Eirik Havnes & Lars Ove Fossheim

Meta.Morf 2022 – Ecophilia / Dokkhuset / Concert May 18 @ 20.00 / Doors open 19.30
Tickets NOK 190/250 here

Alt som lever skal dø (Every living thing will die)

Eirik Havnes [NO] & Lars Ove Fossheim [NO]

Every living thing will die is a performance that asks, and even attempts to answer, a lot of answerless questions. 

Are we humans still a part of nature, or have we parted and are now looking at nature from the outside, rather trying to manage it? What kind of value is there in all our knowledge about math, philosophy, art and technology? Will there still be any value left in a world without humans to observe it? That world will exist at some point in time. Either in a hundred or a hundred thousand years, there will be a world without us. If humanity, our greed and our cognitive abilities have been developed by evolution, does that imply that letting humans destroy the climate simply will be an act of letting evolutions take its course? 

Every living thing will die is a text based performance, about the relationship between humans and nature and how they relate. The text is written by Eirik Havnes, music by Lars Ove Fossheim and Eirik Havnes for a quartet of them and drummer Martin Langlie and tubaist Heida Karine Johannesdottir Mobeck. 

Eirik Havnes is a poet that brings existential thoughts and problems into an everyday conversation, in an unique and informal mix of rhyming poetry and well timed monologues. A format he found and perfected in the 2020 live recorded show “Life” that describes a life from conception till death. This time around he focuses on not a singular life, but life on earth in general, humanity as a concept and the absurdity of life, in a high paced enchanting monologue. 

The music is a playful mix of 80s retrofuturism, science fiction, harsh noise, field recordings and fundamental music principles found in enthic music from all over the world. A musical journey that combines the obviously technological, structured and digital with the chaotic, organic and natural. 

Text: Eirik Havnes
Music: Lars Ove Fossheim

Lars Ove Fossheim, guitar, electronics
Eirik Havnes, guitar, electronics
Martin Langlie, drums, electronics
Heida Karine Johannesdottir Mobeck, tuba, electronics

The performance is a commissioned work for Meta.Morf 2022 under the auspices of Jazzfest and TEKS – Trondheim Elektroniske Kunstsenter.

Supported by Arts Council Norway.

Eirik Havnes & Lars Ove Fossheim
Eirik Havnes er en poet, musiker, komponist og lydkunstner fra Ålesund som de siste årene har jobbet med natur som et gjennomgående tema innen alle sine kunstretninger. 

Dokumentarfilmen Polyfonatura fra 2019 tar for seg hans arbeid med feltopptak som musikalske instrumenter, mens Livet av Havnes fra 2020 er en poesifilm som har definert Havnes som en nyskapende formidler av aktuelle filosofiske og politiske spørsmål. Havnes ble nominert til Edvard-prisen for teksten til Livet.

Lars Ove Fossheim er en gitarist og komponist fra Volda med en fot innen kunstrock og en annen innen minimalitisk samtidsmusikk. Han har utmerket seg som en nyskapende gitarisk via band som Broen, Skadedyr, Snøskred og Your Headlights are On, med fokus på klang, tekstur og en utvidelse av gitarens.

Eirik Havnes is a poet, musician, composer and sound artist from Ålesund who in recent years has worked with nature as a recurring theme in all his art directions. The documentary Polyfonatura from 2019 deals with his work with field recordings as musical instruments, while The Life of Havnes from 2020 is a poetry film that has defined Havnes as an innovative communicator of current philosophical and political issues. Havnes was nominated for the Edvard Prize for the text of Life.

Lars Ove Fossheim is a guitarist and composer from Volda with one foot in art rock and another in minimalist contemporary music. He has excelled as an innovative guitarist via bands such as Broen, Skadedyr, Snøskred and Your Headlights are On, with a focus on sound, texture and an extension of the guitar.


Header Graphics and Portrait Photograph: Christian Winther.

Stine Janvin

Meta.Morf 2022 – Ecophilia / Dokkhuset / Concert May 20 @ 20.30 / Doors open 20.30
Double concert night! Including VASSVIK: VASSVIK MEETS OMNI ANIMA / A FOOT IN BOTH WORLDS @ 22.00 / Tickets 240/300 here

Fake Synthetic Music

Stine Janvin [NO]

Fake Synthetic Music is a concert performance, an artistic method, a record release and an ongoing exploration of the voice as instrument. Inspired by composers such as Evol, Marcus Schmickler and Maryanne Amacher, Janvin’s interest is aimed towards a physical experience of the architectural and theatrical aspects of sound, light and performance.

