Selected works – Jan Christensen

Jan Christensen
Amped (#19), 2023
Serigraphy, unique
28 x 28 cm
ATELIE

Jan Christensen
Painting Myself into a Corner, 2004-2023
Acrylic paint, installation

Odd Nerdrum
En blind sanger og to dansere, 1991-2001
Oil painting, 143 x 154.5 cm

Installation view: LOL – Humor i norsk kunsthistorie, 2023
Curated by Erlend Hammer
Haugar Kunstmuseum, Tønsberg
Photo: Øystein Thorvaldsen

Jan Christensen
Amped (#12), 2023
Serigraphy, unique
76 x 56 cm

Jan Christensen
Amped (#9), 2023
Serigraphy, unique
76 x 56 cm

Jan Christensen
The Silicon Sphere – Chapter 1 (Silisiumsfæren – Episode 1), 2022
Appropriation and re-edited film material
Superimposed 3-channel video installation, audio
28 minutes (various sequences, randomized loops)
Installation view: Spriten Kunsthall, Skien 2022

Jan Christensen
The Silicon Sphere – Chapter 1 (Silisiumsfæren – Episode 1), 2022
Digital collage, NFT
Spriten Kunsthall, Skien 2022

Marius Dahl and Jan Christensen
Akkord, 2019
Wall painting (acrylic paint) and lacquered steel structure
Wall painting: 1047 x 1049 cm Sculpture: 493 x 1398 x 4 cm
Curator: Jorunn Kraft Moe
Installation view: Bautaen Culture Centre, Børsa, Norway

Jan Christensen
Documenta 16 NFT Only, 2021
NFT
Foundation.app

Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was initiated by the artist, teacher and curator Arnold Bode in 1955 and is considered the most important international event of the art world. It represents a synthesis of the current situation of contemporary art practices, artistic discourses and curatorial approaches. Blockchain technology and digitization has revealed a new field of artistic expression, established new markets for art and reached new audiences. At the same time, it demands new thinking and theoretical approaches to fundamental issues regarding art, including topics such as originality, authenticity, ethics, technology and value. The artwork, manifested as a traditional text-based composition, proposes that Documenta 16 in 2027 might reflect such a situation, perhaps completely relocated to the metaverse, represented by non-fungible tokens, augmented reality and technology that is yet to be invented.

Hanan Benammar, Maria Sundby and Jan Christensen with others
A Call for Boycott as an Invisible Memorial, 2020 (ongoing)
A collective ongoing artistic boycott
Regjeringskvartalet, Oslo

Marius Dahl and Jan Christensen
Aperture, 2021
Sheets of Steni and Cembrit for the facade
12.7 x 14m + 7.2 x 14m
Nord-Aurdal ungdomsskole, Fagernes
Art consultant: Marit Arnekleiv

Jan Christensen
Ingenting for Norge, 2017
Acrylic paint, wall painting
Installation view, groupshow: “Jeg liker ikke at du mener at at jeg mener ting”,
Sagene Senter for Samtidskunst, Oslo 2021 (curated by Hanan Benammar)
(also featured in the photo are Andreas Hald Oxenvad and Anders Eiebakke’s works)

Marius Dahl and Jan Christensen
Båret av vinden, ført av strømmen, 2020
Welded steel, reinforced concrete, paint, wood and lighting
Public art project, Loftgårdsbrua, Otta, Norway
Curator: Viel B. Andersen

Jan Christensen
The Sentinel, 2019
Mobile sculpture (kinetic sculpture)
18 mm plywood, screws, glue, acrylic paint, acrylic varnish, ropes and hook. Height: 200 cm, horizontal perimeter: approx. 300 cm
Installation views: Local Reference Frame (The Sentinel), NoPlace, Oslo, 2019

Untitled, 2019
Canvas
Acrylic paint and spray paint
185 x 140 cm

Untitled, 2019
Canvas
Acrylic paint and spray paint
152 x 121 cm

Marius Dahl and Jan Christensen
Transformer, 2019
Sculpture, reinforced concrete and Corten steel
17 x 15 x 8,5 m
Lingenässkolan, Kristianstad, Sweden

Jan Christensen
Phantom (detail), 2019
White acrylic and varnish on plywood
110 x 110 x 55 cm
Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Visitant
Acrylic, spraypaint and varnish on canvas
140 x 185 cm
Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Visitant (detail)
Acrylic, spraypaint and varnish on canvas
140 x 185 cm
Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Eidolon, 2019
Acrylic, spraypaint and varnish on canvas
122 X 152 cm

