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Andreas Knag-Danielsen
“Sorry. My signal is B3IG3” ft. Rina Eide Løvaasen


18:00-21:00, Saturday 1. October 2022

THE THIEF (Landgangen 1, 0252 Oslo, Norge)

Hosted by CABLE

B3IG3 and RAM gallery present “0L0P PL00 L0P0” featuring new works by Rina Eide Løvaasen in a one-night-only performance and exhibition experience that mixes the art world with the hotel world, drag and digital technology. Guided by CABLE, you are invited to experience works by Malmö-based artist Rina Eide Løvaasen (NO) in a suite at the THE THIEF hotel in the middle of Oslo city.


27. October - 26. November 2022

RAM galleri

Because I could not construct the Tunnel, 

it kindly constructed me. 

Does the Tunnel make you shiver? 

does it? 


Pay attention to the deep darkness. 

The deep darkness is the most mirrored skin color of all. 

Damp. Delusional. Deep. Darkness. 

Down, down, down into the darkness, gently it goes.  

The double. The twin. The parallelle sin... 


The land site that really digs. 

Above all others it excavates. Number six.  

Does the excavation make you shiver? 

Does it? 


I cannot help but stop. And look at the yellow, sweeping stairway. 

Now white-livered - and more than a thing,  

But I wonder. Is the sweeping stairway an irrational being? 


The cunning, celebrated cavern sings like a trapped hole. 

Never forget the tricky and artful celebrated cavern and it’s true. Soul. 


Because I could not construct the Tunnel. 

it kindly constructed me. 

Does the Tunnel make you shiver? 

Does it? 

“Sorry. My signal is bad” describes a person who apologizes that their reception signal is not good enough when using a telephone, internet or other form of electronic transmission. “Sorry. My signal is B3IG3" refers to the performative and curatorial project B3IG3 (read: beige) which has been the main focus of Andreas Knag-Danielsen's art practice for the past four years. B3IG3 is a nomadic project that consists of several parts, based on one-night-only events that mixes the art world with the hotel world and drag with digital technology. In the project, one or more artists are invited to exhibit in a hotel room. An avatar character guides the audience from the lobby up to the hotel room all wrapped up in elements from the tech and conference world. For Andreas, B3IG3 represents a feeling of post-human angst, where the phenomenon of "the uncanny valley"* is the catalyst for his approach to both his performance characters and contextual setting. Drag is used both as a tool and a form of reflection of the Western world's use of social media, where the hypothesis "is my digital self enough?" lurks beneath the surface. 


For the seventh event in the series, in collaboration with RAM gallery, Oslo had the opportunity to experience the B3IG3 universe on 1st of October 2022 at THE THIEF hotel. Based on submarine cables which, among many things, delivers internet to the whole world, new works were developed for the event. In close dialogue, Andreas and invited artist Rina Eide Løvaasen produced a series of objects consisting of glass and harness, digital prints and sound works as well as part of a colonial jellyfish in limestone, in addition to a new performance character under the name of CABLE. The event has now been transformed and further developed into an exhibition for RAM gallery, consisting of a video installation and elements from B3IG3 HQ. 


Andreas Knag-Danielsen (b. 1983, Bergen, Norway) works with digital media, performance, installation and video. His art practice explores the interrelationship between the human body and technology where he raises questions about identity, the internet and representation by using an interdisciplinary approach. In the last four years he has implemented the art of drag and make-up transformations into his work as well as working more with video and post-production using green screen, digital manipulation and social media as a space for experimentation. His art practice is constantly changing but will always be rooted in the idea of what it means to live in a human body in a post-human time, where he uses his own Queer body as a starting point. Since 2011 he has been collaborating with Arngrímur Borgþórsson as the artist duo Knaggi. Andreas Knag-Danielsen also works as a curator. During 2015-17 he worked for the artist-run gallery Galleri CC in Malmö (SE). In 2018 he started the performative and curatorial project B3IG3. Selected exhibitions include; Museum Anna Nordlander (SE), Gyldenpris Kunsthall (NO), Fotografiska (SE), Kunstnernes Hus (NO) and B3IG3 collaborations with Gallery Extra (SE), Rogaland Kunstsenter (NO), Entrée (NO) and RAM gallery (NO). @knagster 


Rina Eide Løvaasen (b. 1988, Porsgrunn NO) works transdisciplinary with monumental oil painting as a base. Here the painting must transcend its own genre to achieve its potential. The projects also include variations of mixed-media objects, video installation and performative productions. Several projects contain collaborations with other artists and professionals and thus the practice has gained a greater range of materials and media. Eide Løvaasen's research is used to build up a mythology of its own, with an interwoven network of references. The works are often physically and allegorically made up of segments. Some are made inaccessible, to enhance others. In this way they also consist of what’s missing. 


Eide Løvaasen has an MFA from Malmö Art Academy (SE) and is working towards solos at Belenius, Stockholm (SE); Babel, Trondheim (NO) and a public commission for Uppsala municipality (SE). Recent activity includes a solo at Kunsthall Grenland, Porsgrunn (NO) and participation in Public Art Agency Sweden’s touring show The Corona Collection. Previous works have been shown at LNM, Oslo (NO); Kunstnernes Hus, Oslo (NO); Malmö Art Museum (SE); Liljevalchs, Stockholm (SE) and Prague Quadrennial (CZ). @rinaeidelovaasen 


*In aesthetics, the uncanny valley (Japanese: 不気味の谷 bukimi no tani) is a hypothesized relation between an object's degree of resemblance to a human being and the emotional response to the object. The concept suggests that humanoid objects that imperfectly resemble actual human beings provoke uncanny or strangely familiar feelings of uneasiness and revulsion in observers. "Valley" denotes a dip in the human observer's affinity for the replica, a relation that otherwise increases with the replica's human likeness. Examples can be found in robotics, 3D computer animations and lifelike dolls. With the increasing prevalence of virtual reality, augmented reality, and photorealistic computer animation, the "valley" has been cited in reaction to the verisimilitude of the creation as it approaches indistinguishability from reality. The uncanny valley hypothesis predicts that an entity appearing almost human will risk eliciting cold, eerie feelings in viewers. Source: 


The project is supported by The Norwegian Arts Council and The Municipality of Oslo. 






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