The acoustic voice produces simple melodic sequences. A condensed, sinewave-like sound references electronic pop, trance and techno, and the underlying idea is to create a massive physical sound experience from a single mono signal of a human voice. The sound of the voice through the microphone combines with a digital echo so that the direct signal and the digital echo play together. According to Janvin, this creates continuous difference tones that stimulate otoacoustic emissions in the listener. In performance, the entire room is filled with smoke and lit solely by four strobe lights with yellow filters. The light is triggered by the echo effect via MIDI, and the strobes flash in various rhythmic patterns designed and programmed by Morten Joh.

The audience is completely immersed in the smoke that is filled with sound and light, and the totality might provide an experience reminiscent of synesthesia or trance.

Stine Janvin
Stavanger-born vocalist, performer and sound artist Stine Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Created for variable spaces from theatres, to clubs and galleries, and more recently websites and digital platforms, the backbone of Janvin’s projects focus on exploring performance formats, vocal instrumentation and potential dualities of the natural versus artificial, tangible/digital, and minimal/dramatic.


Header Graphics: “Fake Synthetic Music” by Stine Janvin. Photo credit: Karina Gytre.
Portrait Photograph: Jasper Kettner.



Omni Anima

Meta.Morf 2022 – Ecophilia / Dokkhuset / Concert May 20 @ 22.00
Double concert night! Including STINE JANVIN: FAKE SYNTHETIC MUSIC @ 20.30 / Doors open 20.00 / Tickets 240/300 here

VASSVIK meets Omni Anima

In this evening concert the Sami musician and throat singer Torgeir Vassvik will merge and transform his singing with the interactive Omni Anima holophonic sound installation. The result is a spectacular transformation of Dokkhuset (the concert venue) into an immersive and visceral sound chamber, resonating with the magic of Sami Joik.

After an introductory opening performance Vassvik will continue with the onstage concert A foot in both worlds before the audience will be invited to interact with and play the Omni Anima installation themselves.

Omni Anima

The Omni Anima project is a cross artistic collaboration between Torgeir Vassvik, artist Stahl Stenslie and artistic programmer Thom Johansen. Inspired by the enchanted, mystical, even seductive sound of joik, the project investigates how the traditional and indigenous expression of the Sami joik can be compiled, transformed, processed and shared through interactive electronic media.

Based on the magic awakening in traditional Sami joik, Omni Anima seeks to create magical sound experiences in the cross-over between ancient shamanism and new technology. The ancient joik is transformed through interactive holophonic multichannel sound systems. Via a touch-sensitive spherical instrument built as a traditional Sami drum, joik is composed into a three-dimensional world of sound in real time.

OMNI ANIMA seeks to put the audience in a state of trance like the noaiden, the Sami shaman, uses the joik to achieve. The traditional function of the trance is to send one’s spirit on trips to other places and worlds. In a similarly inspired manner, the project’s ambition is to create stimulating sound experiences that come alive in and through the audience. Hence, Omni Anima’s Latin title: ‘Everything’ (omni) and ‘Spirit’ (anima), that is, ‘everything is spirited’. 

To engage and convey to an audience what joik is meant to be -voices from another world- the joik is transformed and disseminated through the use of an interactive and encompassing multi-channel, holophonic audio system. Omni Anima uses electronic media to enhance the bodily experiences of the music and make the most of the joik’s voice power. Through the immersive and physical sound experience the listeners themselves are dressed in the spirit of the animal.  The project is thus aimed at a new and sensorial identification with the joik’s magic.

From a cultural perspective, Omni Anima seeks to enhance the dissemination of original forms of joik. How can new technologies contribute to the magic experience of traditional forms of expression? Here Omni Anima works towards joik being experienced as an intimate, rich and rewarding physical experience in itself and for all.

A foot in both worlds

VASSVIK [Sápmi/Norway]

Loleiloleilola. Breath of a newborn. Sigh of a mountain. Ananeinaoianeina. Rumble of the sea. Creak of an open door in the wind. Neijinaneijino. Hum of a sun in December. All is alive and connected, and Joik is the essence of it. Joik is a place, a person, an animal, a flower, a state of mind. 

