anawana Icho chiseweb

Come after lunch, we´ve got to talk!
6. september 12.00-14.00 at Tenthaus.

Velkommen til diskursiv lunsj med Anawana Haloba på Tenthaus. Under september vil Haloba ta over Tenthaus hvor hun vil lage et program som belyser tematikken rundt hennes stipendiatperiode. // Welcome to a discursive lunch with Anawana Haloba at Tenthaus.

5.9 -14.10 2019 
Monday – Friday 
(Closed 30.09-4.10: autumn break) 
TAKE OVERlunch will be served everydayPlease take part in this open invitation to come and join us for lunch and conversation with Anawana HalobaShe will be screening a series of films on selected afternoons.  
Anawana Haloba´s take over at Tenthaus space will highlight the themes of her fellowship period at the Faculty of Fine Arts at the University of Bergen. 
Her PhD project entitledSubtleEncounters,looks at female participation in political issues, and evokes the concept of trauma through the writings of Bjørnstjerne Bjørnson and Frantz Fanon.  

Film screening starts at 15.00 at Tenthaus Oslo, Maridalsveien 3. There will be a series of film screenings at 3 pm during weekdays. Due to limited space please let us know when you would like to come. 

Friday 20.09 
Director:  Sarah Maldoror 
16mm  102 m 
Monday 23.09 
J´ai huitans 1961 
Directed by Yann Le Masson, Olga Poliakoff 
16mm 9min 
Tuesday 24.09 
Black Girl(1966) 
DirectorOusmane Sembene 
Wednesday 25.09 
The Hour of the Furnaces (1968) 
DirectorOctavio Getino and Fernando E Solanas 
Part 1  
The Battle for Algiers(1968) 
DirectorGillo Pontecorvo   
Friday 27.09 
Finding Fanon (Trilogy 2015-17) 
Directors: Larry Achiampong, David Blandy 
Part 1 2015, 15 min 
Part 2 2015,  9  min 
Part 3 2017, 15 min 
Wednesday 09.10 
Concerning Violence  (2014) 
Directed by Göran Hugo Olsson 
85 min 
Thursday 10.10 
No fear, No Die (1990) 
Director: Claire Denis 
35mm 90min  
Friday 11.10 
Yohan – Barnevandrer(2010) 
Director: Grete Salomonsen 
This will be a “youtube” screening



Anawana Haloba works between Oslo, Bergen and Livingstone, She is a PhD fellow at university of  Bergen in artistic research. She is educated at the Evelyn Hone College of Applied Arts in Lusaka, Zambia. Haloba completed her BA at the National Academy of Arts in Oslo 2006 and is a graduate of the Rijksakademie van Beeldende Kunsten in Amsterdam, the Netherlands. Haloba's work has been featured in both solo- and international group shows, including the Rauma Biennale, Finland (2012); ZKM Museum of Contemporary Art, Karlsruhe, Germany; National Museum of African Arts Smithsonian Institute, Washington DC, USA; Museum Berardo Collection, Lisbon, Portugal; the Venezia Biennale (2009); the Sydney Biennale (2008); Manifesta 7, Bolzano, Italy (2008), the Sharjah Biennial 8,11,14 UAE (2007,2013 and 2019); as well as the biennale's in 32nd edition of the Bienal de São Paulo(2016) , Shanghai Biennial (2016) and Lyon Biennale (2017). 
Anawana Haloba’s artistic practice is an ongoing investigation process into positions of different societies within varied political, social, economic and cultural contexts, ideological and post-independence frameworks. Her artistic practice is symbiotically linked to and through her preparatory exercise in drafting poetry in the forms of sketches from which the artist abstracts to performative based artworks within moving image, installation, and sound, while creating situations where the material culture of any given place can be probed and reconsidered within the scheme of rapidly shifting contemporary subjectivities

Monday 14 October 
Hand Over - Anawana Haloba to Alison Burstein 
Curator for Institution as Formopening on 17 October. 

Siri Vinterly Akkeri Siri Vinterly, Akkeri, 2018. Video still



filmprogram & kunstverk


Vernissage: fredag 26. april 2019 kl 19:00-21:00

Performance fredag 26.april kl 19:30: The Warriors av Karen Nikgol + How’s the weather how’s your health how much did you sleep last night? – Ice Water Eyes av Jóhanna Ellen Ríkharðsdóttir

Screening med introduksjon av Log Lady Lusty & Ellen Christensen lørdag 27. april kl.18:00:
Cabin Economy Contemporary /Sailing Stormy Waters  - En Office for Contemporary Grounding dokumentasjon.

