Ingrid Halland

• Halland, Ingrid (2024). Hypoxic Hypoxia: Or Error Earth, 1972. Log. ISSN 1547-4690. 60, s. 41–50.
• Halland, Ingrid (2024). Material Circulation by Design: From Mining Modernism to Radical Reuse. I Callejas, Luis; Tandberg, Jørgen Johan; Atak, Tulay & Scelsa, Jonathan (Red.), Pedagogical Experiments in Architecture for a Changing Climate. Routledge. ISSN 9781032398105. Vis sammendrag

  This book presents a series of pedagogical experiments translating climate science, environmental humanities, material research, ecological practices into the architectural curriculum. Balancing the science and humanities, it exposes recent pedagogical experiments from renown educators, while also interrogating a designer’s agency between science and speculation in the face of climate uncertainty. The teaching experiments are presented across four sections: Abstraction, Organization, Building, and Narrative, exposing core parts of an architect’s education and how educators can simultaneously provide fundamental skills and constructive literacy while instigating environmental sensibilities. Chapters cover issues such as an unstable hydrosphere, water infrastructure, remediating materials, methods of disassembly and adaptive reuse, as well as constructing new aesthetic categories of climate change, and implementing oral histories of construction, among many others. Written and edited by expert design educators actively engaged in experimenting in new forms of pedagogy, this book will be of great use to architecture instructors at all levels looking to renew their teaching practices to more directly address the climate emergency. It will also appeal to those academics across the built environment interested in the ways design can affect and adapt to climate change.

• Halland, Ingrid (2023). Planteornamentikk, kopier og brudd: Om William Morris-rommet i Nordenfjeldske kunstindustrimuseum, cirka 1900. I Tore, Kirkholt & Spjøtvold, Morten (Red.), Jens Thiis og kunstens dekorative prinsipp. Museumsforlaget AS. ISSN 9788283051209. s. 45–70.
• Halland, Ingrid & Rossi, Stian (2023). Upcycled regionalism: The Aesthetics of Geopolymer Concert. I Ramsgaard Thomsen, Mette; Ratti, Carlo & Tamke, Martin (Red.), Design for Rethinking Resources . Springer. ISSN 978-3-031-36553-9. s. 1–10. doi: https:/doi.org/10.1007/978-3-031-36554-6_1.
• Halland, Ingrid (2023). Seeds for New Beginnings? Ecological Uncertainty, Blurry Ideology, and Speculative Design at the Universitas Symposium, 1972. Journal of Design History. ISSN 0952-4649. 37(1), s. 70–85. doi: 10.1093/jdh/epad040.
• Halland, Ingrid (2023). Displaying Deep Surfaces: Introducing a field and a method. Metode (online). ISSN 2704-0550. 1(Deep Surface).
• Halland, Ingrid & Johnslien, Marte (2023). “With-On” White: Inconspicuous Modernity with and on Aesthetic Surfaces, 1910–1950. Aggregate. doi: 10.53965/CLXI6947. Fulltekst i vitenarkiv
• Halland, Ingrid (2020). The Unstable Object: Glifo, Blow and Sacco at MoMA, 1972. Journal of Design History. ISSN 0952-4649. 33(4), s. 329–345. doi: 10.1093/jdh/epz051. Fulltekst i vitenarkiv
• Halland, Ingrid (2019). Being Plastic. Log. ISSN 1547-4690. 47.
• Halland, Ingrid (2019). Arkitekturteoriens nye relevans. Arkitektur N. ISSN 1504-7628. Fulltekst i vitenarkiv
• Halland, Ingrid (2019). Beholder: or, the Unthought’s Negation. An Essay on Johanne Hestvold’s Sculptures , Sol og Vår i Januar / Sun and Spring in January . Astrup Fearnley Museet. ISSN 978-82-93654-13-1. s. 37–60.
• Halland, Ingrid (2018). (V)endepunkt: Plastikk og plastisitet i 1972/3072. I Bjerregaard, Peter & Kverndokk, Kyrre (Red.), Kollaps. På randen av fremtiden.. Dreyer Forlag A/S. ISSN 9788282654234. s. 109–119.

