ABOUT
I’m an independent curator developing curatorial concepts and projects
for museums and cultural institutions.
My work often begins from specific sites—coastal infrastructures, remote architectures, or existing museum contexts—where spatial conditions, practical limits, and lived realities become part of the concept itself.
With a background in photojournalism, I approach curating through attention to real situations and to the conditions under which they are encountered.
I’m especially interested in projects that shape the spatial, sensory, and social conditions through which complex or timely subjects become more tangible in public experience.
PROJECTS
Selected curatorial projects developed across specific sites and institutional contexts, focusing on spatial, sensory, and social conditions of encounter
HYPER BOREALIS
Site-responsive residency and curatorial intervention
Kjølnes Lighthouse, Finnmark — 2024
A curatorial residency and project platform developed at Kjølnes Lighthouse, a functioning site of atmospheric observation on the Barents Sea coast.
The project was structured around one primary condition: wind. At this location, wind is not background but a constant force that shapes movement, perception, and the possibility of staying, working, and returning.
Artists were invited to develop works within these conditions, where exposure, instability, and limited infrastructure were not obstacles but part of the situation in which the work emerged. The programme unfolded across residency, exhibition, and public encounters, placing both artists and audiences within an environment already structured by physical forces beyond control.
Rather than representing a theme, Hyper Borealis tested how meaning can take form when a work is situated inside conditions that cannot be neutralised.
Sensate Drifters
Video installation by Elly S. Vadseth
Abandoned King Krab Factory, 2023
A site-based installation developed in a former king crab factory, reflecting on climate change and the increasing jellyfication of the ocean.
The work was encountered inside a disused industrial building still marked by extraction — with residual smells, materials, and traces of a local economic vision that never materialised. These conditions were not scenography, but part of the situation in which the work was experienced.
In this setting, a theme that is often understood at a distance — environmental change — was encountered through material evidence and sensory presence. The audience did not only see representations of ecological transformation, but moved through a space already shaped by it.
This reduced the distance between the theme and the public. Once encountered through smell, residue, and spatial context, the subject became harder to keep abstract.
When boys cry (Home Edition)
Autobiographical dance performance by Thomas Voll
Lighthouse premises, 2024
A performance about sexual violence and trauma, originally developed for stage and later re-situated in domestic space.
The shift from stage to home placed the work within an environment associated with intimacy and everyday life. In this setting, the narrative was no longer encountered at a distance, but in close proximity, under conditions where withdrawal became more difficult.
This repositioning intensified the encounter, making the experience more immediate and harder to contain within the conventions of performance.
Because of this, the curatorial task extended beyond interpretation to include care. To support the audience in staying with the work, simple sensory anchors were introduced — platters of ice placed within reach, offering a tactile point of orientation during moments of intensity.
The project asked under what conditions a theme like trauma becomes not only understandable, but difficult to ignore — and how such an encounter can be sustained.
