Zane Cerpina
– Curatorial statement

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Curator Zane Cerpina, 2022

Ecophilia? Think of Ecophilia as our deep desire to connect with nature. But what is nature really? Except for some made up ecological dreamscapes? 

Ecology comes from Greek Oikos, meaning home. Today every aspect of our home is altered by new technologies, man-induced environmental disasters, biotechnological wonders, and blurred borders between the made and the natural. Has our home become alien to us in this age of global ecological transformations? How is ecophilia manifested in the Anthropocene? 

The Ecophilia exhibitions of Meta.Morf 2022 present artists who critically question what it means to be a real ecophile –a true lover of nature– today. And how to become better at it?

Ecophilia exhibitions take place at three galleries in Trondheim: i) K-U-K – Kjøpmannsgata Ung Kunst, ii) Trøndelag Center for Contemporary Art, and iii) These exhibitions investigate strange concepts of nature and all wonderful manifestations of our love for it. 


In our search to become better ecophiles, we are desperate to upgrade our communication with nature. Will we ever succeed in truly understanding its language? In the installation Birdsong, Leena Saarinen brings together languages of people and birds by visualizing bird whistle tones through spectrograms. This allows the viewer to read bird songs just like we read words.

And what about understanding plants, who communicate with each other in ways invisible and inaudible to humans? María Castellanos and Alberto Valverde’s video installation Beyond Human Perception compares human and plant response to live music, demonstrating how technology can bring us closer to cross-species conversations. 

Then again, humans seem to forget that they are part of nature too. How to love nature within us? In Annike Flo’s work States of Chimera, agar growth medium is contaminated with her own microorganisms to create a living sculpture. This is a manifestation for erotic and queer love for the human body. 


Extreme measures can be taken to satisfy our desire for ultimate naturalness. Yang Zhichao merges symbiotically with nature in the performance Planting Grass where a surgeon inserts two pieces of grass into the artist’s shoulder. What does the inevitable and painful bodily rejection of the plant roots tell us about our physical bonds with nature?

If our bodies refuse to incorporate more nature within us, can we immerse ourselves in nature instead? In the durational artwork Be-coming Tree, Jatun Risba lays naked in the forest throughout seasons as if she is one with the mycelium network of trees. 

What would happen if we traded our comfort with the living conditions of animals? With the help of prosthetics, Thomas Thwaites takes on the seemingly careless life of a goat in his work Goatman (A holiday from being human). Roaming together with his newfound four-legged companions, Twaites contemplates stripping away the role of humans in the hierarchy of nature. 


Can thinking from the perspective of non-humans make us better ecophiles? What if a true form of ecophilia requires us to give back to nature more than we have taken? To Flavour Our Tears: eyePhones v. 3.0 by The Center for Genomic Gastronomy allows the audience to explore their role as a sustainable food source to other species. Why not flavour our bodies to taste better?

How far are we willing to modify our bodies to benefit non-humans? In the work I Wanna Deliver a Dolphin…, Ai Hasegawa speculates on becoming a surrogate mother to pass on the genes of endangered species. Can nature finally seek refuge in our man-made Oikos?

Should ecophiles provide services to nature? Hibernaculum (Moth-) by Marius Presterud is an ecovention inviting insects back to cities. Making sculptures from materials found in urban environments he creates refuge for moths.

There are many ways an ecophile can cater for non-human needs. In the work Manure From Money, Marius Presterud utilizes coins to extract vital micronutrients such as iron, copper and zinc that are vital for plants.

And what about those who refuse to accept and embrace their role in nature as a giver and a lover? How to make sure that we all care? In her installation Aquadisia, Stephanie Rothenberg proposes to utilize genetic engineering and the mythical powers of the oysters to create a serum turning humans into more compassionate beings.


The real challenge to sustain ourselves without nature is poorly understood. The Life Support System by exposes the fundamental importance of the natural ecosystems by creating an artificial, closed-loop system to cultivate a one square meter of wheat. Another 99 such high-cost units are necessary to sustain a human for one year.

In the Anthropocene, nature is increasingly marked by environmental changes and the extinction of species. How to cope with the disappearance of nature? In the video installation Goth Beekeeping Marius Presterud begets a ritual burning to confront the loss of natural habitat due to ever expanding human-built environments. 

Can paradise lost be immortalized through digital technologies? In his work Re-Animated, Jakob Kudsk Steensen creates a vast virtual landscape to show the disappearance of the Kaua’i ʻōʻō bird from the islands of Hawai’i. Do we really care about the lost nature? Or are we simply drawn to the spectacle of ecological disasters? 

