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#claydiesselfies
Karen Kjældgård-Larsen and Tine Broksø DK
EXHIBITION 8 October – 14 November 2020
CLAYDIES celebrates 20 years of collaboration with the exhibition #claydiesselfies.
For the exhibition, Claydies has made large ceramic objects and jars that inspire the audience to interact and photograph themselves in and with the works.
Visitors are encouraged to share their photo on #claydiesselfies.
Almost everyone is familiar with the concept of Selfie, a self-portrait you take with your mobile phone or digital camera and show off on social media. It is most of all a social act and a way to document and share with others where you have been and what you have experienced.
The selfie culture is both loved and hated and is the subject of much irritation and criticism. Interesting is the recent phenomenon "Museums-selfie", which has given rise to discuss the way in which we interact with art - to seek a balance between the mass-cultural and the fine-cultural.
Something that characterizes #claydiesselfies is irony, spontaneity and humor. Values that are universal-human and inspiring to work with artistically. And this very schism is one of the core values of Claydie's work.
ABOUT CLAYDIES
Tine Broksø (1971) and Karen Kjældgård-Larsen (1974) form the duo Claydies.
They graduated from the Danish School of Design in 2000, and Claydies was formed the same year with the aim of creating a common artistic identity.
Claydies works conceptually and does away with the quiet and harmless pottery. They introduce new techniques and creative obstructions. By adding humour, irony and provocation gives the known everyday objects new life.
They work with ceramics, uniqueness, exhibitions and design, - turn upside down the usual, turn things upside down and weave new meanings and stories into the familiar.
Claydies has received scholarships from i.a. Danish Art Foundation, and exhibited at museums and galleries in Denmark and abroad. They are known for experimenting with different ways of rethinking design and uniqueness.
Karen Kjældgård-Larsen has designed the Mussel Mega porcelain set for Royal Copenhagen.
www.claydies.dk
ABOUT THE EXHIBITION - by Tine Broksø and Karen Kjældgård-Larsen
#claydiesselfies is an exhibition about the concept of selfies and a commentary on the time we live in. Today it is to take a picture of oneself, a completely ordinary social action, and a way to document and share with others where one has been and what one has experienced.
In the exhibition #claydiesselfies, the pieces are made so that they invite the visitor to take a picture of themselves with them.
Something that characterizes the Selfie concept is irony, spontaneity and humour. Values that are universally human, and for us, exciting to work with artistically. Also because these are values that are not always considered to be equally cultivated.
We let the selfie concept inspire new ceramic objects, and encourage the audience to interact and photograph themselves in and around the pieces.
In this way, we hope that after the end of the exhibition, we have a large collection of selfies which can be seen for a long time under #claydiesselfies on the social media instagram.
Grateful thanks to The Danish Art Foundation for Gallery project funding in 2020.
SELECTED PREVIOUS EXHIBITIONS AND PIECES
#claydiesselfies OFFICINET, March 2020.
This anniversary exhibition was unfortunately closed due to Corona virus.
Photos of #claydiesselfies in Officinet. Photographer Mads Hagedorn-Olsen
THIS IS NOT A JOKE
Luxurious gimmicks and gadgets.
With the project "This is not a joke" we have chosen to work with things that entertain with inspiration in the topic "jokes and jokes".
Jokes and jokes often represent bad design and taste, but they can still seem alluring and liberating and give rise to a quick laugh.
And it is precisely the quick laugh and the lovely banality of funny things that we explore and add value to.
Collection of a variety of sophisticated forms of more or less corny humor:
BALLS – SNOUT – LOOK – BOOBS – BLOOM – SMILE – SOAP – MIRROR – JOKE - WHOOPEE CUSHION – SHIT – MOUSTACHE..
The project was exhibited at the Officinet in Copenhagen in 2013.
THE REAL CLAYDIES - 2010
A self-portrait. The real Claydies are us, Karen and Tine, as porcelain dolls.
Head, arms and legs are hand thrown in porcelain.
The porcelain parts are sewn together with a fabric body, and the dolls are dressed like Claydies.
The pieces were made for the curated exhibition “Across” in Copenhagen 2010.
DOGME07 og TRUE FEELINGS - 2007
In 2007 at the Trapholt Museum in Kolding and later at Liljevalchs Konsthall in Stockholm, we exhibit a coffee-set that we call “Dogme07” / “True feelings”.
