Paviljong Våtmark

2021 - In Performances

Paviljong Våtmark

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Residency Lademoen Kunstnerverksteder 2021

2020 - In Lectures, Writing & more

Residency Lademoen Kunstnerverksteder 2021 I have received a residency in August 2021 at the Lademoen Kunstnerverksteder in Trondheim.
Photo: Lademoen Kunstnerverksteder

Residency ISCP NYC 2021

2020 - In Lectures, Writing & more

Residency ISCP NYC 2021 I have received Office for Contemporary Art Norway's residency for curators at ISCP in New York City.
Due to the corona situation the residency has been postponed one year till the autumn 2021.
Pressrelease OCA

Oslo Open 2020

2020 - In Lectures, Writing & more

Invited by Oslo Open to be part of their programme for visiting curators in 2020.
Due to the corona situation Oslo Open was cancelled.
Oslo Open


2019 - In Performances

Echolocations Echolocation – a reading by Nickel van Duijvenboden & Marie Nerland
In the context of Katja Mater’s Dear Sides

Platform for contemporary art
Zeeburgerpad 53
1019 AB Amsterdam

Sunday 13 October, 17:30

17:00 Doors + bar open
17:30 Start performance
18:00 Drinks
19:00 End
– Free entrance –

Through sounds and speech, Nickel van Duijvenboden and Marie Nerland want to introduce a vocal and acoustic element in Katja Mater’s exhibition. Though silent, her installation is not exactly without sound. In addition to the distinctive rattle of projectors, her acts of writing and use of light and layering seem to hint at processes of internal speech and hearing, subvocalisation and synesthesia. Meanwhile, the partitioning of the space into odd-shaped rooms lends itself for an echolocation.

The mirrored texts and their dyslexic overtones call to mind questions of notation vis-a-vis auditive internalization, not only in understanding text but also in music. There are multiple ways of understanding, and one is not privileged over the other. Both sensibilities are equally subtle, equally intellectual.

Marie Nerland and Nickel van Duijvenboden have collaborated before on two performance projects, Signposts at Hordaland Kunstsenter in Bergen (2018) and Signposts Tromsø at Small Projects in Tromsø (2019), both involving silent pedestrian drifts punctuated by parts from correspondences that they read aloud. In these works, letter-writing plays a role both as an echoing device and a form of monologue.

Marie Nerland is an artist and a curator. She has been working with different collaborative performance-based projects. One of her most recent projects was a lecture performance at Landmark, Bergen Kunsthall. In 2008 she founded Volt, a long-term curatorial initiative that commissions and presents new projects by contemporary artists in Bergen.

Nickel van Duijvenboden has been active as a writer, visual artist and most lately as a singer. His preoccupation with the written correspondence and the discovery of voice have destabilized his relationship with art. He is currently finishing a project called Post, consisting of an artist’s book, a record and a film, which details this process. At P/////AKT in 2017, Nickel collaborated with Gwenneth Boelens on a spatial sound installation called Echolocation: Nocturne.

Link to P////AKTs webpage
Photo credit: Valeria Marchesini / P////AKT

Signposts Tromsø

2019 - In Performances

Signposts Tromsø Nickel van Duijvenboden & Marie Nerland

Small Projects, Grønnegata 23, 9008 Tromsø
Saturday, 21 September 2019 at 14:00

A reading, a reflective walk, a quiet drift, a correspondence, a playful pedestrian exploration… how do walking a distance, writing letters and (not) speaking interrelate? Starting from Small Projects, Nickel van Duijvenboden and Marie Nerland will lead the way on a shared walk. En route, certain sites and their specificity will serve as cues to read portions of text that were drawn into their exchange on the topic of walking and writing, with the aim of exploring a sense in which correspondence can be approached as a ‘conversation with ghosts’.

I once spoke to someone about the activity of exchanging letters as a means of measuring distance. There’s the distance implied by posting a piece of mail, the amount of time it takes, the stamps and traces and creases it collects along the way; in other words, the physical distance. But there is also the distance of minds, which may in fact be so aligned as to cancel any physical distance. Letters trace the incompatibility of thought. This is all about the question, to what extent do you and I differ – are we ‘of one mind’? – but also to what extent the you that I am conjuring in my writing differs from the real you, and in what sense the writer of the letters is of a piece with me. It is perhaps in this sense that exchanging letters is like a conversation with ghosts.