In his installation No Man’s Land Frank Ekeberg uses sound to illustrate the disappearance of rainforest in the west coast of Norway. Transitions from rich and natural to digitally created soundscapes lead the audience into speculations about the future. Can our lost nature be replaced by artificial life?  

Or are we drifting through fictional worlds to escape the reality of the Anthropocene? Annie Hägg’s video installation PsXCare uses the aesthetics of a video game to address the unsustainable consumption of natural resources in order to maintain our beautiful virtual landscapes. 

And how do these blurred lines between the made and natural affect our philias towards nature? A Bestiary of the Anthropocene by helps to navigate the new hybrid beings that coexist with us in this post-natural era. Can we ever truly love the emergent species of the Anthropocene?

Nature is always in constant change. What if we would lose our man-made nature too? Maren Dagny Juell’s video installation The Party looks back at our obsession with plastic from a future perspective. Will today’s plastic products once become rare and fetishistic objects in a post-plastic world?

Now it is time to dive into ecophilia.
Unleash your inner ecophile.
Go find your love. Your true nature.


ECOPHILIA-utstillingene / Meta.Morf 2022

Kurator Zane Cerpina, 2022

Økofili? Tenk på økofili som vår dype trang til å knytte oss til naturen. Men hva er egentlig natur? Bortsett fra noen oppdiktede økologiske drømmelandskap?

Økologi kommer fra det greske Oikos, som betyr hjem. I dag er ethvert aspekt av hjemmet vårt endret av ny teknologi, menneskeskapte miljøkatastrofer, bioteknologiske underverker og uklare skillelinjer mellom det tilvirkede og det naturlige. Har hjemmet vårt blitt fremmed for oss i denne tiden med globale økologiske transformasjoner? Hvordan manifesterer økofili seg i antropocen?

I Ecophilia-utstillingene på Meta.Morf 2022 presenteres kunstnere som stiller kritiske spørsmål ved hva det vil si å være en ekte økofil – en sann elsker av naturen – i dag. Og hvordan bli bedre til det?

Ecophilia-utstillingene finner sted på tre gallerier i Trondheim: i) K-U-K – Kjøpmannsgata Ung Kunst, ii) Trøndelag senter for samtidskunst og iii) Disse utstillingene utforsker merkverdige naturbegreper og fantastiske manifestasjoner av vår kjærlighet til den.


I vår søken etter å bli bedre økofile er vi desperate etter å oppgradere vår kommunikasjon med naturen. Vil vi noen gang lykkes med virkelig å forstå språket? I installasjonen Birdsong fører Leena Saarinen språket til mennesker og fugler sammen ved å visualisere fuglekvitter gjennom spektrogrammer. På denne måten kan seeren lese fuglesanger akkurat som vi leser ord.

Og hva med å forstå planter, som kommuniserer med hverandre på måter som er usynlige og uhørbare for mennesker? María Castellanos og Alberto Valverdes videoinstallasjon Beyond Human Perception sammenligner menneskers og planters respons på levende musikk og viser hvordan teknologi kan bringe oss nærmere å føre samtaler på tvers av arter.

Men igjen ser det ut til at menneskene glemmer at også de er en del av naturen. Hvordan elske naturen i oss? I Annike Flos verk States of Chimera kontamineres agarvekstmedium med hennes egne mikroorganismer for å skape en levende skulptur. Dette er en manifestasjon av erotisk og skeiv kjærlighet til menneskekroppen.


Ekstreme tiltak kan iverksettes for å tilfredsstille vårt ønske om maksimal naturlighet. Yang Zhichao smelter symbiotisk sammen med naturen i performancen Planting Grass hvor en kirurg innsetter to gressbiter i kunstnerens skulder. Hva forteller den uunngåelige og smertefulle kroppslige avvisningen av planterøttene oss om våre fysiske bånd til naturen?

Hvis kroppene våre nekter å inkorporere mer natur i oss, kan vi fordype oss i naturen i stedet? I det kontinuerlige kunstverket Be-coming Tree ligger Jatun Risba naken i skogen gjennom årstidene som om hun er ett med mycelnettverket av trær.

Hva ville skje hvis vi byttet vår komfort med levekårene til dyr? Ved hjelp av proteser inntar Thomas Thwaites det tilsynelatende bekymringsfrie livet til en geit i sitt verk Goatman (A holiday from being human). Thwaites streifer rundt sammen med sine nyvunne firbeinte følgesvenner og funderer over å fjerne menneskets rolle i naturens hierarki.