For this we make a large collection of "True Emotions"; utility items we have manufactured according to a set of dogma rules, which i.a. dictates us to work blindfolded.
We use this working method to find a new design language where we do not take into account taste and aesthetic sense in the development of things.
So the design alone becomes an expression of the choice of the fingers and our emotional intellect.
CERAMIC MANIFESTO - Dogme07
This is an experiment.
The preparation of the ceramic objects took place from January 2007.
We vow to stick to the following set of rules: Dogme07
1. Each object must be designed in clay. Only one type of clay is allowed.
2. Each item must be shaped with hands or body alone. No aids or tools are allowed.
3. The design must be done blindfolded. Only when each item is declared completely finished must the bandage be removed.
4. Refinishing of the objects being cremated can not take place.
5. During the design process, the objects must not be discussed with others.
6. All items must be functional utensils on a manageable scale.
7. After firing, all objects must be fully glazed as far as possible.
8. Only blue glaze accepted.
9. Decoration is not allowed.
10. Each item must be signed Dogme07.
Furthermore, we as potters swear not to let ourselves be dictated by fashion and taste.
We promise to adhere to all dogmas without regard to our personal ambitions and our artistic vanities.
We are no longer reflective artisans in the execution of these objects, but merely working hands.
CLAYDIES & GENTLEMEN 2003
We turn things upside down.
The project consists of a number of modeled stoneware bowls, all of which are made with hairstyles as inspiration. The bowls are different personalities and change character depending on whether they are on the table or carried on the head.
The first time the bowls debuted on stage was at the Gallery Nørby in 2003.
COLLABORATION IN THE WORKSHOP
PLAYING WITH CLAY :-)
BIOGRAPHY
CLAYDIES
Tine Broksø (1971) - Karen Kjældgård-Larsen (1974)
www.claydies.dk
EDUCATION AND AWARDS
2007-2009 Nordisk Ministerråd: ambassadører for programmet Ny Nordisk Mad.
1999 Glasgow School of Art, Skotland (Karen Kjældgård-Larsen)
1998 University of art and design, Helsinki, Finland (Tine Broksø)
1995-2000 Danmarks Designskole, København. Linien for Keramik og glas
SELECTED EXHIBITIONS
2020 #Claydiesselfies Officinet
2019 Stort og småt Keramik og Glasværkstedet
2018 Samling Designmuseum Danmark
2018 Nyerhvervelser Trapholt
2017 Claydies Collection Trapholt
2017 Kærlighed til leret Janus Bygningen
2016 Dansk Design Nu Designmuseum Danmark
2015 Mindcraft15 Designmuseum Danmark
Gyeonggi International Ceramic Biennale 2015 i Sydkorea
Mindcraft15 Chiostro Minore di San Simpliciano, 20121 Milano
2013 Copenhagen Ceramics i København. ”The Opening”.
Officinet i København. ”This is not a joke”
2012 SMART – ”Process, Design, Objects” i Helsinki, Finland
2011 Trapholt i Kolding. – solo udstilling i Kvadratsalen: ”Claydies Room”
2010 Modern Atlanta - Design is Human i Atlanta, Georgia, USA
2008 Kunstgalleriet i Stavanger, Norge. ” Tradition i Trance”
2007 Liljevalchs konsthall i Stockholm Sverige. ”True feelings”
Trapholt i Kolding. ”Biennalen for kunsthåndværk og design”, ”Dogme07”
Bomuldsfabriken Kunsthall i Arendal, Norge. ”Keramiske rædsler”
2006 Dansk Design Center i København. ”Honey I´m home”, med Normann Copenhagen
2005 Dansk Design Center i København. ”DANISH – Framing the Future of Design”
Malmö Kunstmuseum ”Rædselskabinettet”
2004 Trapholt i Kolding. Biennalen for Kunsthåndværk og Design, ”Eventyret om cykelhjelmen”
2003 Paustian i København. ”DERFOR” Censureret udstilling af kunsthåndværk og design
Galleri Nørby i København. ”Claydies and gentlemen”. Keramisk frisureshow
2001 Charlottenborg i København. Efterårsudstillingen. ”Langbortistan”. RÅ
Horsens Kunstmuseum ”Form i forandring”
Galleri Nørby, Købehavn. Ny Nordisk Keramik. ”Claydies køkkentøj”
2000: Kunstindustrimuseet i København. Designstudiet. ”Totem - en udstilling om hverdag”. RÅ.
