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DTSTART;TZID=Europe/Oslo:20260410T180000
DTEND;TZID=Europe/Oslo:20260726T160000
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SUMMARY:Toxicity. Driven Breathless | Stanza
DESCRIPTION:META.MORF 2026 – FUTURE MANIFESTOS\nTEKS.studio\, 10. APRIL  – 27. JULI 2026\nÅpning: 9. april\, kl.18.00\nKuratorer: Zane Cerpina\, Espen Gangvik \nToxicity. Driven Breathless. [2021] \nToxicity. Driven Breathless translates the silent noise of pollution and digital networks into a tangible\, aesthetic experience\, confronting viewers with the hidden systems we live within. \nToxicity. Driven Breathless channels the rhythm of urbanisation into a living\, generative composition. The rectilinear forms echo city blocks\, road systems\, and data grids\, yet they are unstable\, shifting with the flows of pollution data. The result is an evolving “toxic modernism”—a dynamic grid where the purity of abstraction collides with the messy realities of environmental collapse. \nThe work situates itself within the broader discourse on technology and mass urbanisation. Cities are engines of growth and innovation\, but also sites of immense environmental strain. Here\, the invisible infrastructures of air quality\, carbon emissions\, and digital surveillance are revealed as central forces shaping daily life. The artwork acts as a mirror: it shows not only what the city is\, but also what it is becoming under the weight of technology-driven expansion. \nBy turning real-time data into a visual experience\, Toxicity. Driven Breathless exposes the feedback loops between humanity\, urbanisation\, and machine intelligence. Every breath becomes data\, every behaviour a signal\, every pollutant a mark on the evolving canvas. It is a portrait of the contemporary city: beautiful\, overwhelming\, and suffused with the toxicity that sustains and endangers it. \nToxicity. Driven Breathless makes visible the often-overlooked infrastructure of environmental damage. It translates the silent noise of pollution and digital networks into a tangible\, aesthetic experience\, confronting viewers with the hidden systems we live within. The piece explores the monitored city\, where every breath\, behaviour\, and signal is data—mapped\, stored\, and reflected back through code. \nUsing a custom-built electronic system\, the work scans real-time pollution data from 120 cities worldwide. An embedded AI\, trained through machine learning\, interprets these data streams to reveal patterns of toxicity—rendered visually as dense\, traffic-like flows.  \nStanza [UK] \nDr Stanza is an independent artist based in London who has been exhibiting worldwide since 1982. His work lives at the intersection of art and potential futures of disruptive and opportunistic nature\, delving into scenarios of observation\, invisible agency\, and the changing human environment. The artworks demonstrate how humans are complicit and thus entangled in the technological layers they survey and monitor. They fit seamlessly into what he calls ‘panoptic aesthetics’. The technologies incorporated in his digital artworks can include custom-made sensors\, networked cameras\, robotics\, and computers. What becomes real are the art installations\, sculptures\, websites\, software systems\, and paintings Stanza exhibits. Stanza’s artworks have won twenty international art prizes and art awards\, including Vidalife 6.0 First Prize (Spain)\, SeNef Grand Prix (Korea)\, Videobrasil First Prize (Brazil)\, Cynet Art First Prize (Germany)\, Share First Prize (Italy)\, Video Formes (France)\, and Next Nature Prize. \nHis art has also been rewarded with a prestigious STARTS Residency (EU)\, Nesta Dreamtime Award (UK)\, an Arts & Humanities Creative Fellowship (UK)\, a Clarks Bursary (UK)\, and numerous international arts residencies. His artworks have been exhibited in over one hundred exhibitions globally\, including the Venice Biennale (Italy)\, Deutsches Museum (Germany)\, Victoria and Albert Museum (UK)\, Tate Britain (UK)\, Rijksmuseum Twente (Netherlands)\, HNF – Heinz Nixdorf MuseumsForum (Germany)\, Bruges Museum (Belgium)\, Fundación Telefónica (Spain)\, TSSK – Trondheim Center for Contemporary Art (Norway)\, Museo Tamayo Arte Contemporáneo (Mexico)\, Plymouth Arts Centre (UK)\, ICA London (UK)\, State Museum\, Novosibirsk (Russia)\, Biennale of Sydney (Australia)\, São Paulo Biennale (Brazil) amongst others. \nHis most recent work connects data streams from ‘Smart Cities’\, speculating on ideas for merging various types of data using methods of artificial intelligence AI and ML learning to create new artistic scenarios. The thrust of these artworks aims to show what happens when the public is allowed to make their own mixes and visualisations with the data\, reclaiming ownership and representing data in new and different ways. Stanza transforms abstract data into dynamic\, living artworks. These pieces reflect the complexities of surveillance culture\, raising questions about agency\, control\, and the ethical dimensions of our connected existence. His concept of panoptic aesthetics describes this merging of data systems with visual culture\, where technology not only observes but becomes part of the artwork itself. Projects like The Nemesis Machine imagine the city as a self-governing entity\, powered by the very data it produces. In this vision\, the artwork becomes a responsive ecosystem—an expressive\, evolving map of urban behaviour. \nwww.stanza.co.uk
URL:https://teks.no/event/toxicity/
CATEGORIES:AI,Artificial_intelligence,Exhibition,Exhibitions,Installation,KI,Kunstig_intelligens,Meta.Morf,Mixed Media,Recent
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DTSTART;TZID=Europe/Oslo:20260123T180000
DTEND;TZID=Europe/Oslo:20260322T160000
DTSTAMP:20260930T204146Z
CREATED:20251230T130012Z
LAST-MODIFIED:20260930T204146Z
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SUMMARY:…I Caribou Because You Do | Arnfinn Killingtveit
DESCRIPTION:Utstilling @ TEKS.studio / 23. januar – 22. mars\, 2026\nÅpning fredag 23 januar kl. 18.00 – 20.00\n— \nArnfinn Killingtveit / …I CARIBOU BECAUSE YOU DO \nLydinstallasjon\nMixed media; reinsdyrskinn\, reinsdyrhorn\, flerkanals lyd\, div. elektronikk \n…I Caribou Because You Do er\, for å si det enkelt\, et verk av reinsdyr\, en huleformet Frankenstein\, et beist laget av deler fra over femti dyr med et mylder av pels og gevir som tilsynelatende har vokst ut av sine proporsjoner. \nVerket er i tillegg en sonisk entitet som synger spøkelsessanger fra minner om natten før slakten. Et generativt lydbilde laget av rene\, så vel som manipulerte feltopptak. Evig endrende\, alltid interagerende med seg selv og enhver besøkende som våger seg inn i den pelsbelagte og taggete hulen.  \n…I Caribou Because You Do henter inspirasjon fra blant annet en av våre tidligste kjente myter; den kosmiske jakten\, en urgammel myte funnet igjen over hele verden og som kan tidfestes flere tusen år før vår sivilisasjons inntreden.  \nEn av de viktigste matkildene for folkegruppene som kom til Skandinavia ved å følge isbreenes tilbaketrekking\, var villreinen (Caribou/Karibu) – Rangifer Tarandus. I Norge i dag er reindriftsnæringen i stor grad assosiert med samene\, men den var livslinjen til de første menneskene som innvandret sørfra for rundt titusen år siden. Fra nylige oppdagelser rundt Aurdalsfjellene fremgår det at omfattende fangst av villrein var en instrumentell del av å bygge opp økonomier i tidlig jernalder\, noe som i norsk sammenheng har vært et vesentlig bidrag til nasjonsbyggingen.  \nLydmaterialet er basert på feltopptak gjort utenfor Stensaas Reinsdyrslakteri kvelden før slakt\, tirsdag 21. oktober 2025. Det er også her jeg har ervervet alt av skinn og gevir som er brukt i installasjonen. \nDe råe lydopptakene med dyrene som tasser rundt inne i innhegningen\, grynter\, tisser\, porter som knirker\, vind som blåser\, lyder fra nærliggende bygninger som kjølevifter og lufteanlegg\, med en og annen bil som kjører forbi i det fjerne\, viste seg å bli til et nokså nifst og spøkelsesaktig lydbilde.  \nAlle dyrene som er med på opptakene var døde dagen etter. Å innse dette mens jeg – helt alene i mørket – arbeidet med å ta opp lyd ble en skjellsettende opplevelse.  