Åpningstider lørdag 27. april kl 12:00-20:00, søndag 28. april kl 12:00-18:00

Tenthaus Oslo: Maridalsveien 3, 0178 Oslo


Kunstnere på OPEN Video X

Ayman AlAzraq, Alexander Johan Andreassen, Andrea BakketunTonje Bøe Birkeland, Bobrikova & de Carmen, Margrethe Kolstad Brekke, Lars Brekke, Jonathan Brewer, Per Christian Brown, Petter Buhagen, Yamile Calderon & Edward Cunniffe, Anja Carr, Log Lady Lusty & Ellen Christensen, Silje Storm Drabitius, Kristine Dragland, Anders Eiebakke, Frido Evers, Anneke von der Fehr, Crispin Gurholt, Iselin Linstad Hauge, Damian Heinisch, Christian Hennie, Hilde Honerud, Runhild Hundeide, Henrik Plenge Jakobsen, Astrid Johannessen, Saman Kamyab, Jon Eirik Kopperud, Janne Kruse, Ane Kvåle, Linda Karin Larsen/Linda Lazer, Kaja Leijon, Magne Lyngvær, Tone Myskja, Karen Nikgol, Christian Tony Norum, Yafei Qi, Jóhanna Ellen Ríkharðsdóttir, Jenny Marie Hviding Schjerven, Sigmund Skard, Kristian Skylstad, Ellen Henriette Suhrke & Hilde Skevik, Jared Theis, Kjersti Vetterstad & Georgiana DobreSiri Vinterly og Janne Talstad  
Open Video curated by Janne Talstad

Open Video derives from the idea of Open Source, which means the open video is a video that can be freely used, changed, and shared. Thus the program in Open Video can be changed by both the curator and the artists involved over time. The program stays the same, with alterations based on natural needs. The program becomes a vessel for content, and in the arbitrary of the diverse content curatorial challenges will become obvious, which again creates the need for curatorial narration in the program. Janne Talstad has summarized the tendencies in the field through the development of the medium, and the curatorial instructions to the different artists became clear; do your best or do what you need. Some has done both.  One can say that this video program is the same as any, which is true in a sense, but it's different in the notion that it lacks a center, an agenda and an intention. The aspiration is both aesthetic, political and dealing with the medium as such, so by mixing the program as a note sheet a video graphic composition becomes apparent. The program bites its own tail, the identity of the artist becomes secondary, and the program turns into a joint effort of showing the variety of how to deal with and produce video. The program transforms into a vessel, a toolbox, which changes through the different venues it's presented, in size, quality and geography. The source code is open; generating a diverse landscape of work, through the media of video. The artists share one thing; a total dedication to their own practice, though video might only be one of their tools, one way of expressing oneself.

Video is easy to carry, because you only need a memory stick. We intend on being the messenger.

Presse WEB

Ayatgali Tuleubek, Fadlabi and Saskia Holmkvist/Ellen Nyman/Corina Oprea

Opening: Thursday, 7 February, 7 – 10pm
Exhibition: 7 February – 3 March 2019
Opening hours: Fri – Sun 1 – 5pm and by appointment

Artist talk Sunday 24 February 7pm at Khartoum with the artists.

What if the image is shown next to an historical fact? questions the way that we interpret history through media, as well as our embodied understanding of that history; our situated experience within the now.

It draws on Andrea Phillips, art researcher, thoughts on artist practice and asks: where do we stand if we situate our physical as well as mental bodies in this place amongst these images and artefacts? Can we go beyond an intellectual understanding of the questions raised within the exhibition space?
"Maintain the role of the artist who, only ever collaboratively, poses the question: what if we placed this image next to this historical fact? What if we went there and learned what those people do and think about it in our terms? In other words, clarify the role of the artist outside of her own privatization, her own property-making." A. Phillips (2018)

Ayatgali Tuleubek
Great Things are Done when Men and Mountains Meet (2014) and Declarations (2014)
Take terrain/a piece of land as a base and explore the symbolic and ideological layering by the structures of the state. Unlike in the case of familier map representations, terrain does not appear to the naked eye with a load of political designations of state borders and ideological luggage. This buildup is a result of a historical process and tensions associated with a sense of human presence, longing and belonging.

