowances for different systems of perception to be placed in an immanent relationship with each other. Previously, in connection with the opening of an exhibition at Skånes Konstförening in Malmö, Sweden, Nordahl answered a question about her interest in different measurement systems, both historical and in present-day use:

I started doing research on body-based systems for measurements such as a stones throw, a days walk, a halt, an arrow shot, a rowers shift all of which were in use in Norway before the introduction of the metric system. (...) What type of effect physical activity, sensory input and culture has on our thinking is being done a lot of research on in Neuroscience at the moment, for instance at Karolinska Institutet where I was following the course ”The Cultural Brain”. Some would say that making use of the body as a source of knowledge is nostalgic or adhering to some trendy mind-body-fitness ideology, but I think it is more about acknowledging how we function as human beings and make use of this when we decide how to do and make things and live our lives.

The constant, never-ending, human conceptualization of the world that Nordahl identifies is based on relations observed in the physical world as they become a part of our mind, constructing of our self and our life. The body is in a cognitive relationship with other bodies in the world; and from this relationship we gain experience and information for use in neuroscience as well as in the establishment of different systems of measurement.

To think of the body in relation to surrounding bodies, natural phenomena and existing technology, involves a changing relationship from which we extract meaning. It is easy to interpret such a relationship as a non-anthropocentric description of consciousness and its relation to the outside world. Many could be called upon in this context (Donna Haraway among others), but here I want recall an important predecessor in the field, the anthropologist and cybernetic Gregory Bateson.

Bateson (1904-1980) worked for his whole life as interdisciplinarian, making revolutionary studies in ecology, psychology and neuroscience. His method always departed from a type of ecological model of thought around social development and evolution. This resulted in, among other things, a critique of ecological miscalculations, where political decisions followed firm beliefs in man's ability to control other beings and the surroundings, rather than of seeing themselves as part of the same feedback system. Bateson’s critique of the prevailing social order, based on his studies of human actions in relation to each other and their surroundings, expanded into active work against fascism. In a 1978 interview with Daniel Goleman for the magazine Psychology Today, Bateson said:

Because we think in transitive terms, we lose the systematic whole. We say that something affects something else: “Dogs Hunting Rabbits”. But if you say “Dog-hunter-rabbit” then you're on your way to a completely different view upon things. (fn.5)

What Bateson points to in this quote is that the relation between the surroundings and human beings is more important than the individual and the surroundings separately. It is possible to see a similar interest in this relationship in Nordahl’s art, which also frequently raises questions regarding the significance of interface – questions about the possibilities and methods now available to model a worldview. This is the case, for example, in her video work, How to Make a Utah Teapot (2016) where the experienced potter Anne-Lise Karlsen makes a Utah Teapot, a standard reference object used in 3D modeling software. The virtual teapot was developed by the American computer scientist Martin Newell in the mid-1970s, and has achieved a unique cybercultural status because of its wide use.

The Frisbee Perspective presents frisbees as 3D-rendered objects which differentiate themselves from the shadows they cast on the wall, as if the form displayed an ambiguity in its readability, pointing out the different directions available to interpretation. In both The Frisbee Perspective and How to Make a Utah Teapot, it is the cooperation between image / interface and observation that facilitates the production of meaning. Objects are anything but passive in this process.

The question remains whether it is possible for humanity to fully embrace this nonanthropocentric posture. But viewers of The Frisbee Perspective can at least try to regard their presence in more relational terms, as only a part of a network in the relation between art, space and perception – or as a “visitor-viewer-exhibition”. We are not alone as observing animals: instead we share the same cognitive space with people, things and course of events happening around us, which are written into our consciousness, regardless of whether they fit into a frame of artistic, scientific, reactionary or philosophical systems.


fn.1. Jonathan Crary, Techniques of the Observer On Vision and Modernity in the Nineteenth Century, MIT Press: Cambridge, Massachusetts, London, 1992 (1990), pp 139-142.

fn.2. Hito Steyerl, “In Free Fall: A Thought Experiment on Vertical Perspective”, in: E-flux, Journal #24 April 2011. www.e-flux.com

fn.3. Karl R. Popper, The Logic of Scientific Discovery, Routledge: London & New York, 2002 (1935), pp 3-27; 27-209.

fn.4.“The Two-Way”, November 22, 2017. www.npr.org/sections/thetwo-way

fn.5. Gregory Bateson, “Att frigöra sig från dubbelbindningen: Gregory Bateson and Daniel Goleman”, in: Erik Graffman ed., Gregory Bateson: Mönstret som förbinder, Mareld: Stockholm 1998, p 122. Translation mine.

Hans Carlsson is an artist, writer and curator based in Malmö. His artistic and curatorial work is focused on archival practices, often with references to knowledge and culture producing institutions such as libraries and museums, and their relationship to technological and industrial development. As a writer he has produced interviews, essays and critique for Kunstkritikk and for Helsingborgs dagblad. Exhibitions and projects include shows at, and collaborations, with Tensta konsthall, Gnesta Art Lab, Arbetets museum and Malmö Art Museum.

Magnhild Øen Nordahl
The Frisbee Perspective
5 Sculptures
130 cm x 60 cm each
XPS, powder coated steel, lamp

Magnhild Øen Nordahl
Opplysninga, Formørkelsen
Sculpture– installation with lamp
Side panels from a home-made rocket built by Mad Mike Hughes in California, used in a mission to prove that the earth is flat. Installed with single wire allowing a rotation creating sporadical eclipses.