week 36+37.	week 38+39.		week 41+42.	week 44+45.		week 46+47.	week 48+49.	week 50+51.
1. theory								[OCA, NYC] @ 25 Broadway
								Tuesday, 27 November 19:00 Vilgot Sjöman's 'I Am Curious (Yellow)' (1967) Screening Wednesday, 28 November 19:00 Speaker: Marta Kuzma Subject: Whatever Happened to Sex in Scandinavia? Thursday, 29 November 19:00 Speaker: Håvard Nilsen Subject: The Troll Circle — The Social Construction of Wilhelm Reich as a Pseudoscientist
2. practice	Wednesday, 5 September 18:00 Speaker: Helen Mirra Subject: Between a Rock and a Plant			Tuesday, 16 October 18:00 Speaker: Pierre Bismuth Subject: Everybody is an Artist, but only the Artist Knows It Friday, 19 October 18:00 Speaker: Claire Fontaine Subject: STRIKE: The devices, problems and contradictions of Claire Fontaine
3. project							Thursday, 15 November 19:00 Artist: Corey McCorkle Tower of Shadows: Screening and Artist Talk* Tuesday, 20 November 19:00 Artist: Rosalind Nashashibi Bachelor Machines: Part 2: Screening and Artist Talk		Tuesday, 11 December 19:00 Artist: Mark Leckey Cinema-in-the-Round @ Frogner Kino Frognerveien 30 Oslo*
4. extra- curricular					Monday, 5 November 20:00 Artist: Mark Leckey Event: The Guy Fawkes Bonfire @Huk, Oslo		Friday, 16 November, 19:00 Speaker: Ina Blom Book Presentation and Discussion: On the Style Site — Art, Sociality and Media Culture In collaboration with Dept. of Philosophy, Classics, History of Art and Ideas at the University of Oslo		Monday, 17 December, 15:00 Speaker: Dessislava Dimova Subject: The Spam Show or "How a Truly Democratic Show Becomes Invisible"

all events take place at ISP Oslo unless otherwise addressed
* this project is made possible with funds from O3 (Norwegian Ministry of Foreign Affairs)

Pierre Bismuth (b. 1963) tackles the challenges of contemporary art by addressing the representation and the reception of a work of art; by playing on the modalities and power of language and image; and by reappropriating art history and modern cultural references, from fashion to cinema. In doing so, he incorporates all artistic mediums available, from origami and collage to screenwriting and art installations. Bismuth has exhibited his works extensively throughout Europe, and North America. He earned an Academy Award in 2005 for co-authoring the screenplay Eternal Sunshine of the Spotless Mind.

Ina Blom is an Associate Professor at the Institute of Philosophy, Classics, History of Art and Ideas at the University of Oslo. Her field of interest has been modernism/avant-garde studies and contemporary art, with a particular focus on intermedial or postmedial practices and event-oriented aesthetics. A former music critic, she has also worked extensively as an art critic and curator. Publications include The Touch through Time. Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-garde, in Leonardo Journal of Art and Technology, no.3, 2001, MIT Press, Joseph Beuys. An Essay. Oslo: Gyldendal, 2001, Visual/televisual, in Bice Curiger (ed.) The Expanded Eye, Hatje Cantz Verlag 2006. Her new book, On the Style Site. Art, Sociality and Media Culture is published by Sternberg Press, New York in October 2007.

Alice Creischer (b.1960) is the recipient of OCA's Edvard Munch Award for Contemporary Art (2006/2007). Socio-political issues are at the very crux of Creischer's artistic practice as she centers on the process of inquiry to illuminate particular political histories of given contexts. Concepts of time, labour, and exploitation are investigated in projects whereby the artist sets out a scenography in positioning her discourse. Creischer is included in Documenta 12 and has a retrospective at MACBA in Barcelona in January 2009.

Claire Fontaine is a Paris-based collective founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. Only two years old, Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property. Recent shows include: How to?, Kunsthalle Z¨rich; Grey Flags, The Sculpture Center, New York; Group Therapy, Museo d'arte moderna e contemporanea, Bolzano; Incipit, Espace Paul Ricard, Paris and The Look of Law, University of California, Irvine.