Kan det å tenke utfra ikke-menneskers perspektiv gjøre oss til bedre økofile? Hva om en ekte form for økofili krever at vi gir tilbake til naturen mer enn vi har tatt? I To Flavor Our Tears: eyePhones V. 3.0 lar The Center for Genomic Gastronomy publikum utforske rollen som bærekraftig matkilde for andre arter. Hvorfor ikke smaksette kroppen vår slik at den smaker bedre?

Hvor langt er vi villige til å modifisere kroppene våre til fordel for ikke-mennesker? I verket I Wanna Deliver a Dolphin… spekulerer Ai Hasegawa i å bli surrogatmor for å videreføre genene til truede arter. Kan naturen endelig søke tilflukt i vårt menneskeskapte Oikos?

Bør økofile yte tjenester til naturen? Hibernaculum (Moth-) av Marius Presterud er en økokonvensjon som inviterer insekter tilbake til byene. Ved å lage skulpturer av materialer funnet i urbane miljøer skaper han et tilfluktssted for møll.

Det er mange måter en økofil kan dekke ikke-menneskelige behov på. I verket Manure From Money bruker Marius Presterud mynter til å utvinne livsviktige mikronæringsstoffer som jern, kobber og sink, som er livsviktige for planter.

Og hva med de som nekter å akseptere og omfavne sin rolle i naturen som giver og elsker? Hvordan sørge for at vi alle bryr oss? I sin installasjon Aquadisia foreslår Stephanie Rothenberg å bruke genteknologi og østersens mytiske krefter til å lage et serum som gjør mennesker til mer medfølende vesener.


Vi har liten forståelse av den virkelige utfordringen med å opprettholde oss selv uten natur. Life Support System av viser den fundamentale betydningen av de naturlige økosystemene ved å lage et kunstig, lukket system for å dyrke én kvadratmeter hvete. Ytterligere 99 slike høykostnadsenheter kreves for å ernære et menneske i ett år.

I antropocen er naturen i økende grad preget av miljøendringer og utryddelse av arter. Hvordan takle forsvinningen av naturen? I videoinstallasjonen Goth Beekeeping frembringer Marius Presterud en rituell brenning for å konfrontere tapet av naturlig habitat på grunn av stadig voksende menneskeskapte omgivelser.

Kan det tapte paradis foreviges gjennom digitale teknologier? I sitt verk Re-Animated skaper Jakob Kudsk Steensen et vidstrakt virtuelt landskap for å vise forsvinningen av fuglen kauaihonningeter fra Hawaii. Bryr vi oss virkelig om den tapte naturen? Eller er vi rett og slett tiltrukket av skuet av økologiske katastrofer?

I sin installasjon Ingenmannsland bruker Frank Ekeberg lyd for å illustrere forsvinningen av regnskog på vestkysten av Norge. Overganger fra rike og naturlige til digitalt skapte lydlandskap leder publikum inn i spekulasjoner om fremtiden. Kan vår tapte natur erstattes av kunstig liv?

Eller glir vi gjennom fiktive verdener for å unnslippe realitetene ved antropocen? Annie Häggs videoinstallasjon PsXCare bruker estetikken til et videospill for å fremvise det ikke bærekraftige forbruket av naturressurser for å opprettholde våre vakre virtuelle landskap.

Og hvordan påvirker disse uskarpe linjene mellom det fremstilte og det naturlige våre filier mot naturen? A Bestiary of the Anthropocene av hjelper oss å navigere blant de nye hybridvesenene som eksisterer sammen med oss i denne post-naturlige epoken. Kan vi noen gang virkelig elske den fremvoksende antropocen-arten?

Naturen er alltid i konstant forandring. Hva om vi også ville miste vår menneskeskapte natur? Maren Dagny Juells videoinstallasjon The Party ser tilbake på vår besettelse med plast fra et fremtidsperspektiv. Vil dagens plastprodukter en gang bli sjeldne og fetisjistiske objekter i en post-plastisk verden?

Nå er tiden til å dykke ned i økofili.
Slipp løs din indre økofil.
Finn kjærligheten din. Din sanne natur.


Jatun Risba

be-coming tree

Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

Be-coming Tree / 2020 – 2021

Jatun Risba [SI]

A disrobed body is resting immobile on an uprooted tree
in the woods in
a world that is collapsing – HERE AND NOW –
making a pause
below the bark
underneath the roots
a still presence speaks and ants crawling around
the coming undone the
be-coming tree. 

Be-coming Tree is an encounter between the live stream of the human World Wide Web and the living mycelium networks of the Wood Wide Web. The artist Jatun Risba forms an embryonic entanglement with woods in order to re-member the invaluable beauty, vigour and generosity of wild landscapes, within and without.