Keramikmuseet Grimmerhus i Middelfart. ”Et Gæstebud”. Galleri Nørby, Købehavn. ”Et Gæstebud”
LAUNCHES
2010 Kähler Design: Lancering af Primadonna
2009 Normann Copenhagen: Lancering af True feelings, Dahlia og Blueclay
2008 Normann Copenhagen: Lancering af Grass
2006 Crafts Collection 10 Grøftekanter
2005 Crafts Collection 09 Grøftekanter
2001 Crafts Collection 05 Capware
2000 Royal Copenhagen: Lancering af Mussel MEGA (Karen)
MUSEUMS AND COLLECTIONS
Designmuseum Danmark København 2018,12. Trapholt, Kolding 2018, 2017. Röhsska Museet i Göteborg, Sverige 2013. ASU Art Museum i Arizona, USA 2012. CLAY Keramikmuseum, Middelfart 2001.
GRANTS AND PROJECT FUNDING
Statens Kunstfond - Legatudvalget og projektstøtteudvalget (2019 (arbejdslegat til Tine), 2016, 2014 (tre årigt arbejdslegat til Tine), 2013, 2011, 2010, 2009, 2008, 2006, 2004, 2003, 2002, 2001)
Danmarks Nationalbanks Jubilæumsfond af 1968 (2016, 2011, 2010, 2009, 2008, 2003, 2001)
Danish Crafts (2013, 2011, 2010, 2009, 2008, 2007, 2002)
Esther og Jep Finks Mindefond for Arkitektur og Kunsthåndværk (2013)
Annie og Otto Johs. Detlefs keramikpris (2012)
Grosserer L.F.Foghts Fond (2008) Københavns kulturfond (2001) Carlsbergs idé legat (2001)
Statens værksteder for kunst og håndværk (2021 og 2001) Kulturministeriets Udviklingsfond (2000)
Ny Carlsberg Fondet (1999) Politikenfonden (1999)
LUNAR CONCRETE
Karen Harsbo & Rikke Luther DK
EXHIBITION 27 August – 3 October 2020
Lunar Concrete - About moon-regolith through 3Dprint and earth minerals
Research project on space and 3D-ceramic print v. Karen Harsbo (Ceramic Lab) and Rikke Luther (visual artist / PhD project), Royal Danish Academy of Fine Arts, School of Visual Arts, Copenhagen.
It is interdisciplinary artistic research, linked to Si-Fi, military, political, technological development, aerospace industry. A practical research of the notion of the material moon-regolith through 3D printing and earth minerals.
Karen Harsbo and Rikke Luther's project investigates Lunar Regolith, both as material and input to investigate the forces that are interested in space expansion; science, resource extraction and racing for new territories.
Photo 1: Test with Lunar Regolith simulant, 2019.
There is great interest in regolith, and experiments are being made with many possible applications, such as printing buildings on the moon, 3D-printing tools and other functional equipment and extracting oxygen (contains 45% oxygen).
Photo 2.
Print test in regolith simulant at ESA, Germany, 2019
They have visited ESA (European Space Agency) and JAXA (Japan Aerospace eXploration Agency) to hear about their plans and research, in particular about the idea of exploiting regolith and possible buildings in space.
They have also visited WASP in Italy, which is working to improve living conditions on Earth through 3D-printed houses in clay.
Photo 3.
3D print test in clay at WASP, Italy, 2019
The project's outputs include seminar presentation, teaching courses at the Academy of Fine Arts and Rikke Luther's film: Concrete: The Great Transformation.
Grateful thanks to The Danish Art Foundation for project funding in 2020.
LUNAR CONCRETE - Text by Karen Harsbo and Rikke Luther
We are in oxygen low water. We are still battered by waves from the 2008-financial crisis. In our time, democracy is aggressively interrogated from many different perspectives, which in turn determine the contexts of artistic action and research.
From one side, the concept of ‘Carbon Democracy’ maps democracy’s entwined relationship to the economies of material extraction, power, and the planetary fact of ‘climate collapse’ [Mitchell, Carbon Democracy]. From another, the concept of ‘Post-Democracy’ maps out the highs and lows of democratic agency.
Here, the peaks of democratic engagement in the 20th century are being levelled down by an era of rising economic and political inequality – a process that occurs both within nation states and between the nation states of the ‘developed’, and ‘developing’, worlds. In parallel, the political power of democracy is increasingly decentralised and weakened, only for that power to be re-centralised in the private boardrooms of post-national corporations.
