Anne Katrine Senstad (b. 1967) is an interdisciplinary artist based between Oslo and New York. She was educated at Parsons School of Design and the New School for Social Research in New York, 1994, 1999. Her practice encompasses moving image and photo-based art, and spatial installation art encompassing large-scale neon sculpture environments and multi projections that transform the built environment.
She has exhibited widely internationally since the 1990's in museums, galleries, institutions, and festivals. Biennales include 55th and 56th Venice Biennale (respectively 2013 and 2015), Bruges Art and Architecture Triennale, and Prospect, New Orleans Biennial.
Her work is represented in private, corporate, and institutional collections. She is a member of The Film-makers Cooperative New York, ARS New York, Norske Billedkunstnere, Oslo. In 2025 she founded Temporal Spaces, an artist organized nomadic gallery and curatorial collective in New York.
Victor Olafsson (b. 1992, Oslo) is a Norwegian artist working across visual and spatial practices. His work examines the unseen structures that shape how we move, act, and perceive the world in everyday life. Drawing from architecture, sound, and ordinary environments, he considers how systems are formed, followed, and occasionally disrupted and how these systems influence personal experience.
He has recently exhibited at Vasli Souza (NO), Tommy Simoens Gallery (BE), SECONDroom (BE), Melk x Høyersten (NO) among others. Alongside his artistic practice, Olafsson continues to develop Pteron Studio (founded in 2022), an open platform working across art, design, and fashion. The studio extends his interest in staging and experimentation, allowing ideas tested in the studio to move into spatial and constructed environments.
MELK is excited to present two solo exhibitions by Anne Katrine Senstad and Victor Olafsson, marking the first time both artists exhibit with the gallery. Through distinct visual languages, the exhibitions explore processes of transformation, ambiguity, and the relationship between image, space, and perception.
In Topoemas, Senstad presents a new body of photo-collage works that revisit the spatial and poetic ideas of Mexican writer Octavio Paz and his experimental book of poems, Topoemas. Drawing from stills extracted from her video trilogy Chiasm of Lament I, II, III (2025) and the large-scale light sculpture series Elements (2018–), Senstad distills fragments of image and space into layered compositions where line, form, and trace converge. Through collage and reconstruction, photography becomes both material and method, translating ideas of spatial poetry, time, and perception into visual form.
In ABSOLUTE FAILURE, Olafsson presents new works spanning silver gelatin prints, giclée prints, and digitally printed textiles. The works emerge through processes where chance and control meet: some images appear through film glitches, while others develop through physical manipulation in the darkroom. Moving between abstraction and figuration, the exhibition reflects on moments of decision and deviation—suggesting how the systems and expectations that structure everyday life can shift when a different path is taken.
Together, the exhibitions bring forward two practices that engage with the instability of images and systems; one through poetic spatial translation, the other through material experimentation and the unpredictable behavior of photographic processes.
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