Rebecca Solnit writes in her book Wanderlust that walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a chord. That the mind is a landscape as such – and walking is one way to traverse it.’

After starting at Small Projects, the walk itself will take approximately 1 hour.

Nickel van Duijvenboden has been active as a writer, a visual artist and most lately as a singer. His long-standing preoccupation with the written correspondence and the discovery of voice have disrupted his relationship with art. He is currently finishing a project called Post, which consists of an artist’s book, a record and a film, and which details this process.

Marie Nerland is an artist and a curator. She has been working with different collaborative performance-based projects, of her most recent projects was a lecture performance at Landmark, Bergen Kunsthall. In 2008 she founded Volt, a long-term curatorial initiative that commissions and presents new projects by contemporary artists in Bergen.

An earlier iteration of the project took place at the Hordaland Kunstsenter in Bergen last year.
The project is supported by The Mondriaan Fund.

Photo credit: Yohannes Mulat Mekonnen & Marion Bouvier / Small Projects

VOLT (2008- )

2019 - In Curatorial Work

VOLT (2008- ) Volt is a long-term curatorial project I founded in Bergen in 2008.
Volt commissions and presents new contemporary art projects with a focus on artists working across several media and modes of expression. Volt does not have its own exhibition space, but finds suitable locations for each project. Past projects have taken the form of exhibitions, time-based media, performances, discursive projects and sound art.

Volt’s programme in 2019 has received funding from Arts Council Norway, the City of Bergen, Hordaland County Council (KUP) and Public Art Norway (URO)


2018 - In Performances

Signposts Signposts
Nickel van Duijvenboden & Marie Nerland

Hordaland kunstsenter
Saturday 23 of June 2018 at 14.00

Small signposts, knee-high and easy to miss, were the only indication of a long-distance trail intersecting the main road. The trail, slightly sunken and just wide enough to place one foot in front of the other, cut across private land in both directions … When the fence stopped, his last point of reference fell away. There was no way of telling if he would start the ascent within minutes or after an hour. Each step prolonged the distance lying ahead. That sense of deferral was intoxicating. Time was condensed, as if a single frame of film had become stuck in the projector without breaking the illusion of motion. This sensation went beyond one’s exact whereabouts and the act of lifting one’s feet. It was as though all walks one had ever made were compressed into one walk, this walk. And it happened every time.*

Marie Nerland invited Nickel van Duijvenboden to mutually reflect on the topic of walking. This labour of reflection and correspondence has resulted in a project for Archipelago at Hordaland kunstsenter, which invites an audience to participate in a reflective walk, a quiet drift, a playful pedestrian exploration of urban space, using certain markers to read portions of text that were drawn into their exchange on the topic of walking.

Nickel van Duijvenboden is an artist preoccupied with the writerly. His work has
taken the form of printed matter, spatial installations, sound pieces, musical
performances and readings. Written correspondences occupy a pivotal role, both as a writing mode and as a productive metaphor, summoning matters of intimacy, animosity, improvisation, rhythm, handwriting, postal systems, hiatuses, and ghosts. Recent activities include exhibitions at P/////AKT, Amsterdam and A Tale of a Tub, Rotterdam; as well as performances during Dark Ecology in Kirkenes and DNK Days in Amsterdam. Nickel lives in Amsterdam.

The walk will take approximately two hours.
The project has received funding from City of Bergen.

* Words taken from a discontinued desert novel by Nickel van Duijvenboden

Looking up into the sky

2017 - In Performances

Looking up into the sky A lecture performance

Landmark, Bergen Kunsthall
18 May 2017 at 8 pm
Free entrance

On time, gravity, and dark matter; darkness, artificial light, and science fiction(s);
the sense that each sentence is a ray of light and that everything we are and everything on earth is (of) stardust.

The project has received funding from City of Bergen.
Link to Landmark's webpage

Oslo Open

2017 - In Lectures, Writing & more

Oslo Open Invited by Oslo Open to take part in their visitor programme for curators.

Pro tempore! Sørlandsutstillingen 2017

2017 - In Lectures, Writing & more

Pro tempore! Sørlandsutstillingen 2017 Being in the jury for Sørlandsutstillingen 2017 together with Pelle Brage and Anne Marthe Dyvi.

