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Eurasian birds (2025) is a series of workshops and art work with the artists Ebba Moi and Anna Carin Hedberg. It blends poetry, nature, and community, by talking and looking at migratory birds flying between Asia and Scandinavia. The artists invited to participatory workshop while talking about the birds lives and situation. The hands-on process fosters creativity, reflection, and learning while connecting to both local nature and global themes.

Eurasian Birds takes as its starting point bird species that belong to both Thailand and Norway—species that migrate across vast distances.

As part of KunstArena (2025), the artists held a workshop with students from Åmot School in Rena, Norway. The students sculpted birds from clay, inspired by local migratory species. The workshop took place in the forest, where the students placed their birds on thin branches in the landscape—creating a temporary home for the migrants. While sculpting, they listened to bird sounds and reflected on questions such as: Why do birds migrate? Can we say they belong to a place when they constantly follow the seasons?
The process opened up reflections on nature’s cycles and humanity’s place within them, weaving together local biotopes with mythology and memory.

The workshop was also held at Ebihara Shōten during the Tokyo Biennale (nov 2025) and in Bangkok as part of the Bangkok Art Book Fair (dec 2025), where visitors were invited to explore these themes and “think with” migratory birds.





The publication Notes from Birds (2025) explores migratory birds’ journeys, their sense of belonging, and the impact of change through artistic processes.

Changes in nature—such as habitat loss, climate change, and declining biodiversity—are forcing birds to find new routes or alternative food sources. The shifting lengths of seasons and the loss of traditional nesting grounds make survival more difficult. Migratory birds are also affected by unrest in the countries they pass through or land in.
Philosopher and feminist Donna Haraway, in her book Staying with the Trouble, urges us to think-with, live-with, and be-with other planetary organisms in a world facing ecological crisis. In line with Haraway’s thinking, can we “be-with” birds in a deeper way to understand nature and the effects of rapid global change?

Notes from Birds is produced and published in collaboration with Ebba Moi, Anna Carin Hedberg and the OVEN. Design: Studio150 / 2025, Bangkok, Thailand

Notes from Birds are also on display at Asia Art Archive.




Coral Energy, 2023

CORAL ENERGY (2023), consists of a current newspaper clipping, a poetic interpretation of the text, an audio piece (10 min loop), and tempera on the wall. The work is a collaboration between the artists Anna Carin Hedberg, Ebba Moi, and composer Victoria Nunes Finstad.

The newspaper clipping describes how the tanker Coral Energy transports natural gas across the Baltic Sea. The tanker drift aimlessly - causing large emissions, indefinitely circling around Gotland while waiting for demand for the raw material, which is currently unstable. This results in significant environmental emissions. The artwork addresses the injustice of the situation and can be described as both political and poetic. 
Victoria Nunes Finstad (1999) is a Norwegian composer who works on interdisciplinary pieces where text, performance, and visual expressions are processed through compositional thinking. She writes works for chamber ensembles, orchestras, and voice, among other things. Hedberg and Moi have been collaborating since 2003. In their works, they explore the concept of changes and investigate structures that address processes of change in society.

The work was exhibitied at Tegnetriennalen 2023. 
Bitácora at Tenthaus, 13.10 - 22.12 2023.  

 








Photos: Øystein Thorvaldsen



Caoutchouc – The Weeping Tree, 2020 // Kautsjuk – det gråtende treet, 2020

It is a well-known fact that Norway and the Western countries have made great economic and social profits from industries that refine raw materials from formerly colonised countries. The work examines power structures in relation to raw materials and the development of industry in a globalised world.

The work is based on the production of the Viking rubber goods factory in Heggedal during the early 1900s. The film shows a workshop from September 2020 where the local theatre group Holmen senior theatre rehearsed a sound work by composer Victoria Finstad Nunes.

The sound piece is based on original texts about rubber goods production written by Vikings director P.M. Røwde, among others. The texts are put together by Moi and Hedberg and are a poetic description of the development of the rubber boom that started in Brazil and spread to the UK and Asia.

Holmen teatergruppe with Johan Karlsen, Rygdi Margrete Gabrielsen, Sidsel Rødland Korsvoll, Unni Mølbach, Marit Lovise Kolstad
Teaterinstruktør Holmen seniorteater/ Cecilie Solberg Knudsen
Composition/ Viktoria Finstad Nunes
Film and clip/ Audun Severin Eftevåg
Film/ Benedikte Rønsen
Sound/ Florian Winther

Thank you to Teknisk museum i Oslo, Dag Henning Sæther, Asker kulturskole, Yngvild Færøy, Espen Tandberg og Per Sletaune ved Heggedal fabrikker, and a huge thank you to Holmen seniorteater og Cecile Solberg Knudsen.

Supported by Norsk Kulturråd and Billedkunstnernes Vederlagsfond

Exhibited at Trafo kunsthall 7.11 2020 - 7.2 2021 as a part of group exhibition Industri, and at Høstutstillingen 2022. 






Foto Jens Hamran


Foto Jens Hamran




Formforandringer (Kvitebjørn kong Valemon)

et verk av Ebba Moi og Anna Carin Hedberg
I 2019 er det 150 år siden Gustav Vigeland (1869-1943) ble født, og i den forbindelse vil det gjennomføres et stort nasjonalt jubileum som skal synliggjøre hans posisjon i kunsthistorien. Med verket Formforandringer (Kvitebjørn kong Valemon) på Eidsvolls plass ønsker vi å belyse Vigelandjubileet gjennom å vise et verk som tar sin utgangspunkt i et originalt arbeid av Gustav Vigeland.

Verket er et prosess og verkstedsbasert samarbeide som tidligere blitt vist på Skulpturbiennalen i 2015/16. Disse ble til under en serie åpne verksteder på Vigelandsmuseet og Oslo Open. Her ble deltagere invitert  i alle aldre til å se på skulpturer av Gustav Vigeland for å etterpå forme sine egne tolkninger. Repetisjonen innebærer at flere ser på hverandres tolkninger og at arbeidene skritt for skritt blir en poetisk variasjon av originalen. En form for hviskelek i tredimensjonal form. En folkelig demokratisering av Gustav Vigelands ikoniske verk.

På Eidsvolls plass vises en serie på tre figurer som tar utgangspunkt i Gustav Vigelands verk Kvitebjørn kong Valemon fra 1921,
denne illustrerer fortellingen Kvitebjørn kong Valemon av Asbjørnsen & Moe. Her står en jente i sentrum, hun er drivkraften i historien og viser kraften i samarbeid. Uten respekt og hjelp fra andre kommer en ingen vei.

Ved bruk av offentlige plasser utvikler vi gitte kontekster som kan skaper nye assosiasjoner gjennom interaksjon. Stortinget er en plass for folket. Det er litt over hundre år siden kvinner fikk stemmerett i Norge og enda er det ikke et minnesmerke over stemmerettsjubileet i 2013. Gjennom å plassere et kunstverk basert på deltagelse og demokratiske prinsipper på Eidsvolls plass gir vi et annet bakteppe til Vigeland og de andre skulptørene som har kunstneriske portrett statuetter av menn rundt plassen foran stortinget. Det temporære monumentet retter et kritisk blikk på mannlige kanoniserte kunstnerskap, samtidig som det lar publikum sin stemme bli en del av tolkningen. Kunstverket står for en flerstemmig dialog, som stoler på folkets blikk, hukommelse, og gjenfortelling. Formforandringer (Kvitebjørn kong Valemon) viser et alternativt blikk hvor representasjon i forhold til minnesmerker over menn står i sentrum.



All photos by Øystein Thorvaldsen