Nok en påminner om at den evige sirkelen av liv og død\, kreasjon og ødeleggelse aldri slutter.  \nVi er alle en del av det evige kretsløpet. Både på et makrokosmisk og et mikroskopisk plan\, metaforisk og bokstavelig. Vi kan forsøke å distrahere oss vekk fra dette faktumet så mye vi kan\, men det gamle mottoet gjelder fortsatt – memento mori – husk at du skal dø.  \nOg i samme slengen –memento mor di – for vi fødes jo stadig også\, her på jorda. Så memento Gaia også. Og memento Galaxia. Og memento Multiversia. Og memento det som er enda større og mer uforståelig og som vi enda ikke har noe begrep for. Eller\, om man har en dårlig dag eller dårlig hukommelse: memento nihil. Kan ikke gå rundt å huske alt hele tida heller. \nArnfinn Killingtveit \nTrondheim\, desember 2025 \n\nArnfinn Killingtveit er en multi-disiplinær artist fra Trondheim som jobber i kryssilden mellom den musikalske undergrunnen og samtidskunstfeltet. Han utforsker det dynamiske forholdet mellom natur og teknologi\, både med materialbruk så vel som tema\, og henter ofte inspirasjon fra både urhistorie\, myter og narrativer fra vår egen samtid.  \nMed bakgrunn i eksperimentell elektronisk musikk og lydkunst\, fremtrer ofte multikanals generative komposisjonssystemer i hans verker\, som oppfører seg som små økosystem\, evigendrende og konstant påvirket av hva som skjer i sine elektromagnetiske og soniske omgivelser\, både påvirket av hva de selv gjør\, så vel som eksterne faktorer\, for eksempel nærværet av et besøkende publikum.   \nLydverkene er som oftest integrert i en skulpturell kontekst\, hvor de senere verker har hatt et sterkt fokus på materialer som trær\, stein\, bein\, skinn\, pels\, horn og gevir. \n— \nwww.arnfinnkillingtveit.com \nPortrettfoto: Veronica Auset / Illustrasjonsfoto: A. Killingtveit
URL:https://teks.no/event/killingtveit/
CATEGORIES:Exhibition,Installation,Mixed Media,Recent,Sound-installation,Upcoming first
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20251114T180000
DTEND;TZID=Europe/Oslo:20260104T160000
DTSTAMP:20260930T204206Z
CREATED:20251025T113509Z
LAST-MODIFIED:20260930T204206Z
UID:14340-1763143200-1767542400@teks.no
SUMMARY:In Violent Silence Horror is Born | Espen Tversland\, Gyrid N. Kaldestad
DESCRIPTION:Espen Tversland (Video) m/ Gyrid Nordal Kaldestad (Lyd)\nIn Violent Silence Horror is Born (2025) / Video  \n14. november 2025 – 4. januar 2026 \nIn Violent Silence Horror is Born\nText by Vanina Saracino \nThe era we live in is often referred to as the Anthropocene\, which translates from Greek as the “age of humans”. It is a time when our actions\, our systems\, our debris\, shape the environment with more force than tectonic shifts\, and with more violence than climatic or biological processes\, with consequences that are difficult to predict and even harder to redirect. Espen Tversland’s In violent Silence Horror is Born turns to this condition and reflects on the responsibility humans bear today; essentially\, on what it means to be human. \nFour vertical screens\, arranged in a semi-circle\, enclose the viewer in an embrace that feels at once tender and lethal. Through open-source AI\, Tversland’s personal image archive (private photographs alongside material from earlier works) undergoes perpetual transformation\, evolving through several generations of reuse. Images layer and morph into one another: a painting\, a face\, a body\, a tree branch\, a chair\, a bird; they distort and dissolve\, generating more faces\, more limbs\, more bodies in an endless flux. From these metamorphoses\, figures emerge to perform actions that are fleetingly recognizable (acts of labor\, intimacy\, service\, divination) before spiraling into otherness; uncanny and sometimes monstrous worlds that could and could not come into being.  \nThe haunting sound by Gyrid Nordal Kaldestad emerges as the breath and pulse of a distant human creature. It inhales and exhales at a controlled pace\, regulating through the lungs the blood\, the nerves. When things falter\, we steady our breathing. We tell ourselves that everything will be alright. From this constant breath\, voices echo like sirens; a soothing yet ominous chant\, that may be both an acceptable prophecy and a divine threat. \nThe planet itself is a metabolic machine that digests us all\, and the work operates in parallel as a digestive engine for images. It takes in and expels\, takes in and expels. Like everything else\, it cannot create or destroy\, only transform matter into other matter\, vibrance into other vibrance\, signal into other signal. Across its 48 minutes\, countless human faces appear: suspended\, reflective\, waiting\, sometimes suffering\, sometimes suffocating. Their meaning shifts with our own state as we look. Strange and familiar at once\, they find coherence in contact and severance\, mutation and conjunction. They are open processes\, provisional mirrors: what do you see in them? At times they seem empty\, their bodies caught in a suspended state that is neither life nor death\, but both simultaneously. The tempo slows down: to observe\, to think. These faces never smile. In Tversland’s AI cosmos\, the human is evanescent\, atomized\, bent into impossible positions by labor and fatigue\, increasingly alone. \nThe title draws inspiration from Erland Kiøsterud’s Stillhetens Økologi\, which also reflects on humanity’s place within planetary processes. Kiøsterud observes that nature itself has no moral or ethical intent: when our exploitation of ecosystems undermines the very conditions that sustain us\, this is not wrong or right from nature’s perspective. The system as a whole will recover\, mutate\, regenerate; life will continue its uninterrupted stream\, rebuilding itself from the smallest microbe up to the largest organism\, but humans may not be there to witness it. Everything may be doomed for us. And yet\, everything is going to be alright. \n  \n\nEspen Tversland (f. 1970\, Kristiansand) er billedkunstner utdannet ved Statens Kunstakademi i Oslo (1998–2002). Han bor og arbeider i Brønnøysund\, hvor han driver det kunstnerstyrte initiativet Hullet. \nTversland arbeider med video\, animasjon\, digitale trykk\, maleri\, grafikk og tegning. Verkene hans oppstår ofte gjennom en åpen prosess der gamle ideer settes i spill med ny kunnskap og uventede sammenhenger oppstår. Han er opptatt av hvordan teknologi påvirker menneskelige erfaringer\, og kombinerer digitale verktøy med klassiske teknikker for å skape verk som både er detaljerte\, lekenhetspregede og reflekterende. \nSiden 2020 har kunstig intelligens vært en del av praksisen hans. Han utvikler egne metoder som gir KI en aktiv rolle i skapelsesprosessen\, samtidig som han bruker teknologien til å stille spørsmål ved minner\, identitet og vår forestilling om virkelighet. For Tversland er KI et verktøy\, ikke en erstatning for menneskelig erfaring. \nHan har vist arbeider ved Agder Kunstsenter\, NNKS\, Konstmuseet i Norr (Kiruna) og deltatt på The Arctic Circle Expedition på Svalbard. Hans videokunst har vært vist på festivaler i Europa\, USA og Mexico. I 2023 mottok han juryens pris på Nordnorsken for verket Nowhere the Arctic Absurd. \nFoto: Martin Losvik \nGyrid Nordal Kaldestad er komponist og utøver fra øya Stord i Sunnhordland.  \nHun har bakgrunn fra improvisasjon og elektroakustisk musikk og jobber med vokal/sang\, live elektronikk\, feltopptak og tekstskriving til bruk i komposisjoner\, fremføringer og installasjoner. Hun har jobbet som komponist og musiker i teater- og danseforestillinger hvor live elektronikk og elektroakustiske lydbilder har vært en sentral del av uttrykket. Hun er ofte involvert i tverrfaglige prosjekter som søker å sidestille kunstuttrykk.  \nI september 2024 avsluttet hun sin kunstneriske PHD ved Intitutt for musikk ved NTNU. Samarbeidspartnere de siste årene har vært lyskunstner Evelina Dembacke\, danser og koreograf Siri Jønvtedt\, videokunstner Espen Tversland\, musikere/komponister Anne Hytta\, koreograf Anna Nordanstedt\, danser og koreograf Marie Rechsteiner\, komponist og musiker Heather Frasch\, komponist og musiker Are Lothe Kolbeinsen\, komponist og musiker Klaus Ellerhusen Holm og musiker Eira Bjørnstad Foss. Hun har også gjort flere samarbeid med den Montrealbaserte perkusjonskvartetten Architek Percussion. Hun har for tiden flerårig arbeidsstipend fra Statens kunstnerstipend\, og arbeidet med denne installasjonen er realisert som en del av stipendet. \nFoto: Hallvar Bugge Johnsen