Kristiansand Kunsthall
11.02. – 05.03.2017

Opening Saturday 11 February at 6 pm.
With Lasse Årikstads drawing club, performance by Ane Sagatun,
and a presentation by The parallel university.
Followed by an after-party at Teateret from 8.30 pm.

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On the role of the artist in society

2017 - In Lectures, Writing & more

Invited to give a small talk at the kick-off seminar for the municipality of Bergen's new cultural strategy for the arts (2018-2027).
The given theme was on the role of the artist in society. On responsibility, urgencies, and cultural policy.

USF Verftet, Bergen
6 February 2017

The Imaginary Reader

2016 - In Publications

The Imaginary Reader Contributors:
Øystein Aasan, aiPotu, Andreas Angelidakis, BADco., Erick Beltrán & Bernardo Ortiz, Milena Bonilla, Michel de Broin, Barbara Casavecchia, Daniela Cascella, Jan Christensen, Phil Coy, Bojana Cvejić & Ana Vujanović, Judith Dybendal, Mette Edvardsen, Espen Sommer Eide, Tom Engels, Jan Freuchen, Stian Gabrielsen, Dora García, Andrea Geyer, Pedro Gómez-Egaña, Avery F. Gordon, Ane Graff, Luis Guerra, Mai Hofstad Gunnes, Johannes Heldén, Vlatka Horvat, Richard Ibghy & Marilou Lemmens, Institutt for Farge, Dimitris Ioannou, Ivana Ivković, Marte Johnslien, Cecilia Jonsson, Valentinas Klimašauskas, Brandon LaBelle, John Lely, Per-Oskar Leu, Lewis & Taggart, Isabell Lorey, Young Lunde, Kristin Nordhøy, Linn Pedersen, plan b, Alexandra Pirici, Mikkel Bolt Rasmussen, Hans Rosenström, Andreas Schlaegel, Ingerid S. Straume, Jon Benjamin Tallerås, Hans E. Thorsen, Ève K. Tremblay, Synnøve Marie Vik, Jacob Wren, Icaro Zorbar

Editor: Marie Nerland
Design: Erik Johan Worsøe Eriksen

Volt 2016
ISBN 978-82-303-2814-9
Pages: 240
Hardcover: 24 x 33 cm
Language: English
The book is available from Volt’s website and in selected book stores.

The Imaginary Reader 
is both an anthology of commissioned texts by a variety of writers, artists, critics, art historians and philosophers and
 an exhibition in the form of a book with several artworks. The final section of the book presents a series of texts about some of the art projects in the Volt programme Imagining Commons, which lasted twelve days in June in Bergen in 2015 with exhibitions, performances, a 24-hour camp, conversations and lectures. The book is meant as a stimulus to thinking about the imaginary and the relationship between fiction 
and reality. By way of artworks, experimental texts and reflections it offers a range of angles and ideas that it is up to the reader to take up and explore further. To imagine something is already to start a process; to acknowledge the limitations of a situation and at the same time to initiate a change. The Imaginary Reader explores different aspects of the imaginary – the political imagination, the imaginary in art and art production, imaginary projects, the lack of and the need for the imaginary.

The book is funded by Arts Council Norway, City of Bergen, Fritt ord and Public Art Norway (URO).

To order the book, and more info:

Article in an anthology on Norwegian dance

2016 - In Lectures, Writing & more

Article in an anthology on Norwegian dance Contributing with an article on BIT Teatergarasjen, in the anthology
Bevegelser - Norsk dansekunst i 20 år.
Ed. Sigrid Øverås Svendal.
The book is initiated by Danseinformasjonen and published by Skald forlag.

The book is released on 8th December at Dansens Hus in Oslo.
More info about the anthology:

Book cover: Steffi Lund i USANNSYNLIG (2010). Photo: Elisabeth Kjeldahl Nilsson

Why I Write - a seminar on writing, dramaturgy and work

2016 - In Curatorial Work

Why I Write - a seminar on writing, dramaturgy and work Why I Write - a seminar in Ulvik on writing, dramaturgy and work

With Marcus Doverud, Joe Kelleher, Bojana Kunst, Danae Theodoridou

15. - 18. September 2016
Olav H. Hauge Centre
Ulvik, Hardanger

Seminar at the Olav H. Hauge Centre in Ulvik with a program of conversations, lectures, working sessions, readings, discussions, shared meals and a walk in the mountains.