The exhibited video documents Risba’s durational act, immersed in the changes of the Panovec forest in Nova Gorica, Slovenia during the four seasons of the pandemic year 2020/21. The first of the artist’s actions occurred on 30th of April, 2020. Risba’s laying still and naked on the horizontal uprooted tree for one hour was re-enacted and livestreamed by the artist in the summer, autumn and winter. This was one of the many performances included in the first three global Be-coming Tree Live Art events. The initial solitary online & offline performance with an uprooted beech tree was, for the artist, healing and meaningful, providing an insight into the coexistence of life and death in daily existence. The trunk on which the performer was laying in stillness, was a site teeming with life while undergoing the process of self-composting. The response from online audiences was warm, thankful and encouraging.

The performance’s tranquil merging of human and more-than-human inspired collective action, leading to inclusive, far-reaching collaboration. Be-coming Tree branched out into a co-creation between three female/non-binary artists with ages ranging from 34 to 73: Jatun Risba, Danièle Minns and O. Pen Be. They have produced seasonal live-streamed collective Live Art events that have so far included 71 artists from 32 countries on 6 continents.

Through a partnership with the TreeSisters organisation — a UK registered female-led social change and reforestation charity that has so far funded the planting of over 22 million trees across 12 locations in Brazil, Borneo, Cameroon, India, Kenya, Mozambique, Madagascar, Nepal and West Papua — the collective Be-coming Tree contributes to environmental restoration by harnessing collective creativity and fund-raising for sustainable tree planting via ticket sales. Artists commune with nature, and audiences experience live art and global ecosystems while supporting planetary restoration via tropical reforestation.

Concept, poem, art direction and performance: Jatun Risba. Video editing: Franco G. Livera. Video footage: Maja Usico, Sašo Batič. With thanks to An Krumberger for technical assistance and support.

Jatun Risba
Jatun Risba ki/kin – is a transdisciplinary artist, a linguist of kinship and parrhesiast (truth-seeker) exploring beyond human paradigms. By approaching Life, Science and Technology in terms of other-emptiness, Risba re-pairs Nature and Culture.

Since 2014, Risba has been developing and teaching the embodied practice of interesse  (to be in-between) or Dance of Life which consists of liminal somatic and vocal expressions in a hyper focused state of unpremeditated nowness. These arts of self, performed among and together with others, create opportunities to reveal, share and harmonise the subtle body. By developing a vernacular form of English named Language of Kinship, whose grammar is based on the use of alternative pronouns ki (sing.) and kin (poss., plur.), the artist is extending the notion of personhood to all spectrums and forms of life.

Risba is a member and artist at STEAM Atelier in Lecce: a catalyst for Social, Science and Technology Innovation. Since 2019, ki has been producing video and photographic works in tandem with artist Franco G. Livera and developing transmedia projects in collaboration with Aloïs Yang (Xiola Yin). As an artist ki has exhibited and performed in numerous venues nationally and internationally including the Bangkok Biennial 2020, Fabbrica del Vapore in Milan, Kersnikova Institute in Ljubljana, Pixxelpoint festival in Nova Gorica and Tate Exchange in London. Ki has been invited to give lectures and workshops at the University of the Underground, at the Goethe University in Frankfurt, at the Strasbourg University, at the Moving Image Research Lab in Montreal, and at TTT2020: Taboo, Transgression and Transcendence in Art and Science conference in Wien. Risba received the a-n Artist Bursary in 2019 and a fellowship for young artists from the ERSTE Foundation in 2020. Ki has published texts, interviews and essays in various printed and online publications. Risba holds a BA (Hons) from NABA, Milan and a PGC in Art & Science from Central Saint Martins – University of the Arts London.

Risba places art in the very centre of existence. Kin art practice is an inseparable expression of everyday life. Every action — expressed through body, speech, or mind — informs and cultivates a fearless self that keeps coming undone, open and fluid. This openness is firmly anchored in non-violence which, according to Risba, is an absolute precondition for the emergence of an Art that is timeless, immeasurable and sublime. /

Header Graphics: “Be-coming Tree” by Jatun Risba. Photo by Photo by Sašo Batič.


Annie Hägg

Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

PsXCare / 2021

Annie Hägg [SE]

PsXCare takes place in a fictive future where the border between the digital and the physical is blurred, shifting between filmed and animated material.

The work portrays a feeling of alienation related to cities and constructed spaces. A feeling that stems from living in a time and place where everything is designed for specific purposes, hence steering your attention and needs much like in a video game. According to German philosopher Hartmut Rosa, alienation is a direct effect of what he calls modernity’s backside; social acceleration, often experienced in a fast-paced city environment.

