Preview:  Thursday 27 April 7 pm - 9 pm
Performance at 7.45pm and 8.45 pm: Johan Urban Bergquist presents Count Pukebeard - Industrial Noise for Industrious People

Sun 21 May at Performance at 2 pm and 3 pm: Johan Urban Bergquist presents Count Pukebeard - Industrial Noise for Industrious People

Open: 28 April - 21 May 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address: Maridalsveien 3, 0178 Oslo


Resolution’s Cut
Taking the word “resolution” for a walk, there are two uses of it we might read together: one in which it is a formal (judicial/political) agreement which seeks to act to solve a conflict (e.g. Khartoum Resolution); another wherein it refers to the level of detail in an image that is then processed by a specific technology (“high resolution image”…etc.) Read together, with an eye on its other uses, it is possible to infer that resolution articulates the determination of a separation (to then be resolved), determination here being   the identification and agreement upon a shared understanding – between people or between data and machine – which can then be acted upon to make things “complete.” In Enlightenment philosophy, on which so many (involuntarily) rely, the main condition for understanding is prior understanding; imagination feeds understanding but remains under its jurisdiction: this testifies to widespread anxiety of the new, different (“other”), and irresolute.
In technology, increased resolution works towards an increase in definition and fidelity (high-definition and high-fidelity), terms now entangled with assertions of quality when solely based on information quantity. These terms also imply a language of recognition, reliability, and faithfulness – we can apparently trust media technologies because they are “slaves” to reproducing a given source (e.g. from the “master”). Soon to be imperceptible, such trust will then have to be automatic: the handling of greater amounts of information by machines is leading to the possibility of being immersed in a world in which a media’s resolution has exceeded the capability of human brains to perceive its work (e.g. virtual reality); technology desires to become transparent and disappear in experience. Here, it can be said that in the development of technology the “determination of separation” is also the very production of that separation, or it loses our trust.
Weaving together these two senses of resolution, a divergence emerges pertaining to the extent that (a) resolution produces the separation(s) to be resolved, but let’s keep walking:
The initial notions of determination and separation can be imaginatively everted (turned inside out). Work in science has for years been inventing theories that unground perspectives on how we understand the world. One such principle is that of nonlocality in particle physics, also called “action at distance” and mocked skeptically by Einstein as being “spooky actions at a distance.” He was wrong. Nonlocality is the principle by which measurements of a property of a particle (such as position) instantaneously provide the measurement of a related property (such as momentum) of another particle, regardless of the distance between the two. Giving a lie to conventions of determination and separation by violating the fundaments of causal, localisable determination and therefore linear temporality and spatial separation, nonlocality asserts that we are entangled with everything. Happening on a quantum level, the challenge for us in the wake of this principle is thinking and imagining the radical alterations to how we think of the world and the infrastructures supporting certain other types of worldview.
Imposing the earlier rendering of resolution as the identification and agreement upon a separation to then be resolved, at best resolution becomes a kind of cut: in terms of law and politics, a resolution is then a violent operation within the social entanglement by way of conservative and conserving assertions of identification and separation; in terms of technology (and its political intertwinement), within its already pretty spooky operations (e.g. the recent use of holography in political election campaigns to enable politicians to “appear” and give speeches in many places at once) resolution is then an abstraction producing a public space and time counter to the principle of nonlocality; the politics of public governance are intimately bound to resolution’s rhythms (speed and intensity) and their propagation. The cut of resolution is, then, the refusal to re-imagine our (technological/political/judicial) infrastructures and institutions in light of the principles of science. Nonlocality demands a non-linear conception of history and, with Walter Benjamin, a recognition that the dead “have a claim” on the present. “Subjects”, and therefore “the other”, are cuts within sociality, abstractions that are made “real” by infrastructures: simpler for it, but what about our decomposed, disintegrating sociality?
This text, particularly the definition of nonlocality, is indebted to the work of Denise Ferreira da Silva, work to which I am enthusiastically indebted, knowing that she’s indebted too and knowing that we don’t need to pay because “credit is a means of privatisation and debt a means of socialisation.” (Fred Moten & Stefano Harney, The Undercommons).

Johnny Herbert

Aleksander Johan Andreassen is a Norwegian artist living and working in Oslo. His films have been shown in group exhibitions and film festivals in Norway and abroad. In this film entitled All Thoughts Are Kin we follow a young man living on the fringes of society. Through his openness and unique perspective we gain an insight into what the lack of social inclusion entails and its possible consequences.