Sign up: marie[at]
Limited space available.

"I read and read and live in books and live off them, without them I’d go to pieces."
Olav H. Hauge "Dagbok Band I", 1927

The title of the seminar is taken from the title of a talk by Joan Didion. She had stolen it from the title of a text by George Orwell. She writes: "I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear."

The poet Olav H. Hauge (1908-1994) was born in Ulvik in Hardanger, on the farm Hakestad where he lived all his life. He worked as a farmer and gardener on his own orchard. He taught himself several languages, was internationally oriented and translated among others Stéphane Mallarmé, Arthur Rimbaud, Friedrich Hölderlin, Paul Celan and Bertolt Brecht to Norwegian. He wrote poems, aphorisms and letters as well as an extensive nearly four thousand-page diary, "Dagbok 1924-1994", which was found and published posthumously. It contains reflections on work and life: the literature he read, on the often hard labour at the farm, the struggle with writing and finding time for it.

Bojana Kunst writes in her latest book "Artist at Work - Proximity of Art and Capitalism" (Zero Books, 2015) about the economic and social conditions of the artist's work. She writes about how the artists often do more and more for less and less and risk through it to corrode both their own practices and bodies. She writes about the significance of the artist to do less, when confronted with the demand to do more.

As a disobedient line of argument in the defence of art: ”Doing less could also be understood as a new radical gesture that opens up speculation about the value of artistic life and rather than working towards perfection of work, starts working autunomously for life itself. It is therefore an important aesthetic and ethical attitude for the artist as worker.”


Marcus Doverud is working as a dancer, choreographer and teacher. He graduated from the Stockholm Academy of Dramatic Arts and studied aesthetics and philosophy at Södertörn University College. His work move between different stages dealing with bodily, spatial and sonic utterances and their interrelations. The performance "renaissance prenaissance" (2015) revolved around sampling and choreographic staging of music. He has made several solo performances in Sweden and has a longterm collaboration with among others artist Liv Strand which has resulted in a number of performances and book projects.

Joe Kelleher is Professor of Theatre and Performance at University of Roehampton, London. His books include "The Illuminated Theatre: Studies on the Suffering of Images" (Routledge 2015) and "Theatre & Politics" (Palgrave Macmillan 2009). He is co-author with Claudia and Romeo Castellucci, Chiara Giudi and Nicholas Ridout of "The Theatre of Societas Raffaello Sanzio" (Routledge 2007). Recent essays appear in "Stedelijk Studies" (2016), and "Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage", ed. Carl Lavery and Clare Finburgh (2015). He has been making performances with Eirini Kartsaki, including most recently "How to Be a Fig" (2014).

Bojana Kunst is a philosopher, dramaturg and performance theoretician. She is a professor at the Institute for Applied Theater Studies in Justus Liebig University Giessen, where she is leading an international master program Choreography and Performance. She is a member of the editorial board of Maska Magazine, Amfiteater and Performance Research. Her essays have appeared in numerous journals and publications and she has thought and lectured extensively at the various universities in Europe. She published several publications, among them "Impossible Body" (Ljubljana, 1999) and "Dangerous Connections: Body, Philosophy and Relation to the Artificial" (Ljubljana, 2004), "Processes of Work and Collaboration in Contemporary Performance" (Ur)., Amfiteater, Maska, Ljubljana, 2006, "Performance and Labour", Performance Research 18.1. (ed. with Gabriele Klein), "Artist at Work", Zero Books, London, 2015.

Danae Theodoridou is a Greek born performance maker and researcher based in Brussels. Her latest artistic work focuses on the notion of social imaginaries. In this frame she created "One Small Step for a Man: Hello, Goodbye" (2015), "Earth in 100 Years" (2016) and "Something Dreamy" (2016) which are currently presented in different European cities. She is a co-creator of the three-year-long research project "Dramaturgy at Work" and a co-author of the subsequent publication "The Practice of Dramaturgy - Working on Actions in Performance" (Valiz, 2016). She completed a practice-led PhD on dramaturgy at Roehampton University (London), teaches in various university departments and art conservatoires of theatre and dance, and publishes her texts internationally.

The seminar is funded by Arts Council Norway and is in collaboration with the Olav H. Hauge Center.
Volt is funded by Arts Council Norway and City of Bergen.

Photo: Olav H. Hauge. Photo credit: Olav H. Hauge-senteret