Nature, either designed in the form of a city park or growing freely as a forest, is commonly seen as a place of relaxation and restoration. A place of freedom if you will. The video considers what role public spaces intended for leisure hold in society, both digital and physical, such as parks or online gaming platforms. People who spend a lot of time in nature and people who spend a lot of time in fictional digital worlds are often viewed as escaping what the rest of us are living through. But is gaming really an escapism today?

In a lecture by Hito Steyerl, Why Games? Can People in the Art World Think? She describes how people have thought historically that games or forms of play are just a form of ”emancipation from the tyranny of management and labor” – a performed escapism. However, and this she points out later, games are not purposeless from either a societal or personal perspective. According to Steyerl games function as a sort of behavioral training for people because they ”present the platonic ideals of how people thought humans should act and think”. Many video games are in fact functioning the same way as labor does, you perform a task, you receive 500 points. Actions steered by scores.

PsXCare is partly made within a Playstation game called Dreams, a so-called sandbox-game where the players themselves create environments and modes to play with, compared to games that come with fully formed content. Dreams without players is nothing more than a game engine, an empty shell, so players are customers and at the same time co-creators (only unpaid).

The character in PsXCare wants to escape society, or at least has a strong longing for leaving, and becomes absorbed by a game while looking at 3D-renders on her computer of a soon to be built park in a well-funded area, longing for the simple, nature-bound life portrayed. However, she doesn’t reach the pristine nature that often defines open-world games such as extraordinary mountain views, deep forests and vast meadows, but a small piece of land comparable to a city

park. Here she performs a digital way of park maintenance, picking up trash to keep her score at a sustainable level. This can be read as an allegory of countries’ systematic outsourcing of labor, e.g. placing dirty work such as pollution-heavy industries in other countries so as to not have to deal with your own issues.

The labor-focused narration is a comment on a new type of economy, an economy that dismantles the idea that games aren’t labor. So for a long time, games have only mimicked economic systems upon which modern society is built, as described by Steyerl. While today, many games are economical systems themselves with the expansion of cryptocurrencies. One can breed imaginational creatures, sell them as tokens and via these sales pay your rent and buy your bread. A currency development that isn’t new per se, but for the first time available to anyone with an Internet connection, highlighting how the world is and has been for a long time steered by imaginational sums of money that never touches the hand.

While games themselves often take place in beautifully curated landscapes, seemingly untouched by the human hand, the servers needed to keep these worlds going are consumers of nature, dependent on natural resources to exist. So what’s going on is an extraction of the real to create the fictive, a tree for a tree?

We often talk about the digital and the physical as something separate, the video strives to narrate a reality where these concepts are naturally connected and where common ideas about what is work and what is play are being challenged.

Annie Hägg
Annie Hägg, born in Växjö, Sweden, received her Bachelor in Fine arts from Oslo National Academy of the Arts in 2021. Hägg’s work focuses on the constructed and designed aspects of modern society both from a social, economical and environmental point of view. Her practice includes storytelling as a way of articulating how characteristics of contemporary changes affect our perception of reality and emotional states, how they manifest in the mind and the body.

In her recent solo exhibition at Amaze gallery in Stockholm she exhibited the video PsXCare together with replicas of objects found in public places in the city. The use of replicas is a recurrent theme in her work, a copy-paste style that imitates a digital presentation of information. By extracting objects from their initial environment and curating them into a new context, she both highlights and alters their meaning.

Hägg’s work stretches towards multiple directions simultaneously, in accordance with her own fabricated connection and logic. These fabrications often point towards societal developments through an emotional and playful perspective, commenting on the complexity of knowledge and reality.

Header Graphics: “PsXCare” by Annie Hägg. Video Still.


Frank Ekeberg


Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

Ingenmannsland / 2019

Frank Ekeberg [NO]

In his 1924 poem Stå vakt om naturen (Keep Guard over Nature), Norwegian poet and environmentalist Theodor Caspari (1853-1948) calls for “a shining `No-man’s-land ́” where “the creator is quiet” and natural forces roam. He warned against the threat posed to mountains, waters and forests and their inhabitants by “ill culture” and “fumes and roar of machines.” A no-man’s-land refers both to land undisturbed by human activities as well as to areas of conflict. The ambiguity of the expression reflects the discrepancy between the Norwegian myth of nature as plentiful, unbreakable and accessible, while at the same time it is subjected to fast-paced, destructive extraction and exploitation.