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• Schnell, Alf Jørgen & Halland, Ingrid (2023). På sporet av den tapte fremtid: Intervensjoner i norsk urbanisme og modernisme . ROM forlag. ISBN 978-82-690181-7-2. 240 s.
• Halland, Ingrid (2021). Ung Uro: Unsettling Climates in Nordic Art, Architecture and Design. Cappelen Damm Akademisk. ISBN 978-82-02-71234-1. 156 s. Vis sammendrag

  How can the unsettling climates of our times be understood? How can art,architecture, and design that engages with the complexities of our current age be analysed and criticised? Etymologically, the Norwegian word uro carries a double meaning: it can denote both ‘disquiet and unease’ as well as ‘riot and disturbance’. The word stems from the Old Norse úró and is used to describe political turmoil, social disorder, and a psychological state of restless anxiety. Thus the title of this anthology, Ung Uro (literally ‘young unrest’), intimates the paradoxical tension between describing our new geological condition – the Anthropocene – and referring to the reactions this condition provokes. In Ung Uro. Unsettling Climates in Nordic Art, Architecture and Design, thirteen young writers, critics, and art historians examine how Nordic visual art, architecture, and design relate to this new state of unease. Their topics span from early 20th century landscape painting to contemporary bio-acoustics, from Snøhetta’s energy-positive architecture to the Sami chant yoik, and from IKEA showrooms to fungi and bees as co-creators of artistic work. The empirical material consists mainly of specific exhibitions, artistic projects, and related events that took place for the most part in Norway from 2018 to 2020, and therefore the book is also a record of critical issues at stake in Nordic contemporary art and culture in the late 2010s. All those with an interest in contemporary art, design, and visual studies, including students, will find this book valuable.

• Johnslien, Marte; Skeide, Cecilie & Halland, Ingrid (2018). A Square on A Sphere. Uten tittel. ISBN 978-82-93502-22-7. 127 s. Vis sammendrag

  Utgitt til utstillingen med samme navn i Lillehammer kunstmuseum 20. oktober 2018 - 24. februar 2019. Arbeidene inngår i kunstnerens ph.d.grad i kunstnerisk utviklingsarbeid ved Kunsthøgskolen i Oslo. I denne boken presenteres kunstnerskapet til Marte Johnslien. Gjennom ulike kunstneriske metoder, utforsker hun sider ved naturvitenskap, religion, politikk og historie som kan gi oss et annerledes blikk på verden. Uttrykksformene er mange og spenner fra skulptur, maleri og keramikk til installasjoner, arkitektur og foto. Boken utgies i forbindelse med utstillingen A square on a sphere på Lillehammer Kunstmuseum, som handler om sammenhenger - om vår tilknytning til materialer, til historien og til naturen. Tekster av Ingrid Halland og Cecilie Skeide. Parallell tekst på norsk og engelsk.

• Skeide, Cecilie; Skeide, Cecilie & Halland, Ingrid (2018). A Square on a Sphere: Marte Johnslien. Uten tittel. ISBN 9788293502227. 128 s. Fulltekst i vitenarkiv