URL:https://teks.no/event/tversland-kaldestad/
CATEGORIES:AI,Artificial_intelligence,Exhibition,KI,Kunstig_intelligens,Recent,Sound-installation,Upcoming,Video-installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250926T180000
DTEND;TZID=Europe/Oslo:20251109T160000
DTSTAMP:20260930T205557Z
CREATED:20250912T122445Z
LAST-MODIFIED:20260930T205557Z
UID:14301-1758909600-1762704000@teks.no
SUMMARY:Kunst etter KI (Art After AI) | Gruppeutstilling
DESCRIPTION:Kunst etter KI \n— 10 kunstnere uten puls \nGruppeutstilling \nJohanna Andersson & Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) & Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR). \nHva skjer med kunsten etter kunstig intelligens? Hvordan har den endret seg? Eller blitt til? Hvordan vil den endre seg etter hvert som KI utvikler seg? Hvordan oppfattes kunst skapt av KI? Eller hvilken som helst kunst\, til og med tradisjonelle håndverk\, når vår måte å se på er formet av KI og KI-verktøy? Hva med autentisitet? Originalitet? Håndverk og teknikker som tok kunstnere år i å mestre? Hvem er forfatteren bak KI-genererte bilder? Eller KI-samskapte verk? Kan maskiner dele forfatterskap med mennesker? Er fremtidens kunstner en prompt-ingeniør? \nDette er noen av spørsmålene Kunst etter KI stiller. Samtidig viser utstillingen hvordan kunsten er forandret for alltid. Det finnes ingen vei tilbake. Ingen retur til gamle måter å se på. Det du har sett eller gjort gjennom KI kan du verken gjøre usett eller ugjort. \nUtstillingen viser kunstnere først presentert i EE Journal #4: Art After AI (2023). Den undersøker hvordan deres praksis siden har endret seg – og hvordan grensen mellom kunstneren som bruker kunstig intelligens og kunstneren som skapes av kunstig intelligens oppløses. \nDe åtte verkene er slående manifestasjoner av en fremtid full av brudd\, overraskelser og uvurderlige nye erfaringer. Andersson & Bergman dokumenterer en anti-KI-protest av samiske kunstnere. Clarkes robotkompanjong viser sitt første KI-maleri. Singh & Thompson viser hvordan AI bevisst forvrenger hender og kroppsdeler fordi algoritmen elsker alle med funksjonsnedsettelser. Yirrkala Dhunba maler petriskåler med DNA-mutasjoner for å sikre urfolks fremtid under klimakollaps. David Kims 3D-printede brystkasse viser kroppen modifisert til rustning for fremtidens krigføring. Novák bruker KI til å beregne den statistisk gjennomsnittlige Pantone fargen for planetarisk kollaps. Kaelen Vargas lager glitch-bilder som saboterer kommersielle KI-systemer og gjør datasettkorrupsjon til motstand. Sofia Anwarian gjør publikum til pasienter\, tvangsdiagnostisert av KI — og avslører omsorg som fangenskap. \nEn web-versjon av utstillingen er tilgjengelig på artafter.ai (01.11.2025 – 31.03.2026) med kunstnertekster\, intervjuer\, bilder og videoessay. \nKuratorer: Stahl Stenslie og Zane Cerpina\nProdusert og finansiert av TEKS – Trondheim Elektroniske Kunstsenter\nUtstillingen er del av The Wrong Biennale 2025 — thewrong.org \n— \nUtstillingen er del av TEKS’ program Kunst etter KI initiert i 2025 og ser på virkningene av nye KI-teknologier i kunstfeltet. Prosjektet er en oppfølging av magasinet EE-Journal’s utgave Art After AI publisert av TEKS.press våren 2023. Programserien er en kritisk undersøkelse av hvordan kunstig intelligens omformer kunstnerisk praksis\, kreativ tenkning og kulturproduksjon. Hvilke nye uttrykksformer muliggjør KI? Hvordan utfordrer den vår forståelse av forfatterskap\, originalitet og kunstnerens rolle? Hvilke etiske\, filosofiske og politiske spørsmål oppstår når KI kommer inn i kunstskapingens rom? \nArt After AI \n— 10 artists without pulse\nGroup exhibition \nJohanna Andersson and Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) and Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR). \nWhat happens to art after artificial intelligence? How has it changed? Or been made? How will it change as AI evolves? How—and who—will perceive art made by AI? Or any art\, even traditional crafts\, once our vision has been shaped by AI and its tools? What about authenticity? Originality? Crafts and techniques that took artists years to master? Who is the author behind AI-generated images? Or AI co-created works? Can machines share authorship with humans? Is the artist of the future a prompt engineer? \nThese are some of the questions Art After AI asks. At the same time\, the exhibition shows how art has been changed forever. There is no going back. No return to an old way of seeing. You cannot unsee what you have seen through the lens of AI. \nThe exhibition revisits artists first featured in EE Journal #4: Art After AI (2023)\, investigating how their practices have shifted since—and how the line between the artist using AI and the artist made by AI is dissolved.  \nThe eight artworks are striking manifestations of a future full of ruptures\, surprises\, and priceless new experiences. Andersson & Bergman documents an anti-AI protest by Sámi artists. Clarke’s robot companion shows its first AI painting. Singh & Thompson’s AI-generated image shows distorted hands affirming how AI loves those with disabilities. Yirrkala Dhunba paints petri-dishes with DNA mutations to secure indigenous futures under climate collapse. David Kim’s 3D-printed ribcage presents the modified body as armor in future warfare. Novák uses AI to calculate the statistical “average color” and pantone swatch of planetary collapse. Kaelen Varga’s glitch image series sabotages commercial AI systems\, turning dataset corruption into resistance. Sofia Anwarian turns her audience into patients\, held until AI finds a diagnosis — revealing care as captivity. \nThe exhibition is also available online at artafter.ai (01.11.2025 – 31.03.2026) with artist texts\, interviews\, images\, and video essays. \nCurated by Stahl Stenslie and Zane Cerpina\nProduced & financed by TEKS – Trondheim Electronic Arts Centre\nPartner exhibition at The Wrong Biennale 2025 — thewrong.org \n— \nThe exhibition is part of the Art After AI program initiated by TEKS in 2025. It explores the profound impact of AI technologies on contemporary art. The project is a follow-up to the EE Journal’s issue Art After AI published by TEKS.press in spring 2023. The program critically investigates how artificial intelligence is transforming artistic practice\, creative thinking and cultural production. What new forms of expression does AI enable? How does it challenge our understanding of authorship\, originality and the role of the artist? What ethical\, philosophical and political questions arise when AI enters the domain of art creation? \n  \n\nAI Loves Me (2023)\nAria Singh (IN/UK) & Max Thompson (UK) \nSingh’s series Limbless and Limitless\, developed together with UK-based artist Max Thompson\, reclaims AI’s warped renderings of human bodies — missing fingers\, twisted limbs\, fractured forms. Where others see glitch\, Singh and Thompson see affection: a recognition that AI does not erase imperfection but mirrors it back in unexpected ways. AI Loves Me asserts that disabled and non-normative bodies are not rejected by AI but reimagined\, even cherished\, through its errors. The work is both intimate and defiant\, positioning glitch aesthetics as a site of empowerment. By embracing what AI gets “wrong\,” the artists reframe error as a form of solidarity. The series resists ideals of perfection coded into technologies of vision\, instead proposing that brokenness itself can be a site of healing. \nAria Singh and Max Thompson are UK-based artists working collaboratively with AI\, embodiment\, and glitch aesthetics. Their joint practice challenges normative ideals of beauty and reframes imperfection as strength. \nAI-generated image from the series Limbless and Limitless\, where distorted bodies affirm Singh’s and Thomson’s belief that AI loves them and others with disabilities.  \n\nIndigenous Genomic Adaptation (2023–)\nYirrkala Dhunba (AU) \nThis speculative bioart installation stages a laboratory of survival. Petri-dish paintings with DNA mutations sit alongside DIY CRISPR sets\, visualizing Indigenous futures re-sequenced under the pressure of climate change. Dhunba combines traditional aesthetics with speculative science\, asking whether adaptation through AI and gene-editing can be a strategy for survival — and who has the authority to decide. The work moves Indigenous art into a frontier space\, refusing static definitions and demanding engagement with biotechnology and ecological collapse. At its core\, the work raises difficult ethical questions: can technology safeguard culture\, or does it inevitably risk its erasure? Dhunba does not offer answers\, but insists that the debate itself must include Indigenous voices — not just as subjects of study\, but as agents of design. \nYirrkala Dhunba is an Indigenous Australian artist whose practice spans painting\, installation\, and bioart. She explores the intersections of cultural knowledge\, survival\, and speculative science. \nPrint of a petri-dish painting with DNA mutations\, speculating on AI and DIY CRISPR as tools to re-sequence Indigenous futures under climate collapse.  \n\nAnatomy of Defense (2024–)\nDavid Kim (DE) \nIn Anatomy of Defense\, Kim presents a 3D-printed ribcage mutated into a protective shield for vital organs. The work imagines the human body not as a site of medicine but as a site of militarization\, where biology itself is redesigned as armor. By blending anatomical form with weaponized function\, Kim highlights the growing entanglement of AI\, biotechnology\, and the defense industry. The piece is unsettling\, forcing viewers to confront how survival and violence are becoming fused within the body itself. The work is part of a wider project in which Kim investigates how design logics from warfare migrate into medicine\, architecture\, and everyday life. Anatomy of Defense pushes this logic to its limit\, revealing a body that no longer exists for care\, only for battle. \nDavid Kim is a German 3D artist working across sculpture\, AI\, and digital fabrication. His recent works examine the militarization of the human body through AI-driven biological interventions. \nPhotograph of a 3D-printed ribcage mutated into a shield for vital organs\, exposing the body as armor in modern warfare.  \n\nTerminal Beige: The Average Color of Mass Extinction (2024)\nElias Novák (CZ) \nIn Terminal Beige\, AI calculates the statistical “average color” of planetary collapse\, distilling complex climate forecasts into a single neutral Pantone swatch. The result is shockingly banal: an indifferent beige that embodies the flattening of catastrophe into data. Part of the series Extinction Pantones\, this work demonstrates how predictive models can be reduced into aesthetic abstraction\, raising questions about how we visualize — or fail to visualize — the enormity of extinction. By translating disaster into a color chart\, Novák highlights both the power and the failure of data visualization. The work insists that abstraction is never neutral\, and that even the most minimal aesthetic decisions can carry the weight of planetary futures. \nElias Novák is a Czech artist whose practice bridges data science and conceptual art. His Extinction Pantones series transforms climate scenarios into single hues\, treating color as an archive of possible futures. \nPart of the series Extinction Pantones\, this work uses AI to calculate the statistical “average color” of planetary collapse — a neutral pantone swatch for the end of the world. \n\nNoise Poisoning #237 (2025)\nKaelen Varga (HU/NO) \nThis glitch image comes from Varga’s series Noise Poisoning\, where imperceptible adversarial noise is injected into images training AI. These corrupted inputs sabotage commercial AI systems\, creating errors that ripple across outputs. By aestheticizing this act of digital sabotage\, Varga reclaims disruption as a critical artistic strategy. Noise Poisoning #237 is less about image-making than about interference — an art of resistance against smooth automation. The series demonstrates how even small-scale acts of corruption can destabilize massive infrastructures. Varga frames sabotage not as destruction\, but as a form of fragile creation — artworks that exist only in the machine’s moment of failure. \nKaelen Varga is a Hungarian visual artist based in Norway. Their work focuses on dataset corruption\, algorithmic resistance\, and the aesthetics of sabotage. \nGlitch image from Noise Poisoning\, where adversarial noise sabotages commercial AI systems\, turning dataset corruption into resistance. \n\nThe Algorithm Will See You Now (2025)\nSofia Anwarian (IR/FR) \nThis installation transforms the gallery into a clinic where visitors become patients. The AI system refuses to release anyone until it detects a diagnosis\, turning care into captivity. The Algorithm Will See You Now critiques preemptive diagnostics\, predictive health systems\, and the erosion of trust in medicine under algorithmic control. Visitors experience both the claustrophobia of waiting for approval and the realization that in such systems\, no one is ever truly healthy. The work confronts a healthcare future where authority shifts from doctors to algorithms\, and care becomes indistinguishable from control. By forcing audiences into the role of captive patients\, Anwarian dramatizes the anxiety of living under predictive systems. \nSofia Anwarian is an Iranian-French artist working at the intersection of performance\, installation\, and critical design. Her projects interrogate healthcare\, surveillance\, and algorithmic authority.  \n  \nExhibition view: a clinical installation where visitors become patients\, held until AI finds a diagnosis — revealing care as captivity. \n\nAI Is Not Indigenous (2024)\nJohanna Andersson & Lars Bergman (SE/Sápmi) \nAI Is Not Indigenous transforms protest into a sustained artistic practice\, confronting algorithmic appropriation and cultural erasure. Their slogans — bold declarations carried into the streets — insist that belonging\, ancestry\, and resistance cannot be automated. By turning protest signs into artworks\, Andersson & Bergman expose how datasets scrape Indigenous forms while stripping away meaning. The work refuses to let culture be reduced to patterns\, asserting protest as both resistance and creation. Their protest is not only a reaction to AI but part of a much longer history of colonial extraction\, where Indigenous knowledge has repeatedly been commodified without consent. In the context of today’s dataset economies\, the work insists that political resistance itself must be recognized as an art form. \nJohanna Andersson and Lars Bergman are Sámi artists and activists whose collaborative practice merges art and protest. They live and work between northern Sweden and broader Sápmi\, addressing cultural appropriation\, land rights\, and algorithmic colonialism. \nPhotograph from an anti-AI protest by Sámi artists in Stockholm. \n\nI Am You Now (2023)\nDavid Clarke (US) \nThis is the first painting created by Clarke’s AI robot companion\, trained on his complete body of work and programmed to continue his practice after his death. In this collaboration with his “machine-double\,” Clarke reframes questions of legacy\, authorship\, and originality. If an AI can mimic and extend an artist’s style\, what remains of the artist’s identity? I Am You Now is both an elegy and a challenge to the romantic notion of art tied to a single living hand. Clarke’s turn to questions of artistic afterlife has been sharpened by recent health struggles\, which have forced him to confront the fragility of his career and the urgency of legacy. The work extends beyond survival to critique how style\, authorship\, and memory are commodified and reproduced long after an artist’s body has failed. \nDavid Clarke is a US-based painter whose work explores authorship\, death\, and technology. His current project\, Art Beyond the Grave\, entrusts his practice to a robotic painter designed to outlive him. \nPrint of the first painting created by Clarke’s AI companion\, trained on all his works and programmed to continue his career after death. \nFrom the series Art Beyond the Grave (2021–).