And, while this process has occurred, our climate has been warming.
Space is full of stories.
And there are many ‘spaces’. Those images of coherence by which we navigate our lives, are rooted in the perspectives of particular places, social relations, history and time [Massey, For Space].
The spaces of landscape, housing and urban life, and the materials we extract to support that version of life, are crisscrossed with human power relations.
We look on a concrete building, and on its material surfaces and interior spaces, and we are met by the 20th century ‘extraction economy’ that gave us the concrete architectures of democracy.
Or perhaps we see the environmental destruction concrete entailed.
Or perhaps we see humankind’s deep space future, a late 21st concrete modernism built on the moon or passing asteroids, as envisaged by advocates of ‘The New Space Industrial Age’.
The confluence, and divergencies, of these stories of habitation have affected how we think of planetary space, environmental change, and emergent climate chaos.
The technological possibility of 3D printing lunar concrete, holds out the possibility of stabilising, and then exporting, current modes of political economy into a space future, by envisaging the earth as merely a set of exhaustible economic assets.
Outer space here takes on the dynamics of the earthly UN Global Commons – ‘free’ spaces that are largely beyond the democracy of nation states and the effective regulatory grasp of international law.
Technological and military organisation have long been extensions of the existing power of the monarch and state into new territories, material and human support for the search for private profit. Meanwhile, back at the planetary level, the progressive associations of concrete Modernism have run into the wall: progress is now encircled by increasingly ‘unseasonal’ weather patterns, and undermined by the daily media outpouring of post-democratic political sentiment. Concrete culture now echoes the mid 20th century observations of Karl Polanyi. But when capitalism faces off against democracy today, it chooses what Colin Crouch dubbed ‘post-democracy’, before stretching itself out across future space.
KAREN HARSBO (b. 1963, Japan) Associate professor at the Royal Danish Academy of Fine Arts, Visual Arts Schools, where she has for a number of years taught and researched ceramics in an artistic context, alongside a ceramic, experimental practice. SELECT EXHIBITIONS Charlottenborg Art Gallery, Vejen Art Museum, Silkeborg Art Center, Copenhagen Ceramics, Vejen Art Museum, SAK, Round Tower Gallery, Royal Copenhagen Porcelain, CLAY Denmark's Ceramic Museum. CURATED several exhibitions focusing on ceramic art. ARTISTIC RESEARCH PROJECTS in DK and England, e.g. 'Mediated Matter' and 'Topographies of the Obsolete'.. www.karenharsbo.dk
RIKKE LUTHER (b. 1970) Visual artist, PhD study v. The Royal Danish Academy of Fine Arts, Visual arts students, PhD project title: Concrete Aesthetics, From Universal Rights to Financial Post-Democracy. Co-founder of the artist groups Learning Site and N55. SELECTED EXHIBITIONS GIBCA / Gothenburg International Biennial for Contemporary Art, Aarhus Kunsthal, CPH: DOX, Kunsthall Trondheim, MIT / US, Bienal de São Paulo / Brasilien, Galerija Nova / Croatia, James Center for the Arts, Woodstock, US. TEACHED AND LECTURE on educations at home and abroad. PUBLISHED MITpress, Half letter Press, RSA publication and Pluto Press, UK.. www.rikkeluther.dk
Photo 4. JAXA, 2019.
The Moon was created by the Earth when the early Earth was hit by a larger object in the sky and the violent collision pushed material into space, which gathered to the Moon. The surface material, regolith, can be compared to basalt, which is also found on earth as a remnant of volcanic eruptions.
KAREN HARSBO - SELECTED PREVIOUS PROJECTS AND EXHIBITIONS
The Utopian Gardener, Cobra-room at Sophienholm, 2018
Mediated Matter, Charlottenborg Gallery, 2017
Ane Galeri - Ancestral Gallery, Art Center Silkeborg Bad, 2015
Topographies of the Obsolete, British Ceramic Bienniel, Stoke on Trent, UK 2013
Exploring the site specific and associated histories of post-industry
Entropisk Topologi, Award by Danish Art Foundation, Ann Linnemann Gallery, 2013
Platform, SAK – Art Gallery, Svendborg, 2012
RIKKE LUTHER - SELECTED PREVIOUS PROJECTS AND EXHIBITIONS
ESA, 3D mud-print for planned film:
Concrete: The Great Transformation
Part of this exhibition
Corruption - We Lost Control Again
Exhibition, Kunsthal Aarhus, Denmark, 2019
Rikke Luther & Mikkel Kaldal
JapanConcreteMountain
SimulatedRegolithCologne
BIOGRAPHIES
KAREN HARSBO
www.karenharsbo.dk
Karen Kitani Harsbo, Born in Japan. Lives and work in Denmark.
