Opening of the exhibition 

Blind Spot Exhibition at Teknisk Museum in OSLO


Teknisk museum/Håkon Bergseth

 Photo: Teknisk museum/Håkon Bergseth

Do we see with our eyes or through them?

This new exhibition – a collaboration between NTA – University College of Østfold and Teknisk Museum funded by DIKU (Artistic Research Programme) – explores the relationship between what you see and what you perceive. Through artistic installations, optical illusions, and ophthalmic artefacts from various times, BLIND SPOT will take you both to the blind spot of the eye and to our cultural blind spots.

Exhibition period: 25 May 2019 to 1 March 2020

The visit is an experience for body and mind

Visiting the exhibition is an experience for both body and mind. You go through the exhibition, move your body and eyes and look for new perspectives and blind spots as part of the exhibition experience and in society.


A unique collection of medical history items

In the exhibition, you will see a number of objects from the museum’s medical history collections. These ophthalmic aids helped scientists understand how and what we see. The National Medical Museum is central for cultural heritage in the field of health and medicine history in Norway.


Opening on Friday 24. may at 18.00 at Teknisk museum

Funded Høgskolen i Østfold, Teknisk Museum and by DIKU

Logo og lenke til DIKU; Direktoratet for internasjonalisering og kvalitetsutvikling i høyere utdanning

Blind Spot invited to MONTREAL

Karen Kipphoff has been invited to participate as a speaker with Carole Nadeau to the SQET conference in Montreal on the artistic research BLIND SPOT. Carole NADEAU is one of the international artists that took part in the first part of the project (staged production performed in Fredrikstad and in Bergen in 2017).


The title of the session is THE AUGMENTED OBJECT.

You can find more information on the website of SQET.

Follows here an extract taken from the website about the thematic of the conference.

Until recently, thinking about the theatre revolved around its liveness, the co-presence of (human) actors and spectators in the same place at the same time. Increasingly, however, the discussion has broadened to include the role of technology, the environment and a wide variety of other factors. This shift accounts for the growing interest among practitioners and theoreticians alike in the other co-presences that make a performance and its effects possible. The series of “turns” in theatre studies of the past 20 years – performative, sound, non-human, intermedial, affective, postlinguistic, ecocritical, etc. – reflect this development. But theatre is not an isolated case. Those turns correlate with the emergence of a major new school of thought in the 21st century, new materialism, which cuts across the humanities and ties in with advances in the natural sciences, irrevocably transforming the way humans perceive their environment, their role in it, and the role of its other components.

One thing that is “new” in the new materialisms is their rejection of traditional dualisms – dead/alive, animate/inanimate, energy/mass, immaterial/material, active/passive, human/non-human, intentional/non-intentional, presence/mediation, etc. – and of the anthropocentrism that dominated the humanities throughout the long 20th century. The new materialisms ascribe to “matter” a power of agency of which humans are neither the cause, nor the source, nor the beneficiaries. This is not to say they are anti-human, for humans are not outside matter, nature and the environment. They are part of it. Neo-materialist thinking replaces a vertical, one-way dynamic of agency, in which humans dominate the world (and exploit it), with a recursive, multidirectional dynamic in which humans, as agents among others, act on their environment but are also transformed by it.

The stage, a site where humans face humans, is the quintessential anthropocentred space. It is also a fertile subject for neomaterialist investigation, for it constitutes a complex ecosystem where varieties of agency meet, powers collide, multiple vectors of meaning and affect emerge, and the physical, the discursive and the symbolic intertwine. The stage is therefore representative of complex forms of agency and promises to illuminate their operation.

The “Theatre and New Materialisms” conference will examine live performance, past and present, through the lens of neomaterialist thinking, the schools of thought that animate it, and the aforementioned “turns” that have studded its development. Naturally, the discussion will not be confined to the traditional stage but will embrace live performance in all its forms.

The topics for conferences are:

1. Design and production:

  • Impact of human agents (director, set designer, sound designer, etc.) and non-human agents (backdrop, furniture, props, atmosphere, etc.) on theatrical processes;
  • Set design, stage devices, high tech / low tech, physical environments in the theatre, the borderless stage;
  • Intermediality, multimodality, interdisciplinarity, interarts;
  • The materiality of the script: publishing, distribution and conservation media; the immateriality or evanescence of the theatre;

2. Reception modes and practices:

  • The spectator’s posture, practices and relationship to the physical environment;
  • New dissemination methods and channels;
  • The materiality of reviews and comments;

3. Institutional dynamics and evolving values:

  • Political, ideological, historical and institutional aspects of theatre production and reception;
  • Funding and spending on facilities: material considerations in amateur and professional theatre;
  • The contribution of post-humanist sociology to reflections on new materialisms and theatre studies.

Contributions to training: neomaterialist thinking and theatre training.

Twenty minutes will be allocated to presenting papers, followed by ten minutes for audience discussion.



Towards the stage production

From 19 February to 4th March 2017, BLIND SPOT will meet (for the second time) in BERLIN at HZT/ Universität der Künste Berlin.

The artists involved until now are : Marcio Carvahlo, Carole NadeauTrond LossiusCecilie Ullerup Schmidt, Karen Kipphoff, Karoline Skuseth, and Nik Haffner. To this group has been added 2 more artists:  Ingvild Holm,  Farid Fairuz,

This workshop will lead to the next session (and final) period of (performative) work which will take place in Fredrikstad during a whole month residency mid July – mid August 2017. The production/performance will be presented on 14th August 2017 in the Akademi (Norwegian Theatre Academy).