You are here (2019)
Questions our ability to understand our own and others´position in the world we understand, through concepts such as unfolding history, politics and morals. Where am I now? and How do I make sense of the information that I am continually bombarded with?

Saskia Holmkvist/Ellen Nyman/Corina Oprea
Sicherheit (Security) (2016/17)
The video installation Sicherheit (22 min) stresses the construction of colonial modernity in the Swedish imaginary. Sweden is one of the world’s largest weapon exporters per capita, while at the same time promoting itself as a peace-making nation worldwide and claiming global neutrality. Sicherheit points to the Swedish relationship to war and weapon industry by examining how it is expressed on an individual level. The work also links western security with paths of migration and tests history in terms of the present. It links people to important sites of arms production such as Karlskoga, Luleå and Göteborg. More info at KHIO web page.


Ayatgali Tuleubek (born in Kazakhstan) is an artist based in Oslo. His recent group shows include Glee, Shiryaevo Biennial, Russia; Oslo Museum of Contemporary Art at Kunsthall Oslo; Internal storage – Not Enough Space? in Garage Museum of Contemporary Art, Moscow and Participation Effect at Stieglitz Museum, Saint Petersburg. He had solo shows at Akershus Kunstsenter, Studio 17, Stavanger and NoPlace, Oslo. In 2014 Tuleubek graduated from The Academy of Fine Art/Oslo National Academy of the Arts.

Fadlabi grew up and studied in Khartoum, Sudan. He now lives in Oslo where he studied for his MA in visual arts. In 2016, he and Karin Erixon initiated Khartoum Contemporary Art Center.

Saskia Holmkvist lives and works in Stockholm, Sweden and Oslo, Norway. She is an artist and Professor at KHiO. Holmkvist employs performance, orality, moving image and improvisation to explore questions of agency and professionalized language and translation. In the process strategies of the documentary are retooled with performative interaction to focus on verbal speculation. Her most recent works include; Procession Action Tour, a perfromative city tour for The Riga Biennale 2018, Back Translation a film and installation on the text communicating Procession Action Tour.

Ellen Nyman lives and works in Stockholm, Sweden. She is an actor, director and visual artist. Her research and practice bears an interdisciplinary focus on performativity and blackness within performing and visual art. Recent work and collaborations include: Black revolutionaries don’t fall from the moon (2017, Stockholm) a play influenced by the biography of Assata Shakur, and the video works Sicherheit (2017) shown alongside with Danish Election (2004) with Corina Oprea and Saskia Holmkvist and featured at GIBCA Gothenburg Biennial, 2017. Nyman is currently a Ph.D. candidate at Stockholm University of the Arts and at the moment plays part of playwright Tracy Letts, Mary Page Marlowe at the Royal Dramatic Theatre, Sweden.

Corina Oprea is a Stockholm-based curator and researcher in the fields of visual and performing arts. She is Managing Editor of and former Artistic Director at Konsthall C in Stockholm. She holds a PhD from University of Loughborough-UK, with the thesis 'The End of the Curator - on curatorial acts as collective production of knowledge'.


Quote from Andrea Phillips publication Forgetting the Public, in Public Enquiries/ PARK LEK and the Scandinavian Social Turn - Editors Giorgiana Zachia, Mick Wilson, Helena Selde, Blackdog publishing London, 2018

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The Study Center for Group Workweb.jpg

Image: Caroline Woolard, rendering for The Study Center for Group Work, 2015


Featuring: Container Artist Residency (founded by Maayan Strauss; nomadic project), Coop Fund (founded by multiple artists and organizers; based in New York), Khartoum Contemporary Art Center (founded by Karin Erixon and Fadlabi; based in Oslo), Study Center for Group Work (founded by Caroline Woolard; based in New York), Tenthaus (founded by Helen Eriksen, Ebba Moi, and Stefan Schröder; based in Oslo), and Vandaler Forening (founded by multiple artists; based in Oslo).
Curated by Alison Burstein.