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• Halland, Ingrid (2024). Det som ligger klart for hånden.
• Halland, Ingrid (2024). Hvilke estetiske verdier fremmer lokale materialer og historier i vår høyteknologiske samtid? .
• Halland, Ingrid (2024). Deep Surface: An Ethical Theory of Materiality.
• Halland, Ingrid (2024). Unsettling White: How Modernism Made the Surface Invisible.
• Halland, Ingrid (2024). Research-by-display: Ethics, Aesthetics, Exhibitions.
• Halland, Ingrid (2024). On Earth, In Air, With Waste.
• Halland, Ingrid (2024). Titanium Dioxide: An Arts-Based Archeology of an Unsettling Pigment.
• Vinje, Petrine; Oredsson, Jakob & Halland, Ingrid (2023). Conversation with Ingrid Halland, Jakob Oredsson, Petrine Vinje on artistic research, and the exhibitions Surfacing Solids / Symbiotic Stories at Galleri F15, Moss Galleri F15, Moss 19.01.23 .
• Halland, Ingrid (2023). Grunn forskning. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid & Johnslien, Marte (2023). TiO2 Synergies: Methods in arts-based humanities .
• Halland, Ingrid (2023). A Nordic Revolt Against ‘Ugly’ Modern Architecture. [Avis]. Bloomberg.
• Sperlinger, Michael; Kvamme, Morten; Halland, Ingrid & Christensen, Jan (2023). Panel discussion for seminar on Nasjonale Turistveger.
• Halland, Ingrid & Johnslien, Marte (2023). TiO2 Prøvefelt.
• Halland, Ingrid (2023). Is White Paint Racist? Archival Gaps and Public Participation as Methods in Art Historical Research.
• Halland, Ingrid (2023). Sustainability needs to look different. [Internett]. The University of Bergen.
• Halland, Ingrid (2023). Restless: Towards a New Art Ethics.
• Halland, Ingrid (2023). Fremtidens utdannelsesinstitusjon. Vagant. ISSN 0802-0736.
• Halland, Ingrid (2023). 2001: En speiderodyssé , På sporet av den tapte fremtid: Intervensjoner i norsk urbanisme og modernisme . ROM forlag. ISSN 978-82-690181-7-2.
• Halland, Ingrid (2023). From White to Earth.
• Halland, Ingrid (2023). – Akademikere har mye å lære av kunstfeltet. [Fagblad]. Kunstkritikk.
• Halland, Ingrid (2023). Går hardt ut mot media etter rasismefokus. [Fagblad]. Khrono.
• Halland, Ingrid (2023). Fox News: «Norges regjering finansierer forskning for å finne ut om hvit maling er rasistisk.» – Upresis, svarer forskningsleder. [Avis]. Aftenposten.
• Halland, Ingrid (2023). Livmorer og nanomaterialer. [Internett]. Arkitektnytt.
• Halland, Ingrid & Johnslien, Marte (2023). Vi seier ikkje at Noreg har lansert rasistiske haldningar. [Avis]. Morgenbladet.
• Halland, Ingrid & Johnslien, Marte (2023). Eit norsk industrieventyr endra utsjanaden på verda. [Avis]. Morgenbladet.
• Halland, Ingrid (2023). Why surfaces, why now? Introduction to Metode's first volume 'Deep Surface' .
• Halland, Ingrid (2023). Artistic Research - A Paradox? On Methods and Communication with Ingrid Halland, Jakob Oredsson and Petrine Vinje.
• Halland, Ingrid (2023). Får 12 millioner skattekroner til å forske på hvordan Norge gjør verden «hvitere»: – Det aller tåpeligste jeg har sett noen gang. [Internett]. Nettavisen.
• Halland, Ingrid (2022). Er klimaprotestene negative for kunsten og museene? Nei, mener to kunsthistorikere . [Internett]. Tidens Ånd.
• Halland, Ingrid (2022). Norway’s ilmenite: where history and innovation combine. [Fagblad]. Norge Mining.
• Halland, Ingrid (2022). I Sokndal kom inspirasjonen til det som ble et verdensfenomen: Nå startes forskningsprosjekt med millionbudsjett for å lære mer om oppfinnelsen. [Avis]. Dalane Tidene.
• Thon, Torgeir Holljen & Halland, Ingrid (2022). Vil ha mer kunstnerisk forskning. [Fagblad]. Arkitektnytt.
• Halland, Ingrid (2022). Ordet «kvit» er ikkje i seg sjølv rasistisk, sa professoren. Då vart det bråk. Khrono.no. ISSN 1894-8995.
• Halland, Ingrid & Johnslien, Marte (2022). Kunsthistorie vs kunstnerisk forskning? .
• Halland, Ingrid (2022). Design in museums 2022: Towards an ethical design aesthetic . Formkraft. ISSN 2597-3177.
• Halland, Ingrid (2022). Design i utakt. Morgenbladet. ISSN 0805-3847.
• Halland, Ingrid (2022). 'Hånden bag det hele' av Heidi Laura. [Internett]. Formkraft.
• Halland, Ingrid (2022). Design, Anti-Design and Speculative Design, c. 1970 .
• Halland, Ingrid (2022). Book launch conversation with Anna Ulrikke Andersen.
• Halland, Ingrid (2022). From White Modernism to Human Tissue: The Toxic Entanglements of Titanium Dioxide.
• Halland, Ingrid & Johnslien, Marte (2022). The Materiality of White.
• Halland, Ingrid (2022). Material Withdraw: How Modernism Made the Surface Invisible. Vis sammendrag