Ingenmannsland (No Man’s Land / Niemandsland) is a constantly changing, speculative soundscape highlighting issues of deforestation, resource extraction, habitat loss, species extinction and natural vs. artificial life. The installation is based on field-recordings made in old-growth forest that has been a constant for many hundred years and contributed to the Norwegian identity of closeness to nature, processed to reflect a contemporary reality of fragmentation and rapid change. The focus is in particular on the rainforest that once covered much of the west coast of Norway. Only scattered fragments remain of the rainforest today, and it is now on the red-list of endangered habitat types. 80 percent of the coastal rainforest has been lost only in the past 100 years, and it is predicted to disappear completely within the next five decades. Despite numerous warnings of species decline, loss of biodiversity and the importance of trees for carbon capture and storage, only 5 percent of Norwegian forests are currently protected, and only 3 percent of trees are older than 160 Years.

The sound material in Ingenmannsland is for the most part recorded in coastal rainforest areas in the southwest of Norway, using conventional as well as unconventional microphone techniques. Some sounds are easily recognizable, like bird calls, water dripping and rustling of leaves in the wind, while others are recordings of sounds that are normally not heard, like insects gnawing on logs and sounds of the inside of trees moving in the wind. The recordings are meticulously edited so that each component of the forest soundscape can be independently controlled and manipulated.

The installation starts off as quite a rich soundscape with sounds of birds and insects integrated with sounds of wind in trees and of water streams. Over time the sounds of wildlife gradually diminish, and many go extinct. As the day of the exhibition progresses, the sounds of birds and insects are reduced to a point where about 80 percent of the initial sound material is gone. This number reflects the assumed percentage of species that have been exterminated since the beginning of humanity, and also coincides with the percentage of the Norwegian rainforest that has been lost in the past 100 years. When a tipping point is reached, sounds start to reappear, but these are different – more static and artificial, as if we are entering another reality. The soundscape becomes a speculative environment based on projected future scenarios, and asks questions such as: What happens when forests disappear or dry out? Can our natural environment be replenished? Will it be replaced by artificial life? Is this the function of biomimicry?

Frank Ekeberg
Frank Ekeberg is a transdisciplinary artist, music composer and researcher working in the intersection of art, science and technology. He received an undergraduate degree in music from the Norwegian University of Science and Technology (NTNU) before he went on to pursue a master’s degree in electronic music at Mills College in Oakland, California, where he studied composition with Pauline Oliveros and Alvin Curran, and a PhD in electroacoustic music composition at City University London, UK, under Denis Smalley and Simon Emmerson’s tutelage. Ekeberg’s work explores issues of ecology, time, spatiality and transformation, with a particular focus on nature spaces, ecosystems and the interplay between human and non-human worlds. His research-based approach often involves collaborations within as well as beyond the art field. He has composed and designed sound for concert performance, dance, film, theater, radio plays and intermedia installations. His work is widely presented in festivals, exhibitions, concerts and conferences around the world, including venues such as Museum Angewandte Kunst in Frankfurt, Germany; The Peale Center in Baltimore, Maryland, USA; Kunsthall Trondheim, Norway; Kiasma Museum of Contemporary Art in Helsinki, Finland; Fotografie Forum Frankfurt, Germany; Foggy Bottom Sculpture Biennial in Washington D.C., USA; Seoul Arts Center, Korea; multiple times at the International Symposium on Electronic Art, and many more. Ekeberg was awarded the 2017 Smithsonian Artist Research Fellowship, and is currently Research Associate at the Smithsonian National Museum of Natural History in Washington D.C., USA. Most of the time he lives and works in Trondheim, Norway.

Header Graphics: “Ingenmannsland” field recordings by Frank Ekeberg.


Maren Dagny Juell

Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

The Party (variation 2) / 2021 – 2022

Maren Dagny Juell [NO]

A surreal post-apocalyptic home party placed in an undefined future where the location is fluid. This work focuses on 3D printed replicas of various household plastic objects, common in 2012, which take on a new role in an imagined post-plastic future.

The party-host guides the party participants through a fragmented story about and relationship with objects. Re-enacting a home party, in a world where this is not possible or relevant. Questioning ideas around Object-Oriented Ontology (OOO) and current collection and valuation of artifacts.

In addition to the film, a sculpture made of 3D printed objects was placed on display in the middle of an arboretum (in an archival research forest) at the University of Biosciences (NMBU) in Norway. The plastic objects are printed in PVA, a material made of corn that composts when exposed to nature. In this way everyday household objects can be thought of as a new temporary collection from the Anthropocene (human) era, but perishable and compostable.