October 17 – November 10, 2019

Conversation with Artists and Curator: October 17, 18:00
Opening: October 17, 19:00–21:00

The Study Center for Group Work Trainings: October 19, October 26, November 2, and November 9, 15:00–16:00

Coop Fund Workshop: October 22, 17:00

What falls within the purview of artistic practice? In addition to making art with more traditional mediums such as paint, plaster, and film, artists since the late 1950s have engaged extensively with non-physical and ephemeral forms such as instructions, performances, and relational exchanges. Also widely documented is the decades-long tradition of artists taking on the organizational and administrative work of founding and running institutions such as project spaces, residencies, and schools. Less commonly addressed is the intersection between art making and institution building—the way in which some artists treat institutional frameworks as artistic forms in their own right.

Institution as Form trains its attention on this very terrain of experimental, artist-led approaches to institutional formation, bringing together six artists and collectives who have built institutions that express—and extend—their creative perspectives. The featured installations are new commissions devised by the artists to convey the ethos of their institutions and to capture how their internal institutional structures, program models, and funding streams align with central artistic investments. Making visible the distinguishing characteristics that are often invisible to outside audiences or overshadowed by the specificities of public-facing programming, the works in the exhibition create opportunities to appreciate institutions for their significance as artistic gestures at the same time as for their potential as functioning entities.

The exhibition takes a focused geographical scope, including institutions that are based in New York and Oslo alongside one that deliberately eschews a fixed location. The pairing of these two cities draws out connections between sites that have rich legacies of artist-run organizations: while New York was a locus for the early wave of artist-led alternative spaces that emerged in the late 1960s and early 1970s, Oslo has seen a proliferation of artist-run institutional projects since the early 2000s. The efforts in both places demonstrate artists’ shared commitments to critiquing traditional institutional models and establishing alternatives. Institution as Form unites contemporary initiatives founded in these cities within the past ten years and introduces the counterpoint of a nomadic project in order to raise questions about the extent to which these institutions respond to or depart from historical precedents, geographical contexts, and cultural factors.

The six artist-run entities included in the exhibition span a diverse range of institutional models. While each bears some similarity to an established form—an art center, an art education program, an artists’ association, a funding platform, a study center, or a residency—the artists stretch the boundaries of these institutional types through conceptual premises and structural adjustments.

Khartoum Contemporary Art Center is a hybrid bar and exhibition/programming space founded by Karin Erixon and Fadlabi. The art center has operated since 2017 in Oslo—in what the artists call “exile” from its eponymous city due to unstable political conditions. Presenting art exhibitions, concerts and DJ sets, talks, and other programs within a social environment, Khartoum aims to generate discussion around contemporary art and culture from Africa and the Middle East. Since its founding in 2009, the Tenthaus art collective has explored new possibilities for arts education through a long-term partnership with a local secondary school. Tenthaus began as an in-school, artist-led workshop program and evolved to include an autonomous project space that opened in 2011; the institution’s central aim is to foster multiple modes of reciprocal exchange between these two programming platforms. Vandaler Forening is an Oslo-based artists’ association founded by multiple artists in 2015 that works to foster experimental, time-based, and collaborative art practices. In addition to hosting its signature annual Winter Solstice Night Exhibition—a large-scale, democratically organized overnight event that features visual art, performance, electronic arts, dance, and poetry—Vandaler Forening maintains an ongoing open call for projects and supports the production of proposed events.

Alongside these projects are two New York-based institutions: Coop Fund and The Study Center for Group Work. Multiple artists and organizers founded Coop Fund in 2017 as an experimental cooperative funding platform that functions outside the confines of both non-profit and for-profit organizational structures. The fund accumulates financial resources through monthly membership subscriptions and redistributes small funds to member-proposed projects using a cooperative decision-making process. Founded by Caroline Woolard in 2016, The Study Center for Group Work is committed to making practices of listening, attention, and collaboration available to artists and members of the public. The institution functions as both an online resource-sharing platform and a physical collection of artist-designed tools to facilitate group work that can be installed in various settings, including galleries or community spaces.

Unlike the other projects in Institution as Form, the initiative Maayan Strauss founded in 2015, Container Artist Residency, is not based in a fixed location, but rather unfolds across the networks of global commerce. Taking place on commercial cargo ships, Container Artist Residency invites artists to embed themselves within the shipping industry, living and working in available cabins while traveling along international trade routes.

About the Curator
Alison Burstein is the Curator of Media and Engagement at The Kitchen in New York. She previously worked as Program Director at Recess and as a member of the education departments at MoMA, the Guggenheim Museum, and the Brooklyn Museum (all in New York). As an independent curator she has organized exhibitions or programs for institutions including Mana Contemporary (Jersey City), The Luminary (St. Louis), Knockdown Center (New York), Museum of Jurassic Technology (Los Angeles), and NURTUREart (New York). Burstein holds an MA in art history from Columbia University and a BA from Wesleyan University.