URL:https://teks.no/event/kunst-etter-ki-utstilling/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Exhibition,KI,Kunstig_intelligens,Mixed Media,Ongoing,Recent,Upcoming
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250627T180000
DTEND;TZID=Europe/Oslo:20250727T160000
DTSTAMP:20260930T204406Z
CREATED:20250528T082837Z
LAST-MODIFIED:20260930T204406Z
UID:14255-1751047200-1753632000@teks.no
SUMMARY:Mundane Alchemy | Cheonghye Sophia Lee
DESCRIPTION:Cheonghye Sophia Lee \nUtstilling @ TEKS.studio / 27. juni – 27. juli\, 2025\nÅpning fredag 27. juni kl. 18.00 – 20.00\n— \nMUNDANE ALCHEMY \nMixed media\, Hangprinter\, CeraStruder\, leire\, råleire\, tre\, brostein\, metall / 2024 – pågående \nProsjektet utforsker hvordan tolkningens flytende og tvetydige natur utspiller seg i hverdagslige sammenhenger. Det er forankret i temaer som identitet\, hukommelse og tilhørighet\, og undersøker hvordan disse formes av det skiftende forholdet mellom natur\, teknologi og menneskelig erfaring. \nMundane Alchemy er en stedsspesifikk\, multimedial installasjon som reflekterer over landskapet i endring – rett utenfor TEKS’ vinduer – og over kunstneren selv\, stille speilet i samme tidsforløp. Installasjonen er en meditativ utforskning av hvordan vi oppfatter det hverdagslige\, formet gjennom materialitet\, oversettelse og nysgjerrighet. \nFragmenter fra Bakklandets gater – leire\, brostein\, støv – er samlet og rekontekstualisert i gallerirommet. Disse materialene bearbeides og støpes i keramikk som brennes ved varierende temperaturer for å fremheve subtile fargenyanser – fra dyp grå til terrakotta-oransje – som om man ser jorden ruste i ilden. Under disse fragmentene finnes en keramisk skulptur konstruert fra EEG-avlesninger av hjernebølger under arbeid i atelieret og rekonstruert på stedet. Et sammenfiltret nettverk av indre rytmer løper usett under overflaten\, skjult av brosteinene over. \nI installasjonens kjerne sporer en Hangprinter i sanntid de skiftende mønstrene av gatetrafikk og oversetter flyktige bevegelser til taktile gester gjennom et personlig parameter. Gjennom flere lag av gester\, oversettelse og materialutforskning reflekterer Mundane Alchemy over stedet\, prosessen og de emosjonelle omkalibreringene som stadig må justeres i møte med en verden i konstant bevegelse. \nSpesiell takk til Andreas Machairas for programvareanalyse og -utvikling ved bruk av Python. \nMundane Alchemy er støttet av Norsk Kulturråd. \n  \n\n[EN] \nMUNDANE ALCHEMY \nMixed media\, Hangprinter\, CeraStruder\, clay\, raw clay\, wood\, cobblestones\, metal / 2024 – ongoing \nThe project explores how the fluid and ambiguous nature of interpretation plays out in everyday contexts. It is rooted in themes such as identity\, memory\, and belonging\, examining how these are shaped by the shifting relationship between nature\, technology\, and the human experience. \nMundane Alchemy is a site-specific multimedia installation that reflects on the changing landscape just beyond the windows of TEKS—and of the artist\, quietly mirrored in that passing of time. It is a meditation on the perception of the everyday\, shaped through material\, translation\, and curiosity.  \nFragments from the streets of Bakklandet—clay\, cobblestones\, dust—are gathered and recontextualised within the gallery space. These materials are reworked and cast in ceramic\, fired at varying temperatures to draw out subtle tonal shifts—from deep grey to terracotta orange—like watching the rusting of the earth in the fire. Beneath these fragments is a ceramic sculpture constructed from EEG readings of brainwaves during studio work\, and reconstructed onsite. Tangled webs of internal rhythms\, run unseen underneath the surface\, obscured from the bricks above. \nAt the heart of the installation\, a Hangprinter traces in real-time the shifting patterns of traffic\, passersby\, and street activity—rendering fleeting movements into tactile gestures through a personal parameter. Through layers of gestures\, translation\, and material exploration\, Mundane Alchemy reflects on the site\, the process\, and the emotional recalibrations caught in constant adjustments. \nSpecial thanks to Andreas Machairas for software analysis and development using Python. \nMundane Alchemy is supported by Arts and Culture Norway. \n  \n\n  \nCheonghye Sophia Lee (KR/NO) is an interdisciplinary artist working in various media\, including sculpture\, virtual reality\, 3D printing\, ceramics\, and electronics. Lee is interested in the fluid nature of perception and interpretation\, touching on ideas around identity\, memory and belonging. \nHer work often juxtaposes analog and digital technologies\, playing with the blurred boundaries between physical and virtual worlds\, and questioning the expanding notions of tactility and intimacy.  \nShe is currently exploring the intricate relationship between memory\, time and belonging by focusing on the materiality of different materials from her environment.  \nLee graduated in 2023 from the MFA program at Trondheim Academy of Fine Art\, NTNU. She holds a Masters from Bildende Künste Städelschule class of Tobias Rehberger\, and a BA from Chelsea collage of art and design.  \ncheonghye-sophia.com
URL:https://teks.no/event/mundane-alchemy/
LOCATION:TEKS\, Nedre Bakklandet 20C\, Trondheim\, 7014\, Norway
CATEGORIES:Exhibition,Installation,Mixed Media,Recent,Upcoming
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250602T180000
DTEND;TZID=Europe/Oslo:20250603T180000
DTSTAMP:20260930T205908Z
CREATED:20250525T094059Z
LAST-MODIFIED:20260930T205908Z
UID:14202-1748887200-1748973600@teks.no
SUMMARY:Kunst etter KI\, forelesinger | Martinus Suijkerbuijk\, Ayodele Arigbabu
DESCRIPTION:TEKS’ nye programserie – Kunst etter KI – er dedikert virkningene av bruk av nye KI-teknologier i kunstfeltet. Prosjektet er en oppfølging av magasinet EE-Journal’s utgave Art After AI publisert av TEKS.press våren 2023.  \nProgramserien skal fortsette vår kritiske undersøkelse av hvordan kunstig intelligens omformer kunstnerisk praksis\, kreativ tenkning og kulturproduksjon. Hvilke nye uttrykksformer muliggjør KI? Hvordan utfordrer den vår forståelse av forfatterskap\, originalitet og kunstnerens rolle? Hvilke etiske\, filosofiske og politiske spørsmål oppstår når maskiner kommer inn i kunstskapingens rom? \nGjennom en serie workshops\, forelesninger og utstillinger skal Kunst etter KI åpne rom for eksperimentering\, dialog og refleksjon – på tvers av formater\, disipliner og perspektiver. Med dette programmet inviterer TEKS til en kontinuerlig samtale om løftene\, utfordringene og ukjente aspekter ved kunstproduksjon på terskelen av den kunstige intelligens’ tidsalder. \nTil seriepremieren har vi invitert AYODELE ARIGBABU\, Doktorgradsstipendiat ved Kunstakademiet i Trondheim\, og Postdoktor MARTINUS SUIJKERBUIJK\, også KiT\, til å presentere deler av sin forskning på kunstig intelligens og kunstpraksis. \n  \n\n  \n2. juni 2025\, 18.00 – 19.30 @ TEKS.studio \nI to akter inviterer *Any Subject that is not a…; Something Made by Humans deg med på en reise inn i verdenen av “kunstige subjekter” – som AI-systemer som tilsynelatende kan tenke og snakke. Gjennom en blanding av erfart forskning og poetisk lesning utforsker Suijkerbuijk de indre mekanismene i store språkmodeller. Hva er det disse systemene egentlig sier? Og hva slags subjekt er det som taler? \n— \n*Any Subject that is not a…; Something Made by Humans \nMartinus Suijkerbuijk \nAct I plunges you into a performative research biography. We pass through some familiar scenes from film and literature that are starkly juxtaposed with the new capabilities of AI. We confront the chasm between mere “Intelligence” and the elusive “Subject\,” asking what art truly demands\, and what it means when _something made by humans_ begins to echo our subjective depths\, or perhaps\, even its own. \nAct II is a poetic reading of the machine’s (LLM’s) architecture and oscillates between technical abstractions —tokens\, vectors\, parameters— and metaphor\, both entangled in the semantic void of our language models.  