  In 1910 a Norwegian chemist gazed through a microscope to study a white surface. There was something different with this white, the chemist observed. The never-before-seen titanium pigment was made from the chemist’s own patented innovation, the inorganic chemical substance titanium dioxide. The chemist was probably unaware of the far-reaching global implications the titanium pigment would come to have on his environment in the forthcoming century; the chemical substance would radically change objects and environments in architecture and design by making surfaces whiter, smoother, brighter, and more opaque. In her influential book Vibrant Matter (2010), Jane Bennet points out that Western societies seem to lack the ability to read material surroundings. In our progressively digital realities, material surfaces will become more unnoticeable, less sensorial, and increasingly insignificant. This talk tells the story of how the surface in architecture and design came to be thought of as immaterial. The talk traces the history of the Norwegian chemist Dr. Peder Farup (1875 – 1934) and his two innovations titanium white and titanium dioxide in order to show how modernism’s aesthetic and ideological ideals of permanence, progress, and homogenization were materially and visually inscribed into and onto objects and environments—making the surface inconspicuous and difficult for us to read. Prompted by the urgency to discuss surfaces in relation to design and sustainability, and in order to change ethical attitudes towards use and reuse of materials, this talk proposes that design discourse can forge bonds with environmental history, aesthetic philosophy, and artistic research to unearth unseen material practices. Illuminated by archival research, aesthetic theory, and art and crafts practices, the surface can become visible, present, and readable.

• Halland, Ingrid (2021). Debatten går, kan man bytte navn på kunstverk? Tja, sier kunsthistorikere. Khrono.no. ISSN 1894-8995.
• Vinje, Petrine; Bull, Synne Tollerud; Halland, Ingrid & Steinsvåg, Gjertrud (2021). Objective Enactive - Artist talk .
• Halland, Ingrid (2021). Den grønne kuben. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid & Johnslien, Marte (2021). How Norway Made the World Whiter.
• Halland, Ingrid (2021). Crafting Design Theories for Change.
• Halland, Ingrid (2021). Er byen en hjerne? Kybernetikk, globalisering og urbanisme ca. 1970.
• Halland, Ingrid (2021). A History of Systems and Ethics.
• Halland, Ingrid (2021). White Entanglements: On Teaching Titanium White.
• Halland, Ingrid (2021). From White Walls to Human Cells: The Surface Sustainability of Titanium Dioxide, 1916-Present .
• Halland, Ingrid & Bull, Synne Tollerud (2021). Artist talk by Petrine Vinje: “Objective Enactive”.
• Bull, Synne Tollerud; Miletic, Dragan; Vinje, Petrine; Pettersen, Christine; Halland, Ingrid & von Spreter, Stephanie (2021). Urban Ecologies After A.I. Vis sammendrag

  Bull.Miletic is currently developing an artistic research project at ROM for Kunst og Arkitektur in Oslo titled Ecologies After A.I. The project is centered on different conceptions of urban intelligence in the Anthropocene from an artistic research and art historical perspective.