With his band VASSVIK the circumpolar Sami sound poet Torgeir Vassvik develops new visions of the animistic Joik, the vocal art of the Sami indigenous people of Northern Europe. He embeds it into an Arctic avant-garde sound. It is rooted in folk, classical, jazz and impro music. Torgeir’s Joik reveals deep and beautiful vibrations and overtones of the human soul, resonating with progressive, playful, groovy expressions on guitar, Sami frame drum, violins and sound design. These are vocal and percussion rituals updated for the 21st century. New music, created out of our most ancient traditions. Joikscapes of a sub-urban coastal Sami.

Please, experience Joiks of friendship and feminine power, death and love, darkness and pollution, stone labyrinths and drifting wood at the Arctic coastline. Experience the most powerful things in nature. Experience voodoo against Arctic oil drilling. Experience the world view of indigenous peoples as a key to change the world. Nature is not an enemy, but a friend. Bring out the good now, for the best in the future.

All of us become part of the concert. The room is explored together. There is interaction between the artists and everybody who is present. Traditional borders between stage and audience room disappear. The spaces between the thoughts get larger. Doors to different worlds open up. Let cruelty sleep for a while. Super naive. Super smart. VASSVIK.


Vassvik is the crew around mastermind Torgeir Vassvik. The Sami musician, Joik artist and composer was born and raised in Gamvik, Sápmi/Norway and now lives mainly in Oslo. His first and main instrument is the voice in all its facets, based on the Sami Joik. He grew up with the mandolin music of his father, trained himself on the guitar, played in indie rock bands, uses prepared guitars, bass, munnharpe, flutes, horns and the Sami frame drum.



Stahl Stenslie
Stahl Stenslie is an artist, curator and researcher, specializing in experimental art, embodied experiences and disruptive technologies. His research and practice focus on the art of the recently possible – such as panhaptic communication, somatic sound and holophonic soundspaces, and disruptive design for emerging technologies. In 1993 he built the cyberSM experiment, the first tactile, cybersex communication system in the world. He has been exhibiting and lecturing at major international events (ISEA, DEAF, Ars Electronica, SIGGRAPH) and moderated symposiums like Ars Electronica (Next Sex), ArcArt and Oslo Lux. He represented Norway at the first Ichihara Biennial, Japan, the 5th biennial in Istanbul, Turkey, co-organized 6cyberconf and won the Grand Prize of the Norwegian Arts Council. As a publisher he is the editor of EE – Experimental Emerging Art magazine (eejournal.no), he has written numerous scientific articles and co-founded The Journal of Somaesthetics (somaesthetics.aau.dk). His PhD on Touch and Technologies (virtualtouch.wordpress.com).


Portrait Photograph (VASSVIK): Alex Bruun.



A Bestiary

Meta.Morf 2022 – Ecophilia / Trøndelag Centre for Contemporary Art /
May 19 – July 31 / Curator: Zane Cerpina / Co-curator: Espen Gangvik



A BESTIARY OF THE ANTHROPOCENE is an illustrated compilation of hybrid creatures of our time, equally inspired by medieval bestiaries and observations of our damaged planet. Designed as a field handbook, it aims at helping us observe, navigate, and orientate into the increasingly artificial fabric of the world. Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, Sars-Covid-2, decapitated mountains, drone-fighting eagles, standardized bananas… each of these specimens are symptomatic of the rapidly transforming “post-natural” era we live in. Often without us even noticing them, these creatures exponentially spread and co-exist with us.

A BESTIARY OF THE ANTHROPOCENE seeks to capture this precise moment when the biosphere and technosphere merge and mesh into one new hybrid body. What happens when technologies and their unintended consequences become so ubiquitous that it is difficult to define what is “natural” or not? What does it mean to live in a hybrid environment made of organic and synthetic matter? What new specimens are currently populating our planet at the beginning of the 21st century?

A BESTIARY OF THE ANTHROPOCENE includes: 100+ original collages and handmade pointillist illustrations | 60 written observations on selected hybrid specimens & creatures | 11 long contributions, and original critical essays by leading experts.


