2019. What We Have,

are the things, that are. All those things around us. The things we act with. Spending time with those things, they can move us and make us aware - of the thing itself and of something in us that does care. New things can become of this. Old things too. It’s neither good nor bad, but just the things that are – the things we come with – what we have. 

What We Have,

is a collective exhibition of a group consisting of a Butoh performer, a filmmaker, multimedia artists, architects and students of architecture, who frequently work on the Lista peninsula. Each having their own individual praxis, they collaborate for the Lista Research Creation Project - a Body & Space Morphologies research and teaching unit initiative at the Oslo School of Architecture and Design.

 Wenkai Xu/ I want to make a house for me and my animals

Adrian Vindedal Ørnes/ Expansions and roofs

Fredrik Rognerud/ Birdhouses and a war tower

Julie Dind & Rolf Gerstlauer/ Drawing NN in Tokyo, Naoshima, Toulouse, Paris, New York, Chiang Mai, Beijing and Lista

Jan Gunnar Skjeldsøy/ Friends, enemies and strangers

 Anders Eik Pilskog/ Grid and gardens


2017. The work of Jan Gunnar Skjeldsøy displays three delicately layered ice cubes of water and crushed wooden coal. The construction melt and connects gradually while leaving its traces in a copper pool. The work is ephemeral; It relates to the fugitive. 


2011-2014. Listaverkstedet. Experimental workshops exploring different places and their inherent spacious capacities. 

1: A bare-foot walk from the inner city of Oslo to the forest surrounding the town. The workshop was an architectural and tactile experience of the earth and the surface that are part of our spatial experience every day. The walk was inspired by the etymologic meaning of the English word travel. Travel comes from the French word travail, which means work. The word travail has its origins in the Latin word tripalium, a torture instrument.

2: This workshop explored the spatial capacity of the complex ground in a planted forest of spruce. Carefully excavating a circular field exposing the system of the tree's roots defines a clear physical and symbolic space.

3-4: A workshop which explored the spatial qualities of an old way of curing tree trunks. Old sayings claim that by removing parts of the bark the wood will become harder. It is said that this technique was used in the main construction of the old norse stave churches 1200 years ago.This workshop explored how this method gives a place identity through light, scent and cultivation.


2017. The piece of Anders Eik Pilskog shows a construction of both Norwegian and Moroccan character. Inspired from the main bedroom, ghurfat nawm, in the traditional Dar and Riad in Fès. Linking the rich weaving traditions in both Norway and Morocco together with traditional wood work. The title refers to his research done in both Fès and Tissardmine, looking at the similarities between this particular room and the Berber tent. Both giving a sensation of being inside a womb or uterus, partly protected by soft tissue/textile. 

Workshop: DKS

2012-2017. A series of workshops for Den kulturelle skolesekken (DKS), with youth between the age of 13-16. A crash course in architecture using models and collages. 


2010. Workshop together with the municipality and local youth in Hokksund. The workshop resulted in a series of strategies for involving youth in planning processes. Read the report in Norwegian here.


2007. Papercollages made at Oslo school of Architecture under supervision of architect CJ Lim/ Bartlett


Territorial constructions/ 

Friends, Enemies or Strangers/ 

Ideas of a Home or a Garden

1. The cultivation of Nature -> To landscape/ Marking and digging holes | To earthen

2. Clearing of the field/ The organization of objects | Location

3. Collecting water/ Mixing pigments | Dialects/ Preapering

There is unlimited combinations of how to organize such territorial fields.The combinations, the materiality, the size and accsess changes over time. The project is describing the past as much as it describes the future.


2019. Someone was here long ago: Or, in the future

 We went in February, for the first time, didn´t know if it were dead or alive. Later on the knowledge we had of a beech forest fell apart and were replaced by mysticism, stories of the Somme, discussions on scale and the possibility of being blown apart while sweating. The fact that the Amazon was burning made it all become tropical. To us it is a new forest, but also a forest that has been here for quite some time. Its trees grow into one another, hack each other, kill each other – making all kinds of a grotesque dance longing for the same sunlight that make Paris unbearable these summers. Our bodies run, crawls, rolls and adjust to the fingers that make the filter for the light to penetrate. It is a performance, like society to the world. We make things.

 To us, this is a place where aliens dwell, shadows too.



Exhibition together with Jessie Kleeman (DK) and Katie Watson (SCT )


2007-2008. Model of experienced space explores the memory of Anders Eik Pilskogs childhood home. Using collages and models, the realm of his childhood is rediscovered in white cardboard. An abstract, fragmented representation of a space experienced over time, from a toddler a grown man. The object´s shape and the spatial experience remains.

Excavation is an unrepeatable and destructive process that removes in order to understand. The piece is not fully excavated; The trace of the original positive counterpart is left in the structure and gives a hint of what gave its form. The original counterpart  masks some of the underlying structure and pollute the piece. Excavation is an ambiguous piece of both destruction and creation, forming a symbiosis of the two.  Excavation is part of Anders Eik Pilskog´s artistic research exploring the grid and the destruction in creation. Its lines and cavities gives associations to the layered structures of modernist city planning and sci-fi megastructures, a reality of hierarchy and order.