Jan Christensen
Specter, 2019
White acrylic and varnish on plywood
125 x 80 x 90 cm
Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Shapeshifters (detail), 2019
Varnish on plywood
245 x 310 x 220 cm
Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Apparition, 2019
Acrylic, spraypaint and varnish on canvas
150 x 130 cm

Jan Christensen
Smooth Seas Don’t Make a Good Sailor, 2014
Bronze, black
Various dimensions (each approx. 12 x 15 cm)
Flexible floor installation (30 elements of cast bronze)
Edition: 2/3 + 1AP

Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Apparition (detail), 2019
Acrylic, spraypaint and varnish on canvas
150 x 130 cm

Installation view: Galeria Presenca, Porto, Portugal

Jan Christensen
Monologue, 2017
Installation, various dimensions
Sound system, mp3 player, light controller and bulb. Soundtrack: 11 min., 13 sec. (loop) Edition: 1/1

The work is based on a television interview by the journalist Ole Torp, as he forcefully questions the Norwegian artist Bjarne Melgaard. Melgaard’s replies are removed from the track and the statements remain like an angry rant against contemporary art as Torp continues to shout rhetorical questions about artistic practice and intent. The space is dimly lit, but the lightbulb flashes aggressively along with the voice of the journalist.

Installation views: Akershus Kunstsenter, Lillestrøm, Norway. Photo: Jan Christensen, Istvan Virag

Jan Christensen
Ingenting for Norge, 2018
Wallpainting, acrylic paint
Variable dimensions (approx. 100 x 300 cm)
Installation view: SUB, Akershus Kunstsenter, Lillestrøm (NO), 2018
Curators: Monica Holmen and Bjørn Hatterud
Photo: Jan Christensen

Jan Christensen
Ingenting for Norge, 2018
Wallpainting, acrylic paint
Variable dimensions (approx. 100 x 300 cm)

Grete Johanne Neseblod
WOW/MOM, 2018
Installation, flags

Installation view: SUB, Akershus Kunstsenter, Lillestrøm (NO), 2018
Curators: Monica Holmen and Bjørn Hatterud
Photo: Jan Christensen

Jan Christensen
An Expression of Nostalgia, 2018
Silkscreen, unique
69 x 55 cm
QB Gallery, Oslo

Jan Christensen
An Expression of Nostalgia, 2018
Silkscreen, unique
69 x 55 cm
QB Gallery, Oslo
Photo: Istvan Virag

Jan Christensen
An Expression of Nostalgia, 2018
Silkscreen, unique
69 x 55 cm
QB Gallery, Oslo

Jan Christensen
An Expression of Nostalgia, 2018
Silkscreen, unique
69 x 55 cm
QB Gallery, Oslo
Photo: Istvan Virag

Jan Christensen
An Expression of Nostalgia (detail), 2018
Silkscreen, unique
69 x 55 cm
QB Gallery, Oslo

Jan Christensen
Untitled (Hasenheide, Berlin), 2017
Analogue photography (35mm), inkjet print
68 x 88 cm (70 x 90 cm including frame)
Edition: 1/1 (unique)
Installation view, detail: Prosjektrom Normanns, UNTILED ART FAIR, San Francisco, US, 2018

Jan Christensen
Smooth Seas Don’t Make a Good Sailor (Chrome), 2015
Bronze, chrome
Various dimensions (each approx. 12 x 15 cm)
Flexible floor installation (30 elements of cast bronze)
Edition: 3 + 1AP
Various collections

Marius Dahl and Jan Christensen
Time as Matter, 2014
Oriented strand boards (OSB), plywood and pillows
Height: 436 cm, length: 754 cm, width: 461 cm
Installation views: Viborg Kunsthal, Viborg
Curator: Helene Nyborg Bay

Marius Dahl and Jan Christensen
Ned i fjæra (Opp i himmelen), 2016
Powdercoated aluminium, various colors
Height: 4.6 m, total running length: 108 m (approx. 500 sq.m)
Installation views: Kvernevik svømmehall, Stavanger
Stavanger kommune, Sagen AS, Stålteknikk AS, RMIG
Curators: Elin Melberg and Torunn Thrall

Jan Christensen
68825_final_final_endelig.ai, 2008
Canvas, digital print
450 x 2100 cm
Installation view: Akershus regional hospital/Nye Ahus, Lørenskog
Curator: Claes Söderquist