Founded in 2012 by Nicolas Maigret and Maria Roszkowska, DISNOVATION.ORG is both an art collective and an international workgroup engaged in the crossovers between contemporary arts, research and hacking. Artist and philosopher Baruch Gottlieb joined the collective in 2018. Together, they develop situations of interference, discussion and speculation that question dominant techno-positivist ideologies in order to foster post-growth narratives. Their research is expressed through installations, performances, websites and events. They recently co-edited A Bestiary of the Anthropocene, an atlas of anthropic hybrid creatures, and The Pirate Book, an anthology about media piracy.

Their work has been presented at numerous art centers and festivals internationally such as Centre Pompidou (Paris), Transmediale (Berlin), the Museum of Art and Design (New York), Palais de Tokyo (Paris), FILE (Sao Paulo), ZKM (Karlsruhe), Strelka Institute (Moscow), ISEA (Hong Kong), Elektra (Montréal), China Museum of Digital Arts (Beijing), and the Chaos Computer Congress (Hamburg). Their work has been featured in Forbes, Vice, Wired, Motherboard, Libération, Die Zeit, Arte TV, Next Nature, Hyperallergic, Le Temps, Neural.it, Digicult, Gizmodo, Seattle Weekly, torrentfreak.com, and Filmmaker Magazine among others.


Header Graphics: “A Bestiary of the Anthropocene” by disnovation.org.


Miriam Simun

Meta.Morf 2022 – Ecophilia / Dokkhuset / Conference May 21 / Curator: Zane Cerpina

Leaking, seething, bleeding, blurring, fusing, merging

Miriam Simun [transnational]

And still –  bodies. Leaking out into the world, seeping, seething, bleeding, blurring, fusing, merging. 

We will visit a couple of crash sites: where bodies (human and non) collide with rapidly evolving techno-ecosystems. To find our way through, we immerse ourselves in their sensory conditions. To listen with all of our human-ish+ senses.

If collision is understood as a form of disturbance (in the ecological sense), then in disturbance we find not only damage, but also the opportunity for renewal. As we collide in new and ancient ways, we (a multi-species we) discover, over and over again, as the great poet Fred Moten said, “a shared need to renew our habits of assembly.” A journey through three sites of sensorial collisions; sites of assembly; and sites of varying degrees of hopeful renewal.

Interspecies Robot Sex – in response to the dissapearance of bees from industrial agriculture due to collony collapse disorder, human laborers take over the insemination of pear flowers while robotocists innovate biologically-inspired micro-drones called ‘Robobees.’ 

Transhumanist Cephalopod Evolution – a psycho-physical training regimen for human enhancement, with the cephalopod as our role model species. Discarding with   transhumanist visions of melding “man and machine,” we dedicate practice instead of capital towards evolving human enhancement, feeling towards our fellow species and oceanic roots while positing the “model species” as role model rather than exploited instrument for science, and embracing the capacities residing in existing human(-ish+) bioavailabilities. How can we know what technology we need to add on, if we don’t yet know what’s possible with what we already have? What happens when we take up Flusser’s molluskian position? And what in the hell are we going to do with all these futures? 

And finally Contact Zone – a wild meander through the macro and micro-ecological scale of rewilding: Swiss alpine landscapes through the introduction of eastern european lynx, and my microbiome through introduction of Lactobacillus bacteria cultivated with the aid of a central american cactus. Both involve a re-calibration of the ways we use science and technology to interface with the non-human world (“the controlled de-control of ecological control,” as Jamie Lorimer writes). “Rewilding” attempts to de-center the human, while using both neoliberal and resistance logics to attempt to engineer new stable resilient ecologies. On our way there, a vast surveillance apparatus – aided by genetic sequencing and machine learning – is put in place to monitor, track, model, and manage these wild organisms and their systemic interactions. How can embodied sensing and remote sensing interface in new ways?

Miriam Simun
Miriam Simun works where bodies (human and non) collide with rapidly evolving techno-ecosystems. Trained as a sociologist, Simun spends time in communities of experts from biomedical engineers to breastfeeding mothers to farm laborers to freedivers. Taking on the role of ‘artist-as-fieldworker,’ the process is lived, embodied and complicated. Spanning multiple formats, Simun’s works include video, installation, performance, writing, and communal sensorial experiences, always forefronting corporeal and embodied ways of listening, knowing, and being.