• Halland, Ingrid (2020). Systems of Delos: Biology, Urbanism, Epistemology.
• Halland, Ingrid (2020). Deep Ecology: History, Theory, Ethics .
• Halland, Ingrid (2020). Livsfugen i Kristiansand.
• Halland, Ingrid (2020). Negation and Speculation: On Critical Design.
• Halland, Ingrid (2020). Forskning for alle. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid (2020). Relasjonell skulptur. Emosjonell kunstner. Kunsthåndverk. ISSN 0333-1059.
• Halland, Ingrid (2020). Air Conditions: Marte Eknæs - Forms of Flexibility .
• Halland, Ingrid (2020). Fra hvitt til jord: Samtale med Marte Johnslien.
• Halland, Ingrid (2019). Klima for kritikk (arrangør av seminaret og leder av paneldebatt).
• Halland, Ingrid (2019). Are We Plastic? Art and Thinking After Plastic.
• Halland, Ingrid (2019). Are We Plastic? Art and Thinking After Plastic.
• Halland, Ingrid (2019). Notes on Flexibility: On Radical Inflatables, Design Thinking, and Marte Eknæs' 'Air Body'.
• Halland, Ingrid (2019). Notes on Flexibility.
• Halland, Ingrid (2019). Degrowth Tendencies of the Norwegian Deep Ecology Movement.
• Halland, Ingrid (2019). Kunstfilosofi etter relasjoner. Contemporary Art Stavanger.
• Halland, Ingrid (2019). Unbroken Return.
• Halland, Ingrid (2019). Plattform for ung kunst og kritikk?
• Halland, Ingrid (2019). Om Johanne Hestvolds 'Beholdere' og nyere kunstfilosofi.
• Halland, Ingrid (2019). The Homogeneous Community. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid (2019). Purisme nå. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid (2019). Delos Ouroboros: Cybernetics/Brain/Epistemology.
• Halland, Ingrid (2019). “The Universitas 1972: 'Radical Left' and 'Right-Wing Technocrats'”.
• Halland, Ingrid (2018). Notes on Ecology, Environmental Humanities, and Inescapabilty.
• Halland, Ingrid (2018). Den norske popkunstens uventede kraft. Kunstkritikk.no. ISSN 1504-0925.
• Halland, Ingrid (2018). Are We Plastic? On Speculative Design and Gaetano Pesce's Plastic Bunker from the Year 3072.
• Halland, Ingrid (2018). Er Saccosekken farlig? [Avis]. Morgenbladet.
• Halland, Ingrid (2018). Why We Must Destroy the Environment.
• Halland, Ingrid (2018). 'Nothing better than a touch of ecology and catastrophe.' On Jean Baudrillard’s Attempt to Destroy the Environment, 1970.
• Halland, Ingrid (2018). (V)endepunkt. Kunst og tenkning etter postmodernismen.
• Funck, Lisbeth & Halland, Ingrid (2022). Becoming with Architecture: Making the Abstracted Space through Works and Words. Arkitektur- og designhøgskolen i Oslo. ISSN 978-82-547-0351-9.
• Halland, Ingrid (2018). Error Earth: Displaying Deep Cybernetics in "The Universitas Project" and Italy: The New Domestic Landscape, 1972. 07 Gruppen. Vis sammendrag

  Kan væren ha en form? Hva er forholdet mellom økologi og kybernetikk? Og hvilke ontologiske implikasjoner iverksettes av Sacco-sekken? Denne avhandlingen undersøker kybernetikk, økologi og ontologi i postmoderne design og arkitektur gjennom en undersøkelse av to banebrytende begivenheter på The Museum of Modern Art (MoMA) i New York City i 1972 kuratert av arkitekt Emilio Ambasz: Det interdisiplinære symposiet “The Universitas Project: Institutions for a Post-Technological Society” og utstillingen Italy: The New Domestic Landscape, to manifestasjoner av postmodernismens tidlige stadier. Avhandlingen foreslår at postmoderne arkitektur og design – for eksempel åpne, fleksible hjem for en dynamisk livsstil og oppblåsbare plastikkstoler – ikke bare kan forståes som en ny stilretning, en ny estetikk eller som uttrykk for nye oppfatninger av sosiopolitiske ideologier. Disse formene kan forstås som nye værensformer. Den første delen av avhandlingen diskuterer hvordan de nye værensformene utstilt på MoMA i 1972 materialiserer en ny form for ontologi; en økologisk form for kybernetikk som kan defineres som dypkybernetikk. Gjennom nye lesninger av luft-arkitektur, plastikk og begrepet “display” foreslår jeg at disse tre konseptene på en bemerkelsesverdig måte konkretiserer den dypkybernetiske ontologien. Ved å undersøke dypkybernetikk med utgangspunkt i Italy: The New Domestic Landscape og “The Universitas Project” viser avhandlingen hvordan tilsynelatende ulike ideologiske, politiske og kritiske posisjoner kan forstås som en felles posisjon: en total usikkerhet angående menneskers ontologiske status. Den andre delen av avhandlingen argumenterer for at materialiseringene av dypkybernetikk viser en farlig måte å forstå verden på. Fleksible, modulbaserte designløsninger og oppblåsbare plasikkstoler iverksetter en konseptuell virkelighetsmodell karakterisert av kontinuitet som i dagens klima av global kapitalisme og global oppvarming ikke lengre kan opprettholdes. Avhandlingen argumenterer for at verden må forstås uten kontinuitet, og at begreper som brudd, motstand og “errors” er avgjørende for å bryte ut av en farlig konseptuell virkelighetsmodell – en fare som er materialisert i Sacco-sekken.

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