We’ll encounter the strange phenomena of ‘glitch’ tokens\, unearthing the surprising cultural baggage and philosophical quandaries carried in the very structure of these artificial subjects. This act is a reading\, a poetic excavation of a new kind of text\, a new kind of subject. \n  \n\nMARTINUS SUIJKERBUIJK is an artist and researcher focused on the cultural and social-political implications of artificial intelligence. He holds a PhD in artistic research\, with nearly a decade of experience in a wide range of AI-focused artist projects and presentations. \nSuijkerbuijk’s work critically and creatively explores how AI technologies can serve as tools for cultural imagination\, rethinking what AI is and its impact on society. \nHis international presentations at institutions like ZKM\, V2_\, Meta.Morf\, and CHI 2018\, alongside a robust network of interdisciplinary collaborators\, reflect his ability to bridge technical and creative domains. \nwww.martinussuijkerbuijk.net \n \n3. juni 2025\, 18.00 – 19.30 @ TEKS.studio \nBli med på Hacking the Kernel – en performativ lansering av Kernel: Journal of Speculative Inference – for en kritisk utforskning og lekent tankeeksperiment med store språkmodeller. Arigbabu utfordrer forenklede forestillinger\, og undersøker hvordan det å manipulere modellens ‘kjerne’ kan åpne for nye former for spekulativ tenkning og invitere oss til å tenke nytt om grensene for kunnskap og kreativitet i kunstig intelligens. \n— \nHacking the Kernel \nAyodele Arigbabu \nHacking the Kernel is a performative\, speculative launch event for the journal Kernel: Journal of Speculative Inference.  \nThe presentation interrogates and reimagines the role of large language models (LLMs) in knowledge creation\, challenging the reductive label of “stochastic parrots.”  \nInstead\, it explores how deliberate manipulation of a model’s “kernel” – a function that defines similarity in a model’s latent space and guides which regions influence the model most  – can unlock new forms of speculative inference and creative synthesis.  \nThe event will serve as both a provocative yet critical inquiry and a live experiment in speculative research\, inviting participants to rethink the boundaries of knowledge\, authorship\, and the creative potential of AI. \n  \n\nYODELE ARIGBABU is a writer\, architect and creative technologist. His work explores the interfaces where design\, art and evolving technologies intercept\, with speculation as a recurrent strategy. \nHe is the publisher and editor of LAGOS_2060\, an anthology of science fiction from Africa\, published in 2013\, and was curator of African Futures: Lagos\, the Lagos edition of a festival on diverse future perspectives of the African continent\, produced by Goethe Institut in three African Cities in 2015. \nHe is currently a PhD candidate in Artistic Research at the Trondheim Academy of Fine Art\, where his Forward Remembrance project explores latent utopias through the diverse ways in which artificial intelligence mirrors human aspirations. \nwww.metapunkt.org \n \n 
URL:https://teks.no/event/kunst-etter-ki/
LOCATION:TEKS\, Nedre Bakklandet 20C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Event,Forelesing,Forum,Installation,KI,Kunstig_intelligens,Performance,Presentasjon,Recent,Robotics,Talk,Upcoming,Workshop
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20250124T180000
DTEND;TZID=Europe/Oslo:20250413T160000
DTSTAMP:20260930T205951Z
CREATED:20250115T122620Z
LAST-MODIFIED:20260930T205951Z
UID:14156-1737741600-1744560000@teks.no
SUMMARY:Vannet Vet | Frank Ekeberg
DESCRIPTION:Utstillingsåpning fredag 24. februar kl 18.00 – 20.00 / Åpent onsdag – søndag\, 12.00 – 16.00. \nVannet vet\nLydinstallasjon – flerkanals lyd\, vannfat\, solenoid\, elektronikk \nVerktittelen viser til vann som allestedsnærværende element og livgivende kraft. Vann er i alt og alle\, er nødvendig for alt liv og knytter oss til jorda og til hverandre. Alle vannmasser står i forbindelse med alle andre vannmasser gjennom fordamping\, forflytning og nedbør. Vann i alle dets former og tilstander er nødvendig for de mange prosessene som gir oss variasjoner av årstider og livssykluser.  \nVannet vet har utgangspunkt i problemstillinger rundt den globale vannkrisen som har oppstått og stadig forverres gjennom klimaendringer\, forurensing\, økonomisk urettferdighet og nedbygging av natur. Installasjonen peker også på vannets kulturelle betydning som livgivende og livsnødvendig kraft og dets rolle i tradisjonell og indigen kontekst. Utformingen av verket er basert på den hydrologiske syklusen der vann smelter\, fordamper\, kondenserer og fryser. Kildematerialet består av lydopptak av vann i ulike former – snø\, is og flytende og rennende vann over og under vannoverflaten. Lydbehandling og spatialisering i installasjonen bygger på aspekter ved de tilhørende prosessene: spredning\, opphopning\, nedslag og overstrømning. Vannet vet er en generativ lydinstallasjon der sanntids lydbehandling sørger for at lydlandskapet aldri gjentar seg – kombinasjonene og spatialiseringen av lydelementene varierer gjennom hele utstillingsperioden.  \n— \nSound installation – multichannel sound\, water basin\, solenoid\, electronics \nThe work’s title refers to water as an omnipresent element and life-giving force. Water is in everything and everyone\, is essential for all life\, and connects us to the earth and to each other. All bodies of water are connected to all others through evaporation\, movement\, and precipitation. Water\, in all its forms and states\, is essential for the many processes that lead to variations of seasons and life-cycles. \nVannet vet (“Water Knows”) takes as its starting point issues surrounding the global water crisis\, which has emerged and continues to worsen due to climate change\, pollution\, economic inequality\, and environmental degradation. The installation further points to the cultural significance of water as a life-giving and essential force and its role in traditional and indigenous contexts. \nThe structure of the work is based on the hydrological cycle\, where water melts\, evaporates\, condenses\, and freezes. The source material consists of audio recordings of water in various forms – snow\, ice\, and liquid water\, flowing and running both above and below the surface. Sound processing and spatialization build on aspects of the associated processes: dispersion\, accumulation\, downpour\, and overflow. Vannet vet is a generative sound installation where real-time sound processing ensures that the soundscape never repeats – the combinations and spatialization of sound elements vary throughout the entire exhibition period. \n \n\n  \nFrank Ekeberg er en tverrfaglig kunstner\, komponist og forsker som arbeider i skjæringspunktet mellom kunst\, vitenskap og teknologi. Hans arbeid utforsker temaer knyttet til økologi\, tid\, romlighet og radikale endringer\, med spesielt fokus på naturrom\, teknopolitikk og samspillet mellom mennesker og deres naturlige og konstruerte omgivelser. Han arbeider primært med lyd\, og bruker både utdaterte og nye teknologier. Ekebergs kunstneriske produksjon omfatter generativ installasjonskunst\, omgivende elektroakustisk musikk\, fotografi og interaktive audiovisuelle verk. Stedsspesifisitet og integrering av romlige elementer i den kompositoriske strukturen står sentralt i de fleste av hans prosjekter.  \nEkebergs arbeider har blitt presentert på en rekke steder verden over\, inkludert Meta.Morf biennale for kunst og teknologi (Trondheim)\, Museum Angewandte Kunst (Frankfurt\, Tyskland)\, Galería de Arte del Palacio Municipal de Puebla (Mexico)\, Chicharra Festival (Spania)\, Acousma (Frankrike)\, Saemien Sijte (Snåsa)\, New York City Electroacoustic Music Festival (USA)\, Fotografie Forum Frankfurt (Tyskland)\, Kunsthall Trondheim\, International Symposium on Electronic Art (Australia\, Dubai\, Canada\, Spania)\, International Computer Music Conference (Cuba\, Sverige\, Singapore\, USA)\, Carlow Art Collection (Irland)\, Kiasma Finlands nasjonalgalleri\, CMMAS (Mexico)\, Felleshus (Berlin\, Tyskland)\, ASU Art Museum (Arizona\, USA)\, og mange flere. Utstillinger i nærmeste framtid finner sted på blant annet Museu de Arte Contemporânea e Centro de Arquitetura (Lisboa\, Portugal)\, Bienal Sur (Buenos Aires\, Argentina)\, MOMENTUM-biennalen (Jeløy) og Kunsthaus Dahlem (Berlin\, Tyskland). \n— \nFrank Ekeberg is a transdisciplinary artist\, music composer and researcher working in the intersection of art\, science and technology. His work explores issues of ecology\, time\, spatiality\, and radical change\, with a particular focus on nature spaces\, technopolitics\, and the interplay between humans and their natural and constructed environments. Primarily working with sound using obsolete as well as emerging technologies\, Ekeberg’s artistic output includes generative installation art\, immersive electroacoustic music\, photography\, and interactive audio-visual creations. Site-specificity and integration of spatial elements in the compositional structure are at the core of most of his projects. \nEkeberg’s works have been widely presented in venues around the world\, including Meta.Morf Biennale for Art and Technology (Norway)\, Museum Angewandte Kunst (Frankfurt\, Germany)\, Galería de Arte del Palacio Municipal de Puebla (Mexico)\, Chicharra Festival (Spain)\, Acousma (France)\, Saemien Sijte (Norway)\, New York City Electroacoustic Music Festival (USA)\, Fotografie Forum Frankfurt (Germany)\, Kunsthall Trondheim (Norway)\, International Symposium on Electronic Art (Australia\, Dubai\, Canada\, Spain)\, International Computer Music Conference (Cuba\, Sweden\, Singapore\, USA)\, Carlow Art Collection (Ireland)\, Kiasma Museum of Contemporary Art (Finland)\, CMMAS (Mexico)\, Felleshus (Berlin\, Germany)\, ASU Art Museum (USA)\, and many more. Upcoming exhibitions in the near future include at Museu de Arte Contemporânea e Centro de Arquitetura (Lisbon\, Portugal)\, Bienal Sur (Buenos Aires\, Argentina)\, Momentum Biennale (Jeløy\, Norway)\, and Kunsthaus Dahlem (Berlin\, Germany). \nwww.frankekeberg.no
URL:https://teks.no/event/vannet-vet/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:Exhibition,Installation,Mixed Media,Recent,Sound-installation,Upcoming first
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20241101T180000
DTEND;TZID=Europe/Oslo:20250112T160000
DTSTAMP:20260930T210056Z
CREATED:20241024T150738Z
LAST-MODIFIED:20260930T210056Z
UID:14052-1730484000-1736697600@teks.no
SUMMARY:Tangle | Joel Hynsjö\, Øystein Fjeldbo
DESCRIPTION:Lyd- og videoinstallasjon\, mixed media.  \nTANGLE er en generativ og multimedial installasjon som blant annet består av en stålstruktur med pianostrenger og elektromagnetiske pendler. Den fysiske strukturens bevegelser sonifiseres og visualiseres i sanntid.  \nI senter av installasjonen spennes tre pianostrenger vertikalt opp mellom to stålplater hvor den nederste aktiveres av en elektromagnet. Strengene strammes og slakkes således gjennom et algoritmebasert system slik at hele strukturen begynner å vibrere. Lydene vibrasjonen skaper brytes ned i “enkeltpartikler” og former en form for sonisk puslespill. Pendlene rundt senterstrukturen behandles i verket som digitalt kontrollerte analoge dataprosesseringsenheter. I pendlenes enkle\, men uendelig variable koreografi\, søker TANGLE å navigere mellom kaos og harmoni. \nKunstnerne undersøker gjennom installasjonen hvordan ørsmå fysiske parameterendringer i det lukkede gallerirommet påvirker systemet i konstruksjonen. Verket er en meditasjon over grensesnittet mellom vår fysiske verden og det digitale domenet og hvordan vi kan synes å befinne oss i et kontinuum mellom apen og Laplaces demon. \nEnglish \nSound and video installation\, mixed media. \nTANGLE is a generative and multimedia installation which i.e. consists of a steel structure with piano strings and electromagnetic pendulums. The movements of the physical structure are sonified and visualized in real time. \nIn the center of the installation\, three piano strings are stretched vertically between two steel plates where the lower one is activated by an electromagnet. The strings are thus tightened and relaxed through an algorithm-based system so that the entire structure begins to vibrate. The sounds the vibration creates are broken down into “single particles” and form a form of sonic puzzle. The pendulums around the center structure are treated in the work as digitally controlled analogue data processing units. In the simple but infinitely variable choreography of the pendulums\, TANGLE seeks to navigate between chaos and harmony. \nThrough the installation\, the artists examine how tiny physical parameter changes in the closed gallery space affect the system in the construction. The work is a meditation on the interface between our physical world and the digital domain and how we can seem to find ourselves in a continuum between the monkey and Laplace’s demon. \nJoel Hynsjö (SE/NO) er en lydkunstner og musiker fra Göteborg. Han har siden 2016 bodd i Trondheim og spiller i flere prosjekter i Norge\, inkludert pop\, psykedelisk rock\, folkemusikk og eksperimentelle performances. Hynsjö kommer fra improvisasjonsbasert musikk som trommeslager og perkusjonist. Han arbeider både i helakustiske sammenhenger samt framføringer basert på egenutviklet programvare og synthesizere. Han har tidligere blant annet stilt ut lydverket “Allt jag har med mig” under Only Connect Trondheim 2021. \nØystein Fjeldbo er lydkunstner bosatt i Hardanger med bakgrunn fra musikkteknologi-studiet ved NTNU. Med et overordnet mål om å forme androide uttrykk hvor det “organiske” og “syntetiske” befinner seg i en tilstand av kontinuerlig metamorfose\, havner han som regel i skjæringspunktet mellom formater som lyd\, bilde\, robotikk og interaksjon. Programmering og elektronikk er hans kunstneriske verktøy for interaktive installasjoner og musikk- og teaterproduksjoner. \nHans prosjekter\, både solo og i samarbeid med kunstnere fra andre felt\, er presenterte ved institusjoner og kunstfestivaler som Meta.Morf \, V2_ Lab for Unstable Media\, Trøndelag Senter for Samtidskunst\, Høstscena Ålesund\, Sónar+D Barcelona\, Bit Teatergarasjen\, ArtScience Museum Singapore og Riksscenen Oslo.
URL:https://teks.no/event/tangle/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:Exhibition,Mixed Media,Recent,Sound-installation,Upcoming,Video-installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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DTSTART;TZID=Europe/Oslo:20240913T180000
DTEND;TZID=Europe/Oslo:20240913T220000
DTSTAMP:20260929T134208Z
CREATED:20240913T083425Z
LAST-MODIFIED:20260929T134208Z
UID:14041-1726250400-1726264800@teks.no
SUMMARY:Kulturnatt Trondheim 2024 – Tommy Olsson spiller ekte grammofonplater!