/// artshebdomedias

/// Lister24


2009 >The Idea of the project is to confront our society with a building which directly takes part in the natural processes/territory of change – and remind us of the aspect of time through spatial qualities and interpretations of cultural habits. Since the north has no day in the winter, and no night in the summer, the concept has been structured in order to focalize different cycles. Tidal rhythms are periodic variations in water levels, and the arctic region’s strongest image of visualized time. Throughout history this cycle has regulated entire costal communities. Tidal flux dictates when vessels embark and disembark, and thus, in a place-based reversal of Western cultural conventions, it is the moon rather than the sun, that sets the Place’s daily rhythm. This rhythm is further adjusted through changeable outside parameters; such as high and low pressure weather systems, onshore and offshore winds and abrupt temperature oscillations. The situation between the Local and the Global nature always adjusts according to a complex draft, and the Space Calendar is continually referring to this.

The project of the architect Jan Gunnar Skjeldsøy is a result of several travels to Finnmark, the northernmost part of Norway. The project has been displayed at the Barents Spektakel festival in Kirkenes.

/// Space Calendar Project
/// Pikene på broen

Arkitektur N, The Norwegian Review of Architecture No. 08, 2009

Europe of Cultures, Vol. 4. Intercultural Crossings – Conflict , memory and identity

Immaterial Landscapes - Formulating the Intangible in Northern Landscapes. Alice Labadini. Phd-thesis. AHO 2017


2013 > The fieldwork and ongoing project of architect Jan Gunnar Skjeldsøy is a result of several travels to the Kola Peninsula and the remote village of Shoyna in the Nenets Okrug. Shoyna was founded in the 1930s by fishermen and their families. An abundance of fish in the White Sea and the river Shoyna led to prosperity within the collective farm organized there, and by the 1950s some 1,500 people lived there with a fishing fleet numbering more than 70 vessels. Shoyna was anticipated to become the new Murmansk. However as a result of the extensive industrial fishing and bottom trawling in the 1940-50s, Shoyna has turned into a Ghost of its past.

The project Shoyna Dissected is a research of possibilities for housing architecture in the demanding conditions dominated by sand and winds. The contemporary landscape of Shoyna is an alarming omen from the fragile Arctic nature. The project is also an attempt of accepting the Nature of Shoyna. Can the predicted future of such a place become a discovery of a new start?

/// Space Calendar Project

/// Nabroad news

/// Kunstkritikk

/// Life in Russia

/// Pikene på broen


2016 > The title of the piece is borrowed from the book of Paul Bowles, describing the 1954 nationalist uprisings in Morocco. The medieval  city of Fez becomes a political dark stage where outsiders witness the French as they infiltrate the Muslim society after they deposed the former sultan Mohammed V. The political situation of todays Middle-East can be related to the book of Bowles and his Spider thats is spinning a web that soon might be far to complex for us to solve.

The model is a squared surface under circular plates of glass; blue, yellow and red. The colored shadows change and create an unpredictable playground. Two surrounding pieces of beech wood are equipped with sound exciters that look like stethoscopes and question the privacy. The sonic landscape sums up a medina with its high naturalistic and optimistic tones, mixed with some dystopian technological frequentcies that could be related to surveillance by remote controlled devices. Past, present and future are summoned in a poetic and mystical way. It is a personal approach, witch relates to the friendship and collaboration of the artists over the last three years, including the same experienced room and scenery at different times Fez at the Dar Baths residency. The birds in the garden and the repetitive echoes of its surroundings are translated into spatial elements with eternal qualities.

The project of the architect Jan Gunnar Skjeldsøy is a result of two  travels to Morocco and the Sahara. The project has been exhibited at the galley AA1+N in Paris with the title COME HELL OR HIGH WATER. 

Sound/ ambient landscape by Magali Daniaux and Cedric Pigot.

The exhibition in Paris was financed by The Norwegian Embassy in Paris.

/// artshebdomedias

/// Lister24


2014. Based on a previous travel to Fez, the office was invited by the French Instiute to do a spatial mapping across the medina, which is one of the largest in the world. Fez was the capital of trade in the medieval North Africa and is a world heritage site. By renaming streets and city squares by spatial interpretations, the inhabitants of the medina will give another thought about their known enviroment.


2017 > Massive. Constructions towards Security <------> Hollow. Constructions towards Fear. Ongoing research project by Jan Gunnar Skjeldsøy.

The easter-collective/ LISTA

2019 > The Easter-Collective is based upon the traditions that since the 1950´s have had its roots at the area around Lista lighthouse. Local children spend the easter holliday by constructing/ visiting each others cabin. We started it by lecturing about the climate crisis and were focusing on cleaning the nearby coastline.