Artist, ceramist, associate professor at Royal Danish Academy of Fine Art.
EDUCATION
1982-87 Danish Design School, ceramics and glass.
SELECTED EXHIBITIONS
2019 Dronninglund Kunstcenter, ”Entangled”
2018 Cobra-rummet v Sophienholm, ”Den Utopiske Gartner”
2017 Kunsthal Charlottenborg, ”Mediated Matter”.
2016 Galleri Houcon, “KælderKællinger”
2016 Huset I Asnæs, Udstilling med Morten Modin og Anne Mette Schultz
2016 Skovhuset, “Pathways”
2015 Silkeborg Bad Artcenter, ”Sanatorium”
2014 Copenhagen Ceramics, ”Out and Back” with Marianne Krumbach
2014 Bornholms Art Museum, ”European Ceramic Context”
2014 Ceramic House Gallery, UK, ”Contemporary Danish Ceramics”
2014 Gammelgaard, ”EKKO”
2013 Vejen Art Museum, ”Betroet Tvivl”
2013 British Ceramic Bienniel, Stoke on Trent, UK
2013 Galleri Ann Linnemann, “Entropisk Topologi”. Award by Danish Art Foundation
2012 SAK, Svendborg, “Roommates”
2011 Guldagergaard, “Fire-friends”
2010 Galleri Ann Linnemann, “Happenstance” with Neil Brownsword
2009 The Japanese Embassy “Japan Rejse”
2008 Bispegården, Kalundborg
2008 Sculpture Bienale. Kings Garden, Copenhagen
2008 Inner Mongolia Art Museum, Hohot, China
2007 Yalu River Art Museum in Dandong, China
2005 Marienlyst Castle, Helsingor, ”Once upon a time…”
2005 Round Tower Gallery, “Reflections”
2004 Grønbechsgaard, Hassle, Bornholm. ”Porcelain”
2003 Vejen Art Museum, ”Bageværk”
2003 Royal Copenhagen Porcelain and Marienlyst Castle,”The White Gold”
2003 The Danish Ceramic Museum CLAY, ”Network”
2003 Marienlyst Castle,” Øjeblikkets Rum”
2000 Trapholt Museum, Keramiktrienial
1999 Charlottenborg, Spring Exhibition
1998 Charlottenborg, Spring Exhibition, Den Frie;KE, and VK-exhibition
1997 Den Frie; Artists Autum exhibition og VK-, price-winner
CURATED
2017 ”Mediated Matter” m M.E.Andersen, Kunsthal Charlottenborg
2013 ”Betroet Tvivl”, Vejen Art Museum
2011 “Magic of Clay – Ceramics in Int. Contemporary Art “, Gl.Holtegård, co-curated
2005 ”Once upon a time…”, Marienlyst Slot, Helsingør,
2003 ”The White Gold”, Royal Copenhagen and ”Bageværk”, Vejen Art Museum
ARTISTIC RESEARCH PROJECTS
2019- 20 ”Lunar Concrete”, m Rikke Luther. Måne regolith og 3D print
2014-16 ”Mediated Matter”, projekt på Kunstakademiet om 3D-print og digitalitet
2013-14 ”Topographies of the Obsolete”, internationalt projekt med N, DK, D, UK
PUBLIC WORK (selected)
2009 Urban-planen, Amager, ” CrossOver” .
2006 Østerhøj, Ballerup. “Udsigtstrappen, Promenade rampen og Stenhavestien”
2005 Eggerslevmagle School, projekt by group K+, Skælskør
GRANTS AND AWARDS
2013-15 Award by the Danish Arts Foundation
2003 Anne Marie Telmanyi født Carl-Nielsens Fond
1991 Denmarks Nationalbanks Jubilæumsfond af 1968 - Ellen & Knud Dalhoff Larsens Fond
RIKKE LUTHER
www.rikkeluther.dk
Phd researcher at Institute of Art and Culture (IKK), Copenhagen University, Danish Royale Art Academy, and ACT.