Corey McCorkle (b.1969) is interested in the utopian ideas of nature and transcendence which he pursues in many of his installations. McCorkle's work has been included in the surveys Make It Now at Sculpture Center and Greater New York 2005 at PS1, and was featured in a solo exhibition in 2006 at Kunsthalle Bern in Switzerland. McCorkle's work has also been included in The Plain of Heaven by Creative Time in NYC and in Monopolis at Witte de With in Rotterdam. Most recently, his work was included in Just Kick It Till It Breaks at The Kitchen in NYC. McCorkle will have upcoming exhibitions at Pompidou Center, Paris and SMAK in Gent.

Dessislava Dimova lives and works in Brussels, Belgium. She is a PhD fellow at the Institute of Art Studies in Sofia with a thesis on Bulgarian art after 1989. She has published numerous essays on contemporary art and culture, including The Cultural Learnings of Ivan Moudov, catalogue of the Bulgarian Pavilion at the Venice Biennial, 2007; Supernaturalism in Postcommunist Bulgaria, The Weird but True Book, 2005.

Lina Viste Grønli (b.1976) lives and works in Oslo where she graduated from The National Academy of Fine Art in 2003. Viste Grønli is preoccupied with formal and performative aspects of sculpture. Many of her works are concerned with the materialisation of linguistic terms, words and expressions. She explores collective references in language and the strategies involved in the construction of concepts. By giving material form to words and letters, she probes not just language and the semantic meaning of words, but also our understanding of them. Formal strategies and issues relating to situation and site-specificity are important aspects of her production. Venues where Lina Viste Grønli has exhibited include UKS, the Norwegian Sculpture Biennial in Oslo and, more recently, Karma International in Zürich. She curated the show ROBERT SMITHSON at Fotogalleriet in Oslo, together with Anders Smebye, and designed The New Administration of Aesthetics, Torpedo Press.

Mark Leckey (b.1964) is an artist whose obsessions range from the utmost refined fin-de-siecle decadence to '80s clothes and club culture. He is together with Ed Liq, Bonnie Camplin, and Enrico David, the founder of the band donAtelier. His video 'Fiorucci Made Me Hardcore' which has reached cult status is a rigorous research on the world of dance and identification constructed through labels and tones. Music escapism and ambiguous sexual identities are the pivots around which Leckey constructs a succession of images whose fascination has to do with an ungraspable visual seduction. Leckey has exhibited widely in the UK at Tate Britain, the ICA as well as in the United States and Europe. (Bio drawn from Kulturflash).
Leckey is currently Professor of Film Studies at the Staelschule in Frankfurt am Main in Germany.

Helen Mirra (b.1970) is an artist whose work occurs in varied scrap media, and engages structural and conceptual logics. Mirra engages quite directly in relation to poetry, but her interest is as much in the metrical as in the lyrical. This metricality, even percussiveness, inflects her work which is informed by anxieties related to the conflicting ecologies of the modern world. Within the various forms in which she operates, there is always a source material upon which decisions are made. Recent projects include Instance the Determination, which indexes works by John Dewey and Jane Addams, at the University of Chicago, Cloud, the, 3, published by JRP Ringier/Christoph Keller Editions in 2007, as well as solo shows at Meyer Riegger Galerie, Karlsruhe; Peter Freeman, New York; Galerie Nelson, Paris; Dallas Art Museum; Berkeley Art Museum and the Whitney Museum, New York. Mirra completed her MFA at the University of Illinois, Chicago in 1996, and has received awards from the Louis Comfort Tiffany Foundation, the Richard H. Driehaus Foundation, and Artadia: the Fund for Art and Dialogue. Mirra was a guest of the DAAD Berliner Künstlerprogramm in 2005–06, and teaches at Harvard University.