For the new iteration, exhibited at Meta.Morf 2022: Ecophilia, the objects are literally composting in a pile of soil in the gallery. In this way, Maren aims to examine people’s unconscious consumption habits and rituals. As well as the hierarchical relationship between man, nature, and objects.

Host: Iselin Shumba
Man: Aslak Juell Kristensen
Women (from right to left):
Sarune Bartuasuite Kaupiene
Kuya Bae
Andrea Fritsvold
Yvonne Layne

Written, directed, edit, and graphics: Maren Dagny Juell
Director of photography: Mattias Pollak
B Photo: Annicken Aasheim
Light: Jon Andre Hakavåg
Sound recording: Rune Baggerud
Sound designer/composer: Arild Iversen
Colourist: Fredrik Harreschou
Makeup artist: Kristina Kvam
Production manager: Hanne Rivrud
Production assistant: Miriam Hald
Commissioned by KORO Norway
Supported by Billedkunstnernes Vederlagsfond and Nofofo

Maren Dagny Juell
Maren Dagny Juell (1976) is based in Ski, Norway, and works with video, Virtual Reality, and installation.

Maren has an MA in Fine Art from Chelsea College of Art and Design in London and has had solo exhibitions at Tenthaus, Atelier Nord, Trafo Kunsthall, Trøndelag Center for Contemporary Art, Podium Oslo and Akershus Kunstnersenter. She has also participated in a large number of group exhibitions at home and abroad. Among others at the Astrup Fearnley Museum, Stavanger Art Museum, The Australian video Biennial and Riga Photography Biennial.

Maren co-runs She Will Artspace with Liv Tandrevold Eriksen, and Tone Berg Størseth.

Header Graphics: “The Party” by Maren Dagny Juell. Video Still.


María Castellanos & Alberto Valverde

Beyond Human Perception

Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

Beyond Human Perception

María Castellanos & Alberto Valverde [ES/NO]

Beyond Human Perception (2020) is a video installation that allows the audience to visualise and compare the reactions of humans and plants to a common stimulus; live music. Erasing boundaries into the communication and understanding between both living beings and by highlighting  the immediate reactions of plants to their surrounding changes.

The installation is the result of several sessions where the brain activity of humans was measured, through the EEG registered wave,  and measuring  the electrical oscillations that are happening into the plants, measured with a sensor developed by the artists, able to detect immediate changes in plants.

Through the use of mathematics, by using the Fast Fourier Transform, humans data and plants data can be compared to each other. This data can also be displayed graphically thanks to an algorithm developed by the artists that allows the audience to see the data through the shape of little spheres that are moving within the geometric shape of a torus. Each little sphere represents each data registered. The graphic representation of  human data and plant data can be seen simultaneously in a video allowing the audience to find patterns by comparing the both living beings’ reactions to the live music.

The installation is composed of two synchronised videos. One video with the concert for plants and humans, and the other one with the data visualisation of two living beings’ responses during the performance.

The work was realised within the framework of the European Media Art Platforms EMARE program at KONTEJNER | bureau of contemporary art praxis with support of the Creative Europe Culture Programme of the European Union.

María Castellanos & Alberto Valverde
María Castellanos and Alberto Valverde (uh513) began working together as a duo in 2009.  María Castellanos is an artist and researcher working at the intersection of art, science, technology and society. Currently she is postdoctoral researcher at Oslo Metropolitan University, in the framework of FeLT Project – Futures of Living Technologies.

Alberto Valverde is an artist and technologist with experience in system design, creation of interactive environments, multimedia and robotics. He worked as associate professor at the Faculty of Fine Arts of the University of Vigo (ES).

Their joint practice focuses on the relationships between human beings and machines, and in recent years they have centred their research on the sensory boundaries and the creation of complex systems that promote the communication and the understanding between humans and non human beings.

Their work has won awards like VERTIGO STARTS (2017), a prize granted under the aegis of EU-Horizon 2020, an initiative led by Centre Pompidou and IRCAM , Paris, and the Fraunhifer. Gesellschaft, Germany, to foster collaboration between art practitioners and R&D projects. In 2016 they were awarded the Antón Scholarship for Sculpture Research from the Museo Antón in Candás (Asturias). Also in 2016 they were nominated for the STARTSPrize’ 16 at Ars Electronica, Linz (Austria) and the Japan Media Arts Festival, Tokyo (Japan).

