Category Archive: HOME

PALIMPSEST: UNNI ASKELAND. OSLO

In Oslo, words rarely stay still. They drift through conversations in hotel lounges, echo across studio floors, and dissolve into the city’s informal rhythm of cafés, apartments and late-night exchanges. It is within this restless linguistic atmosphere that the practice of Unni Askeland takes shape—less as a fixed position than as an ongoing dialogue with the city itself.
Her presence within Norwegian contemporary culture has long been defined by this interplay between speech, image and persona. In Askeland’s orbit, language becomes performative material: sharp, improvisational, and often deliberately unpolished, reflecting a broader Oslo sensibility where art is inseparable from lived social intensity.
To speak of her work, then, is to speak of Oslo as much as of painting.

DANY DEVERO – BAM! BERGEN/OSLO

” FOR TRE ÅR SIDEN GJORDE JEG ET TYPISK POPUP DRAGQUEEN-SHOW PÅ FINCKEN I BERGEN. ETTER FORESTILLINGEN TOK JEG AV MEG KOSTYMET, BYTTET DET UT MED MITT AFTER SHOW-ANTREKK, OG SAMMEN MED NOEN “TRANSER” GIKK JEG OVER VEIEN TIL UTESTEDET GARAGE. INGEN AV OSS KOM INN, MED BESKJED OM AT ”VI SLIPPER IKKJE INN FOLK I KOSTYMER”. NÅ ER JEG UTESTENGT PÅ LIVSTID, MED SAMME BEGRUNNELSE. “

CACHO FALCON: Renowned Artist Cacho Falcon Announces Visionary Art Therapy Initiatives. NYC

Cacho Falcon turns intimacy into material and material into spectacle, moving from “therapeutic denim” in early-2000s Brooklyn to body painting practices that quite literally inscribe people’s private histories onto skin. Fashion noticed, fame followed, and New York did what it always does—absorbed him, then reflected him back as both artist and myth. His work sits in that uneasy space between therapy and performance, confession and commerce, where strangers become collaborators and vulnerability is temporarily wearable. The result is less a career than a continuous social experiment in exposure, erasure, and reinvention—delivered with just enough glamour to keep it from feeling like confession.

NIPPLE HONESTY WITH HILDE MARSTRANDER: OSLO

Hilde Marstrander has spent decades moving between fashion, media and cultural commentary—shaping taste as much as reporting on it. From London runways to Nordic editorial power desks, she has helped define how Scandinavia sees itself through style, debate and image. Now, her perspective turns back on a rapidly shifting fashion landscape where authority is fragmented, and visibility is everything.

DEEP DOWN DOPEIZM: ANTIBIOSE. OSLO

” I DDD er alles mening viktig enten du er “rookie” eller “O.G” (Original Gangster). Det er en av de tingene jeg setter mest pris på i DDD, men det er til gjengjeld ganske krevende, kanskje spesielt for en “nykomling”. Men øvelse gjør mester, og å bli utfordret på disse tingene hver dag samtidig som man får observere andre med erfaring jobbe så fokusert, er utrolig god trening.”

BARON VON BULLDOG. OSLO

I DEFINITELY BELIEVE ALL FINE TYPES OF ART TO BE POLITICAL IN A SENSE. I NEVER CONSIDERED MY DESIGN AND COLLECTIONS AS” FASHION” OR” TREND” BUT AS STATEMENTS. EVERY GARMENT I’VE DESIGNED, AND EVERY SHOW I PRESENTED, HAS A BACKGROUND STORY. I’m COMPLETELY UNINTERESTED IN CLOTHES AS FASHION ITEMS, AND I NEVER TRIED OR WANTED TO BE” TRENDY.” I LOVE THE STORIES THAT PEOPLE TELL, WITH THEIR LOOKS AND APPEARANCES. I ALWAYS TRIED TO TELL STORIES ON THE CATWALK WITH MY MODELS AND DESIGN.

SIGRID SKAMMER SEG. OSLO

” VI ER MANGE SOM VAR GENERASJON PERFEKT OG VILLE GJØRE ALT RIKTIG OG VÆRE FLINKEST DA JEG OGSÅ VAR TENÅRING. VI GRÅT MASSE OG GRUDDE OSS MASSE, OG VILLE AT LIVET SKULLE VÆRE PERFEKT. DET HETER FAKTISK Å VÆRE TENÅRING, DET HETER IKKE Å VÆRE PSYKISK SYK.”

Jo Bentdal: «Det vi har skapt, kan ikke måle seg med det vi har ødelagt». OSLO

THE EMPTY HAND OF INNOCENCE.TRANSFUSING STREET OF THE SORROWS
AND CHILDREN OF THE WOOD
HOUNDED, SHREDDING ALL VEILS. AND WINDING ALL SHEETS OF THE DEAD WORLD DRONING. OVERTURNING TABLES LADEN WITH SILVER SACRIFICIAL BIRDS. BEATING GOAT-SKIN DRUMS. ADVANCING WITH HANDS OUT-STRETCHED. AND WE KEEP FILLING THEM WITH MERCURY NITRATE, ASBESTOS
BABY BOMBS BLASTING BLUE
SCAVENGERS PICKING THROUGH THE ASHES. CHILDREN OF THE MILLS!
CHILDREN OF THE JUNKYARDS! SLEEPY, ILLITERATE, FUZZY LITTLE RATS HAUNTED, PAINT-SNIFFIN’, STONED OUT OF THEIR SHAVED HEADS
FORGOTTEN, FORAGING, MYSTICAL CHILDREN
FOUL-MOUTHED, GLASSY EYED, HALLUCINATING.

SKAM. OSLO

DEN FRANSKE PSYKONALATYIKEREN ANDRE GREEN SKRIVER OM DEN HVITE SORGEN; EN SORG FORANKRET I FRAVÆR. DEN SVARTE SORGEN ER KONKRET, OG ER TILKNYTTET ET TAP, MENS DEN HVITE SORGEN OMHANDLER Å SØRGE OVER NOE SOM ALDRI HAR VÆRT.

“THIN WHITE DUKE” OF SUPRASTATE. OSLO

A modest Norwegian upbringing, a Bowie-sized ambition, and a refusal to separate music from fashion, image from sound, or idea from execution. Under the name Suprastate, Thomas builds a self-contained creative system where noise, tailoring, and pop instinct collide into one continuous aesthetic engine. At a moment when culture is drowning in unfinished ideas, he insists on the opposite: everything must be made, fully, or not at all.

MANNEN SOM FORSVANT. OSLO

” HAN VAR AV DENNE MANGEHODEDE OG BROGEDE SKARE AV VRØVLEKOPPER, ABORTERETE MISFOSTRE OG HALVDANNEDE VIKTIGPAVER SOM TROR DE VET ALT, DENNE LEGION SOM STRAKS OG PÅ ET BLUNK TILSLUTTER SEG ENHVER IDÉ SOM ER PÅ MOTE, FOR SÅ UMIDDELBART Å VULGARISERE DEN OG PÅ DENNE MÅTEN LIKE HURTIG LAGE EN KARIKATUR AV ALT DET SOM DE I NOEN TILFELLER MENER SEG Å TJENE PÅ DEN MEST OPPRIKTIGE MÅTE. “