Poster PINK CUBE web size sosial media2

Poster by Anja Carr 


PINK CUBE (Oslo) proudly presents

Tenthaus Oslo, Maridalsveien 3, 0178 Oslo
6 December 2018 - 13 January 2019

Friday - Sunday 1 - 5pm and by appointment
exhibition opening Thursday 6 December 7 - 10pm
(closed 22 December - 3 January)

Artist talk w/Maria Pasenau & Andrea Kroksnes
(curator "Faithless Pictures", the National Museum)
10 January 5 - 6pm (Norwegian)

London-based MAISIE COUSINS (b.1992) introduces her sickly, sticky and sweet creations, in the form of luxuriant, large photographs from her ongoing "Rubbish"-series, including some brand new works from a very recent trip to Mexico in this exhibition - her first in the Nordic region. The British artist, who has presented two solo exhibitions in London, and at group shows in the US and Italy, proves that one woman’s rubbish is another’s treasure: the installations she constructs for her photographs are made out of things she is seduced but others might be repelled by, from food stuffs to everyday frippery. Her close-up visions are stuffed to the brim with unexpected juxtapositions of textures and colours, so tangible you can almost smell them. In a world where we always consume first with our eyes, Cousins is a complicit creator, but one who doesn’t shy away from the more unsavoury parts of life. Though at first sight her mess appears to be desultory, her compositions are carefully composed to stimulate the viewer’s senses as much as their minds. Always interested in base human desires, whether it´s sex or hunger, Maisie’s images comment on the contemporary need to consume, and the cosmopolitan idea of indulgence - whether it’s in a sausage roll or a Chinese dumpling.

Oslo-based MARIA PASENAU will hang a new series of small photographs at PINK CUBE - a sort of analogue stop motion, that deal with our disoriented state of self in her unique diaristic style, as well as presenting new sculptures and a text-based work. Working with different medium, her practice is rooted in analogue photography. Where Cousins seduce using objects and the absence of models for this exhibition, Pasenau does the opposite, shooting portraits of people she knows and herself - but both belong to the same frenetic, fully-charged environment. Sharing a sense of playfulness, delight and intimacy with Cousins, Pasenau, 23, was recently included in "Faithless Pictures" at the National Museum, Oslo, alongside the likes of Richard Prince, Cindy Sherman and Hito Steyerl; a cross generational exhibition examining the ways images dominate and manipulate our sense of reality and ourselves. In photography, there is no longer any truth, and Pasenau is part of a generation that has grown up knowing this. Instead she uses the camera as a disrupter, to agitate, and as a stage for the theatre of the self. Fiction narrates the truth more closely than reality. Like Cousins, Pasenau collects things, images with an interest in interplay of surfaces, as well as contemporary excess and desire - often presented as multiple images and objects - an overload of visceral emotions, viscous bodies, and unexpected encounters.

- Charlotte Jansen, Editor at Large, Elephant Magazine (London, UK)

PINK CUBE is a pink exhibition space with walls coated in paint containing bodily fluids - an alternative to the sterile, male dominated white cube, founded by CEO and artist Anja Carr in January 2011. Situated at Grønland, Oslo until 2016, it is now a nomadic space, with the possibility of traveling to different venues and countries with it's unique wall-paint, in this case to Tenthaus Oslo. The exhibitions are art-battles between two artists or groups, aiming to boost fruitful artistic dialogue among artists from different generations and/or locations. Welcome to the game! In addition there will be a slide-show with images from PINK CUBE's 21 previous battles and some other special treats.

TENTHAUS OSLO is a project space initiated by Oslo-based artists Helen Eriksen, Ebba Moi and Stefan Schröder. From spring 2016, Mechu Rapela joined the Tenthaus team. Tenthaus Oslo's profile is characterized by an open, process-oriented form of participation from an internationally orientated group of artists. The context of contemporary art practice is re-examined through a broader field of activity with exhibitions, workshops, artist's talks and live performances. As PINK CUBE, Tenthaus has a large proportion of female exhibitors.

The exhibition is funded by Arts Council Norway and The Municipality of Oslo, The Agency for Cultural Affairs