Their work was exhibited and performed at venues and festivals such as Ars Electronica Festival (AT), LABoral Art Centre (ES), Athens Digital Arts Festival (GR), Onassis Stegi (GR), House of electronic Arts Basel (CH), La Gâite Lyrique Museum (FR), DRIVE Volskwagen (DE), Matadero Madrid (ES), Bozar Electronic Art Festival (BE), Arts Santa Mónica (ES), Touch Me Festival (HR) MUSAC (ES), CEBIT. Europe’s Festival for Innovation and Digitization (DE).

Their work has been featured in a number of exhibitions, including Jardín Cyborg, at Matadero Madrid, 2019; the solo exhibition Open Environmental Kit at MUSAC –Contemporary Art Museum of Castilla & Leon–, Spain, 2019;  Eco-Visionaries at Hek, Basel, 2018;  Look Forward Fashion Tech Festival, at La Gâite Lyrique Museum, Paris 2017; Human Factor, organised by Ars Electronica at DRIVE Volkswagen, Berlin, 2016; Ars Electronica Festival 2016, Linz; Bozar Electronic Art Festival, Brussels, 2016. /

Header Graphics: “Beyond Human Perception” by María Casellanos & Alberto Valverde.


Marius Presterud


Meta.Morf 2022 – Ecophilia / K-U-K – Kjøpmannsgata Ung Kunst / Exhibition May 6 – August 14 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik


Marius Presterud [NO]

Video installation (01:06/looped).
Performance by Marius Presterud and Mikkel Dagestad.
Camera and editing by Lene Johansen.

Description: ritual-hygienic cleansing of Oslo Apiary & Aviary’s beeyard (2014-2019), at Losæter, downtown Oslo. Video shown through mourning veil.

We are all at all times surrounded by dead or dying ways of being, which succumbs to that which remains. These unsuccessful stories are seldom part of the discourse in societies built around future-oriented optimism and ideas of continuous growth. In November 2019 it was announced that the beeyard Oslo Apiary & Aviary had been running in downtown Oslo since 2014, was to be demolished because of the expansion of an ongoing city development project.

The video installation GOTH BEEKEEPING depicts the hygienic cleansing of the beeyard, shown through a mourning veil. By pausing on and ritualizing this moment of loss, Oslo Apiary & Aviary uses their own failure systematically to inspect the possibilities and limits posed by our urban habitat. In this way they tell a story about different ways to live and die, in a living and dying world.

Seen in light of the other pieces presented at Ecophilia – sculptures with the potential to house insects or who slowly dissolve money to produce plant manure – the work composition offers a critical commentary to ideas concerning progression, hopes for the future, growth and utopian escapism.

To what degree are our visions of the future made at the cost of connection to the immediate, and to what degree do the development of ‘green cities’ hinder citizen’s self-initiated attempts at ecosystemic change? Which solutions do we lose sight of when we avoid staying with feelings of loss, entrapment and hopelessness produced by our post-sustainable moment?

Materials: Clay, wood, concrete, glass, beeswax, gum, pollen
Dimensions: Varies
Description: Poured cement, smashed glass and sticks foraged from the city, sand from the city beach, candles dipped using beeswax from artists’ own urban beeyard, chewing gum with pollen, bisque burnt clay.

Materials: Heat sculpted PET bottles, water and coins
Dimensions: dimensions vary
Description: The smallest European coin currencies placed in water. The change contain micronutrients plants cannot live without; iron, copper, zinc. Oxygenation happens faster in water and speeds up the release of these nutrients, creating a thin watery manure.

Marius Presterud 
Marius Presterud (b.1980, Drammen) is a Norwegian artist based in Berlin and Oslo. He works across a variety of media; performance, poetry, sculpture and ecoventions. He has toured Europe and been a featured poet at venues in Paris, Berlin and Istanbul, and he has performed in established galleries such as Henie Onstad Art Center, Norway, and Hamburger Bahnhof, Germany. In 2018 he was a debutant at Norway’s 131. National Art Exhibition, Høstutstillingen, and in 2021 he had his first solo exhibition abroad, at Exgirlfriend Gallery, Berlin. Common themes throughout his work are a focus on selfhood, significant otherness and societal health.

Previous to working as an artist, Presterud held positions within the field of project management, program coordinating, curatorial research, music and psychiatry. He received his psychologist licence in 2008 and went on to work in the public and private health sector for several years, before being drawn to art’s didactic and remedial potential, as well as art as a repository for non-commodifiable values. In the period 2014-2019, he worked full-time with his art- and research based practice, Oslo Apiary & Aviary, which he describes as a “Dark-ecological service provider”. He currently works as both artist and group-analytic art therapist.

Header Graphics: “Hibernaculum (Moth-)” by Marius Presterud.