Rosalind Nashashibi (b.1973) uses her 16mm camera as a catalyst, an accelerator of the real. Her films investigate the divide between reality and its extra-dimension — which could be fiction, the world of archetypes or spiritual realms, combining an interest in epic narrative with close observation of details. Throughout her work, she has observed small communities (Hreash House, 2004 and Midwest, 2002); investigated the unconsciously symbolic function of objects (Park Ambassador, 2004, Proximity Machines, 2007) and of a human standing in for an idea (Ambassador, 2004, in collaboration with Lucy Skaer); she has found mythological figures in the urban fabric of New York (Eyeballing, 2006) and attempted to reanimate encased objects in a museum (Flash in the Metropolitan, 2006, in collaboration with Lucy Skaer). Her recent production focuses on the notion of bachelor machines. Bachelor Machines Part 1 combines the observation of a closed community — a cargo ship crew — with the attribution of an anthropomorphic character to the ship as a machine in itself. Conversely, Bachelor Machines Part 2 revolves around Thomas Bayrle's meditation on the invention of the machine, in particular the diesel engine, as man's materialisation of the desires once conveyed abstractly through the repetition of the rosary. Nashashibi conceives her practice more as a tool offered to the viewer to interrogate the world with her, than a report on our current state of affairs. Winner of Beck's Futures in 2003, Nashashibi has had solo shows at Kunsthalle Basel and CCA Glasgow (2004). In 2006 she participated in Momentum, Nordic Biennial of Contemporary Art in Moss, Norway and in an OCA residency in February 2007 with a later solo show at the Chisenhale. In 2007 she also represented Scotland at the 52nd Venice Biennale, and exhibited in Contour, third Biennial for Video Art in Mechelen, Belgium and at Matrix, Berkeley Art Museum Berkeley California.

Håvard Nilsen (b.1969) is a historian and social scientist educated at the Universities of Oslo, Strasbourg and Cambridge. He is affiliated with a project group writing the History of the University of Oslo for the bicentenary in 2011. Nilsen was a Research Fellow at Dept. of History, University of Oslo 1999–2005. In 2000–01 he was a Visiting Fellow at the University of Cambridge. Nilsen has published articles in Norwegian and international journals, as well as several books. He has been the Norwegian Broadcasting Corporation's book reviewer of nonfiction, and worked as editor of nonfiction at Cappelen, a main publishing house in Norway. Nilsen is today also editor at Res Publica, a publishing house and think tank.

Andreas Siekmann (b.1961) is an artist who approaches the processes of economisation and privatisation of public space. His drawings, models, videos, exhibition projects, and works in public space criticise and ironically represent the dominating power relations and propose alternative and counter-approaches. Siekmann is interested in a paradigm shift in the economy — from social market economy to neoliberalism — and in the impact of globalisation on different social sectors. In 2004, he designed and organised with Alice Creischer the exhibition project 'Ex-Argentina. Steps for the Flight from Labour to Doing'. Siekmann participates in Documenta 12 and in Skulptur Projekte Münster 07. (Bio from Skulptur Projekte Münster 07).

Karolin Tampere (b.1978) is a recent graduate of De Appel in Amsterdam, with a BA in Visual Arts from Bergen National Academy of Arts (2005). Together with the artist Åse Løvgren, Tampere initiated the ongoing collaboration Rakett in 2003 as a mobile platform for various activities ranging from curatorial practice to initiating own collaborative artistic projects. Rakett projects function as temporary platforms for collaborative, often interdisciplinary, production; where the role of the initiator/curator is not only to create a framework and a stage but also to bring together different cultural producers, to create a moment of potentiality. Implicitly and explicitly, the projects touch on a range of questions around (co)authorship, (im)material production, the role of artist and curator, and the potential of mobile and changeable platforms in the institutional infrastructure for art.

Closed Session is a short term residency in NYC offered to individual artists at the invitation of the Office for Contemporary Art Norway. The purpose of Closed Session is to provide invited artists with the opportunity to gain a broader knowledge of other artist practices, to extend one's network of associations, and to enter into a dialogue with other curators, artists and professionals within a one week period. During the artist's stay, meetings and critiques are coordinated by [OCA, NYC]. Closed Session is a one week residency held at minimum once per semester.