Mineral Breath, Metal Mouth. 2016
PhD-project: WHY MATTER MATTERS (2015-)
“The artistic research project Why Matter Matters will reflect upon matter through the feminist new materialisms, focusing on notions of identity and touch. The project is informed by feminist new materialisms’ ongoing re-thinking of our material reality, in which a relational and process-oriented approach towards matter and processes of materialization plays an integral part. Karen Barad’s concept of “intra-action” and Donna Haraway’s concept of “naturecultures”, amongst others, dispose of the dualisms that have long dominated the humanities, and instead explore the travelling of fluxes. Contemplating identity and touch as complex fluctuating material relations, Why Matter Matters will explore identity and touch in matter through a (dis)entangled focus on 1. the human body and 2. (in)organic materials. Aiming to examine dualisms such as the human and the inhuman and the material and immaterial, as well as the classification and categorisation of materials (and their potential dualistic use), the project will assume an interdisciplinary approach. The project thus encompasses knowledge from the natural sciences, feminist theory and the arts in its exploration of a range of topics such as feminist science studies, microbiology and matter theory (with an emphasis on quantum mechanics). Drawing inspiration from Karen Barad’s method of diffractive reading, the project will read insights from these different fields through one another in order to build new insights in a non-hierarchical manner. The artistic research will be carried out through a range of media such as sculptural installations, literary texts and performative work.
 Manuel DeLanda: “I am not convinced that avoiding dualities is the key to a new way of thinking (particularly if one simply adds new ones: modernism- postmodernism, rhizome-tree, power-resistance). What matters is what categories are used dualistically.”
Arbeider som arkiveres/publiseres i KHIODA reguleres av Lov om opphavsrett til åndsverk. Opphavsmannen beholder opphavsretten til materialet i KHIODA, men gir brukerne tillatelse til å sitere fra verket, samt videreformidle det til andre, i henhold til åndsverkslovens regler. En forutsetning er at navn på utgiver og opphavsmann angis. Kommersiell bruk av verket er ikke tillatt uten etter skriftlig avtale med opphavsmannen.
(Artistic production, 2017)Deltakelse på gruppeutstillingen UUMMANNARSUAQ med skulpturene "Red Tide" og "Bedrock Imagery". Øvrige kunstnere: Tora Dalseng, Anthea Hamilton, Deanna Havas & Shane Munro, Bedwyr Williams. Sted: 1857, Oslo. Tidspunkt: ...
(Artistic production, 2017)Two performances titled “The Bodily Life” during The 9th Norwegian Sculpture Biennial/ Norsk Skulpturbiennale 2017 (curated by Steffen Håndlykken).The performances took place June 18th and August 20th 2017 at the Vigeland ...
(Artistic production, 2017)Solo exhibition at Elizabeth Dee Gallery, New York, US, February 28 - April 22 2017. A collaboration between Elizabeth Dee Gallery, the Norwegian exhibition space Entrée and Independent. In "Mattering Waves" Ane Graff ...
(Artistic production, 2017)Skulptur. Del av utstillingen "Myths of the Marble". Vist på Henie Onstad kunstsenter 03. februar - 02. april 2017 og på Institute of Contemporary Art at the University of Pennsylvania (ICA) 28. april - 06. august 2017.
(Image; Artistic production, 2016)Verket "Electron Sea" har blant annet blitt vist på Independent Brussels art fair 2016 og på galleriet 1857 i Oslo 19.- 25. august 2016.
(Image; Artistic production, 2016)Verket Mineral Breath, Metal Mouth ble vist på 11th Gwangju Biennale. The Eight Climate (What Does Art Do?) 02. september - 02. november 2016.