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

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

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



Welcome to the opening of Grønske by Kirsty Kross and Kristine Halmrast Thursday 28 September! 

Open: 29 Sept - 22 Oct 2017
Opening hours: Fri - Sun, 1pm - 5pm
Address: Maridalsveien 3, 0178 Oslo

Opening: 6 pm - 8 pm

In Grønske, Kristine Halmrast and Kirsty Kross have taken the opportunity of exhibiting together to look at what they deem as their individual projects´ common denominator. “Grønske” alludes to those microscopic living organisms that live with us, challenging our idea of order and system. In Grønske both artists are looking at perspectives and analysis of the world that cannot be reduced to any systematic truth or reality but to an experience and reference to something deep within ourselves. 

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Photo: Øystein Thorvaldsen 

Gaddafi & Sons.

Kim Jong IL and the ballot.

Kristine Halmrast exhibits a video work and a series of photographs related to her theme of dreams and media realities. Her artistic method is derived from her dream world by recreating videos and photographs of images she encounters in it. Her dreams are affected by her semi-conscious awareness as she listens to current events on the radio as she drifts into sleep. The reconstructions she shows us are more than a reflection of the self, they are an expression of the human mind´s unconscious dialogue with current events.

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Photo: Øystein Thorvaldsen 

Cocktails & Dreams

The Cocktails & Dreams installation, reminiscent of a cocktail bar, is the result of a series of workshops with the artist at Hersleb School. The majority of participants in this project originate from areas where water is scarce due to conflict and climate change. The Cocktails & Dreams cocktail bar will be serving water only and holding a disco during the course of the exhibition to celebrate water, a life giving element taken for granted in Norway. 

Kirsty Kross has focused on the way in which immigrants perceive beauty and the sublime. Her inspiration is taken from Knud Bull´s work in colonial Australian landscape painting. Knud Bull was convicted and extradited to an Australian penal colony by Great Britain. His landscape paintings from 1850s Australia can be seen as a memory of the Norwegian landscape. 

About the artists

Kristine Halmrast (1982) lives and works in Oslo. She finished her MA at the Academy of Art in Bergen (Khib) in 2011. Her works have been exhibited at Bergen Kunsthall (Bergen), Kino Cinema (Sandnes), Small Projects (Tromsø), 7000IS Reinderland (Reykjavik), Silverlens Gallery (Singapore), Hangar (Barcelona), Oslo Screen Festival, Autumn Exhibition and Photo Gallery (Oslo).

Kirsty Kross (1974) studied Art History at the University of Queensland and has an MA in Art in Context from Berlin University of the Arts. Her works have been exhibited at Østlandsutstillingen, Bergen Assembly, Kunstnernes Hus and PINK CUBE in Oslo, Parkhaus Projects, Galerie Crystal Ball and Galerie Walden in Berlin as well as Galerie Daeppen in Zurich.
In 2000 Kirsty Kross initiated Team Plastique, an electro punk cabaret music and performance group.

*"Grønske" connotates the colour green in its core meaning. This Norwegian word is not easily translatable to English but some examples to clarify this word can be seen in the greeness of spreading alga, unwanted low growing plants, grass marks on clothes, slimy stones, mould on textiles, weeds in murky ponds and generally unwanted living dirt. The origins of the word are from pre-viking times and can be seen as an attempt to classify the natural world´s unwanted insistence that it is the uncontainable basis of human endevour. Helen Eriksen

This exhibition is supported by Norwegian Visual Artists Remuneration Fund (BKV)




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School Dinners – a Kunstkantina + Tenthaus project

As a part of the project School Dinners, Tenthaus Oslo’s regular participants from Hersleb High School will prepare a meal together with Kunstkantina, a collaborative art project.

School Dinners takes as its starting point the seed, and its potential for transformation. It will allow it to work as both metaphor and active ingredient in an educational context and process that encourages individual students to grow as they participate in this hands-on project. Led by Kunstkantina, the group will create a meal using home-grown ingredients, thereby bringing the Tenthaus philosophy of `learning by doing` into transformative action.

This spring Kunstkantina and the students from Hersleb planted seeds in Tenthaus Oslo’s project room. These seeds have now sprouted, and they will be transplanted to a garden in Losæter to grow during the summer months. During the autumn the participants will harvest the crop and prepare pickled vegetables for a meal that will be open to invited guests.

School Dinners is a collaboration between Tenthaus Oslo and Kunstkantina. The project is part of Bread Kneads Hands, inititated by Flatbread Society and aiming to breathe new life into the bakehouse at Losæter.


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Johnny Herbert is a British art writer living in Oslo. He has been commissioned to write a piece relating to the exhibition Ingenmannsland. His text Resolution´s Cut is an independent response to the works shown in ingenmannsland - nomannsland.


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 thedetermination 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.

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.



During the last fifteen years, Torgeir Husevaag has consistently worked on detailed pen drawings, mapping and surveying projects in which networks and conventional geographical maps are used as a basis to track movements and events. In many ways they refer to the map as well as the nature and history of cartography.

He also works with related expressions: rule-based drawings, infographics, games, language studies, labyrinthine narratives. Husevaag's artist practice is first and foremost driven by curiosity; genuine attempt to "figure things out", often through the dedicated examination processes based on relatively irrational or contradictory issues. 
In recent years Husevaag has made several artist's books, in which he draws on the interaction between text, image and the narrative. His most recent works explore manmade lakes, both visually and thematically.

Its theme, the manipulation of water, flows through the exhibition suggesting humanity´s  manipulation of water, an artist's manipulation of water droplets and water´s own self manipulation.   FLORESTA SUBMERSA consists of two series of drawings and a video, all of which are characterized by an analytical gaze that attempts to penetrate Balbina, that place, that scene, reflected in the mirror of this work.