Johan Urban Bergquist is a Swedish artist living in Oslo. He often works with installations combining drawing, objects, artist's books, sculpture and performance. In an effort not to reduce Bergquist´s works to any singularity, he seems to explore alternative realities and states of mind. Bergquist´s Count Pukebeard is a noise-musician from the interior of Never Never Land. The superego has long since lost control over Pukebeard whose subconscious controls all actions and choices. He is always and absolutely unpredictable. His performances are improvised, non-linear and when at his best, overworldly surreal.

Johan Söderström is a Swedish painter living in Oslo. His present works are paintings composed of plaster filler in oak frames. They have a tactile quality that must be experienced on site. The Three No´s shown here refer to the infamous Khartoum resolution that was ratified by the Arabic League in 1967: "no peace with Israel, no recognition of Israel, no negotiations with it..."
Johnny Herbert is a British art writer living in Oslo. He has been commissioned to write a piece relating to this exhibition. His text Resolution´s Cut is an independent response to the works shown in ingenmannsland - nomannsland.




Alle tankers slekt 01

Alle Tankers slekt stillbilde 2015

Alle tankers slekt 09

Alle tankers slekt 06

Aleksander Johan Andreassen: Alle Tankers Slekt / All Thoughts Are Kin. HD Video. 24 Minutes. 2015






Johan Urban Bergquist presents Count Pukebeard, 2017, Performance and installation.



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TheThreeNos part3

TheThreeNos part2

TheThreeNos part3

Johan Söderström, Three No´s, 2017







Exhibition preview: Thursday March 16th, 7 pm - 9 pm

March 16th 2017 - April 2th 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address Maridalsveien 3, 0178 Oslo
Floresta Submersa 

Manipulering av vann gjennomstrømmer utstillingen Floresta Submersa: Menneskets manipulering av vann, en kunstners manipulering av vanndråper, og vannets mulige manipulering av seg selv.

Publikum i Tenthaus forflyttes til Lago Balbina, en enorm oppdemt innsjø i Brasil, en økologisk katastrofe som har skapt et unikt fraktal-landskap fullt av øygrupper og døde trær halvveis under vann. Et uoversiktlig og vakkert scenario - på en morbid, goth-aktig måte.

Floresta Submersa består av to serier med tegninger og en video, alle har karakter av å være undersøkelser, forsøk på å trenge inn i Balbina, som sted, som åsted, og som et slags psykisk speil.

Den første serien tegninger er oversikts-, og detaljkart, utsnitt med (hypotetiske) reiseruter gjennom det labyrintiske landskapet. Den andre består av beregninger og simulasjoner av «avvikende» naturfenomener. Tegningene er selvstendige verk, og kan ses som de siste tilføyelsene i en rekke kart og pseudo-vitenskapelige undersøkelser i form av detaljerte penn- og tusjtegninger. Dette har vært et gjennomgående trekk i Torgeir Husevaags kunstnerskap. Samtidig er tegningene tett tilknyttet videoen Vanntårnet – sveip 2.


I 1989 lagde Philip Glass korverket Itaipú til ære for et av den moderne verdens underverk – Itaipú-dammen på grensen mellom Brasil og Paraguay. Glass inkorporerte her skapelsesmyten til Guarani-folket – fremført som en sunget tekst - i den musikalske hyllesten til et dramatisk inngrep i nettopp dette skaperverket.

Hovedpersonen i videoverket Vanntårnet har reist til en annen sjø bak en annen demning, Balbinasjøen i Amazonas - kanskje med en vag ide om å lage et nytt musikkverk – et motsvar til det overnevnte – et verk som skal fokusere mer på det som har gått tapt enn det som er skapt. I denne mulige komposisjonen opptrer blant annet «Vanntårnet», et slags hellig gral-objekt som skal befinne seg et eller annet sted i innsjøens labyrintiske kanalsystem. Historiens tragiske helt er elva som ble demmet opp, Uatumã. Dennes navn kan oversettes til «Den tenkende vannstrømmen», et navn i tråd med sør-amerikansk animisme, hvor all natur er besjelet. Siden dette karaktertrekket understrekes spesielt hos Uatumã, blir det imidlertid naturlig å undres over hvorvidt vi her står overfor en besjelet elv par excellence. Og kanskje befinner fortelleren seg på sjøen på leting etter fenomener som forklarer hvorfor Uatumã fikk navnet sitt. Eller på leting etter spor etter hva som skjer når en tenkende vannstrøm demmes opp. Eller på leting etter Vanntårnet. Eller alt på en gang, hvem vet.