Simun’s work has been presented internationally, including Gropius Bau (Berlin), New Museum (New York), Himalayas Museum (Shanghai), Momenta Biennale (Montreal), The Contemporary (Baltimore), Museum of Modern Art (Bogota), Ronald Feldman Fine Arts (New York), Museum of Fine Arts (Split), Museum of Arts and Design (New York), Robert Rauschenberg Gallery (New York), and the Beall Center for Art + Technology (California). A recipient of awards from Creative Capital, Robert Rauschenberg Foundation, Joan Mitchell Foundation, Onassis Foundation, Gulbenkian Foundation and Foundation for Contemporary Arts, Simun’s work has been recognized internationally in publications including the BBC, The New York Times, The New Yorker, CBC, MTV, Forbes, Art21 and ARTNews. Simun is a graduate of the MIT Media Lab, NYU and the London School of Economics.


Header Graphics: “Your Urge to Breathe is a Lie” by Miriam Simun. Video still.

Annike Flo

States of Chimera

Meta.Morf 2022 – Ecophilia / Trøndelag Centre for Contemporary Art / May 19 – July 31 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

States of Chimera / 2022

Annike Flo [NO]

We are no longer considered to be individuals, but metaorganisms; chimera, made into being from the collaborative force of microorganisms and our own cells. I look into my own visceral connections, to the in-human (Jeffrey J. Cohen), to the aliens within. Symbiosis moves us away from old hierarchies of concepts and beings. Attempting to feel myself as metaorganism, a heaving gelatinous pile of loose connections, consummation, reproduction, and decay, I feel the queerness and erotic possibilities of this monstrous condition that it is to be me, monster, human. The Erotic is often connected to our private sphere, but what is private and what does it mean to love oneself when both encompasses the trillions of bodies that make us up? Where does the line between self love and zoophilia go?

Silk, fur, feather, leather – all which are made from other beings, yet touch both our mind and body in inexplicable ways. Sexuality and the queer is often expressed through these materials, and, together with cloth and synthetic varieties, so has my own expression of myself and my erotic.

Annike Flo
Annike Flo (b. 1986) is a cross-disciplinary artist and scenographer. Inspired by the Anthropocene as a concept, Flo investigates what it means to create in our current era, with a focus on our relationship to other beings. She is inspired by research, materials and methods from other fields, and often collaborates with researchers and practitioners from other disciplines. From 2018 to 2021 Flo led the new arena  for art and science, NOBA, Norwegian BioArt Arena, at Vitenparken, Ås. Annike holds an MA in scenography from Norwegian Theatre Academy and a BA in costume from LCF, University of the Arts, London (2010).


Header Graphics: “States of Chimera” by Annike Flo.


Ai Hasegawa

Ai Hasegawa

Meta.Morf 2022 – Ecophilia / Trøndelag Centre for Contemporary Art / May 19 – July 31 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik


Ai Hasegawa [JP]

Humans are genetically predisposed to raise children as a way of passing on their genes to the next generation. For some, the struggle to raise a child in decent conditions is becoming harder due to gross overpopulation and an increasingly strained global environment.

This project approaches the problem of human reproduction in an age of overcrowding, overdevelopment and environmental crisis. With potential food shortages and a population of nearly seven billion people, would a woman consider incubating and giving birth to an endangered species such as a shark, tuna or dolphin? This project introduces the argument for giving birth to our food to satisfy our demands for nutrition and childbirth, and discusses some of the technical details of how this might be possible.

Would raising this animal as a child change its value so drastically that we would be unable to consume it because it would be imbued with the love of motherhood? The Maui’s dolphin has been chosen as the ideal ‘baby’ for this piece. It is one of the world’s rarest and smallest dolphins, classified critically endangered by the International Union for Conservation’s Red List of Threatened Species (version 2.3) because of the side effects of fishing activity by humans, its size (which closely matches the size of a human baby), and its high intelligence level and communication abilities.

I Wanna Deliver a Dolphin… imagines a point in the future, where humans will help this species by the advanced technology of synthetic biology. A ‘dolp-human placenta’ that allows a human female to deliver a dolphin is created, and thus humans can become a surrogate mother to endangered species. Furthermore, gourmets would be able to enjoy the luxury of eating a rare animal: an animal made by their own body, raising questions of the ownership of rare animal life, and life itself.