EDUCATION
2017-2020 MIT program in Art, Culture and Technology, School of Architecture and Planning,
Massachusetts Institute of Technology, Cambridge, MA, US
1991-1998 The Royal Danish Art Academy
2004-2015 Founder of Learning Site
1999-2003 Co-founder of N55
PART TIME/ HONORARY POSITIONS - Selected Public Talks, Guest Lectures, Symposia and teaching
2018 Nordic Geography Doctoral Network, Thinking Spatiality: Cities, Nature and Society, Lund University, SE
2018 WERN2018 – World-Ecology Research Network Conference, Helsinki University, Helsinki, FIN
2018- Affiliate at the MIT program in Art, Culture and Technology, School of Architecture and Planning, MA, US
2017-18 The Eco Commons.. In the Time of Messed Up Democracy, Danish Royal Art Academy, Copenhagen, DK
2017 Collaboration and Community-Building in Contemporary Art in Japan and Denmark, IKK, University of Copenhagen, DK
2016 Zooetics, Bozar - Center for Fine Art Brussel, Belgium
2015 Public Place in it ́s Melt Down Area, Towards Civic Art, MIT program in Art, Culture and Technology, (ACT) School of Architecture and Planning, Massachusetts Institute of Technology, Cambridge, US. Teacher/speaker
2015 KHIO, Art & Public Space, Oslo, N. Teacher and Guestspeaker
2014 Design as Survival, Resistance, and Transformative Action, Harvard University, Graduate School Design, Boston, US. Guestspeaker
2013/05/01 Royal Swedish Academy of Arts, Stockholm, Sweden. Teacher and Guestspeaker
2010 Creative Time Summit, Cooper Union, New York, US
2010 The Politics and Aesthetics of Organization, University of St. Gallen, Switzerland
2006/05/01 School of the Art Institute of Chicago, US. Guestspeaker
2005 Cátedra Arte de Conducta, University of Havana, Cuba
PROFESSIONAL TEACHING APPOINTMENTS
2007-13 Professor, DJK (The Academy of Jutland) DK
2012-13 Guest Professor, Haute École D'art de et design Genève, work.master, MA
2007 (Fall) Guest Professor, The Sculpture Department, The Royal Danish Art Academy, DK
SECELECTED EXHIBITIONS AND PROJECTS - since 2016
2019 GIBCA /Göteborg Ineternational Biennal for Contomporary Art, (Lisa Rosendahl), SE
2019 Corruption: We Lost Control Again, Aarhus Kunsthall, (Jacob Fabricius), Aarhus, DK
2019 CPH:DOX* Copenhagen International Documentary Film Festival /Next:Wave, Copenhagen, DK
2018 Rivers of Emotion, Bodies of Ore, Kunsthall Trondheim, (Lisa Rosendahl), Trondheim, N
2018 Aesthetics of Persuasion, (Linda Weintraub), Woodstock Byrdeliffe Guild Kleinert/
James Center for the Arts, Woodstock, US
2018 In Our Present Condition, (Gediminas Urbonas, Lars Bang Larsen, Laura Knott), MIT, Cambridge, US
2016 Living in the End Times, (Katharina Stenbeck), Galerija Nova, Croatia
2016 Mesures of Uncertainty, 32nd Bienal de São Paulo, , São Paulo, Brazil
(Jochen Volz with Gabi Ngcofo, Júlia Reboucas, Lars Bang Larsen)
SELECTED WRITINGS AND PRINT PUBLICATIONS
2017 Sand in the Architecture of Democracy, paper
2017 Public Space - Lost and Found, Gediminas Urbones & Ann Lui (eds.,), MIT Press, Boston, US
2016 Sound Art, Sound as a Medium of Art, (ed. Peter Weibel), text by Brandon Labelle, MIT Press, Boston, US
2014 An Edge Effect/Art & Ecology in the Nordic Landscape, (ed. Bonnie Fortune), Half Letter Press, US
2012 Architectural Inventions - Visionary Drawings, Eds. Bua and Goldfarb, Laurenceking, US
2010 Dark Matter - Art and Politics in the Age of Enterprise Culture, G.Scholette, Pluto Press, UK
2010 Kritische Komplizenschaft/Critical Complicity, edt. L. Mazza / J. Moritz, Schlebrügge.Editor, Austria
2006 LAND, ART: A Cultural Ecology Handbook, ed. Max Andrews, RSA publication, London, UK