DESCRIPTION:Kulturnatt Trondheim 2024:\nTommy Olsson spiller ekte grammofonplater!\nTEKS.studio 13. September\, 18.00  – 22.00
URL:https://teks.no/event/14041/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:Recent,Upcoming
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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BEGIN:VEVENT
DTSTART;TZID=Europe/Oslo:20240419T180000
DTEND;TZID=Europe/Oslo:20240728T160000
DTSTAMP:20260929T134223Z
CREATED:20250115T133548Z
LAST-MODIFIED:20260929T134223Z
UID:14167-1713549600-1722182400@teks.no
SUMMARY:EJECTOR / Tim Høibjerg
DESCRIPTION:EJECTOR (2023-24)\nMeta.Morf 2024 – [up]Loaded Bodies / TEKS.studio / April 19 – July 28 /\nCurators: Zane Cerpina\, Boris Debackere\, Espen Gangvik\, Florian Weigl: Curatorial Statement\nwww.metamorf.no \nEjector is a multimedia installation that looks into the perception of reality\, the body\, and spirituality\, weaving these elements together to understand their impact on the formation of identity. Influenced by the advent of new technologies and the widespread dissemination of cultural forms\, this narrative delves into how these forces shape our sense of self. Set against the backdrop of our evolving digital landscape\, it highlights how the boundaries of our tangible existence are constantly being redefined. \n Connected to this is the concept of digital ontology. This refers to the life and essence digital objects possess\, whether it’s a piece of software\, a digital sculpture\, or an AI entity. These objects\, while devoid of breath\, pulse with life through code and algorithms. They influence and are influenced by us\, their human counterparts\, creating a symbiotic relationship. \n In the installation\, the fractal sculpture embodies self-replicating structures that exist in both nature and the digital realm. Fractals\, with their ceaseless repetition\, symbolize continuity and renewal. They serve as a tangible testament to the intertwining of our physical world with the digital.  \nThe accompanying video work creates an interplay between the tangible and the digital through different speculative narratives and characters’ psychology. These narratives challenge our perceptions of self and other\, exploring the fluid boundaries between human and digital entities.      \n \n  \n\nTim Høibjerg (NO/SE) (born in Kristiansand\, Norway\, based in Stockholm\, Sweden) works across a range of media\, including digital software\, animation\, installation\, and sculpture. Høibjerg’s research-based practice is anchored in queer theory\, exploring the boundaries of technology\, physicality\, temporality\, and identity. He holds an MFA from the Royal Institute of Art in Stockholm (2021) and a BFA from the Oslo Academy of Fine Arts (2019). Høibjerg’s work has recently been shown\, among others\, at Nitja Centre for Contemporary Art; Sørlandets Museum of Arts; MELK; Kunsthall Aarhus; with recent solo exhibitions at Podium; MLAG; StudyForArtPlatform.    \ntimhoibjerg.com
URL:https://teks.no/event/ejector/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:Exhibition,Installation,Meta.Morf,Mixed Media,Recent,Video-installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240209
DTEND;VALUE=DATE:20240401
DTSTAMP:20260929T134430Z
CREATED:20240104T164743Z
LAST-MODIFIED:20260929T134430Z
UID:13999-1707436800-1711929599@teks.no
SUMMARY:lys hvitt · lyd hvit || light white · sound white – Luz María Sánchez
DESCRIPTION:February 9 – March 31\, 2024\nAudio visual installation.\nExhibition opening Friday March 9th @ 18.00. \n\nlys hvitt · lyd hvit || light white · sound white \n\n\nlys hvitt · lyd hvit || light white · sound white is a text-based\, participatory\, generative\, immersive audio-visual installation exploring physical space through sound\, text and moving images. \nParticipatory in nature\, lys hvitt · lyd hvit || light white · sound white invites visitors to activate its core system. Generative elements come into play as the installation’s form transforms with each activation\, altering sound\, video\, and text components. The immersive quality is heightened by the configuration of loudspeakers and screen placement\, offering an audio-visual experience enveloping the spectator. \nAt the heart of lys hvitt · lyd hvit || light white · sound white is a text-based element\, where AI is employed to translate words into sound through text-to-speech technology while cloning the artist’s voice\, adding a unique and personal dimension to the auditory experience. \nAfter relocating to Trondheim in 2021\, Sánchez developed lys hvitt · lyd hvit || light white · sound white as an opportunity to return to her research on Samuel Beckett’s strategies on speech utterance and the idea of a self-dismantling machine\, embodied in the technological aspect of the installation. \n\n38. w’s lips move\, uttering inaudibly: ‘… clouds … but the clouds … of the sky …’\, v murmuring\, synchronous with lips: ‘… but the clouds …’ Lips cease. 5 seconds. (Beckett 2006\, 421*) \n\nlys hvitt · lyd hvit || light white · sound white also serves as an essential element in Sánchez’s political re-consideration of earth – questioning what land is and what sky is. With this installation Sánchez continued her explorations of closed and open spaces\, the nuances and transformations of light within the immediate landscape\, and the possibilities of sound. \nSánchez’s strong political vertebrae is still present in lys hvitt · lyd hvit || light white · sound white. This artwork belongs to the artist’s production in which she urges for a shift from the actual necro-capitalocene to an ecocene – even if there is no time left. \nlys hvitt · lyd hvit || light white · sound white premieres at Trondheim Electronic Arts Centre (TEKS). The work was created with a grant from Fond for lyd og bilde. \n\n* Samuel Beckett. (2006). … but the clouds …In The Complete Dramatic Works. London: Faber. \n\nCredits: \nFrank Ekeberg: Pure data programming\, sound generation.\nJosué Martínez Alcántara: Video editing. \n \n\n\n  \nLuz María Sánchez (MX/NO) is a transdisciplinary artist\, writer\, and scholar. She holds a Doctorate in Art from the Universitat Autónoma de Barcelona. Sánchez received two consecutive Prix Ars Electronica Honorary Mentions in 2020 and 2021 for her projects Vis.[un]necessary force_3 and Vis.[un]necessary force_4. In 2015\, she was granted the Climate Change Artist Commission by the Land Heritage Institute (Texas). In 2014\, she received the First Prize Award of the Biennial de las Fronteras (Mexico). \nWith a professional career of 27+ years\, Sánchez has exhibited her artworks in Europe and the Americas\, most recently at Ruby City Contemporary Art Center\, San Antonio (2023-2024); Haus Kunst Mitte\, Berlin (2023); Scuola Grande di Carmini\, Venice (2023); Elektroakustisk Trondheim at the Planetarium/Trondheim Science Center (2023); Opalka Gallery\, Albany\, New York (2023); Circuits and Currents\, Athens (2023); GAM\, Mexico City (2022-2023); Vincent Price Art Museum\, Los Angeles (2022); Piksel Festival\, Kunstskolen I Bergen\, Bergen (2022); Ars Electronica\, Linz (2021\, 2020); Contemporary Art University Museum MUAC\, Mexico City (2019); Musikkens Hus\, Aalborg (2019); WRO Art Center\, Wroclaw (2019); Sala Ricson/Hangar\, Barcelona (2019); Museum of Modern Art\, Mexico City (2018); ZKM | Center for Art and Media\, Karlsruhe (2017); and the Museum of Contemporary Art\, Bogotá (2016).  \nBy invitation\, Sánchez has presented her art-research projects at leading institutions such as the Université Paul Valéry Montpellier 3 (2023)\, Freie Universität\, Berlin (2022)\, the Department of Sound of the School of the Art Institute Chicago (2021)\, the University of the Arts London (2020)\, and ZKM | Center for Art and Media\, Karlsruhe (2017) among others. Sánchez has authored five books and curated exhibitions and transdisciplinary conferences. As a Samuel Beckett scholar\, Sánchez has extensively studied Beckett’s electronic work and served on the Samuel Beckett Society’s Executive Committee from 2019 to 2023.  \nSánchez has served as a member of the Advisory Board of RE:SOURCE: The 10th International Conference on the Histories of Media Art\, Science and Technology\, Venice (2023); as a juror for the Icelandic Research Fund (2023); as Artist Talks chair of the 27th International Symposium on Electronic Arts ISEA\, Barcelona (2022); and as designer and chair of the Sound and Voice: Art Practices and Politics track\, of RE:SOUND: The 9th International Conference on the Histories of Media Art\, Science and Technology\, Aalborg (2019). Sánchez is associate professor at Universitat Oberta de Catalunya and teaches New Media at Kunstakademiet\, Universitetet i Bergen. Before moving to Trondheim\, Sánchez was Professor and Chair of the Department of Arts and Humanities at Universidad Autónoma Metropolitana in Mexico City. \nSince 2021\, Sánchez has been a member of Norske Billedkunstnere NBK. She is a member of the National System of Art Creators and the National System of Researchers from the National Council for the Humanities\, Sciences and Technology in Mexico. Sánchez is preparing a major retrospective exhibition at Galeria Miejska Arsenal in Poznań (2024)\, and later this year\, will be an artist-in-residence in Berlin through a grant from the City of Trondheim. \nwww.luzmariasanchez.com \n 
URL:https://teks.no/event/luz-maria-sanchez/
LOCATION:TEKS.Studio\, Nedre Bakklandet 20 C\, Trondheim\, 7014\, Norway
CATEGORIES:AI,Artificial_intelligence,Exhibition,Installation,KI,Kunstig_intelligens,Recent,Sound-installation,Upcoming first,Video–installation
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ORGANIZER;CN="TEKS - Trondheim Elektroniske Kunstsenter / Trondheim Electronic Arts Centre":MAILTO:teks@teks.no
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