Ai Hasegawa
Artist. Her work focuses on the relationship between technology and people. His provocative works invite viewers to debate ethical boundaries, and often deal with themes related to reproduction and the future of life and death. Her book “How to be a Revolutionary in 20XX” has been published in Japan and Taiwan.



Header Graphics: “I Wanna Deliver a Dolphin…” by Ai Hasegawa.

Jakob Kudsk Steensen

Jakob Kudsk Steensen

Meta.Morf 2022 – Ecophilia / Trøndelag Centre for Contemporary Art / May 19 – July 31 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

RE-ANIMATED / 2018 – 19

Jakob Kudsk Steensen [DK/DE]

RE-ANIMATED explores the intersections of extinction, preservation of immortality. It is a re-imagining of ornithologist Douglas H. Pratt’s memories of the now extinct Kaua’i ʻōʻō bird, as told to Artist Jakob Kudsk Steensen. In the work, a vast virtual landscape based on Kaua’i unfolds and transforms into a photorealistic new world for people to explore. 3D-scanned organic material sourced from both field work and the American Museum of Natural History, as well as real archival audio are all remixed together, alongside algorithmic music composed by Michael Riesman, Musical Director for the Philip Glass Ensemble. Plants, moss, and insects respond to the pulse of music generated in real-time, and the audience’s breath and voice organically impact the virtual atmosphere through the VR headset. As a slow-moving, poetic virtual environment, RE-ANIMATED investigates how we relate to nature irrevocably altered by human activity. It provokes fresh perspectives on our ecological future, which may become unbound by the physical conditions governing our present reality.

RE-ANIMATED combines virtual reality with 3 video pieces – Arrival, Mating Call, and The Bug Zapper. 

RE-ANIMATED, Arrival begins with a descent upon the virtual simulation of the island of Kauai and the Alakai plateau. The viewer travels through time, onto the 5 billion year old volcanic island. It is a slow, meditative fall through layers of clouds, humidity, clouds and finally landing on the misty, humid atmosphere of the plateau’s jungle forest, the home of the Kaua’i ʻōʻō bird, before it went extinct during the 1980s because of avian malaria.

The Arrival is a layered story of explorers, missionaries and naturalists, also of the birds, the mosquitos and a virus, avian malaria, interacting with the landscape, through time. Between the 18th, 19th and 20th century, as the elevation drops slowly, the viewer experiences the impact the species have on the island, on each other over the years, changing the land and the life in permanent and ephemeral ways.

RE-ANIMATED, Mating Call
RE-ANIMATED, Mating Call is based on the last Kaua’i ʻōʻō bird, which died in 1987, marking the extinction of its species. In 2009 its mating call – first recorded in 1975 and later digitized in an ornithology lab in New York – was uploaded to YouTube. Since then, the song of the Kaua’i ʻōʻō calling in vain to a mate who was not there has been played more than half a million times. The project is a response to this mating call.

RE-ANIMATED, The Bug Zapper
RE-ANIMATED, The Bug Zapper, begins with a sensory and immersive journey through the foliage of the island, moving through leaves, water and roots. Through a hypnotic light, the space transforms into a virtual exhibition with flies covering the walls. These flies turn slowly into letters, warning us of the self-reflective nature of peace – we are drawn by digital media to consume these stories of extinction, just as the flies are drawn by the bug zapper into their own doom.

RE-ANIMATED is made with support from Tranen Center for Contemporary Art, The Danish Arts Foundation, Bikuben Foundation, Harvestworks, Mana Contemporary and Artist Alliance.

Jakob Kudsk Steensen
Jakob Kudsk Steensen (b. 1987, Denmark) is an artist working with environmental storytelling through 3d animation, sound and immersive installations. He creates poetic interpretations about overlooked natural phenomena through collaborations with field biologists, composers and writers. Projects are based on extensive fieldwork. Key collaborators include Musician ARCA, Composer and Musical Director for the Philip Glass Ensemble Michael Riesman, Ornithologist and author Dr. Douglas H. Pratt, Architect Sir David Adjaye OBE RA, BTS, the Cornell Lab of Ornithology, and the Natural History Museum Berlin, among others.