Jan Christensen
Still More Titles for Which I Don’t Know What to Make, 2009
Wall painting, acrylic paint
Height 600 cm. Each wall 500, 700 and 500 cm wide
Curator: Sven Beckstette
Installation views: Kubus Lenbachhaus, Städtische Galerie im Lenbachhaus und Kunstbau München, Munich
Photos: Ernst Jank

Jan Christensen
How Come You’re Never Around Anymore?, 2003
Stamp, imprint
Approx. 5 x 6 cm (imprint)
Unique edition of a stamp
Private collection

The owner of the work is entitled to produce unlimited imprints of the work for any occasion and suitable material.
The imprint is what should be considered for exhibition, while the stamp is to be kept for the holder of the work only.

Jan Christensen
Relative Value, 2007
10-EUR bills x 1000
Collage on canvas
200 x 400 cm
Installation view and detail: Sørlandets Kunstmuseum, Kristiansand
Private collection

Marius Dahl and Jan Christensen
7041, 2017
Modified mailboxes at a public housing complex for people with substance addiction
Steel, lacquer, cast rubber, labels
Curators: Anne-Tove Huse and Sandra Norrbin
List of labels for the modified mailboxes (Norwegian only): B. Rushane, G. Ribb, S. Kjære, K. Ylling, S. Purv, F. Asan, R. Ype, S. Truts
Installation views: Jarleveien 10, 7041 Trondheim

Jan Christensen
Untitled (Algiers), 2017
A series of 12 inkjet prints, framed. 43 x 33 cm each, including frame
Edition: 1/1 (unique). The work is accompanied by a signed Certificate of Authenticity
Installation view: Algeria (Extract of Perfumes), curated by Hanan Benammar,
Khartoum Contemporary, Oslo, 2017

Jan Christensen
Details: Untitled (Algiers), 2017
A series of 12 inkjet prints, framed
43 x 33 cm each, including frame
Edition: 1/1 (unique)

Jan Christensen
Man Around Town (No. 1), 2016
Ink on paper , 29.5 x 42 cm
Group exhibition: EKPGO, Tegnebiennalen 2016, Oslo
Curated by Ida Madsen Følling, Ottar Karlsen and Eirik Senje
Private collection

Marius Dahl and Jan Christensen
Assembly, 2015
Cor-Ten steel, built-in lights, drainage, reinforced concrete foundation
787 x 570 x 960 cm
Installation views: Nytt Østfold Sykehus (PNØ), Kalnes, Norway
Curator: Arne Revheim

“[…] Jan Christensen og Marius Dahls skulptur Assembly er ment å være en portal, en inngangsport til sykehuset, men selv om den er til å passere under og igjennom, bør den tolkes mer i metaforisk enn i konkret forstand. Assembly er en ambivalnet konstruksjon: Den er fra kunstnernes hånd ferdig, men ser alikevel ut som den er forlatt midt i bygge-prosessen. Er den noe som er i ferd med å bygges, eller er den noe som er halveis i en rivningsprosess? I sin halv-bygde tilstand ser den skjør og naken ut, men skulpturen er i virkeligheten sterk som et skipsskrog. Den har en utforming som ved første blikk kan utfordre vår sans for estetisk skjønnhet, men samtidig er den tuftet på noe av det vi opplever kjærest og tryggest i våre fysiske og sosiale omgivelser: det nære hjemmet, i form av et hus i sin mest tradisjonelle form. Assembly inviterer til tanker om det ambivalente også i våre liv. Sjelden føler vi sterkere på denne ambivalensen enn nettopp i møte med et sykehus, hvor den store livssyklusen utspiller seg hver eneste dag, hvor fødsel og død, sykdom og helbredelse er dette byggets innhold. Vi mennesker er på mange måter også som denne skulpturen, i en tilstand av tilblivelse og forfall, både sterke og svake. […]” – Arve Rød, utdrag frakatalogtekst (PNØ)

Jan Christensen
Relative Value, 2007
100 x 100-USD bills
Collage on canvas
80 x 101 cm
Private collection

Jan Christensen
I Will Never Make It!, 2000
Wall painting, acrylic paint
405 x 880 cm
Installation view: Høstutstillingen, 2003 – Statens 116. Kunstutstilling, Kunstnernes Hus, 2003
Collection: Leif Magne Tangen

Archive/old versions of the website 2001-2016 (some links might be missing)