Videoen fremstår som en tilstandsrapport og et skvulpende reisebrev fra en båt på vei gjennom restene av Balbinas døde, oversvømmede skog.  Reisen har form som en omstendelig søken med skiftende mål, fulgt av den reisendes springende kommentarspor, med innflettede sangvignetter fremført av koret Omo Sapiens. Som undertittelen antyder er den reisende i starten av sitt arbeid, det gjenstår mange sveip. Men han er godt i gang, det har oppstått musikk, han har påbegynt arbeidet med et nettverk av hukommelsestilknyttede orienteringslinjer, og har gjort sitt første alvorlige feilgrep. Fortellerstemmen kommenterer, assosierer, og resonnerer – den tilhører en mann som kan være inne i en glidende snuoperasjon rundt hva han egentlig er ute etter, og hvem som egentlig fortjener hovedrollen i hans påtenkte musikkverk. 


February 10th - March 5th 2017
Opening hours: Fri - Sun, 1pm - 5pm

Read a review of the exhibition at Kunstkritikk. (In Norwegian)

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Exhibition preview: Thursday February 9th, 7 pm - 10 pm

Maridalsveien 3, 0178 Oslo

ONE MAN SHOW is an exhibition which centers on two documentary shorts, The Stonewall Nation (2014) and The Tomorrow Show (2015). Drawing on archival material from the ONE National Gay & Lesbian Archives in Los Angeles, the exhibition examines the performative potential of archival documents. Using the interview format as a framework, ONE MAN SHOW engages in the telling and retelling of history by examining utopian ideas and myths concerning sexual liberation in California in the 1970s.

Invested in the transmission of history across generations, Storihle has worked closely with the Los Angeles-based actor Michael Kearns. In The Stonewall Nation (2014), Kearns impersonates the activist Don Jackson, revisiting his aim to establish a gay settlement in Northern California. The film portrays a man yearning for community and belonging, while questioning the ideological framework of his idea of a promised gay land. 

The Tomorrow Show (2015) takes Michael Kearns’ own story as its starting point. Shot in his own bedroom, the film focuses on Kearns’ life as The Happy Hustler in the mid-70s, a fictional role he took on and acted out both on and off screen. It recounts Kearns’ memory of a trick he turned before going on the talk show, The Tomorrow Show - a return to a role that unsettles narratives of identity and history. 

The exhibited works include print and video material from the ONE National Gay & Lesbian Archives at the USC Libraries and the UCLA Film & Television Archive.


True Jas Anja 5 web


Welcome to Tenthaus Oslo´s next exhibition opening at 7 pm on Thursday November 24th 2016. Vevatne will show a site-specific installation and sculptures and Strømsted &Hurst will have the Norwegian premiere of their film entitled Beaten. The exhibition run until the 18th of December.

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October 14th - November 6th
Opening hours: Fri - Sun, 1pm - 5pm
Address Maridalsveien 3, 0178 Oslo

Exhibition preview: Friday October 14th, 5 pm - 8 pm

Soup at the opening by The Northern Company

Freshwater biologists count underwater insects and use this data as an indicator of the water´s health. If one identifies the sound of specific underwater insects, that have the capability to survive various forms of pollution, one can possibly, through focused listening, reach an understanding of the health of the river. In this work. Winderen has listened to and been focused on fish and plankton in the Aker River and inner Oslo Fjord and the fish migrations both up and down river. She creates a sound installation with local sound situation in context with other areas of the earth, from seas and rivers where fish and mammals migrate.

Winderen´s installation consists of underwater recordings from the Aker River and inner Oslo Fjord and set in a context with underwater footage from the Caribbean Ocean, the North Atlantic, the Barents Sea and the Pacific Ocean.


Tenthaus Sessions presents


26.5 - 19.6 2016

Preview 26 May at 7 – 9 pm
There will be a guided tour in the exhibition on Saturday the 11th at 2 pm and Thursday 16.6 at 6.15 pm.
Address Maridalsveien 3 – main gate entrance
Open Friday – Sunday 1 – 5 pm

Tenthaus Sessions shows works by Unni Gjertsen and performative texts by TekstLab Young Voices. Gjertsen addresses the staging of the body in relation to architecture. The project has evolved over several years and is shown together with a video work entitled Lessons (14 min), in which the artist interviews six young people employed as guides during one of her exhibitions.