Jakob has recently exhibited with his major solo exhibition Berl-Berl in Berlin at Halle am Berghain, commissioned by LAS, and at Luma Arles with Liminal Lands for the Prelude exhibition. He was a finalist for the Future Generation Art Prize at the 2019 Venice Biennale. He received the Serpentine Augmented Architecture commission in 2019 to create his work The Deep Listener with Google Arts and Culture. He is the recipient of the best VR graphics for RE-ANIMATED (2019) at the Cinequest Festival for Technology and Cinema, the Prix du Jury (2019) at Les Rencontres Arles, the Webby Award – People’s Choice VR (2018), and the Games for Change Award – Most Innovative (2018) among others.


Header Graphics: “RE-ANIMATED” by Jakob Kudsk Steensen.
Portrait Photograph: Bastian Thiery.


Malakias Liebmann

Malakias Liebmann

Meta.Morf 2022 / Trondheim Academy of Fine Art (KiT), NTNU /
Exhibition Program May 3–June 19 / Curator: Alex Murray-Leslie

Who was the seventh dad in the house, from the Norwegian folk tale?

Malakias Liebmann [DK/NO]

Event @ 7th Dad: May 20, 7PM, Kjøpmannsgata 12, 3rd floor

Who was the seventh dad in the house, from the Norwegian folk tale?

The performative dinner will be held at 7th Dad and seeks to present a seven-course investigative dinner, where we will collectively figure out, (with the help of Malakias Liebmann’s graphic print works on the walls, acting as a visual cues) who the seventh dad in the house is?

In the context of Meta.Morf Ecophilia, Malakias invites fifteen guests for this performative dinner, which will provide space to those who are curious to answer the question: Who is the seventh dad in the house?

The evening embraces the theme of Ecophilia and adds a question mark to humans’ inherent madness and love for nature through the consumption of locally sourced food and drinks.

Who is the seventh dad in the house? Invites you to join a 7-course meal with paired drinks. You can sign up with the QR code.

K-U-K – Kjøpmannsgata Ung Kunst, May 14 – June 6
Nils Aas Kunstverksted, May 15 – June 12

Performance / talk / workshop
Who was the seventh dad in the house, from the Norwegian folk tale?
7th Dad (Kjøpmannsgata 12, 3rd floor), May 20 @ 19:00
Limited places, sign up with QR code.

Malakias Liebmann

Malakias Liebmann
Liebmann embarked on his adventures at Trondheim Academy of Fine Arts (NTNU) in 2017 as part of the Bachelor of Fine Arts Program. In 2020 he continued his artistic research and practice into un-roadmapped territories in the International Master Program, which led him to found 7th Dad, a DIY artist-run bar (in the tradition of Dada-esque, Cabaret Voltaire) focussing on craft beer brewing, food as sculptures and relationally aesthetic graphic artworks.



Header Graphics: Sign up with QR: 205th performative dinner, who was the seventh dad in the house.



Leena Saarinen


Meta.Morf 2022 – Ecophilia / Trøndelag Centre for Contemporary Art / May 19 – July 31 /
Curator: Zane Cerpina / Co-curator: Espen Gangvik

Birdsong / 2019

Leena Saarinen [FI]

Video 3 min 29 sec

In the piece Birdsong Leena Saarinen aims to bring the languages of people and birds closer to each other by creating an alphabet for birdsong. For the piece she has studied sound visualization through spectrograms. While studying bird vocalizations she found that the whistle tones in the spectrograms look visually similar to letters or alphabets. That is one of the links Saarinen tries to make in order to bring the human and nonhuman languages closer to each other. She looks for connections and similarities between the languages in order to dismantle their structures and hierarchies. She is also interested in different kinds of translations between image, sound and text and what knowledge can be gained and lost in the translation process.

Leena Saarinen
Leena Saarinen (b. 1988) is a visual artist based in Helsinki, Finland. Her practice is multidisciplinary and research based. She works with questions of posthumanism in the age of climate change and mass extinctions. In her work she studies culture, language and the relationship between human and non-human species. Her works have been exhibited in galleries, museums and public spaces in Finland and internationally. She is currently doing her master’s degree in the Academy of Fine Arts in University of the Arts Helsinki in the sculpture department.


Header Graphics: “Birdsong” by Leena Saarinen.